D. not part of a pair or set
Answer:
D. Problem-focused coping and emotion-focused coping cannot be used together in a situation.
Explanation:
Option D is correct, because problem-focused coping involves different strategies or development. These strategies may include, solving the problem oneself, taking help from someone else to solve the problem, detaching oneself from the problem (e.g <em>it's not my problem</em>). These strategies can never help in coping emotional stresses. Strategies to cope emotional stresses may include, distraction (keeping oneself busy in something), emotional disclosure (expressing one's emotions fully by writing or talking to someone), spiritual guidance/attachment (praying, and/or contentment), catharsis (the purification emotions through art) etc.
Option A is not correct because death of family member is an emotional stress (which cannot be solved, but only coped) and not a problem (which can be solved)
Option B is not correct because life's problems are problems (which can be solved), they are not emotions.
Option C is incorrect because emotion-focused coping does give good outcomes, as does problem-focused coping.
Answer:
Alex Garland’s 2015 science fiction film Ex Machina follows a young programmer’s attempts to determine whether or not an android possesses a consciousness complicated enough to pass as human. The film is celebrated for its thought-provoking depiction of the anxiety over whether a nonhuman entity could mimic or exceed human abilities, but analyzing the early sections of the film, before artificial intelligence is even introduced, reveals a compelling examination of humans’ inability to articulate their thoughts and feelings. In its opening sequence, Ex Machina establishes that it’s not only about the difficulty of creating a machine that can effectively talk to humans, but about human beings who struggle to find ways to communicate with each other in an increasingly digital world.
The piece's opening introduces the film with a plot summary that doesn't give away too much and a brief summary of the critical conversation that has centered around the film. Then, however, it deviates from this conversation by suggesting that Ex Machina has things to say about humanity before non-human characters even appear. Off to a great start.
The film’s first establishing shots set the action in a busy modern office. A woman sits at a computer, absorbed in her screen. The camera looks at her through a glass wall, one of many in the shot. The reflections of passersby reflected in the glass and the workspace’s dim blue light make it difficult to determine how many rooms are depicted. The camera cuts to a few different young men typing on their phones, their bodies partially concealed both by people walking between them and the camera and by the stylized modern furniture that surrounds them. The fourth shot peeks over a computer monitor at a blonde man working with headphones in. A slight zoom toward his face suggests that this is an important character, and the cut to a point-of-view shot looking at his computer screen confirms this. We later learn that this is Caleb Smith (Domhnall Gleeson), a young programmer whose perspective the film follows.
The rest of the sequence cuts between shots from Caleb’s P.O.V. and reaction shots of his face, as he receives and processes the news that he has won first prize in a staff competition. Shocked, Caleb dives for his cellphone and texts several people the news. Several people immediately respond with congratulatory messages, and after a moment the woman from the opening shot runs in to give him a hug. At this point, the other people in the room look up, smile, and start clapping, while Caleb smiles disbelievingly—perhaps even anxiously—and the camera subtly zooms in a bit closer. Throughout the entire sequence, there is no sound other than ambient electronic music that gets slightly louder and more textured as the sequence progresses. A jump cut to an aerial view of a glacial landscape ends the sequence and indicates that Caleb is very quickly transported into a very unfamiliar setting, implying that he will have difficulty adjusting to this sudden change in circumstances.
These paragraphs are mostly descriptive. They give readers the information they will need to understand the argument the piece is about to offer. While passages like this can risk becoming boring if they dwell on unimportant details, the author wisely limits herself to two paragraphs and maintains a driving pace through her prose style choices (like an almost exclusive reliance on active verbs).
Answer:
I don’t like it here mom. why did you do this to me? I thought you said it would be fun... they teach me things I don’t need. They can’t explain it well. I need you to break me out of this prison.
sincerely your favorite child, Greta
Explanation:
D. Hope it helps :) and sorry if wrong
