Read the excerpts from Does My Head Look Big in This? and Persepolis. Excerpt from Does My Head Look Big in This?: My best friends, Leila Okulgen and Yasmeen Khan, moved on to a public high school close to Coburg, where they live. I begged my parents to let me go with them but Mom and Dad insisted that I go to a private school. I tried everything. At first I sucked up to them big time, making them coffee after dinner, offering to set the table before Mom had a chance to ask me, letting them watch PBS documentaries when I wanted to watch Big Brother. That didn’t work. So I turned political, ranting about them perpetuating the snobby bourgeoisie power trip of our educational system which forges aristocratic divisions between social classes (I got that from a PBS documentary). Talk about having no compassion or social conscience. They just laughed at me and gave me a pile of literature about the school. Excerpt from Persepolis: A page titled The Letter from the graphic novel Persepolis. Which statement is true about the narrators’ different perspectives? Amal is worried about how the political situation will affect her education, while Marjane is concerned with helping people who are suffering. Amal is concerned about the suffering of people around her, while Marjane is concerned only with her own suffering. Amal and Marjane are both dedicated to learning about the political landscape and using their knowledge to help others. Amal and Marjane are both interested in taking what they have learned about politics and social class and applying it to their own situation.

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

a discussion of natural rights

demands for equal representation

the dissolution of political connections