(1) last spring i went to visit my aunt and uncle who live in valencia, spain. (2) while i was there, i saw the festival called las fallas—which means the fires. (3) during the festival, the people in town lit fireworks and firecrackers. (4) then, at the end of the festival, the town had a parade with floats made from paper, cardboard, and wood. (5) people filled the large floats with fireworks. (6) at the night's end, people lit the fireworks and burned the giant floats. (7) the experience was incredible. (8) the town's people took many precautions to make sure it was safe for everyone. (9) we saw many different things. (10) my favorite part about the festival was when the citizens voted to pardon one float from burning. (11) the town put the "pardoned" float in a museum with floats from past parades.

which of these replacements for sentence 9 provides more specific details?
a) from my aunt and uncle's home, we saw many large floats and firework displays.
b) from my aunt and uncle's home, we saw big floats and bright firework displays.
c) from my aunt and uncle's home, we saw many gigantic floats and brilliant firework displays.
d) from my aunt and uncle's home, we could see a lot of different things such as parade floats.

ladies and gentlemen, this message that you will hear is to my family:

dear family, you so much for giving me a possibility to live and i am happy that you took care of me and always telling me that i can do everything that i have in mind, you trusted me and still do it, i don't think i need to ask you for more, i love you.

you so much for listening.

hope this you.

gregor could have been bullying her

answer: b

explanation: i have never watched or read about him but looked it up and it seems the most sensible answer. sorry if it's wrong. ☺

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