Please rewrite the student's argument to make it more formal. Museum exhibits can bring history to life. The Hollywood special effects artist Kazu Hiro knows
how to bring historical figures to life, and that's why you should choose the photograph of his 3-D
sculpture of Abraham Lincoln to entice people to visit your Lincoln exhibit. If you have any
doubts, just look at the image again! Lincoln looks so real that you feel like you could reach out
and feel his wiry beard, gaze into his brilliant blue eyes, or tug on one of his pink, fleshy ear. In
contrast, the 1865 photograph of Lincoln looks so dismal, dull, and dead, like a page from a crusty,
old U. S. history textbook. Sure, it's an authentic photograph of the man, but it doesn't bring the 16th
president of the United States back to life. We understand that as a museum director, you want to
choose an image that will attract lots of visitors, especially young people. If that is the case, then
choose the more lifelike and vibrant image of Lincoln for the poster.

Read the extract below and identify the three kind(s) of bias that are apparent within it. despite being reintroduced in the 1600s by idle, muddle-headed aristocrats in order to be slaughtered for fun, all the wild boars that were brought to australia from the continent eventually died out. for the next 300 years there were no boars in australia, but in the 1980s farmers saw a chance to diversify and began to import and farm them. some of these beautiful, intelligent animals escaped and established herds of their own, once again living wild and purely natural lives. while their ideal home is in woodland, boars are hardy and are able to live in multiple habitats. a/ mistreatment of opposing views b/ positive stereotyping c/ subjective vocabulary d/ personal attacks e/statistics f/ corporate bias e/ negative stereotyping g/ offensive language

According to section four, what is the most likely reason that a polyester blend fabric would make the project more difficult for amateur quilters?

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.