In order to complete the dialogues between Connie and John and between Erica and Manuel, we must take the context into consideration.
The answers to the first dialogue are:
- Yeah, right! One year is long?
The answer to the second dialogue are:
- That’s good. Now what should we do?
- I think I’m going to make the chicken salad
<h3>What is a dialogue?</h3>
A dialogue is a conversation that takes place between two or more people. For this question, we must choose among the answer choices provided which ones best fit the blanks, so that the dialogues make sense.
In order to choose the best answers, we must take the context of each dialogue into consideration. That means we must read the whole dialogue to find clues as to what is going on:
- In the first dialogue, John clearly does not think Connie should buy a new parka. She thinks it is absurd to wear something from last year, but he does not.
- In the second dialogue, Manuel clearly says something that leads Erica to talk about the menus. He also mentions chicken all of a sudden, which means Erica must say something related to chicken as well.
With the information above in mind, we can conclude that the correct answers to complete the dialogues are the following:
- What’s on your mind? (first dialogue)
- Yeah, right! One year is long? (first dialogue)
- That’s good. Now what should we do? (second dialogue)
- I think I’m going to make the chicken salad (second dialogue)
Learn more about completing dialogues here:
brainly.com/question/13307090
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Answer:
A
Explanation:
The rest of the answers contradict themselves
It seems that the BJP government’s decision to illegalise the sale of cattle for slaughter at animal markets has its roots in a PIL that quotes the five-yearly Gadhimai festival in Nepal, where thousands of buffaloes are taken from India to be sacrificed to ‘appease’ Gadhimai, the goddess of power.
The contradictions that emerge from cattle – here encompassing all bovines – slaughter rules in Nepal perplex many: despite being predominantly Hindu, animal sacrifice continues to be practised. Cow slaughter is explicitly prohibited even in Nepal’s new constitution since it is the national animal, yet the ritual sacrifice of buffaloes and the consumption of their meat is not frowned upon. There is also, in marked contrast to the Indian government’s blanket approach to cattle terminology, a lucid distinction between cows (both the male and female) and other ‘cattle’ species (such as buffaloes and yaks).
The emergence of this contradictory, often paradoxical, approach to cattle slaughter in Nepal is the result of a careful balancing act by the rulers of modern Nepal. The Shah dynasty and the Rana prime ministers often found themselves at a crossroads to explicitly define the rules of cattle slaughter. As rulers of a perceived ‘asal Hindu-sthan’, their dharma bound them to protect the cow – the House of Gorkha borrows its name from the Sanskrit ‘gou-raksha’ – but as they expanded into an empire, their stringent Brahminic rules came into conflict with des-dharma, or existing local customs, where cattle-killing was a norm. What followed was an intentionally ambiguous approach to cattle slaughter, an exercise in social realpolitik.
The Dungeon is a poem which reflects the Romantic Era because, as most of them, it is a political and passionate piece.
This is a good topic for the Romantic Era because the author, with this piece, reflects the truth and shows concern about the well-being of the common man.
<u>For demonstrating the qualities of the Romantic Era I would chose these three lines</u> because Romantic Era is all about emotions and because the author, in these lines, questions himself about <em>"the innocence of the poor brother that offend us"</em> in a very sensitive and emotional way, trying to break seted standards:
Is this the only cure? Merciful God!
Each poor and natural outlet shrivell'd up / By ignorance and parching poverty
And stagnate and corrupt; till changed to poison, / They break out on him, like a loathsome plague-spot