2 What is the story about? A. B. a boy who decides to leave school early to go on a trip with his dad a grandfather who takes his grandson to see art at a gallery a boy who eagerly attends the showing of his dad's art at a gallery a dad who is a famous artist showing his paintings at an art school OC. D. Art Show When Jason heard the shrill of the school alarm sound, he darted from his math class, down the hall, and out the front door of his school. He hopped in his grandfather's car and immediately demanded, "Let's go!" His grandfather gave a little laugh and drove away. After arriving at a large, white, brick building, Justin jumped out of the car quickly and raced inside. He moved his way through small groups of people conversing or laughing and finally spotted his dad standing in front of a colorful abstract painting. Justin ran over to his dad and gave him a hug. He then ran from painting to painting looking and smiling, and then back to his dad again. "Dad, so did you really paint all of these yourself?" "Yes, Justin. All of these paintings were created by me," his dad replied with a grin. Justin grabbed his dad's hand and beamed as he looked around the gallery at the paintings and all the people who had come to see his dad's art showing. Reset Next 2021 Edmentum. All rights reserved.​

so is this a rhetorical question?

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