Sées

along the text we can see that there is a discrepancy with reality. It creates a special atmosphere that easily attracts the reader’s attention. This atmosphere is first developed in the first paragraph where we find a description of what Belacqua sees in the streets near to his aunt’s house. Beckett creates a mysterious atmosphere by setting this part of the text in the beginning of the night. The twilight reminds the reader of the reddish light of the sun at that moment of the day, and of the rise

M: The first and the second line of this song did I disappoint you or let you down? and should I be feeling guilty or let the judges frown? truly relate to Romeo's feelings and his condition in the Act 5, scene 3 (p.287, line 98 to 101) when he sees Juliet lying on her tomb. (S read the lines) As we can see in the lyrics, Romeo wonders if, by doing what he did, he might had left Juliet down or because after they couldn't be together. Romeo feels guilty, he feels bad because of what he did. Killing

family and with no friends. An obvious connection to Amélie therefore occurs as, she too is alone, has no friends and her relationship with her only parent, her father, is devoid of closure. Moreover, by the process of the mise en abyme, Amélie later sees herself in the TV screen as an iconic woman who has helped many people in need and who had died. It will bring her to tears as the icon self has died all alone. There is identification from Amélie to the character of Princess Diana; she mirrors herself

as “strong and skilled in woman’s work”. He is also amazed at her “independence of mind”. He tries to understand men and women relations in the Yellowknifes’ culture: “a woman can simply walk out of her husband’s lodge?” (p.100) Eventually, when he sees that his friend is affected by his love for Keskarrah’s oldest daughter, he names her a “pagan slut”. However, he has learned from his past experiences and he is aware of the conflicts that can easily occurs without being foreseen: “the strongest,

as an animal. It emphasizes on a kind of animal instinct. Bob is also portrayed with a bestial behavior through adjectives such as “hungrily” and “noisily” l.47 Bob experiences here some kind of freedom thanks to Marguerite. But Bob doesn't only sees Marguerite as a shining new toy but also as a way to cross the line and the limits he has always known. b) A challenge Marguerite can be compared to a challenge for Bob. The moment with her is something he never experienced before. DARKNESS

d’Alençon-Arçonnay refait depuis peu. Les poneys club ( poney club d'Alençon, étrier de chauvigny a Saint-germain, champs gallet, à Chauvigny) On peut assister aux différents marchés, sur Alençon mais aussi dans des villes limitrophes comme Mamers, Sées, Carrouges, le Mêle-sur-sarthe qui sont très complets ( vêtements, artisanat, alimentation...) Mais aussi découvrir le terroire du pays d'Alençon comme Cidrerie La Pommeraie a LA LACELLE, les Chocolats Pédro à ALENCON... III. Hébergement et Services

to take pictures of the Lowcountry. 10. a) “perfectly charming” (l.48) – “fine young man” (l.51) b) “he’s not a kind of family play thing” (l.52) – “he’s a nice guy” (l.55) c) Sarah sees Henry as a potential husband for Gillon. Gillon doesn’t want that kind of relationship with him: she sees him as an artist and a friend. 11. a) Sarah has invited Henry to dinner. b) The real motivation behind the invitation is to set Gillon up with a “fine young man” who is approved of by the

– 'cataractes pesantes, / comme des rideaux de cristal' – 'murailles de metal' – 'non d'arbres, mais de colonnades' Describes landscape in terms of metal and precious stones – in his idealistic 'rêve' he sees waterfalls comparable to crystal and metal, and rather than trees he sees colonnades. Similarly in 'Le Chat' (the first one, p. 66) the speaker asks the cat, 'laisse-moi plonger dans tes beaux yeux, / Mêlés de métal et d'agate'. The cat is described as 'élastique' and 'électrique'

has been a bit rebel, because instead of working for college, she goes to drink and smoke, she organises an underwear-party and doesn’t follow the society (she involves herself in the feminist movement). She’s logical and cunning because she always sees the things like they are and before the installation of Gilead she warns Offred that something bad will soon happen. Her manual capacities are mentioned for example in the chapter 28 when Offred thinks “If I were Moira, I’d known how to take it apart

me to the wash-hand stand, here, in this very room, in the nursery. ‘Don’t cry little peasant,’ she said”. This shows us that Lopakhin is linked to Madame Ranevsky therefore the estate and consequently the orchard, the symbol of the past. Lopakhin sees the past as being opressive, because they are memories of an uncultured and relatively harsh childhood which conflict with the identity of himself that he attempts to put off through his physique or so called culture. These are memories he tries to