Find the area bounded by the graphs of the following functions: f(x)=x^2, g(x)=x^3.

To find the area bounded by the graphs of the following
functions : f(x)=x^2, g(x)=x^3.

Let  us first find the
points where f(x) = y  = x^2  and g(x)= y = x^3
intersect.

At tthe inersection y coordinates are equal. So
x^2=x^3.

x^2-x^3 = 0. So
x^2(1-x).

Therefore x = 0 and 1-x = 0. Or x=
1.

So the point of intersections are at x= 0  and x=
1.

Thefore the area under f(x)  from x= 0 to x =1 is
calculated now:

The area A of the function f(x) between x =
a and x = b is given by:

A = F(b)-F(a), where F(x) =
Int(x)dx.

Int f(x) dx = Int x^2
dx.

F(x)  = 
(1/3)x^3.

Therefore  Area = F(b) -F(a)  =  (1/3) (1^3-0^3)
= 1/3.

Similarly area under g(x)  is given
by:

B = G(b)-G(a) , where G(x) = Int g(x)
dx.

G(x) = Int x^3 dx =
(1/4)x^4.

B = G(1)- G(0) = (1/4) (1^4-0^4) =
1/4.

Therefore the area enclosed betweeen f(x) and g(x) =
|A-B| = (1/3-1/4) = 1/12 sq units.

Ophelia accidently falls and passively drowns. Discuss her death as a symbol of her life, her honour and her relationship with Hamlet.I'm finding...

I'm pretty sure the prevailing interpretation is that
Ophelia committed suicide.  On the other hand, I'm always one who is open to different
interpretations in literature, especially if it goes against what the author may or may
not have intended. 

If she dies accidentally, it is
symbolic of her life because she was the victim of circumstance; being in the Danish
court, amidst all these high profile people, she comes across as introspective, but
naive and trusting - trusting enough to be hurt repeatedly by Hamlet and manipulated by
her father. So an accidental death would be fitting as it was not her fault for being
born into this situation. 

If she commits suicide, I think
she retains her honor (despite that argument about the Christian burial) in that her
suicide is a revolt against that situation she was born into and the people who
mistreated her.  Had Hamlet's father never been murdered, he would likely not have this
brooding sense of doom associated with marriage.  For Hamlet, his mother's hasty
marriage to Claudius clouds his mind into thinking that either marriage is too risky or
a generalization that all women cheat or that all men are power hungry.  Hamlet takes
out his frustrations on Ophelia; she is the victim of the circumstances of his father's
murder and Hamlet's twisted dramatic plot of revenge.

By
committing suicide, Ophelia may be seen, not as a victim, but as taking control of her
own fate, albeit a tragic one. If she did die accidentally, she remains an victim; not
necessarily passive, and certainly one of, if not the, most innocent person in the
play.

P(x)=3x^3-10x^2-5x has one root -2/3. What are the other roots?

P(x)=3x^3-10x^2-5x.

The three
roots of this equation can be found by equating  3x^3-10x^2-5x to
0.

=> 3x^3-10x^2-5x
=0

=> x ( 3x^2 - 10x - 5) =
0

So one of the roots is 0

The
other two roots are

x2 = [-b + sqrt (b^2 -
4ac)]/2a

=> x2 = [10 + sqrt (100 +
60)]/6

=> x2 = 10/6 + (sqrt 160) /
6

x3 = [-b - sqrt (b^2 -
4ac)]/2a

=> x3 = [10 - sqrt (100 +
60)]/6

=> x3 = 10/6 - (sqrt 160) /
6

Therefore the roots are 0, 10/6 + (sqrt
160) / 6 and 10/6 - (sqrt 160) / 6.

In Hamlet, how does Laertes develop as a character through the course of the play Please provide some details or examples from the play.

At the start of the play Laertes is a concerned brother
and a dutiful son.  He understands his place in court, as the son of Polonius, and
fulfills the ritual of asking the king's permission to return to school.  He expresses a
serious concern to Ophelia in regards to her relationship with Hamlet.  He makes a very
valid point that no matter how Hamlet feels about Ophelia, in the end, princes don't get
to make all their own choices, especially in regards to a wife.  Prince Hamlet may not
"carve for himself, for on his choice rests the health of the whole nation."  He warns
Ophelia to maintain her virtue, but he doesn't condescend to her (too much) and doesn't
discount the feelings Hamlet and Ophelia have for each other.  As regards his father, he
patiently listens to the laundry list of fatherly advice before heading back to
school.

We don't see or hear from him again until the
middle of Act 4, but when we do, we see a very different man.  He is furious over the
death of his father and initially blames Claudius for not reigning in Hamlet in his
craziness.  He is ready to punish Claudius.  After he is calmed, he then expresses his
anger and outrage with Hamlet, even saying that he would "kill him in a church!" 
Claudius uses this emotion to his advantage and manipulates him into the plot to lure
Hamlet to a fencing match where they can use poisoned swords and wine to cause the death
of Hamlet.  He is especially driven to this act when he sees how Ophelia has gone crazy,
and later when he learns that she has let herself
drown. 

While he begins the sword fight with a lot of
verve, he is pretty quickly swayed to forgive Hamlet his past actions.  As the sword
fight continues, he strikes at Hamlet with the poisoned sword in a moment of
frustration, but once he knows he too is struck with poison he quickly reveals the whole
plot so that Hamlet can punish the man who ultimately is responsible for all of this --
Claudius.  Leartes seems to have regained his conscience; at the very least he didn't
want to die with that secret on his soul.

Leartes
transforms from a gentle young man to a man of extreme passion and aggressive action. 
Unfortunately those actions were not well thought out, and he is destroyed by those
actions

In Macbeth, what metaphors and themes are used in Act 2, Scene 1, during Macbeth's hallucination of a dagger?

Of course this is a highly interesting part of the play as
we focus on Macbeth's disintegration as a moral character and a tragic hero just before
he goes to commit the grave crime of regicide - the killing of a King. It is well worth
examining this complex soliloquy as a whole and analysing it bit by bit, but as "brevity
is the soul of wit" (to quote another Shakespeare play), how about considering the
following examples of metaphors in this speech and then using them as a basis for
re-reading it and analysing it further yourself.

Consider
this following example:

readability="16">

Art thou not, fatal vision,
sensible

To feeling, as to sight? or art thou
but

A dagger of the mind, a false
creation,

Proceeding from the heat-oppressed
brain?

Here Macbeth uses
metaphors to debate the nature of this vision - he calls this dagger a "fatal vision",
and then "a dagger of the mind" suggesting that his evil thoughts in contemplating the
murder of his King are being somehow expressed psychologically by his "heat-oppressed
brain."

Hope this helps get you started. You will want to
examine the part of this speech when Macbeth refers to night and "Nature seems dead".
Good luck!

Gilgamesh, Genesis & Metamorphosis all have stories of a creation, a fall & a flood. What are major similarities & differences?

"Gilgemesh," "Genesis" and "Metamorphoses" all have
several elements in common; these include a creation story, a story of a fall, and a
flood.  Among these similarities, there are also distinct
differences.

In terms of similarities with the
creation story, "Genesis,"
"Gilgemesh" and "Metamorphoses" present the creation story of the world
coming out of chaos, as land and water separate. "Genesis" and
"Metamorphoses" state that man was created in God's image. Humans are brought into being
with "Genesis"
and"Metamorphoses."

Distinctly
different, "Genesis" has Adam and Eve. In "Gilgemesh" mankind is already in
existence when the story begins (Gilgamesh is part man, part god), but the gods do
create Enkidu to thwart Gilgamesh's harsh treatment of mankind (though Enkidu is not the
first man), and in "Metamorphoses," no specific human is mentioned until mankind is to
be punished by the flood.

In terms of the
fall, "Genesis" has the fall of man, as Adam and Eve are tempted by the
serpent in the Garden of Eden; besides being cast out of the garden, ultimately they
will die. In "Gilgemesh", there is a some similarity in that Enkidu is like Adam and
Eve, living in harmony with the animals, is tempted and seduced (but by a prostitute),
leaves the garden, and ultimately dies because of the temptation of the
prostitute.

In contrast, Ovid's depiction of
the fall, refers to Icarus' fall. This is when Daedalus and
his son, attempt to flee captivity from King Minos. Icarus ignores his father's warnings
about going too hight, flies too close to the sun, his wax wings melt, and he "falls" to
his death.

There are clear similarities between the three
"accounts" of the flood. In "Genesis," the flood is sent to
destroy most of humanity because of their moral degradation. Humans and animals are put
onto the ark (a very large boat) and saved; the flood lasts forty days and forty nights.
 This cataclysmic event brings about the second creation of
mankind.

In Ovid's "Metamorphoses," we are presented with
the first human in his collection of stories, a man who is a sinner. Jupiter states that
Lycaon is one example of the overall depravity of the entire human race, and the flood
is a punishment of mankind.

In "Gilgemesh," there is also a
flood story.  In this version, the gods agree to destroy mankind with a flood, and all
are under oath not to share this secret with anyone. "But Ea (one of the gods that
created humanity) came to Utnapishtim's house and told the secret to the walls of
Utnapishtim's house" which didn't break the oath, technically. Ea tells the walls to
build an enormous boat and bring all kinds of animals aboard. Utnapishtim does so, also
collecting riches, and boards the boat. In this version, the flood only last about a
week.

Based upon the story presented in "Genesis," there
are differences with the other flood stories. In "Metamorphoses," there is no talk of an
ark, or saving humans or animals. In "Gilgemesh," Utnapishtim does not take people
aboard with him.

In what way did the Articles of Confederation reflect the experience of the American Revolution?

The Articles of Confederation were a reflection of some of
the concerns that led us to the Revolutionary War. We entered the Revolutionary War for
many reasons. One of these was because we thought the British government and its
officials had too much power. We were determined when we created our new plan of
government to limit its power.

The Articles of
Confederation created a weak federal government. There were many things the government
couldn’t do under the plan created by the Articles of Confederation. For example, the
federal government couldn’t tax the people. It couldn’t require people to join the
military. It also couldn’t control trade. The federal government was led by a weak
executive branch consisting of a three-person committee. The people were so afraid of
having one person have too much power, similar to that of the
King.

Unfortunately, restricting the power of the federal
government created many problems. The government experienced financial problems because
it could raise money through taxes. It had difficulty dealing with aggressive actions of
other countries because it couldn’t require people to join the military. It also had a
hard time keeping order within our country.

As a result of
these weaknesses, the people decided a new plan of government was needed. That plan led
to the development of the Constitution, our current plan of
government.

What is the message of the poem "Leda and the Swan," by W.B. Yeats?

In "Leda and the Swan", Irish poet William Butler Yeats
takes the traditional form of the Petrarchan sonnet and fills it with an image evoking a
powerful aesthetic experience. The image is Zeus's rape of Leda, in Greek mythology,
daughter of Thestios, king of Aetolia, and wife of Tyndareus, king of Sparta. Assuming
the form of a massive swan for the violent seduction, Zeus fathers the twins, Castor and
Pollux, and Helen of Troy, peerless in beauty in all the world. This moment of
conception, rendered in the sonnet's transition from the octave to the sestet as "a
shudder in the loins" conveys the principal message of the poem: Leda's
savage impregnation is the genetic blueprint for the Trojan War - "the broken wall, the
burning roof and tower
and Agamemnon dead" -  the rise of Greek civilization,
and the unfolding  history of the West. The poetic transition in fact objectifies the
end of the mythological world and the beginning of history.

By referring to specific examples from Act One of Hamlet, describe the atmosphere, mood, and tone of the play. I know Act One sets a dark,...

The most obvious part of Act I to refer to, when citing
examples that set atmosphere and mood, is scene i.  The scene begins on a bitterly cold
night, just after the clock has struck midnight (Barnardo:  "Tis now struck twelve.") --
a recognizable sort of  beginning for any ghost or horror story.  So, before a word is
spoken, there is, potentially, an established atmosphere of tension and
suspense.

We know that it is dark, because the characters
have trouble seeing each other.  This trouble seeing could also indicate that there is
fog or some other spooky condition.  When the first line of a play is, "Who's there?",
then it really sends a signal of tension and suspense to the audience.  These soldiers
are jumpy.  The question "Have you had quiet guard?" also indicates that there is some
underlying reason that these men are on edge.  This tense, suspenseful atmosphere
continues through scene i, culminating in the actual ghost story started by Barnardo
(lines 38 - 42) and the appearance of the ghost.

I would
have to say, however, that though scenes iv and v continue in the same spooky,
suspenseful, ghost story-esque vein of scene i, scenes ii and iii of this Act set
entirely different tones.

The court of scene ii is one of
regal calm, one in which the tones of pomp and circumstance, of order and control, are
contrasted against Hamlet's un-courtly behaviour.  The domestic tension established in
this scene, however, is very different in mood and tone from the ghostly atmosphere of
scene i.  And scene iii continues this domestic mood, lightening the atmosphere to the
jovial exchange of banter between Ophelia and Laertes.  This scene ends on a bit of a
tense note (when Polonius commands Ophelia to cut off contact with Hamlet), but the
overriding atmosphere and mood of the scene iii is light and
domestic.

Scenes iv and v concern Hamlet's confrontation
with the Ghost and hearken back to the mood created in scene
i.

This act begins with a very clear, very strong setting
of a particular mood and tone, but scenes ii and iii contrast this mood of suspense with
one of domestic and courtly order.  It is interesting to note that Hamlet, even before
he learns of the ghost's visitations, carries much more of the tone of darkness and
foreboding in his soliloquy of scene ii.  It's as if he is already connected internally
to the "rotten"-ness of Denmark, even though, on the surface, the court seems stable and
calm.

Who led the French military in the American Revolutionary War?

There were several important French commanders who fought
with the Colonial troops during the American Revolutionary
War.

ROCHAMBEAU. Jean-Baptiste
Donatien de Vimeur, the comte de Rochambeau (1725-1807) was the commander-in-chief of
the French Expeditionary Force that joined the Colonial cause in 1780. He was made a
lieutenant general by George Washington and led a command of 6000 troops who were
essential to the siege of Yorktown and the eventual surrender of Lord Cornwallis'
army.

D'ESTAING.  Charles
Hector, comte d'Estaing (1729–1794), served as an admiral of the initial French fleet
that arrived in America in 1778. After his failures in Rhode Island and the siege of
Savannah, he returned to France in
1780.

LAFAYETTE.  The most
renowned Frenchman to join the Colonial cause during the Revolution, Marie-Joseph Paul
Yves Roch Gilbert du Motier, Marquis de Lafayette (1757–1834) was a French aristocrat
who became a confidant of George Washington. Receiving the rank of major general,
he initially served as an advisor, but later displayed his heroism at the battle of
Brandywine; though wounded, he supervised the Colonial retreat. He later led troops at
the battles of Gloucester (where his 300 men defeated a superior Hessian force) and
Barren Hill, where his command of 2200 were forced to retreat from the 10,000 British
soldiers who attempted to trap him. Lafayette also helped to reorganize the retreating
Colonial troops at the battle of Monmouth. After his troops were defeated at
Williamsburg, Lafayette's strategic position at Yorktown helped to trap Cornwallis'
army. After returning to France following American independence, Lafayette refused to
serve under Napoleon. He returned to America in 1824 and was accorded a hero's welcome
at every stop.  

DE GRASSE. 
Francois Joseph Paul, comte de Grasse (1722-1788), commanded French naval troops during
the American Revolutionary War. Crushing the British fleet at the Battle of the
Chesapeake, his blockade of Chesapeake Bay led to the entrapment and eventual surrender
of Cornwallis at Yorktown.

As a hero, what is unconventional about Romeo in Romeo and Juliet?

When you think about a conventional
(or typical) hero, what qualities come to mind?  I think of brave, physically
attractive, selfless or in some way sacrificial of himself for others, someone who is
naturally goodhearted, talented, a good fighter, often self-made, and a good decision
maker.  Also, most people associate heroes with "winning" in the end.  They fight and
defeat the enemy (who is typically a threat to the greater good), win the love of the
lady, and end up happily ever after.

In many ways, the
conventional hero possess qualities that are the result of both age and experience. 
Romeo, because of his youth, immediately lacks the wisdom that comes from age and
experience.

Additionally, though Romeo is physically
attractive (to Juliet at least) and skilled with a sword, he does not come across as
self-less nor does he seem to aim at goodness.  In fact, he's just the opposite.  He is
quite spoiled and selfish, and all of his decisions are based on his desire for instant
gratification.  He is not a planner.  He is rash, hasty, emotional, and fickle in
decision making.  After killing Tybalt, he ends up in the Friar's cell emotional and
crying to the point that the Friar calls him "womanish."  This is not the courage and
fearlessness we expect of a conventional hero.

Finally,
Romeo does not win in the end.  He does fight his enemy which are
only a threat to the Montagues and not to society, but does not necessarily defeat him. 
He does win the hand of Juliet, but at a very great price.  Rather than living happily
ever after, in the end both die.

Would you consider Alexander Pope a misogynist after reading The Rape of the Lock?

To make the claim that Alexander Pope was a misogynist
based on The Rape of the Lock might not be unfounded, but you would
have to take several things into consideration. First, during Pope's day, women had no
rights. Feminism was a far-off idea. Pope's attitude toward women would have been
considered within the norm. What Pope really detested was not so much women, though
there was that undercurrent in his writing, but the pretentions of the idle rich. Pope
was Catholic, which meant that he was at a disadvantage in England, both socially and
financially. "The Rape of the Lock" really reflects his attitude toward upper-class
young people more than just women, though he is rather unkind in his depiction of
Belinda's mental acuity.  She is not a deep thinker. Pope was, after all, a satirist. If
you look at his other work, particularly "The Dunciad," you can get a better idea of how
he felt about people generally. Moreover,  ROTL is meant to be a mock-epic; it makes fun
of the epic genre by using lofty words to tell a silly story, poking fun at both men and
women.

In Johnny Tremaine, what is the significance of Lieutenant Stranger's torn up letters?

The answer to this can be found two or three pages into
Chapter IX.  The significance of these letters is that they tell the Patriots when the
British are planning to move against them.

At this point in
the book, Johnny is working as something of a spy for the Patriots.  He has some
contacts who work among the British.  In this case, his contact is Lydia, the black
woman who does laundry at The Queen.  She has found letters that Lt. Stranger has been
writing to Lavinia.

In the letters, he has been trying to
tell Lavinia why he can't go to a dance with her.  One of his attempted letters shows
that it is because the British army will be marching out to the north on that
day.

So the letters show something about the British plans
and that is important to the Patriots.

Explain why Flannery O'Connor feels violence is necessary in her stories to get the attention of both characters and readers.

Flannery O’Connor often uses violence in her stories for a
number of reasons.

In the first place, O’Connor felt that
most human beings, at least in the modern era, live complacent, comfortable,
unquestioning lives. They focus on their present material existences and neglect their
ultimate spiritual fates. They take life for granted and fail to realize that life on
earth is merely a very brief prelude to an eternal existence, either in heaven or in
hell. By using violence in her fiction, O’Connor often seeks to shock both her
characters and her readers into an awareness of what really matters in life. Often the
characters and readers who are shocked in this way no longer take life – or other
persons – for granted.

For example, at the end of
“Everything That Rises Must Converge,” the death of Julian’s mother helps Julian finally
appreciate how much she meant to him and how much he should have been loving and
appreciating her throughout the story. He would never have had this important revelation
if his mother had not been struck down violently in front of him. Similarly, at the end
of “A Good Man Is Hard to Find,” it is only when the grandmother has seen her entire
family slaughtered, and only when she is facing imminent death herself, that she is
finally able to actually live the Christian values about which she
has merely prattled previously.

Another reason that
O’Connor often uses violence in her fiction, including violent death, is to suggest that
our physical bodies, and our present physical existences, are relatively unimportant in
the grand Christian scheme of things. Thus, many readers are shocked when the
grandmother is killed at the end of “A Good Man Is Hard to Find.” They consider her
death pointless, meaningless – a tragic waste.  O’Connor, however, encourages us to see
the end of this story as a kind of comic, happy victory for the grandmother. In the last
split seconds of her life, she lives the kind of life she should have been living for
years. In the last few moments of her existence, she lives as Christ would have wanted
her to live all along. Thus it is not surprising that the grandmother looks almost happy
after she is shot, whereas it is The Misfit who seems uncomfortable and
unhappy.

O’Connor felt that if she had written pleasant
stories with conventionally “happy endings,” she would have had no impact on modern
culture, which had become so unfamiliar or unconcerned with standard Christian truths
that it had to be shocked back into an awareness of concepts that had long been taken
for granted in previous, spiritually healthier eras.

In Guns, Germs and Steel, what did what did steel do that was important?

This is a good question, because much of what steel does
seems to be the same as what the guns do.  But Diamond is making somewhat of a
distinction between the two.

To Diamond, the "steel" part
of the title refers to technology that is not necessarily military technology.  Here and
there in the text he refers to the importance of steel tools.  These tools made it
possible for the dominant cultures to create things such as modern ships on which they
could cross the seas to conquer the societies that did not have the same level of
technology.

So, while military weapons are a form of
technology, they are not the only form.  Diamond is using the term "steel" to refer to
other kinds of technology like plows and other sorts of tools that help the dominant
societies gain power.

Discuss the effect of Willoughby's departure on the emotions of Elinor in Sense and Sensibility.

Certainly the departure of Willoughby meant more than just
a heartbreaking blow to Elinor, whose sister Marianne was deeply in love with
him.

It also meant a huge blow to the rest of her family,
since they had fallen from grace after the death of Mr. Dashwood. To the family,
Willoughby was a welcome addition because he (expecting an inheritance) could have saved
the family from the misery in which they were living. It also meant that Marianne would
have acquired a rank in society, would have helped out her family and even Elinor and
Margaret get rich husbands.

However, Elinor saw Willoughby
also as her sister's true love. She was experiencing this herself with Edward Ferrars,
and she was also tasting the flavor of infatuation the way Elinor was. These feelings of
love bonded the sisters during these times, yet, seeing how Marianne became a broken
woman after the Willoughby's leaving made Elinor just as sad, seeing how her sister
became a completely different person.

What is the thematic purpose of Chapters 4-5 from Into the Wild?

Chapters 4-5 deal with Chris's movement from a driver --
almost a tourist -- to a legitimate vagabond, a title in which he delighted. Chapter 4
shows how his car was disabled by a flood, and he used that as an opportunity to divest
himself of overt connections to his prior life. Chris believed that material possessions
weighed him down spiritually, and so he was happy that he had the chance to create a
physically and emotionally lighter persona. It also shows the joy he took in wandering
without a specific purpose, preferring to be free of obligations and
responsibilities.

Chapter 5 shows the personal connections
he made in Bullhead City, and how despite his aversion to civilization he felt the need
to live and work for a time, perhaps to recharge some mental batteries for his future
isolation. Jan Burres, a friend with whom Chris corresponded, mentions her own
theory:

"He
needed his solitude at times, but he wasn't a hermit. He did a lot of socializing.
Sometimes I think it was like he was storing up company for the times when he knew
nobody would be around."
(Krakauer, Into the Wild,
Amazon.com)

The interviews in
this chapter show Chris's refusal to conform entirely to social norms, and the
deliberate way he remained aloof from real emotional connections. The chapters taken
together show how Chris codified parts of his personal philosophy, and how he prevented
himself from falling back into the comfort and ease of
civilization.

Describe relationship between Silas and William Dane in Silas Marner?

William Dane and Silas Marner were such close friends that
they even nicknamed them "David and Jonathon."

However,
William had a dark heart. One day when the deacon of the town got ill and everyone in
the congregation volunteered to take turns and take care of him, a bag of money
dissappeared from the deacon's room upon his death.

The
people said that Silas's knife was found also on the bedside of the deacon. The money
bag was found in Silas's room. Everyone declared that he was guilty. However, Silas
knows that the knife had been used by William and probably he took the money as well.
The result was that William accused Silas as well, took his girlfriend (whom he married
and he used to criticize) and she even married him.

In the
end, Silas left his town in shame and discredited with a bitter anger against the world,
and with a deep and sickening wonder about what could have possibly happened that
night.

What is the advantage of studying a language SYNCHRONICALLY?

The advantage of studying a language synchronically is
that it allows the linguist to concentrate in a specific setting in which the language
will develop and show patterns of growth, trends, and even extinction, rather than
comparing the language with a myriad of other times and
settings.

When you study synchronically, you are socially
"in synch" with the time and place of where the language is being used. You can explore
it AS IT is happening, and you can find the trends that occur as a result of
it.

A contrasting study would be the diachronically study
of linguistics, in which you would have to compare and contrast the development of a
language, trend, or dialect back against another time and place, set up timelines,
develop historical studies, and enter way deeper into the semantics of it
all.

Therefore, the advantage of sychnonic linguistics is
precisely that it is a study that can be conducted in the now, or at any point in its
past, but does not have to be correlated to any other linguistic
occurrence.

What is the main idea of "Lamb to the Slaughter?"

The phrase "A lamb to the slaughter" refers to lambs who
are slaughtered for their meat. The also used to be slaughtered so their skins could be
made into particularly good gloves.

The lamb is young,
ignorant, and weak.  If he is treated well he will not fear people; if he feels
threatened he will likely freeze -- lie down and hold still so as to escape detection. 
So it is very easy to slaughter a lamb.  A lamb has no weapons, so he can't possibly
hurt you.

Mary Maloney starts off as a lamb: she is in a
warm, comfortable, loving environment; all her needs are met; and she is secure and
content.

Then her husband threatens to destroy her ideal
world.  Suddenly the situation is turned upside down: the former lamb becomes a very
efficient predator.  To preserve her pleasant life she kills her husband, without
malice, anger, or even regret -- and, by the author's sense of humor, with a frozen leg
of lamb. She very efficiently conceals her tracks, again not allowing emotion to
interfere with her actions.  Again by the author's humor she causes the police to eat
the murder weapon; of course the last thing they say in the story is that the muder
weapon is probably right under their noses, and they are quite
correct.

I think the main idea is that even a lamb like
Mrs. Maloney can turn deadly when threatened.  Note that the Mrs. Maloney at the start
of the story is very different from the lady at the end.  She is now capable of most
anything, and it's hard to predict how her life will go in the
future.

What are x values for cos 2x = cos x?

We'll subtract cos x both sides and we'll
get:

cos 2x - cos x = 0

Now,
we'll apply the formula for the double angle 2x:

cos 2x =
cos (x+x) = cos x*cos x - sin x*sin x

cos 2x = (cos x)^2 -
(sin x)^2

We'll write (sin x)^2 = 1 - (cos x)^2
(fundamental formula of trigonometry).

cos 2x = (cos x)^2
- [1 - (cos x)^2] 

We'll remove the
brackets:

cos 2x = (cos x)^2 - 1 + (cos
x)^2

We'll combine like
terms:

cos 2x = 2(cos x)^2 - 1
(1)

We'll re-write the equation, substituting cos 2x y the
expression (1).

2(cos x)^2 - 1 - cos x =
0

Now , we'll use substitution technique to solve the
equation.

We'll note cos x = t and we'll re-write the
equation in t:

2t^2 - t - 1 =
0

Since it is a quadratic, we'll apply the quadratic
formula:

t1 = {-(-1) + sqrt[(-1)^2 +
4*2*1]}/2*2

t1 =
[1+sqrt(1+8)]/4

t1 =
(3+1)/4

t1 = 1

t2 =
(1-3)/4

t2 = -1/2

Now, we'll
put cos x = t1.

cos x =
1

Since it is an elementary equation, we'll apply the
formula:

cos x = a

x = +/-
arccos a + 2k*pi

x = arccos 1 +
2k*pi

x = 0

x =
2pi

cos x = t2

cos x =
-1/2

x = pi - pi/3

x =
2pi/3

x = pi + pi/3

x =
4pi/3

The solutions for the equation are:{0 ;
2pi/3 ; 4pi/3 ; 2pi}.

Find the missing number. 2,7,12,17, b.

Given the sequence: 2,7,12,17,
b.

We need to determine  the relation between the terms so
we can figure out the value of a and b.

We notice that the
difference between the consecutive terms 2 and 7 is
5.

Also, the difference between the consecutive terms 12
and 17 is 5 too.

Then we can conclude that we have an
arithmetical progression with the common difference between the terms is r=
5.

==> a1= 2

==>
a2 =2 + r = 2+ 5 = 7.

==> a3= 2+ 2r = 2+ 10 =
12

==> a4= 2+ 3r = 2+ 15 =
17

==> a5= 2+ 4r = 2+ 20 =
22.

==> 2, 7, 12, 17, 22 are terms of
an A.P where the first terms is 2 and common difference if
5.

==> b=
22.

Is this an adjective phrase? Is 'when her husband mentions an invitation to a dinner party' an adjective phrase? I think 'to a dinner party' is...

Your first phrase -- "'when her husband mentions an
invitation to a dinner party" -- is not an adjective phrase in its function. In its
function, it's an adverb phrase. Adjective phrases (whether just one word or a long
series of words) modify nouns or pronouns and answer questions such as "which?" or "what
kind of....?" Adverb phrases modify verbs (and a lot of other things, just not nouns)
and answer questions such as "when?", "where?", "how?", "why?", or "to what extent?"
Some grammarians classify adverb phrases based on which questions they answer, giving us
adverbs of time or condition ("when?") or place or manner or reason or
extent.

You're right about the second phrase -- "to a
dinner party." It's a prepositional phrase and modifies
"invitation."

Prepositional phrases often work (or
function, as you might hear it called) as adverbs. "They went to a dinner party" offers
an example. In this sentence, "to a dinner party" modifies "went," tells where, and thus
is a prepositional phrase functioning as an adverb.

As a
rule, of course, you need to look at the entire sentence to be able to determine if
something is an adverb or adjective.  Definitions of (and terms for) parts of speech and
grammatical functions also vary a little from source to source; you need to look
carefully at the defintions and terms that you're working with.

How do I cite a whole paragraph using MLA?One paragraph of my essay is a summary of a short story. Do I have to cite every sentence or can I just...

If you are summarizing the short story in your
own words, it is the same thing as paraphrasing any other information in the
paper.  You have a couple options.  You can include the source
information in the paragraph itself, by saying something to the effect
of:

In the
short story "The Pit and the Pendulum" by Edgar Allan Poe...when the narrator is
miraculously saved at the very last minute by General LaSalle himself
(154-177).

Even if you have a
copy of the short story printed out, it was probably first
published as part of an anthology, or at the very least, can be found in one.  Find the
place the short story was originally published and use THAT as the source entry in your
works cited.  Then, notice your parenthetical citation here only includes page numbers
from the anthology.

An alternate method would be to leave
out the author's name in your paragraph and simply
say:

In the
short story "The Pit and the Pendulum"...when the narrator is miraculously saved at the
very last minute by General LaSalle himself (Poe
154-177).

If you do not
mention the author in your own words, put him in the parenthetical citation.  You do NOT
have to cite every sentence because you are paraphrasing the whole thing from one
source.  If you plan to blend any quoted material with the paraphrase, "like this" just
put the page number in parenthesis at the end of the sentence with quotes and put the
period at the very end (166).  Again, no author necessary as you will either cite him at
the very end, or mention him at the beginning.

REMINDER:
the parenthetical citation must relate directly to the source
citation in your Works Cited.  Make the parenthetical citation as easy as possible by
finding the short story in an actual book.

How the life of migrants in the 1930s created so many forms of isolation? What are the results of this hardship?I am referring to the theme of...

The 1930s was during the Great Depression, and is the time
frame that Steinbeck's Of Mice and Men is set in.  Migrant workers
traveled all over the country in those days picking and working in the various farms and
orchards depending on what was being farmed at that time.  So there was no concept of
"home", and I'd say this was the first form of alienation.  Wherever they were at, it
was temporary, and you couldn't grow roots or make friends because you'd soon be moving
on.

Always being on the move meant either dragging your
family with you, which was difficult and expensive (so many families all worked together
in the fields) or never being able to meet someone and settle down and get married.  So
you were isolated socially too, without a lot of hope in the near future of things
looking up for you.

Lastly, the men on such farms were
isolated from each other, whether through racial segregation, age differences or mutual
suspicions and defensiveness.  You lived alone even with others, and Steinbeck
understood this very well when he wrote the novel.

How does John Rawls' theory of justice reconcile with the ideas of liberty and equality???

I would say that Rawls' theory of justice is really based
on the idea of protecting equality and liberty.

If a
society were truly to use Rawls' "veil of ignorance" when making laws and such, it would
have to protect everyone's liberty and it would have to do so equally.  Under the veil
of ignorance, you would not know what sort of a person you are -- rich, poor, black
white.  You would have to make laws and decisions without knowing who to favor.  If you
did this, you would certainly have to treat everyone
equally.

Rawls also says that justice is only possible if
one person's liberty is only infringed on in order to prevent it from infringing on the
liberty of someone else.  This is clearly compatible with the idea of
liberty.

Assess the significance of Ralph's dream in chapter 10 of Lord of the Flies.

Every night, Ralph's sleep patterns must have been getting
worse due to a desire to escape.

readability="5">

"Ralph settled himself for his nightly game of
supposing."

"Nightly"
suggests frequency here, and "supposing" suggests purpose: to
escape.

 He begun again to dream about the ponies and the
cottage where he and his folks would live. In this cottage lifestyle, he would find
comfort, something far removed from his current life. He would experience the challenge
of the ponies, riding and caring for them. He mentions Dartmoor and Devon, obvious
locations that he has fond recollections of or at least he longs to go
there.

This section is so significant because he is longing
for anything that is the opposite of the current savage
experience. 

readability="6">

"His mind skated to a consideration of a tamed
town where savagery could not set foot. What could be safer than the bus center with its
lamps and wheels?"

This dream
gives him the opportunity to escape for just moments, but the greater impact is the fact
that Ralph can't escape physically at all. He is tied into this savagery whether he
wants to be or not and the impact of evil is going to keep infiltrating the boys unless
relief arrives. He allows his mind to travel because it is the only part of him that
can, but that is not good because when his mind is "away" from his body, he cannot
defend himself from the savagery around him.

He continues
in and out of this dream as his body wakes him because it twitches and spasms while he
dreams. This suggests either a vivid dreamer or a tortured sleeper or both. Ralph so
longs for civilization that his dream cites the excitement of riding on a bus of all
things.

log( x^2 + 2 ) = log ( x^2 - 3x + 5) find x value.

We'll impose the constraints of existence of
logarithms.

The first condition
is:

x^2 + 2 > 0

Since
x^2 is always positive for any value of x, the amount:

x^2
+ 2  is also positive, fro any value of x.

The second
condition is:

x^2 - 3x + 5 >
0

We'll calculate the discriminant of the quadratic to
verify if it is negative:

delta = 9 - 20 = -11 <
0

Since delta is negative, the expression x^2 - 3x + 5 is
also positive, fro any value of x.

Conclusion: The solution
of the equtain could be any value of x.

Now, we'll solve
the equation:

log( x^2 + 2 ) = log ( x^2 - 3x +
5) 

Since the bases are matching, we'll apply one to one
property:

x^2 + 2 = x^2 - 3x +
5

We'll eliminate and combine like
terms:

3x - 3 = 0

We'll divide
by 3:

x - 1 = 0

x =
1

The solution of the equation is x =
1.

a 300ml sample of gas at 10degree Celsius is warmed to 60 degree Celsius at a constant pressure. calculate the final volume.remember that the...

This is an application of Charles's Law which relates
changes in volume to changes in temperature. Conceptually what it says is that when you
increase the temperature of a gas, the volume will also increase and when you decrease
the gas temperature the volume will also decrease.

The
formula is:  V1/T1 = V2/T2

where V1 is the initial volume
in liters or mL

T1 is the initial temperature in degrees
Kelvin (K)

V2 is the final temperature in liters or
mL.

T2 is the final temperature in degrees
Kelvin.

To convert degrees celsius to degrees Kelvin use
the formula:

K = 273.15 + degrees
C

This must be done because sometimes you are dividing by
the value of the temperature and if you used degrees celsius you could end up trying to
divide by zero!

In your problem, to solve, first identify
the variables:

V1 = 300 mL

T1
= 10 degrees celsius or 283.15 K

V2 =
?

T2 = 60 degrees celsius or 333.15
K

Substituting into the equation you
get:

300/283.15 =
V2/333.15

Multiply both sides by 333.15 to solve for V2 and
you get:

(300 x 333.15)/283.15 =
V2

V2 = 352.98 mL

To analyze
similar problems look for key terms:

from usually implies
an initial value

to usually implies a final
value

heating usually means going from an initial T to a
final T

cooling usually means going from a final T  to an
initial T.

sqrt(x^2 - 5x + 3) = sqrt (x^2 + 4x -1) solve for x

To solve sqrt(x^2-5x+3) =
sqrt(x^2+4x-1).

We rearrange this
as:

sqrt(x^2-5x+3) -sqrt(x^2+4x-1) =
0.

We rationalise te
numerator:

{sqrt(x^2-5x+3)-sqrt(x^2+4x-1}{sqrt(x^2-5x+3)+sqrt(x^2+4x+1}/{sqrt(x^2-5x+3)+sqrt(x^2+4x-1}
= 0

 (-5x+3-4x-1)/{sqrt(x^2-5x+3)+sqrt(x^2+4x-1} =
0

Multiply both sides by {sqrt(x^2-5x+3)+sqrt(x^2+4x-1} and
we get:

 -5x+3-4x+1 = 0

-9x+4
= 0.

-9x= -4

x = -2/-9 =
2/9.

Therefor x = 4/9 is the
solution.

Danforth gives the premise for judging a witch in "The Crucible". Please summarize his guidelines.

When addressed  by Rev. Hale regarding the need for
lawyers to present the cases against those accused of witchcraft, rather than Danforth
and his fellow judges hearing the cases alone, the judge gives Hale his reasons for not
using lawyers.  Danforth says that in most legal cases, eye witnesses are callef forth
to give testimony against the accused.  Danforth says though, in the case of witch
accusations, the perpetrator can commit the crimes without being seen because the witch
can send her/his spirit out to commit the crime.  Danforth says that since the witches
could commit their acts without themselves moving and thus have witnesses putting them
somewhere other than where the victim was attacked, that he could then just take the
word of the victims.

What is revealed about Gatsby in the flashback about "James Gatz" in Chapters 5 and 6 of The Great Gatsby?

Several elements are revealed about Gatsby in the
detailing of his former life.  The most pressing of which is that Gatsby is an
embodiment of the American ideal of being able to create one's own impression and
definition of self.  Unlike other cultures where who one is is staunchly defined by
individual background and family name, Gatsby is able to create his own self through his
own will.  In contrast to his own meager and humble beginnings, Gatsby is created
through a confluence of a desire to reach an ideal form of social perfection and an
embrace of materialism as the means to achieve such a set of ends.  Through this
section, we learn that Gatsby's embrace of illegal and dangerous ends are not done out
of malice, but out of a sense of creation and desire for matching this ideal of
perfection.  When we see Gatsby not align himself with his parents, we see the rootless
component of American identity.  While freedom is present, roots and connection seem to
be the cost of such endeavors.  This results in one of two conditions.  Either freedom
allows a sense of definition and autonomy that allows Americans to be what they wish to
be.  Gatz wishes to be and becomes Gatsby.  Or the opposite side of this is that the
embrace and construction of a life founded on pure freedom creates a setting where there
is little connection or attachment.  The creation of identities is about as casual as
attending different parties each night and interacting with different people for little
amounts of time and moving on to the next interaction.  Contingency is seen as something
that can be both liberating and sad.

What does The Boy in the Striped Pajamas (the film) say about belonging?

This is fairly interesting to assess.  I am not sure if
there is a singular answer to it.  On one level, there is an intense desire to belong on
the part of the Nazis.  As the rhetoric and propaganda increase, the Nazis are shown to
be individuals who crave belonging to and with one another.  Gretel's budding sexuality
is merged towards the ideal Nazi soldier, the personification of the ultimate human
being in accordance to Nazi ideology.  At the same time, Bruno's father is driven to
"belong" to the group of individuals that have power and to be part of that inner circle
of Nazis who are to represent "the best" in everything.  While this belonging is of the
temporal, there is another sense of belonging in the friendship of Bruno and Shmuel. 
They share a belonging to one another which lasts through and defeats contingency and
that of the temporal time period.  We see this when Bruno betrays Shmuel.  The shame he
feels and acknowledgement of their friendship afterwards is a moment of belonging where
the permanent has transcended that of the temporary.  This becomes heightened when Bruno
helps Shmuel find his father.  It is here where the theme of belonging to one another is
something that causes action to be taken in the name of solidarity with consequences
that are both horrific, but also call upon the better angels of human
nature.

What is the major conflict in Mockingjay?

The major conflict is between all of the districts and the
capital; during the entire book, these two main groups are fighting with each other. 
The conflict is over who will gain control in the end--will it be the materialistic
capital who has been in charge for so long now, oppressing its people and using them for
slave labor?  Or will it be the leadership of District 13, who have been staging a
rebellion for years?   It is through this conflict, that is played out in District 12,
Disctrict 12, and the capital streets itself, that is such a good showcasing for rather
serious themes of war, violence, power and greed that are evident throughout the
book.

Minor conflicts erupt between Katniss and various
characters throughout the book, but the major conflict lies in the larger picture of the
battle for power between the districts and the capital. I hope that helps; good
luck!

What is McEwan trying to say about innocence and loss of it and of (relatively) modern society?

The question of innocence is a central idea in this novel.
When Briony decides to lie about what she saw, her perspective is one of a child's
understanding of sex. She can only interpret the act between Cecilia and Robbie as
violent or perverted because of her lack of experience. Despite Briony's relative
innocence as a child, she is capable of manipulating events and ruining peoples' lives.
She tries to atone for this by working as a nurse during the war, and shows depths of
compassion comparing for soldiers she loses her innocence quickly, witnessing the
horrible condition of the wounded men up close. But the lesson comes too
late.

What does Walt Whitman mean when he calls the grass ''the flag of my disposition'' in section 6 of "Song of Myself"?

This line, which he expresses in section 6 of his poem
"Song of Myself," expresses the sentiment that the grass under his feet is just another
emblem that indicates that he is connected with the entire human race.  One of the main
points of section 6 is to express the thought that when people die and are buried,
eventually their bodies become fertilizer feeding the soil.  The grass then feeds on
those nutrients, growing strong and green essentially off of the remains of people's
lives.    He expresses this thought when he identifies grass as "the beautiful uncut
hair of graves," and as sprouting "from the breasts of young
men."

So, when Whitman claims that the grass is the "flag
of his disposition," he is literally meaning that it is a representation or symbol of
how he feels.  "Disposition" means his attitude, beliefs or feelings on an issue, and a
flag would be an outward symbol of those feelings.  And Whitman feels that life is one
continuous ciricle; death does not conquer, it just feeds the circle of life.  Grass
symbolizes Whitman's belief that all men and women are connected; even though dead, the
people buried in the ground sprout as grass, which he then sits and walks on.  Thus, he
is connected to entire generations of Americans who have passed before him.  The grass
being a "flag of my disposition" indicates that it represents his belief in the circle
of life, his connectedness to everyone else, and the beauty and miracle of life and
death. I  hope that those thoughts helped; good luck!

Prove that the number (cospi/4+i*sinpi/4)^2008 is real.

We have to prove that (cos pi/4 + i*sin pi/4)^2008 is
real.

Now (cos pi/4 + i*sin
pi/4)^2008

=> (cos pi/4 + i*sin
pi/4)^2^1004

=> [ (cos pi/4)^2 + i^2*(sin pi/4)^2 +
2*i*(cos pi/4)(sin pi/4)]^1004

Now i^2 =
-1

=> [ (cos pi/4)^2 - (sin pi/4)^2 + 2*i*(cos
pi/4)(sin pi/4)]^1004

(cos x)^2 - (sin x)^2 = cos
2x

=> [(cos pi/2) + 2*i*(cos pi/4)(sin
pi/4)]^1004

cos (pi/2) =
0

=> [2*i*(cos pi/4)(sin
pi/4)]^2^502

=> [4*i^2 *(cos pi/4)^2*(sin
pi/4)^2]^502

=> [-16*(cos pi/4)^2*(sin
pi/4)^2]^502

This is real as i has been
eliminated.

Therefore (cos pi/4 + i*sin
pi/4)^2008 is real.

Why would Frost choose to write "Desert Places" - a poem about loneliness - when he did? In other words, what was going on with him during this...

Robert Frost’s poem “Desert Places” in many ways
exemplifies the dark, brooding, somewhat gloomy side of Frost’s poetic character – an
aspect of his work that is evident in many poems.  And Frost, of course, had many
personal reasons to feel such gloom.  Frost’s father had been an alcoholic and gambler,
and these facts had led to tensions between him and Frost’s mother. The elder Frost was
also often a harsh parent, and partly for this reason young Frost had to drop out of
school because of severe stomach aches. His father eventually died of tuberculosis,
leaving his family in genteel poverty.

Financial pressures
prevented Frost from receiving the kind of collegiate education he might have wished
for, and for years he worked as a chicken farmer to keep his small family fed. His
first-born son died in his fourth year, and Frost’s wife, Elinor, became depressed as a
result.  Frost’s own physical and mental health were not good at this time, and even
after he received a small inheritance from his grandfather, he had to work hard at
farming, finding time to write poetry only at night. During this period, his financial
circumstances were strained and his family responsibilities were
numerous.

Even after Frost began to attract widespread
attention and admiration as a poet, his life was hardly problem-free.  As I put it in an
article on Frost in the Student’s Encyclopedia of Great American
Writers,

readability="7">

Frost’s own health and the health of some of his
children were often poor; tensions with his wife were increasing; his adult children
were beginning to encounter problems of their own; and [his wife] Elinor was more and
more depressed.

In his
biography of Frost, Jay Parini describes events in the poet’s life at around the time
 “Desert Places” was composed. These events included widespread family sickness at
Christmas in 1932; more bad health for Frost himself in May 1933; the possibility, at
that time, that he might have contracted tuberculosis; persistent depression on Frost’s
part; repeated confinement of the poet to bed; and another of his annual attacks of hay
fever (283-86).

Little wonder, then, given the poet’s
earlier life-history as well as the events unfolding when “Desert Places” was composed,
that the tone of the poem is so dark and stark.  Little wonder, either, that the poem is
such a brooding reflection on existential
loneliness.

SOURCES

Evans,
Robert C. “Robert Frost.” Student’s Encyclopedia of Great    American
Writers. Ed. Patricia Gannt et al. 5 vols (New York: Facts on File, 2010), 4:
184-212.

Parini, Jay. Robert Frost: A
Life. New York: Henry Holt, 1999.

Could someone please post four of Bottom's personality traits in A Midsummer Night's Dream? I would like some detail and quotes from the play....

You are limited to one question, and what you listed in
your request seemed to be asking about both Puck and Bottom.  I will assist you with
information about the personality of Bottom, but you must list another question for
information about Puck.

The first trait that Bottom has, as
a character in A Midsummer Night's Dream, is one he shares with his
fellow "rude mechanicals" (a term to describe the group of workers of which Bottom is a
part, coined by Puck).  They are considered the clowns of
the play.  In Shakespeare's day, clown was a term used to describe the actors who were
relied on for comedy and comic bits.  They were usually good at physical comedy
(slapstick, pratfalls) and would often ad lib, or make up lines, to get laughs from the
audience.  Bottom is definitely a character who is meant to make the audience
laugh.

Probably the most famous trait of Bottom's is his
know-it-all attitude about acting.  The whole of Act I,
scene ii is pretty much a show of Bottom acting out every part and asking to play that
part too.  He says:

readability="6">

. . .let me play Thisbe too!  I'll speak in a
monstrous little voice.. . . . Let me play the lion too.  I will roar that I will do any
man's heart good to hear me.. . .
.

Bottom is also somewhat
bossy.  He, rather, than the director and organizer of the
play Quince, tells everyone what to do at the end of the scene to get ready for their
next rehearsal:

readability="7">

We will meet, and there we may rehearse most
obscenely and courageously.  Take pains.  Be perfect.  Adieu. . . . Enough.  Hold or cut
bowstrings.

And finally, once
Titania "falls in love" with him.  He certainly acts very modest and shy, which seems to
indicate that he is not experienced in the ways of love. In
Act III, scene i, when Titania surprises him and says, "I love thee,"  Bottom
answers:

readability="9">

Methinks, mistress, you should have little reason
for
that.

Titania

Thou
art as wise as thou art
beautiful.

Bottom

Not
so, neither.

So, the guy that
has all the answers when it comes to acting and producing a play, is turned into a
modest and shy lover when confronted with the bold moves of
Titania.

For more on Bottom, please follow the links
below.

In The Adventures of Huckleberry Finn, what is Huck's impression of the King and the Duke?

This is a great question because actually Huck changes in
his attitude towards the Duke and the King as he develops in his own moral understanding
of the world and what is right and wrong. It is important to realise that the Duke and
the King and the various scams they come up with allow Huck more of a chance to see the
evils of civilisation and the gullible nature of humans and also the way that humans act
towards each other in negative ways, all of which contributes to Huck's character
formation.

When the Duke and the King first come on the
raft and show their true colours by establishing their royal identities, Huck begins by
deciding to take the path of least resistance:

readability="15">

It didn't take me long to make up my mind that
these liars warn't no kings nor dukes at all, but just low-down humbugs and frauds. But
I never said nothing, never let on; kept it to myself; it's the best way; then you don't
have no quarrels, and don't get into no trouble. If they wanted us to call them kings
and dukes, I hadn't no objections, 'long as it would keep peace in the family; and it
warn't no use to tell Jim, so I didn't tell him. If I never learnt nothing else out of
pap, I learnt that the best way to get along with his kind of people is to let them have
their own way.

Here we see
Huck deciding that the best way to deal with people such as the Duke and the King is to
keep quiet and not to challenge them. This continues to be his policy whilst he sees
that the victims of the scams the Duke and the King create deserve their fate because of
their own gullibility or their own unscrupulous nature. However, it is when the Duke and
the King assume the identity of the Wilks brothers and Huck gets to know Mary Jane and
her sisters that he decides he cannot sit back and watch the Duke and the King trick
them:

I says
to myself, this is another one that I'm letting him rob her of her money. And when she
got through they all jest laid theirselves out to make me feel at home and know I was
amongst friends. I felt so ornery and low down and mean that I says to myself, my mind's
made up; I'll hive that money for them or
bust.

The goodness of Mary
Jane is the catalyst that forces Huck to stand up for what he believes in and thwart the
scam of the Duke and the King. Note he still doesn't challenge them openly, but he at
least acts to prevent their success.

Thus what is
interesting is how Huck changes in his approach to the Duke and the King. He is quick to
see them for who they are, but we see that it is only as his character develops that he
decides to oppose their scams and stand up for what Huck is learning is
right.

What does "chartered" mean in William Blake's poem "London"?

To me, this word is used twice in the first two lines to
emphasize the theme of the poem.  The word itself has a couple of possible
meanings:

First, I believe the word refers to the idea of
charters.  These were agreements that were written up (sort of like contracts) that
spelled out the rights a city or a guild or something
had.

Second, I believe it refers to the idea of charts, or
maps.

In both cases, the idea here is that the streets and
the rivers have been heavily influenced by people.  They have been mapped out and they
have been subjected to rules (charters).  They are no longer in any way
"free."

This goes along with the main theme of the poem,
which is that city life has taken away the freedom and vitality of the people and has
oppressed them.

What is the invertible element of the law of composition? x*y = xy - 3(x+y) + 12

To determine the invertible element, we'll have to
determine first the neutral elemnt. Let's write the property of the invertible element
to see why:

x * x' = x'*x =
e

So, it is necessary to calculate the neutral
element.

We'll write the property of the neutral
element:

x*e = x

 x*e = xe -
3(x+e) + 12

But x*e = x

xe -
3(x+e) + 12 = x

We'll remove the
brackets:

xe - 3x - 3e + 12 =
x

We'll combine the elements that contain
e:

e(x-3) - 3x + 12 = x

We'll
subtract -3x+12 both sides:

e(x-3) = x + 3x -
12

e(x-3) = 4x - 12

We'll
factorize by 4 to the right side:

e(x-3) =
4(x-3)

We'll divide by
(x-3):

The neutral element is e =
4.

Now, we can calculate the invertible
element:

x * x' = e

xx' -
3(x+x') + 12 = 4

We'll remove the
brackets:

xx' - 3x - 3x' + 12 =
4

We'll isolate the elements that contain x' to the left
side:

xx' - 3x' = 3x - 12 +
4

We'll factorize by x' to the left side and we'll combine
like terms to the right side:

x'(x-3) = 3x -
8

We'll divide by (x-3):

x' =
(3x - 8) / (x-3)

The invertible element is x'
= (3x - 8) / (x-3).

What part did England play in the Seven Year War?

England played a major role in this war.  Although many
countries of Europe were involved in the war, England was one of the two strongest
countries -- they and the French were the superpowers of those days and so the war ended
up being a war of England (and its allies) against France (and its
allies).

So, one way to answer this is to say that England
played the part of one of the two major combatants in this war.  You could also say that
England played the role of the winner.  This is because England and its allies ended up
defeating France and its allies.  Because of this, England ended up as the major
colonial power in the world after this war.

How does Shakespeare present love in Romeo and Juliet ?

Love is presented in numerous ways.  The first we see of
love is in Romeo's infatuation with the beautiful Rosaline.  He is obsessed with her and
loves her, so much to the point that he spends most of his days moping about, thinking
about her and wishing that she returned his love.  Rosaline doesn't return his love, so
he is left in misery.  Through this example, we see Shakespeare saying that love is an
intense emotional experience, and if it isn't returned, it can be horribly painful and
exhausting.

Then, the love between Romeo and Juliet is also
intense and all-consuming, but instead of causing them misery, it causes them incredible
happiness and joy, because they feel the same way for each other.  They are elated,
giddy, and high on their love.  Through their love, Shakespeare recreates that power and
intensity of first love, especially first love as a youth, which is filled with so much
innocence, joy, and lack of any sense of doom or hopelessness.  So, love can lift us up
and fill us with hope, joy and elation.

Lastly, as their
love is, in the end, doomed, Shakespeare seems to say that love can indeed lead us to do
dramatic things.  In the name of love, wars have been fought, crazy deeds have been
done, and in the case of Romeo and Juliet, death won them in the end, because they would
rather die than live without each other.  This is Shakespeare saying how powerful love
is; when in love's throws, we often do extremely dramatic and foolish things. But
consider this also--the example of Romeo and Juliet's love also mended the
generations-long rift between their two families.  So, love also has the power to heal
and solve the seeming impossible.

I hope that those thought
helped; good luck!

How did the enslaved Africans react to their plight in the New World?

Of course, various individual slaves reacted in different
ways to their circumstances.  This is simply human nature.  However, the answer you are
probably supposed to give is that the slaves resisted slavery and attempted to build
their own communities (to help themselves cope) in a variety of ways.  This is the
current consensus among historians.

For example, the most
common thing to say about slaves and resistance is that slaves resisted their masters in
little ways every day.  They worked slowly.  They broke tools.  They simply tried as
hard as they could to be unhelpful.  This was their only real way to resist because they
could not rise up and most could not run away.

Historians
also say that slaves worked on helping themselves cope.  They say that slaves started
calling each other "brother" and "sister" (something called "fictive kinship") as a way
to feel solidarity.  By feeling that they were kin to all the other slaves, they were
more able to cope with the psychological stresses of slavery.

Which of the five marketing managment concepts best describe Build-A-Bear workshop

Kotler and Keller (2006) have identified five distinct
marketing concepts or orientations that have evolved over a period of time, and
different companies today may organize their marketing efforts in line with anyone or
combination of more than one of these marketing concepts. These concepts
are:

1. Production
   concept


2. Product
   concept


3. Selling
   concept


4. Marketing
   concept


5. Holistic marketing
   concept

Among these five marketing concept the
approach followed by Build-a-bear is closest to the marketing concept. The core of this
concept is to find the right product for the customer rather than the right customers
for a product. The core strategy of Build-a-Bear is very much centers on allowing each
customer to personally design the product he or she wants. This way it represents the
ultimate in the marketing
concept.

Reference:

Kotler P.
and Keller K.L., 2006, Marketing Management, Twelveth Edition,
Pearson Education, New Delhi.

What does the prostitute's old age say about Winston and his mother?

Winston's real mother who he has dreams of throughout the
book makes Winston feel like she died or was erased because of him. Her life paid for
the opportunity for his to remain. That sacrifice (although it is believed her death was
symbolic of the great Stalinistic purges) fills him with guilt and affection for her
even though his memory of her grows symbolically more faint throughout the
book.

Thus, the age of the prostitute (although it is not
specifically referred to in the book) might demonstrate a remembrance of his mother. The
episode with the prostitute is actually a flashback for Winston, much like a dream. You
could say this is an Oedipus Rex moment, but the light was off for most of the scene
with the prostitute. He makes it seem as if he didn't understand her age until it was
almost over, and then he just finished for the opportunity to have sex. This may
demonstrate a longing to have relationship with his mother, but that relationship he
wanted was likely appropriate. He may be recalling a time in life when sex was not used
to control people, but was used for pleasure.

What object did Parris see as an intentional threat to his life?

In Act IV, Parris comes to the court trembling and afraid.
Apparently, when he was using the door to his house a dagger
fell:

Tonight,
when I open my door to leave my house - a dagger clattered to the ground... There is
danger for me. I dare not step outside at
night.

This quote proves
Parris' justified fear of the people. In fact, it causes him to go to a great risk. He
pleads with the judges to not hang this "sort" meaning well-respected and highly revered
people of the society. Parris believes that this dagger was just a threat, but that the
terror intended will further infect him and that someone may indeed take a greater stab
at ending his life.