Answer:
Especially through imagery, setting, plot, language, and style . American literature explains basic characteristics of all kinds of literature such as characters, plots, settings, images and themes. It's embodies the ideas of americans and makes certain places known.
Explanation:
Hope this helps
Can I have Branliest for the Correct Answer?
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
Here are some examples of answers:
1. A song was sung by Rita.
2. A restaurant was opened last year by them.
3. An interesting story was told by granny.
Now use these, and this website: https://webapps.towson.edu/ows/activepass.htm
to help you with the rest.
The way I like to remember it, is to take the first noun and the second noun and switch them, then alter the verb tense and sentence structure to make it make sense.
Answer: True
Explanation:
This is a True or False question.
Due to the various factors surrounding the way of life of different demographics, it is important to note which demographics are being researched so that a more accurate and inclusive conclusion can be reached.
This is why researchers must collect demographic information. They need it to classify data. For instance, a research about home expenses needs demographic information about age because older people(adults) pay more household expenses than younger ones(teenagers) so not knowing this can lead to less than accurate results.
The author includes logical evidence that Indian workers and formerly enslaved people didn't get along because wages went down.
In the passage, it states:
"The Indian coolies and the ex-slaves, who resented the newcomers flooding the colonies and driving down wages, were instant rivals."
In this case, the Indian coolies are the newcomers and the ex-slaves are the ones resenting them. Therefore, the ex-slaves resent the Indian coolies because they were driving down wages.
