Answer:
See explaination
Explanation:
1. The director wants to remove Bernard from society since he threatens the social stability of the world state.
2. He wants to accuse Bernard in front of the upper caste in order to show the upper caste workers what they may lose if they follow in Bernard's footsteps, he has them join the meeting.
3. The charges the director had against Bernard was on his claims that Bernard refusing to take part in social norms is offensive and dangerous to everyone around him.
4. Bernard responded to this, by bringing in John and Linda.
Lovely is better for a more sweet polite type of tone, while gorgeous is more for attractiveness and astonishment. It really depends on the context, though, and since this is lacking information this is all I can really say.
Have a good day :3
For the first question you need this sentence:<span>They have a round, flat nose.
So the answer is b: </span><span> round and flat
for the second you need this sentence: </span>
<span>They lay in the mud to keep cool., so the answer is d.
and for the last one this one: </span><span>A pig will eat almost anything! so the answer is d. </span>
Elie Wiesel's literary work prompted one reviewer to recall Isaac Bashevis Singer's definition of Jews as "a people who can't sleep themselves and let nobody else sleep," and to predict, "While Elie Wiesel lives and writes, there will be no rest for the wicked, the uncaring or anyone else." [1<span>] If uneasiness is the result of Wiesel's work, it is not a totally unintended result. Since the publication of </span>Night<span> in 1958, Wiesel, a Jewish survivor of the Nazi death camps, has borne a persistent, excruciating literary witness to the Holocaust. His works of fiction and non-fiction, his speeches and stories have each had the same intent: to hold the conscience of Jew and non-Jew (and, he would say, even the conscience of God) in a relentless focus on the horror of the Holocaust and to make this, the worst of all evils, impossible to forget.</span>
Wiesel refuses to allow himself or his readers to forget the Holocaust because, as a survivor, he has assumed the role of messenger. It is his duty to witness as a "messenger of the dead among the living," [2] and to prevent the evil of the victims' destruction from being increased by being forgotten. But he does not continue to retell the tales of the dead only to make life miserable for the living, or even to insure that such an atrocity will not happen again. Rather, Elie Wiesel is motivated by a need to wrestle theologically with the Holocaust.
The grim reality of the annihilation of six million Jews presents a seemingly insurmountable obstacle to further theological thought: how is it possible to believe in God after what happened? The sum of Wiesel's work is a passionate effort to break through this barrier to new understanding and faith. It is to his credit that he is unwilling to retreat into easy atheism, just as he refuses to bury his head in the sand of optimistic faith. What Wiesel calls for is a fierce, defiant struggle with the Holocaust, and his work tackles a harder question: how is it possible not to believe in God after what happened? [3]
