PART B: Which TWO of the following phrases from the text best support the answer
to Part A?
"But I was not trying to start anything. I was just upset that my only child was gone, and so
needlessly." (Paragraph 18)
"Chicago boy, I said, 'I'm tired of 'em sending your kind down here to stir up trouble. I'm going
to make an example of you - just so everybody can know how me and my folks stand."
(Paragraph 13)
"Later, the Civil Rights Act of 1964 ended all forms of segregation in public places and banned
employment discrimination." (Paragraph 17)
"Earlier in the week Emmett had bragged to his cousins about the white girls he'd dated at
school in Chicago, so they dared him to say something to Carolyn as she sat behind the
counter" (Paragraph 3)"Mamie Till later confirmed that they never regretted what they had
done He said he would do the same thing over again, to whoever got in his way, I felt sorry
for him." (Paragraph 13)
"Emmett Till's murder became one of the most important catalysts of the Civil Rights
movement in the 1960s." (Paragraph 16)

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i believe that the correct answer is (d) the struggle between tradition and change.

explanation:

i dont understand the question you are asking

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