3.) Who (incorrectly) appears to be the DAMSEL IN DISTRESS in this story? Why? appears to be the Damsel in Distress because 4. Who could really be labeled as the DAMSEL in this story? Why? could really be labeled as the Damsel in Distress because 5.) Who attempts to be the HERO in this story? How?​

animal farm, written by george orwell, is a representation of russia after the revolution that led stalin to take over power.

in this excerpt, the central idea seems to be that the animals (a representation of society), when they believe to be working for a greater good and equality, are obedient and productive. they were convinced that, after expelling the owner (jones) from the farm, they would live in harmony and be fairly treated.

as we know, the pigs become the leaders and grow more selfish and dictatorial with time. in the end, they look and act in a way so similar to humans that it is impossible to tell the difference. the ideals of equality are shattered, and the farm turns out to be worse than it was before. the animals are manipulated with false propaganda and forced to work in order to enrich the pigs.

the aesthetic impact is that moment when you are relating spatially to the target. the "ai" occurs when you have an impression that includes both you and the target and is usually a spatial relationship.

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