Quelltext der Seite DEU:Englisch:Interpretation

[[Index|Index]]:[[DEU:Index|DEU]]:[[DEU:Englisch:Index|Englisch]]:Interpretation

== Info ==


{| class="prettytable"
|- bgcolor=#e0e0e0
! width="200" | &nbsp; <!-- KEY -->
! &nbsp; <!-- VALUE -->
|- 
| Name des Wortschatzes <!-- File -->
| '''Interpretation'''
|- 
| Sprache 1 <!-- Language1 -->
| Englisch <!-- eng -->
|- 
| Sprache 2 <!-- Language2 -->
| Deutsch <!-- deu -->
|- 
| Inhalt <!-- Contents -->
| '''Vokabeln, Redewendungen und Beispielsätze zur englischsprachigen Analyse / Besprechung / Interpretation von Kurzgeschichten, Gedichten, Filmen, Cartoons, Werbung usw. Themen: Assessing Texts, Writing a Composition, Action and Plot, Character, Narrator and Narrator Perspective, Stylistic Devices, Metaphors, Short Stories, Reading Poetry, Cartoons, Car Advertisements, Films.'''
|- 
| Kommentar <!-- Comment -->
| Verwendung mit freundlicher Genehmigung von Jochen Lüders. Genauere Beschreibung der einzelnen Themen:  //  // * Assessing Texts: Beurteilung von Texten // * Writing a Composition: Redewendungen und connectives für den Aufsatz // * Action and Plot: Die wichtigsten Begriffe zur Analyse der Handlung // * Character: Die wichtigsten Begriffe zu 'character' und 'characterization' // * Narrator and Narrator Perspective: Die wichtigsten Begriffe zur Analyse von Erzähler und Erzählperspektive // * Stylistic Devices: Die wichtigsten Stilmittel, geordnet nach Imagery, Sound, Structure und Miscellaneous, mit deutscher Übersetzung, Definitionen, Beispielen und phrases // * Metaphors: Besprechung / Interpretation von Metaphern // * Short Stories: plot, narrator, point of view etc. // * Reading Poetry: Besprechung / Interpretation von Gedichten // * Cartoons: Analyse / Interpretation von Cartoons // * Car Advertisements: Wortschatz zur Analyse von Autowerbung im Zusammenhang mit der Besprechung von 'Autogeddon' von H. Williams (in English Eleven S. 37-38, bes. Z. 15-24) // * Films: Die wichtigsten Fachbegriffe mit englischen Definitionen, deutscher Übersetzung und Beispielen, geordnet nach Shots, Camera Positions, Camera Movements, Focus, Editing, Visual Effects und Miscellaneous
|- 
| Fremdsprache / Sachgebiet <!-- Folder -->
| Englisch <!-- eng -->
|- 
| Sprache der Zielgruppe <!-- TargetGroupLanguage -->
| Deutsch <!-- deu -->
|- 
| Quelle <!-- References -->
| Jochen Lüders, www.jochenenglish.de
|- 
| Software <!-- Software -->
| Mit dem '''Langenscheidt Vokabeltrainer''' (www.vokabeln.de) können Sie diesen Wortschatz mit vielen verschiedenen Funktionen '''trainieren''' (z.B. Karteikartensystem, Prüfungsmodus, Multiple Choice, Kreuzworträtsel, Superlearning und Tutorium), in unterschiedlichen Formaten '''drucken''' (z.B. Vokabelkärtchen, Vokabellisten, Vokabeltests, Kreuzworträtsel) und '''exportieren''' (z.B. auf Ihr Handy). <!-- Version="40122"; RequiredVersion="40122"; Signature="Eng-Int-20110704-161903-db06dc5f"; Sort_Index="Kapitel"; Sort_Tutorial="BaseSort"; StyleBoldForWords="NO"; SeparateWordsByParagraph="NO"; AllowDirection1To2="YES"; AllowDirection2To1="YES"; DefaultDirection1To2="NO" -->
|}



== Assessing Texts ==

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| <br/><b>to assess_/_evaluate the quality of a text</b> (1)
| <br/><b>die Qualität eines Textes beurteilen</b>
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| (1) = <b>to assess the quality of a text</b>; = <b>to evaluate the quality of a text</b>
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| <br/><b>to apply assessment_/_evaluation criteria</b> (1)
| <br/><b>Bewertungskriterien anwenden</b>
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| (1) = <b>to apply assessment criteria</b>; = <b>to apply evaluation criteria</b>
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| <br/><b>a concise analysis</b>
| <br/><b>eine prägnante Analyse</b>
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| <br/><b>a wide range of vocabulary</b>
| <br/><b>ein umfassender Wortschatz</b>
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| <br/><b>precise_/_vivid language</b> (1)
| <br/><b>präzise_/_anschauliche Sprache</b>
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| (1) = <b>precise language</b>; = <b>vivid language</b>
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| <br/><b>careless_/_inaccurate choice of words</b> (1)
| <br/><b>nachlässige_/_ungenaue Wortwahl</b>
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| (1) = <b>careless choice of words</b>; = <b>inaccurate choice of words</b>
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| <br/><b>to come to the point</b>
| <br/><b>auf den Punkt kommen</b>
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| <br/><b>to waffle</b><i> (BE infml.)</i>
| <br/><b>schwafeln</b>
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| <br/><b>an appropriate register</b>
| <br/><b>eine angemessene Sprachebene</b>
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| <br/><b>to attract_/_engage sb.'s attention</b> (1)
| <br/><b>Aufmerksamkeit wecken</b>
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| (1) = <b>to attract sb.'s attention</b>; = <b>to engage sb.'s attention</b>
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| <br/><b>to hold_/_maintain sb.'s attention</b> (1)
| <br/><b>Aufmerksamkeit aufrechterhalten</b>
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| (1) = <b>to hold sb.'s attention</b>; = <b>to maintain sb.'s attention</b>
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| <br/><b>the target reader_/_audience</b> (1)
| <br/><b>Zielleser_/_Zielpublikum</b>
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| (1) = <b>the target reader</b>; = <b>the target audience</b>
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| <br/><b>to link paragraphs</b>
| <br/><b>Absätze miteinander verbinden</b>
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| <br/><b>a smooth transition</b>
| <br/><b>eine elegante Überleitung</b>
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| <br/><b>to elaborate on an aspect</b>
| <br/><b>einen Aspekt ausführen</b>
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| <br/><b>to expand on a point</b>
| <br/><b>einen Punkt erläutern</b>
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| <br/><b>a well-organized composition</b>
| <br/><b>ein gut organisierter Aufsatz</b>
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| <br/><b>a logical progression of arguments</b>
| <br/><b>eine logische Abfolge von Argumenten</b>
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| <br/><b>a coherent text</b>
| <br/><b>ein zusammenhängender Text</b>
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| <br/><b>(a lack of) coherence</b> (1)
| <br/><b>(ein Mangel an) Zusammenhang</b>
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| (1) = <b>a lack of coherence</b>
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| <br/><b>a misleading topic sentence</b>
| <br/><b>ein irreführender Themasatz</b>
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| <br/><b>to deduct points</b>
| <br/><b>Punkte abziehen</b>
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| <br/><b>to affect communication</b>
| <br/><b>die Kommunikation beeinträchtigen</b>
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| <br/><b>a needless repetition</b>
| <br/><b>eine unnötige Wiederholung</b>
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| <br/><b>a vague reference to sth.</b>
| <br/><b>ein unklarer Verweis auf etwas</b>
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| <br/><b>to miss the point</b>
| <br/><b>nicht verstehen worum es geht</b>
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| <br/><b>to omit a major point</b>
| <br/><b>einen wichtigen Punkt auslassen</b>
| 
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| <br/><b>minor omissions</b>
| <br/><b>geringfügige Auslassungen</b>
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| <br/><b>to commit a howler</b>
| <br/><b>einen groben Fehler machen</b>
| 
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| <br/><b>to impede communication</b>
| <br/><b>die Kommunikation behindern</b>
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| <br/><b>a recurring error</b>
| <br/><b>ein sich wiederholender Fehler</b>
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| <br/><b>neat handwriting</b>
| <br/><b>saubere Handschrift</b>
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| <br/><b>illegible handwriting</b>
| <br/><b>unleserliche Handschrift</b>
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| <br/><b>to scrawl_/_scribble</b> (1)
| <br/><b>schmieren,_kritzeln</b>
| 
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| (1) = <b>to scrawl</b>; = <b>to scribble</b>
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| <br/><b>a messy layout</b>
| <br/><b>ein unordentliches Layout</b>
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== Writing a Composition: Introduction ==

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| <br/><b>introduction</b>
| <br/><b>Einleitung</b>
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| <br/><b>It is often claimed that ...</b>
| <br/><b>Es wird oft behauptet,_dass ...</b>
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| <br/><b>It is a commonplace that ...</b>
| <br/><b>Es ist eine Binsenweisheit,_dass ...</b>
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| <br/><b>... So the question arises whether ...</b>
| <br/><b>Deshalb stellt sich die Frage,_ob ...</b>
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| <br/><b>It is a well-known fact that ...</b>
| <br/><b>Es ist allgemein bekannt,_dass ...</b>
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| <br/><b>It would hardly be an exaggeration to say that ...</b>
| <br/><b>Man kann ohne große Übertreibung sagen,_dass ...</b>
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| <br/><b>According to the latest statistics ...</b>
| <br/><b>Laut der neuesten Statistiken ...</b>
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== Writing a Composition: Main Part: Structuring Arguments ==

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| <br/><b>main part</b>
| <br/><b>Hauptteil</b>
| 
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| <br/><b>structuring arguments</b>
| <br/><b>Argumente strukturieren</b>
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| <br/><b>Firstly ... secondly ...  finally ...</b>
| <br/><b>Erstens ... zweitens ... schließlich ...</b>
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| <br/><b>First of all_/_To begin with</b> I would like to ... (1)
| <br/><b>Zunächst einmal</b>
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| (1) = <b>First of all</b>; = <b>To begin with</b>; # <b>First of all</b>
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| <br/><b>In addition</b> / <b>Moreover</b> / <b>Besides</b> / <b>Furthermore</b> ... (1)
| <br/><b>Darüberhinaus</b>
| 
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| (1) = <b>Furthermore</b>; # <b>Furthermore</b>
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| <br/><b>Another</b> significant advantage is ... (1)
| <br/><b>Ein weitere(r)</b>
| 
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| (1) = <b>Another</b>; # <b>Another</b>
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| <br/><b>This brings us to the question whether ...</b>
| <br/><b>Daraus ergibt sich die Frage,_ob</b>
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| <br/><b>But above all</b> one must not forget that ... (1)
| <br/><b>Aber vor allem</b>
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| (1) = <b>But above all</b>; # <b>But above all</b>
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== Writing a Composition: Main Part: Personal Opinion ==

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| <br/><b>personal opinion</b>
| <br/><b>persönliche Meinung</b>
| 
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| <br/><b>In my opinion_/_To my mind</b> you can say that ... (1)
| <br/><b>Meiner Meinung nach</b>
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| (1) = <b>In my opinion</b>; = <b>To my mind</b>; # <b>In my opinion</b>
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| <br/><b>It seems to me that</b> this is not the solution to ... (1)
| <br/><b>Es scheint mir,_dass</b>
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| (1) = <b>It seems to me that</b>; # <b>It seems to me that</b>
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| <br/><b>The way I see it_/_In my view</b> we should keep in mind that ... (1)
| <br/><b>Meiner Ansicht nach</b>
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| (1) = <b>The way I see it</b>; = <b>In my view</b>; # <b>The way I see it</b>
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| <br/><b>I am</b> (absolutely) <b>convinced</b> that ... (1)
| <br/><b>Ich bin (völlig) überzeugt</b>
| 
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| (1) = <b>I am</b> <b>convinced</b>; = <b>I am</b> absolutely <b>convinced</b>; # <b>I am</b> <b>convinced</b>
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| <br/><b>I maintain that ...</b>
| <br/><b>Ich bleibe dabei,_dass</b>
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== Writing a Composition: Main Part: Personal Attitude ==

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| <br/><b>personal attitude</b>
| <br/><b>eigene Einstellung</b>
| 
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| <br/><b>Obviously_/_Doubtlessly</b> it is wrong to say that ... (1)
| <br/><b>Offensichtlich_/_Zweifellos</b>
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| (1) = <b>Obviously</b>; = <b>Doubtlessly</b>; # <b>Obviously</b>
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| <br/><b>Funnily enough_/_Strangely</b> a lot of people think that ... (1)
| <br/><b>Komischer-_/_Seltsamerweise</b>
| 
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| (1) = <b>Funnily enough</b>; = <b>Strangely</b>; # <b>Funnily enough</b>
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| <br/><b>Fortunately_/_Luckily</b> this is not the only argument against ... (1)
| <br/><b>Glücklicherweise</b>
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| (1) = <b>Fortunately</b>; = <b>Luckily</b>; # <b>Fortunately</b>
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| <br/><b>Unfortunately_/_Regrettably</b> he fails to acknowledge that ... (1)
| <br/><b>Leider</b>
| 
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| (1) = <b>Unfortunately</b>; = <b>Regrettably</b>; # <b>Unfortunately</b>
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| <br/><b>Frankly_/_Generally speaking</b> his proposals are stupid. (1)
| <br/><b>Offen_/_Allgemein gesagt</b>
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| (1) = <b>Frankly speaking</b>; = <b>Generally speaking</b>; # <b>Frankly speaking</b>
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== Writing a Composition: Main Part: Comparisons ==

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| <br/><b>comparisons</b>
| <br/><b>Vergleiche</b>
| 
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| <br/><b>Compared with</b> the situation ten years ago ... (1)
| <br/><b>Verglichen mit</b>
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| (1) = <b>Compared with</b>; # <b>Compared with</b>
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| <br/><b>In comparison with</b> the US ... (1)
| <br/><b>Im Vergleich mit</b>
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| (1) = <b>In comparison with</b>; # <b>In comparison with</b>
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| <br/>There is a <b>fundamental difference</b> between ... and ... (1)
| <br/><b>wesentlicher Unterschied</b>
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| (1) = <b>fundamental difference</b>; # <b>fundamental difference</b>
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| <br/><b>On the one hand ... on the other hand ...</b>
| <br/><b>Auf der einen ... anderen Seite</b>
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== Writing a Composition: Main Part: Expressing Contrast ==

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| <br/><b>expressing contrast</b>
| <br/><b>Gegensatz ausdrücken</b>
| 
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| <br/>We must not forget,_<b>however</b>,_that ... (1)
| <br/><b>jedoch</b>
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| (1) = <b>however</b>; # <b>however</b>
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| <br/><b>All the same_/_Nevertheless</b>,_it is wrong to say that ... (1)
| <br/><b>Trotzdem</b>
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| (1) = <b>All the same</b>; = <b>Nevertheless</b>; # <b>All the same</b>
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| <br/><b>In spite of_/_Despite</b> all those arguments ... (1)
| <br/><b>Trotz</b>
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| (1) = <b>In spite of</b>; = <b>Despite</b>; # <b>In spite of</b>
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| <br/><b>Contrary to_/_In contrast to_/_Unlike</b> the writer I think ... (1)
| <br/><b>Im Gegensatz zu</b>
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| (1) = <b>Contrary to</b>; = <b>In contrast to</b>; = <b>Unlike</b>; # <b>Contrary to</b>
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| <br/><b>It is true that ... but</b> it is definitely wrong to say that ... (1)
| <br/><b>Zwar ... aber</b>
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| (1) = <b>It is true that ... but</b>; # <b>It is true that ... but</b>
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== Writing a Composition: Main Part: Giving an Example ==

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| <br/><b>giving an example</b>
| <br/><b>Beispiel geben</b>
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| <br/>Let us consider,_<b>for instance</b>,_... (1)
| <br/><b>zum Beispiel</b>
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| (1) = <b>for instance</b>; # <b>for instance</b>
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| <br/>... is a <b>striking example of</b> ... (1)
| <br/><b>ausgezeichnetes Beispiel für</b>
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| (1) = <b>striking example of</b>; # <b>striking example of</b>
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| <br/>This incident <b>serves to illustrate</b> ... (1)
| <br/><b>veranschaulicht</b>
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| (1) = <b>serves to illustrate</b>; # <b>serves to illustrate</b>
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== Writing a Composition: Main Part: Expressing Doubt ==

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| <br/><b>expressing doubt</b>
| <br/><b>Zweifel ausdrücken</b>
| 
| 
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| <br/><b>It is doubtful_/_questionable whether ...</b> (1)
| <br/><b>Es ist zweifelhaft_/_fraglich,_ob ...</b>
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| (1) = <b>It is doubtful whether ...</b>; = <b>It is questionable whether ...</b>
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| <br/><b>It remains to be seen whether ...</b>
| <br/><b>Es bleibt abzuwarten,_ob ...</b>
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| <br/>I have <b>a few reservations about</b> the book. (1)
| <br/><b>ein paar Vorbehalte gegenüber</b>
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| (1) = <b>a few reservations about</b>; # <b>a few reservations about</b>
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| <br/><b>It is by no means certain that ...</b>
| <br/><b>Es ist keinesfalls sicher,_dass ...</b>
| 
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|}


== Writing a Composition: Main Part: Disagreeing ==

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| <br/><b>disagreeing</b>
| <br/><b>Widerspruch einlegen</b>
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| <br/><b>I find it hard to believe that ...</b>
| <br/><b>Ich kann nur schwer glauben,_dass</b>
| 
| 
| 
| 10
| 0
|- 
| <br/>Her claim <b>lacks credibility</b>. (1)
| <br/><b>ist unglaubwürdig</b>
| 
| 
| (1) = <b>lacks credibility</b>; # <b>lacks credibility</b>
| 10
| 0
|- 
| <br/>I <b>remain unconvinced by</b> his statement. (1)
| <br/><b>überzeugt mich nicht</b>
| 
| 
| (1) = <b>remain unconvinced by</b>; # <b>remain unconvinced by</b>
| 10
| 0
|- 
| <br/>It is <b>completely_/_totally_/_absolutely</b> wrong to believe that ... (1)
| <br/><b>völlig_/_ganz und gar</b>
| 
| 
| (1) = <b>completely</b>; = <b>totally</b>; = <b>absolutely</b>; # <b>completely</b>
| 10
| 0
|- 
| <br/>He is <b>thoroughly_/_entirely</b> wrong when he claims ... (1)
| <br/><b>völlig</b>
| 
| 
| (1) = <b>thoroughly</b>; = <b>entirely</b>; # <b>thoroughly</b>
| 10
| 0
|- 
| <br/>The author is <b>terribly_/_greatly mistaken</b> when he says that ... (1)
| <br/><b>sich gewaltig irren</b>
| 
| 
| (1) = <b>terribly mistaken</b>; = <b>greatly mistaken</b>; # <b>terribly mistaken</b>
| 10
| 0
|- 
| <br/>His theory is <b>totally inaccurate</b>. (1)
| <br/><b>vollkommen falsch</b>
| 
| 
| (1) = <b>totally inaccurate</b>; # <b>totally inaccurate</b>
| 10
| 0
|}


== Writing a Composition: Main Part: Logical Consequence ==

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|- 
| <br/><b>logical consequence</b>
| <br/><b>logische Folge</b>
| 
| 
| 
| 11
| 0
|- 
| <br/><b>So_/_Therefore_/_That is why</b> we cannot simply assume that ... (1)
| <br/><b>Deshalb</b>
| 
| 
| (1) = <b>So</b>; = <b>Therefore</b>; = <b>That is why</b>; # <b>Therefore</b>
| 11
| 0
|- 
| <br/><b>From all this it follows that ...</b>
| <br/><b>Aus all dem folgt,_dass ...</b>
| 
| 
| 
| 11
| 0
|- 
| <br/><b>The logical conclusion</b> from all this is that ... (1)
| <br/><b>die logische Schlussfolgerung</b>
| 
| 
| (1) = <b>The logical conclusion</b>; # <b>The logical conclusion</b>
| 11
| 0
|}


== Writing a Composition: Conclusion ==

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| <br/><b>conclusion</b>
| <br/><b>Schluss</b>
| 
| 
| 
| 12
| 0
|- 
| <br/><b>To conclude_/_In conclusion</b> you can safely say that ... (1)
| <br/><b>Zusammenfassend</b>
| 
| 
| (1) = <b>To concluden</b>; = <b>In conclusion</b>; # <b>To conclude</b>
| 12
| 0
|- 
| <br/><b>All in all</b> I therefore reject the view that ... (1)
| <br/><b>Alles in allem</b>
| 
| 
| (1) = <b>All in all</b>; # <b>All in all</b>
| 12
| 0
|- 
| <br/><b>To sum up</b> I am seriously opposed to the writer's position that ... (1)
| <br/><b>Zusammenfassend</b>
| 
| 
| (1) = <b>To sum up</b>; # <b>To sum up</b>
| 12
| 0
|- 
| <br/><b>In brief</b> I cannot accept the suggestion that ... (1)
| <br/><b>Kurz gesagt</b>
| 
| 
| (1) = <b>In brief</b>; # <b>In brief</b>
| 12
| 0
|- 
| <br/><b>Weighing the pros and cons</b> one comes to the conclusion that ... (1)
| <br/><b>Wenn man das Für und Wider abwägt ...</b>
| 
| 
| (1) = <b>Weighing the pros and cons</b>; # <b>Weighing the pros and cons</b>
| 12
| 0
|}


== Action and Plot ==

{| class="prettytable"
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|- 
| <br/><b>action</b> (1)
| <br/><b>Handlung</b>
| 
| 
| (1) Everything that happens in a fictional story. There are two different kinds of action.
| 13
| 0
|- 
| <br/><b>external action</b> (1)
| <br/><b>äußere Handlung</b>
| 
| 
| (1) What the characters do in the "real", physical world.
| 13
| 0
|- 
| <br/><b>internal action</b> (1)
| <br/><b>innere Handlung</b>
| 
| 
| (1) What takes place in a character's mind, i.e. his thoughts, feelings, memories, associations etc.
| 13
| 0
|- 
| <br/><b>plot</b> (1)
| <br/><b>Handlung_/_Handlungsstruktur</b>
| 
| 
| (1) An author's selection and arrangement of events in a fictional text. Discussions of plot include not just what happens, but also how and why things happen the way they do. Normally the plot develops in the following stages: exposition, rising action, climax/turning point, falling action and ending.
| 13
| 0
|- 
| <br/><b>exposition</b> (1)
| <br/><b>Exposition</b>
| 
| 
| (1) It introduces the main character(s), the theme and the setting.
| 13
| 0
|- 
| <br/><b>setting</b> (1)
| <br/><b>Schauplatz</b>
| 
| 
| (1) place, time and general social background of a story. For example a story may be set in 19th century England among poor workers.
| 13
| 0
|- 
| <br/><b>in medias res</b> (1)
| <br/><b>in medias res</b>
| 
| 
| (1) A Latin term used to describe the common strategy of beginning a story in the middle of the action. We enter the story at some exciting moment and learn only later about the events that led to this situation.
| 13
| 1
|- 
| <br/><b>rising action</b> (1)
| <br/><b>steigende Handlung</b>
| 
| 
| (1) The intial conflict intensifies and suspense increases.
| 13
| 0
|- 
| <br/><b>climax</b> (1)
| <br/><b>Höhepunkt</b>
| 
| 
| (1) The moment when the conflict is most intense.
| 13
| 0
|- 
| <br/><b>turning point</b> (1)
| <br/><b>Wende</b>
| 
| 
| (1) A change in the conflict or suspense. Climax and turning point are often hard to distinguish.
| 13
| 0
|- 
| <br/><b>falling action</b> (1)
| <br/><b>fallende Handlung</b>
| 
| 
| (1) The conflict becomes less intense and suspense is reduced
| 13
| 0
|- 
| <br/><b>dénouement</b> (from French "unknotting") (1)
| <br/><b>Auflösung</b>
| 
| 
| (1) The conflict is solved. A typical example is the <b>happy ending</b> (not: happy end) of many love stories and fairy tales ("And they lived happily ever after.")
| 13
| 0
|- 
| <br/><b>open ending</b> (1)
| <br/><b>offenes Ende</b>
| 
| 
| (1) The conflict is not solved and the reader is left wondering what might happen next.
| 13
| 1
|- 
| <br/><b>surprise ending</b> (1)
| <br/><b>überraschendes Ende</b>
| 
| 
| (1) The reader's expectations are not fulfilled, instead the story takes an unexpected turn.
| 13
| 1
|- 
| <br/><b>suspense</b> (1)
| <br/><b>Spannung</b>
| 
| 
| (1) A feeling of excitement when the reader does not know the outcome of a conflict.
| 13
| 0
|- 
| <br/><b>comic relief</b> (1)
| <br/><b>comic relief</b>
| 
| 
| (1) A humorous scene or event that reduces suspense in an otherwise serious or tragic situation. For example a character suddenly sneezes (<i>niesen</i>) during a burial (<i>Begräbnis</i>).
| 13
| 1
|- 
| <br/><b>flashback</b> (1)
| <br/><b>Rückblende</b>
| 
| 
| (1) An episode which interrupts the chronological order of a text in order to go back in time and show what happened earlier. A flashback may be used to tell for example the tragic childhood of the protagonist and thus explain his present problems.
| 13
| 0
|- 
| <br/><b>foreshadowing</b> / <b>anticipation</b> (1)
| <br/><b>Vorausdeutung</b>
| 
| 
| (1) The technique of hinting at (<i>andeuten</i>) later events so that the reader is prepared for them or can even anticipate them. In many cases already the exposition foreshadows / anticipates the outcome of the story.
| 13
| 0
|}


== Character ==

{| class="prettytable"
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|- 
| <br/><b>characters</b> (1)
| <br/><b>Person,_Figur</b>
| 
| 
| (1) The "people" in a fictional text. Do <i>not</i> use the words person or people.
| 14
| 0
|- 
| <br/><b>protagonist</b><i> also: </i><b>main_/_major character</b> (1)
| <br/><b>Protagonist</b>
| 
| 
| (1) = <b>protagonist</b>; = <b>main character</b>; = <b>major character</b>; The central character who engages the reader's interest.; # <b>protagonist</b>
| 14
| 0
|- 
| <br/><b>antagonist</b> (1)
| <br/><b>Antagonist</b>
| 
| 
| (1) The character that stands directly opposed to the protagonist and causes the conflict of the story.
| 14
| 0
|- 
| <br/><b>round character</b> (1)
| <br/><b>komplexe Figur</b>
| 
| 
| (1) A character who is similar to real individuals, has several traits and behaves in a way that is similar to real life. He often displays the inconsistencies and internal conflicts found in most real people. He usually changes in the course of a story.
| 14
| 0
|- 
| <br/><b>flat character</b> (1)
| <br/><b>eindimensionale Figur</b>
| 
| 
| (1) A character who has only one or two qualities or traits.
| 14
| 0
|- 
| <br/><b>stock characters</b> (1)
| <br/><b>Stereotypen</b>
| 
| 
| (1) Stereotypes such as the "dumb blonde" or the "mean stepmother".
| 14
| 1
|- 
| <br/><b>characterization</b> (1)
| <br/><b>Charakterisierung</b>
| 
| 
| (1) The way in which an author presents his or her characters.
| 14
| 1
|- 
| <br/><b>explicit_/_direct characterization</b> (1)
| <br/><b>explizite Charakterisierung</b>
| 
| 
| (1) = <b>explicit characterization</b>; = <b>direct characterization</b>; The reader is told directly about a character's personality by the narrator, another character or the character him- or herself. Examples: <i>Narrator: Tom was a kind man. Another character: Mrs Miller told her friend that Tom was a kind man. Character himself: (Tom to a friend) "You needn't worry, I'm kind and helpful."</i>; # <b>explicit characterization</b>
| 14
| 1
|- 
| <br/><b>implicit_/_indirect characterization</b> (1)
| <br/><b>implizite Charakterisierung</b>
| 
| 
| (1) = <b>implicit characterization</b>; = <b>indirect characterization</b>; The reader is expected to draw conclusions about a character by studying his appearance, behaviour, choice of words, opinions, way of talking etc. Examples: <i>Appearance: She was shabbily dressed in faded, torn pants and wrinkled gray shirt.  (Conclusion: She is poor.) Behaviour: He quickly ducked and raised his hands to cover his face as the older man approached him. (Conclusion: He is a coward.) Words: "I simply don't know what to do," Sam complained. (Conclusion: Sam is weak and indecisive).</i>; # <b>implicit characterization</b>
| 14
| 1
|}


== Narrator and Narrative Perspective ==

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|- 
| <br/><b>narrator</b> (1)
| <br/><b>Erzähler</b>
| 
| 
| (1) The "voice" that tells a story. Unless it is an autobiography, the narrator is <i>not</i> identical with the author/writer.
| 15
| 0
|- 
| <br/><b>point of view</b> (1)
| <br/><b>Erzählperspektive</b>
| 
| 
| (1) The perspective from which characters, events, etc. are presented in a fictional text. The chosen point of view has a strong effect on the reader; for example, we tend to respond (<i>reagieren</i>) more sympathetically to a character whose mind we "enter",  as we experience for ourselves what the character goes through. In the course of many stories the point of view changes to make reading more interesting.
| 15
| 0
|- 
| <br/><b>first person narrator_/_limited point of view</b> (1)
| <br/><b>Ich-Erzähler</b>
| 
| 
| (1) = <b>first person narrator</b>; = <b>limited point of view</b>; The narrator is a character in the story and uses the first person singular ("I"). This narrator may be either the protagonist  (<i>Hauptperson</i>) or a minor character, who is just a kind of observer (<i>neutraler Beobachter</i>). As first person narration presents the action through the eyes of only one character, the narrator has a limited point of view. The reader tends to identify with the narrator.; # <b>first person narrator</b>
| 15
| 0
|- 
| <br/><b>interior monologue</b> (1)
| <br/><b>innerer Monolog</b>
| 
| 
| (1) A particular form of first person narration which presents a character's thoughts, associations and memories. Interior monologues often do not follow chronological order, since, when people think, their thoughts jump from one subject to another.
| 15
| 0
|- 
| <br/><b>third person narrator_/_limited point of view</b> (1)
| <br/><b>personaler Erzähler_/_personales Erzählverhalten</b>
| 
| 
| (1) = <b>third person narrator</b>; = <b>limited point of view</b>; The narrator stands outside the story and uses the third person ("he", "she" or "they") to refer to the characters but presents the events mainly from the perspective of only one character, i.e. he "limits" himself to the perspective of this character.; # <b>third person narrator</b>
| 15
| 0
|- 
| <br/><b>reported thought</b> (1)
| <br/><b>erlebte Rede</b>
| 
| 
| (1) Thoughts, memories, associations, etc., are presented as reported speech (third person, past tense) but without common phrases like "she thought", "he wondered", "she asked herself" etc. This technique creates the illusion of intimate access to a character's mind.
| 15
| 0
|- 
| <br/><b>stream of consciousness</b> (1)
| <br/><b>Bewusstseinstrom</b>
| 
| 
| (1) An attempt to convey the continuous, often unstructured or even chaotic flow of thoughts and emotions in the human mind. Typical characteristics of this technique are incomplete sentences, sudden jumps or even complete lack of any traditional syntactical structure and punctuation.
| 15
| 0
|- 
| <br/><b>omniscient narrator</b> {[from Latin <i>omnis</i>: everything,_<i>scire</i>: to know]},_<b>third person narrator_/_unlimited point of view</b> (1)
| <br/><b>allwissender Erzähler</b>
| 
| 
| (1) = <b>omniscient narrator</b>; = <b>third person narrator</b>; = <b>unlimited point of view</b>; The narrator can (at least theoretically) look into the minds of all characters and tell us about their thoughts and feelings. He can look into the past, tell about the present and also anticipate the future.; # <b>omniscient narrator</b>
| 15
| 0
|- 
| <br/><b>intrusive narrator</b> (1)
| <br/><b>auktorialer Erzähler_/_auktoriales Erzählverhalten</b>
| 
| 
| (1) The narrator makes e.g. comments on the story, may reflect about the process of writing and may try to influence the reader. He sort of "intrudes" (<i>stören, eindringen</i>) on the reader and the reading process.
| 15
| 0
|- 
| <br/><b>mode of presentation</b> (1)
| <br/><b>Art der Darstellung</b>
| 
| 
| (1) The way a writer narrates events. The author can either tell the readers about events and their significance or <i>show</i> the reader what is happening. Most stories use a combination of both techniques.
| 15
| 0
|- 
| <br/><b>panoramic presentation</b> (1)
| <br/><b>berichtende Erzählung</b>
| 
| 
| (1) The narrator tells the story as a condensed (<i>verdichtet</i>) series of events, summarizing in a few sentences what happened over a longer period of time (= telling).
| 15
| 0
|- 
| <br/><b>scenic presentation</b> (1)
| <br/><b>szenische Erzählung</b>
| 
| 
| (1) An event is presented in detail as it occurred, i.e. a <i>scene</i> is described (= showing).
| 15
| 0
|}


== Stylistic Devices: Imagery ==

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|- 
| <br/><b>simile</b> (1)
| <br/><b>Vergleich</b>
| 
| 
| (1) an explicit comparison between two things which are basically quite different using words such as <i>like</i> or <i>as</i>.
| 16
| 0
|- 
| ~
| ~
| She walks like an angel. / I wandered lonely as a cloud. (Wordsworth)
| 
| 
| 
| 
|- 
| <br/><b>metaphor</b> (1)
| <br/><b>Metapher</b>
| 
| 
| (1) a comparison between two things which are basically quite different without using <i>like</i> or <i>as</i>. While a simile only says that one thing is <i>like</i> another, a metaphor says that one thing <i>is</i> another. (adj. metaphorical)
| 16
| 0
|- 
| ~
| ~
| All the world's a stage / And all the men and women merely players ... (Shakespeare)
| 
| 
| 
| 
|- 
| <br/><b>personification</b> (1)
| <br/><b>Verkörperung</b>
| 
| 
| (1) a kind of metaphor in which animals, plants, inanimate (<i>leblos</i>) objects or abstract ideas are represented as if they were human beings and possessed human qualities.
| 16
| 0
|- 
| ~
| ~
| Justice is blind. Necessity is the mother of invention (Not macht erfinderisch).
| 
| 
| 
| 
|- 
| <br/><b>synecdoche</b> (lat. <i>pars pro toto)</i> (1)
| <br/><b>Synekdoche</b>
| 
| 
| (1) a kind of metaphor in which a part of something is used to signify the whole.
| 16
| 1
|- 
| ~
| ~
| Lend me your ears (= give me your attention)
| 
| 
| 
| 
|- 
| <br/><b>symbol</b> (1)
| <br/><b>Symbol</b>
| 
| 
| (1) something concrete (like a person, object, image, word or event) that stands for something abstract or invisible.
| 16
| 0
|- 
| ~
| ~
| The Cross is the symbol of Christianity. The dove (<i>Taube</i>) symbolizes peace/is symbolic of peace.
| 
| 
| 
| 
|}


== Stylistic Devices: Sound ==

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|- 
| <br/><b>alliteration</b> (1)
| <br/><b>Alliteration</b>
| 
| 
| (1) the repetition of the same consonant sound in neighbouring words, usually at the beginning of words.
| 17
| 0
|- 
| ~
| ~
| <u>P</u>eter <u>P</u>iper <u>p</u>icked a <u>p</u>eck of <u>p</u>ickled <u>p</u>eppers.
| 
| 
| 
| 
|- 
| <br/><b>assonance</b> (1)
| <br/><b>Assonanz</b>
| 
| 
| (1) the repetition of internal vowel sounds in neighbouring words that do not end the same.
| 17
| 0
|- 
| ~
| ~
| sw<u>ee</u>t dr<u>ea</u>ms / f<u>e</u>rtile - b<u>i</u>rth
| 
| 
| 
| 
|- 
| <br/><b>consonance</b> (1)
| <br/><b>Konsonanz</b>
| 
| 
| (1) the repetition of consonant sounds at the end of neighbouring words which have different vowel sounds.
| 17
| 0
|- 
| ~
| ~
| streng<u>th</u> - ear<u>th</u> – bir<u>th</u> / ho<u>me</u> - sa<u>me</u>
| 
| 
| 
| 
|- 
| <br/><b>metre</b> (1)
| <br/><b>Metrum</b>
| 
| 
| (1) a regular pattern of stressed and unstressed syllables within a line of a poem.
| 17
| 0
|- 
| <br/><b>iambic</b> metre (1)
| <br/><b>Jambus</b>
| 
| 
| (1) an unstressed syllable followed by a stressed one (– '–):
| 17
| 0
|- 
| ~
| ~
| The <u>way</u> a <u>crow</u> (Krähe) / Shook <u>down</u> on <u>me</u> / The <u>dust</u> of <u>snow</u> / From a <u>hem</u>lock <u>tree</u> (Frost)
| 
| 
| 
| 
|- 
| <br/><b>trochaic</b> metre (1)
| <br/><b>Trochäus</b>
| 
| 
| (1) a stressed syllable followed by an unstressed one ('– –):
| 17
| 0
|- 
| ~
| ~
| <u>Ti</u>ger, <u>Ti</u>ger, <u>bur</u>ning <u>bright</u> / <u>In</u> the <u>for</u>est <u>of</u> the <u>night</u>. (William Blake)
| 
| 
| 
| 
|- 
| <br/><b>anapestic</b> metre (1)
| <br/><b>Anapäst</b>
| 
| 
| (1) two unstressed syllables followed by a stressed syllable (– – '–):
| 17
| 0
|- 
| ~
| ~
| Oh he <u>flies</u> through the <u>air</u> / With the <u>grea</u>test of <u>ease</u>.
| 
| 
| 
| 
|- 
| <br/><b>dactylic</b> metre (1)
| <br/><b>Daktylus</b>
| 
| 
| (1) a stressed syllable followed by two unstressed ones ('– – –):
| 17
| 0
|- 
| ~
| ~
| <u>Just</u> for a <u>hand</u>ful of <u>sil</u>ver he <u>left</u> us / <u>Just</u> for a <u>ri</u>band (<i>Band</i>) to <u>stick</u> in his <u>coat</u>.
| 
| 
| 
| 
|- 
| <br/><b>onomatopoeia</b> (1)
| <br/><b>Lautmalerei</b>
| 
| 
| (1) the use of words which imitate the sound they refer to. (adj. onomatopoeic)
| 17
| 0
|- 
| ~
| ~
| the stuttering (<i>stottern</i>) rifles' rapid rattle / The cuckoo whizzed past the buzzing bees.
| 
| 
| 
| 
|- 
| <br/><b>rhyme</b> (1)
| <br/><b>Reim</b>
| 
| 
| (1) the use of words which end with the same sounds, usually at the end of lines.
| 17
| 0
|- 
| ~
| ~
| Tiger! Tiger! burning bright / In the forests of the night.
| 
| 
| 
| 
|- 
| <br/><b>internal rhyme</b> (1)
| <br/><b>Binnenreim</b>
| 
| 
| (1) rhyme within a line.
| 17
| 1
|- 
| ~
| ~
| letters of joy from girl and boy
| 
| 
| 
| 
|- 
| <br/><b>impure rhyme</b> (1)
| <br/><b>unreiner Reim</b>
| 
| 
| (1) inaccurate (<i>ungenau</i>) repetition of sounds.
| 17
| 1
|- 
| ~
| ~
| hill - full; man - mean; sky - fine; seem - weak
| 
| 
| 
| 
|- 
| <br/><b>eye-rhyme</b> (1)
| <br/><b>Augenreim</b>
| 
| 
| (1) rhyme that does not depend on sound but on spelling. In older poems one has to consider that words were (maybe) pronounced differently from today.
| 17
| 1
|- 
| ~
| ~
| flow - how, beat - great, over - discover.
| 
| 
| 
| 
|}


== Stylistic Devices: Structure ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>parallelism</b> (1)
| <br/><b>Parallelismus</b>
| 
| 
| (1) the deliberate (<i>absichtlich</i>) repetition of similar or identical words, phrases or constructions in neighbouring lines, sentences or paragraphs.
| 18
| 0
|- 
| <br/><b>anaphora</b> (1)
| <br/><b>Anapher</b>
| 
| 
| (1) a form of parallelism where a word or several words are repeated at the beginning of successive (<i>aufeinander folgend</i>) lines, sentences or paragraphs.
| 18
| 0
|- 
| ~
| ~
| In every cry of every man / In every infant's cry of fear / In every voice, in every ban. (Blake London)
| 
| 
| 
| 
|- 
| <br/><b>inversion</b> (1)
| <br/><b>Inversion</b>
| 
| 
| (1) a change of the ususal word order (subject-verb-object).
| 18
| 0
|- 
| ~
| ~
| A lady with a dulcimer (<i>Hackbrett</i>) / In a vision once I saw.
| 
| 
| 
| 
|- 
| <br/><b>chiasmus</b> (1)
| <br/><b>Chiasmus,_Kreuzstellung</b>
| 
| 
| (1) a reversal in the order of words so that the second half of a sentence balances the first half in inverted (<i>umgekehrt</i>) word order.
| 18
| 0
|- 
| ~
| ~
| Love's fire heats water, water cools not love. (Shakespeare)
| 
| 
| 
| 
|- 
| <br/><b>climax</b> (1)
| <br/><b>Steigerung,_Höhepunkt,_Klimax</b>
| 
| 
| (1) a figure of speech in which a series of words or expressions rises step by step, beginning with the least important and ending with the most important (= climactic order). The term may also be used to refer only to the last item in the series.
| 18
| 0
|- 
| ~
| ~
| Some books are to be tasted, others to be swallowed (<i>schlucken</i>), and some few to be chewed (<i>kauen</i>) and digested (<i>verdauen</i>).
| 
| 
| 
| 
|- 
| <br/><b>anticlimax</b> (1)
| <br/><b>Antiklimax</b>
| 
| 
| (1) the sudden fall from an idea of importance or dignity (<i>Würde</i>) to something unimportant or ridiculous in comparison, especially at the end of a series.
| 18
| 0
|- 
| ~
| ~
| The bomb completely destroyed the cathedral, several dozen houses and my dustbin.
| 
| 
| 
| 
|- 
| <br/><b>enumeration</b> (1)
| <br/><b>Aufzählung</b>
| 
| 
| (1) the listing of words or phrases. It can stress a certain aspect e.g. by giving a number of similar or synonymous adjectives to describe something.
| 18
| 0
|- 
| ~
| ~
| Today many workers find their labor mechanical, boring, imprisoning, stultifying (<i>lähmend</i>), repetitive, dreary and heartbreaking.
| 
| 
| 
| 
|}


== Stylistic Devices: Miscellaneous ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>allusion</b> (1)
| <br/><b>Anspielung</b>
| 
| 
| (1) a brief reference to a person, place, thing, event or idea in history or literature. Allusions require common reading and cultural experiences shared by the writer and the reader. (v. to allude to sth., n. an allusion to sth.)
| 19
| 0
|- 
| ~
| ~
| The old man and the computer (allusion to <i>The Old man and the Sea</i> by Ernest Hemingway)
| 
| 
| 
| 
|- 
| <br/><b>ambiguity</b> (1)
| <br/><b>Ambiguität,_Zwei-/Mehrdeutigkeit</b>
| 
| 
| (1) the deliberate use of a word or phrase that has two or more relevant meanings. Ambiguity is the basis for a lot of wordplay. (adj. ambiguous)
| 19
| 0
|- 
| <br/><b>enjambment</b> (also: run-on line) (1)
| <br/><b>Enjambement</b>
| 
| 
| (1) = run-on line; In poetry, when one line ends without a pause and continues into the next line for its meaning.
| 19
| 0
|- 
| <br/><b>euphemism</b> (1)
| <br/><b>Euphemismus</b>
| 
| 
| (1) hiding the real nature of something unpleasant by using a mild or indirect term for it. (adj. euphemistic)
| 19
| 0
|- 
| ~
| ~
| "He has passed away." instead of "He has died." / "the underprivileged" instead of "the poor"
| 
| 
| 
| 
|- 
| <br/><b>hyperbole</b> also: <b>overstatement</b> (1)
| <br/><b>Hyperbel</b>
| 
| 
| (1) = <b>hyperbole</b>; = <b>overstatement</b>; deliberate (<i>absichtlich</i>) exaggeration. Its purpose is to emphasize something or to produce a humorous effect.; # <b>hyperbole</b>
| 19
| 0
|- 
| ~
| ~
| I'm so hungry I could eat a horse.
| 
| 
| 
| 
|- 
| <br/><b>understatement</b> (1)
| <br/><b>Untertreibung</b>
| 
| 
| (1) the opposite of hyperbole; the deliberate presentation of something as being much less important, valuable etc. than it really is.
| 19
| 0
|- 
| ~
| ~
| "These figures are a bit disappointing" instead of "... are disastrous (<i>katastrophal</i>)." / "He was quite upset" instead of "He went into a terrible rage".
| 
| 
| 
| 
|- 
| <br/><b>irony</b> (1)
| <br/><b>Ironie</b>
| 
| 
| (1) saying the opposite of what you actually mean. Do not use "ironic" in the vague sense of "funny/humorous". Sarcasm (<i>Sarkasmus</i>) is a strong form of verbal irony used to hurt someone through mockery (<i>Spott, Hohn</i>) or disapproval (<i>Ablehnung</i>). (adj. sarcastic)
| 19
| 0
|- 
| ~
| ~
| Teacher: "You are absolutely the best class I've ever had." Actual meaning: "the worst class"
| 
| 
| 
| 
|- 
| <br/><b>satire</b> (1)
| <br/><b>Satire</b>
| 
| 
| (1) a kind of text which criticizes certain conditions, events or people by making them appear ridiculous. Satirical texts often make use of exaggeration, irony and sarcasm. (n. satirist, adj. satirical, v. to satirize <i>satirisch darstellen</i>)
| 19
| 0
|- 
| <br/><b>sarcasm</b> (1)
| <br/><b>Sarkasmus</b>
| 
| 
| (1) bitter and aggressive humour used to express mockery (<i>Spott, Hohn</i>) or disapproval (<i>Ablehnung</i>). (adj. sarcastic)
| 19
| 0
|- 
| <br/><b>paradox</b> (1)
| <br/><b>Paradoxon</b>
| 
| 
| (1) a statement that seems to be self-contradictory (<i>widersprüchlich</i>) or opposed to common sense. On closer examination it mostly reveals some truth. (adj. paradoxical)
| 19
| 0
|- 
| ~
| ~
| The child is father of the man. (Wordsworth) / It is awfully hard work doing nothing. (Oscar Wilde)
| 
| 
| 
| 
|- 
| <br/><b>oxymoron</b> (1)
| <br/><b>Oxymoron</b>
| 
| 
| (1) a condensed (<i>komprimiert</i>) form of paradox in which two  contradictory words (mostly adjective and noun) are used together.
| 19
| 0
|- 
| ~
| ~
| sweet sorrow / wise fool / bittersweet / "O hateful love! O loving hate!" (<i>Romeo and Juliet</i>)
| 
| 
| 
| 
|- 
| <br/><b>pun</b> (1)
| <br/><b>Wortspiel</b>
| 
| 
| (1) a play on words that have the same (or a similar) sound but different meanings. There are a lot of puns in English because of its many homophones, i.e. words with the same sound as another. Homophones lose their ambiguity as soon as they are written.
| 19
| 0
|- 
| ~
| ~
| At the drunkard's funeral, four of his friends carried the bier. (bier Totenbahre vs. beer Bier)
| 
| 
| 
| 
|- 
| <br/><b>homonym</b> (1)
| <br/><b>Homonym</b>
| 
| 
| (1) A word with the same form as another but with a different meaning
| 19
| 0
|- 
| ~
| ~
| Is life worth living? – "It depends on the liver" (liver = sb. who lives vs. liver Leber)
| 
| 
| 
| 
|- 
| <br/><b>rhetorical question</b> (1)
| <br/><b>rhetorische Frage</b>
| 
| 
| (1) a question to which the answer is obvious and therefore not expected.  In reality rhetorical questions are a kind of statement.
| 19
| 0
|- 
| ~
| ~
| Don't we all love peace and hate war? / Shouldn't we try to be friendlier towards each other?
| 
| 
| 
| 
|- 
| <br/><b>telling name</b> (1)
| <br/><b>sprechender Name</b>
| 
| 
| (1) a name that conveys certain character traits.
| 19
| 0
|- 
| ~
| ~
| Darth Vader (dark + death, invader) / Lord Voldemort ("flight of death") / Willy Loman (low man)
| 
| 
| 
| 
|}


== Metaphors ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>At first glance</b> one could think ... (1)
| <br/><b>auf den ersten Blick</b>
| 
| 
| (1) = <b>At first glance</b>; # <b>At first glance</b>
| 20
| 0
|- 
| <br/>On the <b>literal level</b> ... (1)
| <br/><b>wörtliche Ebene</b>
| 
| 
| (1) = <b>literal level</b>; # <b>literal level</b>
| 20
| 0
|- 
| <br/>Normally the word "..." <b>denotes</b> x but here ... (1)
| <br/><b>wörtlich bedeuten</b>
| 
| 
| (1) = <b>denotes</b>; = <b>denote</b>; # <b>denote</b>
| 20
| 0
|- 
| <br/>X <b>evokes associations of</b> ... (1)
| <br/><b>Assoziationen wecken</b>
| 
| 
| (1) = <b>evokes associations of</b>; = <b>evoke associations of</b>; # <b>evoke associations of</b>
| 20
| 0
|- 
| <br/>X <b>makes</b> me <b>think of_/_reminds</b> me <b>of</b> ... (1)
| <br/><b>an etwas denken lassen</b>
| 
| 
| (1) = <b>make think of</b>; = <b>makes think of</b>; = <b>remind of</b>; = <b>reminds of</b>; # <b>make think of</b>
| 20
| 0
|- 
| <br/>The use of x <b>gives the impression that</b> ... (1)
| <br/><b>den Eindruck erwecken</b>
| 
| 
| (1) = <b>gives the impression that</b>; = <b>give the impression that</b>; # <b>give the impression that</b>
| 20
| 0
|- 
| <br/>X probably <b>refers to</b> ... (1)
| <br/><b>sich beziehen  auf</b>
| 
| 
| (1) = <b>refers to</b>; = <b>refer to</b>; # <b>refer to</b>
| 20
| 0
|- 
| <br/>For me x <b>implies</b> that ... (1)
| <br/><b>andeuten,_implizieren</b>
| 
| 
| (1) = <b>imply</b>; = <b>implies</b>; # <b>imply</b>
| 20
| 0
|- 
| <br/>In my view x <b>suggests_/_hints at</b> ... (1)
| <br/><b>andeuten,_denken lassen an</b>
| 
| 
| (1) = <b>suggests</b>; = <b>suggest</b>; = <b>hint at</b>; = <b>hints at</b>; # <b>suggest</b>
| 20
| 0
|- 
| <br/>Perhaps the writer <b>has</b> x <b>in mind</b> when ... (1)
| <br/><b>an etwas denken</b>
| 
| 
| (1) = <b>have in mind</b>; = <b>has in mind</b>; # <b>have in mind</b>
| 20
| 0
|- 
| <br/>On the <b>figurative/metaphorical level</b> ... (1)
| <br/><b>übertragene Ebene</b>
| 
| 
| (1) = <b>figurative level</b>; = <b>metaphorical level</b>; # <b>figurative level</b>
| 20
| 0
|- 
| <br/>X might <b>symbolize</b>_/_be a <b>symbol of</b> ... (1)
| <br/><b>symbolisieren</b>
| 
| 
| (1) = <b>symbolize</b>; = <b>symbol of</b>; # <b>symbolize</b>
| 20
| 0
|- 
| <br/>Maybe x <b>stands for</b> ... (1)
| <br/><b>stehen für</b>
| 
| 
| (1) = <b>stand for</b>; = <b>stands for</b>; # <b>stand for</b>
| 20
| 0
|- 
| <br/>This metaphor <b>conveys</b> a feeling of ... (1)
| <br/><b>vermitteln</b>
| 
| 
| (1) = <b>conveys</b>; = <b>convey</b>; # <b>convey</b>
| 20
| 0
|- 
| <br/>This metaphor could <b>mean</b> that ... (1)
| <br/><b>bedeuten</b>
| 
| 
| (1) = <b>mean</b>; # <b>mean</b>
| 20
| 0
|- 
| <br/>This phrase <b>is supposed to allude to</b> ... (1)
| <br/><b>soll anspielen auf</b>
| 
| 
| (1) = <b>is supposed to allude to</b>; # <b>is supposed to allude to</b>
| 20
| 0
|- 
| <br/>In my opinion this is an <b>allusion to</b> ... (1)
| <br/><b>Anspielung auf</b>
| 
| 
| (1) = <b>allusion to</b>; # <b>allusion to</b>
| 20
| 0
|- 
| <br/>X <b>connotes</b> ... (1)
| <br/><b>suggerieren</b>
| 
| 
| (1) = <b>connotes</b>; = <b>connote</b>; # <b>connote</b>
| 20
| 0
|- 
| <br/>X has positive <b>connotations</b>. (1)
| <br/><b>Konnotationen</b>
| 
| 
| (1) = <b>connotations</b>; # <b>connotations</b>
| 20
| 0
|- 
| <br/>This metaphor is rather <b>ambiguous</b> because ... (1)
| <br/><b>zwei-,_mehrdeutig</b>
| 
| 
| (1) = <b>ambiguous</b>; # <b>ambiguous</b>
| 20
| 0
|- 
| <br/>One might <b>infer_/_conclude</b> that ... (1)
| <br/><b>schließen,_folgern</b>
| 
| 
| (1) = <b>infer</b>; = <b>conclude</b>; # <b>infer</b>
| 20
| 0
|- 
| <br/>A <b>plausible conclusion</b> could be that ... (1)
| <br/><b>plausible Schlussfolgerung</b>
| 
| 
| (1) = <b>plausible conclusion</b>; # <b>plausible conclusion</b>
| 20
| 0
|}


== Short Stories ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>an ambiguous title</b> (1)
| <br/><b>eine mehrdeutige Überschrift</b>
| 
| 
| (1) unclear, confusing, or not certain, especially because it can be understood in more than one way
| 21
| 0
|- 
| <br/><b>to arouse the reader's interest</b> (1)
| <br/><b>das Interesse des Lesers wecken</b>
| 
| 
| (1) to make somebody become interested, expect something etc
| 21
| 0
|- 
| <br/><b>a short exposition</b> (1)
| <br/><b>eine kurze Exposition</b>
| 
| 
| (1) the beginning of a story that introduces the (main) characters, the theme and the setting
| 21
| 0
|- 
| <br/><b>main character_/_protagonist</b> (1)
| <br/><b>Hauptfigur_/_Protagonist</b>
| 
| 
| (1) = <b>main character</b>; = <b>protagonist</b>; the most important character in a play, film, or story
| 21
| 0
|- 
| <br/><b>a flat character</b> (1)
| <br/><b>eine eindimensionale Figur</b>
| 
| 
| (1) having only a limited number of traits or representing only a single quality
| 21
| 0
|- 
| <br/><b>a round character</b> (1)
| <br/><b>eine abgerundete,_mehrdimensionale Figur</b>
| 
| 
| (1) having several traits and behaving like in real life
| 21
| 0
|- 
| <br/><b>an unusual theme</b> (1)
| <br/><b>ein ungewöhnliches Thema</b>
| 
| 
| (1) the main subject or idea in a piece of writing, speech, film etc
| 21
| 0
|- 
| <br/><b>a confusing plot</b> (1)
| <br/><b>eine verwirrende Handlung_/_Handlungsstruktur</b>
| 
| 
| (1) the events that form the main story of a book, film, or play
| 21
| 0
|- 
| <br/><b>internal_/_external action</b> (1)
| <br/><b>innere_/_äußere Handlung</b>
| 
| 
| (1) = <b>internal action</b>; = <b>external action</b>; what is going on in the mind of a character / what a character does and the events that take place
| 21
| 0
|- 
| <br/><b>the setting of a story_/_the story is set in ...</b> (1)
| <br/><b>der Schauplatz_/_die Geschichte spielt ...</b>
| 
| 
| (1) = <b>the setting of a story is set in ...</b>; = <b>the story is set in ...</b>; the place or time where the events in a book, film etc happen
| 21
| 0
|- 
| <br/><b>an exciting rising action</b> (1)
| <br/><b>eine aufregende steigende Handlung</b>
| 
| 
| (1) the part of a story where the conflict is developed
| 21
| 0
|- 
| <br/><b>to create suspense</b> (1)
| <br/><b>Spannung erzeugen</b>
| 
| 
| (1) a feeling of excitement or anxiety when you do not know what will happen next
| 21
| 0
|- 
| <br/><b>a suspenseful climax</b> (1)
| <br/><b>ein spannender Höhepunkt</b>
| 
| 
| (1) the part of a story where the conflict reaches its highest point
| 21
| 0
|- 
| <br/><b>a surprising turning-point</b> (1)
| <br/><b>eine überraschende Wende</b>
| 
| 
| (1) the part of a story where the conflict changes
| 21
| 0
|- 
| <br/><b>falling action</b> (1)
| <br/><b>fallende Handlung</b>
| 
| 
| (1) the part of a story where the suspense is reduced
| 21
| 0
|- 
| <br/><b>a foreshadowing of the ending</b> (1)
| <br/><b>eine Vorausdeutung auf das Ende</b>
| 
| 
| (1) showing  or hinting at something that will happen in the future
| 21
| 0
|- 
| <br/><b>an unexpected denouement</b> (1)
| <br/><b>eine unerwartete Auflösung</b>
| 
| 
| (1) a kind of ending where the conflict is resolved
| 21
| 0
|- 
| <br/><b>a happy_/_tragic ending (not: happy end)</b> (1)
| <br/><b>ein Happy-End_/_ein tragisches Ende</b>
| 
| 
| (1) = <b>a happy ending</b>; = <b>a tragic ending</b>; an event or situation that makes you feel very sad, especially because it involves death or suffering
| 21
| 0
|- 
| <br/><b>a surprise_/_open ending</b> (1)
| <br/><b>ein überraschendes_/_offenes Ende</b>
| 
| 
| (1) = <b>a surprise ending</b>; = <b>an open ending</b>
| 21
| 0
|- 
| <br/><b>to fulfill the reader's expectations</b> (1)
| <br/><b>die Erwartungen des Lesers erfüllen</b>
| 
| 
| (1) what you think or hope will happen
| 21
| 0
|- 
| <br/><b>an omniscient narrator</b> (1)
| <br/><b>ein allwissender Erzähler (-]} auktoriale Erzählsituation)</b>
| 
| 
| (1) the person or character who tells the story in a book or a play
| 21
| 0
|- 
| <br/><b>a first-person narrator with a limited point of view</b> (1)
| <br/><b>ein Ich-Erzähler mit beschränkter Perspektive (-]} personale Erzählsituation)</b>
| 
| 
| (1) point of view: the perspective from which a story is told
| 21
| 0
|}


== Reading Poetry ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>to respond to a poem</b>
| <br/><b>auf ein Gedicht reagieren</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to verbalize one's response</b>
| <br/><b>seine Reaktion in Worte fassen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>initial_/_close reading</b> (1)
| <br/><b>erstes_/_genaues Lesen</b>
| 
| 
| (1) = <b>initial reading</b>; = <b>close reading</b>
| 22
| 0
|- 
| <br/><b>to formulate questions</b>
| <br/><b>Fragen formulieren</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a clearer understanding</b>
| <br/><b>ein besseres Verständnis</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>an intellectually challenging poem</b>
| <br/><b>ein intellektuell anspruchsvolles Gedicht</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a daunting task</b>
| <br/><b>eine schwierige/entmutigende Aufgabe</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to be intimidated by complexity</b>
| <br/><b>von der Komplexität eingeschüchtert werden</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>an accessible text</b>
| <br/><b>ein zugänglicher Text</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to create a mood</b>
| <br/><b>eine Stimmung erzeugen/hervorrufen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to convey a mood</b>
| <br/><b>eine Stimmung vermitteln</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to evoke emotions</b>
| <br/><b>Emotionen/Gefühle hervorrufen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to appeal to our senses</b>
| <br/><b>unsere Sinne ansprechen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to associate 'winter' with death</b>
| <br/><b>Winter mit Tod verbinden</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>'winter' makes me think of death</b>
| <br/><b>Winter lässt mich an Tod denken</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to be reminded of sth.</b>
| <br/><b>an etwas erinnert werden</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to stir the imagination</b>
| <br/><b>die Phantasie anregen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>an imaginative comparison</b>
| <br/><b>ein phantasievoller Vergleich</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to affect the reader</b>
| <br/><b>den Leser berühren</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to have an effect on the reader</b>
| <br/><b>eine Wirkung auf den Leser haben</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a vivid image</b>
| <br/><b>ein lebendiges/anschauliches Bild</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to establish a flowing rhythm</b>
| <br/><b>einen fließenden Rhythmus schaffen/erzeugen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>rhythmic patterns</b>
| <br/><b>rhythmische Muster</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a pleasing sound</b>
| <br/><b>ein angenehmer Klang</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>an impression is reinforced by sth.</b>
| <br/><b>ein Eindruck wird von etwas verstärkt</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>sth. contributes to meaning</b>
| <br/><b>etwas trägt zur Bedeutung bei</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>to achieve a particular effect</b>
| <br/><b>eine bestimmte Wirkung erzielen</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a subtle reference to sth.</b>
| <br/><b>ein subtiler Hinweis auf etwas</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a witty allusion to sth.</b>
| <br/><b>eine geistreiche Anspielung auf etwas</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a sophisticated metaphor</b>
| <br/><b>eine anspruchsvolle Metapher</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a hackneyed cliché</b>
| <br/><b>ein abgedroschenes Klischee</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>'bird' denotes a feathered animal</b>
| <br/><b>Vogel bezeichnet ein gefiedertes Tier</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>'bird' connotes freedom and fragility</b>
| <br/><b>Vogel bedeutet Freiheit und Zerbrechlichkeit</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>connotative language</b>
| <br/><b>assoziationsreiche Sprache</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>a stark contrast (to)</b>
| <br/><b>ein starker Gegensatz (zu)</b>
| 
| 
| 
| 22
| 0
|- 
| <br/><b>an accurate description (of)</b>
| <br/><b>eine genaue/präzise Beschreibung (von)</b>
| 
| 
| 
| 22
| 0
|}


== Cartoons ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>In my opinion the cartoon is supposed to ...</b> (1)
| <br/><b>Meiner Meinung nach soll die Karikatur ...</b>
| 
| 
| (1) cartoon: a funny drawing in a newspaper or magazine, especially about politicians or events in the news
| 23
| 0
|- 
| <br/><b>The cartoonist may want to convey that ...</b> (1)
| <br/><b>Der Karikaturist will vielleicht vermitteln,_dass</b>
| 
| 
| (1) to convey: to communicate or express something without saying it directly
| 23
| 0
|- 
| <br/><b>His message might be that ...</b> (1)
| <br/><b>Seine Botschaft könnte sein,_dass ...</b>
| 
| 
| (1) message: the main or most important idea that someone is trying to tell people about in a film, book, speech etc
| 23
| 0
|- 
| <br/><b>Perhaps his intention is to show that ...</b>
| <br/><b>Vielleicht ist es seine Absicht zu zeigen,_dass</b>
| 
| 
| 
| 23
| 0
|- 
| <br/><b>The cartoon implies that ...</b> (1)
| <br/><b>Die K. deutet daraufhin_/_impliziert,_dass ...</b>
| 
| 
| (1) to imply: to suggest something without saying it directly
| 23
| 0
|- 
| <br/><b>At first glance one might think that ...</b> (1)
| <br/><b>Auf den ersten Blick könnte man meinen,_dass</b>
| 
| 
| (1) at first glance: when you first look at something
| 23
| 0
|- 
| <br/><b>but a closer analysis shows that ...</b>
| <br/><b>aber eine genauere Analyse zeigt,_dass ...</b>
| 
| 
| 
| 23
| 0
|- 
| <br/><b>You could draw the conclusion that ...</b>
| <br/><b>Man könnte den Schluss ziehen,_dass ...</b>
| 
| 
| 
| 23
| 0
|- 
| <br/><b>to refer to ..._/_a reference to ...</b> (1)
| <br/><b>sich beziehen auf ..._/_ein Hinweis auf ...</b>
| 
| 
| (1) = <b>to refer to ...</b>; = <b>a reference to ...</b>
| 23
| 0
|- 
| <br/><b>to allude to an event_/_an allusion to sth.</b> (1)
| <br/><b>auf ein Ereignis anspielen_/_Anspielung auf etwas</b>
| 
| 
| (1) = <b>to allude to an event</b>; = <b>an allusion to sth.</b>; to allude: to mention something or someone indirectly
| 23
| 0
|- 
| <br/><b>a speech bubble_/_thought bubble</b> (1)
| <br/><b>eine Sprechblase_/_Gedankenblase</b>
| 
| 
| (1) = <b>a speech bubble</b>; = <b>a thought bubble</b>; speech bubble: the circle around the words said by someone in a cartoon
| 23
| 0
|- 
| <br/><b>a funny caption</b> (1)
| <br/><b>eine komische Bildunterschrift</b>
| 
| 
| (1) caption: the words printed below a picture or cartoon
| 23
| 0
|- 
| <br/><b>on the (visual) surface</b> (1)
| <br/><b>auf der (visuellen) Oberfläche</b>
| 
| 
| (1) = <b>on the surface </b>; = <b>on the visual surface </b>
| 23
| 0
|- 
| <br/><b>on the figurative_/_symbolic level</b> (1)
| <br/><b>auf der übertragenen_/_symbolischen Ebene</b>
| 
| 
| (1) = <b>on the figurative level</b>; = <b>on the symbolic level</b>
| 23
| 0
|- 
| <br/><b>X stands for_/_symbolizes ...</b> (1)
| <br/><b>X steht für_/_symbolisiert ...</b>
| 
| 
| (1) = <b>X stands for ...</b>; = <b>X symbolizes ...</b>
| 23
| 0
|- 
| <br/><b>to exaggerate character traits</b>
| <br/><b>Charaktereigenschaften übertreiben</b>
| 
| 
| 
| 23
| 0
|- 
| <br/><b>a slight_/_gross exaggeration</b> (1)
| <br/><b>eine leichte_/_grobe Übertreibung</b>
| 
| 
| (1) = <b>a slight exaggeration</b>; = <b>a gross exaggeration</b>
| 23
| 0
|- 
| <br/><b>a satirical description (of)</b> (1)
| <br/><b>eine satirische Beschreibung (von)</b>
| 
| 
| (1) = <b>a satirical description of</b>
| 23
| 0
|- 
| <br/><b>to satirize sth.</b> (1)
| <br/><b>etwas satirisch darstellen</b>
| 
| 
| (1) to satirize: to use satire to make people see sb.'s faults
| 23
| 0
|- 
| <br/><b>to criticize the behaviour of politicians</b> (1)
| <br/><b>das Verhalten von Politikern kritisieren</b>
| 
| 
| (1) to criticize: to express disapproval of someone or something
| 23
| 0
|- 
| <br/><b>critical (towards)_/_sharp criticism (of )</b> (1)
| <br/><b>kritisch (gegenüber)_/_scharfe Kritik (an)</b>
| 
| 
| (1) = <b>critical (towards)</b>; = <b>critical towards</b>; = <b>critical</b>; = <b>sharp criticism (of )</b>; = <b>sharp criticism of </b>; = <b>sharp criticism</b>
| 23
| 0
|- 
| <br/><b>an outspoken critic (of)</b> (1)
| <br/><b>ein freimütiger Kritiker (von)</b>
| 
| 
| (1) = <b>an outspoken critic of</b>; outspoken: expressing your opinions honestly and directly, even when doing this might annoy some people
| 23
| 0
|- 
| <br/><b>to disapprove of sth._/_strong disapproval (of)</b> (1)
| <br/><b>etwas missbilligen_/_starke Ablehnung (von)</b>
| 
| 
| (1) = <b>to disapprove of sth.</b>; = <b>strong disapproval (of)</b>; = <b>strong disapproval of</b>; = <b>strong disapproval</b>; to disapprove: to think that someone or something is bad or morally wrong
| 23
| 0
|- 
| <br/><b>to make fun of_/_to poke fun at sb./sth.</b> (1)
| <br/><b>sich über jemand/etwas lustig machen</b>
| 
| 
| (1) = <b>to make fun of sb./sth. </b>; = <b>to poke fun at sb./sth. </b>; # <b>to make fun of sb./sth. </b>
| 23
| 0
|- 
| <br/><b>to ridicule sb.</b> (1)
| <br/><b>jemand lächerlich machen</b>
| 
| 
| (1) to ridicule: to laugh at a person, idea etc and say that they are stupid
| 23
| 0
|- 
| <br/><b>heavy sarcasm</b> (1)
| <br/><b>beißender Sarkasmus</b>
| 
| 
| (1) sarcasm: a way of speaking or writing that involves saying the opposite of what you really mean in order to make an unkind joke or to show that you are annoyed
| 23
| 0
|- 
| <br/><b>to make a sarcastic comment (on)</b> (1)
| <br/><b>einen sarkastischen Kommentar machen</b>
| 
| 
| (1) = <b>to make a sarcastic comment on</b>
| 23
| 0
|}


== Car Advertisements: Social Desires ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>to appeal to subconscious wishes</b> (1)
| <br/><b>unterbewusste Wünsche ansprechen</b>
| 
| 
| (1) feelings, desires etc that are hidden in your mind and affect your behaviour, but you do not know that you have them
| 24
| 0
|- 
| <br/><b>to long for an ideal family life</b> (1)
| <br/><b>sich nach einem idealen Familienleben sehnen</b>
| 
| 
| (1) a world, job, system etc that you imagine to be perfect, but that is not likely to really exist
| 24
| 0
|- 
| <br/><b>exuberant children</b> (1)
| <br/><b>übermütige Kinder</b>
| 
| 
| (1) happy and full of energy and excitement; noun: exuberance
| 24
| 0
|- 
| <br/><b>to share the joy of playing</b> (1)
| <br/><b>die Freude des Spielens miteinander teilen</b>
| 
| 
| (1) to have or use something with other people
| 24
| 0
|- 
| <br/><b>to play hide-and-seek</b> (1)
| <br/><b>Verstecken spielen</b>
| 
| 
| (1) a children's game in which one player shuts their eyes while the others hide, and then goes to look for them
| 24
| 0
|- 
| <br/><b>a cheerful_/_gentle smile</b> (1)
| <br/><b>ein fröhliches_/_sanftes Lächeln</b>
| 
| 
| (1) = <b>a cheerful smile</b>; = <b>a gentle smile</b>; cheerful: happy, or behaving in a way that shows you are happy
| 24
| 0
|- 
| <br/><b>to be in a good mood</b> (1)
| <br/><b>in guter Stimmung sein</b>
| 
| 
| (1) mood: the way you feel at a particular time
| 24
| 0
|- 
| <br/><b>to laugh with delight</b> (1)
| <br/><b>glücklich lachen</b>
| 
| 
| (1) a feeling of great pleasure and satisfaction
| 24
| 0
|- 
| <br/><b>sheer bliss</b> (1)
| <br/><b>reine Glückseligkeit</b>
| 
| 
| (1) perfect happiness or enjoyment
| 24
| 0
|- 
| <br/><b>pure_/_untouched_/_idyllic nature</b> (1)
| <br/><b>reine_/_unberührte_/_idyllische Natur</b>
| 
| 
| (1) = <b>pure nature</b>; = <b>untouched nature</b>; = <b>idyllic nature</b>; idyllic: very beautiful and peaceful, with no problems or dangers
| 24
| 0
|- 
| <br/><b>gently rolling hills</b> (1)
| <br/><b>sanft gewellte Hügel</b>
| 
| 
| (1) having many long gentle slopes (Hänge)
| 24
| 0
|- 
| <br/><b>a romantic sunset</b> (1)
| <br/><b>ein romantischer Sonnenuntergang</b>
| 
| 
| (1) beautiful in a way that affects your emotions and makes you think of love or adventure
| 24
| 0
|- 
| <br/><b>the car "blends" with nature_/_its surroundings</b> (1)
| <br/><b>das Auto „vermischt" sich mit der Natur_/_seiner Umgebung</b>
| 
| 
| (1) = <b>the car "blends" with nature</b>; = <b>the car "blends" with its surroundings</b>; to thoroughly mix together substances to form a single substance
| 24
| 0
|- 
| <br/><b>a close_/_intimate relationship</b> (1)
| <br/><b>eine enge_/_intime Beziehung</b>
| 
| 
| (1) = <b>a close relationship</b>; = <b>an intimate relationship</b>; intimate: having an extremely close friendship
| 24
| 0
|- 
| <br/><b>mutual understanding_/_trust</b> (1)
| <br/><b>gegenseitiges Verstehen_/_Vertrauen</b>
| 
| 
| (1) = <b>mutual understanding</b>; = <b>mutual trust</b>; feelings, such as respect, trust, or hatred, that two or more people have for each other
| 24
| 0
|- 
| <br/><b>to listen attentively</b> (1)
| <br/><b>aufmerksam zuhören</b>
| 
| 
| (1) listening to or watching someone carefully because you are interested
| 24
| 0
|- 
| <br/><b>The facial expression suggests that ...</b> (1)
| <br/><b>Der Gesichtsausdruck deutet darauf hin,_dass ...</b>
| 
| 
| (1) to make someone think that a particular thing is true
| 24
| 0
|- 
| <br/><b>His body language conveys that ...</b> (1)
| <br/><b>Seine Körpersprache drückt aus,_dass ...</b>
| 
| 
| (1) to communicate or express something, with or without using words
| 24
| 0
|- 
| <br/><b>to appeal to a target group</b> (1)
| <br/><b>eine Zielgruppe ansprechen</b>
| 
| 
| (1) to try to persuade someone to do something
| 24
| 0
|}


== Car Advertisements: Sexual Desires ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>The advertisement conveys the message that ...</b> (1)
| <br/><b>Die Anzeige vermittelt die Botschaft,_dass ...</b>
| 
| 
| (1) the main or most important idea that someone is trying to tell people about in a film, book, speech etc
| 25
| 0
|- 
| <br/><b>suggests that ...</b>
| <br/><b>deutet an,_dass ...</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>makes the viewer believe that ...</b>
| <br/><b>lässt den Betrachter glauben,_dass ...</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>is supposed to create the impression that ...</b>
| <br/><b>soll den Eindruck erwecken,_dass ...</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>evokes the association that ...</b>
| <br/><b>weckt die Assoziation,_dass ...</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>to appeal to male_/_subconscious desires</b> (1)
| <br/><b>männliche Wünsche_/_Begierden ansprechen</b>
| 
| 
| (1) = <b>to appeal to male desires</b>; = <b>to appeal to subconscious desires</b>
| 25
| 0
|- 
| <br/><b>erotic pictures</b>
| <br/><b>erotische Bilder</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>sexually attractive_/_exciting</b> (1)
| <br/><b>sexuell anziehend_/_erregend</b>
| 
| 
| (1) = <b>sexually attractive</b>; = <b>sexually exciting</b>
| 25
| 0
|- 
| <br/><b>to have sex appeal</b> (1)
| <br/><b>Sexappeal besitzen</b>
| 
| 
| (1) someone's appearance, behaviour, or personality that makes them sexually attractive
| 25
| 0
|- 
| <br/><b>to arouse sb. (sexually)</b> (1)
| <br/><b>jmd. (sexuell) erregen</b>
| 
| 
| (1) = <b>to arouse sb. sexually</b>
| 25
| 0
|- 
| <br/><b>sexual allusions</b>
| <br/><b>sexuelle Anspielungen</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>(half-)naked_/_partially dressed women</b> (1)
| <br/><b>(halb-)nackte_/_teilweise bekleidete Frauen</b>
| 
| 
| (1) = <b>(half-)naked women</b>; = <b>half-naked women</b>; = <b>naked women</b>; = <b>partially dressed women</b>
| 25
| 0
|- 
| <br/><b>a tight skirt</b> (1)
| <br/><b>ein enger Rock</b>
| 
| 
| (1) just big enough for you to wear, often uncomfortable
| 25
| 0
|- 
| <br/><b>a skintight dress</b> (1)
| <br/><b>ein hautenges Kleid</b>
| 
| 
| (1) fitting exactly to the shape of your body, especially in a way that looks sexually attractive
| 25
| 0
|- 
| <br/><b>a desirable woman</b> (1)
| <br/><b>eine begehrenswerte Frau</b>
| 
| 
| (1) sexually attractive
| 25
| 0
|- 
| <br/><b>a voluptous woman</b> (1)
| <br/><b>eine üppige/sinnliche Frau</b>
| 
| 
| (1) a woman who has large breasts and an attractive, rounded body, so that men feel sexually attracted to her
| 25
| 0
|- 
| <br/><b>to look gorgeous</b> (1)
| <br/><b>phantastisch aussehen</b>
| 
| 
| (1) (spoken) extremely attractive, in a sexual way
| 25
| 0
|- 
| <br/><b>to look stunning</b> (1)
| <br/><b>umwerfend aussehen</b>
| 
| 
| (1) extremely beautiful and sexually attractive, in a way that everyone notices and admires
| 25
| 0
|- 
| <br/><b>bare shoulders_/_breasts</b> (1)
| <br/><b>nackte Schultern_/_Brüste</b>
| 
| 
| (1) = <b>bare shoulders</b>; = <b>bare breasts</b>; not covered by any clothes
| 25
| 0
|- 
| <br/><b>the perfect body of a nude woman</b> (1)
| <br/><b>der vollkommene Körper einer nackten Frau</b>
| 
| 
| (1) not wearing any clothes
| 25
| 0
|- 
| <br/><b>the delicate curves of a female body</b> (1)
| <br/><b>die zarten Rundungen eines weiblichen Körpers</b>
| 
| 
| (1) attractive and graceful
| 25
| 0
|- 
| <br/><b>impressive abs (infml.)_/_abdominals</b> (1)
| <br/><b>beeindruckende Bauchmuskeln</b>
| 
| 
| (1) = <b>impressive abs (infml.)</b>; = <b>impressive abs</b>; = <b>impressive abdominals</b>; so good that you admire it; # <b>impressive abdominals</b>
| 25
| 0
|- 
| <br/><b>a sexy look</b>
| <br/><b>ein erregender Blick</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>a seductive smile</b>
| <br/><b>ein verführerisches Lächeln</b>
| 
| 
| 
| 25
| 0
|- 
| <br/><b>full_/_sensual_/_glossy lips</b> (1)
| <br/><b>volle_/_sinnliche_/_glänzende Lippen</b>
| 
| 
| (1) = <b>full lips</b>; = <b>sensual lips</b>; = <b>glossy lips</b>; sensual: seeming to show strong sexual feelings and a desire for sexual pleasure
| 25
| 0
|- 
| <br/><b>a suggestive gesture</b> (1)
| <br/><b>eine anzügliche Geste</b>
| 
| 
| (1) making you think of sex
| 25
| 0
|- 
| <br/><b>a provocative pose</b> (1)
| <br/><b>eine aufreizende Pose</b>
| 
| 
| (1) intended to make someone sexually excited
| 25
| 0
|}


== Films: Shots ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>extreme long shot</b> (ELS)<b>_/_panoramic shot</b> (1)
| <br/><b>Panoramaeinstellung</b>
| 
| 
| (1) = <b>extreme long shot</b>; = <b>panoramic shot</b>; = <b>ELS</b>; The camera is far away from the subject, emphasising the surroundings (<i>Umgebung</i>) e.g. a tiny group of riders in a vast landscape in a western.; # <b>extreme long shot</b>
| 26
| 0
|- 
| <br/><b>long shot</b> (LS) (1)
| <br/><b>Totale</b>
| 
| 
| (1) = LS; A human usually takes up less than half the height of the frame (<i>Bild</i>), often used to show the setting of a scene.
| 26
| 0
|- 
| <br/><b>medium shot</b> (MS) (1)
| <br/><b>Halbnah</b>
| 
| 
| (1) = MS; The subject and the surroundings have about equal importance. The picture shows e.g. the upper body of a person.
| 26
| 0
|- 
| <br/><b>close-up</b> (CU) (1)
| <br/><b>Großaufnahme</b>
| 
| 
| (1) = CU; The subject fills most of the frame (e.g. the entire head) and little of the surroundings is shown. Close-ups are often used to show a character's feelings.
| 26
| 0
|- 
| <br/><b>extreme close-up</b> (ECU) (1)
| <br/><b>Detailaufnahme</b>
| 
| 
| (1) = ECU; For example only the eyes or a certain object (like a knife or a gun) are shown.
| 26
| 0
|- 
| <br/><b>establishing shot</b> (1)
| <br/><b>Anfangseinstellung</b>
| 
| 
| (1) Usually a long shot or an extreme long shot, which "establishes", i.e. shows the setting (<i>Schauplatz</i>) often at the beginning of a film.
| 26
| 0
|- 
| <br/><b>POV shot</b> (point-of-view) (1)
| <br/><b>subjektive Kamera</b>
| 
| 
| (1) The camera adopts (<i>übernehmen</i>) the perspective of a character. We see what a character sees and therefore often identify with him/her.
| 26
| 0
|- 
| <br/><b>reaction shot</b> (1)
| <br/><b>{[reaction shot]}</b>
| 
| 
| (1) Someone's face reacting to an event, for example when a villain (<i>Bösewicht</i>) comes into a saloon. Before we see him we see the fearful expression on the faces of some of the guests.
| 26
| 1
|}


== Films: Camera Positions ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>aerial shot_/_bird's-eye view</b> (1)
| <br/><b>Vogelperspektive</b>
| 
| 
| (1) = <b>aerial shot</b>; = <b>bird's-eye view</b>; The camera looks down from a great height (often from a helicopter), frequently used in an establishing shot to give the viewer an overall impression of the setting.; # <b>aerial shot</b>
| 27
| 0
|- 
| <br/><b>high angle shot</b> (1)
| <br/><b>Aufsicht</b>
| 
| 
| (1) The camera looks down at a character, making the character smaller e.g. to reduce his importance or convey loneliness.
| 27
| 0
|- 
| <br/><b>eye-level shot</b> (1)
| <br/><b>Normalsicht</b>
| 
| 
| (1) The camera is on the same level as the character.
| 27
| 0
|- 
| <br/><b>low angle shot</b> (1)
| <br/><b>Untersicht/Froschperspektive</b>
| 
| 
| (1) The camera looks up e.g. to emphasize a character's importance and/or power. A director may use a low angle shot to show a scene from a child's perspective to convey fear and inferiority (<i>Unterlegenheit</i>).
| 27
| 0
|}


== Films: Camera Movements ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>panning shot</b> (1)
| <br/><b>Horizontalschwenk</b>
| 
| 
| (1) A horizontal movement of a stationary (<i>feststehend</i>) camera. It corresponds to the turning of our head from one side to the other, used e.g.  to present a <u>pan</u>oramic view of a wide landscape in a western.
| 28
| 0
|- 
| <br/><b>swish pan</b> (1)
| <br/><b>Reißschwenk</b>
| 
| 
| (1) A very fast panning shot which produces blurred images, often used to convey great speed.
| 28
| 0
|- 
| <br/><b>tilting shot</b> (1)
| <br/><b>Vertikalschwenk</b>
| 
| 
| (1) A vertical movement of a stationary camera, corresponding to moving our head up and down.
| 28
| 0
|- 
| <br/><b>mobile camera</b> (1)
| <br/><b>{[mobile Kamera]}</b>
| 
| 
| (1) There are different ways to move the camera. One way is to move a platform with the camera and its operator on <b>tracks</b> (<i>Schienen</i>).
| 28
| 1
|- 
| <br/><b>tracking_/_traveling shot</b> (1)
| <br/><b>{[tracking shot]}</b>
| 
| 
| (1) = <b>tracking shot</b>; = <b>traveling shot</b>; A shot in which the camera moves from one point to another, either sideways, in, or out.; # <b>tracking shot</b>
| 28
| 1
|- 
| <br/><b>forward tracking shot</b> (1)
| <br/><b>Verfolgungsfahrt</b>
| 
| 
| (1) The camera follows a person from behind, e.g. during a chase.
| 28
| 0
|- 
| <br/><b>reverse tracking shot</b> (1)
| <br/><b>Rückwärtsverfolgung</b>
| 
| 
| (1) The camera moves backwards (= reverse), a character moves towards the camera, e.g. a man tries to escape and runs towards the viewer.
| 28
| 0
|- 
| <br/><b>parallel tracking shot</b> (1)
| <br/><b>Parallelverfolgung</b>
| 
| 
| (1) The camera moves parallel e.g. to a driving car or a group of riders.
| 28
| 0
|- 
| <br/><b>dolly</b> (1)
| <br/><b>Kamerawagen</b>
| 
| 
| (1) A platform on wheels used to move the camera and its operator around while filming.
| 28
| 0
|- 
| <br/><b>crane</b> (1)
| <br/><b>Kran</b>
| 
| 
| (1) Mechanical device to position the camera in the air or to move it above the ground; mostly used for high angle shots.
| 28
| 0
|- 
| <br/><b>hand-held camera</b> (1)
| <br/><b>{[Handkamera]}</b>
| 
| 
| (1) Sometimes used to produce a deliberately <b>jerky</b> (<i>verwackelt</i>) picture, e.g. to convey emotional turmoil (<i>seelische Qualen</i>).
| 28
| 1
|- 
| <br/><b>zoom</b> (1)
| <br/><b>Linse</b>
| 
| 
| (1) A special lens gives the camera the apparent power to vary its distance from any subject. It creates the effect of smooth and fluid movement toward or away from the subject without actually requiring any movement of the camera. You <b>zoom in</b> on a character or an object.
| 28
| 0
|}


== Films: Focus ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>focus</b>
| <br/><b>{[Schärfe]}</b>
| 
| 
| 
| 29
| 1
|- 
| <br/><b>sharp_/_in focus</b> (1)
| <br/><b>scharf</b>
| 
| 
| (1) = <b>sharp</b>; = <b>in focus</b>
| 29
| 0
|- 
| <br/><b>blurred out of focus</b>
| <br/><b>unscharf,_verschwommen</b>
| 
| 
| 
| 29
| 0
|- 
| <br/><b>to focus on</b> (1)
| <br/><b>scharf stellen</b>
| 
| 
| (1) As the human eye is automatically drawn to the object which is in focus, the director may guide the viewer's attention by <b>focussing on</b> e.g. a certain character or object.
| 29
| 0
|- 
| <br/><b>deep focus</b> (1)
| <br/><b>Tiefenschärfe</b>
| 
| 
| (1) The photographic technique of keeping the entire image, no matter how far from the camera, in sharp focus. This allows action to occur at the same time in the foreground (<i>Vordergrund</i>), middleground and background.
| 29
| 0
|- 
| <br/><b>shallow focus</b> (1)
| <br/><b>geringe Tiefenschärfe</b>
| 
| 
| (1) Only people or objects in the foreground are in focus, whereas the background is blurred; thus the importance e.g. of a dialogue can be visualized.
| 29
| 0
|- 
| <br/><b>soft focus</b> (1)
| <br/><b>Weichzeichner</b>
| 
| 
| (1) A special lens creates a "soft", dream-like picture, which often conveys that a character remembers e.g. his wonderful youth.
| 29
| 0
|}


== Films: Editing ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>shot</b> (1)
| <br/><b>Einstellung</b>
| 
| 
| (1) The smallest structural unit of film is a shot.
| 30
| 0
|- 
| <br/><b>scene</b> (1)
| <br/><b>Szene</b>
| 
| 
| (1) A group of several interrelated shots form a scene.
| 30
| 0
|- 
| <br/><b>sequence</b> (1)
| <br/><b>Sequenz</b>
| 
| 
| (1) A group of consecutive (<i>aufeinander folgend</i>) and interrelated scenes which form a narrative unit (<i>Einheit</i>) are called sequence.
| 30
| 0
|- 
| <br/><b>editing</b> (1)
| <br/><b>schneiden</b>
| 
| 
| (1) Editing is the creative process of assembling (<i>zusammenfügen</i>) a meaningful film. The person who does this is called <b>editor</b> (<i>Cutter</i>).
| 30
| 0
|- 
| <br/><b>cut</b> (1)
| <br/><b>Schnitt</b>
| 
| 
| (1) The most common transition (<i>Übergang</i>) between shots, made by joining the end of one shot to the beginning of the following shot.
| 30
| 0
|- 
| <br/><b>fade-in</b> (1)
| <br/><b>Aufblende</b>
| 
| 
| (1) An image that appears out of a black field. It is frequently used at the beginning of a film.
| 30
| 0
|- 
| <br/><b>fade-out</b> (1)
| <br/><b>Abblende</b>
| 
| 
| (1) A picture fades (<i>langsam verschwinden</i>) into black, used e.g. at the end of a film as a gradual exit from its world.
| 30
| 0
|- 
| <br/><b>dissolve</b><i> also</i>: <b>lap dissolve</b> (1)
| <br/><b>Überblende</b>
| 
| 
| (1) = <b>dissolve</b>; = <b>lap dissolve</b>; A transition between shots in which one shot begins to fade out as the next shot fades in, over<u>lap</u>ping the first shot before replacing it.; # <b>dissolve</b>
| 30
| 0
|- 
| <br/><b>wipe</b> (1)
| <br/><b>Wischblende</b>
| 
| 
| (1) One shot is "pushed off" the screen by the next shot. The most common wipe is a vertical line, moving across the screen from one side to the other.
| 30
| 0
|- 
| <br/><b>cross-cutting</b> (1)
| <br/><b>{[cross-cutting]}</b>
| 
| 
| (1) Alternating (<i>abwechseln</i>) between subjects or events occurring at the same time at different places; often used to create suspense. Example: Cross-cutting between a murderer threatening to kill his female victim and the detective coming to save her.
| 30
| 1
|}


== Films: Visual Effects ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>slow motion_/_slomo</b> (1)
| <br/><b>Zeitlupe</b>
| 
| 
| (1) = <b>slow motion</b>; = <b>slomo</b>; Movements on the screen are slower than in real-life. Slow motion is used e.g. to increase the impact of a dramatic fight like in <i>Matrix</i>.; # <b>slow motion</b>
| 31
| 0
|- 
| <br/><b>fast motion</b> (1)
| <br/><b>Zeitraffer</b>
| 
| 
| (1) Movements on the screen are faster than in reality, often used for comic effects.
| 31
| 0
|- 
| <br/><b>freeze frame</b> (1)
| <br/><b>Standbild</b>
| 
| 
| (1) An unmoving picture, that is used e.g. to create the impression that all action has suddenly stopped.
| 31
| 0
|- 
| <br/><b>morphing</b> (1)
| <br/><b>{[morphing]}</b>
| 
| 
| (1) Changing an image with the help of <b>CGI</b> (Computer Generated Image) software, e.g. robots changing into humans in the <i>Terminator</i> movies.
| 31
| 1
|}


== Films: Miscellaneous ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Englisch <!-- W1 -->
! Deutsch <!-- W2 -->
! Englisch: Satz <!-- S1 -->
! Deutsch: Satz <!-- S2 -->
! Zusatz <!-- INFO -->
! Kapitel <!-- REF Kapitel -->
! Attribut <!-- REF Attribut -->
|- 
| <br/><b>director</b>
| <br/><b>Regisseur</b>
| 
| 
| 
| 32
| 0
|- 
| <br/><b>cinematographer_/_cameraman</b> (1)
| <br/><b>Kameramann</b>
| 
| 
| (1) = <b>cinematographer</b>; = <b>cameraman </b>; # <b>cinematographer</b>
| 32
| 0
|- 
| <br/><b>props</b>
| <br/><b>Requisiten</b>
| 
| 
| 
| 32
| 0
|- 
| <br/><b>subjective sound</b> (1)
| <br/><b>subjektiver Ton</b>
| 
| 
| (1) "Unreal" sound, i.e. we hear something the way a character perceives (<i>wahrnehmen</i>) something; for example normal steps may become very loud and threatening (<i>bedrohlich</i>) because a woman is alone in a house and afraid of a burglar (<i>Einbrecher</i>).
| 32
| 1
|- 
| <br/><b>voice-over</b> (1)
| <br/><b>Erzählerkommentar</b>
| 
| 
| (1) The voice of a narrator who speaks and comments on the story but is not shown.
| 32
| 0
|- 
| <br/><b>flashback</b> (1)
| <br/><b>Rückblende</b>
| 
| 
| (1) A scene that interrupts the chronological order to show earlier events.
| 32
| 0
|- 
| <br/><b>flashforward</b> (1)
| <br/><b>Vorausschau</b>
| 
| 
| (1) A scene that breaks the chronological order to show events that happen in the future.
| 32
| 0
|- 
| <br/><b>homage</b> (1)
| <br/><b>Hommage</b>
| 
| 
| (1) A tribute (<i>Würdigung</i>) to a certain film or a film genre (e.g. westerns). The director re-creates certain shots/scenes or respectfully imitates certain aspects.
| 32
| 0
|- 
| <br/><b>parody</b> (1)
| <br/><b>Parodie</b>
| 
| 
| (1) An amusing imitation of a well-known genre (<i>Gattung</i>) or specific movie. <i>The Rocky Horror Picture Show</i> is a parody of horror movies.
| 32
| 0
|- 
| <br/><b>product placement</b> (1)
| <br/><b>{[product placement]}</b>
| 
| 
| (1) "Placing" (= showing) products in a film so that viewers notice them. A character drinks e.g. from a Coca-Cola can and emphasizes how good it tastes.
| 32
| 1
|- 
| <br/><b>critic</b> (1)
| <br/><b>Kritiker</b>
| 
| 
| (1) Somebody who publishes a <b>review</b> (<i>Besprechung, Kritik</i>) of a movie e.g. in a newspaper.
| 32
| 0
|- 
| <br/><b>sequel</b> (1)
| <br/><b>Fortsetzung</b>
| 
| 
| (1) A film that shows a story that happens <i>after</i> the story of an earlier film. Its opposite is called <b>prequel</b>,  a story that happened <i>before</i> (= "pre") the story of an earlier film (cf. <i>Star Wars</i>)
| 32
| 0
|- 
| <br/><b>screenplay</b> (1)
| <br/><b>Drehbuch</b>
| 
| 
| (1) The earliest version of a script, written before filming begins. The <b>shooting script</b> is the version of the script that is used during filming. The <b>storyboard</b> is a series of drawings of each shot of a planned film.
| 32
| 0
|- 
| <br/><b>credits</b> (1)
| <br/><b>Vor- und Nachspann</b>
| 
| 
| (1) A list of all the people who were involved in the making of a film.
| 32
| 0
|}



== Kapitel ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Verweis <!-- SCOPE -->
! Kapitel  <!-- TEXT -->
|- 
| 1
| Assessing Texts
|- 
| 2
| Writing a Composition\Introduction
|- 
| 3
| Writing a Composition\Main Part\Structuring Arguments
|- 
| 4
| Writing a Composition\Main Part\Personal Opinion
|- 
| 5
| Writing a Composition\Main Part\Personal Attitude
|- 
| 6
| Writing a Composition\Main Part\Comparisons
|- 
| 7
| Writing a Composition\Main Part\Expressing Contrast
|- 
| 8
| Writing a Composition\Main Part\Giving an Example
|- 
| 9
| Writing a Composition\Main Part\Expressing Doubt
|- 
| 10
| Writing a Composition\Main Part\Disagreeing
|- 
| 11
| Writing a Composition\Main Part\Logical Consequence
|- 
| 12
| Writing a Composition\Conclusion
|- 
| 13
| Action and Plot
|- 
| 14
| Character
|- 
| 15
| Narrator and Narrative Perspective
|- 
| 16
| Stylistic Devices\Imagery
|- 
| 17
| Stylistic Devices\Sound
|- 
| 18
| Stylistic Devices\Structure
|- 
| 19
| Stylistic Devices\Miscellaneous
|- 
| 20
| Metaphors
|- 
| 21
| Short Stories
|- 
| 22
| Reading Poetry
|- 
| 23
| Cartoons
|- 
| 24
| Car Advertisements\Social Desires
|- 
| 25
| Car Advertisements\Sexual Desires
|- 
| 26
| Films\Shots
|- 
| 27
| Films\Camera Positions
|- 
| 28
| Films\Camera Movements
|- 
| 29
| Films\Focus
|- 
| 30
| Films\Editing
|- 
| 31
| Films\Visual Effects
|- 
| 32
| Films\Miscellaneous
|}


== Attribut ==

{| class="prettytable"
|- bgcolor=#e0e0e0
! Verweis <!-- SCOPE -->
! Attribut  <!-- TEXT -->
|- 
| 1
| verändert
|}