The best summation is answer choice C
In Lord of the Flies, Golding deliberately develops the boys' descent into savagery slowly, as to reveal the dangerous and seductive nature of giving over to base urges and animalistic desires. The boys arrive on the island as proper English school boys, complete in their privage school uniforms and choir togs, but even during their first day on the island, the reader can see how the environment of the island challenges the boys' former preconceptions of proper social behavior. For example, the oppressive heat immediately has the boys stripping out of their school clothes to be more comfortable; in normal society, running around naked would be strictly taboo, but on the island, of course, the boys begin to accept their nudity as a practical matter.
The boys' shedding their clothes is the first major indicator of their transformation into savages, but perhaps the most shocking example of true savagery occurs in Chapter Eight, "Gift for the Darkness," as the hunters ruthlessly and violently hunt and kill the sow. Hunting in itself is not an indicator of true savagery, but the boys' violent actions, exultation, and sheer enjoyment of the brutality during the act suggests that they have completely transformed into violent savages. The boys feel an inherent thrill as they stalk their victim during the hunt and work themselves practically into a frenzy as they jab their spears at the sow. Roger, particularly, derives enjoyment from the sows' shrill squeal as he drives his spear in further. The shocking blood-lust demonstrated by Jack, Roger, and the other hunters not only reveals their true savage natures, but also foreshadows future scenes of death, such as Simon's tragic end
I would guess B, but i'm not 100% sure
Answer:a first person point of view
Parks perspective of events
Personal emotions and facts
Explanation:
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”.
