Well, there in Ripley was a man named Mr. Rankins, the rest was John, I think. He had a "station" there for escaping slaves. Ohio was a free state, I found out, so once they got across, Mr. Rankins would see to them. We went at night so we could continue back for more and to be sure no slave catchers would follow us there.

Mr. Rankins had a big light about thirty feet high up and it burned all night. It meant freedom for slaves if they could get to that bright flame.

What viewpoint does Mr. Rankins most likely share with the speaker?

C) Taking personal risks is worthwhile if it helps others gain their freedom.

Explanation:

The question above is related to the different narratives of the African slaves in America. Among the characters mentioned in the narrative was Mr. Rankins. He is said to have helped many slaves escape from their owners by letting them cross the river from Virginia or Kentucky. This was considered a personal risk on his end because the owners of the slaves could also shoot him if they found out that he was helping free the slaves.

So, this explains the answer.

at least from the maximum print and design, but can not be so in itself. moreover, they admit that they are persecuted, do not challenge the poster, do not follow its developments and transformations, do not work on its association with the film, and its ability to be "an art."

the beginnings

accompanied by a poster film in the world, knowing that the arabs did not go out on this tradition, gradually transformed into an independent industry. the technical aspect of munthur has a primary objective: to promote the film by reducing the story and its most prominent representatives and employees, in a form or word or expression. the format adopted is limited to the priority of providing as much information as possible in as few images and words as possible.

there is no specific date for the birth of a poster in the world. there is the failure of jules chery (1836 - 1932), a lithographist and modernist, "the first artist to favor the invention of the art poster," or (as he describes it) the "popular teacher of the art of the poster," completing two works in 1890: short "art performances" and the second for the famous program of "the visual theater of the griffin museum", entitled "luminous silent representations". (1862-1942) was the first to sign a label on the production of the film "the gardener and the little elf boy" (1895) by louis lumière.