The repetition of "a girl is a girl" in "Girls Can We Educate We Dads?" by James Berry indicates that

A. The father agrees with his daughter’s actions

B. The father is changing his mind when it comes to women

C. The father trusts his daughter

D. The father will not change his mind

Please help ASAP.

Answer:

b

Explanation:

because the father is changing his mind when it comes to girls

The repetition of "a girl is a girl" in "Girls Can We Educate We Dads?" by James Berry indicates that the Father is changing his mind when it comes to women. Thus, Option B is correct.

James Berry, a poet from Jamaica, wrote a poem in the early 1900s called "Girls Can We Educate We Dads" about a girl who challenges her father's preconceived notions about the behavior and thoughts of girls.

Stereotyping, generalization, and sexism though prevalent in many men around the world but untrue are the main messages or themes that the author is attempting to convey to the reader.

Thus, The repetition of "a girl is a girl" in "Girls Can We Educate We Dads?" by James Berry indicates that the Father is changing his mind when it comes to women.  Option B is correct.

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SOMEONE PLEASE ANSWER THIS

Read the passage.

On the Art of Fiction
by Willa Cather

One is sometimes asked about the "obstacles" that confront young writers who are trying to do good work. I should say the greatest obstacles that writers today have to get over, are the dazzling journalistic successes of twenty years ago, stories that surprised and delighted by their sharp photographic detail and that were really nothing more than lively pieces of reporting. The whole aim of that school of writing was novelty--never a very important thing in art. They gave us, altogether, poor standards--taught us to multiply our ideas instead of to condense them. They tried to make a story out of every theme that occurred to them and to get returns on every situation that suggested itself. They got returns, of a kind. But their work, when one looks back on it, now that the novelty upon which they counted so much is gone, is journalistic and thin. The especial merit of a good reportorial story is that it shall be intensely interesting and pertinent today and shall have lost its point by tomorrow.

Art, it seems to me, should simplify. That, indeed, is very nearly the whole of the higher artistic process; finding what conventions of form and what detail one can do without and yet preserve the spirit of the whole--so that all that one has suppressed and cut away is there to the reader's consciousness as much as if it were in type on the page. Millet had done hundreds of sketches of peasants sowing grain, some of them very complicated and interesting, but when he came to paint the spirit of them all into one picture, "The Sower," the composition is so simple that it seems inevitable. All the discarded sketches that went before made the picture what it finally became, and the process was all the time one of simplifying, of sacrificing many conceptions good in themselves for one that was better and more universal.

Any first rate novel or story must have in it the strength of a dozen fairly good stories that have been sacrificed to it. A good workman can't be a cheap workman; he can't be stingy about wasting material, and he cannot compromise. Writing ought either to be the manufacture of stories for which there is a market demand—a business as safe and commendable as making soap or breakfast foods--or it should be an art, which is always a search for something for which there is no market demand, something new and untried, where the values are intrinsic and have nothing to do with standardized values. The courage to go on without compromise does not come to a writer all at once--nor, for that matter, does the ability. Both are phases of natural development. In the beginning the artist, like his public, is wedded to old forms, old ideals, and his vision is blurred by the memory of old delights he would like to recapture.

Read the sentence from paragraph 3 of “On the Art of Fiction.”

Any first rate novel or story must have in it the strength of a dozen fairly good stories that have been sacrificed to it.

What is the connotative meaning of the phrase “first rate novel or story” as it is used in the excerpt?


It indicates that the writing is of high quality.

It indicates that the novel or story is expensive.

It suggests that the writer is experienced.

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Read the excerpt from Queen Elizabeth's Address to the
Troops at Tilbury.
Let tyrants fear, I have always so behaved myself, that,
under God, I have placed my chiefest strength and
safeguard in the loyal hearts and good will of my
subjects, and therefore I am come amongst you, as you
see, at this time, not for my recreation and disport, but
being resolved in the midst and heat of the battle, to live
or die among you all, to lay down for my God, and for my
kingdoms, and for my people, my honour, and my blood,
even in the dust.
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of rhetorical appeals in this excerpt?
O She relies on ethos by explaining that she has
previous experience fighting in battles.
O She relies on pathos by providing examples of other
successes she has had as a ruler.
O She relies on ethos by establishing that she is there
for more than just recreation.
O She relies on pathos by using emotionally charged
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Cite textual evidence.
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_romantic I know this because in the poem
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SUBMIT

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1
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​

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