Literature and the Holocaust have a complicated relationship. This isn't to say, of course, that the pairing isn't a fruitful one—the Holocaust has influenced, if not defined, nearly every Jewish writer since, from Saul Bellow to Jonathan Safran Foer, and many non-Jews besides, like W.G. Sebald and Jorge Semprun. Still, literature qua art—innately concerned with representation and appropriation—seemingly stands opposed to the immutability of the Holocaust and our oversized obligations to its memory. Good literature makes artistic demands, flexes and contorts narratives, resists limpid morality, compromises reality's details. Regarding the Holocaust, this seems unconscionable, even blasphemous. The horrors of Auschwitz and Buchenwald need no artistic amplification.
Answer:
The correct answer is d. None of these
Explanation:
In order to continue with the research after choosing the topic, it is necessary to collect background information. Then, in the process, there is a need to organize that information and make some citations out of it. The other steps are: to evaluate the information, write a draft and make the last draft with some corrections.
<span>The structural element that is used in the excerpt by Anaya but not in the excerpt by Nye is D.logos. Logos is a rhetorical tool that is usually applied as appeal to logic and reason. The first excerpt sets its mood by representing events as they are, and there is a clear point of 'cause and effect': the information given by author is supported with reason. The second excerpt is a nice example of allusion irony, so it can be defined as literary anecdote.</span>
Situational irony. He would have been able to find the flashlight had the light not gone out, so it is situational.
Answer:
I believe the answer is B
Explanation:
