Answer:
The correct option is d) constant dusk
Explanation:
In the English language, dusk can be described as a stage or twilight or the stage of dark twilight. As the fairies of the Philippines lived in a constant dim twilight, we can say that the correct option is D) constant dusk.
Other options, like option A, is not correct because the excerpt says nothing related to moderate temperatures. It also does not express constant darkness or moderate sunlight.
Answer:
direct characterizations, using her words and feelings
Explanation:
della has not saved enough money so she sells her hair to madame sofronie. she is described as cold and strict to the point.
Answer: I feel like her using a dry towel to keeep the brain damp is kinda weird.
Explanation:
Manga Ormolu enters the dialogue on contemporary culture, technology, and globalization through a fabricated relationship between ceramic tradition (using the form of Chinese Ming dynasty vessels) and techno-Pop Art. The futuristic update of the Ming vessels in this series recalls 18th century French gilded ormolu, where historic Chinese vessels were transformed into curiosity pieces for aristocrats. But here, robotic prosthetics inspired by anime (Japanese animation) and manga (the beloved comics and picture novels of Japan) subvert elitism with the accessibility of popular culture.
Working with Asian cultural elements highlights the evolving Western experience of the “Orient.” This narrative is personal: the hybridization of cultures mirrors my identity as an ethnically-mixed Asian Canadian. My family history is one of successive generations shedding the markers of ethnic identity in order to succeed in an adopted country – within a few generations this cultural filtration has spanned China, India, Trinidad, Ireland and Canada.
While Manga Ormolu offers multiple points of entry into sociocultural dialogue, manga, by nature, doesn’t take itself too seriously. The futuristic ornamentation can be excessive, self-aggrandizing, even ridiculous. This is a fitting reflection of our human need to envision and translate fantastic ideas into reality; in fact, striving for transcendence is a unifying feature of human cultural history. This characteristic is reflected in the unassuming, yet utterly transformable material of clay. Manga Ormolu, through content, form and material, vividly demonstrates the conflicting and complementary forces that shape our perceptions of Ourselves and the Other.
