Publicity is changing along the way, now the conciousness in the industry is preparing a future with more quality, we have seen the power of advertising and now is been used to touch more sensible fibers inside the public, organizations and fundations now are working together to post ¨issues¨ that really mather.
Human brain takes information every second of what we see, this is the way of the publicity to get thru the people, it engage you with some image, phrase, sound, smell or even taste and if you are susceptible to it, you will develop more toughs about it until you proced to take some action (like buying some item, stoping doing something, donate money, etc).
A big example is the ban of the ¨straw¨, pages, blogs, news papers, new channels start to talk about it, showing the repercusions and sudenly we all now hate the use of the straw, you see big Companys like Starbucks getting ride of the Straw, they ¨needed¨ to change in order of not loosing clients.
Because the people got so into it that it was like a contagious movement, one after another start to split information everyday in diferent ways that much people reacted to it.
Answer:
Peddle was disappointed because he had ten chances to score, but he did not make one ball into the basket.
Explanation:
Replacing, "get," with, "make," still has the sentence as grammatically correct, while also not using the word, "get."
Answer:
Donne uses the extended metaphor of a ‘city’ not only in ‘Holy Sonnet XIV’ but also in ‘Loves War’. In this Elegy which was written in Donne’s youth, he describes a ‘free City’ which ‘thyself allow to anyone’ – a metaphor for how anyone can enter a woman [ii] – and goes onto say how in there he would like to ‘batter, bleeds and dye’. Here, Donne is controlling the ‘city’ and taking over it himself, however, if Donne intended to use this same metaphor in ‘Holy Sonnet XIV’, the roles have changed and it now signifies how it is Donne who needs to be seized by God’s spirit. Furthermore, this represents how Donne’s life and therefore attitude has changed between writing these poems; he used to feel in control but now he is controlled.
The physical verbs that are used immediately sets the violent theme of the octave. The spondaic feet emphasizes Donne’s cry for God to ‘break, blow’ and ‘burn’ his heart so he can become ‘imprisoned’ in God’s power, creating a paradoxical image of a benevolent God acting in a brutal way. He uses a metaphysical conceit to explain how he is ‘like an usurp’d town’ with God’s viceroy (reason) in him. This imagery of warfare that pervades the sonnet symbolises his soul at war with himself; only if God physically ‘overthrow’s’ Donne and ‘batters’ his sinful heart will he be able to ‘divorce’ the devil. It was around the time of writing this poem that Donne renounced his Catholic upbringing which gives evidence to the assumption that the sin he was struggling with began to overpower his Christian beliefs and needed God become as real to him as God was to his respected Catholic parents. Furthermore, in ‘Holy Sonnet XVII’ Donne exclaims how ‘though [he] have found [God], and thou [his] thirst hast fed, a holy thirsty dropsy melts [him] yet. This reveals that Donne feels that even though he has found God, his yearning is not satisfied which gives evidence towards the assumption that he is crying out for spiritual ecstasy. This paradox between freedom and captivity was most frequently written about by most prison poets such as Richard Lovelace [iii] Donne wrote, ‘Except you enthrall me, never shall be free’ which implies the same idea as Loveless in ‘To Althea, From Prison’ that true freedom is internal, not external, symbolising his struggle with sin whilst he is physically free.
