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1. By drawing in his readers with apersonal encounter about night darkness, the author means to establish thepotential for beauty, glamour, and awe-inspiring mystery that genuine darknesscan possess.
2. By doing this, Bogard creates adichotomy between Paris’ traditionally alluded-to name and the reality of whatParis is becoming – no longer “the city of light”, but moreso “the city oflight…before 2 AM”.
3. This rhetorical question tugs at thereaders’ heartstrings; while the reader may have seen an unobscured nightskyline before, the possibility that their child or grandchild will never getthe chance sways them to see as Bogard sees.
4. This strategy is definitively an appealto pathos, forcing the audience to directly face an emotionally-charged inquirythat will surely spur some kind of response.

5. In his introduction paragraph, Gioiaemploys a distinct contrast of several listed positive changes in American lifesuch as increased college attendance and increases in income, with the focus ofhis article: the fact that the interest young Americans show in art hasdeclined.
6. By citing a quotation from author DanielPinks who states, that the talents individuals require for success in the 21stCentury are not, “linear, logical, analytic talents,” but ones that provide,“the ability to create artistic and emotional beauty, to detect patterns andopportunities,” and “to craft a satisfying narrative,” Gioia is able to buildhis point with the agreement of a respected individual.
7. This dual utilization of claims from twoseparate sources conveys to Gioia’s audience the sense that the skills builtthrough immersion in the arts are vital to success in the modern workplace,logically leading his audience to the conclusion that a loss of experience withthe arts may foreshadow troubling results.
8. Gioia’s presentation of a numericalstatistic based on a major employer adds significant logical weight to hisargument by providing an example of the effects of a deficit in experience withart and literature.
9. This may affect his audience byproviding a more accurate depiction of the true problems caused bydisconnection with arts, while possibly choosing an example they couldpersonally relate to.
10. Peter S. Goodman builds a solid argumentfor the growing need for foreign news coverage and utilizes concrete evidence,logical reasoning and persuasive appeals to not only expose the paucity ofinternational news feeds, but also convince his audience that it is crucialthat news organizations increase the amount of foreign news coverage providedto Americans.
11. In an attempt to point out theincredulous absurdity of these facts, Goodman goes on to discuss the context ofthe decrease in foreign coverage by proving examples of real world events thataffected all Americans.
12. The author uses this irony—that in thewake of pivotal global changes like war, global trade treaties and the war onterror, the foreign coverage in the U.S. was diminishing rather than growing—totry to show the American audience that this argument is very much relevant totheir everyday lives.
13. He hones in on examples that resonateswith many Americans, like the threat to their wages and job security posed byinternational counterparts, in order to grab the readers’ attention and connecthis claims to their “day-to-day experiences”.
14. He uses the statistic of shrinkingcorrespondents to establish the fact that if this number is continuallydecreasing, there maybe in the future a lack of unbiased media presentation,asking his audience to consider the importance of foreign news coverage.
15. This also serves as a way to persuadeleaders of the increasing importance of the need for a stronger stream offoreign news coverage by appealing to the audience’s emotions and insinuatingthat they are missing out on critical information that pertains directly totheir lives.
16. Goodman uses personal pronouns such as “we”to show that he personally is part of the media presentation community, notonly establishing his credibility on the subject, but also aiding in hispersuasion of his audience by allowing them to think he is an expert in thefield.
17. Not only does Summers spread the factswith numbers, he also does so with trends.
18. Because the issue at hand is one ofwaste and environmental protection, his humorous diction provides a linkbetween him and the audience, revealing not only an opportunity to laugh, butalso reinforcement of the concept that Summers is trustworthy and just likeeveryone else.
19. With key phrases like “taxpayers will haveto pony up” and “born by consumers,” Summers activates the nature of humanbeings to act in their own self-interest.
20. The inclusion of this agency and theseprofessors makes the work of Summers credible and believable, because readersare confident of what they are being told is correct and true.
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