I had started my research on the mines with the goal of writing about the mine itself; the look and feel of the mine, and the coal it produced that helped fuel machinery and heat homes. However, in the end, my book ended up being more about the miners than the mines. Most miners endured long and hard hours of working underground, and without receiving much pay. Perhaps Marybeth Anderson said it best when she called the underground mines, “a great place to visit, but not somewhere I’d want to work” (Anderson 121). Within the last paragraph of the author's speech, he uses the words mine and mines repeatedly.

Why does the author repeat these words so frequently?

A) The author found out that most miners endured long and hard hours of working underground.
B) The author seeks to emphasize the importance of mines and their unique workplace environment.
C) The author had fond memories of the mines because he had explored them several times while growing up.
D) The author had intended for his research to be about the "mines," but was surprised to find out that the mines are nothing special without the coalminers. A) The author found out that most miners endured long and hard hours of working underground.
B) The author seeks to emphasize the importance of mines and their unique workplace environment.
C) The author had fond memories of the mines because he had explored them several times while growing up.
D) The author had intended for his research to be about the "mines," but was surprised to find out that the mines are nothing special without the coalminers.

given the fact that the question is about the detail that best support the idea that oppressive leaders use   propaganda to achieve thir goals,   the first option does not refer to any kind of propaganda, since it only tells about that the milk and the windfall apple should be reserved for the pigs. in the second option, that is, "snowball and napoleon sent out flights of pigeons whose instructions were to mingle with the animals on the neighbouring farms, tell them the story of the rebellion, and teach them the tune of "beasts of england". it can be identified that the oppressors make use of the propaganda, which is represented by the pigeons, and the information they have to tell other animals about what was happening in the farm in order to get their objectives. for that reason, the right answer is the second option, taking into account that the third option do not refer to propaganda since it only talks about that they did not want jones back. and, finally, the last option refers to the result of the given news, but it does not mean about the propaganda they used to achieve their goals.

for me this my answer o fortunately, they did not notice, and i could pretend not to care.​   i hope this you

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these 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 arabian nights in modern iran