"This can't be happening," thought Jim as he barrelled down the field, the ball tucked under his arm and the endzone a mere five yards away. "Just a month ago I was the waterboy, dreaming of a chance to play and now this?!?!" Jim's thoughts raced through his head silently, almost unconsciously, as he dove over the line to the sound of roaring applause. As his teammates mobbed him, slapping his helmet and yelling congratulations, he thought once more, "This just can't be happening..." How does the inner dialogue of Jim's thoughts develop his character?

A) It makes him more complex, balancing his outward success with inner doubt.
B) It makes him less interesting, as it does not tell about his physical appearance
C) It makes his character sinister, planting the seeds of deceit in the reader's mind.
D) The inner dialogue does not affect the characterization of Jim at all, as it has bearing on the story.

The answer is A!

It makes him more complex, balancing his outward success with inner doubt.

answer: dinner and a movie with your friends this saturday night.

opportunity cost refers to the benefits that a person or business misses out on when choosing one alternative over another. opportunity costs are easy to miss, but they can be important for decision-making. in this example, the alternative that the person will miss out on is the opportunity to have dinner and watch a movie with friends on saturday, as he will have no money left after buying the cd.

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