The of Charlie Brown's sister is Sally Brown.
The time traveler sees the eloi as a weak, lazy and unintelligent race evolved from the aristocratic upper class. He also calls them childish in both their appearance and behavior. In contrast, he views the morlcoks as an ugly but industrious race who have envolved from the servant or working class
Answer:
Musical lyrics.
Explanation:
"The Great Wave", a famous painting of a seascape with Mt. Fiji in the background was done by Hokusai, a Japanese painter. This painting reflected the newly emerging nation of Japan and how it is 'coming' into the world.
When Neil MacGregor presented this painting to the audience in Japan, the director of London's British Museum presents how this painting came to emerge. He also focused on how the Asian nation 'grew' slowly while the world is occupied with 'wars'. And in his rhythmic presentation, MacGregor used a musical lyric as his outside source.
Thus, the correct answer is the third option.
Answer:
A: Mocking to earnest: while the author ridicules the oracular woman, she assumes a serious tone when describing the woman of culture.
Explanation: In the first two paragraphs, the author’s contemptuous attitude toward the “oracular literary woman” is apparent. The author describes the behavior of such women as “the most mischievous form of feminine silliness,” and lines such as “she spoils the taste of one’s muffin by questions of metaphysics” clearly portray the oracular woman as an object of ridicule. On the other hand, when describing the “woman of true culture,” the author adopts a more earnest tone as she paints the virtues of this figure—her modesty, consideration for others, and genuine literary talent—in idealized terms. A writer’s shifts in tone from one part of a text to another may suggest the writer’s qualification or refinement of their perspective on a subject. In this passage, the author’s sincere, idealized portrait of the woman of true culture plays an important role in qualifying the argument of the passage: although the author agrees with the men in line 41 that the “literary form” of feminine silliness deserves ridicule, she rejects generalizations about women’s intellectual abilities that the oracular woman unwittingly reinforces. Embodying the author’s vision of what women could attain if they were given a “more solid education,” the figure of the cultured woman serves to temper the derisive (mocking) portrayal of women intellectuals in the first part of the passage.
