Why did orson welles read the radio broadcast war of the worlds as if it were happening right that moment, rather than just reading the novel as it was written?

In 1938, the radio was the main means of mass communication. People kept their radios on to have access to news and entertainment, including music and soap operas.

Welles' program on radio did not have such a large popularity as people believed for many years. Apparently, at the same time it was broadcasted, listeners would tune in to another show, a comedy one, on a different station. Welles, who did not lack creativity, might have chosen to broadcast War of the Worlds as a news report in order to create sensation and excitement. Perhaps, it was a way to draw listeners' attention to his show.

For decades the broadcast was believed to have caused panic among people. But, currently, it is said that such panic was not real precisely because of the small number of listeners.

a) why did you buy only one bunch of bananas ? it's not enough for the party .

b) can i have a carton of juice, ? it looks very fresh !

c) a kilo of milk ? that's 2 pounds, .

d) i've got only one bar of chocolate . you can have a half of it .

e) cut just a small slice of cheese for me . i'm trying to lose weight .

f) do you want a bowl of soup ? it's delicious !

g) can i have a tin of biscuits, ?

h) do you want a loaf of bread ? i bought three .

i) let's buy a glass of wine to celebrate our wedding anniversary !

j) don't leave the jar of honey on the table . the kids will break it .

k) we need to buy some sweets and a bottle of coke .

l) would you like a cup of hot tea ? you've got a cold !

m) can i have a piece of chocolate cake, ? it's my favourite dessert .

n) i bought a beautiful packet of flowers for my mum's birthday .

hope this !

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