Answer: His perseverance.
Explanation: By claiming his "heart [never] gave consent" he's trying to get the reader to notice he was not captivated by Calypso and instead always had his heart set on home.
The part of this excerpt from Homer’s Odyssey depicts Ulysses revealing his true identity to his faithful servants Eumaeus and Philaetius is
His ragged vest then drawn aside disclosed The sign conspicuous, and the scar exposed: Eager they view'd, with joy they stood amazed With tearful eyes o'er all their master gazed: Around his neck their longing arms they cast, His head, his shoulders, and his knees embraced; Tears followed tears; no word was in their power; In solemn silence fell the kindly shower. The king too weeps, the king too grasps their hands; And moveless, as a marble fountain, stands.
Answer:
B. Because viewers do not doubt the reality of what they see on TV
Explanation:
Postman then cites French literary theorist Roland Barthes, arguing that “television has achieved the status of ‘myth’”. What does “myth” mean to Barthes? As Postman explains: “a myth is a way of thinking so deeply embedded in our consciousness that it is invisible”. Here we might pause and review our discussion on semiotics, recalling Levi-Strauss as well as de Saussure.
Myth is language. Images are a type of language. Consequently, when we see a representation of Rosie the Riveter, what comes to mind are a number of ideas, including everything from American determination as reflected by its citizens during World War II to the ideals and concepts espoused by feminist theory. If, as Postman states, television is myth, then what he is arguing for is the idea that television by its very nature and by what it is capable of conveys a complex series of ideas that is already deeply embedded within our subconscious. Or, as Postman more succinctly puts it: We rarely talk about television, only about what is on television—that is, about its content”.
