In<em> President Barack Obama's argument about immigration</em>, it is used Pathos and Logos. We can see Pathos when he tries to get to the audience feelings of pity, disgrace, and empathy for those families who come into the U.S and have to face hardships such as racism. He's trying to provoke certain emotions talking about those families struggles and sufferings. He's using an emotional resource. Logos is seen when he talks about facts, about the fact that racism is still an issue in the U.S and that immigrants do are part of the American community as well. He's using logic and facts.
In<em> President Donald Trump's argument about immigration</em>, it is used Pathos, Ethos, and Logos. Pathos is seen when he tries to convey feelings of sorrow and pity for the American families who lose their jobs because of immigrants getting American's jobs. He tries to convey those feelings towards the hardships that American's face up to the immigrant's situation. Logos is seen in the last sentence Our obligation is to serve, protect, and defend the citizens of the United States. He uses logic to persuade the audience, he is trying to convince people that is statement is ethically correct and therefore, logical. Ethos is seen in the last and first sentence. He uses his authority to convince people about his argument being correct.
Answer:
Explanation:
What could be a worse fate for a modern American female poet than to be lumped into a nebulous, chauvinistic and ever slightly misogynistic pool of cess stereotyped as a “domestic poet.” Anyone unfamiliar with the term coming across it from the first time in reference to a female poet might well believe that domestic poetry is sweetly rhyming verse taking as its subject situations like getting the kids into the van for soccer practice, making cookies for the PTA meeting and, of course, a litany of hatred expressed toward husbands who are never there to help with domestic issues.
Never mind that Robert Frost and Walt Whitman and Wallace Stevens have all at one time or another found a niche within the broadly defined movement or genre of domestic poetry. Which, for the same of brevity, shall be termed poetry dealing with the commonplace of everyday as opposed to epic tales, transcendental unity of man with nature, mysticism, avant-garde experimentation with form over content and various other assorted and sundry types of poems with which the average person cannot relate. Linda Pastan, in other words, writes poems in which she consistently returns to touch upon universal themes dealing with family and relationships and the difficulties of normal existence and the emotional distress of just getting up and living live as it comes.
The tension that always exists between members of a family regardless of the definition or connotation applied to the term “family” has been a great source of inspiration to Pastan from her earliest verse and throughout her development and maturation. By contrast, an equally concentrated examination of the tensions introduced by religious and spiritual expectations has tended to dissipate throughout that process of growing older and becoming more domesticated. In its place Pastan has created a body of work that is far more elegiac and meditative and, it must finally be admitted, less domestic. With the introduction of a more melancholic and reflective poetry that moves into a greater sense of isolation and a solitary contemplation of tactile nature rather than abstract spiritualism, Pastan succeeds in tossing off whatever chains may have been tied around her verse as a result of the unfortunate constriction of trying to pigeonhole her as merely a domestic poet.
The answer is: sunset is my favorite time to walk on the beach. I just took the test
Two hundred and thirty thousand, four hundred and one
What is the poem?
If you can tell me what its called I cannhelp.
