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PilotLPTM [1.2K]
3 years ago
10

1) Authors rarely state the central idea in narrative nonfiction. How can a reader find the central idea when the author doesn’t

state it explicitly?
To find the central idea, you look for outside resources about the text and try to determine it through their analysis.


To find the central idea, you look at the details in the text: what characters say and do, the events that occur, important challenges or conflicts represented, and the setting. Then you think about how these details work together to build and convey a big idea or message


To find the central idea, you look at the first paragraph of the story and make a guess.


None of these.


2) Suppose you are writing an analysis of a literary text. In the text you find a piece of evidence that could support your thesis. However, the evidence supports your thesis implicitly, not explicitly. What must you do in order to use the evidence effectively in your analysis?


Rephrase the implicit evidence so that it becomes explicit.


Search for a more explicit piece of evidence on the same point.


Make an inference to connect the evidence to your thesis.


Do research to find evidence outside your literary text.

3) When reading "Nameless, Tennessee", we know that we are looking for a central idea and NOT a theme because



its a short story.


its a non-fiction text.


there are only a few characters.


All of these.
English
1 answer:
Maslowich3 years ago
8 0

1) Answer: To find the central idea, you look at the details in the text: what characters say and do, the events that occur, important challenges or conflicts represented, and the setting. Then you think about how these details work together to build and convey a big idea or message

Explanation:

Look for the details given in the story and try to read between the lines to understand the central idea.

2) Answer:

Rephrase the content to make it Explicit.

3) Answer:

Nameless Tennessee is a short story and hence there is a central idea.

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How does the same EMERGEN develop over the course of the passage the dinner party
lutik1710 [3]

Answer:

Explanation:

The country is India. A colonial official and his wife are giving a large dinner party. They are seated with their guests—army officers and government attachés and their wives, and a visiting American naturalist—in their spacious dining room, which has a bare marble floor, open raftersand wide glass doors opening onto a veranda.*A spirited discussion springs up between a young girl who insists that women have outgrownthe jumping-on-a-chair-at-the-sight-of-a-mouse era and a colonel who says that they haven’t. “A woman’s unfailing reaction in any crisis,” the colonel says, “is to scream. And while a man may feel like it, he has that ounce more of nerve control than a woman has. And that lastounce is what counts.”The American does not join in the argument but watches the other guests. As he looks, hesees a strange expression come over the face of the hostess. She is staring straight ahead, her muscles contracting slightly. With a slight gesture she summons the native boy standing behind her chair and whispers to him. The boy’s eyes widen: he quickly leaves the room.Of the guests, none except the American notices this or sees the boy place a bowl of milk on the veranda just outside the open doors.The American comes to with a start. In India, milk in a bowl means only one thing—bait for a snake. He realizes there must be a cobra in the room. He looks up at the rafters—the likeliest place—but they are bare. Three corners of the room are empty, and in the fourth the servants are waiting to serve the next course. There is only one place left—under the table.His first impulse is to jump back and warn the others, but he knows the commotion would frighten the cobra into striking. He speaks quickly, the tone of his voice so arresting that it sobers everyone.* During the time this story takes place, India was a British colony. The colonial official works for the British government in India. The government attachés work for another country’s embassy in India. Finally, a naturalist is someone who studies animals and plants.“The Dinner Party” by Mona Gardner from The Saturday Review of Literature, vol. 25, no. 5, January 31, 1941. Copyright © 1941 by General Media Communications, Inc. Reprinted by permission of The Saturday Review. All rights reserved.“I want to know just what control everyone at this table has. I will count to three hundred—that’s five minutes—and not one of you is to move a muscle. Those who move will forfeit fifty rupees. Ready!”The twenty people sit like stone images while he counts. He is saying “. . . two hundred and eighty. . .” when, out of the corner of his eye, he sees the cobra emerge and make for the bowl of milk. Screams ring out as he jumps to slam the veranda doors safely shut.“You were right, Colonel!” the host exclaims. “A man has just shown us an example of perfect control.”“Just a minute,” the American says, turning to his hostess. “Mrs. Wynnes, how did you know that cobra was in the room?”A faint smile lights up the woman’s face as she replies: “Because it was crawling across my foot.”

8 0
2 years ago
Which two themes are found in Susan Glaspell's "A Jury of Her Peers"?
dybincka [34]

Answer: Gender role and loneliness

Explanation:

Gender roles

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At the latter end of the story, the women were later united by Minnie's predicament and stood up against the shared oppression they had all faced.

Loneliness

Minnie Wright was an extremely vibrant woman before her marriage to John Wright, and then she started living a solitaire life. Her friends do not visit her, neither is she allowed to use the telephone. She is also without children. She finally loses all hope left, when her husband brutally kills the bird that provide her comfort.

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AveGali [126]

Answer:

The answer is C

Explanation:

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inysia [295]

Answer:

D

Explanation:

At this rate, if what the person is doing makes him get tired at 3:00pm/am, then today he must be tired again.

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Answer:

The writer can still write a grammatically correct sentence by using the passive voice.

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