Read the excerpt from "Flight into Yesterday." The plane reached the end of the runway, and Amelia swung it around. Home was 7,000 miles away, on the far side of the Pacific Ocean, and she yearned to be there. But one thing at a time. At this moment her job was to get the plane safely off the ground. The runway stretching ahead was a strip carved out of the jungle. About 3,000 feet long, it ended at a cliff that dropped away into the ocean. Amelia pushed both throttles forward. The plane moved slowly, heavy with fuel for the long ocean flight that lay ahead. At last it began to gather speed. It went fast and faster, hurtling toward the cliff. Almost at the very edge she felt it leave the ground. They were safely off, flying low over the ocean, but flying. Now she could concentrate on gaining altitude. She could start picking out the islands that would serve as landmarks for the early part of the flight. Now, read a list that shows a sequence of events based on the excerpt. A. Earhart tried to identify places that could help guide her. B. The plane moved slowly because it was loaded with fuel. C. The plane moved quickly as it headed toward the cliff. D. Earhart turned the plane around on the runway. What is the correct order of events? A, B, C, D A, C, B, D D, B, C, A D, C, B, A

i think it is c. good luck!

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