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garik1379 [7]
3 years ago
13

Who want to be on my pad let

English
2 answers:
Marrrta [24]3 years ago
6 0

Answer:

sure

Explanation:

babymother [125]3 years ago
4 0

Answer:

what is that

Explanation:

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PLZZZ HELPPP!!!
almond37 [142]

Question #1:

In the short film, the girl is seen to start getting frantic when the elevator stopped and anxious which is why she pressed the elevator buttons to see if she could get to the floor faster and finally escape this "nightmare". in the story Martin describes his fear of being stuck in the elevator for hours and if they would would be able to get him out if he pressed a button and all went wrong when that happen, just being in their for hours was enough for him to want to not be in elevator at all. The similarities between the girl in the film and Martin was that in both scenes of the story and film, they were anxiously waiting to get out of the elevator, worried about the possibilities that may become reality. Some examples of this in the story are, "Perhaps it was the way the mechanism shuddered in a kind of exhaustion each time it left the floor, as though it might never reach the next one." Another example is, " His eyes fixed on the numbers over the door that blinked on and off haltingly, as if any moment they might simpliy give up." One last example is, "Sometimes he forced himself to look away from them, to the Emergency Stop button or the red Alarm button. What would happen if he pushed one of them❓Would a bell ring ❓ And if it did, how would they get him out ❓"

Question #2:

In the short film, the mysterious figure is seen to be starting at the lady as she elevator finally stops which is when the lady only felt fear and was desperate to escape, but in Martin's case, the fat lady on the elevator was only to be described my Martin to only be starting at him which filled him with a bunch of negative ideas of outcomes or schemes that the lady could be planning, just worrying overall about the woman in the elevators intentions. The situation that both protagonists were put in are similar because they were both worried about the intentions of the beings (mystrious figure/fat lady) in front of them. One example in the story is, "  She was still watching him. Here nose tilited up; there was a large space between her nostrils and her upper lip, giving her a piggish look. He looked away again, clenching his teeth, fighting the impulse to squeeze his eyes shut against her." Another example is, " She had to be crazy. Why else would she stare at him this way❓ What was she going to do next❓" One last example is, " He thought about her all day. Did she live in the building ❓He had never seen her before, and the building wasn't very big-only four apartments on each floor. It seemed likely that she didn't live there and had only been visiting sombody. But if she was only visiting somebody, why was she leaving the building at seven thirty in the morning❓"

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What must a speaker keep in mind to best appeal to the audience?
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The speaker must keep in mind what the audience wants to hear.
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MAVERICK [17]

The Ancient Greeks took their entertainment very seriously and used drama as a way of investigating the world they lived in, and what it meant to be human.

The three genres of drama were comedy, satyr plays, and most important of all, tragedy.

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Westkost [7]

Hamlet is an enigma. No matter how many ways critics examine him, no absolute truth emerges. Hamlet breathes with the multiple dimensions of a living human being, and everyone understands him in a personal way. Hamlet's challenge to Guildenstern rings true for everyone who seeks to know him: "You would pluck out the heart of my mystery." None of us ever really does.

The conundrum that is Hamlet stems from the fact that every time we look at him, he is different. In understanding literary characters, just as in understanding real people, our perceptions depend on what we bring to the investigation. Hamlet is so complete a character that, like an old friend or relative, our relationship to him changes each time we visit him, and he never ceases to surprise us. Therein lies the secret to the enduring love affair audiences have with him. They never tire of the intrigue.

Hamlet not only participates in his life, but astutely observes it as well. He recognizes the decay of the Danish society (represented by his Uncle Claudius), but also understands that he can blame no social ills on just one person. He remains aware of the ironies that constitute human endeavor, and he savors them. Though he says, "Man delights not me," the contradictions that characterize us all intrigue him. "What a piece of work is a man! How noble in reason, how infinite in faculties, in form and moving how express and admirable, in action how like an angel, in apprehension how like a god!"

Hamlet is infuriatingly adept at twisting and manipulating words. He confuses his so-called friends Rosencrantz and Guildenstern — whom he trusts as he "would adders fang'd" — with his dissertations on ambition, turning their observations around so that they seem to admire beggars more than their King. And he leads them on a merry chase in search of Polonius' body. He openly mocks the dottering Polonius with his word plays, which elude the old man's understanding. He continually spars with Claudius, who recognizes the danger of Hamlet's wit but is never smart enough to defend himself against it.

Words are Hamlet's constant companions, his weapons, and his defenses. In Rosencrantz and Guildenstern are Dead, a play that was later adapted into a film, playwright and screenplaywright Tom Stoppard imagines the various wordplays in Hamlet as games. In one scene, his characters play a set of tennis where words serve as balls and rackets. Hamlet is certainly the Pete Sampras of wordplay.


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They have realized how different they are
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