RL.2.4 2. Why does the author group the lottery in with “square
dances, the teen club, [and] the Halloween program"? (
Paragraph 4)
А.
B.
to show readers that the village views the lottery as
threatening
to show readers that the village only allows young people to
participate in the lottery
to show readers that the village does not enjoy participating in
the lottery
to show readers that the village treats the lottery like any other
town event
C.
D

answer: b. grete might have remained as shy and immature as she was at the beginning of the story.

one of the most interesting characteristics of gregor's metamorphosis is that, although he is the only character who has physically changed, it is this same change which triggered a transformation in the rest of his family.

by taking care of gregor, grete has become stronger and more confident. she has found a life outside of the house, and has become more independent and self-sufficient. the novel implies that the trigger for the change is gregor's own transformation, and that without it, grete was likely to remain as shy and immature as she was at the beginning of the book.

explanation:

jaxsonmennessey27

jaxsonmennessey27

taken from the novel “the adventures of huckleberry finn” by mark twain (1884), the author narrates about social issues and norms related to morality, prejudice, and slavery. twain included the excerpt above in order to discuss a moral conflict that huck is in: following the moral values he has received from the society in which he lives. moreover, there are moral issues such as gilt and blame discussed here. in the excerpt above, which is part of chapter xvi, huck faces a dilemma: jim to escape or telling miss watson about jim’s flight. huck feels confused, since by choosing one action or another someone is going to get hurt. both jim and miss watson have him in different ways; jim has protected him and has been very kind with him and miss watson has him with his education. the following sentence is a clear example of the dilemma huck faces when he narrates what his conscience tells him: “what had poor miss watson done to you that you could see her niger go off right under your eyes and never say one single word? ”.

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