Part A What is a central idea in the story "Bul-GO!-gi" about the children of immigrants?

They have to either work hard and succeed or be independent and well-liked.

They decide whether to portray stories about growing up as humorous or challenging.

They must face challenges with their parents because of generational differences.

They are pulled between the traditions of their parents' culture and the changes required by a new culture.
Question 2
Part B

Which detail from the story supports the answer in Part A?

"She even loved playing softball; she had a wickedly fast windmill pitch, having played throughout college and graduate school and on the law firm's recreational team."

"...she'd made Ji-Suk take Korean lessons every Saturday morning followed by violin lessons in the afternoon—and cooked kimchi and other Korean delicacies with her at least once a week..."

"She was American, just as much as she was Korean, and even though her mother wouldn't have wanted her to do it, starting the food truck was Ji-Suk's way of honoring her mother and showing that she valued what her mother had taught her."

"Still, she was determined not to force Seo-Jun to do the things her mother had forced her to do. He wouldn't have to take violin lessons, nor would he have to learn Korean."

Story is below

Italked more quickly—more vehemently; but the noise steadily increased. i arose and argued about trifles, in a high key and with violent gesticulations; but the noise steadily increased. why would they not be gone? i paced the floor to and fro with heavy strides, as if excited to fury by the observations of the men? —but the noise steadily increased.what is the effect of parallelism in this excerpt? it emphasizes the narrator’s paranoia. it emphasizes the narrator’s anger. it emphasizes the narrator’s grief. it emphasizes the narrator’s confusion.

30 points and brainliest what can you surmise about keats’s theories of art by reading “ode on a grecian urn”? no multiple choice

Read the following scene from trifles. sheriff (chuckling). married to the law. (moves toward the other room.) i just want you to come in here a minute, george. we ought to take a look at these windows. county attorney (scoffingly). oh, windows! sheriff. we’ll be right out, mr. hale. (hale goes outside. the sheriff follows the county attorney into the other room. then mrs. hale rises, hands tight together, looking intensely at mrs. peters, whose eyes take a slow turn, finally meeting mrs. hale’s. a moment mrs. hale holds her, then her own eyes point the way to where the box is concealed. suddenly mrs. peters throws back quilt pieces and tries to put the box in the bag she is wearing. it is too big. she opens box, starts to take the bird out, cannot touch it, goes to pieces, stands there . sound of a knob turning in the other room. mrs. hale snatches the box and puts it in the pocket of her big coat. enter county attorney and sheriff.) county attorney (facetiously). well, henry, at least we found out that she was not going to quilt it. she was going to—what is it you call it, ladies! mrs. hale (her hand against her pocket). we call it—knot it, mr. henderson. what changes might a director or screenwriter make to the original version of this scene in order to best emphasize the mood? cut dialogue from the scene to make it a more appropriate length update the setting to appeal to a more modern-day audience omit the actions of the characters to avoid confusion and chaos include the use of lighting, camera angles, and sound effects