(1) A small sausage in a bun received the name “hot dog” in 1906 as the result of a cartoonist’s poor spelling ability. (2) A sausage vendor, Harry Stevens, sold what he called “dachshund sausages” (named after the short-legged dog) at New York City baseball games. (3) During one of those games, newspaper cartoonist Tad Dorgan was in the audience. (4) He sketched a cartoon of a live dachshund, smeared with mustard and folded into a bun. (5) Not knowing how to spell “dachshund,” however, he settled on “dog,” giving the cartoon the caption “Get your hot dogs!” (6) Once the cartoon was published in newspapers, readers began demanding their own “hot dogs.” QuestionC8. The transition that signals the main pattern of organization in this paragraph is: (Type one word. Then click “GO.”)

by explaining that it took the same total time to travel by plane as it did by train

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