Up and down academy boulevard, along south nevada, circle drive, and woodman road, teenagers like elisa run the fast food restaurants of colorado springs. fast food kitchens often seem like a scene from bugsy malone, a film in which all the actors are children pretending to be adults. no other industry in the united states has a workforce so dominated by adolescents. how does schlosser effectively build his argument in this excerpt? he uses anecdotal evidence to share a personal experience of eating fast food. he uses analogical evidence to the reader visualize his point about the workers. he uses testimonial evidence to explain the health risks of eating fast food. he uses statistical evidence to prove that adults make better employees than teens.

Explanation:

The excerpt is from the third chapter of Eric Schlosser's book, Fast Food Nation. In this section, the creator depicts how Colorado Springs became throughout the year, pulled in organizations and individuals moved to the are to search for occupations. Schlosser contrasts cheap food kitchens and a scene from Bugsy Malone and he demonstrates that in this spot "children" own businesses. It is a similarity and furthermore picturing since the creator portrays the accurate geographical location.

the irony is that the name has ''fortunate'' in it, but the kid named fortunato is not fortunate to be named that.

explanation:

answer:   a good wench, give it me.

iago

good girl, give it to me.

emilia

what will you do with ’t, that you have been so earnest

325to have me filch it?

emilia

and what are you going to do with it? why did you want it so much that you begged me to steal it?

iago

  why, what is that to you?

iago

what’s it to you?

emilia

if it be not for some purpose of import,

give ’t me again. poor lady, she’ll run mad

when she shall lack it.

emilia

if you don’t need it for some important reason, then give it back to me. poor lady, she’ll go crazy when she sees it’s missing.

iago

be not acknown on ’t,

330i have use for it. go, leave me.

iago

don’t admit to knowing anything about it. i need it. now go, leave me.

exit emilia

emilia exits.

i will in cassio’s lodging lose this napkin

and let him find it. trifles light as air

are to the jealous confirmations strong

as proofs of holy writ. this may do something.

335the moor already changes with my poison.

dangerous conceits are in their natures poisons

which at the first are scarce found to distaste,

but with a little act upon the blood

burn like the mines of sulfur.

i’ll leave this handkerchief at cassio’s house and let him find it.to a jealous man, a meaningless little thing like this looks like absolute proof. this handkerchief may be useful to me. the moor’s mind has already become infected with my poisonous suggestions. ideas can be like poisons. at first they hardly even taste bad, but once they get into your blood they start burning like hot lava.

enter othello

othello enters.

    i did say so.

340look, where he comes. not poppy nor mandragora

nor all the drowsy syrups of the world,

shall ever medicine thee to that sweet sleep

which thou owedst yesterday.

here he comes. no drugs or sleeping pills will ever give you the restful sleep that you had last night.

othello

    ha! ha! false to me?

othello

argh! she’s cheating on me?

iago

why, how now, general? no more of that.

iago

oh, general, , no more of that!

explanation: