Answer:
Jacqueline Woodson tells her memoir “Brown Girl Dreaming” from the first-person, limited-omniscient, present-tense point of view of herself as a child. She does this for several reasons. First and foremost, the memoir being told is Jacqueline’s, and there is no better person to tell her childhood story than herself. Second, this allows Jacqueline to communicate intimate thoughts, ideas, and feelings with the reader directly, allowing them to see and feel things as she did. It also allows readers a sort of intimacy as if the story was being told by one friend to another. The limited-omniscient aspect lends itself to Jacqueline telling the story as her child-self in present-tense, and not knowing everything going on in the world around her, but having vague ideas or inclinations about events and circumstances beyond her control.
Explanation:
Answer:
I believe this is the definition for example clues.
Explanation:
We often hear of context clues, but authors can also employ example clues. Example clues can be found when authors give an example that facilitates the understanding of an unfamiliar word by the reader. A regular context clue would not offer an example. Example clues tend to use the terms "such as", "for instance", "for example", "to illustrate", among others.
Answer:
we give this for the the pro studying people have to it
Answer:
A red herring in literature is a narrative element that is used to throw off readers and lead them to false conclusions. ... An author provides one or more red herrings intentionally to divert attention away from the true object or person of interest, thereby making the conclusion to the book more of a surprise.
Explanation:
Ani analyses how "DeLuca's haphazard patchwork of reasoning and evidence leaves the reader wondering whether he believes his own claim". According to Ani he quotes not only supporters of the Nobel price committee but also detractors. He includes a sampling of Dylan's lyrics and leaves them to speak for themselves.
The evidence (quotes) from the article that best supports Ani's evaluation are:
1. "And it’s a good thing [his lyrics] have been published, because if you’ve gone to see the famously sneering and syllable-garbling Dylan play live in recent years, you probably couldn’t understand a word he was singing."
We could interpret this quote as contradictory, it is not necessarily for or against Dylan's Nobel Price. You could say he is confusing his readers, he seems to be against the sung lyrics and for the published ones.
2. "On one end of Dylan's songwriting spectrum is the vengeful, resolute, and timeless 'Masters Of War' . . . . It’s high dudgeon at its finest: ‘Let me ask you one question: Is your money that good? / Will it buy you forgiveness? Do you think that it could?"
Ani also says that he does a sampling of the lyrics and allows them to speak for themselves. This excerpt shows part of a lyric from the song "Masters of War". He is not necessarily saying its a "good" or "bad" lyric, he describes it as: "vengeful, resolute, and timeless" the reader must decide about its quality or if it is the kind of work that deserves a Nobel Price.
