.... about life. They consider hanging themselves, but realize before they do that they should consult with Godot. Who or what Godot symbolizes remains a mystery, but their whole existence seems to be to wait for Godot. They meet a couple of fellows: Pozzo, an upper-class man, mistaken by Vladimir and Estragon as Godot, and Pozzo's slave, Lucky. After they leave, a messenger from Godot arrives and states simply that Godot will arrive tomorrow, same place, same time. They consider leaving, but do not. The second act is almost an exact repeat of the first, but Lucky and Pozzo have fallen upon hard times. Pozzo has become blind and pathetic, and Lucky has become dumb. This c ....

.... He declares in Marxist terms that Man is the problem: ”Only get rid of the Man, and the produce of our labour would be our own. Almost overnight we could be rich and free. What then must we do? Why, work night and day, body and soul, for the overthrow of the human race! That is my message to you, comrades. Rebellion!” The simple, but emotional appeal, gets trough to the uneducated and plain animals and, as in all revolutions, the planning begins in euphoria and idealism. No voice is raised to ask relevant question or call for a considered debate. The appearance of rats at the meeting raises a question: ”Are rats comrades?” A democratic vote results in a ringing ” ....

.... The character Drew Ballinger in Deliverance is a sales supervisor at a soft-drink company who is very devoted to his son and his job. Drew is the character who represents the middle-aged man's desire for talent and attention. Drew plays the guitar and his music is his true companion. Without having any talent, as he would be the first to tell you, Drew played mighty well, through sheer devotion. (Dickey, 11) For Drew the highlight of this trip is his duo with Lonnie, an uned ....

.... to the earth by thousands of tiny crisscrossing threads. He soon discovers that his captors are tiny men about six inches high, natives of the land of Lilliput. He is released from his prone position only to be confined in a ruined temple by ninety-one tiny but unbreakable chains. In spite of his predicament, Gulliver is at first impressed by the intelligence and organizational abilities of the Lilliputians. In this section, Swift introduces us to the essential conflict of Book I: the naive, ordinary, but compassionate "Everyman" at the mercy of an army of people with "small minds". Because they are technologically adept, Gulliver does not yet see how small-minded the L ....

.... say. (Page 5)” Stereotypes are often placed on certain types of literature. Non-fiction has, in many cases, been given a very dry and straightforward voice, while fiction takes up the opposite; it is allowed to be metaphoric and abstract. With the stereotypical view in mind, a reader would not expect the above excerpt to come from a piece of non-fiction literature. The classification of “non-fiction” guarantees that the personas depicted in the tale will be real people; Woolf’s non-fiction tale reads like a story - a personal anecdote shared with the reader by a persona who might not, if the story be fictionalized, exist. Thus, Woolf almost confuses the reader as to ....

.... of tragic heroes including Marcus Brutus in William Shakespeare’s The Tragedy of Julius Caesar and Creon in the play Antigone. In the play The Crucible by Arthur Miller, John Proctor fits the classic Greek definition of a tragic hero. One characteristic of the tragic hero, which Jon Proctor possesses, is that he is a man of stature. This is evident from the very beginning of the play in the exposition about Proctor. The author says, “He was a kind man-powerful of body, even tempered and not easily led”(20). He goes on to say that he has a “quiet confidence and an unexpressed hidden force”(21). He is well respected in the community and Mr. Parris, the town ....

.... anger at oneself and the patient when one comes upon an unforeseen diagnosis, evolution, or outcome. The dynamics of scapegoating are highly relevant to medical practice, medical school, and the medical profession, where patients, students, colleagues and the profession itself can become scapegoats for the broader collective. They are also important in interactions with the identified patient's family and in family therapy (see family therapy texts). The cross-cultural and transcultural nature of scapegoating is explored in Sir James Frazer's "The Golden Bough"; and the underlying structure is elaborated in René Girard's "Le bouc émissaire." "The Lottery" also serves well ....

.... discrepancies of religious beliefs. Rueven, who is an Orthodox Jew, goes to a parochial school where Hebrew is taught instead of Yiddish (which would be considered the first Jewish language). Rueven's school is also very integrated with many English speaking classes. But on the other hand, Danny, who attends a yeshiva (also a Jewish school), considers himself a true Jew because he (unlike Rueven) wears the traditional side curls and is educated in Yiddish. At first the two boys cannot stand each other, many times Danny refers to Rueven as "apikorsim," (32) which basically translates to... someone who is not true to their religion. These differences between the two soon bec ....