Thy Literature Matters Dana Gioia Analysis

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¨Why Literature Matters¨ analysis
The strong eye opening speech Dana Gioia gives in an article of the New York Times on the very recent rapid decline of young readers interested in literature is carefully illustrated throughout his seemingless sowing of delicately balanced appeals. Through evidence as well as statistics Dana is flawlessly able to accurately define the issue as well as define the disadvantages as a society lacking in the greater population being involved in literature.Through Danas use of pathos by creating an atmosphere of impending doom through his thoughtfully placed fear invoking foreshadowings, his use of logic prevents the idea of a counter argument by simply stating how much current availability there is in learning
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Dana skillfully worded persuasion is not only through her effectively crafted evidence, but is concealed within her simple and yet challenging logic that forces the reader to abandon any and all false conclusions of the declining youth interest in literature by Dana stating “While income rose to unforeseen levels, college attendance ballooned, and access to information increased enormously, the interest young Americans showed in the arts -- and especially literature -- actually diminished” by narrowing the issue and reasoning the vast availability currently available that wasn 't previously she is effectively able appeal to the readers logic by explicitly telling the reader that the excuses for the decline does not lie in affordability because income is at all time high, it can 't be that attendance is low because it 's actually quite the opposite, and it couldn 't be a lack of resources because access to information has become unprecedentedly open. This leaves the reader with one remaining option in who is to blame and that 's the individual with the most part no excuses. Through Dana 's delicate robing of excuses at the beginning of her speech ensuring that the argument was on point and stayed consistent with Dana 's arguing it 's the
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