Answer:
certain words and or sentences can affect the reader because the reader is so deep into the story that they end up getting their own emotions confused with it as they are reading. The brain is entirely focused on the words being written, so that leaves more room for the story to play with the reader's emotions. Certain words as in terrifying, horrifying, and traumatized, can Weevil reader understanding that a person in the story, or them, is feeling fear. Other words such as beaming, happy, and bright, give the reader a more positive outlook on the emotions that they are feeling and the book. The Narrative can differ from a theme by stating different conflicts that the characters are in, and stating how they are feeling. A thing does not have to apply to every single sentence in the book, but it should still be used as a main idea throughout the entire writing process.
Even if your heels fit perfectly, if you try running in them, they're probably going to slip off. Now that's with regular heels, so imagine that with slippery glass heels.
Answer:
According to this theory, everything, which happens in the mind, is the result of the events in the body. Thus, it denies the independent existence of mind. For the materialist, mental states like pains, beliefs, desires, etc. are fundamentally physical states.
Explanation:
It’s shadows because it makes more sense
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
