Answer:
Moods D. Function mostly to bias cognitions and what the person thinks about.
Explanation:
A mood is an emotional state; it's the sentimental tone an individual <em>attributes to an idea or situation</em>, which can be either <em>pleasant or unpleasant. </em>
As it is a state, it is a <em>way of being </em>for the individual which is maintained for a period of time and eventually fades, which can take hours or days, for example.
Emotions come and go but unlike them, one's mood is <em>bias to cognitions</em>, to the way an individual interprets his/her environment and what he/she thinks about.
Although you didn't provide the definitions, I managed to find them on the Internet. Here are the correct answers:
1. biographical analysis: <span>considers the artist’s personal experiences (biography has to do with somebody's personal life)
2. feminist analysis: </span>considers the role of women in an artwork (feminism is obviously <span>related to women)
3. formal analysis: </span>analyzes the use of formal elements in a work (this has to do with the actual form of the work)
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4. contextual analysis: </span>considers the religious, political, and social environment in which the artwork was <span>made and viewed (it studies the context in which the work was created)
5. iconographical analysis: </span><span>interprets objects and figures in the artwork as symbols (icons means the same as symbols)</span>
Answer:
The information in the files and Laz's ideas for the game design.
Explanation:
In the case shown in the question above, we can say that A & amp is protected by trade secret laws regarding the information in the archives and Laz's ideas for game design. That's because this company had Laz as a hired employee who was subject to the company's guidelines. If Laz decides to leave for another company, everything that was produced by him while his contract was valid belongs to A & amp and for that reason, he cannot take these things to another company.
Correct answer choice is:
D.Reza Pahlavi.
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Explanation:
On the night of the Anglo-Soviet incursion of Iran in the Second World War, Sir Reader Bullard, the British minister in Tehran, proposed on his state the desirability of eliminating the Iranian leader, Reza Shah, from the appointment. Association with the ‘extensively despised’ shah, whom he characterized as a ‘selfish uneducated bully’, was harmful to Britain's concerns and its war application. In the weeks that comprehended the Anglo-Soviet invasion of Iran, Bullard stayed to push for and to develop the final British declaration to attack Reza Shah to withdraw and go into deportation. Yet, this was not forever Bullard's opinion of Britain's association with the Iranian leader. When he manifested his credentials 20 months ahead, Bullard reported it as his ‘primary responsibility’ to win Reza Shah's support. Nor did Bullard's emphasis that Britain removes the Shah originally find courtesy with the Foreign Secretary, Anthony Eden, his Middle East workers at the Foreign Office, or with Churchill.
