... bottom of the ocean and that they had to investigate. The military put together a team of people ranging from a psychologist to a mathematician. They called in Norman Johnson to lead the team he was a psychologist who had dealt with many, many disasters in his years. He comes in and comforts eyewitnesses who can't deal with the sight and helps victims and family members deal with the loss of friends and family. Norman was called one day and told that their was an emergency and that they wanted him to come in and work. He suspected that it was another plane crash. This guess of his was bursted when he was loaded onto a military helicopter ...

... - mostly from Herr Keller. At the beginning of the novel, we are introduced to a young, arrogant, smug, self-congratulatory boy who was proclaimed to be a musical prodigy by his parents. At first, Paul looks down on herr Keller and his seemingly ridiculous ways. Paul had never encountered such an eccentric or bizarre piano teacher before, and immediately ridiculed his methods. He felt that he was too good to be taught by Herr Keller, when in fact it was because he felt belittled by him. This arrogance is shown when herr Keller finally lets him play the piano on their 8th lesson. "He fossicked among his own music for a few moments, finally emerging with a copy ...

... one right after the other. "A Rose for Emily" is not told in this manner. Faulkner starts out with Emily's death and then flashes back to many different events that happen during Emily's life. This creates gaps in the story about Emily's life that must be filled in with flashbacks. "A Rose for Emily" is in essence five different flashbacks combined together to form one story. Faulkner flashes back to the time when a deputation tried to collect on her taxes. This flashback is used to describe the lifestyle Emily has been living for the past years and also the appearance that Emily has taken on as a result of staying in the house. Emily's hereditary obliga ...

... rape Miranda, Prospero does not get rid of him. If I were Prospero, I would have a severe monthly payment punishment-plan installed for Caliban. Near the end of the play, after Properso reveals the conspiracies of all those against him, there is no harsh punishment as one would imagine. He basically just demands repentance. Forgiveness is one of the themes in this play, and here Prospero demonstrates it. Even though Caliban conspires with Stephano and Trinculo to kill him, he refrains from punishing Caliban (“Go, sirrah, to my cell;/Take with you your companions. As you look/To have my pardon, trim it handsomely.” 5.ii.291-293). Prospero, howeve ...

... He was educated at Dulwich, London and started writing at a young age. By the end of his life, PG Wodehouse turned out more than ninety stories and fifty other miscellaneous pieces of works such as film scripts, etc. (Jasen 1). During his childhood was abandoned by his parents and lived with various relatives. Although, as David Damrosch notes, Wodehouse "always insisted that he had a happy childhood, including a relationship with a father who was 'normal as rice pudding'"(Damrosch 453). He moved from England to Hong Kong and to the United States. He was introduced and brought up by a variety of aunts, uncles, nannies, and schools. (Damrosch 453). He went thr ...

... his short stories which either draw the reader into or away from the meaning. These relations make certain writings in Carver's stories more interesting. More directly, it is the communion in his later writings, and the disjunction in his earlier writings, that distinguish the two types of styles. Communion within the characters of Carver's later writings, as in his collections in Cathedral, create much more depth and interest in his stories. It is within this scope of communion that Carver's stories seem to become more fulfilling with character affirmation. Communion occurs in Carver's stories when several conditions are satisfied. The differen ...

... aren’t given names or descriptions of these people, so that we may relate to them as the “every person.” Yet it comes to an end. Theme and plot collide into one sentence. The crux of Omelas. Le Guin asks if one can truly believe in Omelas. The reader finds himself/herself asking if the first part of the text is truly conceivable. The theme then takes over asking if one could accept the conditions that Omelas “happily” lives under. The plot then allows enough room for the reader to imagine the living conditions under which the child lives in with “a little light seeping in dustily between cracks in the boards.” The c ...

... “He must get away quickly because he could not face the dead body of someone virtually killed by him.” (Kiwon 493) as Sogun thought while running to his room to pack. He could not help feeling the guilt of virtually killing Sokpae so he left the family. Sogun had thought that running away would make him lead a guilt free life. While leaving the house the voice of his grandfather stayed in his mind. He remembered his grandfather saying: “Everything in here is yours.” (Kiwon 494) Sogun knew what he did was wrong and what he did wrong led to Sokpae’s death. And for this he left so that he could not cause anymore problems or troubles to his grandfather and his uncle ...

... can’t handle. In other words this person can’t get control of money, instead the want of money is controlling them. This introduces the idea of gambling into the poem. In the poem it says, “…I swore to my companions that certainly you were harmless!”, which is the typical statement of people addicted to gambling. Once again there is the control factor. This person can not control their desire for money and, the means of getting the money, gambling. Another important syntax technique can be seen in line 12. The poem says “…for that joy, which left a long wake of pleasure…” The words “which left&# ...

... allow the reader to see similarities in ideas between the Romantic era and the present day. Religious determinism in is shown to have to do with God/fate, predestination, and the future whereas the scientific view has to do with Newton, and with biological determinism. Although both stories do use both aspects of determinism, it is usually the story from 1809 using the scientific determinism whereas in the present day, they use more of the religious view of determinism. In the first story, a scientific view of determinism is shown through Septimus and Thomasina in order to introduce to the reader the basic ideas on determinism and science. ³No more you can, tim ...