Disccovery of the Reader in the Literary Work

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DISOVERY OF THE READER IN THE LITERARY WORK

(ENTDECKUNG DES LESERS IM LITERARISCHEN WERK)

BY

ERNEST GIORDANI

INTRODUCTION: INTERPRETATION AND THE LITERARY TEXT IN

THE GERMAN FOREIGN LANGUAGE COMMUNICATIVE CLASSROOM

The title of this project, The Discovery of the Reader in the

Literary Work (Die Entdeckung des Lesers imliterarischen Werk),focuses on Bernd Kast's assertion in his Literatur im Unterricht.

Metodische Vorschläge für den Lehrer,that a group of fairly recent

developments has led to a decidedly new orientation in literary

scholarship. He points out that this new direction is due in part

to the impact of Jean-Paul Sartre¶streatise,What is Literature?

(1949) in which he first addresses three seemingly less formidable

questions: "What is Writing?" "Why Write?" and "For Whom Does One

Write?" In so doing, he casts a different light on meaningand

interpretation,for he introduces the perspective of social

engagement. Kast, in addition, refers to Robert Escarpit, who in

his publication, Das Buchund der Leser , offerssociological views



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of the nature of literatureand the reader. Using the metaphors ofbusiness and technology, he employs the neutral methodology of his

discipline to acquire and study data, as well as raise at times

unasked questions that suggest answers about literature as a

commodity. Kast also directs attention to Hans-Georg Gadamer's

hermeneutical concerns expressed in Wahrheit und Methode,as they

touch on understanding and interpreting art and literature: "Schrift

und was an ihr teil hat, die Literatur , ist die ins Fremdesteentäußerte Verständlichkeit desGeistes"(156). In addition, Kast

alludes to Roland Barthes' assessment of the relationship between

society, the reader and the literary work.

Bernd Kast and Paradigm shift in Foreign LanguageInstruction

Gadamer's assertions about the use of literary textsare

implicit in Bernd Kast's Literature in Instruction.Methodological- didactic Suggestions for the Instructor . (Literatur im Unterricht.Methodischdidaktische Vorschläge fürden Lehrer). He points out that

in recentyears,numerous publications have appeared which,falling

back upon olderpedagogical concepts, call for a student oriented,

studentcentered "einenschülerorientierten, schülerzentierten³

(Instruction Kast 38)instruction.Such an instruction would free

students from their consumerrole and allow them to make suggestions´

on their own (38). Then Kastschematizes the ensuing contrasts: (38)

Discovery of the Reader²²

Methodological research ± Paradigm shift



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Old paradigm New paradigm

Literary canon open textual offerings

(only ³high´ literature) also trivial literature) ²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²² Student as object liter- Literature is object

ary education = of students =Literature centered reader centered

Lesson is more important Learning is more importantthan the learning. than the lesson.

Intention- and Author- Methodological perspective ²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²

²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²² Text is static, closed Text is dynamic, openIndependent processable

²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²

Meaning is fixed Meaning is established by the(Monovalence) reader (Polyvalance)

²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²

Extra temporal Temporally

²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²

Entdeckung des Lesers -Rezeptionsforschung - Paradigmawechsel

______________________________________________________________altes Paradigma neues Paradigma________________________________________________________________Literaturkanon offenes Textangebot

(nur "hohe" Literatur) (auch Trivialliteratur)_________________________________________________________________Erziehung durch Dichtung Erfahrungen mit und durchDichtung_____________________________________________________________________Schüler als Objekt lite- Literatur ist Objectrarischer Bildung =desSchlülers=literatur zentriert= leserzentriert



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__________________________________________________________________Intention- und Author- Rezeptionperspectiveperspektive

Text ist statisch abge- Text ist dynamisch,schlossen, autonom offen, prozesshaft

Sinn liegt fest Sinn wird vom Leser fest-(Monovalenz) gelegten(Polyvalenz)

Überzeitlichkeit Zeitgebunden

__________________________________________________________________Assessing the outcomes the student-oriented, discovery pedagogy,

Kast asserts that acquired knowledge is better retained and reproduced

through Self-discovery(Selbstentdeckung)than when conveyed by a teacher

orinstruction (37). Through a series of new empirical inquiries

this older understanding is viewed in another light (J. S. Bruner

1973,304). Students recognizetheir strategies of problem solving, which

for them may be anindependent answer to new problems which may surface

("discovery learning") (37).

CHAPTER I: FROM NIETZSCHE TO ESCARPIT: PERSPECTIVE AND MEANING

Initially, however, this project looks at comments on perspective by

Friedrich Nietzsche which are not only at the heart of literary inter-

pretation but are important to literary interpretation by students in

foreign language classrooms where literature is used to facilitate

language acquisition. Within the reader-centered,Rezeptionsperspektive

dynamic schema that Kast presents, one easily hears tones of Friedrich

Nietzsche's comments on perspective, forNietzsche says, that "Der Perspektivismus ist nur eine komplexe Form der Spezifität" (705). He

explains further that his notion is that each specific body strives to

master its own space, expand its power (²²its will to power:) and repel



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everything that resists its expansion. However it impacts continuously

on similar efforts of otherbodies and arranges a (>>coalition<<) with

them which is congenialenough to it²²thus they then conspire together

toward power. And the process continues . . . . (705) Furthermore,

Nietzsche remarks that perspective presents a quality of plausibility.

As if the worldremained when one subtracted perspective! As if one had

thereupon indeed subtracted relativity. (705). One might say then, as

regards the use of literary texts forlanguage acquisition, that a

student's particular, plausible interpretation of a literary text is a

"complexe Form der Specifität" which the student through negotiation,

conspiring, and coalition with other interpreting bodies (students),

employs to expand his or her own interpretive prestige (will to power).

Similarly, Wolfgang Iser's texts,Der Akt des Lesens (The Act of

Reading) and Implizite Leser (The Implicit Reader), focus on readers'

perspective and the meaning they derive through textual interpretation.

He asserts that literary "Schemata" are a part of the elements of the text

and are implicit in the established competence of readers. Their frames

of reference lie in systems of perception as well as in literary tradition,

which does not really have the character of logical reference, but still

offers a stability of meaning. (Reading 154)(Lesens154) That is, thereaderswork with an unformulated but intended text that presents them

withAnweisungen und Suggestionen(Imp.Leser 59). In the text it is the

Nicht-Gesagte and the Gemeinte which engage the Einbildungskraft ofthe reader (Lesens 59). Iser points out, that, in contrast, the

aesthetic issue of the text has neither the quality of the element

the ("Schemata") nor its stability, let alone a comparable system of



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reference. Therefore the aesthetic issue in contrast to "Schema" (sic)

cannot be lifted from the text and formulated separate from it

(Lesens 154,5). Furthermore, Iser emphasizes that ultimately it is the

readers that attribute meaning to the text, for while the organization

of the primary code in a fictional text denotes certain comprehension

requisites, their manifestation in the secondary code is never identical

because the primary code prescribes in no sense definite readings of

the text, since it is only a model of the comprehensionalact which

contains more possible manifestations (Lesens 156).

Gadamer : Literature and Hermeneutics. Considering the unique and

incomparable qualities of literature, Gadamer remarks in Wahrheit und

Methode, Literature presents the transformation of understanding a

specific task. There is nothing as peculiar and taxing to understanding,

as the written word. The encounter with people offoreign tongues

cannot at all be compared to this peculiarity and amazement, because speech

already contains the air and the tone of direct intelligibility. (156)

Then inWas ist Literatur?Beiträge von Han-George Gadmer ,

Helmut Kuhn und Gerhard Funke,Gadamer goes on to comment on the

controversy regarding the process of discovering literary textual

meaning as he remarks that the concept of the text is itself a

hermeneutic. We appeal to the text when we cannot follow a given

translation. On the contrary, we never stop with the mere letters,

when we "understand": the opposite of spirit and letter rises up inunderstanding. In so far thatinthe widest senses, the literary art

work is a text upon a text, it appears to him a text in the eminent

sense and the translation is not only capable but wanted (31).



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As accurate as Kast may be about "zahlreiche Veröffentlichungen"

appearing "in den letzten Jahren" which fall back upon olderpedagogical

concepts with regard to current literary instruction,perhaps he also

alludes to the latter half of the nineteenth century and Friedrich

Nietzsche's Perspektivenoptikso crucial to formation of meaning within

social macro- and textual microcosms. Gadamer's following words from

Wahrheit und Methodeseem to suggest so, for in is chapter on "Wahrheit

in den Geisteswissenschaften," Gadamer mentionsNietzsche and his

contribution to modification of Horizont,in thatwhoever has no horizon

is a person who does not see far enough and therefore overvalues what lies

nearby. Horizon is justthe opposite: Not limited to the next, but beyond

it able to see intothe distance (Gadamer 286).In fact, today Nietzsche's,

Gadamer's and Iser's ideas areimplicit in the following observation with

which Hans von Hunfeld begins his Literatur als Sprachlehre: Ansätze eines

hermeneutischorientierten Fremdsprachenunterrichts: "Nirgendwo tritt im

Fremdsprachenunterricht die Differenz zwischen reinem Sprachlehrtext

und literarischem Text deutlicher hervor als in der Situation des

Anfangsunterrichts" (18). For instance, Hunfeld asserts: "Denn wird

der Lehrbuchsatz durch Wiederholung und Anwendung in der

Unterrichtssituation zum persönlichen Satz des Lerners, so bleibt die

Zeile eines Gedichts, und sei sie noch so oft wiederholt, immer Zitat"

(18). The poem remains "Zitat" because the pedagogy of the Lehrbuch

ascribes meaning to the poem, but for the poem to acquire meaning, it

must become a literary text open to readers' interpretations.

In sum, from Nietzsche through Gadamer to Iser, Kast and Hans



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Hunfeld, the world, the person, and the literary text all reside in

the realm of hermeneutics, i. e. , meaningless potentialities open to

interpretation. Obviously, the perspectives of Gadamer, Kast, Huhnfeld

et al offer the foreign language student greater challenge than the

usual prescription of discrete point questions and drills or global

questions so often an integral part of foreign language instruction of

the not too distant past.Saussure and Language as Sign. If one can speak of the world as well

as the literary text as interpretation, one can certainly speak of

various perspectives to which the word itself, the very seed and

fiber of the literary text, is subjected. Ferdinand de Saussure, the

founder of modern linguistics, differentiated between two important

perspectives of linguistics: "linguistique synchronique" and

"linguistique diachronique": "L'objet de la linguistique synchronique

générale est d'établir les principes fondamentaux de tout système

idiosynchronique, les facteurs constitutifs de tout état de langue

(Saussure 141). However, whereas "la linguistique synchronique"

focuses on the study of language within a particular time period, "la

linquistique diachronique" concerns itself more with language from an

evolutionary perspective, as Saussure suggests:

D'une façon générale, il est beaucoup plus difficile de

faire de la linguistique statique que de l'histoire. Les

faits d'évolution sont plus concrets, ils parlent davantage

á l'magination ; les rapports qu'on y observe se nouent

entre termes successifs qu'on saisit peine ; il est aisé,

souvent même amusant, de suivre une serie de



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transformations. Mais la linquistique qui se meut dans des

valeurs et des rapport coexistants présente de bien plus

grandes difficultés. (Cours 141,2)Within the realm of la linquistique syncronique one discovers two

other perspectives: langue, "l'ensemble des habitudes des

linguistiques qui permettent à un suject de comprendre et de se faire

comprendre" (Cours 112), and parole, which is "individuelles et

momentèes"(38). Possessing an understanding of the role of langue and parole, as well as of synchronic and diachronic language study, plays

a part in ascertaining meaning of a literary text, for the mercuric

nature of the word becomes evident, especially so in view of

Saussure's principle of language as "un système de signes distincts

correspondant à des idées distinctes" (26).

Continuing, Saussure points to the crucial role the sign plays

in language, since language emerges in his analysis as an arbitrary

system of signs:

Le principe de l'arbitraire du signe n'est conteste par

personne ; mais il est souvent plus aisé de découvrir une

vérité que de lui assigner la place qui lui revient. Le

principe énoncé plus haut domine toute la linguistique de la

langue; ses conséquences sont innombrables. Il est vrai

qu'elles n'apparaissent pas toutes du premier coup avec une

égale évidence ; c'est aprés bien des détours qu'on les

découver, et avec elles l'importance primordiale du principe. (Cours 100)

Terry Eagleton's claims inhis Literary Theory: An Introduction, that

the "hallmark of the 'linguistic revolution' of the twentieth century,



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from Saussure and Wittgenstein to contemporary literary theory, is the

recognition that meaning is not simply something 'expressed or reflected'

in language: it is actually produced byit" (60). However, Robert Magliola

argues in his study on Derrida, Derrida on the Mend , that Derrida views

"linguistic schools of the Saussurean kind and some philosophies of the

'correspondence theory'" (6), as "cryptic displacements of the classic

principle of personal self-identity" (6). Derrida "assaults the principle

ofidentity, that is, the theory of signified and signifier, as it

functions in explanations of language and of how language composes the

identity of things" (6). Or as Eagleton asks from the post-structuralism

perspective, "How can there be any determinate truth or meaning at all

?´(143) It seems, then, from this perspective too, meaning in the literary

text is established through the readers.

Sartre, Literature, the Literature Text. Sartre, as reader, is

discovered in the work of literature from two important views which

demonstrate how a reader assigns meaning to the text.On the one hand,

as philosopher/reader, Sartre stands back from the text, attempting to

define it phenomenologically. On the other hand, Sartre, the political

activist, views literature and the writer as agents of social change. Thus

he approaches the literary text withpredispositions and expectations.

For Instance, in posing and answering the same larger question,

"What Is Literature?" addressed by Gadamer, Sartre suggests that the

poet does not know how to use the word in Saussure's sense "as a sign of

an aspect of the world, he sees in the word the image of one of these aspects

. . . all language is for him the mirror of the world" (14). Sartre's



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perspective does not separate the dance from the dancer: "prose is in

essence, utilitarian. . . . . the prose writer . . . a man who makes use

of words" (19). "In short, actual literature can only realize its full

essence in a classless society" (156) "without dictators, without

stability, [which] would produce a literature which would end by becoming

conscious of itself" (160).Truly an activist's stance imbued with the

Marxian perspective of social engagement but one that limits the text's

potential meaning

Barthes and Amodal Writing . In his Writing Degree Zero Roland

Barthes presents a radical perspective from which to view literature

and simultaneously another way to discover meaning within the literary

text. Unlike Sartre, who views prose literature in its semiotic

profusion, as that particular language most effective to communicate,

Barthes finds limitations. He points out that language "is a social

object by definition, . . ."the divided property of all men," and "a

reflex response involving no choice" (9). It is "distant human horizon"

(10) hovering between past unspoken languages and ones yet to be spoken.

It was in the past or is on its way toward us in the future, or we toward

it. However, Sartre, in alluding to the quality of sign implicit in prose

language, comments how a writer may say something: "One is not a writer

for having chosen to say certain things, but for having chosen to say them

in a certain way. And, to be sure, the style makes the value of the prose.

But it should pass unnoticed. Since words are transparent and since thegaze looks through them, it would be absurd to slip in among them some

panes of rough glass"(25). These are the words that alert Barthes to a

flaw inSartre's emphasis on the language at the expense of the style of



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language.

Choice of mode, however, does not lie exclusively with the writer,

for as Barthes maintains, "It is under the pressure of history and

tradition that the possible modes of writing for a given writer are

established . . ." (16). In effect, writing is a "compromise between

freedom and remembrance" (16), a compromise between "the unity of

classical writing, which remained uniform for centuries," and the writer's

freedom of choice, if only for a mere moment, which "reaches the deeper

layers of History, much more palpably than does any other cross-section

of literature" (17). Through time, contrasting modes of writing within

a school of writing break "when a new economic structure is joined on to

an older one, thereby bringing about decisive changes in mentality and

consciousness" (18). Barthes describes such breaks and resultant changes

of consciousness in Marxism and Modern Poetry. Marxists incorporated into

their language a "lexicon as specialized and as functional as a technical

vocabulary,even metaphors are here severely codified" (22). Writers

speak withone political voice and one set of lexical terms meant to

"maintain acohesion, appear as a language of knowing, and impose a

stability in its explanations" (23). Its language demonstrates the

"economy of a classicallanguage (Prose and Poetry) [which] is relational,

whichmeans that in it, words are abstracted as much as possible in the

interest of relationships. In it no word has a density by itself , it is

hardly a sign of a thing, but rather a means of conveying a connection"

(44).

Linguistically, Barthes refers to the "zero element" (76), as a third



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term between two terms of polar opposition, i. e., between subjunctive

and imperative moods the indicative interposes as "amodal" (76). Thus in

the prolonged "attempt towards disengaging literary language" (76),

Barthes suggests a "colourless writing, freed all bondage to apre-

ordained state of language"(76). Designating"colorless writing," a

"transparent form of speech, initiated by Camus's 'Outsider'" (77),

Barthes maintains that it "achieves a style of absence which is an ideal

absence of style"(77). Finally "writing is then reduced to a sort of

a negative mood in which the social and mythical characters of a language

are abolished in favour of a neutral or inert state of form" (77). The

advantage for modern writers"writing at the zero degree" (76) is that

"thought remains wholly responsible, without being a secondary commitment

of form to a History not its own" (77). With Barthes, as with Sartre,

Gadamer, and Nietzsche, the reader is again discovered as the interpreter

ofwriters' literary texts.

Escarpit and the Sociology of Literature. Robert Escarpit may well embody

the zero degree of literary criticism. In much the samemanner as Saussure

considers language an object to be analyzed from a linguistic, scientific

vantage point, or Sartre and Barthes view literature and its language as

objects, Escarpit views literature as a sociological fact related to human

general behavior. However, much of his inquiry seems to have extre-

literary concerns, i. e., Production, Distribution, Consumption, The Age

Factor in Literary Production.Escarpit is not concerned with meaning tobe found within the literary textual language among the myriad inter-

relationships of words as signs. He seeks a fuller understanding of

literature as fact by examining it as a commodity: "We cannot forget,if



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we wish tounderstand literature, that a book is a manufactured product,

commercially distributed and thus subject to laws of supply and demand.

We must see that literature is, among other things,incontestably, the

production segment of the book industry, as readingis its consumption

segment" (2). The Marxist tones are here, asEscarpit mentions Vladimir

Zhdanov and his "Some Recent Soviet Studies in Literature," Soviet

Literature: "Literature must be considered in its inseparable relation

to social life, the background of those historical and social factors which

influence the writer: . . ." (4). Escarpit asserts, however, the "principal

opposition to the Soviet sociological method . . . 'formalism'" and the

combined "influences of Wilhelm Dilthey's neo-Hegelian philosophy, of

philological criticism,and of Gestalt psychology Literaturwissenschaft"

(4,5) have been ". . . one of the most serious obstacles to the appearance

of a real sociology of literature" (5). Although the science of sociology

"through Comte, Spencer, Le Play, Durkheim and others progressed towards

complete autonomy . . . it bypassed literature . . . for literature

had been protected by an attitude of deference" (5). By focusing on

specific aspects of the literary "process," Escarpit attempts to bring

a sociology of literature into the light of modernliterary criticism.

In order to understand literary production more clearly from a

sociological perspective, Escarpit first examines the writer in time.

Production of the literary work, he affirms, ". . . a manifestation of

a community of writers" which shares in the rise andfall of life of "all

other demographic groupsaging, rejuvenation,overpopulation and

decreasing population" (21).



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CHAPTER II: SURVEY OF GERMAN FOREIGN LANGUAGE COMMUNICATIVE

PEDAGOGIES WHICH USE STUDENTS' PERSPECTIVES OF THE LITERARY TEXT IN

FOREIGN LANGUAGE ACQUISITION

With both Escarpit and Barthes, as with Sartre, Gadamer, and

Nietzsche, readers provide perspectives from which to interpret

writers' literary texts, be they texts for general consumption or

texts used for language acquisition in a foreign language classroom.

In addition, Brigitte Helming and Gustav Wackwitz in their Literatur im Deutschunterricht am Beispiel von narrativen Texten explain the

value of literary narrative texts to second language acquisition:

. . . wenn erzählt wird, hört man mit Interesse, oft mit Spannung zu.

Die Erwartung: 'Wie geht's weiter?' ist eine spontan gewährte Haltung

gegenüber dem Erzählten. Man will auch wissen, worauf es hinausläuft, man

möchte das Ende der Geschichte nicht versäumen" (14).

Furthermore, Littlewood says in his "Literary and informational

texts in teaching." Praxis 1, 1976 that literary texts differ from

external reality for they ". . . have a different relationship to

external reality" (19). The literary text gleans its "raw material" as

well as its "interpretability" from external reality (19), "but

after selecting elements from it, aim to combine these elements into a

new portion of reality which exists only within the text" (19). Thus

the reader enjoys the opportunity to use contextual knowledge (extra-

linquistic information) of the external reality to acquire language in

both the external reality and the literary text. In apparent agreement

with Helming and Wackwitz regarding student creativity in interpreting

the literary text used for foreign language, Littlewood explains that



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readers continually attempt "to form and retain a coherent picture of the

world of the text (19),as their ". . . creative (or rather, 'co-creative')

role, and the imaginative involvement engendered by this role encourage

a dynamicinteraction between reader, text and external worlds" (19).

What is more, Brumfit and Carter remark in Literature and

Language Teaching that the literary text is "authentic text" (15) and

"real language in context," to which readers "can respond directly"

. . . (15), offering as it does ". . . a context in which exploration

and discussion of content (which if appropriately selected can be an

important motivation for study) leads on naturally to examination of

language . . ." (15) and the language resources provided by the literary

text, which place ". . . the reader in an active interactional role in

working with and making sense of language(15).

Thus the reader, intimately in the text, simultaneously creates

meaning for the text-Die Entdeckung des Lesers im Literarischen Werk.

In the process of interpreting meaning, the foreign language student/

reader must communicate individually or within groups, and beyond Helming

and Wackwitz' Literatur im Deutschunterricht many other sources such as

Discourse Analysis and Second Language Teaching by Claire J. Kramsch,

Managing Conversations in German: Reden,mitreden und dazwischen by Clair

J. Kramsch and Ellen Crocker, Contexts of Competence by Margie Berns,

Literature in the LanguageClassroom by Joanne Collie and Stephen Slater,

MitlesenMitteilenby Larry D. Wells and articles in theUnter richtspraxis, Foreign Language Annals, Schatzkammer , Modern Language

Journal, Quarterly , and Applied Linquistics provide a rich variety of

useful pedagogies to assist instructors in using literature for second



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language acquisition of German at various levels of instruction. For

instance, students in a beginning German course are notprepared lin-

guistically to read a novel, a novella, most short stories and many poems

in the target language. However, like Brumfit and Carter above, Collie

and Slater remark in their Literature in the Language Classroom: A resource

book of ideas and activities that appropriately selected extracts from

literature "provide one type of solution. The advantages are obvious:

reading a series of passages from different works+* produces variety in

the classroom, so that the teacher has a greater chance of avoiding

monotony, while still giving learners a taste of an author's special

flavor" (11). A text whichlends itself to both this pedagogy of

appropriate extraction of literary passages as well as Helmling and

Wackwitz' views on the value of narrative texts for language acquisition

is HörGutZu!: A Beginning German Audio-Lingual Reader by Gerard F.

Schmidt.

Schmidt's Hör Gut Zu!, first published in 1964 before pedagogies

of the communicative competence movement had made significant impact

in the United States, focuses on audio-lingual methods which have

marginal value in the communicative foreign language classroom.

However, the stories themselves were garnered under the author's

cardinal rule that "they must hold the students' attention" (iii). In

that respect, many of the stories readily comply with Helmling and

Wackwitz'explanation that narrative texts are used in foreign language

instruction because "sie in des Lesers Vorstellung Erfinden zulassen

und anregen" (15) and indeed because the "Kreativität des Lesers ist





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natural discourse, to role play, and to explore other communicative

strategies identified in the course of this discussion. Furthermore,

the vocabulary and the social context of selected passages from Die

Wette as well as from Thomas Mann's Tonio Kröger provide appropriate

avenues for communicative discourse.

Attempting to discuss literature communicatively raises issues

about providing student readers with techniques to manage discourse

successfully. A valuable study by Claire J. Kramsch, Discourse

Analysis and Second Language Teaching, presents pertinent insights

and strategies.

First she asks the question: "How are foreign language learners

in the classroom given the opportunity to phrase (i.e., organize)

their learning experience in terms of discourse management" (13)?

Kramsch provides answers by explaining that students speaking in a

classroom environment perform on three different structural levels:

(1) the formal structure, composed of a set of message-

bearing elements (verbal, paralinguistic, nonverbal) and

its grammatical and syntactical units of realization;

(2) the illocutionary structure, composed of illocutionary

forces or acts (inviting agreeing, etc.);

3) the interactivestructure, composed of interactional

tactics, and classified according to their relative

distribution and privileges of occurrence. The first two

levels constitute the communicative level of the

interaction. The third is the discursive. (13)



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In the section, Teaching Communicative Strategies in the Class-

room, from their ManagingConverationsin German:Reden mitreden

dazwischen, Kamsch and Crocker remark that teaching communicative

strategies is teaching language as discourse, i.e., language as

it is used in social contexts between speakers, hearers and

bystanders. In the social context of the classroom, the teacher

presents and transmits knowledge about the foreign language, thestudents

display that knowledge for the evaluation by the teacher, and they use

it for communication with the teacher and their peers (v).

The authors comment briefly on the three forms of discourse used

in language classes. Instructional discourse is usually teacher-centered

and manages of the lesson using such "utterances as 'Please open your

book'/'Repeat after me'/'We are having a test µtomorrow'/'Don't speak all

at once . . .'" In this form of discourse students merely react to cues

from the teacher and rarely initiate turnsat talk, or raise topics,

generally just "reacting to questions and displaying information" (v).

In Convivial discourse teacher and student work together as equal partners

in managing the lesson. In his more student-centered form of discourse,

instructional tasks arenegotiated betewen teacher and students, i. e.,

"What did you mean?"/"How do you say . . ."/"I couldn't hear, what is it

you just said"/"Excuse me, it seems to me that . . ." Using Natural or

simulated/discourse teacher and student interact as they would outside

the classroom. Examples of natural discourse "are the exchanges betweenteacher and students at beginning of the lesson: 'I am sorry I am late,

but I had to go to the dentist'; 'Do you know what? They havejust raised

tuition again!'"; Examples of simulated natural discourseare personal



22

or service encounters, i. e.,"Could you show me the way to . . ."

"Certainly"/"What did you do this summer?""Well . . . him . . .

let's see"/"I would like a pound of potatoes""Anything else?" (v)

) Kramsch's term, natural discourse, of course, calls to mind

Krashen and Terrell's concept of the natural approach from their book

The Natural Approach. The methodologies associated with these two

approaches to language acquisition are similar in that both the

grammatical structures with which the Natural Approach concerns

itself, and the socially appropriate discourse with which Natural

Discourse concerns itself, are acquired, not learned in Krashen's

sense of the word. Furthermore Kramsch points out that unlike native

speakers who have acquired appropriate social linguistic skills, i.e.,

"when to use which form to express which meaning with whom for which

purpose in which circumstance" (Reden iv), foreign language students

must gain competency in discourse to communicate effectively.

Classroom foreign language students do not know the "appropriately

polite phrasing in the foreign language, and may not use that phrase

with the right intonation, the right rhythm, and the right timing"(v).

Kramsch's table of contents details strategies which assist foreign

language students with the ability to control the conversation: Gespräche

beginnen und beenden; Um Auskunft bitten und Auskunft geben;Gemeinsam

planen und organisieren;Gefühle ausdrücken und darauf reagieren;

Geschichten erzählen,Geschichten hören;Ratholen und Rat geben;

Verlangen und sich beschweren;Meinungen äussern, auf Meinungen

reagieren;Themen einführen, Gespräche steueren;Dafürund dagegen



23

argumentieren.

Several of the above categories and associated strategies will be

helpful in exemplifying the dynamics of this project. Similarly,

Margie S. Berns mentions in Chapter One of her 1984 edition of

Initiatives in Communicative Language Teaching :

It is the social context that determines which behavior

options, both verbal and nonverbal, are available to the speaker

for example, whether it is even appropriate in a given situation forthe speaker to choose physical threat. It is the features of Firth's [J.

R. Firth, founder of the British school which viewed language as "a way

of behaving or making others behave"] context of situation that would

guide in the selection of options in the particular situation. These

features include those on the level of meaning associated with the context

of culture. (8)Co-writer Sandra J. Savignon's interpretation of

communicative competence, "expression, interpretation, and negotiation

of meaning involving interpretation between two persons, or between one

person and an oral or written text" also reflects Berns' comments (9).

"Oral or written text," however, derives from Michael Halliday's

work in systemic linguistics and function, i.e., ideational and

interpersonal functions of language, which require a third function,

textual. The third function "serves this purpose of language by providing

means for the formation of coherent texts. Any linquistic unit is the

simultaneous realization of these three functions" (7).

More specifically, these three functions are used:

(1) to express 'content,' to give structure to experience and helpto

(2) determine the speaker's way of looking at things (ideational);to establish and maintain social relations, to delimit social



24

groups, to identify and reinforce the individual(interpersonal); and

to providefor making links with itself and features of thetuation

in which it is used, to enable the speaker (or writer) to construct passages

of discourse that are situationally relevant (textual). (7)

Berns goes on to present important criteria based upon assumptions

of systemic linguistics which can be used in the evaluation of

exercises which adequately represent a functional and/or communicative

approach:

1. Utterances are presented with sufficient context for theinterpretation of meaning.

2. The relevant contextual features are identifiable -

that is, persons, objects, verbal and nonverbal

behavior, and effect.

3. The insight gained into an instance of language use is

generalizablethat is, the learner can make

predictions/interpretations of meaning in similar

situation types.

4. All three macro-functions are taken into accountthat

is, the ideational (conceptual), interpersonal (behavioral) and

xtual (formal).

5. Texts are authenticthat is, if not taken from of actual use of

glish.

6. Options are provided for the expression and interpretations of

aning.

7. More than formulaic functions of language are illustrated.

The interdependency of formal and functional meaning in context



25

is explicit as opposed to simple equivalency of form and function.

(12,13)

The following example demonstrates an inadequate application of

the "functional and/or communicative approach . . . based on

assumptions of systemic linguistics:" (13)ACCEPTING ________________________________________________________

1 Kenji: Do you think you'll be able to?

2 Fransesca: Yes, It sounds fine.

3 Kenji: That's great.

4 Francesca: Thanks for asking me.

5 Kenji: Your're welcome. I'm glad you can make it.

6 Francesca: So am I.

7 Kenji: Okay. We'll see you then.

8 Francesca: Right. I'm looking forward to it.

CONTENT ANALYSIS

Francesca might be accepting: What else?

a dinner invitation a skiing invitation___

a babysitting job ______________________

a substitute-teaching job ______________________

a tennis date ______________________

a ride in a car pool ______________________

Some of Berns criticisms, comments, and questions concerning the

exercise are:Little is revealed about Kenji and Francesca other than their names.

Are they peers? What are their ages? Since Francesca is female, role

Reversalmight reveal if "accepting" forms are the same for males. What



26

is Francescaaccepting? What is the cultural context? How can the

students generalize and predict regarding communicativelanguage usage?

(13,14)

On the other hand, the following exercise "provides a richerview

of language. Part iii, for example, allows for the openness and

unpredictability involved in actual speaking. The notion of someone's

refusing to honor a request is entertained and the learner is called upon

to formulate appropriate responses" (15).

i) Who says these things? In what situations?

a) It would help if you could hold the Hold . . .

torch for me a second and I¶llseeI'll see if I can find it.

b) I wonder if you could move your Could you

head a little. I can"t see.

c) I want you to run round and tell Run . . . ?

John to come back home immediately.

d) As it's raining, I thought You couldn't . . . ?

you might collect him by car.

e) What is the time? Mine's stopped. Could you . . . ?

f) I like it better over there. Do me a Move . . .

favour and move it for me, dear.

g) I wonder if you could change it. I You couldn't . . .

like to have a clean table cloth.

h) Let me borrow yours, George. I've Could I . . . .?

only got a pencil.



27

ii) Make a new sentence using the words on the right.

iii) How do you think the other person replies? They don't say

yes all the time. Maybe they can't help. (16)

Berns points out here that even though the communicative nature

of the exercise has improved, students are not easily able to generalize

because the language is clearly British; but is the language upper or

middle class? The language is polite, yet the students are asked to use

less formal forms in their answers. In addition, the context of situation

is not clear, i. e., are the new sentences in (i) requests or commands?

That is, the interdependency of form and function is not explicit. (16)

In her Contexts of Competence Berns states that "communicative

language teaching is founded on an understanding of the nature of

communication and the variability of norm of communication from context

to context (103). She then presents eight characteristics which assist

in the production or modification of materials to assist in achieving

communicative competence objectives:

1. Language teaching is based on a view of language as

communication, that is, language as seen as a social tool

which speakers use to make meaning; speakers communicate

about something to someone for some purpose, either

orally or in writing.

2. Diversity is recognized and accepted as part of language

development and use in second language learners and users

as it is with first language users.

3. A learner's competence is considered in relative, not



28

absolute, terms of correctness.

4. More than one variety of a language is recognized as a

viable model for learning and teaching.

5. Culture is recognized as playing an instrumental role in

shaping speakers' communicative competence, both in their

first and subsequent languages.

6. No single methodology or fixed set of techniques is

prescribed.

7. Language use is recognized as serving the ideational, the

interpersonal, and the textual functions and is related

to the development of learners' competence in each.

8. It is essential that learners be engaged in doing things

with language, that is, that they use language for a

variety of purposes in all phases of learning. (104)

In Chapter Two, Interactive discourse in small and large groups,

of Wilga M. Rivers' Interactive Language Teaching , Claire J. Kramsch

contributes important observations about the dynamics of interactive

discourse in the foreign-language classroom. For instance, Kramsch

introduces the concept of "instructional options: ". . . interaction

among group members in a classroom moves between the two poles of a

continuum of what Stern calls 'instructional options'in Fundamental

Concepts of Language Teaching . These concern the roles of participants,

the tasks they accomplish, and the type of knowledge that is exchanged.(18)

Kramsch constructs an INTERACTION CONTINUUM table:___________________________________________________________________



29

Instructional "Convivial" Natural

discourse discourse discourse_____________________________________________________________________

Roles: Fixed statuses Negotiated rolesTasks: Teacher-oriented Group-oriented

Position-centered Person-centered

Types of Focus on content, Focus on process,

knowledge: accuracy of facts fluency of interaction

Rivers explains the Continuum in the followilng manner:

At the one end are the fixed, instructional statuses (Circourel) of teacher

and student, with their expected and predictable behavior patterns,

acquired through years of schooling. At the other end are a variety

of roles and tasks negotiated by speakers and hears brought together by

the common foreign language and engaged in natural conversation (17, 18).

Referring to Sandra Savignon's interactional approach to languageacquisition, Berns explains that Savignon's understanding of

communicative competence is bound in four important sociolinguistic

parameters:

(1) the dynamic, interpersonal nature of communicative

competence and its dependence on the negotiation of

meaning between two or more persons who share to some

degree the same symbolic system;

(2) its application to both spoken and written language as

well as to many other symbolic systems;

(3) the role of context in determining a specific

communicative competence, the infinite variety of



30

situations, in which communication takes place, and the

dependence of success in a particular role of one's

understanding of the context and on prior experience of

a similar kind;

(4) communicative competence as a relative, not absolute

concept, one dependent upon the cooperation of all

participants, a situation which makes it reasonable to

speak of degrees of communicative competence. (Berns 89)

Berns then presents Savignon's model of communicative competence

based upon Canale and Swain in their 1980 article, "Theoretical bases

of communicative approaches to second langauge teaching and testing:"

1. Grammatical competence. Knowledge of the sentence

structure of a language.

2. Sociolinguistic competence. Ability to use language

appropriate to a given context, taking into account the

roles of the participants, the setting, and the purpose

of the interaction.

3. Discourse competence. Ability to recognize different

patterns of discourse, to connect sentences or utterances

to an overall theme or topic; the ability to infer the

meaning of large units of spoken or written texts.

4. Strategic competence. Ability to compensate for imperfect

knowledge of linguistic, sociolinguistic, and discourserules of limiting factors in their application such as

fatique, distraction, or inattention.

Savignon explains in her 1983 Communicative competence: Theory



31

and classroom practice that the four competencies do not interact

hierarchically. They are all equal and independent: ". . . a learner

does not proceed from one to another 'as one strings pearls on a

necklace'" (45). Furthermore, in her 1991 article, "Communicative

Language Teaching: State of the Art," appearing in volume two of four

special issues of TESOL Quarterly celebrating its 25th anniversary, she

briefly examines the origins of what now is known as communicative language

teaching (CLT), discusses the then current issues and promising avenues

of inquiry, and the international perspective (CLT). Savignon concludes

that by building upon what is alreadyrecognized about "language use as

social behavior, purposeful, and always in context," those engaged in

(CLT) "offer a view of the language leaner as a partner in learning" as

they "encourage learner participation in communicative events and

self-assessment of progress . . . , including communicative risks and focus

on development of learning strategies" (273).

David Nunan reviews how the pedagogy of the communicative task

through task based language teaching (TBLT) has become "an important

component within cirriculum planning, implementation, and evaluation"

over the past twenty-five years in his article,"Communicative Tasks

and the Language Circulum"(279). In the same 1991, 25th anniversary

issue of TESOL Quarterly , Nunan highlights five significant features

of (TBLT):

1. An empasis on learning to communicate through interaction

in the target language.

2. The introduction of authentic texts into the learning



32

situation.

3. The provision of opportunities for learners to focus, not

only on language, but also on the learning processitself.

4. An enhancement of the learner's own personal experience as

important contributing elements to classroom learning.

5. An attempt to link classroom language learning with

language activation outside the classroom.

Proceeding, Nunan presents Conceptual, Circular, and Empirical bases

of the approach, providing examples of appropriate tasks. Moreover, he

suggests the "conceptual and empirical basis needs to be extended both

substantively and methodologically" (293).

Using literature to encourage communicative competence provides

students the opportunity to interpret the written word through personal

and group, verbal and written discourse. In so doing,students integrate,

draw upon, and improve grammatical, sociolinguistic discourse and

strategic competences. For example, in his article, "Lesen als 'Gelenktes

Schaffen,'" Lothar Bredella asserts in reading,

" . . . gehen wir über das Gesagte auch insofern hinaus, als wir

Erwartungen aufbauen und das Kommende immer schon im Lichte unserer

Erwartungen aufnehmen, sei es, daß diese bestätigt, sei es, daß sie

korrigiert werden" (176). He goes on to alert us, that as "engagierte"

readers with anticipations derived from the literary text, we can only

experience "Ü berraschungen und Irritationen" (1

7

6), for in Sartre'seyes the text itself is quite predictable to the reader, that is, in

reading one sees in advance, anticipates. One sees the end of the

sentence in advance, the following sentence, the next page; one



33

anticipates that these expectations are confirmed or refuted; reading

is composed of many hypotheses, of dreams, which are followed by an

awakening; of hopes and disappointments; the readers are just beyond

the sentence which they are reading, in an apparent future, which

becomes partially realized-to such an extent, as the readers progress,

they turn from one page to another and form the shifting Horizon of the

literary object. Without expectations, without future, without

uncertainty there is no objectivity (176).Thus, viewing readers'

Erwartungen as the catalysts that engendermeaning within the literary

text, Bredella provides a rationale for an exercise, as he explains that

when students read outside of school and university or view a film, they

will not allow the event to slide by, but construct expectations, and with

these expectations emotions build up. In this manner one goes along and

engages oneself. Bredella goes on to say that we must see to it that the

students become excited that within the structure of the literary text

there be attractive anticipations to consider (176).

In part Lousie M. Rosenblatt's distinction between "efferent" and

"aesthetic" readings provides the basis for Bredella's rationale.

"Efferent" reading Bredella explains as ". . . das auf

Informationsentnahme ausgerichtete Lesen, das in unserer Gesellschaft

vorherrscht" (166). He goes on to explain that in this kind of reading

the reader suppresses how he as reader participates in the reading

process and how he experiences as reader. This reading is necessary in

many of life's practical contexts, but neither the only nor the original

form (166).







36

dahingehend, daß der Arbeiter in der Fabrik die

Erfühlung findet. . . .

3. Eine weitere Deutung lehnt die zuletzt angeführte als zu

optimistisch ab und betont, daß erst der Kranke in der

Lage ist, die Bretterwand, die seine private Welt von der

Fabrik trennt, niederzureißen. (179)

Essentially, the short interpretations demonstrate how the readers

comprehend the text and that they find individual perspectives which

give meaning to events within the text.

Bredella now introduces another communicative pedagogy that

involves reader and text:

Eine weitere Möglichkeit, die Interaktion zwischen Text und

Leser zu verstärken, kann darin bestehen, daß man Worte,

Zeichen oder Abschnitte in einem Text streicht und den

Studenten die Aufgabe stellt, diese "Leerstellen" zu füllen.

Anschließend können die Studenten ihre verschiedenen

Versionen mit denen des Originals vergleichen und die

unterschiedlichen Sichtweisen herausarbeiten. (180)Wolfdietrich Schnurre:

Lied Lied

Es ist wenig. Es ist wenig,

was ich verlange zu wissen; was ich verlange zu wissen;

weniger als weniger als

die Obrigkeit will. die Obrigkeit will.

Ich begehre zu wissen, Ich begehre zu wissen,

. . . . wo es Blaubeeren gibt



37

und nicht: . . . . und nicht: gibt es Krieg.

Ich begehre zu wissen, Ich begehre zu wissen

. . . . wann Regen fällt

und nicht: und nicht: in wieviel

. . . . Teile zerfällt ein Gewehr.

Es is wenig Es ist wenig,

was ich im Ernstfall begehre; was ich im Ernstfall begehre

weniger als weniger als

die Obrigkeit will. die Obrigkeit will.

Wenn der Feind kommt, Wenn der Feind kommt,

. . . . nehm ich mein

Schmetterlingsnetz

. . . . und zerschlags.

Aber ich kann auch Aber ich kann auch

. . . . das Lied singen, und alle

. . . . Panzer der Welt

. . . . fahren über mich weg;

. . . . und ich richte mich auf

. . . . in den Spuren ihrer35

Verwüstung:

. . . . eine Ammer, ein Halm.

Es ist wenig, Es ist wenig,

was ich vom Leben verlange: was ich vom Leben verlange;doch . . . . doch mehr,

. . . . als die Obrigkeit will.

Bredella points out that experience has shown that many students



38

find this presentation irritating in that the Authority demands less

knowledge from them than they as a rule possess. It is also irritating

in that the lyrical Ich desires to know only a little information. A

number of students nevertheless surmise that "wenig . . . vielleicht

garnichtso wenigist" (180) Thus in the thirteen Leerstellen

students provide such answers:

(1) ob es Krieg gibt und nicht: ob die Gewinne

der Unternehmer steigen.

(2) was mich glücklich macht und nicht: was mich

unglücklich macht.

The process continues as different perspectives emerge. Bredella

comments upon the students' responses: "Die vorgebene Struktur

verlangt einen Gegensatz zwischen dem Ich und der Obrigkeit, der auf

verschiedne Weise konkretisiert werden kann" (181). But as regards

literary text and the reader, Bredella affirms:

Die Kreativität des Lesers und die Anerkennung der

besonderen Gestalt des literarischen Textes sind keine

Gegensätze, wie manchmal behauptet wird. Im Gegenteil: beide

Aspekte bedingen sich gegenseitig. Nur wer genau hinsieht,

fühlt sich heraus gefordert und wird darauf kreativ

antworten(183).

Clearly, one discovers the reader in the text in Bredella's

communicative pedagogy as students interact with the text and then

interact with each other verbally or in writing. Sound communicative

methods in using literature for foreign language instruction are also



39

apparent in reviewing Rosmarie T. Morewedge's following publication.

In her 1987 Unterrichts Praxis article, "Literature in the

Intermediate German Classroom: Wolfgang Hildesheimer's 'Eine größere

Anschaffung,'" Morewedge states teachers of German can use literary

texts "to build communicative competence through well-designed and

properly distributed acquisition exercises" (217). In her exercise

Morewedge, too, uses Krashen's Input Hypothesis (217,18), in addition

to Littlewood's theory on language acquisition (217), and Rosenblatt's

notion of efferent or das auf Informationsentnahme ausgerichteteLesen

competence through reading the text and "properly distributed acquisition

exercises"(217). Of course aesthetic reading is implied as an aspect of

"the meaningful narrative Gestalt, i. e., the rhetorical structure and

ideas informing the narrative as a whole, rather thanmerely parts" (218).

On the First Level: Preview of her six-tiered schema designed "to

provide instructors of second-year college and/or third- or fourth-

year high school German with research-based, practical and imaginative

procedures for presenting a high-caliber short story,´Eine größere

Anschaffung´ by Wolfgang Hildesheimer" (217), Morewedge first asks

students to scan a story rapidly to find answers to the W-questions:

Wer ? Was? Wo?Wohin? Wann? Wie? Warum? (218) which "provide a

rudimantary understanding of the content and a first-stage

familiarization with vocabulary" (218) or in Rosenblatt's terminology,

an efferental reading. Morewedge employs this type "early intensivepractice" (218) reading which "facilitates the transfer of comprehended

input from the Short Term Memory (STM) into the Long Term Memory (LTM),

which in turn become Permanent Memory (PM) through hearing the story from



40

different perspectives to minimize the "echoeffect that so often sets

in when early massed rote repetition of the same material takes place,"

as also noted by Earl W. Stevick (219).

On the Second Level: Reading Comprehension aspect of her communicative

exercise, Morewedge directs students to read the text and listen to taped

versions specially prepared outside of class to"build comprehension of

authentic input through primarily receptive activities" in preparation

for brainstorming and sequencing exercises (219).

Brainstorming involves students drawing upon a "list of expressions

and vocabulary items [created at home] by means of which they could, if

asked to, retell the story" (219). Termed bunte Seiten, Stichwörter , or

key terms, formulated at home, they "fit headings and questions announced

previously" (219). Using their bunte Seiten, students mention expressions

they recall from the story, while theinstructor writes them on the board.

Students can express agreement ordisagreement as well as individual

opinions and values through suchexpressions as: das war mir wichtig/nicht

wichtig, weil . . .das halte ich für . . .meiner Meinung nach . . .da

bin ich andererMeinung . . .das sehe ich anders/genauso . . .²²so

ungefähr seh ich das auch, nur finde ich . . .das finde ich auch; aber

trotzdem . . . . .im Gegenteil, das finde ich gar nichtdamit stimme

ich auch überein; trotzdem . . .(220).

This communicative exercise prompts students to review the

vocabulary of the narrative by listening to the suggestions made by

other students, then modify their own lists, and articulate their own

choices.



41

Sequencing exercises as a part of level two "provide a vocabulary

review and enhance the student's ability to produce correct word

order"(221). For instance, upon identifying time expressions found in

the narrative, students are urged to order in sequence the statements

which theyproduced randomly in the previous exercise. Or the

instructor may devise model sentences, e.g.:

Examples of expressions of time to be used in this exercise:

eines Tages/ abends/ nachts/ einige Minuten darauf/ als/

nachdem/bevor usw. (221)

Als der Erzähler von dem Dieb die Lokomotive gekauft hatte,

ging er ins Dorfwirtshaus ein Bier zu trinken. Kurz darauf

besuchte ihn sein Vetter. (220)

The third level deals with intensive vocabulary-building activities

such as interactive communication exercises or Bedeutungsfelder in

which students using free association, as well as prior knowledge of

vocabulary, find expressions related semantically to designated topics

as they fill the Bedeutungsfeld . This aspect of Level Three then

incorporates partner work in organizing the vocabulary into

appropriate rubrics, which lead to communication strategies that

"stress the development of means of entering, controlling, modifying,

and terminating interactions" (223), as three to six students develop

an Erzählschema:

Erzählschemaerstes Angebot Parken

Kauf Entdeckung der Lokomotive

Lieferung Lüge des Erzählers



42

Besuch Abschied

Begrüßung Meldung in der Zeitung

Bewirtung zweites Angebot

Kommunikative Funktion Wie oft benutzt

Aussage

Wiederholung

Erklärung

Widerspruch

Bitte um Erklärung

Bitte um Auskunft

Kenntnisnahme

Bestätigung

Interpretation

Frage

Umformulierung

In this exercise one student in a group makes a statement about a

list of topics, the other students asking him or her ". . . for

explanations, information, repetition, by offering a restatement,

commentary, acknowledgement, confirmation, interpretation,

exclamation, et cetera" (223). Another member of the group records

the various communicative functions employed by the group:

Example. Thema: Kauf

Aussage: Da ist also ein komischer Mann, der eine Lokomotive

kauft.

Frage: Ist das der Erzähler, der schon einen Fesselballon hatte?



43

Bestätigung mit Umformulierung: Eine Privatperson also und keine

Firma.

Frage mit Bestätigung: Es geht doch um den Erzähler in der

Geschichte, nicht wahr?

Interpretation, Kommentar: Der ist aber komisch; warum kauft der

denn als Privatperson eine Lokomotive?

Bitte um Auskunft: Kauft er eine Dampflokomotive oder eine

elektrische?

Frage: Wo kauft er denn die Lokomotive?

Erklärung: Vielleicht wohnt der Erzähler neben alten Gleisen, die

man nicht mehr gebraucht.

Interpretation-Widerspruch: Wer eine Lokmotive kauft, ist doch

deswegen nicht komisch!

Students can also use the Erzählschema to create other similar

interactional exercises, changing designated sentences "with different

functions of speech"(224). The class can be split into two vying groups,

each recording ". . . how often the indicated functions of speech have

been used:"

Example.

1. Angebot 1. Da ist ein Mann, der eine Lokomotive

verkaufen will.

Kauf 2. Wo wird die Lokomotive verkauft?

Lieferung3

. Die Lokomotive wird sofort gebraucht.Besuch 4. Ein Vetter besucht den Erzähler.

Begrüßung 5. Die beiden grüßen einander auf

komische Weise.



44

Bewirtung 6. Sie trinken von dem Kognak, den der

Vetter mitgebracht hat.

Entdeckung 7. Hat der Vetter die Lokomotive in der

Garage oder neben dem Haus gefunden?

Abschied 8. Der Vetter will nicht länger bei

seinem Verwandten bleiben.

Meldung 9. Der Erzähler liest in der Zeitung, daß

eine Lokomotive gestohlen ist.

2. Angebot 10. Der Erzähler will also nichts mehr mit

dem Dieb zu tun haben. (224)

Finally Level Three concludes with Synonymübung : Wie kann man das

anders sagen? in which "students focus on important expressions used

in the story, substituting simpler or different expressions they have

begun to understand contextually" (224).

Level Four contains communication/simulation activities using

free-association questions like: "Was stimmt hier nicht?" oder "Was

finden Sie in dieser Erzählung komisch?" If appropriate, a True/false

exercise regarding the text's humorous elements may attune them (225).

Another aspect of the fourth level is role-building, i.e., students as

partners "play opposing roles, such as Gefühlsmensch orPragmatiker ,

composing appropriate scripts, and use as many means of controlling,

changing, and entering the dialogue as possible" (226). Accordingly,

role playing not only "encourages interactional communication"(225),

it also "elicits new vocabulary and selected grammatical structures in

active production"(225), permitting "students to discover interpretive



45

insights"(225), while "they act out transactionsmodeled on narrative

structures, such as various games of one-upmanship,dream fulfillment,

etc." (225). Such role-playing and accrued insights assist later in

interpretation on level six.(225)

Level Five treats vocabulary review with special focus.

Here Morewedge explains that "as student production becomes more

diffuse, the instructor will want to refocus it on central ideas of

the narrative and on the fictional situation"(227). In her classroom

she "reviews the vocabulary regularly through expansions of the topical

or thematic hubs used earlier" (227). The instructor usually provides

the axis (Stichwort) of the thematic hub, with studentsproviding as many

spokes to the thematic hub (Stichwöter ) as possible.

The sixth and final level turns to interpretation, for as Morewedge

remarks: "Classroom experience has shown that most students arecontent

with an approach to texts that focuses on building vocabulary

comprehension and communicative competence"(228-9).

Some students, Morewedge notes, wish to go beyond the linguistic

dimensions of the text and into interpretation. These students need

special guidance. Thus on level six Morewedge provides nine examples

of interpretive tasks for students that can be addressed "in group

discussion, as individual or partner projects to be presented to the

class, or even as written assignments" (229). One example, number 9,

is provided here:Jeder hat einen Traum, durch den er/sie manipuliert werden

kann. Hat der Vetter auch einmal einen großen Traum gehabt?

Was mag aus diesem Traum geworden sein? Warum ist der Vetter



46

so schockiert bei der Begegnung mit der Lokomotive? (230)

In all, Morewedge's exercises are effective examples of communicative

foreign language instruction which ensure die Entdeckung des Lesers

im literarischen Text. What is more, since the students are reading

literary texts which require interpretation, subliminal "aesthetic" or

experiential readings probably occur simultaneously during the efferental

reading. In fact, these may be the kind of aesthetic readings (in

Rosenblatt's terminology) that Bredella refers to as "gelenktes

Schaffen," the ones that engage the students emotionally.

Thus, in certain instances, instructors may use efferentally

oriented exercises to induce students to read selected passages or

parts of stories more aesthetically. For example, the first sixteen

lines of Thomas Mann's Tonio Kröger , p. 1, represent an authentic

literary passage that fits Kramsch's i + 1 Input Hypothesis for second

semester German students. A few words, i. e., gepflastert (paved),

Giebel (gabel), Gütterpforte (iron gate), rudern (to row, to steer),

Siebensachen (odds and ends), Seehundsränzeln (sealskin knapsack), may

be new to students, so following Morewedge's cue a list and the meanings

is provided to assist in efferental retention. From an aesthetically

oriented perspective, however, the reader soon realizesthat in answering

the (W) questions to obtain more information for STM,the question"wer?"

will require the whole framework of the novel to provide suitable answers.

For instance, the change of geography from north to south back to north,

from Lübeck to München to Dänemark, reflects changes in Tonio's inner

landscape and may even suggest acompromise of sorts between the artist



47

and the burgher. Wer? Which Tonio?

The question of "wo?" itself demands involvement of senses and

imagination. Since the first page of Tonio Kröger offers sketchy

information regarding the geographic location of the city in which

Tonio lives, the reader uses textual detail to formulate a Gestalt

that suggests a plausible geographic location, but Lübeck need not

be the only choice. Weather and other environmental conditions could

fit several other northern German or Danish cities. In other words,

each of the W-questions can easily involve readers in efferental as

well as aesthetic readings.

Claire Kramsch and Thomas Nolden argue in their 1994 Unterrichts

article,"Refining Literacy in a Foreign Language":

The difference made by Rosenblatt between efferent reading,

that focuses on the information gathered as a result of

reading, and aesthetic reading, that orients the reader

towards his/her personal reaction to the text during the

act of reading itself, captures the dialogic nature of

reading and meaning-making. (29)

In their article they call for inclusion of literature as an

integral part of foreign language instruction as well as an end to

"the institutionalized dichotomy between literature and language

training . . . " (29). Beyond that, they assert readers of foreign

language texts have a right to assume their own equal stance withregard to their perspective "by the virtue of the very linguistic and

conceptual power that the text has given them" (29).

In short, they call for an oppositional practice in foreign



48

language instruction, a term coined by de Certeau and which ". . .

consists of transforming imposed structures, languages, codes, rules,

etc., in ways that serve individual purpose other than those 'intended'"

(29). Or as Ross Chambers remarks:

Oppositional behavior does not seek to change, although it

may produce it, because it does not perceive the power it is

opposing to be illegitimate (even though it is experienced

as alienating). Rather than challenging the power that is in

place, oppositional practices seek to solve an immediate

problem [. . .] 30

They point out that post-structuralism and post-modernism "have

opened up the cannon of interpretation to include such notions as

intertextuality or transtextuality, that should leave space for

multiple relationships between what Genette calls original texts

(or'hypotexts') and their variants (or 'hypertexts')" (29). However,

what has in effect happened in the foreign language classroom is that

the "native speaker norm of language classes has been replaced by the

literary critical norm currently in vogue in academia" (29).

However, "the literate activities of reading and writing in a

foreign language should be considered a paradigmatic example for what

social theorists and literary critics call oppositional practice"(29).

Oppositional practices provide students with an "authorial voice"(30),

as they manage their foreign language, becoming "other in their own

language and . . . themselves in someone else's language" (30). In

addition, like Bredella's Spielräume in his "Gelenktes Schaffen," it



49

"demarcates the space of a dialogic literacy that is not only the

source of cognitive growth and understanding, but that can also elicit

a 'flood of aesthetic delight, . . .'" (30).

Kramsch's following comments about "authenticating" texts sheds

light on the dynamics involved in arriving at meaning in reading a

text:

Recent developments in second language reading theory have

made it clear that reading is not a passive skill of

recognition, but an active bottom-up and top-down process:

by matching the words on the page with the global meaning

emerging from the text, and in turn by matching their global

hypotheses with the individual words on the page, readers

build for themselves structures of expectations called

"schemata" that allow them to anticipate the meaning of

words according to the context. These schemata, or

mental representations, are triggered both by ideational

content and by the linguistic and discursive structures of

the text.(28)

Kramsch reminds us that the "meaning or the authenticity of a text

is not in the text itself, but, rather, it emerges from 'negotiation'

between the reader and the text" (28).

In her Reden Mitreden Dazwischenreden, Kramsch explains that her

". . . workbook introduces the student to some of the most importantcommunicative strategies needed by speakers and hearers engaged in

face-to-face interaction. They are systematically presented in

increasing degrees of interactional difficulty" (vii). She goes on to



50

explain how the organization of the chapters reflects the student-

centered approach. Two examples will suffice:

Das Konversationsspiel: Students reflect on the basics of

conversational management and learn key phrases that allow

them to be active participants in any conversation.

Reden: Students practice conversational strategies in

simple, guided situations, to focus on learning effective

rhythm, timing, and pronunciation of useful phrases. (vii)

Thus Kramsch's communicative notion of interaction focuses on students

interacting with texts and each other interpersonally , whereas

Patricia L. Carrell, for instance, in her chapter, Forstering

Interactive Second Language Reading, Initiatives in Communicative

Language Teaching II: A Book of Readings suggests that interactive

second language reading with top-down and bottom-up strategies is an

intrapersonal reading process which precedes interpersonal discourse.

Returning to Kramsch and Nolden's discussion of the value of

oppositional practice in foreign language instructions, we are

presented with a prose narrative in a third-semester German course,

"Deutsch Kastanien" by Yüksel Pazarkaya, focusing on discrimination

against Ausländer in Germany. Born in Germany of Turkish parents, the

young son, Ender, considers himself and his native tongue to be

German. However, one day his favorite playmate, Stefan, refuses to

play with Ender because, as he claims, "Du bist kein Deutscher " (30).

This incident in turn recalls a previous scene when some German

children refused to let Ender gather chestnuts with them because:



51

"Du bist Ausländer . Das sind deutsche Kastanien. Wenn du sie anfaßt,

kannst du etwas erleben" (30). Perplexed, Enders seeks guidance from

his parents, but receives no satisfactory explanation from his mother,

while his father states: "Du bist Türke, mein Sohn, aber du bist in

Deutschland geboren," telling Enders that he will speak with Stefan

(30). Kramsch and Nolden's assignment for their students is "Fassen

Sie die Geschichte in 4-5 Sätzen zusammen" (30).

Kramsch and Nolden then remark that "each student, despite his

or her limited linguistic resources, recast the story within a unique

discourse perspective" (30). They identify "three major ways in which

the students transformed Pazarkaya's original hypotext into their own

(hyper)texts: re-evaluation of the events, re-structuring and re-

weighing of the information, re-location of the story's meaning" (30).

Under the first category, Re-evaluation of the events, "students'

summaries fell roughly into four categories according to the type of

evaluation they added to the factual rendition of events" (31).

1. Implicit evaluation. Here students' summaries adhered

closely to the original story line as they avoided adding

definite personal evaluation. (31)

2. Intradiegetic evaluation. Here some students clearly

mentioned characters' motivations or feelings,

". . . either by quoting from the original ('[Die Eltern]

kamen aus Türkei, um Geld zu verdienen'), by paraphrasingthe original ('Enger war sehr traurig,' 'Er fühlt

beleidigt,' 'An diese Frage sind die Eltern überrascht') or

by supplying an explanation that was



52

not in the text ('Der Sohn dachte, wenn man Deutsch spräche,

wäre er deuts*+ch')." (31)

3. Extradiegetic evaluation. Other students provided "an

authorial evaluation of the theme of the story." (31) In other words,

according to Kramsch and Nolden, these students, through their

authorial voices, try "to bridge the world of experience and the world

in which the story was written." (31)

4. Global interpretation. Yet another smaller group of students

chose to synthesize rather than summarize, perhaps reflecting "their

own American puzzelment at the current discrimination against

foreigners in Germany." (31-2)

The second category, Re-structuring the Information, reveals that

students not only used their authorial evaluative voices, they

restructured the sequence and value of the information implicit in the

story, i.e., they "used grammar and syntax to restructure the text's

informational content so it fitted their own understanding of the

story"(32). Whereas some students remained close to the original text,

e.g.,

"Enders Freund Stephan sagte ihm 'Du bist kein Deutscher!'" (32)

others wrote topic sentences reflecting what they thought the main

point of the story to be:

"Ein Junge, der Ender hieß, hatte einen guten Freund, der Stefan

hieß."(32)

And still others addressed the political issue, e.g.,

"Ender ist Türkischer Jung , er in Deutschland wohnt." (32)



53

Thus each of the previous, altered beginnings creates new

anticipations for the reader, since students' re-structuring alters

the value of the given events.

Kramsch goes on to point out:

By inserting their own valuation and evaluation of the

original textual events into their hypertexts, and by

refocusing the information structure in the very syntax

used, the student authors relocated the meaning of the story

into a new discursive structure. (32)

Furthermore, the third-semester foreign authors are able to

transcendtheir linguistic limitations through discourse ability. Kramsch

presents two examples and comments on them:

Diese Geschichte ist über einer jugend. Er heißt Ender. Und

er hat eine Probleme weil, sein Freund ihm sagte daß er kein

Deutscher ist. Und alles wo Ender geht die Menschen sagt zu

ihm daß, er kein Deutscher ist. Er ist ein Ausländer von

Türkei. (33)

Although there are grammatical and punctuation errors in the student's

summary, it nevertheless expresses through its "rhythm"(33) and its

"simple powerful structure the tragic human situation of foreigners in

Germany"(33). The effective use of parallel and complex sentences

is hampered only by linquistic limitations.

The second example of "successful" discourse ability follows:Es gibt ein Türke Kind, das Ender heißt, das in Deutschland

wohnt. Er ist im Deutschland geboren, und er spricht Deutsch

am besten. Er geht zu eine Deutsche Schule, und seine



54

Freunden sind Deutsche. Aber, die Deutsche Kinder sind ihm

böse und sie sagen das Ender keine Deutsche ist, weil seine

Eltern Türke sind. Das wird schwer, wenn er älter wird . (33)

In analyzing the second short summary, Kramsch remarks that the

framing of the student's version of the story by the word "Türke," at

the beginning and end may well be a metaphor for the "Türkish boy

whose world is now Germany, but who lives at the periphery of the

world" (33). Furthermore, repeating the word "deutsch" so often may

reflect discourse awkwardness of third-semester German students, but

it may also reflect the author's conscious intent. However, Kramsch51

points out that these sentences were formed ". . . from a set of

available options and from decisions as to what to say and how to say

it in so few words" (33) Thus it is ". . . possible to read these

texts as authors' texts in their own right and to assess their effect

on the reader" (33). In short, the students' oppositional hypertexts

re-valued, re-structured, and re-located the center of meaning of the

original hypotext. In that sense, foreign language students find

themselves interpreting the hypotext in order to create a hypertext,

which is a technique that enables students to realize thata summary is

". . . already an interpretation and a way of inserting oneself into someone

else's story " (33). Indeed, their oppositionaltexts provide students

". . . the opportunity to discover the potential meanings of their own

texts" (34). Oppositional texts make literary texts accessible to

different kinds of reading which do not espouse a specific literary theory.

This story, "Deutsche Kastanien" by Yüksel Pazarkays, seems to



55

echo a concern for the travails of the social outsider as evidenced

years earlier in Thomas Mann's TonioKröger . For example, in a

conversation between Hans Hansen, a stereotypical northern German who

". . . war außerordentlich hübsch und wohlgestaltet, breit in den

Schultern und schmal in den Hüften, mit freiliegenden und scharf

blickenden stahlblauen Augen,"(3) and Tonio, under whose . . .

Pelzmütze blickten aus einem brünetten und ganz südlich scharf

geschnittenen Gesicht dunkle und zart umschattete Augen mit zu

schweren Lidern träumerisch und ein wenig zaghaft hervor . . . Mund

und Kinn waren ihm ungewöhnlich weich gebildet" (3), Hans says about

Tonio's name:

Ich nenne dich Kröger, weil dein Vorname so verrückt ist, du,

entschuldige, aber ich mag ihn nicht leiden. Tonio . . . Das

ist doch überhaupt kein Name. Übrigens kannst du ja nichts dafür,

bewahre! (10)

At this point, Jimmerthal, another stereotypical northern German,

contributes: "Nein, du heißt wohl hauptsächlich so, weil es so

ausländisch klingt und etwas Besonderes ist"(10). Following the lead

of Kramsch and Nolden, a German foreign language instructor using

literature to foster written and spoken communicative discourse in the

foreign language classroom, may use exercise #14 on p. 61 this thesis.

Of course, at times the language and content of Tonio Kröger mayexceed

the lingustic capabilities of second and third semester German students;however, in view of Beverly Moser, Dolly J. Young and Darlene F. Wolf's

Schemata: Lesestrategien, Claire Kramsch and ThomasNolden's "Redefining

Literacy in a Foreign Language," and Joanne Collie and Stephen Slater's



56

Literature in the Language Classroom and their particular concern for

variety in the language classroom,many parts of the novel afford authentic

and appropriate literary selections for the language classroom.

Another German foreign language instructional text which uses

literature to provide ample interactive discourse and reading

activities in both small and large groups is Larry D. Wells' Mitlesen

Mitteilen: Literary texts for Reading , Speaking , and Writing . The book's

twenty-four stories, exercises, reviews, glosses for individual

stories, listing of Strong and Irregular verbs, and a German-English

Vocabulary are "designed for students in third- and fourth-semester

college German"(v). For example, using a story from Clemens Hausmann's

"Sonntagvormittag ," students are asked for first impressions:

ERSTES LESENERSTE EINDRÜ CKE

Lesen Sie diese Geschichte schnell durch. Drücken (express) Sie

den Inhalt (content) des Textes in zwei Sätzen aus, ohne noch

einmal in den Text zu schauen. (14)

Then the students move to GRÜ NDLICHES LESEN , where they are directed:

Lesen Sie diesen Text jetzt genau durch (15). Next students' comprehension

of the text is addressed:

Zum Textverstädnis (schriftlich)

Erzählen Sie kurz, was die folgenden Personen an diesem Sonntagvormittag

taten und warum sie das taten.

In addition, the students are told that although they will find what

the characters did by reading the text, in order to decide why the

characters did what they did, the students will have to speculate.



57

Afterwards in Zum Schreiben (Wählen Sie eine Aufgabe.) students are

asked to write in short sentences, what each person would have done if

the title of the story had been Montagvormittag , or write in a

sentence of their own ,,Als . . da" story (in at least 100 word, or

write a short essay with the title ,,DieAtombombe: meinbester

Freund " (12 bis 15 Sätze)".

Finally in Zur Diskussion students are given several discussion

questions related to the story they have read:

1 Diskutieren Sie, wie der Autor seine Geschichte aufbaut, sodaß das Ende ganz plötzlich und unerwartet kommt. Warum z.B.Sonntag statt Montag oder Freitag?

2. Was meinen Sie?

a. Ich finde diese Geschichte glaubhaft (nicht

glaubhaft), weil . . .

b. Ich bin für (gegen) Atomwaffen, denn . . .

3. Gruppenarbeit: "Kettenreaktion" (chain reaction) von einer

Person zur nächsten durch die Reihen der Gruppe: "Bei diesem

Thema denke ich automatisch an . . ."

Beispiele: an kaputte Städte und Länder

an den Tod der Menschheit

an die Außenpolitik einiger Staaten

Thus the lesson first provides students with individual skimming

and thorough reading exercises followed by writing activities, group

discussion and negotiation of textual meaning. All of these techniquesaddress the communicative aim of the text, clearly announced in

the title of the text: MitlesenMitteilen: Literary Texts for

Reading, Speaking, and Writing , which is so attuned to Savignon's as



58

well as Kramsch's ideas regarding communicative competence. This

lesson, as with the others, reflects Wells' implementation of

Savignon's understanding regarding integration of the four language

acquisition competencies: Grammatical competence, Sociolinguistic

competence, Discourse competence, and Strategic competence. That is to

say, ". . . a learner does not proceed from one to another' as one

strings pearls on a necklace" (45).

Each of Well's lessons, like Morewedge's, Kramsh and Nolden's is

a paradigm which reflects Kast's Paradigmawechsel and which easily

requires students to use of all four competencies. In fact, its

various previewing, brainstorming, and paraphrasing pedagogies allow

implementation at even first and second semester levels with the

appropriate texts. In addition, students are asked to conceptualize

and speculate regarding meaning and outcomes of the story. In order

to do so, they will use both bottom-up and top-down processing as

described in Kramsch's comments concerning interactive reading.

CHAPTER III: ARBEITSBLÄTTER FOR THE GERMAN FOREIGN LANGUAGE

COMMUNICATIVE CLASSROOM_____________________________________________________________________Arbeitsblatt 1

Die Studenten arbeiten in Kleingruppen und beantworten die

folgenden Fragen. Was lernt der Leser über die Verwandschaft Tonios

und Hans durch ihre kurze Unterhaltung (S. 1)?

_____________________________________________________________________Arbeitsblatt 2Nachdem die Studenten die Beschreibungen von Tonio Kröger und Hans

Hansen (S. 2-3) und die Unterhaltung zwischen Tonio, Hans und

Jimmerthal (S. 10) gelesen und in der Klasse diskutiert haben,



59

fassen sie die Unterhaltung in 4-5 Sätzen zusammen._____________________________________________________________________Arbeitsblatt 3

Am nächsten Tag sitzen die Studenten in Kleingruppen zu zweit oder

zu dritt. Die Studenten hören die Zusammenfassungen der Mitglieder

jeder Gruppe und reagieren mündlich dazu. Dann verfaßt jede Gruppe

ihre eigene Gruppenzusammenfassung ._____________________________________________________________________Arbeitsblatt 4

Als Hausaufgabe beschreiben die Studenten kurz fünf Dinge, die die

Leser entdecken von der Schule und von den Studenten (S.1 ).

Schule Studenten1. ______________________________________________________________

2. ______________________________________________________________

3. ______________________________________________________________

4. ______________________________________________________________

5. ___________________________________________________________________________________________________________________________________Arbeitsblatt 5

In der Klasse erklärt die Lehrin, wer Wotan und Jupiter waren. Dann

schlagen die Studenten nach, was Wotanshut und Jupiterbart bedeuten

und wer diese Hüte und Bärte trägt (S. 1)._____________________________________________________________________Arbeitsblatt 6

In der Klasse erklären die Studenten weiter, warum ihrer Meinung nach

große Schüler mit Würde ihr Bücherpäckchen hoch gegen die linke

Schulter gedrückt hielten (S. 1).



60

______________________________________________________________________

______________________________________________________________________

Studenten können längere Antworten schreiben, daher sollen die Lehrin

mehr Zeilen schaffen.

Am nächsten Arbeitsblatt sollen Studenten Textstellenidentifizieren, um weiterere Auseinandersetzung mit dem Text zu

fördern. Die Studenten sollen in Kleingruppen diskutieren (4-5 Gruppen

zu je 4 Studenten, aber Arbeitsblatt 4 sollte zuvor individuell

ausgefüllt werden.____________________________________________________________________

Arbeitsblatt 7

Warum fühlt sich Tonio erregt nach seinem Spaziergang mit Hans?(S. 12) Für Arbeitsblatt 7 teilt die Lehrin die Klasse in Männer und Frauen._____________________________________________________________________

_____________________________________________________________________

_____________________________________________________________________Arbeitsblatt 8

Unten ist die Beschreibung der Szene gerade vor der Quadrille

beginnt. In Kleingruppen zu zweit oder zu dritt schaffen die Studenten

einen Dialog von wenigstens 5 mündlichen Wechsel. (S. 16)

O doch, das kam vor. Da war Magdalena Vermehrem, Rechtsanwalt

Vermehrens Tochter, mit dem sanften Mund und den großen, dunklen,blanken Augen voll Ernst und Schämerei. Sie fiel oft hin beim Tanzen;

aber sie kam zu ihm bei der Damenwahl, sie wußte, daß er Verse

dichtete, sie hatte ihn zweimal gebeten, sie ihr zu zeigen, und oftmals schaute sie ihn von weitem mit gesenktem Kopfe an. Aber was

sollte ihm das? Er, er liebt Inge Holm, die blonde lustige Inge, . .Tonio oder Magdalena: 1.



61

Magdalena oder Tonio:

M/T: 2.

T/M _____________________________________________________________________

_

T/M: 3.

M/T ______________________________________________________________________

M/T: 4.

T/M______________________________________________________________________

M/T: 5.

T/M:_____________________________________________________________________Arbeitsblatt 9

In zehn bis fünfzehn Worten ergänzen die Studenten als Hausarbeit die

folgenden Darstellungen. Am nächsten Tag in der Klasse vergleichen

die Studenten ihre Versionen mündlich.

1. Sie bewegte sich vor ihm hin und her, vorwärts und rückwärts,streitend und drehend, ein Duft, der von ihrem Haar oder dem

zartem, weißem Stoff ihres Kleides ausging, berührte ihn manchmal,

. . . (S. 17)

582. Jedermann ward erdrückt durch das Ü bermaß seiner Sicherheit und

Wohlanständigkeit. Er schrittund niemand schritt wie er,elastisch, wogend, wiegend, königlichauf die Herrin des Hauses

zu, . . . (S. 14)

3. Und er umkreiste behutsam den Opferalter, auf dem die lautere und

keusche Flamme seiner Liebe loderte, kniete davor und schürte und



62

nährte sie auf alle Weise, . . . (S. 20)

4. Aber obgleich er einsam, ausgeschlossen und ohne Hoffnung vor

einer geschlossen Jalousie stand und in seinem Kummer tat, als

könne er hindurchblicken , . . . (19)

5. Er verstand es so gut, daß Inge, die blonde, süße Inge, auf HerrnKnaak blickte, wie sie es tat. Aber würde denn niemals ein Mädchen. . . (16)

6. Er ging über den Mühlenwall und den Holstenwall und hielt seinen

Hut fest . . . (47)______________________________________________________________________Arbeitsblatt 10

In Teil Eins und Teil Zwei Tonio Krögers sehen die Leser Phrasen, die

oft wiederholt sind. Unten sind drei Beispiele. Die Studenten arbeiten

in Kleingruppen zu dritt.

Erst sollen die Studenten diese Phrasen im Text finden.

Zweitens entscheiden die Studenten, wie diese Frasen Tonio

wichtig sind.Drittens sollen die Studenten zwei andere Frasen finden, die

wenigstens dreimal wiederholt sind.

Viertens erklären die Studenten schriftlich in fünzig Wortenwie ihre Frasen Tonio oder noch jemandem im Teil Eins oder Teil

Zwei wichtig sind.

Frasen

1. Wir sind doch keine Zigeuner im grünen Wagen.

2. Konsul Kröger, die Familie der Kröger

3. der langesinnende sorgfältig gekleidete Herr mit der

Felderblume im Knopfloch_____________________________________________________________________Arbeitsblatt 11



63

Während ihrer Unterhaltung (S.9 - 11) benehmen sich Tonio, Hans und

Jimmerthal auf verschieden Weisen. In Kleingruppen zu viert

identifizieren die Studenten zwei Art Benehmen jeder Gestalten

oben. Studenten dürfen ein Wörterbuch gebrauchen um Arten Benehmen

zu finden.

Tonio ________________________________________________________

Hans _________________________________________________________

Jimmerthal ______________________________________________________

Nachdem Studenten ihre Wahlen gemacht haben, vergleichen sie sie mit

den Wahlen zwei anderer Grupen.

Änderen Studenten oder Gruppen ihre Entscheidigungen? Erklären welche

und warum. _____________________________________________________________________

Arbeitsblatt 12e folgenden Worten (S. 5) beschreiben Tonios Mutter

und Vater.

Da er daheim seine Zeit vertat, beim Unterricht langsam

und abgewandten Geistes war und bei den Lehrern schlecht

abgeschrieben stand, so brachte er beständig die erbärmlichsten

Zensuren nach Hause, worüber sein Vater, ein sorgfältig

gekleideter Herr mit sinnenden blauen Augen, der immer eine

Feldblume im Knopfloch trug, sich sehr erzürnt und bekümmert

zeigte. Die Mutter Tonios jedoch, seiner schönen, schwarz-60

haarigen Mutter, die Consuelo mit Vornamen hieß und überhaupt so

anders war als die übrigen Damen der Stadt, weil der Vater siesich einstmals von ganz untern auf der Landkarte heraufgeholt

hatte,seiner Mutter waren Zeugnisse grundeinerlei.

_________________________________________________________________



64

Die Studenten arbeiten in Kleingruppen zu drit oder viert.

1. Vergleichen die Beschreibung Tonios Vaters mit derjenigen

Tonios Mutter. Wie viele Ähnlichkeiten und Verschiedenheiten

entdecken der Leser?

ÄhnlichkeitenVerschiedenheiten

_______________________ ________________________

_______________________ _________________________

2. In fünfzig Worten schaffen die Studenten eine kleine

Unterhaltung, in der Tonios Eltern diskutieren die Zukunft

ihres Sohnes.

_____________________________________________________________

_____________________________________________________________

3. Nun spielen die Studenten die Rollen Tonios Muter und Vater

als sie Tonios Zukunft diskutieren. Stimmen die Eltern

überein mit?

4. Nun schreibt jede Gruppe einen Abschnitt der die

Stellen der Eltern erklärt.________________________________________________________________Arbeitsblatt 13

Die Studenten sitzen in Kleingruppen zu zweit und benützen die

gleichen Unstände als gestern, aber diesmal nimmt Tonio in der

Unterhaltung teil.

1. Stimmt Tonio mit seiner Eltern ein?

2. Welche neue Dimension stellt Tonio vor?3. In zweiundzwanzig Worten erklärt jede Gruppe schriftlich

Tonios Stelle.___________________________________________________________________Arbeitsblatt 14







67

sind und auch wirklich in den Versen, die Tonio Kröger zuweilen

verfertigte, immer wieder erklangen. (S. 4)

Im Text finden die Studenten drei Beispiele solcher Wörter, und morgen

erklären die Studenten der Klasse, warum wenigsten eines paßt als

Beispiel.

Gerard F. Schmidt's "Die Wette" from his Hör Gut Zu! is a lively

and entertaining Märchen involving a hedgehog with short crooked legs

and a hare who taunts the hedgehog until he is forced into a seemingly

impossible race with the long-legged, much faster hare. In addition,

the racers wager twenty dollars and a bottle of wine. Relying on the

hare's cocksureness that he will win the race because of his long

legs and speed, the hedgehog explains to the hare that he must first

go home and get permission from his wife, Olga. The hare agrees, for

the possibility of the hedgehog winning is remote. Once home, the

hedgehog reveals to his wife that he has plan to win the bet. He

hides his wife behind the bush to which he and the hare will race and

then returns to the hare, saying that they should race from a bush

where they stand to a bush visible in the distance, but the bush

behind which Olga secretly hiding.

When the hare and the hedgehog start their race, it is not long

before the hedgehog falls far behind and goes back to the bush where

he and the hare were standing. The hare continues with blazing

speed to the bush to which he and the hedgehog were to run. However,

when the hare arrives at the bush, Olga jumps out and exclaims,

"Hahaha! Ich bin schon da!" Assuming that the hedgehog behind the bush



68

is the original hedgehog, the hare thinks he has lost and demands

another race. Olga agrees and they start. Just as before, the hedgehog

falls back and hides behind the bush while the hare continues fast as

possibile to the original bush behind which the first hedgehog is hiding.

When the hare arrives, the hedgehog jumps out and says "Hahaha! Ich bin

schon da." Once again the hare cannot believe his eyes and demands another

race. Ultimately the hare loses twelve races and two hundred and forty

Marks.

(Videotaped by students of German 102class 1993. Broome Community

College, Binghamton.)

Schmidt's version of the approximately four-page tale is suitable

for a second semester German class meeting four academic hours a week for

fifteen weeks or two hundred and forty academic hours instruction per

semester. "Die Wette" and the other stories aredivided into four major

parts which in turn can be further subdivided to accommodate several daily

communicative instructional goals. Planning to use one of the four major

divisions of the story as a 15 minute portion of classroom instruction

each day for four weeks,enables students to complete "Die Wette" in about

a month._____________________________________________________________________

Arbeitsblatt 18Wie sieht ein Igel aus? Was für ein Tier ist der Igel? Wo die

Fragezeichen unten stehen, schreiben Sie ein Wort, das den Igel

beschreibt ihrer Meinung nach .

_____________________________________________________________________? ?? ? Igel

_____________________________________________________________________

Nun lesen die Studenten ihre eigenen Beschreibungen eines Igels vor,



69

und dann zeigt die Lehrin den Studenten eine Definition eines Igels

Zum Beispiel:

Der Brockhaus beschreibt den Igel so: Insektfreser, bis 30

cm langer plumper Körper, mit kurzen Beinen, kurzem Schwanz und

aufrichtbaren Stacheln auf dem Rücken. Der I. kann sich bei

Gefahr zusammenrollen. Er nährt sich von Schlangen, Insekten,

Mäusen und ist dadurch nützlich. (381) _____________________________________________________________________Nachdem die Studenten Teil Eins "Die Wette" in drei bis fünf Minuten

in der Klasse gelesen haben, einige Studenten lesen der Klasse den

Text mündlich vor. Danach sollen Studenten eine kurze Aussage (15

Worten) über den Text schreiben. Dann reichen die Studenten ihre

Aussagen nach links bis alle Studenten eine neue Aussage haben. Nun

lesen die Studenten ihre neuen Aussagen und reagieren darauf mit den

folgenden Beispielen:_____________________________________________________________________Arbeitsblatt 19Ich stimme mit der Aussage überein, weil............................

_____________________________________________________________________ _ _____________________________________________________________________ODER

Ich stimme mit der Aussage nicht überein, weil .................

____________________________________________________________________

_________________________________________________________________________________________________________________________________________

Arbeitsblatt 20

Die Studenten sitzen in Kleingruppen zu dritt oder zu viert. JedeKleingruppe schreibt Teil Eins bis zur 100 Worten um und reicht

ihre Umschreibungen nach links. _____________________________________________________________________ _





71

Schiller," Claire Kramsch suggests some fruitful avenues to generate

interpretations of literary texts. Using techniques described by

Robert C. Hawley in Human Values in the Classroom: Teaching for

Personal and Social Growth, which he employed as an English teacher,

Kramsch applies the method to her teaching of Schiller's Kabale und

Liebe. Under the category of "Information Seeking, Gathering, and

Sharing," Kramsch lists several methodologies in the following order:

Brainstorming, Blackboard Press Conference, Role Playing. She then

suggests the ensuing procedure:

After a problem is posed, students attempt to answer it as fast

as possible in the following manner:

a. Write down each idea on the board as it is expressed.

b. Do not judge any idea during the brainstorming period.

The students, inhibited by the language and their low esteem

in matters of German literature, should realize that the

teacher is open to differing opinions.

c. Make clear that anyone has the right to pass.

d. Work for quantity, not for quality. This is not a way of

testing the individual student, but a group collecting effort.

e. Encourage far-out ideas.

f. Encourage association of ideas. Students learn to listen to

one another and use others' ideas as a springboard.

g. Set a time limit for the brainstorming period (no more thanfive to ten minutes) and adhere to it. (89)

The following are some e questions that students can answerwith

regard toTonio Kröger using Kramsch's above method to incorporate







74

den Hase? Textstelle

________________________________________________ __________

________________________________________________

__________

den Igel

_________________________________________________ __________

_________________________________________________ __________

Olga ___________________________________________________________________________________________________________________________________

Arbeitsblatt 27

"Ich bin ein guter Mensch und wette nie um Alkohol. Warum nicht

zwanzig Mark anstelle zehn." So hat der Igel vorgeschlagen. Was

würde Olga vorschlagen, wenn sie da wäre?

(Beispiel)

Der Hase: Ich wette um zwanzig frische Karotten.

Der Igel: Ich wette um eine neue Pfeife.

Olga: I wette um . . .

_________________________________________________________________

_________________________________________________________________

Warum? (Verwenden Sie die folgenden Frasen so oft wie möglich in

der Unterhaltung zwischen Olga, ihrem Mann und dem Hase):

Meiner Meinung nach ist . . .

Ich bin der Meinung, daß . . .

Ich finde . . .

Ich meine . . .



75

Ich sehe die Sache so:

Ich bin der Auffassung, daß . . . S. 11.._____________________________________________________________________Arbeitsblatt 28

Lesen Sie das Ende "Der Wette" und wählen Sie der Geschichte eine

passende Moral. Wenn Sie keine Moral finden, schaffen Sie eine. Seien

Sie bereit, Ihre Wahl in der Klasse mündlich zu erklären und zu

verteidigen. Beispiele:

1. Das Gute hat das Böse besiegt.

2. Das Böse bekommt seine verdiente Strafe.

3. Der gute Arme wird reich.

4. Im Lauf des Lebens findet der Schwache keine Harmonie.

________________________________________________________________________________________________________________________Arbeitsblatt 29

Olga muß jeden Tag zu Hause bleiben, um das Haus aufzuräumen und für

die Kinder sorgen. Die Tage werden langweilig und Olga wird müde.

Darum hat sie sich entschieden, Arbeit in der Stadt zu finden.

In Kleingruppen zu dritt oder viert beschreiben die Studenten den

jetztigen Wohnort Olgas (ein Loch, ein Busch, ein Garten ?) und auch

den Wohnort den sie sucht nachdem die neue unabhängige Olga ihre

Arbeit in der Stadt bekommen hat. In der Klasse erwähnen die Studenten

verschiedenheiten der vorigen und jetzigen Wohnorten und erklären die

Gründe dafür._____________________________________________________________________

Arbeitsblatt 30Studenten sollen zu Hause die folgenden zwei Fragen beantworten und am

nächsten Tag in der Klasse die Antworten diskutieren.

Was kann die arme Frau eines Igels tun?



76

Was für Arbeit soll Olga suchen?

Die Studenten sollen als Hausaufgabe die folgenden zwei Formulare

fertigen. Dann sollen die Studenten in der Klasse die Formulare

vergleichen und diskutieren.______________________________________________________________________ Arbeitsblätter 31 und 32

Jedoch ehe Olga Arbeit findet, muß sie eine Biographie und einen

Tagesablauf ausfüllen.

Name

Geburtsdatum

Geburtsort

Eltern

Schulbildung

Familienstand

Adresse

Wie heissen die Kinder?

Wie alt sind die Kinder?

Interessen _____________________________________________________________________Arbeitsblatt 33

Wählen Sie eine passende Arbeit für Olga. Erklären Sie Ihre Wahl.

____________________________________________________________________

____________________________________________________________________

_____________________________________________________________________Ergänzen Olgas Tagesablauf

8:00 Uhr morgen bis 24 Uhr Nachts.______________________________________________________________________

______________________________________________________________________



77

___________________________________________________________________________________________________________________________________________

Arbeitsblatt 34 (Role-Play)

Die Studenten dürfen die zwei Formulare oben benutzen, um eine

Arbeitssituation zu bauen. In der Arbeitssituation findet man Olga

als Chefin oder als zwei andere Möglichkeiten. In der Klasse

diskutieren die Studenten den Grund ihrer Wählen. ____________________________________________________________________Arbeitsblatt 35

Die Studenten arbeiten in Kleingruppen zu dritt oder zu viert.

Jede Gruppe bekommt eine Karte mit den folgenden zwölf Wörten:

Bär, Baum, Bienen, Honig, Süßigkeit, genießen, Erlaubnis, steigen,

stechen, fallen, weinen, lernen.

Dann lesen die Studenten das Folgende:Eines Tages nach ihrer Arbeit saß Olga zu Hause im Garten als sie

eine erfrischende Karotte fraß. Plötzlich sah sie eine Aktivität

im Garten. Was sah Olga?

1. Zuerst muß jede Gruppe die zwölf Wörte oben in ihrer eigenen

Geschichte benutzen. Aber die Reihenfolge der Wörter auf der Karte hilft beim Erzählen jeder Geschichte.

2. Dann erzählen die Kleingruppen ihre Geschichten. Um viele

langweilige Wiederholungen ähnlicher Gesichten zu vermeiden,

fragt die Lehrin, wer andere Variationen hat.

3. Zuletzt versucht die Klasse gemeinsam, Titel den Geschichten

zu geben.4. Die Studenten hören die Titel zu und entscheiden welcher am

interesantesten ist. Dann lesen die Studenten den Text und

stellen Fragen darüber. _____________________________________________________________________



78

Arbeitsblatt 36

Die Studenten arbeiten zu Hause und schreiben den folgenden Satz

um. Sie müssen die Leerstellen füllen, um einen neuen Satz mit neun

neuen Wörter zu bauen. Morgen lesen die Studenten ihre Sätze vor und

diskutieren ihre verschiedene Darstellungen. Wenn möglich könnten

die Lehrin oder die Studenten ein Vorführgerät gebrauchen oder

einige Sätze an die Tafel schreiben.

Er ________nicht wie _________, der_________, um zu _______,

sondern wie _______, der ______, als _________, weil er sich als __________

_________ für nichts_______, nur als___________ im ________ zu________

_________ und im _______ _______ und auffällig ________, wie ein

abgeschminkter ___________, der nichts______________ hat.

Er arbeitete nicht wie jemand, der arbeitet, um zu leben, sondern wie

einer, der nichts will, als arbeiten, weil er sich als lebendigen

Menschen für nichts achtet, nur als Schaffender in Betracht zu kommen

wünscht und im übrigen grau und auffällig umhergeht, wie ein

abgeschminkter Schauspieler, der nichts darzustellen hat. (S. 24)____________________________________________________________________Arbeitsblatt 37

Die Studenten arbeiten fünfzehn bis zwanzig Minuten in Kleingruppen zu

zweit. Jeder Student jeder Gruppe spielt die Rolle eines Charakters

des Romans (Krögers), der fragt über das Leben des zweiten Charakters.

Zum Beispiel, Hans Hansen fragt Tonio: "Tonio, kannst du deiner

Meinung nach einen guten Freund beschreiben?" oder "Inge, was für

Musik hast du am liebsten?" Man darf Fragen über Bücher, Kleider,

Tiere, Lieblings Pferde, Arbeit, Träume, idealistischen Mann oder



79

idealistische Frau, Familien, Schul, Geschenke, und so weiter stellen

In anderen Worten beantworten die Studenten die Fragen, als ob sie der

Charakter im Roman wären. _____________________________________________________________________

_ Arbeitsblatt 38

Die Studenten arbieten zu viert und vergleichen die folgenden Sätze:

Ich stehe zwischen zwei Welten, bin in keiner daheim und habees infolge dessen ein wenig schwer (Kröger 79).

Zwei Seelen wohnen, ach, in meiner Brust,

Die eine will sich von der anderen trennen (Faust (Z. 112,3).

Jede Gruppe erklärt, wie die zwei Sätze ähnlich sind und wie sie für

Tonios Leben wichtig sind. Dann teilen die Gruppen in der Klasse ihre

Erklärungen._____________________________________________________________________Arbeitsblatt 39

Jeder Student der Klasse steht auf, beschreibt sich kurz und fragt,

"Wer bin ich nicht?,,

Beispiel: Erster Student - "Ich trinke heißes Wasser. Wer bin ich ?,,

Zweiter Student - "Tonios Vater."

Erster Student - "Falsch."

Dritter Student - "Hans Hansen."

Erster Student - "Falsch."

Und so weiter bis fünf Studenten falsch antworten oder bis ein

richtig antwortet. Am Ende dürfen Studenten Fragen stellen, zB. "Warum

trinken die Amerikaner auf Seite 67 heißes Wasser?" Nun versucht der erste Student die Frage zu beantworten. Wenn er die Frage nicht

beantworten kann, muß der zweite Student die Antwort geben. Wenn die

Mitglieder der Klasse nicht übereinstimmen, können sie Vorschläge



80

machen._____________________________________________________________________Arbeitsblatt 40

Auf Seite 78 schreibt Tonio Lisaweta an. Nach einer Monate schickte

sie Tonio ihre Antwort. Was hat sie geshrieben? Zu Hause muß alle

Studenten die Rolle Lisaweta spielen und einen Brief ungefähr 100

Worten an Tonio schreiben. In der Klasse lesen die Studenten

freiwillig ihre Briefe vor, um extra Kredit zu bekommen.

In Lisawetas Antwort müß die Studenten fünf der folgenden Fr asen

gebrauchen: Das Problen liegt darin, daß . . . / Es besteht ein

Konflikt zwischen (Dat.) und (Dat.) / Mit anderen Worten / Ich bin

fest davon überzeigt, daß . . . / Im algemein . . . / Im großen und

ganzen . . . / Im Gegensatz zu (Dat.) / Im Vergleich zu / In dieser

Hinsicht. . . / Abschließend kann man sagen, daß . .._____________________________________________________________________Arbeitsblatt 41

Am folgenden Tag erläuchtern die Frauen und Männer, wie ihre Briefe

einenander passen. Die Unterhaltung soll immer Höflich bleiben.

_____________________________________________________________________Arbeitsblatt 42

Im folgenden Abschnitt "ging [Tonio] den Weg, . . . . . überhaupt

nicht gibt." (S. 21)

Ist Tonio krank oder verloren oder vielliecht nur hungig? Jeder

Student soll zu Hause in 200 Worten eine Theorie bereiten. Morgen in

der Klasse arbeiten die Studenten in Kleingruppen zu dritt. Sie lesen

ihre Theorien vor, reagieren und am nächsten Tag formulieren eine

Gruppe Theorie. _____________________________________________________________________



81

Arbeitsblatt 43

Am nächsten Tag tauschen die selben Gruppen ihre Theorien um. Dann

lesen sie sie fort, reagieren und in der Klasse schreiben sie in

fünfundzwanzig Worten um. _____________________________________________________________________Arbeitsblatt 44

Auf Seite 80 schreibt Tonio Lisaweta an, . . "Schelten Sie diese Liebe

nicht, Lisaweta; sie ist gut und fruchtbar. Sehnsucht ist darin und

schermütiger Neid und ein klein Verachtung und eine ganze keusche

Seligkeit."

Wie würden Sie Ihre Liebe beschreiben? Benutzen Sie Tonios

Beschreibung als Beispiel und in fünfzig Worten schaffen Sie Ihr

eigenes Beispiel._____________________________________________________________________Arbeiltsblatt 45

Am Ende Kapital I ". . . ging [Tonio] durch das alte, untersetzte Tor,

ging am Hafen entlang und die steile, zugige und nasse am Haus seiner

Eltern. Damals lebte sein Herz: . . ." (S.12) Dann lesen die Leser

die genauen Worten, die Tonio an Lisaweta am Ende des Romans schrieb.

Warum? Findet Tonio Ähnlichkeiten zwischen Lisaweta und seiner Eltern,

oder gibt es andere Möglichten, warum diese Worten Tonio so wichtig

sind? Zu Hause schreiben die Studenten in ungefähr 100 Worten ihre

Erklärungen. Morgen am Anfang der Klassse lesen die Studenten ihre

Vorschläge 10-15 Minuten vor.Warum lebte Tonios Herz "damals"? Lebte Tonios Herz nun nicht. Warum?

Am nächsten Tag in der Klasse diskutieren die Studenten, wie Tonio am

Ende des Romans sich ändern hat. ______________________________________________________________________Arbeitsblatt 46



82

Erst lesen die Studenten Seite 78, wo Tonio saß im Norden und

beschreibt seine Mutter und seinen Vater. Danach lesen die StudentenSeiten 78-9, wo Tonio schreibt,"Ich stehe zwischen zwei Welten."

Tonio erklärt, daß er ist "eine Mischung, die außerordentliche

Möglichkeitenaußerordentliche Gefahren in sich schloß." Nun denken

die Studenten an was für Mishungen sie selbst sind. Sie gestehen, wie

Tonio,

Meine Mutter war . . . . .

Mein Vater war . . . . . .

Ich bin eine __________ Mischung die oder der. . .

Nun lesen die Studenten freiwillig ihre Mischungen vor, oder schreiben

sie ihre Antworten, die die Lehrin korregieren wird._____________________________________________________________________Arbeitsblatt 47

Nachdem die Studenten Tonios Brief und Lisawetas Brief, die schon von

Studenten der Klasse geschrieben wurden, gelesen haben, formulieren

die Klasse drei Gründe warum Tonio und Lisaweta zusammenbleiben sollen

und drei Gründe warum Tonio und Lisaweta nicht zusammen bleiben

sollen.

_____________________________________________________________________Arbeitsblatt 48

In der Zeitung liest Tonio unter Heitratswünsche/Bekantschaften die

folgende Anzeige: "Junge schöne kluge enttäuschte Künstlerin sucht

amerikanischen Freundkreis. Zuschrift unter W 506." Tonio ahnt, daß

das Lisawetas Anzeige ist, und er will, daß seine Anzeige in der

selben Zeitung erscheint. Lisaweta liest die Zeitung jeden Tag, und

Tonio weißt, daß Lisaweta die Anzeige sehen wird. Was soll er



83

schreiben und wie beschreibt er sich? Unten ist eine Liste von

Adjektive, die menschliche Eigenschaften und Stimmungen beschreiben.

Anzeigen sind teuer und Tonio kann nur fünfundzwanzig Worten leisten.

bekümmert wütend böse köstlichhöflich gütig trostlos munter traumhaft amüsant begabt witzig

In Kleingruppen zu viert diskutieren die Studenten was für eine

Strategie Tonio entwickelt und dann jede Gruppe schreibt eine Anzeige.

Am nächsten Tag lesen jede Gruppe ihre Anzeige der Klasse vor und

reagiert._____________________________________________________________________

Arbeitsblatt 49

Welche Frasen von der Unterhaltung Tonios und Lisawetas auf Seiten 41-

42 sind entweder Aussage, Grund oder Beispiel?

1. Ja, ich verreise nun, Lisaweta ____________________

2. Sammetblauer Himmel, heißer Wein und süße

Sinnlichkeit . . . Kurzem ich mag das nicht. ___________________

3. Die ganze bellezza macht mich nervös. ___________________

4. Ich muß wohl diese nördliche Neigung von

meinem Vater haben. ____________________

5. Mit einem Worte, ich fahre hinauf, Lisaweta. ____________________

6. Ich will die Ostsee wiedersehen, will diese

Vornamen wieder hören, will diese Bücher an

Ort und Stelle lesen; . . . _____________________

7. "Die übliche," sagte er achsekzuckend . . . _____________________

8. "Versäumen Sie auch nicht, mir zu schreiben,



84

hören Sie? _________________________________________________________________________________________

Arbeitsblatt 50

Wie interpretieren Sie die folgenden Textteile? Wählen Sie zwei der

folgenden Textteile, und besprechen Sie sie in Kleingruppen zu zweiern. _____________________________________________________________________ _1. Die Wintersonne stand nur als armer Schein, milchig und matt

hinter Wolkenschichten über der engen Stadt. Naß und zugig war's in

den giebeligen Gassen, und manchmal fiel eine Art von weichem Hagel,

nichtr Eis, nicht Schnee. (S. 1) _____________________________________________________________________ _2. Ja, wir gehen nun also über die Wälle! sagte er mit bewegter

Stimme. ,,Ü ber den Mühlenwall und den Holstenwall, und so bringe ich

dich nach Hause, Hans . . . Bewahre, das schadet gar nichts, daß ich

dann meinen Heimweg allein mache; das nächste Mal begleitest du mich.

(S.3) _____________________________________________________________________ _

3. Tonio Kröger stand im Wind und Brausen eingehüllt, versunken in

dies ewige, schwere, betäbende Getöse, das er sehr liebte. Wandte er

sich und ging fort, so schien es plötzlich ganz ruhig und warm um ihn

her.Aber im Rücken wußte er sich das Meer, er rief, lockte und grüßte.

Und er lächelte. (64) _____________________________________________________________________ _

4. Was ich getan habe, ist nichts, nicht viel, so gut wie nichts. Ich

werde Bessers machen, Lisaweta,dies ist ein versprechen. Während ichschreibe, rauscht das Meer zu mir herauf, und ich schließe die Augen.

Ich schaue in eine ungeborene und schmenhafte Welt hinein, die

geordnet und gebildet sein will . . . (80-81)



85

_____________________________________________________________________Arbeitsblat 51

Auf S. 40 sagte Lisaweta Tonio, daß er "ganz einfach ein Bürger" ist.

Dann sagte sie ihm nach einen Moment, daß er "ein Bürger auf Irrwegen,

Tonio Kröger,ein verirrter Bürger" ist. Zu Hause erklären die

Studenten in ungefähr 100 Worten, was der unterschied zwischen

"Bürger" und "Bürger auf Irrwegen" ist. Am nächsten Tag in der Klasse

lesen die Studenten ihre Vorschläge vor und diskutieren die Meinungen

des Wortes "Irrwegen."_____________________________________________________________________

Arbeitsblatt 52

Als Hausarbeit beantworten die Student die folgenden Fragen: (1) Was

hat "Irrwegen" in Tonio Kröger mit der Bibel zu tun? (2) Was für

religiösische Aspekte finden man in dem Roman?

In der Klasse sollen Studenten kurz notieren und am Abend zu

Hause längere Absätze für die Klasse preparieren. Diese Brainstorming

Ü bung gibt den Roman größere Tiefe durch die Einbildungskraft der

Studenten als Leser im literarischen Werk (Iser, Bredella, Morewedge,

Kramsch et al).

²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²²² Arbeitsblatt 53

In der Klasse identifizieren die Studenten mündlich in Kleingruppen zu

dritt oder viert wenigstens drei Gründe, warum Tonio eine Christus

Gestalt ist.?____________________________________________________________________

Arbeitsblatt 54Haben Tonio oder andere Figuren im Roman religiösischen/mythologishen

Bedeutungen? Wer? Wie? Die selben Gruppen als gestern bietet der

Klasse ein akzeptabelisches Beispiel an.



86

OUTLINE I. IntroductionA. Bernd Kast and the new paradigm for teaching foreign

language.

II. Perspective and its Influence upon Texts.

A. Nietzsche and Meaning.

B. Wolfgang Iser and the readers within the texts.

C. Gadamer: Literature and Hermeneutics.

D. Bernd Kast and Paradigm Shift in Foreign Language

Instruction.

E. Saussure and Language as Sign

F. Sartre, Literature, and the Literary Text.

G. Barthes and Amodal Writing.

H. Escarpit

1. Sociology of Literature.

2. Production.

3. Kinds of Consumers.

III. Survey of German Foreign Language Communicative Pedagogiesfor the Classroom

IV. Arbeitsblätter for the Foreign Language Communicative Classroom.

Texts: Mann, Thomas. Tonio Kröger . New York: Appleton-Century-Crofts,

Inc.,1950.

---.Tonio Kröger . Ed. Elizabeth M. Wilkinson. Oxford:

Basil Blackwell, 1961.Schmidt, Gerard F. Hör Gut Zu! New York: The Macmillan

Company, 1964.e



87



88

B.A. State University of New York at Binghamton, 1964

M.A. State University of New York at Binghamton, 1968

M.A. State University of New York at Binghamton, 1974

Doctoral Thesis

Submitted in partial fulfillment of the requirements for the

Degree of Doctor of Arts in Foreign Language and

Literatures in the Graduate School at Syracuse University

March 1997

Approved _________________________________

Date _____________________________________

CONTENTS

OUTLINE ..................................................... i

Introduction ................................................ 1



Documents

Disccovery of the Reader in the Literary Work