Díaz, Junot. “The Pura Principle.” The New Yorker. Web.
The Pura Principle is a narrative nonfiction; entertainment in this story is based on the comic confrontation of a conservative mother and a modern son. Through this entertainment reader desires to get knowledge about the problems of intergenerational relationships. The reader desires distraction from problems by diving into the more serious problems of heroes. The audience is Latin American migrants and those who live in close proximity to them. I belong to the target audience because Latin American migrants live in my area of residence. The political and economic class of the intended audience can be described as migrants below the poverty line. The language used to reach this audience can be described is slang (Díaz, “The Pura Principle” para. 4). The goal of the text is to demonstrate the plight of migrants. The date of publication is 2010 which is more than 10 years ago, however, this does not affect the perception of information in any way – the problems of migrants are still relevant in American society. The length of the text does not affect how it is received by the intended audience.
The author Junot Díaz; at the time of writing The Pura Principle, he was 42 years old. His profile is Dominican-American, which shows his belonging to the socially determined identity group of migrants. This is important because it affects my acceptance of the information, as it gives an understanding that the author knows insight information about the struggles of this social group. The author’s job is writer and creative writing professor; his identity group profile fits into the social order as he actively uses Latin American slang in his works. His assumptions about the world as he finds it are that he is a victim of the social conditions in which migrants are placed. The message of the document is Latin American migrants constantly face difficulties (Díaz, “The Pura Principle” para. 10). As an ethos, Junot Díaz actively uses Latin American slang, which shows his belonging to the environment. As a pathos Junot Díaz introduces a large number of emotional dialogues between the actors. As a logos, Junot Díaz cites the experience that his acquaintances encountered in childhood. From this source I want to get knowledge about the life of migrants.
Díaz, Junot. “The Cheater’s Guide to Love.” The New Yorker, 2012. Web.
The Cheater’s Guide to Love is a narrative nonfiction; entertainment in this story is due to the humorous presentation of events. In this case, through entertainment, the reader wants to find out how to cope with the breakup that took place because of their infidelity. In addition, through this work, the reader can seek satisfaction with the desire for knowledge of what cheater feels. The audience is people who are in a relationship; the text is sent to those who committed treason. My attitude to the target audience is that I am also in a relationship, and therefore may face the problem of infidelity. The political and or economic class of the intended audience can be described as African-American or Latino migrants. The language used to reach this audience can be described as African-American street slang (Díaz, “The Cheater’s Guide” para. 23). The goal of the author to show infidelity from an alternative side and describe that the partner who committed it also suffers. The date of publication is 2012, and although 10 years have passed since the publication was created, it has not yet lost its relevance, since treason is an eternal universal problem.
The author of The Cheater’s Guide to Love is the American-Dominican writer Junot Díaz, who was 44 years old at the time of writing the work. He belongs to the socially determined identity group of people in long and serious relationships. This affects my perception of information, as it is noticeable that the author has experience. The author’s work is creative writing, which affects the fact that he is able to describe in detail the feelings of his identity group. In The Cheater’s Guide to Love, Junot Díaz writes on behalf of the victimizer who committed treason (Díaz, “The Cheater’s Guide” para. 5). The message of the text is that pain is experienced not only by those who have been cheated on, but also by cheaters themselves. The argument of the text consists in presenting in chronological order a description of cheater’s experiences. The pathos that Junot Díaz uses is a detailed description of cheater’s emotions at each stage. The ethos used by the author is a story about the experience of a broken marriage. The logos of the text is the chronological statistics of the stages after parting.
Díaz, Junot. “The Legacy of Childhood Trauma.” The New Yorker, 2018. Web.
The genre of The Legacy of Childhood Trauma is narrative nonfiction; in this case, entertainment is associated with a comical narrative about the inept attempts of the hero to start a relationship. The knowledge through entertainment that the reader wishes to receive is related to ways of dealing with childhood trauma. The audience is not looking for distraction from a problem, but rather a certificate that it can be solved. The audience are adults with childhood trauma; however, the text is sent to those who have experienced sexual abuse. My relation to the target audience is I, like most people, have childhood trauma. The political and or economic class of the intended audience can be described as citizens below the poverty line. The language used to reach this audience is street slang (Díaz, “The Legacy” para. 12). The goal of the author is to touch upon the taboo topic of childhood trauma through the prism of humor. The date of publication is 2018; the modernity of the publication allows me to affect my reading of the information as timely in the context of the growing problem of childhood abuse.
The author of The Legacy of Childhood Trauma is Junot Díaz, who was 50 years old at the time of writing the story. His profile according to socially determined identity groups is a poor family of Dominican migrants. This is important to me, as affect my acceptance of the information because some of the childhood trauma he experienced may be cultural. The author’s job is a lecturer at the university; his profession refers him to the identity group of socially well-off people for whom the appeal to psychologists is socially reprehensible. In the story described, the author acts both as a victimizer, a man who mistreats girls, and as a victim of sexual harassment. The message of the document is the importance of working through childhood trauma (Díaz, “The Legacy” para. 10). The summary of the argument is a successful marriage concluded after undergoing therapy and working on childhood trauma. The pathos used in the text is to describe the traumatic experience of the hero through the emotions of a child. The ethos lies in the example of personal experience working with a psychologist, and the logo is in the statistics of the strength of marriages in the case of elaborated childhood traumas in partners.
Works Cited
Díaz, Junot. “The Pura Principle.” The New Yorker, 2010. Web.
Díaz, Junot. “The Cheater’s Guide to Love.” The New Yorker, 2012. Web.
Díaz, Junot. “The Legacy of Childhood Trauma.” The New Yorker, 2018. Web.