Chancellor Kohl, Governing Mayor Diepgen, ladies and gentlemen: Twenty-four years ago, President John F. Kennedy visited Berlin, speaking to the people of this city and the world at the City Hall. Well, since then two other presidents have come, each in his turn, to Berlin. And today I, myself, make my second visit to your city.

We come to Berlin, we American presidents, because it's our duty to speak, in this place, of freedom. But I must confess, we're drawn here by other things as well: by the feeling of history in this city, more than 500 years older than our own nation; by the beauty of the Grunewald and the Tiergarten; most of all, by your courage and determination. Perhaps the composer Paul Lincke understood something about American presidents. You see, like so many presidents before me, I come here today because wherever I go, whatever I do: “Ich hab noch einen Koffer in Berlin.” [I still have a suitcase in Berlin.]

Our gathering today is being broadcast throughout Western Europe and North America. I understand that it is being seen and heard as well in the East. . . . To those listening in East Berlin, a special word: Although I cannot be with you, I address my remarks to you just as surely as to those standing here before me. For I join you, as I join your fellow countrymen in the West, in this firm, this unalterable belief: Es gibt nur ein Berlin. [There is only one Berlin.]

–“Tear Down This Wall” speech,
Ronald Reagan

Which rhetorical appeal does Reagan use in this passage?

How does Reagan create this rhetorical appeal?

11-32. the main character in the parable, the forgiving father, whose character remains constant throughout the story, is a picture of god. in telling the story, jesus identifies himself with god in his loving attitude to the lost. the younger son symbolizes the lost (the tax collectors and sinners of that day, luke 15: 1), and the elder brother represents the self-righteous (the pharisees and teachers of the law of that day, luke 15: 2). the major theme of this parable seems not to be so much the conversion of the sinner, as in the previous two parables of luke 15, but rather the restoration of a believer into fellowship with the father. in the first two parables, the owner went out to look for what was lost (luke 15: 1-10), whereas in this story the father waits and watches eagerly for his son's return. we see a progression through the three parables from the relationship of one in a hundred (luke 15: 1-7), to one in ten (luke 15: 8-10), to one in one (luke 15: 11-32), demonstrating god’s love for each individual and his personal attentiveness towards all humanity. we see in this story the graciousness of the father overshadowing the sinfulness of the son, as it is the memory of the father’s goodness that brings the prodigal son to repentance (romans 2: 4).

according to the options stated, the one that is correct is the second option. the author most likely includes the panel to hint at the strong bonds among his family members. besides, the image from art spiegelman’s maus is common to show and portray the innocence and naivete of the children during the holocaust as well as the fact that millions of innocent jews were rounded up and taken by train to camps.