English, 15.10.2020 14:01 mmcdaniels46867

Which of the following best describes the subjective point of view in the narration of this story?

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English, 21.06.2019 18:50

"the bane of the internet" is written in first-person subjective point of view, so the narrator a) tells the story as it is happening b)tells the story as it is happened in the past c)is a minor character who tells the story as it is happening d)none of the above

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English, 21.06.2019 23:10

2read this passage from "the raven." what is puzzling the speaker in this stanza? 60% but the raven still beguiling my sad fancy into smiling, straight i wheeled a cushioned seat in front of bird, and bust and door then, upon the velvet sinking, i betook myself to linking fancy unto fancy, thinking what this ominous bird of yore- what this grim, ungainly, ghastly, gaunt and ominous bird of yore meant in croaking "nevermore." s and what the raven's message is why the raven came to visit where the raven came from how the raven got into his room

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English, 22.06.2019 00:30

Secret in slovakia how does the author's use of foreshadowing in the opening paragraphs affect the passage? a. it creates excitement by revealing the narrator's hopes of receiving part of her great-aunt's estate. b. it creates dread through its vivid descriptions of the house; readers are aware that something terrible has happened within those walls. c. it creates mystery by suggesting that the narrator's view of the house will somehow change as a result of her experiences inside. d. it creates a sense of joy and anticipation by hinting that the narrator will be reconnected with her great-aunt.

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English, 22.06.2019 01:00

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.