Answer:
I believe the sentence that should be revised for clarity to be letter c) The speech that computer science expert gave regarding online data mining was filled with information also very entertaining.
Explanation:
The sentence above presents a quite confusing structure when it mentions the qualities of the speech. The speaker means to say the speech offered information and entertainment, but he/she does it in a strange manner: "was filled with information also very entertaining." We can sense there is a conjunction lacking. Besides that, the use of parallel structures - words or phrases that have the same function - would also be beneficial to the sentence.
There are at least a couple of corrections we can use to improve this structure, as you can see in the options below:
- The speech that computer science expert gave regarding online data mining was not only informative but also very entertaining;
- The speech that computer science expert gave regarding online data mining was filled with information and entertainment;
- The speech that computer science expert gave regarding online data mining was very informative and entertaining.
For Tom thought of the lands beyond his home, a dream of adventure sprung in his mind, to seek the world's unknown in it's waning light, and cross the bridge to another life. So for Tom to embark 'ere adventure await, and his good friend Bob by his fringe, he crossed the last known bridge to the unknown lands, 'ere to quell his spirit of adventure that festers in him. But what lays ahead in these uncharted lands, Tom knew not though freedom reigns, and his spirit moved towards these undying lands, lit by the sun but never trodden, oh that uncharted land beyond that bridge.
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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.
An internal conflict features character vs C.Self
