Which conclusion does brutus' argument best support

the support that the author, uses in the article facing our fears is a): a definition of the part of the brain called the amygdala.

he takes neuroscientist joseph ledoux's words by telling that by falling to distinguish between evolutionary old systems located in the amygdala and newer systems, centered in the prefrontal cortex, doctors have conflated non conscious threat circuits in the brain with circuits that underlie the conscious experience of fear. that, the author says, "leads ledoux to the jarring conclusion that the amygdala, a decades-old centerpiece of the brain's fear circuit, does not underlie the conscious feeling of fear".

despite this, the author points out in the article that that is a controversial notion and that evidence, in animal and humans, supports the idea that core emotions can exist outside of conscious awareness.

men had a stronger claim to titles and wealth during the renaissance.

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

that passage is from dr. king