The powerful winds that hit around 4: 00 p. m. blew the fire up the drainage at the hottest time of day. and turpines, having baked for hours, could conceivably have lit the whole hillside practically at once.
fire behavior is determined by an incredibly complicated interaction of fuel, terrain, and wind, and there are mathematical models describing the interaction.
s]ometimes a combination of wind, fuel, and terrain conspires to produce a blowup in which the fire explodes out of control.
gusts of 35 mph ⦠produce sixty-four-foot flames racing up the mountain at up to fifteen feet per second. in the superdry gambel oak, the rate of spread would have been almost twice that.
Answer:
Bradbury wrote this essential dystopian novel describing what would be the main threat to the future of culture: in the future censorship will reach the status of unnecessary if we can make no one bother to inquire, to worry about challenging their thoughts. In opening a book.
For many, this text is correct as a predictor of the contradictions of the modern era: in times in which the social mass is so plural, the media are more careful than ever to transmit messages that do not offend anyone, so they bet on a lowest common denominator that ends up suppressing the plurality of ideas and the development of knowledge. A radically anti-intellectual culture.
He wants the reader to be able to perceive this and not let technology consume it entirely. That he inquires and questions things.
Answer:Shaw's play explores aspects of language in a variety of ways. Higgins and Pickering study linguistics and phonetics, taking note of how people from different backgrounds speak differently. In Act Three, we see the importance of proper small talk in a social situation. And the play also reveals some of the powers of language: Eliza's transformation is spurred simply by Pickering calling her by the name Miss Doolittle, while Higgins' insults and coarse language, which severely hurt Eliza's feelings, show the potential violence of language. The play is most interested, though, in the connections between a person's speech and his or her identity. As we see in the beginning of the play, Higgins can easily guess where people are from based on their accent, dialect, and use of particular slang. How different people speak the same language thus reveals a surprising amount about their identity. However, Shaw also exposes how shallow and imprecise this conception of identity is, how it doesn't actually capture or represent the full person. After all, Eliza's way of speaking transforms over the course of the play. Eliza is able to change her identity simply by learning to talk differently.
Explanation:
