Category: Writing

What are THREE things you know about the audience that will impact how you write this message? Consider the following:
What do they know about the topic?
What are their feelings about the topic or the company/author?
What in the message will benefit the audience?
What do they need to know?
What do they want to know?
What questions will they have?
What should they believe, feel, or do after reading the message?
What are TWO communication barriers (physical, semantic, psychological, or situational) presented by this message?
What is ONE PROBLEM that needs to be solved in the message to accomplish the purpose for the audience, ONE OBSTACLE to overcome in solving that problem, and ONE PLAN for overcoming the obstacle? Consider anything that might get in your way in accomplishing your purpose (to inform, persuade, and build goodwill) as well as how you will plan the content details and organization to overcome the obstacle to solve the problem.

In the movie the prince of egypt:
1) Why is baby moses in the basket, such precious cargo?
2) Rameses says, “I am Egypt, the morning star and the evening star.” Who is the real I am?

Which story premise most clearly contains a supernatural element? A. A mysterious letter arrives in the mail, but the message is totally unreadable. B. Every intersection Laticia comes to on her way to the office is a green light. C. Johannes feels a tingling in his chin every time a crime takes place nearby. D. Dr. Weatherford hopes for some good luck as she gets ready to do surgery SUBMIT

How does Shakespeare use the motif of morning? O to highlight the beauty of life to demonstrate growth and maturity O to show the certainty
of fate O to show the challenges of survival

Which situation best illustrates the process of capital formation? A. A farmer increases his profits by growing a variety of new crops. B. An engineer tries to limit her spending during the week. C. An artist buys bonds that will increase in value over time. D. A factory worker takes out a high-interest loan to buy a new home.

Name: Date: 09.03 Dazzling Destinations: Text Time Part Two Directions: Use the evidence you identified in the text “The Hunt for
Gold” to answer each question in a complete sentence. 1) What is the theme of this text? Be sure to support your answer with evidence. 2.
Explain how the evidence you noted connects to the theme of the text.

Research about phonemic awareness tells us that ______________. Question 23 options: a) phonemic awareness interventions should begin once students have mastered phonological sensitivity b) rhyming and syllable identification should be mastered before phonemic awareness activities are introduced c) the instructional focus should be on blending and segmenting sounds not incorporating letters d) phonemic awareness predicts later reading ability as well as skilled decoding

Read the following poem carefully before you choose your answers. The following poem was first published in 1862. A Musical Instrument 1 What was he doing, the great god Pan. Down in the reeds by the river? Spreading ruin and scattering ban, Splashing and paddling with hoofs of a goat, 5 And breaking the golden lilies afloat With the dragonfly on the river. He tore out a reed, the great god Pan, From the deep cool bed of the river; The limpid water turbidly ran. 10 And the broken lilies a-dying lay. And the dragonfly had fled away, Ere he brought it out of the river. High on the shore sat the great god Pan While turbidly flowed the river; 15 And hacked and hewed as a great god can, With his hard bleak steel at the patient reed, Till there was not a sign of the leaf indeed To prove it fresh from the river.
He cut it short, did the great god Pan, 20 (How tall it stood in the river!), Then drew the pith, like the heart of a man, Steadily from the outside ring, And notched the poor dry empty thing In holes, as he sat by the river. 25 “This is the way,” laughed the great god Pan (Laughed while he sat by the river), “The only way, since gods began To make sweet music, they could succeed.” Then, dropping his mouth to a hole in the reed 30 He blew in power by the river. Sweet, sweet, sweet, O Pan! Piercing sweet by the river! Blinding sweet, O great god Pan! The sun on the hill forgot to die, 35 And the lilies revived, and the dragonfly Came back to dream on the river. Yet half a beast is the great god Pan, To laugh as he sits by the river, Making a poet out of a man; 40 The true gods sigh for the cost and pain— For the reed which grows nevermore again As a reed with the reeds in the river.
The poem as a whole is best described as a fantastical account of the circumstances leading up to a well-known historical event, poetic tribute to the beauty that can be found in nature if one takes the time to look, dramatic retelling of a mythological story that resonates with the speaker’s experience, humorous anecdote that describes the adventures of the ancient mythological gods, cautionary tale about the dangers of disobeying the gods’ wishes.
The speaker’s description of the reed’s pith as being “like the heart of a man” (line 21) serves in part to emphasize Pan’s casual cruelty, Pan’s love for the reed, the reed’s kind nature, the reed’s small size, the rhythm of Pan’s music.
The speaker’s series of exclamations in lines 31-33 (“Sweet . . . Pan”) interrupt the pace of the narrative in order to dramatize the overwhelming beauty that is revealed as Pan begins to play, mimic the short bursts of music that Pan brings forth from the reed, suggest the speaker’s futile efforts to stop Pan from playing, convey the anguished nature of the reed’s protests of its treatment by Pan, express the horror the speaker feels at witnessing Pan’s actions by the river.
In lines 34-36 (“The sun . . . river”), the changes that occur in the setting surrounding the river most clearly serve to establish the long-awaited arrival of the sun after a night of Pan’s destructive actions, calming influence that nature has had on Pan’s originally agitated behavior, futile efforts of the river creatures to rescue the reed from Pan’s grasp, hypnotic beauty of Pan’s music in comparison to his earlier activities, everlasting life of Pan and the gods in comparison to the short life of the reed.