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ZanzabumX [31]
3 years ago
6

And let every other power know that this Hemisphere intends to remain the master of its own house. Which best describes the feel

ing Kennedy intends to convey in this sentence?\
English
1 answer:
Hoochie [10]3 years ago
7 0
I think the answer should be <span>personification because it is giving a non human thing, the hemisphere, human traits, remain the master of its own house.

Thank you for posting your question here at brainly. I hope the answer will help you. Feel free to ask more questions.
</span>
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What is the central idea of the passage? Sugar Changed the World, part 2: central ideas
sergeinik [125]

The correct answer is A. In the Middle Ages, spices that are now ordinary were rare imports from faraway places.

Explanation

The excerpt talks about traders who traded in black pepper grown in southwestern India, which meant too long a journey to bring these products to Europe. In the first place they had to be transported to Arabia, and from there to Syria where European merchants acquired it to take it to the different kingdoms of Europe as the author mentions when saying that "From India the pepper was shipped across to Arabia, where camel caravans would carry it all the way to Syria. The Italians could purchase enough pepper in Syria to carry with them to the next Champagne fair". According to the above, the correct answer is A. In the Middle Ages, spices that are now ordinary were rare imports from faraway places.

4 0
2 years ago
Read lines 73-77(Page 5) Do Yoni and Sergei
horrorfan [7]

Answer:

The two men cannot communicate well because Joni is speaking Hebrew very fast and Sergei who comes from Russia cannot speak the language very well.  

Explanation:

EVIDENCE lines 76-77 ( page 5): “He says all kinds of things, fast things. And it's hard for Sergei to follow; his Hebrew isn't so good''.

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3 years ago
What do “Tepeyac” and “Marian Anderson: Famous Concert Singer” have in common?
abruzzese [7]
I just took the test and I got it right. The answer is c. they both tell about someone important to the author.
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3 years ago
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This app is literally no help at all I can’t find any of the answers I need .
lana [24]

Answer:

EXACTLYYYY

Explanation:

5 0
2 years ago
Consider your experience reading science fiction and your knowledge of the genre. Write a science fiction story that is at least
sasho [114]

What questions do SFF authors ask themselves when creating a futurescape, and what worldbuilding considerations do they make? Tor.com has assembled a roundtable of authors with exciting new books out this year to give you a look behind the scenes of their writing processes. We asked them several questions to start with, and then gave them control of the table to ask their own questions. Their replies are as varied as their work, and their worlds.

Participating today are Peng Shepherd (The Book of M), Malka Older (Infomocracy / The Centenal Cycle), Tade Thompson (Rosewater, The Murders of Molly Southbourne), Lauren C. Teffeau (Implanted), and Mike Chen (Here and Now and Then).

 

Fran Wilde: What is the most important thing to keep in mind when writing / worldbuilding in near future or distant technical future worlds?

Tade Thompson: To me, that would be using worldbuilding to ground the reader and characters in place, but to avoid piling it on in a fit of “isn’t this cool?” or “hey, wouldn’t it be great if…?”. The worldbuilding should serve the story and while I may know everything about the place/time/setting, I will only give the reader enough to be able to follow the story and extrapolate. I’m not a fan of showy worldbuilding. You know how in some game engines the 3D world is rendered just before the player character arrives, and it decides just how much to render? That’s sometimes what I feel worldbuilding should be like. The grounding should, of course, let us know how this future world deviates from ours.

I’d like to add here that a recent example of excellent worldbuilding (in my view) is The Murderbot Diaries by Martha Wells. The balance is perfect.

Mike Chen: I think the most important thing is that the world needs rules established, and then the worldbuilding has to follow those rules. It’s okay to have fantastical elements as long as they don’t do anything to contradict something that’s previously established—any conflict or contradiction will cause the reader to pause and go “Wait, I thought they couldn’t do that?” and that’s gonna at best create confusion, at worst lose the reader and cause them to rage quit the book.

Also, the rules should be established organically and not in a giant info dump!

Lauren C. Teffeau: For me, it’s finding the right entry point into a story world. In those crucial opening scenes you’re not only establishing the rules, but you’re also setting up the reader’s expectations just by virtue of it being their first glimpse of your world, now destined to color everything that comes after. When deciding how to open a story, I try to create scenes that not only introduce my main character in an engaging way and portray some driving action approaching a plot, but also introduce at least two or more aspects of my world that help ground the reader in the story (good) and hint at cool or intriguing aspects to come (better). Getting the reader oriented so they’ll tag along for the whole ride is best of all.

7 0
3 years ago
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