In 1869, Mendeleev published his arrangement of the known elements in a “periodic table”. Just over ……..…………… elements were arranged using details of their …………..……… and compounds. This table revealed ………………..… in the chemical properties of elements in the same vertical column.
The elements of the periodic table are arranged in order of ……………..…… atomic number. The atomic number reflects the number of ………………….. in the nucleus of each atom.
Elements are arranged in rows of increasing atomic number called ………..………….
Elements with similar properties are arranged in the same vertical column, called ……………..…….
Metals are grouped on the left and ………..………… of the periodic table.
Gases are positioned on the ……..…………… of the periodic table (except hydrogen).
Semi-metals are grouped between metals and non-metals and have some properties that are ……..…………… to both types of element.
Find the value of the variable, to the nearest tenth.

yes, because if hes blind not deaf

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