Answer:
There are many different ways poets can use visuals to affect the poem; these graphic elements include simple things like line length, word position, punctuation, and capitalization
Looming height, white hair, bright straight white teeth. he also was wearing a black tee and jeans. the shoes he was wearing looked like a pale gray color. (i hoped this helped! you can change it up but here’s an example!)
Answer:
The second ritornello different from the first because It uses only the second tune of the opening ritornello
Explanation:
The above question wants a personal answer about your interpretation of the presented image. For this reason, I cannot write the answers for you, but I will show you information that will help you to answer them.
The image represents a Filipino cultural custom known as the Bayanihan.
<h3>What is Bayanihan?</h3>
- It is the tradition of moving a house from one point to another.
- It is held in the Philippines.
- It is a way of encouraging cooperation and mutual help between individuals.
- It is made to create bonds between the community.
Bayanihan is a tradition that shows cooperation and mutual care between people. This affects the lives of Filipinos by showing that we are all dependent on each other and that we should not withhold help from those who need it, but rather help them with joy.
This can influence literary production in a grand way, allowing both Filipino cultures to be explored and showing the importance of community and understanding between people.
More information about cultural customs at the link:
brainly.com/question/25700405
Answer:
Option C
Explanation:
“An Occurrence at Owl Creek Bridge” is an elaborately devised commentary on the fluid nature of time. The story’s structure, which moves from the present to the past to what is revealed to be the imagined present, reflects this fluidity as well as the tension that exists among competing notions of time. The second section interrupts what at first appears to be the continuous flow of the execution taking place in the present moment. Poised on the edge of the bridge, Farquhar closes his eyes, a signal of his slipping into his own version of reality, one that is unburdened by any responsibility to laws of time. As the ticking of his watch slows and more time elapses between the strokes, Farquhar drifts into a timeless realm. When Farquhar imagines himself slipping into the water, Bierce compares him to a “vast pendulum,” immaterial and spinning wildly out of control. Here Farquhar drifts into a transitional space that is neither life nor death but a disembodied consciousness in a world with its own rules.
