Read the Book or Watch the Movie?

"Der Richter und sein Henker" at the Intermediate Level Author(s): Elizabeth C. Hamilton Source: Die Unterrichtspraxis / Teaching German, Vol. 35, No. 2 (Autumn, 2002), pp. 141-147 Published by: Wiley on behalf of the American Association of Teachers of German Stable URL: http://www.jstor.org/stable/3530945 . Accessed: 16/12/2013 16:37
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Read the Book or Watchthe Movie? Der Richterund sein Henker Level at the Intermediate
Oberlin College

Elizabeth C. Hamilton

Visualization has become a keyconceptinforrodwithand isa lightning pedagogy eignlanguage in professional debates on how bestto teach language. Wheresome teachersemphasizethe rewards thatwell-placedvisuals yield,otherwellofthe thedisplacement founded decry arguments tobe the wordwith whatis often written perceived ofa literlesssubstantive image.A film adaptation raises thestakes and its valueas a priarywork only islikely tomeetwith recoursetext mary polarizing for ramifications sponse.Thisdebate has practical this at theintermediate level,for languagelearners students' needsaremost varied isthelevelatwhich are conseand forwhichappropriate materials secondmostscarce.Ifteachers agreethat quently should increase their active vocabustudents year and expand proficiency, lary,hone grammatical there iswidespread distheir critical skills, thinking on thetexts or media thatbestenable agreement I wouldliketo reframe thisdebate. suchprogress. the written word overthe Instead ofsimply favoring thebest-for using strategies image,I shallsuggest fullest extent.1 and eventheworst-ofeach totheir on thecombined use ofa becenter Myinsights Durrentext,Friedrich loved, much-read literary were for STheseactivities second-year developed atthecollege level butcanbe modified to students inupper-level school courses students German high Atmyinstitution five anda as well. students spend andthe half orhalf a semester, onthe novel weeks, activities described. andannotated edition 21usethe teaching glossed Gillis and JohnJ. Neumaier editedby William 1961). (Boston: Mifflin, Houghton Franz Peter Wirth's Der 3Twofilm versions exist, Richter undseinHenker (1957) and Maximilian undseinHenker Schell's DerRichter (1976).Only

matt'sDer Richter und sein Henker (1956)2 towith a little-known, and inmyopinion, vastgether inferior Maximilian Schell's ly adaptation,3 eponymous film of 1976. Such an admittedly uneven combination is bound to raisequestions, so allow me to acknowledgemy biases here witha brief of each work.Dorrenmatt's detective description within a dramatic of novelintertwines investigation crimeand character an engaging debate on good vs. eviland thenature ofchance.As younger men, Barlachand Gastmannhad takenopposingsides on a wagerthat theperfect crime couldorcouldnot killed a manbefore be committed. Gastmann Barhimto provehisguilt. lach's eyes and challenged Barlachisuntothecrime, Despitebeinga witness that was able toprovetotheauthorities Gastmann forthe man's death, a factthathas responsible hauntedhimthroughout his professional lifeand in pursuit ofjustice.The bound himto Gastmann readermeetsBarlachas an olderman, sickwith another thatof murder, cancer,as he investigates killed an unhisyoungcolleague, Schmied, during witha new partdercover investigation. Together Gastmann once Birlachencounters ner, Tschanz, his of human nature and uses knowledge again Thefilm the latter hasbeenreleased for distribution. in wasawarded the Deutscher "Filmband Filmpreis in1979,a prize with shared sixothers that Silber" "weitere yearin the category programmfullende oftheWest Thisaward waspart GerSpielfilme." films. Thosedistinguished mansystem offinancing directors with tomake more films money provided isinthe films. Thehighest critical distinction catego"Filmwith "Bester Spielfilm" ry programmfillender inthat bandin Gold"which to Volker yearwent Die Blechtrommel. Schl6ndorff's

141

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142

UP 35.2 (Fall 2002)

about evidenceto bring morethanconventional The displacement ofone and execution. judgment istheliterary vehimurder byanother investigation demonstrates thatthe cle by whichDurrenmatt crime"willnot go unpunished. Chance "perfect willintervene on behalfofjustice. revisesthis Schell's film adaptationradically the murdered merunnamed story by replacing a young womanwhombothGastmann chant with Laterinthefilm, and Barlach romantically. pursued tobe sexthedeceased's fianc&e, Anna,isrevealed with bothGastmannand Tschanz. uallyinvolved the inserted and expandedwithin The love stories forthe competition befilm providemotivation and Barlachand thespoilsofvictweenGastmann and Tschanz. hunt ofGastmann for themutual tory thisantagocharacterizes The novel,in contrast, ofa philosophical nismas theresult debate,exammurtheexampleofan unmotivated inedthrough this lackofmotivation that der.Indeeditisprecisely ofchanceand morality discussion allowsthelarger in questionfaciliThe murders to be investigated. DUrrenmatt underwork that tatetherealdetective in takes,workthatis obscuredby thelove stories thefilm. to reject thisfilm hereis neither My intention instudents a smugpreferoutofhand,nortofoster Insteadmygoal is ence for thenoveloverthefilm. beitsdrawbacks tolayoutwaysfor usingitso that from tools. come productive Operating teaching is partofthereading that visualization thepremise I shallsuggest herea steadyprogression process,4 culmivisualaids that ofactivities with well-placed Attheendoftheseofthefilm. nateinthescreening well-founded will be able tocreate students mester, and ofboththenoveland thefilm interpretations betweenthem. makethoughtful comparisons and the The quality of students' comparisons in will determined be of their conclusions depth in with and flexibility familiarity largepartbytheir thenovel'smajorthemes.Mystudents discussing text, engage in rigorousanalysisof the written and form. in equal measureon content focusing Even in thisintermediate-level language course, theclasswill literary analyengageinrudimentary with a brief discusthetext sis,and so I introduce a desionofgenre.Whatdo students expectfrom Whatkinds ofcharacters tective typically apstory?

do theyexpect pear,and whatkindsof questions abouttheir actions and motivathenoveltoanswer tion? I ask mystudents to prepareforeach class by in short ofthenoveland writing, reading segments I to plot-level content answers German, questions. students to listen sometimes beginclass by asking an overhead severalquotations to or read from who said what to fromthe novel and identify recallthe whom. These activities help students mainevents ofa givenscene and allowtheclassto I incorporate proceedwithcommoninformation. substantialgrammar review so that students to understandthelexicaltoolsnecessary sharpen In order to identify and describe narrative. ingthis need and settings, for students characters example, inpositive, a firm commandofadjectives comparforms as wellas participial ative,and superlative In order of to express wholecomplexes adjectives. and actions, students need motivations, attributes, In orderto a firm commandofrelative pronouns. or guilt, agencyor complicity, assignresponsibility command of the passive studentsneed a firm tospeculate toexamine voice.Inorder abstraction, commandofthe students need a firm and predict, attheend ofthis mode. Included study subjunctive thatincorporate worksheets are samplegrammar from thenovel. vocabulary can at manystagesofreading Visualactivities thenoveland as prepaaidsfor servebothas study At a later ofthefilm. activities for ratory screening thissimpleactivity an earlystage in the reading, with photographsor magazine advertisements focus on characters by enabling helps students and character identification. physicaldescription in severalpictures ofmen and women,and Bring bestrepresent to choose theones that askstudents orfour inthenovel.From three thecharacters picturesof men, forexample,theychoose the best choice. Draw Barlach.Ask themto explaintheir ofthepictures tothesubtler their attention qualities the characters. and ask how well theyrepresent Have themnote facialexpressions, age, stateof is. their or how neat or unkempt health, clothing and havetheclass tothepictures Return frequently, as moreis revise orreplacetheimagesofcharacters in the class known. the displaying pictures Engage or are clearly as well.Do theyall belongtogether,

inwhatIserterms ofthereading Iser'sdiscussion 4 Wolfgang (10). The readerfills process experience" sections or gaps" as partofthe theliterary the "indeterminate to consider here.Iserdescribes is helpful "basic aesthetic textas holdinga "halfway (12). response"to literature positionbetween the worldofrealobjectsand thereader'sown worldof

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DER RICHTER HAMILTON: UNDSEINHENKER

143

Is a hierarchy or a to- and thencutup short thenoveland passages from opposingsides developing? tempole an appropriate reconstruct the plot. Within each image?Whyor whynot? have students Followup suchan activity with a question that will group, reconstruct a segment students ofa sceneso to grammar preparethemforviewingthe film:ask students thatitprogresses logically according what contemporary actorswould play the parts and tothecontent ofthenovel.Each groupinturn well.Simpleactivities liketheseare bothfunand decides when the action fromits segmenttakes foras students analytical, explain theirchoices, place withrespectto the segmentsfromother subtleties intoclearer relief and render groups.Students thenreconstruct and read aloud theybring theabstract concrete. a lengthy Such rebuilding ofa passage ofthetext. Visualscan further assiststudents in locating scene is an exampleofa cooperativelearning actheactionand tracing ofcharacters tivity themovement inwhichstudents in exchangeinformation within thenarrative. tothis orderto completea task.Theirinvolvement suited with Maps5areideally is twofold: not novel,for and, at times, German in thisparticular place figures prominently activity Students can out what Tschanz onlymust create theredeceptively. map they languagetonegotiate deduces aboutSchmied'sfinal routeand thendis- structuring ofthescene,they must also payspecial cusswhyBarlachisnotimpressed. to thelanguageofthenovelitself. Theyshouldtry attention They to ascertain whatBarlach'sfocustruly is. Readers preparethemselves moreover foranalyzing how learnlater that Tschanzhas onlysharedthisinfor- thefilm willwatchlater reorders thescenes. they himfrom mationwith Barlachto distract diffiUse "living identifyvisuals," i.e.,drama,torender Students willsee thebitter Students can acquireand demingthemurderer. irony: cult passagesclear. Tschanzuses visual evidenceto render un- onstrate truth their a script for by preparing proficiency clear. bepresentation. Takinga pivotalconfrontation Dirrenmattconveys a numberof complex tween Barlach and Lutz, forexample, students with symbolism and pictoriallan- mustfirst restate the special subjunctive as direct relationships can interpret thatlanguage quotations so that thelinescan be spoken.Atother guage,6and students Have themsketchor times, scenescan be performed from thenovelwith by makingactual pictures. drawselected from thetext, firelationships including minimal preparation. Birlach and Gastmann's above all, thatof Gastmannand Barlach.7Ask nal encounter inthetaxiis one exampleofa scene themto focuson the discussionon pages 63-68 that,when performed, revealsthe simultaneous and discussin particular how to visualize therela- opposition and interdependence ofthesetwochardescribedin Gastmann's also brings out itssuswords,"Wahr- acters.A liveperformance tionship uns fUr lich,eine Nachtkettete ewigzusammen!" pense and humor. draw Itis important to acknowledge herethat visual (68). Another good scene to have students theend ofthenovelwhere Tschanz activities inclasscan also be problematic, and that appearstoward theresult ofoveruse.The greatest finally approachesGastmannto killhim.Tschanz isusually potenclimbsand climbs,and the landscape and birds tialdrawbackis thatpictures can enticea student seem to comment on hisapproach.Tschanz'sde- intobelieving thatonlythatwhichcan be repretermination and social climbingwill invariably sentedvisually is worthy ofmention. Students are iftheyare encouragedto focustoo emergeagainstthebackdropof nature's warning shortchanged which he ignores. Whenstudents illustrate lo- muchon that whichis representable at thecostof signs, cationand movement, will that which is not Stuhere,they (ornoteasily)representable. necessarily revealtheir intoTschanz'scharacter. dentscan and shouldbe askedto consider theliminsights Time and sequence are morechallenging no- its of images to illustrate thisnovel. Have them tions for an illustrator, I under- workin smallgroupsand ponderwhat,ifanypicand so itis herethat scorethevisualqualities I photocopy ture, ofnarrative. can represent thisnovel'sconception ofjus5TheGillis and Neumaier edition includes two good maps.See as wellthemapsin Seifert (50, 54--55). 6Theyoung wanted to be a painter. Dirrenmatt He studied arthistory to paint and continued and sketch his life(Crockett 3-4; Arnold throughout students Durren15-17; Haller 136). Sharewith ownquestion onthe limits andpossibilities of matt's ist "Wann derMensch darstellbar?" representation: inArnold, 65). (quoted Gesprtiche will meet with student assignment invariably 7This of "I can'tdraw!"Although I am often protests

toassert thesame,I explain that, tempted here,I am intheinsights that interested theprocessofdrawing reveals.I drawright and I neither them, along with collectnorgradetheir drawings.

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144

UP35.2 (Fall 2002)

with tice. Somegroups wrestle codesoflaw andthe meal that Barlach eats tocelebrate his might huge andsuggest suchicons as thescales ofjustice ora identifying as Schmied's Tschanz Often murderer. attribute Barlach's success students that felt the ofscenes waswargavel.Others might reordering When with thecasetodivine intervention. andjustifiable. Thefilm doeswhat a film can report- ranted these bound to meet with students are do introduce flashbacks and hold on well, findings, namely ing If from other isstrong there dis- tothenarrating time andconvey ofview efobjections groups. point I encourage orfrustration, the classnot fectively voiceovers. agreement through todismiss these more notions as "unwith a number students found fault of sophisticated My quite noteasily Mostegregious however. representable." Theyaresimply repre- scenesand sequences, intactile I em- werethemelodramatic sented forms divorced from context. and gratuitously graphic atthis that tostudents mean- lovestories ofAnna. ofNadine andlater Thefilm phasize point literary and the elevatesBirlachand Gastmann's ingis madebythesequenceof events relationships of the narrative. Thus werevisit the as theimpulse for Nadine thewager unfolding ques- with binding tions of that weaddressed atthe of themto one another. This is apparent in two beginning genre I askspecifically thesemester. howthis detective lengthy and through theplacement flashbacks of novel hasmet their ofthe inboth BarWhat Nadine's framed as props expectations genre. photograph with the unconventional focus lachandGastmann's hasthe homes. investigator Mystudents judged shared with us?What kinds ofdiscoveries canhis these tobe not but also only segments superfluous, reveal? methods hard tobelieve. found further that these love They Asa penultimate cancreate students a stories in the of the bond that, project compromised quality film ormini andcast list for a class class,they had taken suchpainsto understand, storyboard script film version ofthe novel.8 After cancarry namely that the notion the unsfir this, "[kettete] they wager skills and their to a zusammen." analytic vocabulary screening ewig andevaluation ofthe1976film. Inan intermedi- Students were at first to see Friedrich excited isbest insegments Dtirrenmatt ate-level thefilm viewed himself on thescreen, however after class, that allow for five toten minutes dis- further ofpreparatory found his scene tobe oddly reflection, they and tento fifteen minutes of contradictory. inthe cussion beforehand Thewriter, named "Friedrich" classdiscussion afterwards. this discussion film, sits at a chessboard as Tschanz During interrogates elicit immediate in the students' reactions andthen him.Barlach is present at this encounter time, it novel, Ask them but inthe whether hehasfeigned illness andsent film, posecomparative questions. mettheir What was removed from Tschanz Astheauthor chess and expectations. byhimself. plays the would back in? What was novel? What muses on the he reveals to that Tschanz cosmos, they put Atthebeginning introduced or expanded? of a Barlach andGastmann haveknown for eachother summarize classsession, students should their re- a long time. Tschanz hasnot known andthus this, I havefound it receives marks from the an explicit motivation tobreak Barinto previous screening. fruitful ask what to scenes should come lach's kill him. home to to such particularly attempt Although a next. This students torecall elements scenemight thenovel's illustrate examinarequires plot nicely thenovel. from several minutes tion ofthecosmos, andhuman its crime, nature, They might spend thenovel events from that thefilm placement here evokes a conventional whodunit. key conveying inaneven over orportrays of The insight that thenovel is lost, offers and D~irlengthier span glosses time. Ask evaluate suchdiffer-renmatt's theclasshowthey is of little appearance unfortunately more film enrich the ences. Doesthe orreduce narrativeconsequence than the andthe oldwoman leopard certain aspects? bychanging placed amongthe other propsin Gastmann's atvarious howthey would Ask rate the house.9 stages film's ofkey the visualization elements from novel. students believed that the Finally, my although earned marks from scenes undseinHenkerlendsitself Several well myclass, novelDer Richter high the enactment of Schmied's concluded that Schell's including finding body to film adaptation, they him and transporting to Bern, thefuneral falters as a result ofostensibly audiencescene, version
8 time and institutional resources allow, If encourage with oftheir students tofollow a film own. through 9The exoticcatand theold womanrecallDurrenmatt'splay Der Besuch der alten Dame (1956).

in thetextofDer Richter und Theyare notpresent sein Henkerand have arguably onlya decorative in thefilm. function

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DERRICHTER UNDSEINHENKER HAMILTON:

145

Martin Robert attribute Jon Voigt, Bissett, Jacqueline Ritt, pleasingdevicesofromanceand sex. 10I1 Shaw, Rita Calderoni. der Autoren. thisassessment ofthefilm 1976. to be a product oftheir Arthaus-Filmverlag Caroline in modernen L. "Visualisierungen DaFand rigorous witha com- Rieger, thoughtful engagement Die 32.2 174Unterrichtspraxis (1999): novel Lehrbtichem." and of its rich visual pelling contemplation 81. I also sharetheir While viewthat thenovel qualities. Walter. Friedrich Der Richter undsein Seifert, DUrrenmatt: is themoresatisfying I shallcontinue to inwork, Zur und desKriminalromans. Henker. Didaktik Analyse cludethefilm in latercoursesfor comproductive Munich: 1975. Oldenbourg, theprosetext in conjuncparison.By considering tionwithitsfilmic I am confident representation, that students leave myclasswith expandedabilities Appendix.Supplemental Grammar to interpret and evaluateliterary and filmic narra- Activities to Accompany Der Richter tive.The approach I have outlined herehas pro- und sein Henker vided both pleasurable and effective means to makeabstract concrete without concepts forfeitingAdjektive intellectual rigor.

WorksConsulted

A. WiefSngt die Geschichte an? von Twann,fand am AlphonsClenin,der Polizist 1949 einenblau MerMorgendes dritt Novembers

ed. Friedrich Oberdie GrenHaller, Michael, Darrenmatt: zen. Pendo-Profile. 1990. C. Was hat Tschanz inBarlachs Getan? Wohnung gesehen? Zirich:PendoVerlag, andthe Reader's Iser, Wolfgang. "Indeterminacy Response." MitBarlach besprochen? SelectedPapers theEnglish Aspects Er wartete ofNarrative. from vor einer (halfopen) Institute. Ed. J. Hillis Miller. New York:Columbia Tuiir. UP, 1971. 1-45. Der RaumbesaB keineFenster, doch injederWand Jan.Friedrich Darrenmatt. Munich: eine Tur,die zu Knopf, Beck,1980. Zimmern (other, further) Jamie."Re-Visiting Der Besuch der altenDame: fuhren muBte. Rankin, for and Interaction at theInterAufdemSchreibtisch Strategies Interpretation , lageine (large, mediate Level."Die Unterrichtspraxis. (1989): 24-34. bronze) Schlange. Jochen. zu sein,ichhabe nievielvon "'Umehrlich Richter, Bairlach rietihm:Sei so Kriminalromanen Uberdie Detektivromane (smart as thesnakes) und gehalten': vonFriedrich Durrenmatt." mit demKrimias thedoves). Experimente (gentle nalroman: in der deutschsprachigen Ein Erzahlmodell Literatur des 20. Jahrhunderts. Ed. Wolfgang nachTwann? Dusing. D. Was passiert unterwegs Frankfurt: Peter 1993.141-53. Tschanz nimmteine -----Lang, ___ (unusual) Der Richter undseinHenker. Dir.Maximilian Schell.Perf. Route.

. Friedrich Dfrrenmatt. Clenin wuBte nicht waser Arche, menschlich Zirich: begegnen. recht, Gesprdch. 1976. tunsollte, weilderMann tot war. A. Understanding Darrenmatt. Crockett, Friedrich Roger andLatin American B. Was wUrde Modem Lutzsagen? Understanding European Literature. Columbia: U ofSouth Carolina 1998. Alle _ krimi(Swiss)Polizisten muissen P, DerRichter Friedrich. und sein 1952. nalistisch Henker. aufder Hohe sein! Dirrenmatt, Ed. William Gillis and JohnJ. Neumaier. Boston: Ich binerschittert den (primitive) uiber 1961. Stand der Kriminalistik Mifflin, Houghton hier! andElizabeth B. Welles. "Successful ColDavid, Die Goldberg, rauchennicht (other)Mitarbeiter andUniversity 1995- in meinemBuro.... lege Foreign Language Programs, 99:Part 1."Profession 2001.Modem Associ... warummussBarlachso Language (impertiofAmerica. ation 171-210. nent,audacious) sein?!

Heinz Ludwig.Friedrich Arnold, Darrenmatt. Mensch kam erauf das Naichstliegende. Er Gesprdche ordentlich 1961-1990. 4 vols.Zirich:Diogenes,1996. wolltedem fremd__ Mann nicht sondern amtlich,

cedes. Erglaubte, dassder Fahrer betrunken als sei,denn

itsnotable lackofmention in major critical a small but significant role" (6). The filmis also given studies ofDUrrenmatt. Politemention ofDer Richter namedin Jan Knopf's zu Leben und "Zeittafel undseinHenker does appearinRoger Crockett's Werk"(193). book:"In1976itwasfilmed under thedirection of

are apparently to forget thisfilm, o1Scholars trying

Maximilian himself Schell,with Diirrenmatt playing

This content downloaded from 147.91.75.149 on Mon, 16 Dec 2013 16:37:09 PM All use subject to JSTOR Terms and Conditions

146 Fahrer war. (careful)

Barlachbetonte, dass Schmiedein

UP35.2(Fall 2002) dieFrau, die... 2. Frau Sch6nler ist

Barlachistder Mann,dessen ... FrauSch6nleristdie Frau,die ... (acc.)

Tschanzmeinte, ja, Schmied ware so (slowas thedevil)gefahren. (blue) Charon"nannte. Der Name stammt aus einer

Wirlernen, dass SchmiedseinenWagen"den

(Greek)

Sage. erinnert Barlachdaran,dass Schmied Tschanz besuchen.

ist der... Frau Sch6nler dieFrau, deren... Frau dieFrau, Sch6nler ist ist das Dorf, indem... 3. Twann inder... 4. Bern dieStadt, ist
5. Gastmannistder Mann,bei dem ...

so durfte er das Gymnasium hatte, (rich)Eltern

ist diePerson, die... 6. Wer

Das Passiv E. Komparative und Superlative. aus undSchauplitze Sie die Figuren Vergleichen werden Prasens Bilden Sie KomparativundSuperlativdemRoman. wurde Priteritum inKlammern. formen aus denAdjektiven ist worden Perfekt gemacht worden war Plusquamperfekt gemacht 1. Bern istnatOrlich werden wird than) Futur (larger gemacht Twann. 2. Die Polizei in Bern ist in Aktivsatze A.Schreiben Siediefolgenden Passivsatze um! inFallen, indenen anderes kein Subthan)die inChicago Sieman Benutzen (moreold-fashioned oderinNewYork. Sinn macht. jekt in derSchweiz aber findet die Polizisten 3. Barlach 1. Schmied wurde as) die (as smart (Perfekt) get6tet. indenVereinigten Staaten. wird vonBarlach 2. SeineLeiche (Praterigefunden. 4. Gastmann ist (richerthan) alle tum) inTwann. Einwohner anderen istBarlach einmal fast 3. Mit derehernen Schlange inTwann ist GastHausern 5. Vondenvielen worden. grol3en (Prateritum) get6tet mannsdas (mostbeautiful) Mittwoch Abend zu Gast4. Schmied wird an einem 6. In Twannsind die mann (mostinteresting) eingeladen. (Plusquamperfekt) beiGastmann. Gaste inTwann derMord vonClenin entdeckt 5. Obwohl Charnel 7. In derNahesindvieleguteRestaurants. ist(Prateritum) worden ins inBern vonLutz uber6. ... wurde dieUntersuchung (most preferably) geht Wirthaus amAnfang derSchlucht. nommen. (Futur) 7. Gastmanns Hundwird erschossen. (Perfekt) E Ordinalzahlen. denSchussunterbrowardurch 8. Die Gesellschaft im den Roman mitFreunden Sie besprechen chen worden. (Prasens) und haben unddie anderen vonGastmann bedie Steuern 9. InTwann werden Kade-Haus, Fragen einige inKlammern als Schreiben Sie dieZahlen Kommentare. (Perfekt) zahlt. indieLucken. es deutlich Schmied einen 10. Wurde warum gemacht, W6rter hat? falschen Namen benutzt (Prasens)
1. Wie heiBtdie 2. Ichverstehe den 3. Charnel,der 4. Stimmt. Jedes

vorkommt? (1.)

die im Roman Kleinstadt,

oder? nicht besonders (2.) Deutsch, gut

Satz nicht. (3.) Polizistim Dorf,spricht Wortvon ihmistnicht

Passivsatze um.Benutzen B. Schreiben Sie diefolgenden mit im noch PrAsens. Siedieangegebenen Modalverben wurde z.B.DerM6rder (mossen) gefunden. werden. DerM6rder muss noch gefunden 1. 2. 3. 4. Die Untersuchung wurde begonnen. (mussen) inBern DieKriminalistik wurde verbessert. (sollen) wurde Schmieds analysiert. Mappe (k6nnen) falschen Namen DerGrund, Schmied einen warum wurde benutzt erklart. hat, (sollen) 5. Gastmanns These debattiert. wurde (k6nnen) werwird vonBarlach entdeckt 6. DieWahrheit wohl den.(dirfen) wurdeerklrt. 7. Das Geheimnis der Namenliste (mussen) und Bern. SchreiC. Auskunft uber Twann, Biel, Lamboing

sondern deutsch, (5.) franz6sisch!

Relativpronomen Satzemit denangegeSie diefolgenden Erganzen mit aus Tatsachen benenRelativpronomen passenden demRoman. 1. Barlach ist derMann, der...
Barlachistder Mann,den ... Barlachistder Mann,dem ...

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DERRICHTER UNDSEINHENKER HAMILTON:

147

um. benSiediefolgendenden Benutzen Sie use instead: beiBarlach) Passivsitze man imPrasens. undeinaktives Verb 6. He wasn't much. very helped inTwann z.B.Nicht eineLeiche jeden Tagwird gefunden. Nicht man eine Leiche. findet jedenTag Konjunktiv 1. Dertote Mann wurde nachBern gefahren. 2. Die Untersuchung wurde inBielbegonnen... A.Bilden und SieS tze im Nebensatze um Uber Konjunktiv, dieHauptfiguren desRomans zusprechen. Barlach wOrde ... sollte... hatte... ware ... Tschanzworde... sollte... hatte... ware ... LutzwOrde... sollte... ha~te...
ware ...

3. ... aber danach wurdesie in Bernfortgesetzt.

wird 4. ImWirtshaus neuer Wein getrunken. 5. In Lamboing werden Franzosich undDeutsch gesprochen. 6. Bei Gastmann werdenprominente Leute wie undPhilosophen Schriftsteller, Musiker, gesehen. D. EinEinbrecher inBarlachs Siedie Erganzen Wohnung. mit denangegebenen imPerfekt. Verben PassivsAtze
1. NichtsMerkwulrdiges von den anderen Nachbarn . (hbren) 2. Barlach von irgendeinem Gersusch (wecken)

3. Man dassder nicht mal Einbrecher sagt,

4. Der Einbrecher 5.

. (sehen) B. Wiegeht es weiter? Schreiben Sie diefolgenden Satzvon Barlachselbst

S(iiberraschen)

zuEnde. anfange logisch

(verletzen)

Barlach dabei

E. Ubersetzen Sie diefolgenden ins Satze Deutsche!

inChicago Wenn Lutz ware, geblieben ... 1. Schmied wasmurdered. Tschanz Urlaub nicht hatte seinen unterbrochen, 2. Gastmann's dogwasshot. wenn ... 3. Schmied hadbeen invited toGastmann's house. (zu Wenn Barlach nicht rauchte, . Gastmann) Gabees nicht so viel Nebel, ... 4. Schmied's funeral wasinterrupted bytwodrunken men. 5. Barlach's home wasbroken into. the (omit subject;

ware,...

VonSchwendi als ob ... spricht, Washatte Schmied anders machen miissen? WennSchmiednicht nach Lamboing gefahren

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