I'd say that the correct answer is A) Patrick Henry's 'Give me liberty, or give me death', because of all four, it is the most emotional, whereas the other options are mostly legal or revolutionary.
Here's the ones I believe are character vs. character conflicts:
<span>1. two sisters furiously competing against each other in a spelling bee (sister vs. sister)
</span><span>3. a local activist that is trying to overthrow a corrupt leader (activist vs. leader)
</span><span>4. a fairy tale princess that is trying to escape from her captor, the evil queen (princess vs. queen)
5. a young boy clashing with his sister as they attempt to plan a birthday party (boy vs. his sister) </span>
Answer: The noun clause in the first sentence is "Whatever you do", while the noun clause in the second sentence is "what she should major in at college".
Explanation: A noun clause is a dependent clause, that is to say a clause that does not express a full thought, which functions as a noun. Moreover, a noun clause is generally introduced by a relative pronoun. In the first sentence<u>, the noun clause is "Whatever you do" and it is functioning as the subject of the sentence, while in the second sentence, the noun clause is "what she should major in at college" and it is performing the function of direct object. </u>Therefore, both of them are acting as nouns.
Answer: Ruth should use the cause-and-effect structure to show that the darkness of the earlier stories caused authors to
change them in order to be appropriate for children.
Or :
Ruth should use the problem-solution structure to show why the dark stories are problematic, and how changing
them solves the problem.
Read them over and think about it.
All of the programs are helpful in alleviating poverty because people don't have to pay for them. Nutrition programs give you food form the country just like housing and free healthcare are made to stop you from wasting your own money on it. All of the programs help people spend money on things that they need and are not for basic survival.
