Read this passage from Dragonwings by Laurence Yep. During those trips alone among the demons, Father
and I learned things about
one another; and more, we
learned about being a father and a son. Every trip was
an adventure into a strange, fearful city; and yet I felt
safe by my father's side. Anyone who could laugh and
tell stories and jokes and sing while he was alone among
the demons must know what he was doing. In my own
mind, Father was the embodiment of Uncle's superior
man.
Only once during all those trips did we have any
trouble. Some demon boys were out in the street. They
stooped as if to pick up things to throw, and Father
whispered to me to sit up straight and not show I was
afraid. The demon boys called out some things, but we
ignored them until we had passed them by. A rock
whizzed by my ear and hit Red Rabbit in the side. He
snorted, but plodded on as steadily as before.

a) the boys are throwing rocks at the narrator and his father because they are chinese

b) the narrator calls the boys demons instead of calling them americans

c) the horse has a traditional chinese name, red rabbit, instead of an american name

d) the narrator and his father ignore the boys instead of confronting them for their actions

the sentence does not violate the phrase structure second rule (introduced by noam chomsky) because noun phrases consist of a determiner such as a, the or every, and a noun. in the sentence, the noun phrase the cake includes a determiner (the) and a noun (cake).

on the other hand, the first rule indicates that a sentence encloses a noun phrase, followed by a verb phrase. the example sentence can be analysed as follows:

john (n) + ate (v) + the (det) + cake (n).

every four years the american people choose a new president, and 1988 is one of those years."

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