Both cultures thought nature was important.
(i just took the test)
First I'm going to explain you how the DAPPS works:
Dated: When a deadline approaches your motivating typically increases
Achievable: Motivating goals are challenging, but<u> realistic</u>
Personal: Motivating goals are YOUR goals, not someone else’s. You know better than anyone else what do you want to do.
Positive: Motivating goals focus your energy on what you do want rather than on what you don’t want.
Specific: Motivating goals state outcomes in specific, measureable terms.
(Adapted form Skip Downing)
Taking that into account I'm going to give you an example of DAPPS
- I will achieve 5 A's or more in each class this semester.
- I'm going to run 4 days during the week ro run the 4k marthon in october.
- I'm going to study french at home everyday during two months to pass the french test at the end of the course.
If my answer helped you please give me 5 stars and Brainliest answer. Thank you.
Answer:
Your answer would be that the literary device used in the passage is an analogy.
Explanation:
In the passage above, the author has used the literary device called analogy. An analogy is a comparison in which a thing or an idea is compared to another thing which is a little different from it. Its purpose is to explain the original idea by comparing it to something that is familiar. In this case, a relationship is compared to the way the stock market works. The author explains that both of them have ups and downs and that, in both cases, you only get what you put into them.
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>
