Answer:
In the 1970s, about half of all deaf children in America attended special schools, many of which immersed them in sign language. Today, 80 percent of deaf children attend ordinary local schools, and more than half of kids born with hearing impairments receive cochlear implants, with the proportion rising every year. A dramatic shift is under way in the American experience of deafness. To many who are hard of hearing, this shift represents not a victory over disability, but the dissolution of a thriving culture—what they call Deaf culture, with a capital
Read the passage from Elizabethan Etiquette.
<em>The Elizabethan era, the years between 1558-1603 when Elizabeth I reigned as Queen of England, is known for its emphasis on courtly manners. The most esteemed book on the subject was Castiglione's The Book of the Courtier, also referred to as The Courtier. The Courtier was translated from its original Italian into English in 1561, and its rules were carefully followed by the highest-ranking courtiers of the day.</em>
Question: According to the passage, society first began to closely follow etiquette rules when:
Options:
- Elizabeth I started her reign as Queen of England.
- Queen Elizabeth read Castiglione’s The Courtier.
- Castiglione’s The Courtier was translated into English.
- Manners became linked with the Italian and English courts.
Answer: The correct answer is: <u>Castiglione’s The Courtier was translated into English.
</u>
Explanation: The passage mentions the following: ''<em>The Courtier was translated from its original Italian into English in 1561, and its rules were carefully followed by the highest-ranking courtiers of the day.'' </em>Based on this, we know that society began to carefully and closely follow etiquette rules when The Courtier was translated into English. The Courtier was produced by Thomas Hoby and translated from Italian to English in 1561. It dealt with issues of behavior, etiquette and morals.
This is a short modernist fiction that celebrates the life of the imagination, and points to its shortcomings. As a narrator, Woolf was in the habit of thinking aloud and talking to herself, as well as to her imaginary readers. Here she takes the process one stage further by ‘talking’ to her own fictional creations.
She also shows the process of the artistic imagination at work, raising doubts about its own creations, asking questions, and posing alternative interpretations. She even develops lines of narrative then backtracks on them as improbable or cancels them as invalid, mistaken interpretation, or rejects them as inadequate.
In other words, the very erratic process of ratiocination – all the uncertainties, mistakes, hesitations – are reproduced as part of her narrative. She even addresses her own subject, silently, from within the fictional frame, and reflects on fictional creations which ‘die’ because they are rejected as unacceptable:
