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
A mask
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Overview of multimodal literacy
A multimodal text conveys meaning through a combination of two or more modes, for example, a poster conveys meaning through a combination of written language, still image, and spatial design. Each mode has its own specific task and function (Kress, 2010, p. 28) in the meaning making process, and usually carries only a part of the message in a multimodal text. In a picture book, the print and the image both contribute to the overall telling of the story but do so in different ways.
Images may simply illustrate or expand on the written story, or can be used to tell different aspects of the story, even contradicting the written words (Guijarro and Sanz, 2009, p. 107).
Effective multimodal authors creatively integrate modes in various configurations to coherently convey the meaning required, ‘moving the emphasis backwards and forwards between the various modes' (Cope and Kalantzis, 2009. p. 423) throughout the text.
The complexity of the relationships between the various meaning or semiotic systems in a text increases proportionately with the number of modes involved. For example, a film text is a more complex multimodal text than a poster as it dynamically combines the semiotic systems of moving image, audio, spoken language, written language, space, and gesture (acting) to convey meaning.
The correct answer is B!! :)
d. "not morose, misanthropic, and revengeful, but cheerful, hopeful, and forgiving."
Parallel structure is using the same grammatical structure for elements in a list. This helps with the flow of the sentence and ideas, as well as aids the reader in seeing how the items are similar or different. In this case, the items in both lists are written as adjectives. This allows the reader to see the similarities among the that are grouped together and how the contrast to each other across the conjunction "but". The phrase "two hundred and fifty years" is not part of parallel structure in this sentence.
