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Astronauts on the International Space Station <u><em>have </em></u>a busy schedule. Every day they <u><em>wake up</em></u> at 7:00 GMT. From 7:00 to 8:00, they wash up and <u><em>eat </em></u>breakfast. At 8:00 in the morning, they <u><em>call </em></u>Ground Control in their countries. After they talk to Ground Control, their workday begins. The astronauts <u><em>don't do</em></u> the same thing every day. Their schedules change every week. The astronauts do not work all the time. Each day they <u><em>exercise </em></u>for an hour in the morning and an hour in the afternoon. After dinner, they <em>have </em>free time. Then, it <u><em>is </em></u>time to go to sleep. Sometimes this <u><em>isn't </em></u>easy because the sun rises and sets 16 times each day on the space station!
Explanation:
All the verbs in the text are written in the Present Simple tense, since the paragraph refers to actions that are either facts or happen regularly at the International Space Station. Thus, the astronauts at the station have a program of daily routine actitivies.
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54 seconds ago What is Bob Cratchit's attitude towards Scrooge on Christmas Day? a.)He doesn't want to talk about him b.)He is grateful and offers a toast to him. c. )He says that he is going to quit working for him. d.)He admires and wants to be like him
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Answer:
North America contains the largest number of oak species, with approximately 90 occurring in the United States, while Mexico has 160 species of which 109 are endemic. The second greatest center of oak diversity is China, which contains approximately 100 species.
Explanation:
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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.