Fictional writing, like The Call of the Wild, presents themes. Nonfiction is also often organized by themes. Just like a novel, the author usually does not state the theme. It is up to the audience to identify. Speeches, one type of nonfiction, typically present a specific argument or idea supported with reasons and evidence. Conduct an Internet search to select a speech. This may be a speech from history, a political speech, or some other type of speech. As you listen to the speech, take notes of key concepts. Then, write one to two paragraphs that answer the questions below. Make sure you properly cite the source of the speech, following MLA formatting guidelines. Click here to view the MLA Style Guide.

What is the main theme of the speech?

What is the speaker's argument or idea?

What reasons or evidence does the speaker use to support his or her argument or idea?

Do you think the reasons/evidence successfully support the idea?

Your response should be no less than 250 words in length.

what book are we talking about here

i believe the dynamic character would be teddy because he learns an important lesson

another character. imagine that section narrated in first person point of view from one of the character's perspective, and rewrite it in the space below, attempting to use a similar writing style as the original author. then, in a second paragraph, consider this: are you able to explore some of the same ideas and themes when viewing the situation from the character's first person point of view, as compared to when it is narrated from london's third-person limited

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