Inhalt
Smarter Learning!
Inhalt
Bundesland, Schulart & Klasse
Bundesland, Schulart & Klasse
BY, Gymnasium
Baden-Württemberg
Berufl. Gymnasium (AG)
Berufl. Gymnasium (BTG)
Berufl. Gymnasium (EG)
Berufl. Gymnasium (SGG)
Berufl. Gymnasium (TG)
Berufl. Gymnasium (WG)
Berufskolleg - FH
Gemeinschaftsschule
Gymnasium (G8)
Gymnasium (G9)
Hauptschule
Realschule
Werkrealschule
Bayern
Fachoberschule
Gymnasium
Mittelschule
Realschule
Berlin
Gymnasium
Integrierte Sekundarschule
Brandenburg
Gesamtschule
Gymnasium
Oberschule
Bremen
Gymnasium (G8)
Oberschule (G9)
Hamburg
Gymnasium
Stadtteilschule
Hessen
Berufl. Gymnasium
Gesamtschule
Gymnasium (G8)
Gymnasium (G9)
Haupt- und Realschule
Hauptschule
Realschule
Mecklenburg-Vorpommern
Gesamtschule
Gymnasium
Niedersachsen
Gymnasium (G8)
Gymnasium (G9)
Integrierte Gesamtschule
Kooperative Gesamtschule
Oberschule
Realschule
NRW
Gesamtschule
Gymnasium
Hauptschule
Realschule
Sekundarschule
Rheinland-Pfalz
Gesamtschule
Gymnasium
Saarland
Gemeinschaftsschule
Gesamtschule
Gymnasium
Realschule
Sachsen
Gymnasium
Oberschule
Sachsen-Anhalt
Fachgymnasium
Gesamtschule
Gymnasium
Sekundarschule
Schleswig-Holstein
Gemeinschaftsschule
Gymnasium (G8)
Gymnasium (G9)
Thüringen
Berufl. Gymnasium
Gemeinschaftsschule
Gesamtschule
Gymnasium
Regelschule
Klasse 11
Klasse 12
Klasse 11
Klasse 10
Klasse 9
Klasse 8
Klasse 7
Klasse 6
Klasse 5
Fach & Lernbereich
Fachauswahl: Englisch
Mathe
Deutsch
Englisch
Bio
Chemie
Physik
Geschichte
Geo
Lernbereich
Digitales Schulbuch
Lektürehilfen
Abitur
VERA 8
Abitur
Prüfung
wechseln
Abitur
VERA 8
Smarter Learning!
Schneller lernen mit deinem SchulLV-Zugang
  • Zugang zu über 1.000 Original-Prüfungsaufgaben mit Lösungen von 2004-2019
  • Alle Bundesländer und Schularten, empfohlen von über 2.300 Schulen in Deutschland
  • Digitales Schulbuch: Über 1.700 Themen mit Aufgaben und Lösungen
  • Monatlich kündbar, lerne solange du möchtest
Jetzt Zugang freischalten!

Textaufgabe 1

Aufgaben
Download als Dokument:PDF

Part 2: Non-Fiction Text


$\blacktriangleright\;$ Thema:
Joyce McMillan, "Festival City title fits Edinburgh", in: The Scotsman
#newspaper
$\;$
It's that time of year again: and yesterday, in the usual mood of slightly frantic celebration, the Edinburgh Festival Fringe Society launched its annual programme brochure.
Ask the people of Edinburgh how their city is doing, of course, and you are never
5
likely to be rewarded with much more than a bitter laugh. From the never-ending tram works - unwanted, unsightly , and breathtakingly expensive - to rows like this week's furious battle over Leith Waterworld (a much-loved local facility set to be saved by a community initiative until the council abruptly changed its mind in favour of ready cash from a commercial developer), Edinburgh 's municipal government
10
remains, in the eyes of its citizens, a perennial byword for daft and perverse decisions, and for well-meaning councillors struggling to make any impact on a juggernaut of stubborn bureaucracy.
And yet, for all that, the story of Edinburgh over the past half-century has been one of surprising and persistent success, of a city that has ridden wave after wave of
15
economic change and continued to grow and prosper, inching upward from a population of about 300,000 in the mid-20th century to a predicted 600,000 in the 2030s. According to some calculations, Edinburgh will overtake Glasgow to become Scotland's biggest city some time in the next 20 years, although that figure is distorted by boundary changes; and just this week. Edinburgh emerged from a survey as the
20
happiest city in the UK, thanks to its consistently high quality of life. So on days like yesterday -when the city's largest and most anarchic Festival once again proves its robust indifference to the very idea of economic recession - I sometimes wonder whether this idea of "Festival", brought to the city in the darkest days of postwar austerity, is not in some way central to Edinburgh's continuing success.
25
It is arguable, of course, that the Festival owes as little to the wisdom of the city fathers and mothers as any other positive aspect of Edinburgh life; the original idea for it came from a group of London-based postwar artists, led by the conductor Rudolf Bing.
Yet in truth, the city's Lord Provost back in 1 947, John Falconer, welcomed the festival
30
with great warmth, and made its international vision his own; and today, the council continues to support the Festival as generously as it can, not only with money, but with its tireless logistical efforts in inspecting and licensing hundreds of Fringe venues. And for all the grunting and moaning of Edinburgh residents down the decades - about the crowds, the congested traffic, the pavement posses of students in sil-
35
ly costumes - Edinburgh has never, since that founding year of 1947, really wanted to lose its title of "Festival City".
lt fits the handsome contours of the place like a glove; and in those dusty post-w, years, when pubs closed at 9:30 p.m., and restaurants were few, it began the Ion. slow, vital process of reawakening Edinburgh's dormant public spaces of providir
40
the city with new direct links to the wider world, and of transforming it once again from a provincial town, into a beautiful world city. 1 would suggest that the effect of that kind of shift - in a city's image and seif-in age, in its sense of itself and its place in the world - may simply be beyond calcula- tion. The economic impact of the Festivals can be and has been measured, of course
45
Expressions like streaky bacon, serviettes, or high tea were completely unknown to me. I didn't know how to pronounce Scone or pasty or Slough. I had never heard of Tesco's, council houses, Christmas Crackers, bank holidays, and Poppy Day. I was positively filled with some 250 million pounds a year is the current ballpark figure. And their cultural impact
50
impossible to deny, in the life-stories of generations of Scottish artists for whom the Festival has been platform, opportunity, inspiration; and of audiences transformed their annual encounter with the best in world music. dance, theatre and visual art. Yet beyond that, I also suspect -although I doubt if it could ever be proved - the rebirth of Scotland's capital as postwar Europe's first and greatest festival city
55
began a process of change, of development. and of emergi ng creativity and confidence that cannot be separated from the political story of Scotland, over the past half century. It's a kind of change that has become intensely fashionable since the 1980s course, as cities strive to rebrand and reinvent themselves through the arts; some have fallen prey to the idea that cultural transformation can be bought off the peg,
60
in a kind of civic purchase, when in fact it depends on a deep, unpredictable and slight anarchic alliance between the most serious of artists and the bravest of funders. Here in Scotland, though, our beautiful capital had the immense good luck – the mighty, eloquent stroke of Fortune -to find itself decades ahead of that game. Thanks to its festival, Edinburgh emerged onto the world stage as a "city of cul-
65
ture long before the phrase had ever been invented; and it entered the 2 1st century the age of information and creativity, of self-expression and global networking - with credentials in those areas that were beyond price, an image that no marketing cam- paign could ever have bought. If the city's economic performance has remained surprisingly robust during the present recession, that powerful positive image must
70
form part of the reason. And today, as some councils north and south of the Border target their arts budgets for 100 per cent cuts, the story of Edinburgh since 1947 reminds us of just one thing: that although some outcomcs of arts spending can be predicted, there is final no measuring where a pound well spent on a cultural initiative may take you; if on because it will take you - over decades and generation s - into a
75
future of which you have barely begun to dream, but which some artists, somewhere. have already begun to conceive and make possible, in the magical working-house of their minds.


(adapted from: Joyce McMillan, Festival City title fits Edinburgh in The Scotsman)

Questions on the text

$\blacktriangleright$  Answer the following questions using your own words as far as is appropriate. Quote correctly.

1.
Describe how Edinburgh has changed since 1947, taking into account the impact the Festival has had on the city.
(20P)
#description
2.
Outline how Edinburgh, as a "city of culture" (ll. 60/61), compares with other cities.
(10P)
#comparison
3.
Examine how the writer employs criticism of the city and its Festival to get her message across. Analyse three stylistic devices she uses in the process.
(20P)
#stylisticdevices

Composition

$\blacktriangleright$  Choose one of the following topics. Write about 200 to 250 words.

1.
Regional identity is something we should hold on to in today's globalised world. Do you agree?
(10P)
#opinion
2.
Art does not exist only to entertain, but also to challenge one to think, to provoke, even to disturb, in a constant search for truth" (Barbara Streisand, *1942; US singer and actress). Comment on this statement.
(10P)
#comment
3.
You are going to to set up an English drama group at your school and have already chosen a play by an English-speaking author. Write a text for school website introducing the play and the reasons for your choice in order to find suitable actors and actresses.
(10P)
#creativewriting
4.
Describe, interpret and comment on the following cartoon.
(10P)
#cartoon
Textaufgabe 1
Abb. 1: "We better check first to see if that is trash or a piece of art."
Textaufgabe 1
Abb. 1: "We better check first to see if that is trash or a piece of art."
Bildnachweise [nach oben]
[1]
©cartoonstock.com / Dave Carpenter.
Weiter lernen mit SchulLV-PLUS!
Jetzt freischalten
Infos zu SchulLV PLUS
Ich habe bereits einen Zugang
Zugangscode einlösen
Login
Tipps
Download als Dokument:PDF

Part 2: Non-Fiction Text

Textaufgabe 1

Festival City title fits Edinburgh


$\blacktriangleright\;$ Thema:
Joyce McMillan, "Festival City title fits Edinburgh", in: The Scotsman

Questions on the text

Task 1:
$\blacktriangleright$  Describe how Edinburgh has changed since 1947, taking into account the impact the Festival has had on the city.
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du zum Einen die Veränderungen Edinburghs seit 1947 beschreiben und zum Anderen den Einfluss des Festivals auf die Stadt bei der Ausführung berücksichtigen.
Task 2:
$\blacktriangleright$  Outline how Edinburgh, as a "city of culture" (ll. 60/61), compares with other cities.
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du die Kulturstadt Edinburgh mit anderen Städten vergleichen.
Task 3:
$\blacktriangleright$ Examine how the writer employs criticism of the city and its Festival to get her message across. Analyse three stylistic devices she uses in the process.
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du untersuchen, inwiefern Kritik an der Stadt und dem Festival geübt wird. Analysiere hierzu drei Stilmittel.

Composition

Task 1:
$\blacktriangleright$  Regional identity is something we should hold on to in today's globalised world. Do you agree?
Um diese Aufgabe lösen zu können, musst du zuerst die Aufgabe aufmerksam lesen. Danach sollst du zu der Aussage, dass wir an regionaler Identität in der heutigen globalisierten Welt festhalten sollten, Stellung nehmen. Hierbei solltest du dir passende Argumente, die du mit Beispielen unterstützen kannst, überlegen und anführen.
Task 2:
$\blacktriangleright$  "Art does not exist only to entertain, but also to challenge one to think, to provoke, even to disturb, in a constant search for truth" (Barbara Streisand, *1942; US singer and actress). Comment on this statement.
Bei dieser Aufgabe geht es darum, dass du Stellung beziehst zu Barbara Streisands Zitat über Kunst. Überlege dir zuerst ob du ihrer Aussage ganz, in Teilen oder nicht zustimmst. Dann überlege dir Argumente, um deine Entscheidung zu begründen.
Task 3:
$\blacktriangleright$  You are going to set up an English drama group at your school and have already chosen a play by an English-speaking author. Write a text for the school website introducing the play and the reasons for your choice in order to find suitable actors and actresses.
Um diese Aufgabe lösen zu können, musst du dir zuerst ein Theaterstück aussuchen, das du gerne auführen möchtest. Danach sollst du einen Artikel für die Webseite deiner Schule verfassen, in dem du deine Auswahl begründest, um passende Schauspieler zu finden.
Task 4:
$\blacktriangleright$  Describe, interpret and comment on the following cartoon.
Um diese Aufgabe lösen zu können, musst du den Cartoon beschreiben, interpretieren und Stellung dazu beziehen. Hierbei stellst du dir am besten einen Schreibplan zusammen, in dem du dir Stichpunkte zu deinem Vorgehen notierst und der dir dabei hilft, den roten Faden nicht zu verlieren.
Weiter lernen mit SchulLV-PLUS!
Jetzt freischalten
Infos zu SchulLV PLUS
Ich habe bereits einen Zugang
Zugangscode einlösen
Login
Lösungen
Download als Dokument:PDF

Part 2: Literature

Textaufgabe 1

Questions on the text

1.
$\blacktriangleright$  Describe how Edinburgh has changed since 1947, taking into account the impact the Festival has had on the city.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du zum Einen die Veränderungen Edinburghs seit 1947 beschreiben und zum Anderen den Einfluss des Festivals auf die Stadt bei der Ausführung berücksichtigen.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du zum Einen die Veränderungen Edinburghs seit 1947 beschreiben und zum Anderen den Einfluss des Festivals auf die Stadt bei der Ausführung berücksichtigen.

In her article "Festival City title fits Edinburgh", Joyce McMillan describes how the city has developed during the last half century considering the influence of the cultural event.
Einleitung
In 1947, when the festival was initiated by a group of artists from London around conductor Rudolf Bing (Text, line 26-28) and supported by the Lord Provost John Falconer (Text, line 29 f.), the Scottish capital was a rather sleepy provincial town with few restaurants and pubs. Since then the population has been growing constantly from 300.000 in the 1950s to 600.000 in 2030 (Text, line 15-16). Making Edinburgh the city with the highest population in Scotland. (Text, line 17-18). Even though the recent years showed an economic recession, the economy in Edinburgh has developed positively.
Hauptteil
  • sleepy provincial town
  • population
  • positive development of the economy
The contribution of the art festival to this economic success can be weighed in at an estimated amount of 250 million pounds per year (Text, line 44-45). Besides the economic success, the city also became famous for its arts and culture throughout the festival (Text, line 39-40). However, the prestige of the event has not only changed the perception of Edinburgh throughout the world, but also within its own boundaries (Text, line 49-51). It has created a new self-confidence among its citizens, which again has played a pivotal role in the development of a Scottish identity over the past 50 years (Text, line 52). The festival has also led to a renaissance of the city's public spaces (Text, line 39) and has provided chances and inspiration for many local artists as well as unique cultural experiences for its people (Text, line 46-48). In a recent survey, Edinburgh has been rated "the happiest city in the UK, thanks to its consistently high quality of life" (Text, line 19-20).
  • economic success
  • new self-confidence
  • public spaces
  • local artists
(20P)
#description
2.
$\blacktriangleright$  Outline how Edinburgh, as a "city of culture" (ll. 60/61), compares with other cities.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du die Kulturstadt Edinburgh mit anderen Städten vergleichen.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du die Kulturstadt Edinburgh mit anderen Städten vergleichen.

The city and its council have supported the Edinburgh Festival since its beginning in 1947 by backing it both financially and logistically (Text, line 29-33). The event is the key element that turned it into a "city of culture" (Text, line 60-61) a long time before the phrase was even coined, giving it a head start over many other metropolises (Text, line 58-64). As Edinburgh profits substantially from the effects of the happening, the council has not cut back on its arts budget, in stark contrast to a vast number of municipal governments in the rest of the country (Text, line 67-69).
  • support of the Edinburgh Festival
This shows how the attitude in the Scottish capital differs from that in many other places. It is not a flash in the pan; it is about sustaining a long-term development (Text, line 68-73). Only in such secure circumstances can a town truly become the home of artists. This was obvious in the 1980s when culture became fashionable and numerous cities tried to adopt a new image, falsely believing the attribute of being a "city of culture" (Text, line 60-61) could be earned quickly and easily in order to attract tourists (Text, line 53-57).
  • attitude in the Scottish capital
  • 1980s
(10P)
#outline
3.
$\blacktriangleright$  Examine how the writer employs criticism of the city and its Festival to get her message across. Analyse three stylistic devices she uses in the process.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du untersuchen, inwiefern Kritik an der Stadt und dem Festival geübt wird. Analysiere hierzu drei Stilmittel.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst den Text lesen. Danach sollst du untersuchen, inwiefern Kritik an der Stadt und dem Festival geübt wird. Analysiere hierzu drei Stilmittel.

The article begins with the author referring to the citizens of Edinburgh, who tend to complain when asked about their city's situation (Text, line 4-5). For example when it comes to managing the extension of the public transportation system (Text, line 5-6) or other projects such as the redevelopment of a swimming pool in Leith a suburb of Edinburgh (Text, line 6-9), the municipal government is presented as ineffective in its decisions (Text, line 9-12). Joyce McMillan illustrates the criticism by using an exaggeration claiming the work on the tram system is "never-ending" (Text, line 5). However, the negative image of Edinburgh in the opening paragraph is misleading.
  • citizens of Edinburgh
  • complaints
When she prefers to grumbling and complaining citizens (Text, line 33), who whinged about an invasion of festival-goers, traffic jams and other annoyances that come with the event (Text, line 34-35), her criticism has an analogous function. By pointing out the negative factors, the benefits which she outlines in the following lines (Text, line 37-52) appear even greater, especially since she writes that despite their constant discontent, the people of Edinburgh actually know very well how much they profit from the festival and would never want to lose its fine reputation (Text, line 35-36). Again, McMillan uses stylistic devices to stress her point.
  • criticism of the author
  • conclusion
(20P)
#examination

Composition

1.
$\blacktriangleright$  Regional identity is something we should hold on to in today's globalised world. Do you agree?
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst die Aufgabe aufmerksam lesen. Danach sollst du zu der Aussage, dass wir an regionaler Identität in der heutigen globalisierten Welt festhalten sollten, Stellung nehmen. Hierbei solltest du dir passende Argumente, die du mit Beispielen unterstützen kannst, überlegen und anführen.
Tipp
Um diese Aufgabe lösen zu können, musst du zuerst die Aufgabe aufmerksam lesen. Danach sollst du zu der Aussage, dass wir an regionaler Identität in der heutigen globalisierten Welt festhalten sollten, Stellung nehmen. Hierbei solltest du dir passende Argumente, die du mit Beispielen unterstützen kannst, überlegen und anführen.

In the age of globalization nothing seems to be far away anymore. Not only goods can be transported easily from country to country or even from continent to continent, but also people can travel wherever they want to go. We are eating bananas from South America, wearing clothes from India and communicating via the Internet with friends all over the world. We are able to speak with nearly everyone by using the English language. We are globalized and yes this is great.
Einleitung
  • todays advantages of globalization
Even though I am a supporter of the globalization, I am also aware of the fact that this could mean loss of cultural identity. This is why I am not only a supporter of globalization, but also of reminding ourselves of our regional traditions, our cultural identity. Sometimes people seem to be ashamed of their dialect, which they do not have to be at all. Dialects are a remainder of past times where people were speaking languages concerning their regional decent. Being able to speak such a dialect is a talent and nothing which you have to be ashamed of. Furthermore, traditions like wine or beer festivals or even the carnival shows where we come from and make sure that we are still connected to our heritage.
Hauptteil
  • cultural identity
  • regional traditions
  • dialects
While talking about globalization we should not only try to be in favour of it, but also to remind ourselves of the traditions we have grown up with.
Schluss
  • conclusion
(40P)
#essay
2.
$\blacktriangleright$  "Art does not exist only to entertain, but also to challenge one to think, to provoke, even to disturb, in a constant search for truth" (Barbara Streisand, *1942; US singer and actress). Comment on this statement.
Tipp
Bei dieser Aufgabe geht es darum, dass du Stellung beziehst zu Barbara Streisands Zitat über Kunst. Überlege dir zuerst ob du ihrer Aussage ganz, in Teilen oder nicht zustimmst. Dann überlege dir Argumente, um deine Entscheidung zu begründen.
Tipp
Bei dieser Aufgabe geht es darum, dass du Stellung beziehst zu Barbara Streisands Zitat über Kunst. Überlege dir zuerst ob du ihrer Aussage ganz, in Teilen oder nicht zustimmst. Dann überlege dir Argumente, um deine Entscheidung zu begründen.

Art has always been part of modern men. It has several faces, such as music, plastic arts, arts’ history, dance. Streisand claims that art does not only exist to entertain us, but entertainment is one distinct function of art. Furthermore, there is also the possibility to express feelings, emotions and also our own history through art. Music can make us feel depressed or happy, whereas we can show these feelings also by dancing to music. Especially contemporary dance is a way to express powerful emotions. On top of that, art such as paintings can help us to think in a critical way about the past. When we look at a painting from medieval times seeing women get burned because they were accused of being witches, this could remind us of the fact that such history repeated itself in another context, e.g. the Nazi regime. The fact that artists have often been persecuted reminds us of the threat art can apparently pose to regimes, which do not want people to think on their own. Art has been and should ever be an important part of our society since its function lies not only in entertaining us, but is enabeling us to express and share our emotions.
  • different kinds of arts
  • explanation of the quote
  • music
  • contemporary dance
  • paintings
  • art as a threat
(40P)
#comment
3.
$\blacktriangleright$  You are going to set up an English drama group at your school and have already chosen a play by an English-speaking author. Write a text for the school website introducing the play and the reasons for your choice in order to find suitable actors and actresses.
Tipp
Um diese Aufgabe lösen zu können, musst du dir zuerst ein Theaterstück aussuchen, das du gerne auführen möchtest. Danach sollst du einen Artikel für die Webseite deiner Schule verfassen, in dem du deine Auswahl begründest, um passende Schauspieler zu finden.
Tipp
Um diese Aufgabe lösen zu können, musst du dir zuerst ein Theaterstück aussuchen, das du gerne auführen möchtest. Danach sollst du einen Artikel für die Webseite deiner Schule verfassen, in dem du deine Auswahl begründest, um passende Schauspieler zu finden.

Arthur Miller’s classic is set in the 17th century in Salem, Massachusetts. It is about a village in turmoil due to allegations of witchcraft against the inhabitants Abigail, Elizabeth Proctor and John. Proctor gets accused by Abigail, who had an affair with Proctor’s husband John, of black magic. John ends up admitting to adultery to protect his wife and is eventually sent to the gallows together with some other villagers, before reason finally returns to the community. Miller wrote the play at the height of the Cold War as a parable against the anti-communist witch-hunts in the US in the 1950s.
Even though the setting might be far away from our today world, the themes of The Crucible are still relevant. These themes include how jealousy can turn into hatred, how irrational rumours can become arguments and how lies can ruin reputations.
  • main characters of the play
  • main plot
  • history
  • main themes
If you are interested in playing a part of this play, then you should come and talk to us. What can we offer to you? We can offer you to be
  • an innocent maid or a devout minister
  • a respectable farmer or an anxious villager
  • a sound or lighting technician
Don’t be shy and come up to our first meeting on February 5 at 12 o’clock at the drama club in room 320.
  • available roles
  • time and place
(40P)
#thecrucible#creativewriting
4.
$\blacktriangleright$  Describe, interpret and comment on the following cartoon.
Tipp
Um diese Aufgabe lösen zu können, musst du den Cartoon beschreiben, interpretieren und Stellung dazu beziehen. Hierbei stellst du dir am besten einen Schreibplan zusammen, in dem du dir Stichpunkte zu deinem Vorgehen notierst und der dir dabei hilft, den roten Faden nicht zu verlieren.
Tipp
Um diese Aufgabe lösen zu können, musst du den Cartoon beschreiben, interpretieren und Stellung dazu beziehen. Hierbei stellst du dir am besten einen Schreibplan zusammen, in dem du dir Stichpunkte zu deinem Vorgehen notierst und der dir dabei hilft, den roten Faden nicht zu verlieren.

The cartoon created by Dave Carpenter deals with modern art and its reception. In the picture we can see two men standing in front of an art museum. On the left there is a part of a car which has “Sanitation Dept.” written on it. The two men are looking at what could be a sculpture made of different kinds of metal. One of them tells the other “We better check first to see if that is trash or a piece of art.”
Einleitung
  • description of the cartoon
The cartoonist mocks the fact that nowadays it is often impossible for the average observer to determine whether what they are looking at is of artistic value or simply a pile of rubbish. In other words, art can often no longer be recognized as such independently of its surroundings or because of its obvious beauty or the outstanding skill needed for its production. It has become common that one needs an artsy context to understand art.
Hauptteil
  • interpretation of the cartoon
With this criticism of modern art the cartoonist does not stand alone. A lot of people are out of their depth when confronted with paintings or sculptures they find difficult to understand. Making sense of some modern art does not mean simply looking at it and deciding whether one likes it or not. These days it is often a question of discovering the message artists want to convey or the feelings they are trying to express, which might prove a rather difficult thing to do – at least as difficult as admitting that one cannot make head or tail of a work of modern art.
Schluss
  • comment
(40P)
#cartoon
Weiter lernen mit SchulLV-PLUS!
Jetzt freischalten
Infos zu SchulLV PLUS
Ich habe bereits einen Zugang
Zugangscode einlösen
Login
Folge uns auf
SchulLV als App