My friend had concluded that if he took his language and culture out of his poetry, he stood a better chance of
receiving a fellowship. he took out his native language, the poetic patois of our reality, the rich mixture of spanish,
english, pachuco and street talk which we know so well. in other words, he took the tortillas out of his poetry, which
is to say he took the soul out of his poetry.
at a neighborhood fair in texas, somewhere between the german oom-pah sausage stand and the mexican gorditas
booth, i overheard a young man say to his friend, "i wish i had a heritage. sometimes i feel so lonely for one." and
the tall american trees were dangling their thick branches right down over his head.
which best states how the structures of the excerpts differ?
anaya structures his excerpt as an anecdote, while nye structures her excerpt as a rhetorical appeal.
anaya structures his excerpt as an analysis, while nye structures her excerpt as an observation.
anaya structures his excerpt as an observation, while nye structures her excerpt as an analysis.
anaya structures his excerpt as a rhetorical appeal, while nye structures her excerpt as an anecdote.
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What are two goals of feminist literary criticism? select two options. to focus exclusively on female authors and female characters to explore restrictions placed on female characters in patriarchal societies to explore emotional rather than political or historical aspects of literature to evaluate the work of female authors who may be unappreciated to evaluate why female authors are morally superior to male authors

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.

La 11 sem1 l 3.3.5 quiz: diary of a pioneer woman question 3 of 5 2 points what did some of the indians the frinks encountered do? o a. show the frinks a way across the river o b. threaten to kidnap margaret o c. take the frinks to their homes o d. strip the frinks' wagon submit