Tag: Paper Writing

Answer the following questions
1. What is globalization? (give examples)
2. Aside from the economic term, in what other domains can you feel globalization?
3. What are the things that people do now which could not be done before globalization?
4. Are the effects of globalization on communication positive or negative? Support your answer
with examples.
5. In what specific ways does globalization affect communication?

Read the following selection and then answer the questions.
S.S. Van Dine’s Twenty Rules for Writing Detective Stories
In his article Twenty Rules for Writing Detective Stories, SS Van Dine laid down the following “Commandments” for authors of detective fiction. The article was originally published in the American Magazine for September 1928, and was included in the Philo Vance Investigates omnibus edition of 1936.
The detective story is a game. It is more–it is a sporting event. And the author must play fair with the reader. He can no more resort to trickeries and deceptions and still retain his honesty than if he cheated in a bridge game. He must outwit the reader, and hold the reader’s interest, through sheer ingenuity. For the writing of detective stories there are very definite laws–unwritten, perhaps, but none the less binding: and every respectable and self-respecting concocter of literary mysteries lives up to them.
Herewith, then, is a sort of Credo, based partly on the practice of all the great writers of stories, and partly on the promptings of the honest author’s inner conscience. To wit:
The reader must have equal opportunity with the detective for solving the mystery. All clues must be plainly stated and described.
No willful tricks or deceptions may be played on the reader other than those played legitimately by the criminal on the detective himself.
There must be no love interest. The business in hand is to bring a criminal to the bar of justice, not to bring a lovelorn couple to the hymeneal altar.
The detective himself, or one of the official investigators, should never turn out to be the culprit. This is bald trickery, on a par with offering some one a bright penny for a five-dollar gold piece. It is false pretenses.
The culprit must be determined by logical deductions — not by accident or coincidence or unmotivated confession. To solve a criminal problem in this latter fashion is like sending the reader on a deliberate wild-goose chase, and then telling him, after he has failed, that you had the object of his search up your sleeve all the time. Such an author is no better than a practical joker.
The detective novel must have a detective in it; and a detective is not a detective unless he detects. His function is to gather clues that will eventually lead to the person who did the dirty work in the first chapter; and if the detective does not reach his conclusions through an analysis of those clues, he has no more solved his problem than the schoolboy who gets his answer out of the back of the arithmetic.
There simply must be a corpse in a detective novel, and the deader the corpse the better. No lesser crime than murder will suffice. Three hundred pages is far too much bother for a crime other than murder. After all, the reader’s trouble and expenditure of energy must be rewarded.
The problem of the crime must be solved by strictly naturalistic means. Such methods for learning the truth as slate-writing, Ouija-boards, mind-reading, spiritualistic séances, crystal-gazing, and the like, are taboo. A reader has a chance when matching his wits with a rationalistic detective, but if he must compete with the world of spirits and go chasing about the fourth dimension of metaphysics, he is defeated ab initio.
There must be but one detective — that is, but one protagonist of deduction — one deus ex machina. To bring the minds of three or four, or sometimes a gang of detectives to bear on a problem, is not only to disperse the interest and break the direct thread of logic, but to take an unfair advantage of the reader. If there is more than one detective the reader does not know who his co-educator is. It is like making the reader run a race with a relay team.
The culprit must turn out to be a person who has played a more or less prominent part in the story — that is, a person with whom the reader is familiar and in whom he takes an interest.
A servant must not be chosen by the author as the culprit. This is begging a noble question. It is a too easy solution. The culprit must be a decidedly worth-while person — one that wouldn’t ordinarily come under suspicion.
There must be but one culprit, no matter how many murders are committed. The culprit may, of course, have a minor helper or co-plotter; but the entire onus must rest on one pair of shoulders: the entire indignation of the reader must be permitted to concentrate on a single black nature.
Secret societies, camorras, mafias, et al., have no place in a detective story. A fascinating and truly beautiful murder is irremediably spoiled by any such wholesale culpability. To be sure, the murderer in a detective novel should be given a sporting chance; but it is going too far to grant him a secret society to fall back on. No high-class, self-respecting murderer would want such odds.
The method of murder, and the means of detecting it, must be rational and scientific. That is to say, pseudo-science and purely imaginative and speculative devices are not to be tolerated in the roman policier. Once an author soars into the realm of fantasy, in the Jules Verne manner, he is outside the bounds of detective fiction, cavorting in the uncharted reaches of adventure.
The truth of the problem must at all times be apparent — provided the reader is shrewd enough to see it. By this I mean that if the reader, after learning the explanation for the crime, should reread the book, he would see that the solution had, in a sense, been staring him in the face — that all the clues really pointed to the culprit — and that, if he had been as clever as the detective, he could have solved the mystery himself without going on to the final chapter. That the clever reader does often thus solve the problem goes without saying.
A detective novel should contain no long descriptive passages, no literary dallying with side-issues, no subtly worked-out character analyses, no “atmospheric” preoccupations. such matters have no vital place in a record of crime and deduction. They hold up the action and introduce issues irrelevant to the main purpose, which is to state a problem, analyze it, and bring it to a successful conclusion. To be sure, there must be a sufficient descriptiveness and character delineation to give the novel verisimilitude.
A professional criminal must never be shouldered with the guilt of a crime in a detective story. Crimes by housebreakers and bandits are the province of the police departments — not of authors and brilliant amateur detectives. A really fascinating crime is one committed by a pillar of a church, or a spinster noted for her charities.
A crime in a detective story must never turn out to be an accident or a suicide. To end an odyssey of sleuthing with such an anti-climax is to hoodwink the trusting and kind-hearted reader.
The motives for all crimes in detective stories should be personal. International plotting and war politics belong in a different category of fiction — in secret-service tales, for instance. But a murder story must be kept gemütlich, so to speak. It must reflect the reader’s everyday experiences, and give him a certain outlet for his own repressed desires and emotions.
And (to give my Credo an even score of items) I herewith list a few of the devices which no self-respecting detective story writer will now avail himself of. They have been employed too often, and are familiar to all true lovers of literary crime. To use them is a confession of the author’s ineptitude and lack of originality.
(a)
Determining the identity of the culprit by comparing the butt of a cigarette left at the scene of the crime with the brand smoked by a suspect.
(b)
The bogus spiritualistic séance to frighten the culprit into giving himself away.
(c)
Forged fingerprints.
(d)
The dummy-figure alibi.
(e)
The dog that does not bark and thereby reveals the fact that the intruder is familiar.
(f)
The final pinning of the crime on a twin, or a relative who looks exactly like the suspected, but innocent, person.
(g)
The hypodermic syringe and the knockout drops.
(h)
The commission of the murder in a locked room after the police have actually broken in.
(i)
The word association test for guilt.
(j)
The cipher, or code letter, which is eventually unraveled by the sleuth.
1.The detective story is compared to which of the following?
A long, difficult race
The 10 Commandments
A five-dollar gold piece
A sporting event
By what must the culprit in a detective story be determined?
logical deduction
unmotivated confession
accidental means
3.According to SS Van Dine, there simply must be ____________ in a detective story?
a theft
a wild-goose chase
a runaway
a corpse
4.According to SS Van Dine, crimes must never turn out to be ______________?
accidental
a cover-up
intentional
unnecessary
5.Which of the following is not an item on the list of “devices which no self-respecting detective story writer” should ever do?
The dummy-figure alibi
The cipher, or code letter
Forged fingerprints
A criminal in disguise
What is the best definition of the word
concocter
as used in the following context?
For the writing of detective stories there are very definite laws–unwritten, perhaps, but none the less binding: and every respectable and self-respecting concocter of literary mysteries lives up to them.
creator
editor
literary critic
reader
7.What is the best definition of the word
Credo
as used in the following context?
Herewith, then, is a sort of Credo, based partly on the practice of all the great writers of stories, and partly on the promptings of the honest author’s inner conscience.
list of ideas of what makes a bad detective fiction writer
list of beliefs or aims that should guide all detective fiction writers
list of generalities found in all detective stories
list of observations of what writers of detective fiction always do
8.The reader must have equal opportunity with the detective for solving the mystery.
preposition
conjunction
verb
noun
9.The problem of the crime must be solved by strictly naturalistic means.
adjective
verb
noun
adverb
10.Secret societies, camorras, mafias, et al., have no place in a detective story.
preposition
conjunction
verb
noun

[3] What qualities do you look for in a friend? What qualities do you offer? In what ways can you be a better friend? Provide details
and include adjectives in your response. [4] Discuss the importance of respect. How do you show respect to others? Yourself? What
does it take for you to lose respect for someone? How do they gain it back?
Hello, I would like to hear different thoughts on each prompt. Write a very descriptive journal entry with 280- 300+ words, free of any spelling or grammar errors for each prompts. It can be written in 1- 3 paragraphs and the divisions should make sense. A paragraph-length can vary from 4- 12 sentences. Also, add on a creative title. Include specific language that describes a person, place, or thing with clear and vivid words which “paint a picture” for the reader. Sensory details (sight, sound, smell, taste, touch) should be used to make the writing vivid.  Descriptive language and writing also require space order, order of importance words and transition words to help the reader understand your work. Space order words include: above, below, across, beside, under, next to, inside, opposite, and around. Order of importance words include: first, last, next, most important and above all. Make sure to type it out so it’s easier to read. Thank You.

Assessment/ Evaluation (6) Complete the frame by identifying the strength and weaknesses of the following Filiping traditions or
practices. (20 points) Weaknesses Practice/Tradition Strengths Family Orientednes Kadahilaan Pagkamatiisin Bahala na
Fangingatuwiran Bukas loob Kanyao

The Road Not Taken
Directions: Based on the poem, answer the following questions. Write your answers on your pad paper.
Give the line in the poem which tells that the word “diverged” means went in different directions.
Choose the lines which tell that the speaker wishes that he or she did not have to make a choice between the roads.
The speaker claims that he or she has taken the road less traveled by. Is the speaker telling the truth? Support your answer with evidence from the text.
What makes the poet decide to take the less traveled road? What does it signify?
What does the image of two diverging roads symbolize?
Directions: Based on the poem, answer the given task. Write your answers in your pad paper.
Give the rhyming pattern of each stanza.
Pick the lines in the poem that use the following sounds:
a. alliteration
b. assonance
c. rhyme
Identify the lines which show imagery in the poem.
Enumerate the elements used in this poem.

5. Describe the historical context for the Harlem Renaissance. What factors brought African American artists and writers together in
Harlem during the 1920s and 1930s? i U Font Family – AAT A PET

Comprehension:
Answer these questions about the excerpt from
The Hobbit
.
1.
Which of the following is the setting of “Flies and Spiders”?
Group of answer choices
a squirrel-filled park
a waterless desert
a large, dense forest
a gloomy tunnel
2.
In lines 1-13 imagery is used to describe the path. What kind of mood does that imagery create?
Group of answer choices
The mood is quiet because the leaves muffle footsteps.
The mood is creepy because “strangled” and “blackened” suggest dead things.
The mood is happy because the travelers are going for a walk.
The mood makes the travelers feel crowded because the path is so narrow.
3.
How does the description of the sunlight in lines 9-13 reflect the travelers’ conflict?
Group of answer choices
The sun is soon defeated by the darkness, which hints at what will happen to the travelers.
The sun shows sneakiness by slipping through the leaves.
The sun is lucky to reach the ground, just as the travelers are lucky.
The sun seems as threatening as the travelers when it stabs down through the leaves.
4.
From the way the characters react to the setting, you can tell that they are
Group of answer choices
confident that they will get through the forest
comfortable with the closeness of their surroundings
excited by the prospect of an adventure
disturbed by the dark stuffiness of the forest
5.
The phrase “grunts, scufflings, and hurryings” appeals to which sense?
Group of answer choices
touch
smell
sight
hearing
6.
Which is the best way to paraphrase the sentence that starts in line 16 and ends in line 19?
Group of answer choices
Bilbo heard strange noises but couldn’t see what made them.
Bilbo heard the scuffling noises the squirrels made.
Strange animals rushed through the undergrowth, grunting and scuffling.
The leaves were piled so thick that they muffled all sounds.
7.
The image of cobwebs in lines 19-21 suggests
Group of answer choices
a work of art
a trap about to spring
woven fabric
ropes hanging from trees
8.
Which is the best way to paraphrase the sentence that starts in line 37 and ends in line 41?
Group of answer choices
They slept crowded together, and yellow or red or green eyes stared at Bilbo, then faded and shone out again elsewhere.
When they slept crowded together, pairs of yellow or red or green eyes stared at Bilbo.
When it was Bilbo’s turn, pairs of yellow or red or green eyes stared at him.
They slept crowded together, and when it was Bilbo’s turn to watch, he could see pairs of yellow or red or green eyes staring at him.
9.
The image of the eyes in lines 38-44 creates a mood of
Group of answer choices
curiosity and interest
eager expectation
fear and anxiety
admiration for their beauty
10.
From the details about strange noises, extraordinarily thick cobwebs, and watching eyes, you can infer that
Group of answer choices
strange creatures are watching the travelers
the travelers are looking for trouble
the forest is a very noisy place
other travelers are lost in the forest
11.
Which image in lines 45-52 best describes the bats?
Group of answer choices
as big as your hand
flapping and whirring
black as a top-hat
dark-grey and black
12.
Which is the best way to paraphrase lines 60-63?
Group of answer choices
A stream that flowed fast and looked dark reminded the travelers of how thirsty they were.
The thirsty travelers were nearly out of water when a fast-running black stream blocked their path.
When they were nearly out of drinking water, their path was blocked by a stream that looked black.
Fast-running water blocked their path when they were nearly out of drinking water.
Vocabulary:
Use your knowledge of connotation and denotation to answer the following questions. The line numbers will help you find the words in the excerpt from
The Hobbit
.
13.
The denotation of
scuttling
in line 16 is “running hastily.” Which word below best describes its connotation?
Group of answer choices
celebrating
escaping
jumping with joy
sneaking
14.
What connotation does
extraordinarily
have in line 20?
Group of answer choices
typically
surprisingly
usefully
hopefully
15.
The author used the word
huddled
in line 37 with a connotation of
Group of answer choices
coziness
privacy
warmth
fear
16.
What connotation does enormous have in line 52?
Group of answer choices
ordinary
irritating
overwhelming
generous
Vocabulary:
Use context clues to answer the following questions. The line numbers will help you find the words in the excerpt from
The Hobbit.
17.
Use context clues in lines 14-23 to decide what
inquisitive
means.
Group of answer choices
far-seeing
fearful
curious
pale
18.
Which words give you a clue to the meaning of
bulbous
in line 43?
Group of answer choices
much too big
animal eyes
insect eyes
horrible pale
19.
Which context clues help you figure out the meaning of
provisions
in line 54?
Group of answer choices
hungry, food
shooting, arrows
always, same
ages, days
20.
Use context clues to figure out the meaning of
skins
in line 65.
Group of answer choices
hands
membranes
fur coats
containers
(1) It was crowded at the 54th Street park. (2) Many different activities were in progress. (3) People are racing models. (4) People are playing chess. (5) People are jogging. (6) A group was playing bocce, a game brought over from Italy many years ago. (7) Grace brings her collie, Jake, to the park. (8) She throws sticks for him to fetch. (9) The dog ran circles around Grace. (10) Jake runs over to the bocce game. (11) He grabs the ball in his mouth. (12) He takes off.
Writing & Grammar: Read the passage and answer the questions that follow.
21.To change sentences 1 and 2 to the present tense, which words need to be replaced?
Group of answer choices
park, activities
It, were
was, were
crowded, kinds
22.Choose the correct way to rewrite sentences 3-5, using a compound predicate.
Group of answer choices
People are racing models. They are playing chess. People are jogging.
People are racing models, playing chess, and jogging.
People are racing models. People are playing chess. Some are jogging.
People are racing models; people are playing chess; people are jogging.
23.How would you change sentence 6 to the present tense?
Group of answer choices
Change “was” to “is.”
Change “many years ago” to “recently.”
Change “brought” to “that was brought.”
Change “was playing” to “played.”
24.Choose the correct way to rewrite sentences 7 and 8, using a compound predicate.
Group of answer choices
Grace brings her collie, Jake, to throw sticks for him to fetch.
Grace brings her collie, Jake, to the park and throws sticks for him to fetch.
Grace brings her collie, Jake, to the park, where she throws sticks for him to fetch.
Grace brings her collie

Departure Poem by Glen Kirkland leaving home I stand with my dead grandmother’s suitcases in hand coat slung carelessly over my shoulder the car loaded down with all my possessions packed in boxes tied doubly with string (like a refugee from some old movie) my father coughs shakes my hand and offers me a last-minute yellow screwdriver with Interchangeable heads my mother kisses me and says as long as I have a sense of humour I will survive In the doorway now I smile awkwardly and mutter goodbye
my mother asks again have you got everything yes I say I’ve got it all and frightened suddenly I want to paint my name In huge red letters on the ceilings and walls of every room carve my initials in the coffee table and leave a life-sized reproduction of myself asleep upstairs
To a Daughter Leaving Home Poem by Linda Pastan When I taught you at eight to ride a bicycle, loping along beside you as you wobbled away on two round wheels, my own mouth rounding to surprise when you pulled ahead down the curved path of the park, I kept waiting for the thud of your crash as I sprinted to catch up,

The image of the ninja wearing all black is a popular one indeed, but there is really no evidence that ninjas ever wore such a costume. In fact, it is much more likely that ninjas dressed as regular civilians, which would have been far more effective camou?age in most situations than an all black suit. The use of disguises amongst ninja is common and well-documented. Ninja often dressed as monks, entertainers, fortune-tellers, merchants, or farmers. Each of these disguises carried advantages that dressing in all black did not. Dressed as monks, ninjas could conceal weapons in their robes. Dressed as entertainers, they could spy in enemy buildings without arousing suspicion. Dressed as fortune-tellers, they could extract information from unknowing targets. Dressed as merchants, they could travel freely across enemy borders. And while dressed as farmers, ninja carried simple gardening tools (such as sickles or trowels) and used them as deadly weaponry. In this way if a ninja were caught by authorities, he could claim that his deadly apparatus were tools, not weapons. Though they may not have been wearing all black stealth suits, ninjas were always well-disguised. . Main idea related title for the passage: 8. Summarize the passage in your own words:

Question Completion Status: compare contrast O d. analysis QUESTION 14 Which sentence below uses punctuation correctly? a. Martine cancelled her subscription to Tin Foil: We’re Just Asking Questions magazine after it failed to print her letters about: chemtrails, Bigfoot, and the moon landing. O b. We just saw Captain Kangaroo: The Revenge of Dancing Bear, I did not expect that plot twist! O C. For class, I had to read the sequel to Frankenstein: it was a real letdown compared to the original. O d. Critics agree that Johnson’s latest album: Magnitude is his best work yet. QUESTION 15