Answer:
<em>Well, I think best answer will be is </em><em>D. Mary Louise is a better piano player. Good Luck!</em>
Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
<u>O way it handles things on streets</u>
Explanation:
There is a needless ambiguity in this phrase that would just confuse the reader. it is not good prose when you can use just as many words and explain what the problem is but instead just use the word 'things' to describe them.
<u>The sentence begs to understand what exactly it is that the car does not understand on the road or has a difficulty to follow but this is left unanswered in the text of the paragraph.</u>
So this is where the author must re question their word choice for the passage.
Answer:
c. He was present when his mother, Matata, was being taught how to communicate.
Explanation:
The attempts to 'teach' language and help animals communicate with humans has been ongoing research and practical work of many linguistics and psychologists. Sue Savage-Rumbaugh is one of those psychologists who worked on teaching language and communication between animals and humans, specifically focusing on the bonobos.
Kanzi was an infant bonobo when Sue first began teaching lexigrams to Matata, Kanzi's adopted mother. But despite their attempts, Matata seemed to be incapable of learning or understanding anything. Taken back to another facility to be a breeder, Kanzi was left behind. After a couple of days, Sue noticed that Kanzi had absorbed whatever had been taught to his mother. This led Sue to focus on teaching Kanzi instead.
Thus, the correct answer is that Kanzi was present when his mother, Matata was being taught to communicate.
