<span>It does not allow listeners to review or reread what each character has said.
When you're watching a live play, you can't stop and rewind to hear again what each character has said. When reading, you can go back and reread a section as many times as you want until you properly understand what is going on but you don't have that option when you're listening to a play.</span>
We can actually deduce here that as the Time Traveller continues to travel billions of years into the future in The Time Machine, he notices the following about the air: D. There is less oxygen.
<h3>What is The Time Machine?</h3>
"The Time Machine" is a science fiction story written by H.G. Wells. It was actually published in 1895. "The Time Machine" is also known to be one of the earliest works on science fiction genre.
It talks about the Time Traveller who actually flies into the future. He travels thousands of years per second. He also notices day and night again. As he travels, the earth stopped rotating and circles the dying sun.
The Time Traveller notices that something like Mercury which is closer to the earth is moving in front of the sun. The air is seen as bitter cold.
Thus, we see that the Time Traveller notices that the air had less oxygen.
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I think it is C. Supreme Being
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A.The Nobel Prize in Literature has never before been awarded to a musician.
C.There are numerous awards associated with the work of musicians, including the Grammy, the Academy Award, and the Golden Globe, all of which Dylan has won.
D.Awarding the Nobel Prize in Literature to a popular songwriter makes traditional poetry seem less important.
E.Anna North agrees and thinks that “by awarding the prize to him, the Nobel committee is choosing not to award it to
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deconstruction, form of philosophical and literary analysis, derived mainly from work begun in the 1960s by the French philosopher Jacques Derrida, that questions the fundamental conceptual distinctions, or “oppositions,” in Western philosophy through a close examination of the language and logic of philosophical and literary texts. In the 1970s the term was applied to work by Derrida, Paul de Man, J. Hillis Miller, and Barbara Johnson, among other scholars. In the 1980s it designated more loosely a range of radical theoretical enterprises in diverse areas of the humanities and social sciences, including—in addition to philosophy and literature—law, psychoanalysis, architecture, anthropology, theology, feminism, gay and lesbian studies, political theory, historiography, and film theory. In polemical discussions about intellectual trends of the late 20th-century, deconstruction was sometimes used pejoratively to suggest nihilism and frivolous skepticism. In popular usage the term has come to mean a critical dismantling of tradition and traditional modes of thought.
Deconstruction in philosophy
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