14 : 119 is the fraction
192 : 88 is the fraction

the correct answer is:

this is an example of the writer telling through description rather than showing through dialogue.

sometimes writers like to explain explicitely what's happening instead of adding dialogues of the situations., which is the case in this passage,

pre-writing

why we feel good, or better, when we laugh?

is there a scientific explanation for this to happen?

which are the sources?

rough draft

laughter has a way of instantly connecting people and is one of the most basic and fundamental ways in which we communicate as human beings.

newport academy: endorphins reduce stress and strength social connections.

they combat anxiety and depression.

final draft

we know that when we laugh we feel better; when something is making us laugh it means we thought it was funny at some point, even if it was not meant that way. what we know is that it made us feel good. that is something we all can realize easily, but is it a chemical explanation for it to happen? of course there

according to joe bluett, laughter has a way of instantly connecting people and is one of the most basic and fundamental ways in which we communicate as human beings. also, he says that laughter can increase confidence, self-esteem, creativity, positivity and resilience, bringing positive changes to all aspects of our lives.

the newport academy says that, when we laugh, we release endorphins and that makes our body feel instantly relieved from tension and worry. endorphins also reduce stress and strength social connections.

therefor, laughter is the best to combat anxiety and depression.

even though there may be variations in human emotions over time, the poem “ a contribution to statistics” by wislawa symborska suggests that the only unchangeable characteristic is mortality.

the author poses a distinction between the approximate and non-approximate numbers which correspond to our need for certainty in life and the difficulty of achieving it. our efforts to measure the exact often fail because the world is not always clearly structured .the poem seems to imply   that the only thing that is certain and has an exact number is death.  

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