It is easy to make delicious-looking hamburger at home. But would this hamburger still look delicious after it sat on your kitchen table under very bright lights for six or seven hours? if someone took a picture or made a video of this hamburger after the seventh hour, would anyone want to eat it? More importantly, do you think you could get millions of people to pay money for this hamburger? These are the questions that fast food companies worry about when they produce commercials or print ads for their products. Video and photo shoots often last many hours. The lights that the photographers use can be extremely hot. These conditions can cause the food to look quite unappealing to potential consumers. Because of this, the menu items that you see in fast food commercials are probably not actually edible.Let's use the hamburger as an example. The first step towards building the commercial hamburger is the bun. The food stylist--a person employed by the company to make sure the products look perfect--sorts through hundreds of buns until he or she finds one with no wrinkles. Next, the stylist carefully rearranges the sesame seeds on the bun using glue and tweezers for maximum visual appeal. The bun is then sprayed with a waterproofing solution so that it will no get soggy from contact with other ingredients, the lights, or the humidity in the room.Next, the food stylist shapes a meat patty into a perfect circle. Only the outside of the meat gets cooked-the inside is left raw so that the meat remains moist. The food stylist then paints the outside of the meat patty with a mixture of oil, molasses, and brown food coloring. Grill marks are either painted on or seared into the meat using hot metal skewers.Finally, the food stylist searches through dozens of tomatoes and heads of lettuce to find the best-looking produce.One leaf of the crispest lettuce and one center slice of the reddest tomato are selected and then sprayed with glycerin to keep them looking fresh. So the next time you see a delectable hamburger in a fast food commercial, remember: you are actually looking at glue, paint, raw meat , and glycerin. Are you still hungry?
What is the best synonym for ' delectable'?
When her grandmother’s health began to deteriorate in the fall of 1994, Mary would make the drive from Washington, DC to Winchester every few days.
She hated highway driving, finding it ugly and monotonous. She preferred to take meandering back roads to her grandmother’s hospital. When she drove through the rocky town of Harpers Ferry, the beauty of the rough waters churning at the intersection of the Shenandoah and Potomac rivers always captivated her.
Toward the end of her journey, Mary had to get on highway 81. It was here that she discovered a surprising bit of beauty during one of her trips. Along the median of the highway, there was a long stretch of wildflowers. They were thin and delicate and purple, and swayed in the wind as if whispering poems to each other.
The first time she saw the flowers, Mary was seized by an uncontrollable urge to pull over on the highway and yank a bunch from the soil. She carried them into her grandmother’s room when she arrived at the hospital and placed them in a water pitcher by her bed. For a moment her grandmother seemed more lucid than usual. She thanked Mary for the flowers, commented on their beauty and asked where she had gotten them. Mary was overjoyed by the ability of the flowers to wake something up inside her ailing grandmother.
Afterwards, Mary began carrying scissors in the car during her trips to visit her grandmother. She would quickly glide onto the shoulder, jump out of the car, and clip a bunch of flowers. Each time Mary placed the flowers in the pitcher, her grandmother’s eyes would light up and they would have a splendid conversation.
One morning in late October, Mary got a call that her grandmother had taken a turn for the worse. Mary was in such a hurry to get to her grandmother that she sped past her flower spot. She decided to turn around head several miles back, and cut a bunch. Mary arrived at the hospital to find her grandmother very weak and unresponsive. She placed flowers in the pitcher and sat down. She felt a squeeze on her fingers. It was the last conversation they had.
“They were thin and delicate and purple, and swayed in the wind as if whispering poems to each other.”
Which of the following literary techniques is used in the above sentence?
At the time Jane Austen’s novels were published – between 1811 and 1818 – English literature was not part of any academic curriculum. In addition, fiction was under strenuous attack. Certain religious and political groups felt novels had the power to make so-called immoral characters so interesting that young readers would identify with them; these groups also considered novels to be of little practical use. Even Coleridge, certainly no literary reactionary, spoke for many when the asserted that “novel-reading occasions the destruction of the mind’s powers.”
These attitudes towards novels help explain why Austen received little attention from early nineteenth-century literary cities. (In any case a novelist published anonymously, as Austen was, would not be likely to receive much critical attention.) The literary response that was accorded to her, however, was often as incisive as twentieth-century criticism. In his attack in 1816 on novelistic portrayals “outside of ordinary experience,” for example. Scott made an insightful remark about the merits of Austen’s fiction.
Her novels, wrote Scott, “present to the reader an accurate and exact picture of ordinary everyday people and places, reminiscent of seventeenth-century Flemish painting.” Scott did not use the word ‘realism’, but he undoubtedly used a standard of realistic probability in judging novels. The critic Whately did not use the word ‘realism’, either, but he expressed agreement with Scott’s evaluation, and went on to suggest the possibilities for moral instruction in what we have called Austen’s ‘realistic method’ her characters, wrote Whately, are persuasive agents for moral truth since they are ordinary persons “so clearly evoked that we feel an interest in their fate as if it were our own.” Moral instruction, explained Whately, is more likely to be effective when conveyed through recongnizably human and interesting characters than when imparted by a sermonizing narrator. Whitely especially praised Austen’s ability to create character who “mingle goodness and villainy, weakness and virtue, as in life they are always mingled. “Whitely concluded his remarks by comparing Austen’s art of characterization to Dickens’, starting his preference for Austen’s.
Yet, the response of nineteenth-century literary critics to Austen was not always so laudatory, and often anticipated the reservations of twentieth-century literary critics. An example of such a response was Lewes complaint in 1859 that Austen’s range of subject and characters was too narrow. Praising her verisimilitude, Lewes added that, nonetheless her focus was too often only upon the unlofty and the commonplace. (Twentieth-century Marxists, on the other hand, were to complain about what they saw as her exclusive emphasis on a lofty upper middle class.) In any case having being rescued by literary critics from neglect and indeed gradually lionized by them, Austen steadily reached, by the mid-nineteenth century, the enviable pinnacle of being considered controversial.
The author would most likely agree to which of the following as the best measure of a writer’s literary success?