Answer:
Ethos
Explanation:
He is telling the people that because of his honor, he is trustworthy.
The aunt's characterization contributes to the satire by highlighting her prejudice about the man. She believes certain thoughts going on her mind regarding her perception of the man's attitude and body language, but does not actually confirm if what she thinks is factual.
When she states in her mind "he was a hard, unsympathetic man", she does so by taking her thoughts for granted and not realizing that the man's frown might have been caused by a variety of events/thoughts unrelated to her decision.
The answer would most likely be C. Fine, do whatever you want. This would be so because an interjection is when you remark something like, "oh dear me!" Hope this helped!
Answer:
Shari Graydon wants her readers to know that advertising is everywhere, it influences us in buying their stuff, and advertising companies make use of professional actors and models to create a positive impact in the minds of audiences.
Explanation:
Shari Graydon in her book 'Made You Look: How Advertising Works and Why You Should Know' talks about various aspects of advertising. Graydon, with the help of her book, explains her readers the things we should all be a aware about advertising:
• The motive of of an advertising is to make people buy something, and it control our lives without us noticing it. This can be stated from the example in the text, 'They say consumers made hard decisions on what to buy, but advertising decides for them.'
• Advertising is almost always there, and its everywhere. It manipulates its audience. Citing example: 'Basically advertising is everywhere.'
• The one who appears in an advertising are either actors or models who are experienced in the field. Example from the text would be, ''Think about some fashion trends supprot the goal of advertizers.'
Example: Not until the third act does the great Wagner
arbitrate in the struggle between amateurishness and theatricality in the music, though at all points his epoch-making stagecraft asserts itself with a force that tempts us to treat the whole work as if it were on the Wagnerian plane of Tannhauser's account of his pilgrimage in the third act. (Example Only)