In "Gravity", by Judith Ortiz Cofer, the narrator's mother most likely put the guardian angel picture up outside the narrator's room c. to remind the narrator of her Puerto Rican roots.
Elenita starts the narration speaking about her bedroom, which is decorated following her style with her books, and her radio. Her mother decorated the house with pictures of saints and angels in what Elenita calls a primitive Puerto Rican style. Elenita took the picture of the guardian angel out of her room. Her mother placed it outside her door so that she sees it every time she goes in or out of her bedroom, to be reminded of her Puerto Rican roots.
The correct answer to this open question is the following.
Although the question is so open and does not include further context or references, we can say the following.
The nature of communication is that is a very important process in human interaction. The process of communication is the way humans establish contact with other humans because we are social people that from the very beginning of our lives we begin to interact with others.
In the process of communication, there is a "sender" that transmits a "message" to the "receiver," using many "channels" as they could be oral, expression, non-verbal communication, or through mass media or social media.
Edna Pontellier was a controversial character. She upset many nineteenth century expectations for women and their supposed roles. One of her most shocking actions was her denial of her role as a mother and wife. Kate Chopin displays this rejection gradually, but the concept of motherhood is major theme throughout the novel.
Edna is fighting against the societal and natural structures of motherhood that force her to be defined by her title as wife of Leonce Pontellier and mother of Raoul and Etienne Pontellier, instead of being her own, self-defined individual. Through Chopin’s focus on two other female characters, Adele Ratignolle and Mademoiselle Reisz, Edna’s options of life paths are exhibited.
These women are the examples that the men around Edna contrast her with and from whom they obtain their expectations for her. Edna, however, finds both role models lacking and begins to see that the life of freedom and individuality that she wants goes against both society and nature. The inevitability of her fate as a male-defined creature brings her to a state of despair, and she frees herself the only way she can, through suicide.
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>
Referring to sonnet 116, I believe the answer is 1. <span>.the limits of time
Through that metaphor, i William shakesphere shares his view on how he sees love. He believed that loves is not something that could be measured by countable time measurement because it's something that internal and exceeds the limit of time.</span>
