<span>An elliptical clause is a(n) adverbial in which words are missing.
I'm pretty sure...</span>
Answer:
E.
Explanation:
The Binet-Simon Intelligence Scale was revised by Lewis Madison Terman.
Lewis Madison Terman is a psychologist at Stanford University. Later his revised version of the Binet-Simon Intelligence Scale was known as the Stanford-Binet Intelligence Scales. Terman is also very well known for his longitudinal study of IQ on hundreds of children at Stanford area.
His version of the IQ test was first used during World War 1.
So, the correct option is E.
Answer: the text version has very mixed emotions like sadness and joyful
Explanation:
Answer:
C
Explanation:
This title is the most appropriate because it does not limit research to a narrow question, but rather asks a series of essential questions.
Much research will have to go into the three questions of how, when, and why doughnuts became popular, but ultimately all these questions will help reveal the beginnings of a popular food item in the modern United States.
In an essay published in 1961, Robert Kelly coined the term "deep image" in reference to a new movement in American poetry. Ironically, the term grew in popularity despite the critical disapproval of it by the group's leading theorist and spokesperson, Robert Bly. Speaking with Ekbert Faas in 1974, Bly explains that the term deep image "suggests a geographical location in the psyche," rather than, as Bly prefers, a notion of the poetic image which involves psychic energy and movement (TM 259).1 In a later interview, Bly states:
Let's imagine a poem as if it were an animal. When animals run, they have considerable flowing rhythms. Also they have bodies. An image is simply a body where psychic energy is free to move around. Psychic energy can't move well in a non-image statement. (180)
Such vague and metaphorical theoretical statements are characteristic of Bly, who seems reluctant to speak about technique in conventional terms. Although the group's poetry is based on the image, nowhere has Bly set down a clear definition of the image or anything resembling a manifesto of technique. And unlike other "upstart" groups writing in the shadow of Pound and Eliot, the deep image poets-including Bly, Louis Simpson, William Stafford, and James Wright-lacked the equivalent of the Black Mountain group's "Projective Verse," or even, as in the Beats' "Howl," a central important poem which critics could use as a common point of reference. This essay, then, attempts to shed some light on the mystery surrounding the deep image aesthetic. It traces the theory and practice of Robert Bly's poetic image through the greater part of his literary career thus far.
