In the spirit world, the trickster god Raven grew bored. He decided to leave and fly over the earth, but he found it was in total darkness. The selfish Sky Chief had been hoarding daylight from the world. Raven wanted to be able to see the earth as he flew over it, so he decided to play a trick on the chief and steal the light. Raven crept into the chief’s dwelling. He appeared as a baby, with raven hair and black eyes. The chief's daughter adopted the child, never knowing that he was in fact Raven the trickster. —"The Raven and the First Men: The Beginnings of the Haida"
What inference can be made based on the daughter’s actions in this passage?
A. The daughter was looking for a baby.
B. The daughter does not listen to her father.
C. The daughter also wanted to steal the light.
D. The daughter is caring toward other.
Answer:
D. The daughter is caring toward others.
Explanation:
From the excerpt, the inference that can be gotten from the story is that the daughter of the Sky Chief is caring towards others because quite unlike her father, she is willing to show compassion to others, even a baby she does not know.
It shows her tender heart and compassion towards others as she adopted the child even though it was really Raven the trickster.
Answer:
Friedrich Nietzsche points out that morality are considered as anti-nature. He considered laws and moral values are strategies used by the weak to dupe out the strong; he believes that morality is considered as the negative valuation of human life and often suppresses passion.
Explanation:
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:
under
Explanation:
I was under the impression that I had paid you for the work you did for me. It just makes sense :oo
Explanation:
it is the opposite what the word means:)
