Answer:
"I realized that no one in the world could equal her."
Explanation:
"The Pillow Book" by Sei Shonagon provides a detailed account of life in the Court of Japanese royalty during the eleventh century. The book serves as an impressive insight into the life of palace royalty, infused with lively gossip, lively observations, and also brought forth the genre of "assorted writing" in literature.
The narrator/ speaker describes what she saw on the Empress and Shigei Sha. She admits that the<em> "Shigei Sha . . . was magnificent, . . . [and] extraordinarily pretty"</em>. But to her, the Empress, with <em>"her tranquil expression, her charming features which had recently taken on a more adult cast, and her complexion which went so beautifully with her scarlet clothes, </em><u><em>I realized that no one in the world could equal her.</em></u><em>"
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This supports her conclusion that she was more impressed with the Empress.
A. What the past can teach us
Answer:
C
Explanation:
Married women had no legal rights and could not even sue someone.
Answer:
How does the author let us know the Fairy Tree is so special? The author let us know how special the Fairy Tree is by describing it: its ivory trunk, its leaves of silver fringed with pearls and its fruits of gems.
Answer: The sentences in this excerpt from John Barth's "Lost in the Funhouse" that show the postmodern element of self-reflexivity are 3) Initials, blanks, or both were often substituted for proper names in nineteenth century fiction to enhance the illusion of reality and 4) Interestingly, as with other aspects of realism, it is an illusion that is being enhanced, by purely artificial means.
Explanation: Self-reflexivity is a recurring element in postmodern literature. <u>Self-reflexivity consists in including passages or statements which aim to reflect about the language itself and the process of writing</u>. In that way, it functions as a literary device and <u>it focuses on dealing with the manners of composition</u>. In sentence 3, the author makes reference to literary strategies of the nineteenth century and, in sentence 4, he alludes to the writing process of realist writers.
