Identifying Kinds of Clauses and Conjunctions On the line after each sentence, identify the boldfaced group of words by writing
IIMD for an independent clause or SUB for a subordinate clause. Then find the
conjunction in the sentence. Underline coordinating conjunction once and
underline subordinating conjunction twice.

1. Customers demand thousands of products, and every grocery tries to please.
2. Because people have different tastes, stores order many brands.
3. When a product is popular, a store stocks many sizes of that one product.
4. In the past, a cashier could not record every product sold as she rang up a sale.
5. While the store was closed, workers took inventory.
6. Managers noted products low in stock, and the purchasing agent reordered.
7. If stock ran out too soon, customers complained.
8. In 1948, when a graduate student at Drexel Institute of Technology heard
about the problem, he and a partner set out to solve it.
9. Almost 25 years passed before their solution became practical.

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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

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