Iwill mark and brainlest read this excerpt from we’ve got a job: the 1963 children’s march. when reverend and mrs. shuttlesworth and their daughters, pat and ricky, arrived at phillips, one of the city's four all-white high schools, a crowd of white men attacked them. they beat and kicked the minister nearly senseless and scarred his face, stabbed mrs. shuttlesworth, and slammed the car door on ricky's ankle. which part of the narrative structure does the author develop in this excerpt? a. plot is developed to describe pat and ricky’s daily routine. b. characterization is developed to reveal the identities of the attackers. c. conflict is developed as the shuttlesworths encounter opposition. d. setting is developed as the narrator describes the scene of the crime.

european parent languages

expresses state of being

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