...Merriam Webster defines free will as “the power of acting without the constraint of necessity or fate; the ability to act at one's own discretion.” Fate is a development of events beyonds a person’s control. These ideas are exactly what Sophocles is challenging is his play Oedipus Rex. In Oedipus Rex the protagonist Oedipus is trying to figure who killed the former king Laius, not realizing he was the killer himself. Oedipus was destined to kill his father and marry his mother. Throughout the play, Oedipus is torn between accepting the prophecy or choosing his own destiny. Despite his best effort, the prophecy laid out for him came true. Oedipus Rex uses symbolism to illustrate the theme that one can never escape fate. One symbol used in Oedipus Rex is the scars on his feet. It represent the suffering he has endured and will keep on enduring. In the play Oedipus finds out from a messenger that his adopted father Polybus is dead. The messenger explains how long ago he found a baby on Mount Cithaeron with its...
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...Hamartia in Oedipus the King According to the Aristotelian characteristics of good tragedy, the tragic character should not fall due to either excessive virtue or excessive wickedness, but due to what Aristotle called hamartia. Hamartia may be interpreted as either a flaw in character or an error in judgement. Oedipus, the tragic character in Sophocles’ Oedipus the King, certainly makes several such mistakes; however, the pervasive pattern of his judgemental errors seems to indicate a basic character flaw that precipitates them. Oedipus’ character flaw is ego. This is made evident in the opening lines of the prologue when he states "Here I am myself--you all know me, the world knows my fame: I am Oedipus." (ll. 7-9) His conceit is the root cause of a number of related problems. Among these are recklessness, disrespect, and stubbornness. Oedipus displays an attitude of recklessness and disrespect throughout the play. When he makes his proclamation and no one confesses to the murder of Laius, Oedipus loses patience immediately and rushes into his curse. Later, he displays a short temper to Tiresias: "You, you scum of the earth . . . out with it, once and for all!," (ll. 381, 383) and "Enough! Such filth from him? Insufferable--what, still alive? Get out--faster, back where you came from--vanish!" (ll. 490-492) If an unwillingness to listen may be considered stubbornness, certainly Oedipus would take advice from no one who would tell him to drop the matter of his...
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... Extract 4 (Sophocles, Oedipus the King) In Greek Tragedy the medium, as in all forms of poetry is language, to convey a story through an imitation of an action, or as Aristotle defines in S.H. Butcher’s translation of Poetics “Tragedy is a mimesis of a praxis.” (Jones, 2000). This translates to an imitation/ representation of an action. Oedipus the King is structured into five episodes with a prologue to begin, each scene is introduced by the Chorus (the citizens of Thebes) who depict the state of affairs within Thebes. The city is plagued, as a Priest describes to Oedipus “look around you, see with your own eyes- our ship pitches wildly, cannot lift her head from the depths, the red waves of death… Thebes is dying. A blight on the fresh crops and rich pastures, cattle sicken and die, and the women die in labor, children stillborn, and the plague, the fiery god of fever hurls down on the city.” (L 28 – 34) This shows us that Thebes is being punished, and Oedipus, as the King of Thebes is begged by his subjects to put an end to the curse. This shows a good use of dramatic irony, as in fact it was Oedipus who is responsible for the actions of the gods. Oedipus has two conflicts going on within him, the first is that he does not want to kill who he believes is his father, “the man who reared me” (L 916) and the second is he does not want to lay with his mother. These conflicts have followed Oedipus and his father Laius throughout the play, although...
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...nonfictional (see Common Literary Forms and Genres below). Third-person narration: The narrator remains outside the story and describes the characters in the story using proper names and the third-person pronouns “he,” “she,” “it,” and “they.” • Omniscient narration: The narrator knows all of the actions, feelings, and motivations of all of the characters. For example, the narrator of Leo Tolstoy’s Anna Karenina seems to know everything about all the characters and events in the story. • Limited omniscient narration: The narrator knows the actions, feelings, and motivations of only one or a handful of characters. For example, the narrator of Lewis Carroll’s Alice’s Adventures in Wonderland has full knowledge of only Alice. • Free indirect discourse: The narrator conveys a character’s inner thoughts while staying in the third person. Gustave Flaubert pioneered this style in Madame Bovary, as in this passage: “Sometimes she thought that these were after all the best days of her life, the honeymoon, so-called.” Objective narration: A style in which the narrator reports neutrally on the outward behavior of the characters but offers no interpretation of their actions or their inner states....
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...Chapter 1 SIGMUND FREUD AN INTRODUCTION Sigmund Freud, pioneer of Psychoanalysis, was born on 6th May 1856 in Freiberg to a middle class family. He was born as the eldest child to his father’s second wife. When Freud was four years old, his family shifted and settled in Vienna. Although Freud’s ambition from childhood was a career in law, he decided to enter the field of medicine. In 1873, at the age of seventeen, Freud enrolled in the university as a medical student. During his days in the university, he did his research on the Central Nervous System under the guidance of German physician `Ernst Wilhelm Von Brucke’. Freud received his medical degree in 1881and later in 1883 he began to work in Vienna General Hospital. Freud spent three years working in various departments of the hospital and in 1885 he left his post at the hospital to join the University of Vienna as a lecturer in Neuropathology. Following his appointment as a lecturer, he got the opportunity to work under French neurologist Jean Charcot at Salpetriere, the famous Paris hospital for nervous diseases. So far Freud’s work had been entirely concentrated on physical sciences but Charcot’s work, at that time, concentrated more on hysteria and hypnotism. Freud’s studies under Charcot, which centered largely on hysteria, influenced him greatly in channelising his interests to psychopathology. In 1886, Freud established his private practice in Vienna specializing in nervous diseases...
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...Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Bloom's Classic Critical Views alfred, lord Tennyson Benjamin Franklin The Brontës Charles Dickens edgar allan poe Geoffrey Chaucer George eliot George Gordon, lord Byron henry David Thoreau herman melville Jane austen John Donne and the metaphysical poets John milton Jonathan Swift mark Twain mary Shelley Nathaniel hawthorne Oscar Wilde percy Shelley ralph Waldo emerson robert Browning Samuel Taylor Coleridge Stephen Crane Walt Whitman William Blake William Shakespeare William Wordsworth Bloom’s Classic Critical Views W i l l ia m Sha k e Sp e a r e Edited and with an Introduction by Sterling professor of the humanities Yale University harold Bloom Bloom’s Classic Critical Views: William Shakespeare Copyright © 2010 Infobase Publishing Introduction © 2010 by Harold Bloom All rights reserved. No part of this publication may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage or retrieval systems, without permission in writing from the publisher. For more information contact: Bloom’s Literary Criticism An imprint of Infobase Publishing 132 West 31st Street New York NY 10001 Library of Congress Cataloging-in-Publication Data William Shakespeare / edited and with an introduction by Harold Bloom : Neil Heims, volume editor. p. cm. — (Bloom’s classic critical views) Includes bibliographical references...
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...Instructor’s Manual and Test Bank to accompany A First Look at Communication Theory Sixth Edition Em Griffin Wheaton College prepared by Glen McClish San Diego State University and Emily J. Langan Wheaton College Published by McGrawHill, an imprint of The McGrawHill Companies, Inc., 1221 Avenue of the Americas, New York, NY 10020. Copyright Ó 2006, 2003, 2000, 1997, 1994, 1991 by The McGrawHill Companies, Inc. All rights reserved. The contents, or parts thereof, may be reproduced in print form solely for classroom use with A First Look At Communication Theory provided such reproductions bear copyright notice, but may not be reproduced in any other form or for any other purpose without the prior written consent of The McGrawHill Companies, Inc., including, but not limited to, in any network or other electronic storage or transmission, or broadcast for distance learning. PREFACE Rationale We agreed to produce the instructor’s manual for the sixth edition of A First Look at Communication Theory because it’s a first-rate book and because we enjoy talking and writing about pedagogy. Yet when we recall the discussions we’ve had with colleagues about instructor’s manuals over the years, two unnerving comments stick with us: “I don’t find them much help”; and (even worse) “I never look at them.” And, if the truth be told, we were often the people making such points! With these statements in mind, we have done some serious soul-searching about the texts that so many teachers—ourselves...
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...10000 quiz questions and answers www.cartiaz.ro 10000 general knowledge questions and answers 10000 general knowledge questions and answers www.cartiaz.ro No Questions Quiz 1 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 Carl and the Passions changed band name to what How many rings on the Olympic flag What colour is vermilion a shade of King Zog ruled which country What colour is Spock's blood Where in your body is your patella Where can you find London bridge today What spirit is mixed with ginger beer in a Moscow mule Who was the first man in space What would you do with a Yashmak Who betrayed Jesus to the Romans Which animal lays eggs On television what was Flipper Who's band was The Quarrymen Which was the most successful Grand National horse Who starred as the Six Million Dollar Man In the song Waltzing Matilda - What is a Jumbuck Who was Dan Dare's greatest enemy in the Eagle What is Dick Grayson better known as What was given on the fourth day of Christmas What was Skippy ( on TV ) What does a funambulist do What is the name of Dennis the Menace's dog What are bactrians and dromedaries Who played The Fugitive Who was the King of Swing Who was the first man to fly across the channel Who starred as Rocky Balboa In which war was the charge of the Light Brigade Who invented the television Who would use a mashie niblick In the song who killed Cock Robin What do deciduous...
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...THE ORIGINS AND DEVELOPMENT OF THE ENGLISH LANGUAGE This page intentionally left blank THE ORIGINS AND DEVELOPMENT OF THE ENGLISH LANGUAGE SIXTH EDITION ± ± John Algeo ± ± ± ± ± Based on the original work of ± ± ± ± ± Thomas Pyles Australia • Brazil • Japan • Korea • Mexico • Singapore • Spain • United Kingdom • United States The Origins and Development of the English Language: Sixth Edition John Algeo Publisher: Michael Rosenberg Development Editor: Joan Flaherty Assistant Editor: Megan Garvey Editorial Assistant: Rebekah Matthews Senior Media Editor: Cara Douglass-Graff Marketing Manager: Christina Shea Marketing Communications Manager: Beth Rodio Content Project Manager: Corinna Dibble Senior Art Director: Cate Rickard Barr Production Technology Analyst: Jamie MacLachlan Senior Print Buyer: Betsy Donaghey Rights Acquisitions Manager Text: Tim Sisler Production Service: Pre-Press PMG Rights Acquisitions Manager Image: Mandy Groszko Cover Designer: Susan Shapiro Cover Image: Kobal Collection Art Archive collection Dagli Orti Prayer with illuminated border, from c. 1480 Flemish manuscript Book of Hours of Philippe de Conrault, The Art Archive/ Bodleian Library Oxford © 2010, 2005 Wadsworth, Cengage Learning ALL RIGHTS RESERVED. No part of this work covered by the copyright herein may be reproduced, transmitted, stored, or used in any form or by any means graphic, electronic, or mechanical, including...
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...62118 0/nm 1/n1 2/nm 3/nm 4/nm 5/nm 6/nm 7/nm 8/nm 9/nm 1990s 0th/pt 1st/p 1th/tc 2nd/p 2th/tc 3rd/p 3th/tc 4th/pt 5th/pt 6th/pt 7th/pt 8th/pt 9th/pt 0s/pt a A AA AAA Aachen/M aardvark/SM Aaren/M Aarhus/M Aarika/M Aaron/M AB aback abacus/SM abaft Abagael/M Abagail/M abalone/SM abandoner/M abandon/LGDRS abandonment/SM abase/LGDSR abasement/S abaser/M abashed/UY abashment/MS abash/SDLG abate/DSRLG abated/U abatement/MS abater/M abattoir/SM Abba/M Abbe/M abbé/S abbess/SM Abbey/M abbey/MS Abbie/M Abbi/M Abbot/M abbot/MS Abbott/M abbr abbrev abbreviated/UA abbreviates/A abbreviate/XDSNG abbreviating/A abbreviation/M Abbye/M Abby/M ABC/M Abdel/M abdicate/NGDSX abdication/M abdomen/SM abdominal/YS abduct/DGS abduction/SM abductor/SM Abdul/M ab/DY abeam Abelard/M Abel/M Abelson/M Abe/M Aberdeen/M Abernathy/M aberrant/YS aberrational aberration/SM abet/S abetted abetting abettor/SM Abeu/M abeyance/MS abeyant Abey/M abhorred abhorrence/MS abhorrent/Y abhorrer/M abhorring abhor/S abidance/MS abide/JGSR abider/M abiding/Y Abidjan/M Abie/M Abigael/M Abigail/M Abigale/M Abilene/M ability/IMES abjection/MS abjectness/SM abject/SGPDY abjuration/SM abjuratory abjurer/M abjure/ZGSRD ablate/VGNSDX ablation/M ablative/SY ablaze abler/E ables/E ablest able/U abloom ablution/MS Ab/M ABM/S abnegate/NGSDX abnegation/M Abner/M abnormality/SM abnormal/SY aboard ...
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