Gawain 1. Ikaw ay sumali sa Lin-ay o Ulitao na patimpalak ng Department of Tourism sa inyong bayan. Bilang bahagi ng mga kategorya ikaw ay gagawa ng adbokasiya kung paano
mo isusulong o itataguyod ang inyong bayan. Gumawa ka ng isang lathala na nagtatampok
sa magagandang lugar, pagkain, produkto at iba pa sa inyo.

Panuto: Sumulat ng isang tekstong deskriptibo na ginagamitan ng mga cohesive devices o
kohesyong gramatikal.​

explanation

old disney was more kid oriented as appose to new disney it's more teen oriented.i guess what i'm trying to say is new disney is way more mature and out there then old disney. for instance all you see in new disney is bf/gf drama and old disney it was nothing like that. kids are growing up and as coorpations like disney, nickolden etc they tend to follow what kids follow so they can have more views . therefore   they have inferred   that now days kids want to have relationships and stuff so that's what disney gives them.

thousands of people

explanation:

at nineteen years old, nicole c. kear's biggest concern is choosing a major--until she walks into a doctor's office in midtown manhattan and gets a life-changing diagnosis. she is going blind, courtesy of an eye disease called retinitis pigmentosa, and has only a decade or so before lights out. instead of making preparations as the doctor suggests, kear decides to carpe diem and make the most of the vision she has left. she joins circus school, tears through boyfriends, travels the world, and through all these hi-jinks, she keeps her vision loss a secret.

when kear becomes a mother, just a few years shy of her vision's expiration date, she amends her carpe diem strategy, giving up recklessness in order to relish every moment with her kids. her secret, though, is harder to surrender - and as her vision deteriorates, harder to keep hidden. as her world grows blurred, one thing becomes clear: no matter how hard she fights, she won't win the battle against blindness. but if she comes clean with her secret, and comes to terms with the loss, she can still win her happy ending

googles summry you can summarize this in your own words

the thousand and one nights – or, as i prefer to call them in the following for purely practical reasons: the arabian nights – as we perceive them three hundred years after antoine galland’s epochal french adaptation bear a distinct arabic imprint. meanwhile, the commonly accepted model for their textual history acknowledges various stages in the conceptualization and effective formation of both the collection’s characteristic frame story and the embedded repertoire. the vast majority of tales in the preserved manuscripts of the nights has been integrated into the collection during two periods of arabic influence, the so-called baghdad and cairo periods (gerhardt 1963: 115–374). these “arabic” stages are preceded by an iranian version, probably dating to pre-islamic times, which in its turn profits from both structural devices and narrative contents originating from indian tradition. considering the eminent position that iran and iranian culture hold in the early stages of the textual history of the arabian nights, surprisingly few details are known concerning the collection’s relation to and its actual position within the iranian cultural context. in the following, i will discuss links between the arabian nights and iranian culture on several levels. in surveying these 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 arabian nights in modern iran