Torben Schmidt – författare

Dieser Band illustriert die thematische Vielfalt und methodologische Breite laufender Arbeiten von Nachwuchswissenschaftler/innen in der Fremdsprachenforschung im deutschsprachigen Raum. Präsentiert wird ein Überblick über den state of the art, d.h. über interdisziplinäre Impulse, Methoden und Perspektiven der jungen Fremdsprachenforschung. Als Themenschwerpunkte kristallisieren sich Lernerindividualität, Spracherwerb und Mehrsprachigkeit sowie Fertigkeiten, sprachliche Systeme und Kompetenzen und schließlich Literaturdidaktik und interkulturelles Lernen heraus. Zu den vertretenen Disziplinen gehören u. a. Englisch-, Französisch-, Russisch- und Spanischdidaktik sowie Didaktik des Deutschen als Fremd-/Zweitsprache, Sprachlehr- und Sprachlernforschung sowie angewandte Sprachwissenschaft.

Seminar paper from the year 2001 in the subject English Language and Literature Studies - Literature, grade: 1 (A), Justus-Liebig-University Giessen (Instiute anglisitc linguistics), course: The Medieval Drama - Texts and Cultural Backgrounds, language: English, abstract: There are some obvious differences between the morality and the miracle plays. Thelatter did stress moral truths besides teaching facts of the bible, but on the whole didnot lend themselves to allegorical formulation except when there was no well defined Bible story to be followed. A good example in this case is the life of MariaMagdalen, before she was converted. The miracle play dealt with what were believedto be historical events and its main characters were for the most part ready- made forthe playwright by the Bible and inherited tradition. The morality play on the other hand, stood by itself, unconnected to a cycle, and theplots were extremely stereotyped. They afforded less scope for original creationthan those of the miracles, which were crowded with major and minor characters,Herold, Pilate, Pharaoh, Noah s wife, Satan, Adam and Eve, (Kinghorn 1968:p.116) and a host of others, both scriptural and non-scriptural. As far as thecharacters in the morality plays are concerned one could say that these characters,like for instance the Seven Deadly Sins, did only offer very limited opportunities fordevelopment. Gluttony could hardly be other than a fat lout, Sloth a half- awakelounger, Luxury an overdressed woman, Avarice a grasping old man and Angercontinually in a rage ( Kinghorn 1968: p.116). As far as allegorical formulations are concerned it has to pointed out that themorality play characters were always personified vices and virtues, producing aconflict of sorts and providing enough material for a plot. The Christian Virtues, theSeven Deadly Sins, Pride of Life, World, Flesh Youth, Age, Holy Church, Wealth,Health, Mercy, Learning and, of course, Mankind are just a few examples forpersonages which were made to behave as though they were human by the didacticaim of the author ( Kinghorn 1968: p.116), but all these characters are alwayscontained within their own narrow definition. Since these allegorical personageswere not characters but walking abstractions, they provided the playwright only verylimited opportunities for development. Everything that was said and done by thesecharacters showed clearly the moral truth which was of course the subject of the plot. The late medieval morality plays mark a well - defined movement away from thereligious drama towards the completely secular drama in England. [...]

Seminar paper from the year 2003 in the subject English Language and Literature Studies - Other, grade: 1 (A), University of Frankfurt (Main) (Institute for England and American Studies), course: Decadenca and Modernism in Late 20th Century Cinema, language: English, abstract: Christopher Nolan's low budget film Memento (2000), which is based on the concept of a short story named Memento Mori written by Nolan's brother Jonathan, was certainly one of the most successful films in the United States in 2000. In most cinemas it was shown for more than 15 weeks in the summer season - the most competitive season of the year. While the success of many modern Hollywood films is a result of "e;money, hype and more money"e;, Memento "e;represents a triumph of writing, directing, and performance"e; (Klein 2001). This film belongs to the so called neo-noir and revenge-film genre. In this paper these two genres will first of all be described in detail. Afterwards, the plot and the narrative structure of Memento - which is extremely complex, clever and demands intelligence and constant attention from its spectators - will be discussed.