The Lonely Goatherd

Both Michael Crummey’s “Heartburn” and Lisa Moore’s “The Lonely Goatherd” explore the damaging impacts the lack of communication has on a relationship. Both Carl and Anita’s relationship in “The Lonely Goatherd” as well as Georgie and Sandy’s relationship in “Heartburn” are weakened due to the lack of communication. This idea is shown in both short stories through the use of foils, specifically Hans and Carl as well as Everett and Sandy ; It is also demonstrated through the use of symbolism of Signal

What is a Foil? A foil is when a character who is paired with another character to develop the other character’s traits and personality by contrast. Foil’s are most commonly used with protagonist and antagonist, but they do not have to be used this. They can be used with just opposite characters with different goals and beliefs. They use of foil makes it so the characters complete each other and create conflict. It can be used to clarify character’s personalities, and to help readers’ comprehend

boy would kill him and remarry his wife Jocasta. With this in mind, after Jocasta gave birth to baby Oedipus (only 3 days old), he was banished from Thebes and given to a goatherd to be taken atop of Mount Cithaeron for the animals and elements to have. Holding a guilty conscious, the goatherd instead gave Oedipus to another goatherd and he was taken to the city if Corinth where King Polybus and his wife Merope were childless and took in Oedipus as their son. They changed his name to Cedipus and raise

The Sound of Music In 1965 Robert Wise presented the world with his smashing box office hit film, The Sound of Music. Over time it has become known as one of the most loved and well-known musicals of all time. Shortly after its release it won many Academy awards: Best Picture, Best Director, Best Sound, Best Adapted Score, Best Film Editing, Best Film-Musical, Best Color Cinematography, and Best Costume design (Freiden par3). The movie is based upon the true story of the VonTrapp

airman...is presented as a type: he is Robert Gregory, but also he stands for the lonely aloofness which was part of Yeats’ ideal" (118-119). The airman does not seem to care about the politics behind the war. He seems to enter the war on a whim, out of desire to do something "exciting" and reckless with his life. He is going to fight in the war in order to prove to himself that he can do it. He says that it was "A lonely impulse of delight / Drove to this tumult in the clouds" (11-12). "The language

Eumaeus welcomed Odysseus into his home; the audience sees right away that Eumaeus respects custom. Eumaeus misses Odysseus and explains that “longing for him, him that wrings [his] heart”(14.167). He has remained very loyal to Odysseus, and has therefore grown to hate the suitors. From what Eumaeus has explained, Penelope’s loyalty is emphasized since she has ignored the ignorant suitors. They are all waiting for him to come home which he now realizes since his absence is truly affecting everyone

Study Guide Questions: Homer’s Odyssey Directions: Provide clear and accurate responses to the following questions. Incorporate quoted evidence for support , provide page numbers, and insightful analysis (how or why the information/quote is important). Use blue/black ink and make your responses legible. Book I 1. What does the invocation (the first 13 lines) say the poem as a whole will emphasize? 2. What first impression does this book give us of the gods? How much of a role

William Carlos Williams was fascinated by the ways in which living organisms and inert matter occupy space--how they move in it, or cannot move, are cramped or allowed to roam freely--and how the space inside organisms and matter is charted, perceived, and manipulated. Williams's preoccupation with actual space in the material world is paralleled by his formal experimentations with the placement of words on the page. "Without invention nothing is well spaced" (P 50), Williams writes at the beginning

the prince, formerly a vain teenager who had worried only about his “delicate raiment and rich jewels” (p. 79), shocks everyone when he is seen wearing “the leathern tunic and rough sheepskin cloak that he had worn when he had watched [...] the goatherd [...] and in his hands he took his rude shepherd‟s staff.” (p. 92) But could we call the prince‟s experience as tragic, or merely sad? Richard Palmer (1992, p. 2) calls our attention to the present-day complexities involving the term “tragedy”. In

FILM LANGUAGE FILM LANGUAGE A Semiotics of the Cinema Christian Metz Translated by Michael Taylor The University of Chicago Press Published by arrangement with Oxford University Press, Inc. The University of Chicago Press, Chicago 60637 © 1974 by Oxford University Press, Inc. All rights reserved. English translation. Originally published 1974 Note on Translation © 1991 by the University of Chicago University of Chicago Press edition 1991 Printed in the United States of America 09 08 07 6