What is plot?
1. the major problem in a story
2. the order in which events occur in a story
3. the events that make up a story
4. the main character in a story

Answer:

A: Concealed

Explanation:

Based on the definitions of obscure and the given choices, concealed is the closest.

Answer:

the answer is B.

Explanation:

shes researching how to be successful, thats the reasoning of article B

The source that is the most relevant to his topic is B. an article titled “Six Steps to Creating a Successful Vlog Channel

This refers to a resource that contains relevant information about a subject matter to get additional information about a topic.

Hence, we can see that because Chan is making research about how to become a successful video blogger, the most relevant source to his topic is B. an article titled “Six Steps to Creating a Successful Vlog Channel

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Answer:

11

Explanation:yes a

Answer: the park is very bright and loud. It's filled with people making it kind of crowded. its very fun tho there are a lot of pretty balloons around.

Explanation: An adjective describes something ex: bright, loud, crowded, fun, pretty

♦★ANSWER★♦

Explanation:

Answer: Ponyboy Curtis, the narrator, begins the novel with a story: he is walking home one afternoon after watching a Paul Newman film, and his mind starts to wander. He thinks about how he wants Paul Newman’s good looks, though he likes his own greaser look. He also thinks that, although he likes to watch movies alone, he wishes he had company for the walk home.

Explanation:

Answer:

Haii

Explanation:

Here you go. This pic shows how people were without jobs.

Im just answering so you can finally give the other person brainliest lol-

Answer:

i will in just a sec

Explanation:

sweater weather like just the phrase or it that a text or something?

Padded, fragile, intact,  best, they are the five adjectives, in the sentence Using a padded box to transport these fragile items is the best way to ensure that they stay intact.

Someone who feels fragile or frail might be ill or have had too much to drink, for instance. He was agitated and fragile in a strange way, like he had the flu and was just getting over it. Synonyms include "sick," "weak," "delicate," "terrible," and other terms for "delicate."

Some of the characteristics of the fragile person are-

Thus, Padded, fragile, intact,  best, they are the five adjectives.

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Answer:

No one would be glad to have no air conditioning on such a hot day. Verbal irony often takes the form of sarcasm, something we use a lot.

Explanation:

Answer: The focal point is the space station, the color is black and white with an etheral blue hue, there is texture on the planet or moon in the background, and also the shadow is under the station on the moon. The whiteness of the moon and the darkness of the space that is seen in the upper third of the picture contrast greatly.

Answer: I believe the answer is D.

Explanation: I already took the test and I believe I got it right. Not only that, but the sentence(s) talk about his thoughts of being a mock, or fake prince. It talks about him not wanting to handle the pressure of being a mock anymore because he had very little meals, and his feelings were being neglected (kind of) . Also, it talked about him dreaming of the pressure of an actual prince, all the ordering, being looked up to, etc. He didn't want to handle that pressure. Also, the last sentence of the passage explains that he ALSO WANTS TO BE A PRINCELING, meaning it was originally explaining that he had too much pressure to bare and no longer wants to be a mock. If D is incorrect, then it's definitely C.

Answer:

The correct answer is C) And still his desire to look just once upon a real prince, in the flesh, grew upon him, day by day, and week by week, until at last it absorbed all other desires, and became the one passion of his life.

Explanation:

I took the test and got it right.

Answer:

Do not attempt to much at once

Answer:

Prayers

Explanation:

I've had this question before... :)

Answer:

From the details in Act I of "The Crucible", we can conclude the following about Abigail's relationship with the other girls:

1. She uses the other girls' fear of her and of supernatural events to intimidate them.

Explanation:

"The Crucible" is a play by Arthur Miller. Set in Puritan Salem, the play revolves around false accusations concerning witchcraft that lead to several imprisonments and deaths. Several themes are developed in the play, such as power, manipulation, blind faith, and injustice, among others.

Abigail is one of the antagonists, probably even the most villainous character in the story. Manipulative and selfish, she intimidates the other girls by using their fear of supernatural events. It is Abigail who sends the other characters to jail by falsely accusing them of witchcraft. It is interesting to note that her motives are low and egotistic. In Puritan Salem, an unmarried girl like Abigail had no social status whatsoever. By accusing others, she gains power and influence.

Answer:Plutón comienza a evitar al narrador todo el tiempo. En lugar de sentirse arrepentido, el narrador simplemente se siente irritado por el comportamiento del gato. El narrador cuelga al gato “a sangre fría” de un árbol. Esa noche, su casa se incendia.

Explanation:

Answer:

D

Explanation:

Setting a curfew would be no where near the first step to destroying a democracy.

An argument that is a slippery slope fallacy: Setting a curfew is the first step in destroying democracy. The correct option is d.

The slippery slope fallacy is an argument that argues an initial event or action will set off a chain of circumstances that will result in an extreme or unfavourable outcome. The slippery slope fallacy predicts this line of events without providing any evidence to back up the claim.

When a person says that a very minor move will result in a series of events that results in a major shift or a terrible outcome, this is known as the slippery slope fallacy. This is known as a slippery slope argument. This is troublesome because the individual assumes a cause-and-effect relationship between two or more events or outcomes without knowing how things will turn out.

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Answer:

General

Explanation:

Hi, I noticed your question has yet to be answered, so I'll help you out and explain why this would be general usage.

Because it is an oral report, the answer would not be informal. So we have to focus on the remaining two and look at all the avenues in each.

Formal writing does not allow contractions, opts for complex terms and is often seen in masterful/scholarly writing.  Because the audience is a church's youth group, more than likely formal usage is not the case.  If it were an adult audience, perhaps this would be the right choice.

Therefore, general writing is not informal per say, but it does allow some contractions, explores modern/more simple of terms and is found in more comfortable environments, as opposed to formal.

Once again, because the audience is young, it would be very confusing if the person presenting the report were to use complex terms.  They would have to word it in a way where the children could understand; hence, why I say general is correct.

Hope this helps.

Hi, you've asked an incomplete question. The remaining options read:

A. The Allan Liner Virginian provided incorrect information about the events that occurred and now reporters have the true story.

B. The author claims that there was interference with messages because all of the wireless messages needed to be relayed, which caused miscommunication.

C. The author claims that he received incorrect information that the ship stayed afloat and acknowledges that the ship actually sank.

D. The author claims that he thought all passengers were saved, but in reality, he learned that many drowned.

Answer:

B. The author claims that there was interference with messages because all of the wireless messages needed to be relayed, which caused miscommunication.

Explanation:

Recall, the author's response was that there was interference with messages because all of the wireless messages needed to be relayed, resulting in miscommunication of the data therein.

Answer

The Costume Institute, The Metropolitan Museum of Art

Andrew Bolton

The Costume Institute, The Metropolitan Museum of Art

September 2008

Every decade has its seer or sybil of style, a designer who, above all others, is able to divine and define the desires of women. In the 1910s, this oracle of the mode was Paul Poiret, known in America as “The King of Fashion.” In Paris, he was simply Le Magnifique, after Süleyman the Magnificent, a suitable soubriquet for a couturier who, alongside the all-pervasive influence of Sergei Diaghilev’s Ballets Russes, employed the language of Orientalism to develop the romantic and theatrical possibilities of clothing. Like his artistic confrere Léon Bakst, Poiret’s exoticized tendencies were expressed through his use of vivid color coordinations and enigmatic silhouettes such as his iconic “lampshade” tunic and his “harem” trousers, or pantaloons. However, these Orientalist fantasies (or, rather, fantasies of the Orient) have served to detract from Poiret’s more enduring innovations, namely his technical and marketing achievements. Poiret effectively established the canon of modern dress and developed the blueprint of the modern fashion industry. Such was his vision that Poiret not only changed the course of costume history but also steered it in the direction of modern design history.

In 1901, Poiret joined the House of Worth, where he was asked to create what Gaston Worth (the son of Charles Frederick Worth, the eponymous founder) called “fried potatoes,” simple, practical garments that were side dishes to Worth’s main course of “truffles,” opulent evening and reception gowns. One of his “fried potatoes,” a cloak made from black wool and cut along straight lines like the kimono, proved too simple for one of Worth’s royal clients, the Russian princess Bariatinsky, who on seeing it cried, “What horror; with us, when there are low fellows who run after our sledges and annoy us, we have their heads cut off, and we put them in sacks just like that.” Her reaction, however, prompted Poiret to found his own maison de couture in 1903 at 5 rue Auber. Later, in 1906, he moved his atelier to 37 rue Pasquier, and then, in 1909, to 9 avenue d’Antin. Two years later, he established a perfume and cosmetics company named after his eldest daughter, Rosine, and a decorative arts company named after his second daughter, Martine, both located at 107 Faubourg Saint-Honoré. In so doing, he was the first couturier to align fashion with interior design and promote the concept of a “total lifestyle.”

In freeing women from corsets and dissolving the fortified grandeur of the obdurate, hyperbolic silhouette, Poiret effected a concomitant revolution in dressmaking, one that shifted the emphasis away from the skills of tailoring to those based on the skills of draping. It was a radical departure from the couture traditions of the nineteenth century, which, like menswear (to which they were indebted), relied on pattern pieces, or more specifically the precision of pattern making, for their efficacy. Looking to both antique and regional dress types, most notably to the Greek chiton, the Japanese kimono, and the North African and Middle Eastern caftan, Poiret advocated fashions cut along straight lines and constructed of rectangles. Such an emphasis on flatness and planarity required a complete reversal of the optical effects of fashion. The cylindrical wardrobe replaced the statuesque, turning, three-dimensional representation into two-dimensional abstraction. It was a strategy that dethroned the primacy and destabilized the paradigm of Western fashion.

Poiret’s process of design through draping is the source of fashion’s modern forms. It introduced clothing that hung from the shoulders and facilitated a multiplicity of possibilities. Poiret exploited its fullest potential by launching, in quick succession, a series of designs that were startling in their simplicity and originality. From 1906 to 1911, he presented garments that promoted an etiolated, high-waisted Directoire Revival silhouette. Different versions appeared in two limited-edition albums, Paul Iribe’s Les robes de Paul Poiret (1908) and Georges Lepape’s Les choses de Paul Poiret (1911), early examples of Poiret’s attempts to cement the relationship between art and fashion (later expressed in collaborations with Erté and Raoul Dufy, among others). Both albums relied on the stenciling technique known as pochoir, resulting in brilliantly saturated areas of color (2009.300.1289). It was an approach that not only reflected the novelty of Poiret’s designs but also his unique palette. Indeed, although the columnar garments depicted in the pochoirs referenced Neoclassicism, their acidic colors and exotic accessorization, most notably turbans wrapped à la Madame de Staël, were more an expression of Orientalism (as were several cocoon or kimono coats for which Poiret was known throughout his career)

Answer:

You could just steal the slogan from Philippine Airlines: "It's more fun in the Philippines!" and then like elaborate. It would be more like an infographic than a slogan poster, but I mean whatever works. Or you could say "Las Pilipinas: Kay Ganda at Masaya!" (it's supposed to say the philippines: so beautiful and fun, but idrk cuz my mom's the one who is filipino and speaks tagalog not me)

Answer: Standing in stark contrast to Dalat's French colonial villas, the bizarre avant garde guesthouse is a maze of spiral staircases, sculptural bedrooms, undulating surfaces, swirls of bright colors, narrow bridges and hidden nooks.

The artist behind the structure, 79-year-old Dang Viet Nga, says it's the ultimate expression of her imagination.

"Crazy House is a culmination of my life and creativity -- it all came together in this structure," Dang, daughter of Vietnam's former general secretary Truong Chinh, tells CNN Travel.

"I wanted to create something original, pioneering -- different from anything else in the world."

Answer:Standing in stark contrast to Dalat's French colonial villas, the bizarre avant garde guesthouse is a maze of spiral staircases, sculptural bedrooms, undulating surfaces, swirls of bright colors, narrow bridges and hidden nooks.The artist behind the structure, 79-year-old Dang Viet Nga, says it's the ultimate expression of her imagination.

Explanation:

Answer:

1. C

Explanation:

Answer:

c it said I need 20 letters so there

Answer:

The narrator has described the life of adults in "Excerpt from Minuk: Ashes in the Pathway" as boring.

Explanation:

"Excerpt from Minuk: Ashes in the Pathway" is an excerpt taken from Minuk written by Kirkpatrick Hill. The excerpt shares the life of children and adults in her culture.

She asserts that the life of adults in her culture was boring as they did not have rights to have fun and play like children. She remarks that how her mother, grandmother, and aunts would touch the narrator's dolls as if they were missing playing with it.

The textual evidence:

"Even Mamma and Grandma and the aunts came out into the  spring sun to touch our dolls and look at their clothes, as if they’d missed them, too. I  thought that sometimes it must be hard to be grown-up and not able to play."

"Our grandfather had carved both of our dolls from driwood. Mine had tiny lines  for tattoos on the chin and little black eyes and a straight mouth. I loved her serious  little face."

Answer:

I think the narrator's point of view from the "Excerpt from Minuk: Ashes in the Pathway" thinks that adult life is challenging and is proud of the adults in her culture because of their work and she feels they are an important aspect of her village.

Explanation:

One example is when she says "I thoughts that sometimes it must be hard to be a grown-up and not able to play". This sentence shows that she thinks it is challenging to resist the urge to play as an adult. Another example is when she talks about her relatives making her doll clothes and the men in her village winning a war against another village. The feeling of pride comes over her as she is grateful for the clothing to play with and she is very proud of her villages' men to win this war against another village. This shows that she respects the adults in her village, and feels that they are important to her growing life. Although the life of an adult does not appeal to her now, she feels that they play a major role in her life and that their life is very challenging and is needed to help her village grow.