Sandra Bollenbacher – författare

Ein kleines Mädchen träumt vom Fliegen, eine Frau verschwindet spurlos und ein Geist kann nicht loslassen. In einer Kleinstadt treibt die Puzzlebande ihr Unwesen, während ein Mutant auf Jobsuche geht, eine Vampirin Herzen bricht und ein ruchloser Verbrecher seine Liebe zur Musik neu entdeckt.24 Tage lang verzaubern Sandra Bollenbacher und Lisa Darling mit 19 Geschichten, die unterschiedlicher nicht sein könnten, die Adventszeit: spannend, romantisch, märchenhaft oder traurig, zum Schmunzeln oder Mitleiden, mit kleinen Helden und großen Gefühlen, Herzschmerz und ganz viel Liebe.Ob morgens beim gemütlichen Kaffee vor der Arbeit oder abends auf dem Sofa mit Lebkuchen und Kuscheldecke: Dieser literarische Adventskalender lädt dazu ein, sich in den oftmals hektischen Tagen vor Weihnachten Zeit zum Durchatmen und Fallenlassen zu gönnen und für eine kurze Zeit in einer anderen Welt zu versinken.Inhaltsverzeichnis:1) Das Geschenk2) Richterin Emilia3) I''m Dreaming Of ...4) Marina5) Phase6) Die Puzzlebande (Teil 1)7) Die Puzzlebande (Teil 2)8) Die Puzzlebande (Teil 3)9) Herr Makkaroni10) Schatzsuche11) Abenteuer im grünen Wald12) Das blaue Band13) Die Pianistin (Teil 1)14) Die Pianistin (Teil 2)15) Die Pianistin (Teil 3)16) Leon17) Fliegen18) Elfenspiegel und Zauberglöckchen19) Mitternachtssnack20) Die Mondscheinallee (Teil 1)21) Die Mondscheinallee (Teil 2)22) Rot23) Für immer24) Das Adventslama

Seminar paper from the year 2010 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,3, University of Heidelberg, course: Geteilte Geschichte(n) - Irland und Deutschland, language: English, abstract: During the last decades, old Celtic religion and traditions became increasingly popular again. Unlike other minor religious orientations, however, the Celtic does not separate itself from Christianity; it does not emphasise their differences but their similarities. On this basis, the symbiosis of Celtic Christianity is formed. This ability of adaption and assimilation is demonstrated throughout the Celtic history, particularly during the Roman Empire and Christianisation. The first part of this paper gives an overview of the old, pagan religion of the Celts with emphasis on the druids and similarities with Christianity. In the second part, the adaption to Roman and Christian religion is displayed along with a short presentation of the Irish Christianisation. The last part combines the previous ones by dealing with the survival and revival of Celtic religion and gives an insight of today s Druidism.

Seminar paper from the year 2008 in the subject English Language and Literature Studies - Literature, University of Heidelberg, language: English, abstract: "e;The Magus"e; is John Fowles's first written - though not first published - novel which he began to write in the 1950s. But only in 1977 after 12 years of revising did he publish the version he was finally satisfied with, which "e;is the one [he wanted] to see reprinted."e; Its complexity and its richness of stories, symbolism and metaphors gained The Magus not only a lot of criticism but just as much success. The organised chaos of the masque distracts as well as interests and fascinates the reader. Even though there is no real meaning of or right reaction to the novel as such, there are possibilities of interpretation. The first part of this paper will be an interpretation of the most important features of the story, concentrating principally on Nicholas s hunt for freedom, the symbolism of the women in the masque as well as the masque itself and the end. After that, the narrative techniques will be looked at more closely, leading to the question: In which aspects is The Magus postmodern?

Thesis (M.A.) from the year 2011 in the subject English Language and Literature Studies - Literature, University of Heidelberg, language: English, abstract: "e;Who are you, Miss Snowe?"e; (V 287) Ginevra Fanshawe asks Lucy Snowe and draws attention to one, if not the central question of humankind: Who am I? How do we define who we are: by our job, by our social roles, or by the view others have of us? Moreover, living in a society and having to interact with other human beings, we also need to know who they are: friend or foe, villain or potential lover? However, it is impossible to reduce a human being to just one trait ('She is a mother', 'He is open-minded', 'She is a writer', 'He is a man.'). The same applies to most rounded literary characters. This paper will discuss the presentation and identification of the main characters in Emily Bronte's Wuthering Heights and Charlotte Bronte's Jane Eyre and Villette. At first I will have a closer look at what is expected of the characters on the narrative level, for example, being the hero of a novel. The second part of the paper will deal with the self-perception and search for identity of the protagonists Jane Eyre, Lucy Snowe and Catherine Earnshaw/Linton/Heathcliff. In the last part, I will discuss how these characters are identified through others, focusing on doppelganger. However, when doing a characterisation of the protagonists of Jane Eyre, Villette and Wuthering Heights, one has to consider that the narrators in all three novels are homodiegetic. This means in these particular cases that they are biased and, most likely, unreliable. The description of the characters and their behaviour is filtered through the eyes and words of the narrators. Therefore, one should always keep in mind that the information given to the reader is already interpreted or at least coloured by the narrator. Even though the main focus of this paper will be on the Mid-Victorian Gothic novels Jane Eyre (1847), Villette (1853) and Wuthering Heights (1847), I will also draw comparisons to other works of female writers of the 19th century. There are, for example, interesting parallels to Mary Shelley's Frankenstein (1818) and to the short story "e;The Yellow Wallpaper"e; (1892) written by the American author Charlotte Perkins Gilman. The latter provides a "e;terribly good"e; (Howells 7; qtd. in Shumaker 1) example of a woman's loss of identity and therefore perfectly matches the discussed novels of Charlotte and Emily Bronte.

Seminar paper from the year 2006 in the subject English Language and Literature Studies - Linguistics, grade: 2,7, University of Heidelberg, course: English Words, language: English, abstract: The crucial question concerning vocabulary retrieval is how speech is produced: how the right sentences, words, syllables and phonemes are chosen to express the concept of what one intends to say. As the progress of choosing the right units is a passive one and happens in the dark of our brain, scientists can't watch it and people can't explain how they exactly produce speech, either. Therefore another way of exploring this topic was needed and eventually found: speech errors. Whenever someone produces a word, syllable or phoneme he didn't intend to, it enables us to cast a glance at the production of speech. The main part of this term paper will deal with the great number of types of speech errors produced in different stages of speech production, showing us what exactly happens at these stages.

Zwischen Vertrauen und Verrat, Liebe und Freundschaft, Magie und Tod.Alex ist tot und es ist Bens Schuld. In einer Welt, in der Magie verboten ist und magische Wesen in den Untergrund geflüchtet sind, macht sich Ben auf die Suche nach den geheimnisvollen Magi, um mit ihrer Hilfe seine große Liebe zurückzuholen.Dafür muss er nicht nur ungewöhnliche Zauberzutaten stehlen und gegen Dämonen kämpfen, sondern sich auch noch vor den Magiejägern der Regierung verstecken, denn er befindet sich ausgerechnet in Iantos: In der von einer riesigen, unüberwindbaren Mauer umgebenen Hauptstadt wimmelt es nur so von Kontrolleuren der Regierung, deren Aufgabe es ist, mit ihren eisblauen Augen und ihrem eisernen Griff jede Maga und jeden Magus ausfindig zu machen, um sie ein für alle Mal zu vernichten. Vor die schwierigste Aufgabe stellt er sich allerdings selbst: seine eigenen Ängste zu überwinden und sich einem anderen Menschen anzuvertrauen.Doch wem kann er wirklich vertrauen? Dem grünhaarigen Rick mit dem stetigen Schmunzeln auf den Lippen oder dem verschüchterten Nyrcolas, der alleine mit seinem kleinen Drachen in der Kanalisation lebt? Und wie kann er verhindern, dass seine neugewonnenen Freunde sein eigenes, dunkles Geheimnis entdecken?