Pick two of the people from the following list to address as your audience: a friend a parent or grandparent a neighbor a teacher an employer your goal is to compose a letter requesting the same favor from both people (a loan, with a project, a surprise for someone else, a recommendation, etc. your purpose is persuasive, so you must have convincing reasons for your request. make sure you adapt your voice to the audience and purpose. the letters should be different in expression, but similar in content.

martians or other types of aliens represent a unique fear as opposed to zombies. vampires and other types of monsters.   in most sci-fi stories, aliens come from other worlds and have different or more advanced technology.   abductions and experimentation on human bodies that involve these technologies, or the use of these technologies against human beings and the use of unknown "powers", are a type of fear that's different from that of other types of monsters.  

the answer to this question is unstoppable.

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