There are many critics sharing their ideas and opinions about Whitman's decision in using free verse to support his themes. They think that this is to create a unique style of writing that blends journalism with music, oratory, and other cultural influences to transform American poetry.
<span>“How horrible it would be . . . if she were condemned to be the plain, shy Millicent of a few years back.” - Direct characterization. The speaker explicitly says that Milicent now isn't plain and shy, and that would be a condemnation to her.
</span><span>“Betsy Johnson, the vivacious blonde secretary of the sorority” - Direct characterization. We can see Betsy and we get some information about her character (vivacious).
</span><span>“Walking beside Louise on the way to the drugstore, Millicent felt a surge of pride.” - Indirect characterization. The speaker doesn't say that Milicent is this or that kind of person. He/she just puts her in a context, commenting on her current feelings and thus allowing the reader to make a vague conclusion about her character.
</span><span>“Bev was suddenly there in the doorway. ‘Wipe that smile off your face,’ she commanded.” - Indirect characterization. Again, the speaker here describes this character's action, rather than features and character traits.</span>
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>
Question 1: The answer is A.
Tumo was extrinsically motivated to go back to college part-time because he knew there was a real chance that the plant where he worked would shut down and move its operations out-of-state. But at the same time, he was also intrinsically motivated because he saw this as an oportunity to fulfill his dream of becoming a veterinarian.
Question 2: The answer is A.
Tumo exhibits a Growth mindset. Rather than believing his qualities are set and looking for a job in a similar plant, he is certain that his intelligence can grow. Because of this, he strives to improve himself.
Question 3: The answer is C.
By isolating himself, Tumo would not be building resilience, on the contrary, he would be allowing the situation to get the best of him. On the other hand, if he were to maintain a positive stance, take actions before getting fired or see this as an opportunity, Tumo would be developing resilience and getting himself ready for the future that awaits him.
She feel sad about what muthoni done to her
