Deborah Gilboa's 'Hey, Jimmy Kimmel, Find A Different Funny'

In the article “Why I Let My 9-Year-Old Ride the Subway Alone” by Lenore Skenazy, she expresses her disagreement with over-protectiveness of parents in our society. To persuade her audience, she most effectively uses analogies and comparisons to appeal to different types of audiences, personal anecdotes to show that she has experience with children and being a parent, and, last but not least, acknowledging the other side to show the common misconception between two opinions. Using these three types of rhetorical strategies in her article, Skenazy is able to convince readers that vigilance to children is limiting their ability to be responsible and make decisions on their

8). These 10 things are exemplary examples of her authoritative method of raising her kids. And as she argues that she pushes her children out of their comfort zone and is “letting them see what they’re capable of” (l. 179), one might just as well argue that she does the opposite. It’s highly probable that there are socially and culturally related matters you have missed out on if you never attended a sleepover, a school play or a team sport by the age of 22. These are all social situations in which people are pushed beyond their natural limits. If you grew up only making homework and playing instruments repeatedly, you would probably never face the fear of new encounters or actually realise what you were really capable of. Moreover, kids might never find peace because of their habits with constant competition. As it’s perfectly agreeable that a parent should be “arming them [kids] with skills, work habits and inner confidence” (l. 180), you still risk that children’s constant competition with themselves or others in their upbringing, consequently, is the only thing they will find themselves doing in their whole lives. As a result of that, they might never be able to find harmony, peace or be satisfied simply by their

Sedaris quotes his mother and father in a conversation when he writes, “When my mother reported that Mr. Tomkey did not believe in television, my father said, ‘Well, good for him. I don’t know that I believe in it, either.’ ‘That’s exactly how I feel,’ my mother said, and then my parents watched the news, and whatever came on after the news” (799). Mr. and Mrs. Sedaris, like the Tomkey family, understand that it is more beneficial for a family to spend quality time together than sit in front of a television. Even though Sedaris’ parents realize that they should not be watching as much TV, they continue to allow themselves and their children to do so. From the irony of his parents saying that they do not believe in television, but still watching it anyways, young Sedaris starts to realize that the Tomkeys may not be so unusual and that his family needs to improve. Later on Halloween, the Tomkeys went out on their boat, and they left a bowl of gumdrops on their porch with a sign stating, “Don’t be greedy” (Sedaris 801). Ironically, young Sedaris’ bag of Halloween candy had a sign stating, “My candy. Keep out” (Sedaris 802). When the Tomkey children went trick-or-treating the next day, young Sedaris was forced to give them some of his candy from his bag. By wanting to instill politeness and selflessness

Children are very impressionable during early years of their lives. They are drawn in by anything new, exciting and adventurous. They are easily convinced to believe anything. Even though they may understand it to not be true. As adults, we must be careful what we mold into the minds of children. They look to adult for answers to ease their curiosities and for the truths. In the story by Charles Baxter “Gryphon”, the students are encountered by the substitute, Miss Ferenczi, who enlightens them with untruthful tales and stories that spark their imagination. Charles Baxter, who once was an elementary teacher states, “a teacher can enter a classroom and teach anything facts or substitute facts without anyone knowing

In one particular instance, a bill was passed in Tennessee stating that teachers cannot encourage “gateway sexual activity” (Nazaryan). This bill resulted in Sumner County officials banning Looking for Alaska from the curriculums of all schools due to the book’s single, brief oral sex scene. The Tennessean covered the news of the ban in their newspaper and quoted parents who agreed with the ban, stating that the school board was right in banning the book from the young and impressionable minds of children, who could possibly be so influenced by this blip of a scene in a book, that they might go and immediately engage in the same, or worse, sexual behavior. The newspaper, did however point out that there were alternate ways to address concerns regarding the book, such as offering alternate books to students whose parents were against it. John Green’s YouTube channel, “vlogbrothers”, features a video, “I Am Not A Pornographer”. In it, Green, referring to the ban, states that “there is one frank sex scene. It is awkward, unfun, and wholly unerotic.” (Green). Green goes on to say that the only reason for the existence of that scene is show a contrast between a very physical scene that contains no emotional intimacy and a very non-physical scene that is full of emotion. In another video, “On the Banning of Looking for Alaska”, Green says “text is meaningless without context” (Green) . Green is speaking to his opinion that books are banned most of the time because a parent decides to show a school principal or administrator a single excerpt or page of a book. Without proper context, that excerpt or page can appear to represent a very inappropriate book. Alternatively, if a reader were to assess a book in its entirety, while keeping an opening mind, they could glean important and valuable lessons from

In “A Barred Owl” by Richard Wilbur and “The History Teacher” by Billy Collins, adults provide easy explanations for children when confronted with harsh realities. Both works explore the use of white lies to respond to children’s fear and curiosity in an attempt to preserve their innocence. However, the writers employ literary devices that convey these concepts in different ways. While Wilbur presents parents’ well-intentioned untruths as beneficial to a child’s peace of mind, Collins reveals the serious consequences of a teacher’s trivial fabrications.

In Michaels Kimmel's article, Bros before Hos: The guy code. Kimmel is a professor at of the state university of New York. He identifies the key components of how masculinity is formed, in American society. Kimmel analyzes how the guy code implies to the development of a young child to a grown man and how the ideal man should be shaped. He explains how this idealistic ranges to the ages of sixteen through twenty-six. Kimmel starts off in the article addressing the problem he sees and four main rules of masculinity, based on the findings of a psychologist, Robert Brannon. Kimmel enforces how the guy code can create emotion barriers for men to show emotion because of the renfecomnet of society and the difficulty of not breaking the code’s rules.

Many comedians have been talking a great deal about politics and the government as a way to spread a variety of messages to the community expressing how they feel about how things are going for America. Therefore many comedians have become more popular in this past election season and with Trump 's new presidency. Stephen Colbert an American comedian, television host, and author uses his spotlight in media as a way to attack President Trump and his administration within his comedy. Colbert uses Juvenalian satire and satirical techniques while discussing politics to reveal his opinions as a way to spread messages to society about the Trump Administration and uses his comedic platform to do so.

In doing so, parents feel as if they are guarding their children of knowledge that their children may not be capable of handling. Originally, dystopian novels such as The Giver were solely written for adults. Many parents feel that Lois Lowry’s The Giver attracts attention to taboo issues such as sex, drugs and infanticide. Ironically, children will inevitably learn about these topics through exposure, regardless of how hard parents try to shelter them from reality. Lois Lowry sheds a light on these topics in hopes of eliciting conversation among children. It is ridiculous to censor The Giver; it handles these topics in an engaging and appropriate manner designed to make readers think. It is important to allow children to acknowledge and understand these topics in a healthy and safe manner, rather than through potentially dangerous

‘It’s not becoming to a child. It’s- cynical.’ ‘It ain’t cynical, Miss Alexandra. Tellin’ the truth’s not cynical, is it?’ ‘The way you tell it, it is.’”

In both of the episodes that I listened to for this assignment, the speaker interviewed Adele Faber, mainly discussing her book titled “How To Talk So Kids Will Listen and Listen So Kids Will Talk”. According to Faber, this book talks about how to be a better listener to children and how to better communication between the two generations. There were several main points that she mentions in the podcast, one of them being the acknowledgement of both the child’s and the parent’s feelings. Basically, parents shouldn’t tell their kids how they’re feeling. One example would be a child telling the parent that something hurts and then the parent telling them it doesn’t, that it’s just a papercut. Instead, the proposed response is repeating to the child that it does in fact hurt, or asking them how to make it feel better. This is the foundation of the relationship between parent and child.

In the short story, “Gorilla, My Love”, author Toni Cade Bambara narrates a story about the way children overanalyze little white lies. Bambara tells the story as if a child was talking in first-person view. Throughout the story Hazel talks about different instances of her share of what she thought was being lied to. The read was very enjoyable because it was something that I could relate to. For instance, when Hazel and her friend are at the movie theater and she says, “ …we yell some more and some kids slip under the rope and run up and down the aisle just to show it take more than some dusty ole velvet rope to tie us down.” (Bambara 450) As I child I thought I could anything I wanted and have no repercussions to pay,

At that moment it is obvious and easy to see, exactly where this title was derived from. This image leaves one feeling quite confused and a little angered. Why would an adult be driven to throw such gestures towards a child? After reading the first few lines of the article, her intentions become much more clear. Schuman eloquently expresses the love she has towards her child, and begins to explain the reasoning behind the photo. Shuman argues that effective parenting can be done, even when unorthodox elements are present. She even feels that these unorthodox measures help her, as a parent, cope with the child rearing. Throughout the entire article, Schuman tries to get the reader to understand her point of view . Schuman’s article proves effective due to her use of imagery and impeccable

Pexman in the article “How Do Typically Developing Children Grasp The Meaning Of Verbal Irony?” designed an experiment that allowed individuals to understand the age range in which children are able to distinguish and understand the concept of sarcasm. The experiment consisted of 70 participants (36 male, 34 female) ranging from the ages of 6-10 years. In this experiment twenty-four puppets, who were dressed to resemble children, were used as characters in a puppet show. Twelve puppet shows were presented each ending with either an ironic, literal, ironic compliment, or literal compliment. The puppet show went as follows: “This is Sam, and this is John. They play on the same soccer team. It is the last few minutes of a game. Outcome 1: John kicks the ball, scoring a goal. Sam says: “That was a great play!” (Literal compliment) or Sam says: “That was a terrible play!” (Ironic compliment) Outcome 2: John kicks the ball, missing a goal. Sam says: “That was a great play!” (Ironic criticism) or Sam says: “That was a terrible play!” (Literal criticism).” (Pexman, 2006) These shows were set up in a way where the main character did not participate in any of the actions (ex: playing soccer) but always complimented/criticized the characters who did. The narratives of the puppet show were also prerecorded in order to ensure that the criticism made were done in a mocking/insincere tone. After watching the plays the children were asked to rate the main character/speakers

I agree whole-heartedly with the conclusions that she drew from her observations. It is very hard to get the whole “picture” from a children’s storybook that has no pictures. The children find it harder to identify with the characters and often find