Suppose a man works six or seven days a week in a factory, trying to support his family, but never seems to be able to make ends meet. (2) If he analyzed his situation rationally, he would probably blame the well-to-do generally, and his employers specifically, for failing to pay him an adequate wage. (3) But these people have the power to cut off his income; to oppose them openly would be self-destructive. (4) He could also blame himself for his financial problems, but this too makes him uncomfortable. (5) Instead, he looks to the immigrants who have begun working in his factory. (6) He doesn’t really know them, but he suspects they’re willing to work for low wages and that many other immigrants are eager to take his job. (7) By a process of twisted logic, he blames these people for his poverty. (8) Soon he is exchanging rumors about “them” with his cronies and supporting efforts to close the border. (9) Hating immigrants makes the man and his friends feel a little better. QuestionA1. We can infer that the author of the passage thinks

as for symbolic actions, the narrator's tearing down the wallpaper in an attempt to find the "woman" in the wallpaper represents her struggle to retain or regain her sanity.   the wallpaper has been part of her confinement and by her tearing it down, she is freeing herself from that confinement.

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