Answer:
Melinda is the young star of Speak. Since she's also the narrator, everything we learn about the other characters is filtered through her. Melinda is very perceptive and bright, but her vision is sometimes clouded by her suffering. She's only fourteen-years-old, and she's dealing with one of the worst things that can happen to a person: rap-e. High school senior Andy Evans ra-pes Melinda at the end-of-summer party just before Melinda starts 9th grade. She calls the cops to report the rap-e, but leaves before they show up. The party is busted and everybody thinks Melinda got them in trouble on purpose.
The novel begins on Melinda's first day in high school. Nobody at school will talk to Melinda, including Rachel Bruin, who's been her best friend forever. Worse, just about everyone bullies her. She wants to explain why she called the cops but she can't find the words.
Melinda doesn't stop talking altogether, but says only what seems absolutely necessary. As her secret weighs on her more and more, she talks less and less. Eventually she decides that talking is necessary to protect others from Andy and to find personal relief. Speak follows Melinda through her first year of high school, from the depths of her isolation to the beginnings of her renewal.
Explanation:
mark brainliest
Answer:
Endgame's opening lines repeat the word "finished," and the rest of the play hammers away at the idea that beginnings and endings are intertwined, that existence is cyclical. Whether it is the story about the tailor, which juxtaposes its conceit of creation with never-ending delays, Hamm and Clov's killing the flea from which humanity may be reborn, or the numerous references to Christ, whose death gave birth to a new religion, death-related endings in the play are one and the same with beginnings. While Hamm and Clov are in the "endgame" of their ancient lives, with death lurking around the corner, they are also stuck in a perpetual loop that never allows final closure—Hamm claims he wants to be "finished," but admits that he "hesitate[s]" to do so. Just as death cannot arrive to seal off life, neither can Hamm or Clov escape to close the book on one existence and open another—note Clov's frequent failed attempts to leave the room (and his final return after vowing to leave) and Hamm's insistence on returning to the center of the room. Nell's death may be an aberration in a play where death seems impossible, but since she is the one character who recognizes the absurdity of the situation, perhaps she is rewarded by dying.
The Absurdists took a page from Existentialist philosophy, believing that life was absurd, beyond human rationality, meaningless, a sentiment to which Endgame subscribes, with its conception of circularity and non-meaning. Beckett's own brand of Absurdism melds tragedy and comedy in new ways; Winnie gives a good definition of his tragicomedy when she says, "Nothing is funnier than unhappiness" (Beckett believes this was the most important line of the play). Self-conscious form in the theater was another feature of Absurdism, and there's no shortage in Endgame, from Clov's turning the telescope on the audience to Hamm's showy references to his own acting. But Beckett's self-consciousness is not merely for laughs. Just as the characters cannot escape the room or themselves, trapped in self-conscious cages, neither can the audience escape their lives for a night of theatrical diversion.
Explanation:
Name is Clive Staples Lewis
Answer:
(A) a video demonstrating how to repair a bicycle chain
Explanation:
edge
