*explain in your own words what the author means by pink-thinkitis” “You might even say that the problem with no name" that Betty Friedan
wrote about in The Feminine Mystique (1963) was a virulent strain of pink-
thinkitis. After all, according to Friedan, the problem was in part engendered
by the experts insistence that women "could desire no greater destiny than to
glory in their own femininity"-a pink think credo.
The pink think of the 1940s to 1970s held that femininity was necessary for
catching and marrying a man, which was in turn a prerequisite for
childbearing--the ultimate feminine fulfillment. This resulted in little girls
playing games like Mystery Date[3] long before they were ever interested in boys.
It made home economics a high school course and college major, and suggested
a teen girl's focus should be on dating and getting a boyfriend.”

in ur own words g :(

Explanation:

subject: why anyone can be a genius.

occasion: moving forward in life.

audience: average person

purpose: to push you further in life

speaker: many famous geniuses.

here is the poem:

here is thy, and here is thee, genius is for what he can be.

poem is a matter of rhyme, but like ben frank said, life is a matter of time.

we have great inventors such as thomas edison, who said, "genius is one percent inspiration and 99% perspiration." no, no perspiration as what comes from your skeleton.

we have great minds, from places of all kinds, such as yu kaw la chi tie, (now im switching languages because yu kaw was japanese.)

てちハラスイヒイス, てちラスイヒイス

てちのちみスイヒイス.

you are a genius, well not yet, but you are capable, and that is a bet.

word count 168

serve the people! ,” smoothly translated by julia lovell, offers an initial sample of yan lianke’s writing to an english-speaking audience. a bluntly drawn, mildly erotic fable, it teases mao zedong by poking fun at a true believer who obeys the chairman’s precepts too literally. to a western sensibility, the broad strokes of yan lianke’s humor would seem to pose little risk of inciting rebellion, whether of the flesh or of the body politic. but then, part of the book’s attraction is that it doesn’t have a western sensibility. it lets the reader see — or rather, intuit — what jokes chinese officials don’t consider funny, and how very little it takes for a writer to be branded an incendiary in 21st-century china, more than three decades after the death of mao, a decade after the death of deng xiaoping and seven years since china entered the world trade organization, a move that would seem to signal a willingness (however wary) to mingle with the rest of the world.