The following question references the novel The Call of the Wild by Jack London. How does Buck react to his kidnapping? a. He resists and tries to overpower his handlers. c. He acts excited and agreeable because he isn't aware of what's happening. b. He sleeps all the time and refuses to eat. d. He attacks and escapes from his handlers.

the illustration   that would give a reader a clear understanding of the text is a picture of men constructing the frame of a building.the frame is made of iron bars. the text describes the job of blacksmiths'. these were very organised and they had different names: "the driver" and "the heater". the text describes the way in which these men worked ; they worked iron pieces as if they were playing a sport. in fact, the text wants to show the men's skills. the text also puts some emphasis on the use of '' rivets'' in construction. this kind of nails were not always used in the construction of manhattan.

some examples:

"and with an underhand toss he hurled the smoking rivet straight at the catcher, who caught it in mid-air in his catching can." men's skills

"when the driver was ready for a new " the emphasis on the rivet ( special nail used in construction).

" it against a beam to remove any cinders, and jammed it into the waiting hole. " the emphasis on the rivet.

the bazaar because it represents the inaccessible land of freedom to the narrator. mangan’s sister because she represents domesticity and routine to the narrator. the marketplace because it represents the suburban lifestyle to the narrator. the church because it represents spiritual healing and renewal to the narrator.

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