35 ! which statement is false? a. the space program capitalized on live media to cover its launches and maintain public interest in the program. b. the media interest in the space program and the success of the space program fueled the economy by marketing products that were linked to space exploration. c. the astronauts for the apollo 11 mission were carefully chosen by nasa for their experience, knowledge, character, and values. d. john f. kennedy’s lack of likability in the media made his goal to walk on the moon a national joke.

How does the anonymous narrator’s first-person point of view in jonathan swift's “a modest proposal” affect its reading? a.it readers understand the social and political problems of the time. b.it indicates that the author is unbiased about the information provided. c.it leaves readers unsure about the credibility of the argument. d.it provides readers with a clear account of the political conditions of that time.

Which word best describes the author's tone in this excerpt from "that spot" by jack london? i don’t think much of stephen mackaye any more, though i used to swear by him. i know that in those days i loved him more than my own brother. if ever i meet stephen mackaye again, i shall not be responsible for my actions. it passes beyond me that a man with whom i shared food and blanket, and with whom i mushed over the chilcoot trail, should turn out the way he did. i always sized steve up as a square man, a kindly comrade, without an iota of anything vindictive or malicious in his nature. i shall never trust my judgment in men again. why, i nursed that man through typhoid fever; we starved together on the headwaters of the stewart; and he saved my life on the little salmon. and now, after the years we were together, all i can say of stephen mackaye is that he is the meanest man i ever knew. a. excited b. ironic c. indignant d. playful

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.