Select the option that best explains why you would want to use block quotations in your essay. for quoting short paragraphs in the essay for quoting an idea that includes a quotation for retaining the integrity of the long quoted passages

what: when quoting a source, use the author’s words verbatim, or word-for-word. this means you shouldn’t change any grammar, punctuation, spelling, etc. put quotations around the words to tell your reader where the quote begins and where it ends.

you also need to acknowledge the author. for example, if using mla format for your research paper, you should have in-text citations with the author’s name and page number listed at the end of each quote.

when: use quotations to provide concrete examples to support your claims. using direct quotations is a great way to build your credibility on the subject. it’s also a good idea to quote your source when the author states things in a powerful way. if you think he or she said it best, then use the exact words to share the ideas.

example: in the short story “a jury of her peers”, mrs. hale compares mrs. wright to her caged bird, saying “she—come to think of it, she was kind of like a bird herself. real sweet and pretty, but kind of timid and—fluttery. how—she—did—change” (glaspell).

paraphrasing

what: paraphrasing differs from quoting because you restate the passage in your own words. since you don’t use the author’s words, you don’t need to use quotation marks. however, you still need to acknowledge the author for his or her ideas.

when paraphrasing a text, you should communicate the full meaning of the text; don’t change the meaning. it can be a condensed version of the text, or it could end up being longer than the source it’s paraphrasing.

when: you use paraphrasing when you take notes, or explain a chart or diagram to someone. paraphrasing highlight the important parts of a larger text. it also allows you to simplify the ideas for your readers.

example:

original: “it was no ordinary thing that called her away–it was probably further from ordinary than anything that had ever happened in dickson county. but what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted” (glaspell).

paraphrase: as mrs. hales walks around mrs. wright’s home, she notices that the kitchen is in disarray as if she was in the middle of baking bread (glaspell).

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