Answer:
where is the picture. if you give the picture only I can tell you the answer you haven't given the picture please give the picture what can I do if you didn't get the picture I can't give the answer
The quotations from the excerpt that best represent reasonable evidence to support the claim that Americans are losing confidence in their governments are 1 and 3:
1. For the first time in the history of our country a majority of our people believe that the next five years will be worse than the past five years. (YES)
2. . . . the willingness of Americans to save for the future has fallen below that of all other people in the Western world.
(NO)
3. Two-thirds of our people do not even vote. (YES)
4. The productivity of American workers is actually dropping. . . (NO)
Evidence is generally used in argumentative essays to support a claim that the writer has made about a debatable topic. Moreover, evidence is included in order to make this claim more solid and convincing for the reader. In this case, <u>quotations 1 and 3 provide proper evidence because they are implying that most people do not have hope for a better future regarding political issues</u>.
Answer:
I think we yawn because we are bored, tired, or annoyed.
Explanation:
Its how the human brain works
B
television use for both audio and visual
Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
