.... for an understanding of his universe and confront the powers of fate that govern his life. No matter what he finds the universe to be, or his particular life, man refuses to deny his own aspirations. He will discover and make decisions that provide meaning, which allows purpose and dignity in his existence, or he will proclaim loudly that he will never abandon these aspirations because they ought to be there. Greek tragedy was written as an affirmation of these ideals of an individual man plagued with the conflict of his universe and the fate that governed him. The prime function of these dramas was to express the feelings and reflections of ma .....

.... narrative ultimately seeks to emphasise that maternal desire is a quality essential not only to females but also to humanity, and is integral to human survival. The film contrasts this maternal desire with the'other', a representation of sexuality focused on embodiment and monstrous reproduction. Together, these two discourses create a dichotomy of good and evil, with the female body as the site of their conflict. In constructing 'good' maternal desire as essential to humanity, the film offers a comparison with an opposing human trait, presented as potentially as destructive as the threat of the alien itself. This is the ideologyr epresented by the .....

.... because of his lack of insight. Tiresias's riddles are clear in what they state, but Oedipus cannot understand them because he doesn't know himself well enough. Tiresias conveys, All ignorant! And I refuse to link my utterance with a downfall such as yours.(Pg.42) At this point in the play, Oedipus still cannot perceive who the murderer of King Laius is, even though the riddle is obvious. Oliver 2 Oedipus has the ability to comprehend the riddles, but he won't allow himself to accept the truth. When Oedipus saved Thebes from The Sphinx, he answered this difficult puzzle. The Sphinx demanded, What creature is it that walks on four feet in .....

.... his old-fashioned ways and his inability, or his lack of desire, to move on into the future. Throughout Miss Emily’s childhood, her father believed that "none of the young men were quite good enough for Miss Emily." Mr. Grierson did not allow his grown daughter, even at the age of thirty, to make her own decisions. Moreover, he did not feel it was her place to act on her own behalf. Miss Emily willingly accepted her role in the household. The name and the attitudes that Mr. Grierson passed on to his daughter Emily symbolically opposed the change that was going on around them. Even after his death, Miss Emily kept her fathe .....

.... would be specially appointed for the festival. In England he was called "Lord (or Abbot) of Misrule" and in Scotland, "Master of Unreason" In 1601, there were particularly spectacular festivities, as it was the turn of the century, and the Queen, Elizabeth I, invited Don Virginio Orsino to the Palace of Whitehall for the celebrations. This event gives rise to the theory put forward by Leslie Hotson, in his book, "The Fist Night of Twelfth Night", that this particular William Shakespeare play was specially written for that occasion. All the activities of the festival have parallels in the play. There is the suspension of normal relations between se .....

.... conformation of a belief they hold about themselves. Reciprocity is the reason for disclosure in order to encourage another person to disclose also. Another concept that must be taken into consideration when talking about communication is perception. Perception can be defined as the way one views their surroundings as well as themselves and others. The relatively stable set of perceptions individuals hold about themselves is their self-concept. Now that some of the terminology was discussed about interpersonal communication I will show some examples by using characters in a movie. The movie "The Breakfast Club" was a great movie to see how people .....

.... he thinks to be the perfect woman. The rhyming, meter, and sound devices give the poem a melodious and gentle tone. This tone suggests the tender nature of this enchanting woman and gives the reader a sense of consistency that allows them to focus more on the woman than the wording of the poem. The alternating rhyme scheme in all three sestets gives the poem its consistent tone. "She walks in beauty, like the night," (1) rhyming with "And all that’s best of dark and bright," (3) makes the poem easier to remember and pleasing to the reader’s eyes and ears. The iambic tetrameter, when read aloud, guides the reader along i .....

.... she speaking with Casper Goodwood by saying, "it's no kindness to a woman to press her so hard, to urge her against her will" (p. 137). Isabel came to Europe because she wanted to experience life and the freedom that eluded her in America. At the beginning of the novel, Isabel was very young morally. She had left everything she had known, and was ready to start anew. Throughout the novel, her morality grew, changed, and became more stable. Where at the beginning she refused two proposals of marriage, without giving any indication to wanting a third, she ends up accepting a proposal from Osmond. Goodwood's offer to Isabel came at an early stag .....

.... Raskolnikov through committing murder and Emma through committing adultery. Raskolnikov is an intelligent individual who feels a need to challenge both himself and his surrounding environment. When Porfiry Petrovitch discusses Raskolnikov's article about the consequences of committing a crime, the reader is given an insight as to why Raskolnikov murders the old money-lender. His published paper states that when a crime is committed by an ordinary man, he should be punished for it; when a man who is superior in intelligence commits the same crime, however, his greatness acts as a buffer between himself and the punishment, thus excusing his crim .....

.... relationships between performance and audience and the means of producing that performance which, in turn, necessarily produces the audience. The implications of the spectacle could sensibly be applied to the complete texts of the cycle plays, and perhaps more appropriately to the full range of the pageant and its concomitant festivities. The direction of pseudo-historical criticism, especially of the Elizabethan stage, certainly provides a well-plowed ground for advancing the festive and carnivalesque inherently present in the establishment and event of theater. Nevertheless, my discussion here is both more limited and more expansive: its limits a .....