Short answer: No.
Long answer:
We shouldn't force everyone to speak english, because while it is easier for people to communicate if they all speak the same language, there will still be some problems. Language allows us to have another way to differentiate between people groups, and is a part of the culture of each people group. Language in itself, because of it's diversity, can show what each culture believes in, what the set rules are, as well as how they interact, and using language, what they can build. Language also serves as a diversify of production of items. If everybody spoke the same language, while there will be technology advancement, we will not be able to see how different groups (language groups specifically) handle the same problems. While it is good to be at least bilingual, i believe that not everyone should speak english.
hope this helps
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>
The answer is C, because it informs that since people are sharing information very quickly through the internet, it is <em>also bringing young people closer</em><em> </em><em>together than ever before</em>. In A we read that they are bringing people closer together, but the teenagers are <em>only included</em>. In B it is just mentioned that the tenagers are <em>generally brought together</em>.
In Thomas Hardy's <em>Hap</em>, the speaker ponders about how it would be more bearable to think that all of his misfortunes happen because a greater power has decided so, than the <em>reality </em>(by his perspective) which is that his <em>bad luck </em>in life was a result of random chance and unfortunate coincidence.
Because of his ponderance, we could say that this poem shows a reflective speaker. While some people think that this shows a pessimist thinker, Hardy was known for his realistic vision of life.
Therefore, your best answer is reflective.
Answer:
The configuration item described is that of the geographic location of the scenic framework.
Explanation:
The novels are literary works which can refer to diversified themes; the novels are divided into a group of primary elements that should not be missing so that it has a good structure; these are:
- The plot is a series of events that take place throughout the novel.
- Characters: are the people involved in the development of the plot.
- Scenic framework: it refers to the time and space (location) that the argument evolves.
- Narrator: This may be one of the characters in the novel, whether the main or secondary, but he is responsible for telling the story.
In this case, in summary, The Great Gatsby refers to the context in which the narration is made, which refers to the scenic element of the geographical location in which the review is applied.
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<em>I hope this information can help you.</em>
