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zhannawk [14.2K]
3 years ago
11

Linda was shaking as she prepared to perform her first concert, in front of several hundred people. She knew her songs and playe

d her guitar well, but now that the big moment was here, stage fright was sitting in. She needed something to calm her nerves. She breathed in and out deeply, trying to relax. it wasn't working; she was as nervous as ever. Wait. What was that technique her friends told her about? She couldn't remember. Oh, yeah. Picture of the audience naked! She doubled over in laughter. After that visual, the show should be a piece of cake.
Write the resolution to this short story and make sure to include 5 pieces of dialogue .
English
2 answers:
Paraphin [41]3 years ago
8 0

Answer:

The solution was that Linda used the "naked audience" technique that her friends showed her so that she could be less nervous. In the begginging, she was really nervous and couldn't calm down even when breathing. Then she tried what her friends said about imagining the audience naked. She laughed and thought it was funny. After that, she was calmed and wasn't nervous anymore.

Explanation:

Evgen [1.6K]3 years ago
5 0

Answer:

  

Explanation:

Linda was nerves and she was frantice to stop her stage fright then she remberd what her friends told her and she laughed and her nerves were gone

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How does the character foil of Pam serve to develop the character of Martha in "Martha, Martha"? A Pam reveals Martha's negative
Vadim26 [7]

Answer:

A Pam reveals Martha's negative traits.Pam reveals Martha's negative traits.

Explanation:

This is true because, the negative traits of Martha was only revealed in the event of the character foil of Pam.  

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3 years ago
Write a short paragraph on an analysis of the novel "Cry, the Beloved Country."
Vladimir79 [104]
In Alan Paton’s Cry, the Beloved Country, John Kumalo and Dubula are united in their opposition to South Africa’s racial injustices. But while Kumalo enumerates grievances without suggesting realistic solutions, Dubula represents positive, pragmatic change—not to mention the possibility of cooperation between whites and blacks. Paton contrasts Kumalo and Dubula to argue that a policy of cooperation and optimism is a far more effective political strategy than attempting to stir up anger and stoking a community’s desire for vengeance.

On the surface, Dubula and John Kumalo seem bonded by their desire to end the tyranny of whites over blacks in South Africa. They are often described respectively as the “heart” and “voice” of the movement for racial equality, nicknames that suggest they are part of one crusading body. The narrator notes that both men have rejected the Christian Church, which pays its white officials higher salaries than its black officials and offers only lip service to the idea that blacks deserve equal status. This shared action shows that both men have a common interest in weakening institutions that reinforce the notion of black inferiority. Both men make concerted efforts to promote black citizens’ economic interests: Kumalo with his calls for an end to the Church’s oppressiveness and Dubula with his demands for a bus boycott. In the novel’s early scenes, the men seem to be one and the same, heroic yet interchangeable figures in the struggle for black equality.

As the story unfolds, however, Paton makes it clear that John Kumalo primarily relies on anger and grievances to mobilize his black followers. Upset by the Church’s practices, he does not attempt to reform the institution or set up a useful alternative for his people, but merely encourages impotent rage throughout Johannesburg. Suspicious that tribal customs are a white tool for suppressing black independence, Kumalo flat-out rejects the entire set of customs, including the useful tribal traditions of monogamy and family bonding. (His disgusted brother notes that Kumalo has not selected new or different customs, but has instead replaced a set of flawed customs with the far more dangerous idea of no customs whatsoever.) Kumalo complains that fear rules the land, but he does not offer a plan for alleviating this fear. The ideas Kumalo advances amount to little more than harsh words and complaints, rather than constructive plans or even short-term suggestions for progress.

By contrast, Dubula stands for hope, cooperation, and a pragmatic approach to social change. Whereas Kumalo can only stew over the poor housing opportunities afforded to black citizens, Dubula initiates a Shanty Town, in which formerly crowded tenants can spread out and await the chimney pipes and iron that Dubula courageously provides. Whereas Kumalo merely rants about the economic plight of black citizens, Dubula proposes and carries out a bus boycott to lower the fares for black passengers—a boycott that has the added effect of changing white citizens from the unified, faceless enemy that Kumalo describes into allies in the struggle for racial justice, as many whites offer car rides to blacks during the boycott, risking courtroom trials of their own. Whereas Kumalo is merely an eloquent “voice,” Dubula is a strong, tireless “heart” that refuses to acknowledge “the fear that rules [Kumalo’s] land.” Dubula rejects a career of complaining in favor of brave, practical, and loving efforts to improve the status of South Africa’s black citizens.

By moving past the superficial similarities between Kumalo and Dubula, Paton implies that a spirit of pragmatism and productivity is far more effective than stirring up rage and making speeches. At first, Dubula and Kumalo seem to be one and the same in their desire for racial equality, reinforcing the notion that civil rights movements tend to involve large, unified fronts. But Kumalo quickly distinguishes himself from Dubula in his unwillingness to put aside grievances and work for tangible change. Dubula, on the other hand, emerges as a hero, energetic and optimistic enough to drive blacks out of their cramped housing and into a makeshift Shanty Town. The genius and audacity of Dubula’s actions may account for Mshingulu’s glowing admiration: Unlike Kumalo, Dubula laughs away “the fear that rules this land.

.... I don’t know hope this helped
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Lisa [10]

The question doesn’t mention the name of the text; however, assuming that all the options best indicate “The Awakening” by Kate Chopin, the following can be said about it:

The correct answer is: B. Despite the expectations placed on them, women require the same freedoms and intellectual stimulation as men.

Explanation:

The text, along with the protagonist, Edna Pontellier, re-evaluates the expectations of being a woman in different roles (woman, wife, mother, daughter, lover, friend, sister, person, etc.) in view of being an individual self, and overturns them by reinstating the individual desire for freedom which does not see gender. This can be understood through various instances from the text, as follows:

After being wrongfully reprimanded by her husband for not taking adequate care of their child, Edna suffers “An indescribable oppression.” She feels neither guilt nor anger, but an “oppression”, which indicates forceful subjugation, a consciousness of lack of freedom; leading to her “anguish” which was the indignation resulting from the former (ch-3).

In chapter 36, Edna tells Robert that, “we women learn so little of life on the whole,” expressing in this statement the scarce opportunities for exploration and intellectual stimulation available to women as compared to men. Both Mr. Pontellier and Robert travel to other places throughout the novel, a need as well as a luxury that Edna didn’t possess. Her persistent and clear refusal to Mr. Pontellier’s repeated insistence on her not staying out of the house (ch-11), her declaration to Robert that no one possessed her (ch-36), her decision to reside in her own separate house (ch-26), and her restless exploration for intellectual stimulation in the society around her, were acts of boldness and defiance, among many others, that were condemned by the society, especially for women.  

Gradually, “Mrs. Pontellier was beginning to realize her position in the universe as a human being, and to recognize her relations as an individual to the world within and about her,” a realisation whose evolved form and harsh consequences are showcased in the character of Mademoiselle Reisz (Ch-6).  

Alternatively, one can also arrive at this answer by eliminating other options. Both the nature and realities of love and marriage are explored in the novel, but as companion themes contributing to the central one. On the other hand, growing up being a painful process is explored through Edna within the context of her identity as a woman, and the freedoms and the restrictions that that identity brought about. Hence, B is the correct answer.  

<em><u>Food for thought:</u></em><em> Despite B being the correct answer out of the given options, it is worth mentioning that the option itself in one way limits the freedom of women by comparing and in a way limiting their needs to those of men, and not individuals.</em>

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