Being objective means being less emotionally involved in the story true or false

51. i'm

52 idk

53. just

in the short story the slip-over sweater by jesse stuart, the main character and narrator shan is friends with grace, an intelligent girl he has known since childhood and with whom he used to be in love.

at the beginning of the story, shan believes he’s no longer in love with grace, but loves jo-anne instead. in order to buy a slip-over sweater and have jo-anne wear it so that the other students would know she loved him too, shan takes a loan at the bank.

while jo-anne is wearing shan’s sweater, his friend grace starts to wear another popular boy’s one, roy’s sweater. because of that, the other students begin to pay attention to grace and compliment her perseverance and effort. they admire her for walking 5 miles to school every day, despite the weather, and still getting the best grades. shan, who knows all of that for a fact, says, as the narrator, ‘and i knew she had the durability and the toughness of a storm-battered mountain oak.’ he compares his friend’s strength – not only physical, but also of character – to an oak tree, whose wood is known for being sturdy.

as the story goes on, shan changes his behavior out of concern for the debt he has to pay at the bank. his new girlfriend jo-anne never asks him what is wrong nor offers any sort of . instead, she breaks up with shan for not being as fun as she thought he was supposed to be. grace, however, not only asks about shan’s problem, but him make the money he needs. shan can’t but notice how different the girls are and what a wonderful person grace is.   even though he used to find jo-anne prettier at the beginning of the story, he now says, ‘grace was as beautiful as our mountain was in april, prettier than a blossom of wild phlox or a mountain daisy.’ his comparing grace to a mountain or something that exists on a mountain (such as a mountain oak or daisy) certainly has important meaning since shan loves the mountain and everything about it and he knows the mountain thoroughly. shan also loves and knows grace as completely as he does the mountain.

b. the poet identifies with private people.

    in the stanza, dickinson states she doesn't wish to seek fame and recognition from the public eye. nor is she afraid of authority figures, and you can definitely tell she isn't hiding something. more as she identifies with private people, who are not known by the community

awnser:

the thousand and one nights – or, as i prefer to call them in the following forpurely practical reasons: the arabian nights – as we perceive them three hundredyears after antoine galland’s epochal french adaptation bear a distinct arabicimprint. meanwhile, the commonly accepted model for their textual historyacknowledges various stages in the conceptualization and effective formation ofboth the collection’s characteristic frame story and the embedded repertoire. thevast majority of tales in the preserved manuscripts of the nights has beenintegrated into the collection during two periods of arabic influence, the so-calledbaghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages arepreceded by an iranian version, probably dating to pre-islamic times, which in itsturn profits from both structural devices and narrative contents originating fromindian tradition. considering the eminent position that iran and iranian culturehold in the early stages of the textual history of the arabian nights, surprisinglyfew details are known concerning the collection’s relation to and its actualposition within the iranian cultural context. in the following, i will discuss linksbetween the arabian nights and iranian culture on several levels. in surveyingthese links, i will treat five major areas: (1) the iranian prototype of the nights; (2) tales of alleged persian origin; (3) persian characters within the tales; (4)persian translations of the arabian nights; and (5) the position of the arabiannights in modern iran