was the mythical king and founder-hero of Athens. Like Perseus, Cadmus, or Heracles, Theseus battled and overcame foes that were identified with an archaic religious and social order: “This was a major cultural transition, like the making of the new Olympia by Hercules” (Ruck & Staples, p. 204)
Can I have Branliest for the Correct Answer?
Very often things like flashbacks, flash forwards, non-linear narratives, multiple plots and ensemble casts are regarded as optional gimmicks stuck into the conventional three act structure. They're not. Each of the six types I've isolated and their subcategories provides a different take on the same story material. Suddenly, one idea for a film can give you a multitude of story choices. What do I mean?
More than six ways to turn your idea into a film. Let's imagine that you've read a newspaper article about soldiers contracting a respiratory disease from handling a certain kind of weaponry. You want to write a film about it. Conventional wisdom says create one storyline with one protagonist (a soldier who gets the disease) and follow that protagonist through a three act linear journey. There's no question that you could make a fine film out of that. But there are several other ways to make a story out of the idea, and several different messages that you could transmit - by using one of the parallel narrative forms.
<span>Would you like to create a script about a group of soldiers from the same unit who contract the disease together during one incident, with their relationships disintegrating or improving as they get sicker, dealing with the group dynamic and unfinished emotional business? That would be a shared team 'adventure', which is a kind of group story, so you would be using what I call </span>Multiple Protagonist<span> form (the form seen in films like Saving Private Ryan or The Full Monty or Little Miss Sunshine, where a group goes on a quest together and we follow the group's adventure, the adventure of each soldier, and the emotional interaction of each soldier with the others). </span>
Alternatively, would you prefer your soldiers not to know each other, instead, to be in different units, or even different parts of the world, with the action following each soldier into a separate story that shows a different version of the same theme, with all of the stories running in parallel in the same time frame and making a socio-political comment about war and cannon fodder? If so, you need what I call tandem narrative,<span> the form of films like Nashville or Traffic. </span>
Alternatively, if you want to tell a series of stories (each about a different soldier) consecutively, one after the other, linking the stories by plot or theme (or both) at the end, you'll need what, in my book Screenwriting Updated I called 'Sequential Narrative', but now, to avoid confusion with an approach to conventional three act structure script of the same name, I term Consecutive Stories<span> form, either in its fractured state (as in Pulp Fiction or Atonement), or in linear form (as in The Circle). </span>
Answer: C. Gideon’s position as a tribal medicine man dictates that he not betray the secret to outsiders.
Explanation:
In <em>“No Witchcraft for Sale”</em>, Lessing's short story, Gideon is the protagonist of the story. He is a Native African who works as a cook for the Farquars family.
In the story, the boy from the Farquars family almost goes blind when a snake spits venom in his eyes. Luckily for him, Gideon helps him with some herbs used by the native people. When doctors come into the Farquars house to investigate this event, Gideon refuses to reveal the medicine he used. As stated in the story itself,<em> "They all realized he would never give in."</em> The correct option is, therefore, C.
<span>Fetch me my rapier, boy.<span> What dares the slave </span>
Come hither, cover'd with an antic face,</span><span>
</span>
Here is an example of personification. The ocean sometimes moves like a snail. Other times, it moves the force of a bull charging toward a red-colored flag. When the latter is the case, you don't want to be trapped in it's belly.
<h3>What is
personification?</h3>
Personification is the result in literature when a writer uses the qualities of living things or animate objects to describe those that are non-animated or non-living.
In the sentence above, the words that reveal personification are:
- A bull charging
- Belly
- moving like a snail.
Learn more about personification at:
brainly.com/question/18033693
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