Compare And Contrast A Flapper's Appeal To Parents

The flapper was the harbinger of a radical change in American culture. She was a product of social and political forces that assembled after the First World War. Modernization adjusted the American life. Flapper: A Madcap Story of Sex, Style, Celebrity, and the Women Who Made America Modern by Joshua Zeitz analyzes the people who created the image of the flapper. This work is an incorporation of narrative, statistics, and scholarly work that provide a distinct insight on the “New Woman.” Joshua Zeitz asserts the flapper was not a dramatic change from traditional American values but reflected the “modern” decade under mass media, celebrity, and consumerism.

Before flappers came along women were very modest. They were brought up to be "lady-like" and did not even date men unless their parents came along. They would wear clothes that were long and fancy and would cover their bodies head-to-toe, because they were not allowed to even show their ankles. Flappers went against all theses customs. Their irresponsible actions included: around kissing men, dancing on men provocatively, and just not caring about what the rules were. Women had limited freedom in the 1900s until the Flappers came along and changed many things for women through the way they dressed and acted, creating the "New Woman" or the 1920s.

The 1920s was a very special time for woman. Women started standing for up for themselves and making points to men that women can do just the same as them, and that women should be equal to men and have the same rights. That’s where flappers came from. Flappers were basically woman who stood out and did what they wanted. Women's rights were changed drastically because of flappers, now women are more equal to men. Flappers had a large impact on the American culture going from woman’s right, music and their fashion.

“Rain, the tears of Heaven” is a popular explanation of rainfall by parents to their children. When children’s mental capabilities are not developed and mature enough to digest complex concepts, whether scientific or historical, adults often replace the facts with simplified stories. In “A Barred Owl” and “The History Teacher,” the poets present the idea that adults always attempt to shield their children from the danger of the outside world. The former speaker employs onomatopia to facilitate children to overcome fear, and the latter euphemizes the cruelty of warfare. However, while the former adopts a playful tone and style to “domesticate fear” (Wilbur 8), the latter aims to “protect… innocence” in a sarcastic tone (Collins 1), resulting

Flapper: Flappers were northern, metropolitan, single, young, middle-class women. Many held steady jobs in the changing American economy. The clerking jobs that formed in the Gilded Age were higher than ever.The number of phone operators increased as phone usage increased. The consumer-oriented economy of the 1920s saw an increasing number of department stores. Women were needed on the sales floor to cope with the most precious customers — other women. But the flapper was not all work and play was involved. By night, flappers engaged in the active city nightlife. They would frequently visit jazz clubs and watch vaudeville shows. Speakeasies were a common destination, as the new woman of the twenties adopted the same attitude as a man. Ironically,

Arguably his most powerful rhetorical strategy is a joint appeal to ethos and pathos. Louv calls readers to consider what “we'll someday tell our grandchildren” if the devaluation of nature continues. Parents respond to the ethical appeal by relating to Louv as he ponders his legacy and “our” grandchildren. They respond to Louv’s appeal to pathos by feeling a deep, personal pain that their childhood pastimes are as antiquated as a “nineteenth-century Conestoga wagon.” By causing readers to feel antiquated, to relate to him, and to question their legacy, Louv stirs them to teach their children the same appreciation for nature they grew up with, if only to preserve their heritage. Louv further rouses hours readers with imagery, describing “the empty farmhouse,” “steamy edges,” and “thunderheads and dancing rain” that his readers grew up watching out their car windows. Reminiscing with readers, painting images of their childhoods, reminds parents of the beautiful, wonderful things they learned and memories they made while observing nature during car rides. Expanding on readers’ pasts, Louv references the rapid technological changes that his readers went through during the globalization movement, changes that separated them from nature “in the blink of an eye.” Readers are invested in their parts and Louv uses their attraction to their childhood memories and dissatisfaction with the rapid

In selection #15 by Sara M. Evans, “Flappers, Freudians, and All That Jazz” Evans strikes a recurring theme that increased personal freedoms assumed by women in the 1920s came at the price both of conformity to consumerism and of the loss of female solidarity (or sisterhood, as she called it). According to this article, how were the young women of the 1920s different from their Progressive Era, reform-minded Mothers? To answer this question, focus both on the new pressures placed on women to marry and get a husband (pressures enhanced by American consumerism) and on the differences between the goals of the League of Women Voters and the National Woman’s Party (hint—one was concerned with equal rights for women the other with traditional female

Parents often say, “Listen to your elders.” This cliché can make some people apathetic, but when looking back, most appreciate the wisdom of their elders. The knowledge imparted to children is crucial for their ability to understand and improve the world. In XIV by Derek Walcott, the speaker uses imagery, metaphor, and other literary devices to convey the storyteller’s significance to his life.

Few relationships are as deep as those between child and parent. While circumstance and biology can shape the exact nature of the bond, a child’s caretaker is the first to introduce them to the world. And as they grow and begin to branch out, children look to their parents as a model for how to interact with the various new situations. Through allusion, potent imagery, and nostalgic diction, Natasha Trethewey constructs an idolized image of a father guiding their child through life’s challenges only to convey the speaker’s despair when they are faced with their father’s mortality in “Mythmaker.”

Flappers in the 1920s where the girls and women that dressed less modestly. They also disobeyed the rules that most women and girls followed. They did what others would not ever think of doing in this time period.

Flapper by Joshua Zeitz is a book that tells an epic story about the American women during the time of the 1920’s. For a better understanding, a flapper would typically be a young girl who blurred the gender roles by taking on a more masculine lifestyle. They wore their hair short, drank and smoked frequently, and explored their sexuality. With this behavior, it didn’t destroy their femininity; it just simply provided the society’s perception of what a woman should and should not be.

Frederick Lewis Allen, in his famous chronicle of the 1920s Only Yesterday, contended that women’s “growing independence” had accelerated a “revolution in manners and morals” in American society (95). The 1920s did bring significant changes to the lives of American women. World War I, industrialization, suffrage, urbanization, and birth control increased women’s economic, political, and sexual freedom. However, with these advances came pressure to conform to powerful but contradictory archetypes. Women were expected to be both flapper and wife, sex object and mother. Furthermore, Hollywood and the emerging “science” of advertising increasingly tied conceptions of femininity to

Stevenson uses pathos to tell the people of her time the immense change that occurred in the 1920’s because of the new flappers. The flappers did not only change the way the 1920’s people lived, they affected us living in our time period now. Without the help of the flapper, women might still be seen as unequals. They started a revolution of change that is now seen as normalcy. Stevenson helps to prove the importance of this change through several rhetoric devices.

War is often followed by change; World War I is no exception. World War I is often labeled the cause for the rise of a feminine revolution-“the flapper”. Before the term “flapper” began to describe the “young independently-minded woman of the early Twenties” (Mowry 173), the definition that is most prominent today, it had a 300-year long history. The young woman of the 1920’s was new and rebellious. In her appearance and demeanor, she broke the social constructs of her society.

Emotions are expressed immediately at the beginning of the writing to have his readers grasp his feelings of the situation. Goldstein compares Chua’s “Battle Hymn of the Tiger Mother” a “depiction of Chinese-style extreme parenting” (Goldstein 272). He then continues to maintain the reader’s attention by explaining Chua’s parenting skills by addressing the fact how the children cannot have play dates, or even watch television. Goldstein inspires his readers by giving individual’s personal experiences that reflect how they became successful.