By this time, only two enemy Phantoms remain and many of 'Vagaduun's men had fallen. The blademaster himself stands confidently in the open, unleashing a torrent of plasma from the rifles he held in each hand. As Minas and his handful of men make their way back to the lift, they can see six more Phantoms approaching in the hazy distance. Choros deftly uses his Flaktura Workshop Skewer to destroy one of the two that were still assaulting the balcony. The team reaches the lift and Choros begins working at the controls. Just then, Minas hears a noise behind him and turns to find a massive Covenant Jiralhanae carrying a similarly immense gravity hammer. With a single swing of the weapon, the bodies of Burekos and Sopruuz are crushed and flung from the platform. Minas fires his plasma rifle at the Jiralhanae with little effect. Three Sangheili warriors ignite their blades and lunge at the creature in response. 'Vagaduun pulls Minas onto the lift just as Choros steps off of it. The captain had realized that the incoming Phantoms would be able to easily track the lift's descent and pick them off. Minas and 'Vagaduun need both protection and a distraction. Before the Chieftain can reason with him, Choros slams his fist onto lift's release, sending the Chieftain and the blademaster speeding back to the clerestory below.
Taking The Tin Flute as an example, Marie Couillard, in "La femme-écrivain canadienne-française et québécoise face aux ideologies de son temps", shows in which ways Gabrielle Roy -with whom the contemporary feminist literary tradition begins - questions the "validity of humanmodels transmitted to us through the ideologies of the XIXth century."4 In this novel, the stereotypeof the powerful father - provider and protector - present in so many earlier Québec novels, hasbeen replaced by the portrayal of a tired, rather helpless man, Azarius Lacasse. His wife, Rose-Anna, as well as the couple's oldest daughter, Florentine, manages to earn what the family needs inorder to keep it from drowning in the poverty which is their lot. Following old Québec traditionand the teachings of the Catholic church, Rose-Anna has twelve children; Florentine becomespregnant during her first sexual contact with a man. To them, maternity is a burden; giving birth isa tiring, rather than a glorious, experience. Roy ignores the stereotype of woman as the sacredmother and guardian of tradition and religion. Instead she shows woman abused, debilitated bypoverty and pregnancy, over-worked, imprisoned in a circle of daily worry and care-giving fromwhich there is no escape. For Rose-Anna and Florentine, there is no greatness in maternity. Female children seem to be destined to mirror their mothers, to lead a life similar to theirs, whilemale children abandon their mothers as soon as possible, in the (most often) futile attempt to findgreater freedom. 2b1af7f3a8