Discuss the role of the piano in classical music and genres of romantic music such as nocturne, etude, polonaise.

The piano evolved from the harpsichord in the early 1700s.
In the mid 1800s, the instrument went through many changes (tone, range, pedals etc) and
became similar to the piano we know and love today.

The
role of the piano in classical music evolved over time as the instrument itself did.
Solo pieces became longer, more complex and technically demanding. The piano has been
used with every combination of instruments imaginable, and featured in many well known
concertos during the Romantic period. Here, the piano is featured as a solo instrument
accompanied by a full orchestra. Beethoven, Tchaikovsky, Rachmaninov and Grieg all wrote
notable romantic piano concertos you should check out.

In
regards to the specific terms you addressed, here is a brief overview of
each:

Nocturne

A romantic
character piece for piano written in a melancholy, somber style. Often consists of an
expressive melody played over a broken, moving chord pattern. Chopin took the idea from
an irishman, John Field, who is credited with writing the first
nocturnes.

Etude

Etude
literally means "study" in French. They are designed to address a specific area of
technique (perhaps a certain scale or arpeggio) in an instrument, and are used as
exercises for practicing. Over time, various composer have written extremely impressive
Etudes for a variety of instruments that often make their way into concert
programs.

Polonaise

A stately
Polish dance that is thought to have originated for its use in court ceremonies and
processions. Bach, Beethoven and Schubert all experimented with the Polonaise. However,
it was Chopin who really brought the style into a state of heroic
nationalism.

Hope that helps!

In "The Masque of the Red Death," who is the stranger behind the mask?

This is, as many of Poe's short stories are, a very
symbolic piece of fiction, where you would be advised to look for how events, characters
and the setting operate symbolically. It is clear from the description of the uninvited
guest that he represents death and the way that no matter how hard we try, we are unable
to escape, cheat or run away from death. It is key to note that when Prospero challenges
this guest they are both standing in the blue room, and then the guest walks through all
the seven rooms (seven indicating the seven stages of life and the seven stages of man)
to the black room, symbolising the last stage of life. Note too that this guest is
seized when he is standing in "the shadow of the black clock," itself a symbol of time
passing and the brevity of life. This all points towards the guest as being "The Red
Death" itself, or death, that Prospero and his revellers were unable to
cheat.

Please identify anti-Petrarchan elements in "Sonnet 18" and "Sonnet 130."

"Sonnet 130" in particular is an excellent example of the way in
which Shakespeare ridiculed elements of Petrarchan sonnets. Some of the contemporary poets
writing at the time of Shakespeare would use fashionable but highly exaggerated metaphors to
describe the women that they loved. I am sure you can imagine the kind of metaphors they used:
your cheeks are roses, when I see you I burn with passion and so on. This will give you a general
idea of the kind of elements that such poetry contained. Such metaphors are known as "conceits"
and can be traced back to Petrach, but by 1600 they had become risible and overused. Shakespeare
thus explicitly writes in a way that mocks such conceits by emphasising the all-too normal nature
of his beloved, as the following quote demonstrates:

readability="8">

My mistress' eyes are nothing like the
sun,

Coral is far more red than her lips'
red...

Shakespeare thus deliberately
takes such conceits and turns them on their head, pointing out the way in which his mistress is
normal and not a highly-idealised perception of beauty. Note that in "Sonnet 18," the speaker
does idealise the beauty of his beloved, but not through elaborate and exaggerated conceits.
Instead, the comparison of his beloved with summer allows the beauty of the object of the poem to
be established and immortalised without the need for such conceits.

What is Thoreau's remedy for our hectic, detail-crowded lives?

In terms of the question, I think that Thoreau's answer
would be to find solitude and revel in it.  For Thoreau, the notion of solitude allows
individuals to gain control over their own lives.  Thoreau believed that social
conformity and the notion of living life for others in the cosmopolitan and social
setting is one where individuals lose sight of their own lives.  In the establishment of
solitude, Thoreau feels that individuals can follow their own "drummer" and live life on
their own terms, finding their own voice in the process.  It is this empowerment that
helps to place the hectic details of consciousness in their own perspective.  When
Thoreau says, "To be in company, even with the best, is soon wearisome and dissipating,"
he is suggesting that the best way to simplify consciousness into a unity of pure and
true is to find and establish a zone of solitude that is not to be permeated by others
and the trappings of society.

Do you agree that there is no woman in The Great Gatsby with whom the reader can sympathize?

The three women in The Great Gatsby
are Daisy, Jordan, and Myrtle. "Sympathize" is actually a complex word meaning variously
to have common shared feeling with someone; to feel compassionate toward someone; to be
in approving accord with someone; to agree with someone. Let's take a look at the
qualities and actions of the three women and judge whether they have any qualities or
behaviors that can be shared, agreed with, approved of, accorded with or extended
compassion.

Daisy rejects every sincere, honest human
feeling for thrills and selfish pleasures. She has little regard or affection for her
daughter (a female with one whom can easily and readily sympathize). She murders someone
and lets someone else take the blame for it. Jordan is callous and cheats at the only
thing that can make her admirable: golf. She toys with affectionate feelings then walks
away from them as though they were not worth the effort--or any effort. Myrtle is
selfish, vain and vulgar. She is greedy. She has no sense of honor or compassion, which
is obvious by the bold and direct way in which she mistreats her husband. I would say
that the character sketches of these three women lead to the conclusion that, no, there
are no women in The Great Gatsby with whom readers can
sympathize.

In Chapter 15 of The Chrysalids what are the changes we see in Sophie?

You are only allowed to ask one question so I have had to
edit it down. In Chapter 15 it is certain that we meet a very different Sophie compared
to the last time David saw her as a young girl. What is revealing to my mind is the
conversation she has with David, which expresses what has happened to her has a
"deviant" and how her life has been lived. This comment from Sophie is particularly
poignant:

"To
be any kind of deviant is to be hurt - always," she
said.

This expresses some of
the pain that Sophie has suffered, and we go on to find out that she has been
sterilised, which she thinks is a fate worse than death, especially because now she is
in love with "the spider-man" and wants to give him
babies.

However, perhaps the biggest change comes at the
end of the chapter, when Sophie kills a Fringes guard to release Rosalind and Petra with
little compunction. Note the final paragraph of the
chapter:

readability="8">

Rosalind, and Petra too, watched silently in
horrid fascination as Sophie scooped a bowlful of water from the bucket to
wash the blood off her arms and clean the
knife.

Having been treated
so unjustly by the powers of Waknuk, Sophie herself has become harder and capable of
violence. Very little appears to be left of the childhood friend that David said goodbye
to so long ago.

What makes Mrs. Peters in "Trifles" a round character?

The Encyclopedia Britannica describes round characters as
follows:

Flat
characters are two-dimensional in that they are relatively uncomplicated and do not
change throughout the course of a work. By contrast, round characters are
complex and undergo development, sometimes sufficiently to surprise the
reader.

In
Susan Glaspell's one-act play, "Trifles," Mrs. Peters is definitely a round
character.

At first, Mrs. Peters being the sheriff's wife,
supports him in his job of upholding the law. She also does or says whatever society
dictates she should do or say to be a respectable female in a male-dominated
society.

Several times in the story, the men make careless,
thoughtless comments that are meant to diminish women. For example, when the women
express Mrs. Wright's concern that her preserves might have frozen, Mr. Hale refers to
women's chores as "trifles." The stage direction indicates that the women, Mrs. Peters
and Mrs. Hale, move more closely together, showing that this moment begins their
sympathy for Mrs. Wright and their solidarity to do what they can to protect her from
the world of short-sighted, uncaring men.

At another point
in the play, the men make fun of the work women do as if it is nothing, and particularly
laugh over the job of making a quilt.

Mrs. Peters is
uncomfortable with the comments made, but she is a woman used to doing as society—and
her husband—expect her to. She is, at first, hesitant to change her personal beliefs
regarding a woman's responsibilities, and the law. She tries to convince herself that
Mrs. Wright is at fault, without question.

However, when
Mrs. Peters and Mrs. Hale discover the dead canary, with an obviously broken neck, they
start to believe that Mrs. Wright killed her sleeping husband because of his destruction
of the one beautiful thing in Mrs. Wright's life. Mrs. Peters recalls a boy who took a
hatchet to her kitten when she was a little girl. She recalls that at that moment, had
someone not held her back, she would have "hurt him."

As
the women continue to put the pieces of Mrs. Wright's life together, they comment that
she had no children and no real friends. They agree that it must have been a lonely
existence for her, especially being married to Mr. Wright. (She had been so much happier
before her marriage.) Again, Mrs. Peters recalls an old memory. She remembers that she
and her husband had lost their son when he was only two. Mrs. Peters lived away from her
own family at the time, and the pain was excruciating because she had no one there to
comfort her.

As the time comes for the men to leave and the
wives to take the things they have gathered for Mrs. Wright in the prison, the women
stand united in their silent agreement not to reveal the dead canary: the probable cause
of Mrs. Wright's murder of her sleeping husband. They keep it a secret, hiding it from
the men.

At the beginning of Mrs. Peters is a staunch
supporter of the male-dominated society of which she is a part (at the turn of the
century). However, as she starts to understand Mrs. Wright's experiences, and connect
them to similar experiences of her own, surprisingly she changes her mind and joins Mrs.
Hale in her silent support of Mrs. Wright.

In "Killings" by Andre Dubus, how do the details of the killing and disposal of Richard’s body reveal Matt’s emotions?I need a psychological...

Matt Fowley is a caring and dedicated father. He has
always taken his role as protector of his wife and children very seriously. When Richard
Strout takes one of his children away from him, Matt is unable to accept the loss of his
son, leading him to committ murder. After his son's murder, Matt feels the anguish of
his wife and thinks it's his responsibility to try to alleviate it in some way. As he
and Richard drive to the woods, Matt looks at Richard's fists, knowing Richard had used
them to hurt Frank. Matt also thinks of his son's last moments before death, having no
idea of what was about to happen to him. These thoughts encourage Matt to continue his
murder of Richard.

Is Matt Fowley insane? I'm sure a
defense attorney could make a good case for it, citing Matt's overwhelming grief at the
sudden death of his son. However, Matt carefully plans his cold-blooded killing of
Richard. He and Willis premeditate the crime, and Matt's wife also knows what Matt is
going to do. Neither Willis nor Ruth, Matt's wife, feels what Matt is doing is wrong.
More importantly, Matt doesn't feel he's doing anything wrong; he feels he's getting
justice for his son. Matt was unable to protect his son from Richard and that guilt
won't go away if Matt allows Richard to live.

In fahrenheit 451, on page 90, Faber says :" I'm the queen bee, safe in my hive. You will be the drone, the travelling ear."What type of litterary...

This is a metaphor, as Professor Faber suggests that he is
a Queen Bee and that Montag will be safe as a member of his hive.  He uses this as well
because he has found a way to listen in to the events surrounding Montag by using the
earpiece and the receiver he has in his home.  And he can send Montag out on the various
missions but Faber will do the thinking and the planning, Montag can simply go out and
do the things he asks him to do without worrying about the details or the consequences
or what will come next.

Find the point A if the point ( 3,-4) is midpoint of AB and B is (1,6).

The mid point of AB is (3,-4) and B
(1,6).

Therefore we use mid point formula M(x,y) = ((Ax+Bx)/2,
Ay+By)/2)

Therefore (3, -4) = (( Ax  +1)/2 , (Ay
+6)/2)

We  equate x coordinates and y coordinates separately and
solve for Ax and Ay:

3 = (Ax+1)/2.

6 =
Ax+1. So Ax = 6-1 = 5.

-4 = (Ay +
6)/2.

-8 = Ay +6.  So Ay = -8 -6 =
-14.

Therefore the  coordinates of A  = ( 5,
-14).

What is the attitude towards marriage in novel Pride and Prejudice by Jane Austen?

The attitude towards marriage depends entirely on the
characters.

We can start by stating that the overall
attitude was that marriage was a symbol of status and a rite of passage that women and
men alike had to undertake in order to belong fully to society. Depending on the riches
and properties, the marriage will be considered socially powerful, and will ensure
benefits for both sides.

Men, when coming of age and
acquiring property, were expected to look for a wife.

The
women, however, had different views of it.

Elizabeth, who
was independent and did not think of the criteria of the time, was focused in finding
the love of her life. Her marriage would have to be for love.  In that she shares with
her sister Jane, but Jane never specifically stated  her views of marriage in general,
other than she loved Bingley.

Charlotte Lucas and Mrs.
Bennet, however, represent the side of society which found matrimony as a way out of
poverty and as a way for women to take a place in society. Charlotte went as far as
marrying Mr. Collins knowing that she may learn to tolerate him, and because she just
wanted the comfort of a home of  her own. Mrs. Bennet, as we know, was nearly obsessed
with marrying her daughters so that (if their father dies) their entire property would
go to Mr. Collins, as the nearest male heir in the
family.

As of Lydia, Kitty, and Mary, we kjnow that the
three are superficial in their opinion. Lydia eloped thinking that Wickham was in love
with her and will  undoubtedly marry her. We know that it was not the case. He was
forced to. Mary, since she had no chance due to her dull personality, would appear too
virtuous. Poor Kitty could only follow Lydia, and without her she was not
much.

x4+x3+x2+x+1=0 (4,3,2-->exponents) Could anyone please solve this without D'Moivres theorem???

x^4+x^3+x^2+x+1 = 0.

Divide
by x^2.

x^2+x+1+1/x+1/x^2 =
0.

(x^2+1/x^2) +(x+1/x) +1 =
0

(x+1/x)^2 -2 + (x+1/x)+1
=0

(x+1/x)^2 +(x+1/x) -1 = 0. This is aquadratic equation
in (x+1/x). Or

y^2 +y -1 =  0 , where y =
x+1/x.

y1 = (-1+sqrt5)/2 , or y2 =
(-1-sqrt5)/2

y1 = x+1/x = 
(-1+sqrt5)/2

x^2 +(1-sqrt5)/2 *x  +1 =
0

x1  =  {(-1+sqrt5)/2 + sqrt[(1-sqrt5)^2/4
-4}/2

x1 = {-(1-sqrt5)/4 +
sqrt(-5-sqrt5)/2}/2

x1 = {-(1-sqrt5)/4
+sqrt(-1)sqrt(5+sqrt5)/4}

x2 = {-(1-sqrt5)/4 -sqrt(-1)
sqrt(5+sqrt5)/4

Similarly we can solve for y2 = x+1/x =
(-1-srqt5)/2

x^2 +(1+sqrt5)x+1 =
0

x3 = -(1+sqrt5) /4+ [sqrt(sqrt5 -5)]/4
or

x3  = -(1+sqrt5)/4
+{sqrt(-1)sqrt(5-sqrt5)}/4

x4 = -(1+sqrt5)- {sqrt(-1)
sqrt(5-sqrt5)}/4

S0 there are as above 4 complex
roots x1,x,2 ,x3 and x4..

the main theme of the poem the love song of j.alfred prufrock written by t.s eliotActually i need a brief analyses about this poems theme for...

As a poet, dramatist and critic contributed much to
English literature. The poem "The Love Song of J. Alfred Prufrock"is one amoung his
masterpieces. On daling with the theam of the poem we have to mention the methodes of
articulation applied. It begun in February 1910 and published in Chicago in June 1915.
Described as a "drama of literary anguish," it presents a stream of consciousness in the
form of a dramatic monologue, and marked the beginning of Eliot's career as an
influential poet. With its weariness, regret, embarrassment, longing, emasculation,
sexual frustration, sense of decay, and awareness of mortality, Prufrock has become one
of the most recognized voices in 20th-century literature,[1] and is the
quintessential urban zeitgeist of the 20th century.
main theme:Loneliness and
Alienation: Prufrock is a pathetic man whose anxieties and obsessions have isolated him.
 Indecision: Prufrock resists making decisions for fear that their outcomes will turn
out wrong.  Inadequacy: Prufrock continually worries that he will make a fool of himself
and that people will ridicule him for his clothes, his bald spot, and his overall
physical appearance.  Pessimism: Prufrock sees only the negative side of his own life
and the lives of others.

Which story from Life of Pi do you believe is real: the story with animals or the story with humans?

In my mind, the story that is of course more likely is the
story involving the people, the chef becoming the cannibal and in the end Pi deciding
that he is going to have to resort to that in order to survive.  The fact is that humans
will go to incredible lengths, positive and negative, when it comes time to survive,
they begin to act far more like animals.  So Pi describing them as animals instead of as
humans makes a great deal of sense and makes for an amazing story.  It is also in some
ways easier to believe or accept than the idea of humans eating each other and Pi being
in a situation to have to watch his mother being eaten, these things are hard to wrap
your brain around.

I am looking for a three part thesis on the short story "A Rose For Emily", by Faulkner

You have to write a thesis that reflects what you
understand about the this story, but I will give you some advice and some ideas to think
about.

A good thesis statement for a piece of literature is
one that can be argued and supported through analysis of the literary techniques used in
a piece.  You will be arguing an interpretation of the theme, and supporting it by
looking at which devices seem most relevant in helping Faulkner  bring across his
meaning.  That said, you have two tasks:  1.  decide what thematic point you are going
to argue, and 2.  brainstorm which literature techniques are present for you to
analyze.

Some themes to
consider:

1.  the generation gap between the people of Miss
Emily's generation and the younger people who govern the town in the 2nd half of her
life.

2.  the lonliness and isolation of Miss Emily and how
killing Homer fits into that.

3.  the idea of change and a
person's ability to handle change.

4.  the theme of secrets
-- both Miss Emily and Toby keep the secret of Homer for a long
time.

5.  the conflicting attitudes of the townspeople
about Miss Emily through the years.

Here are a few of the
most prominent literary devices used in the story:

1. 
setting -- the post Civil War South at the turn of the century through the
1930's

2. characterization  -- consider all the methods of
characterization for Miss Emily (what she says, does, thinks, what other's
think)

3.  narration -- who is telling this story? How does
that affect it?

4.  structure -- told in a stream of
consciousness method -- what is the purpose and/or effect of
that?

5.  symbolism -- the decay of the house, her street,
the body, her gray hair

Your three part thesis could
suggest how any three devices contribute to your understanding of a theme of the story. 
Your thesis could analyze three aspects of a single literary technique used by
Faulkner.  Your thesis could discuss three aspects of single theme as considered
throughout the story.

What is the point or purpose of each of the acts in "Romeo and Juliet"?

Look at the parts of a plot
line in a basic short
story:

1. Exposition: background information,
   setting, character introduction, conflict.


2. Rising Action
   (and complications): events leading to the climax of the
   story.


3. Climax: the highest point of action in a
   story.


4. Resolution: the solution to the initial
   problem.

Each of the acts in "Romeo and Juliet"
can be fit into one of these parts.

The prologue in Act 1
presents most of the exposition of the story.  It is brief
but complete.  The characters (though not by name) are introduced, the problem/conflict
of the two families is introduced, and actually, the end of the story is revealed.  The
initial fight scene actually demonstrates the conflict between the two houses.  Finally,
the Prince's decree at the end of this scene is what initiates many future complications
in the story.

Acts two through four and the very beginning
of Act 5 are all parts of the rising action of the play. 
These acts, of course, contain the "meat" of the story which continues to build in
action, emotion, and anticipation of the climax.  Several
complications are introduced as the action progresses,
including Juliet and Romeo falling in love and marrying without consent, the deaths of
Mercutio and Tybalt, and the banishment of Romeo.

The play
ends almost as abruptly as it began, therefore, the climax
and resolution take place in Act 5.  The
deaths of Romeo and then Juliet are the very peak of the action in the story.  As a
result of their deaths, however, the two families realize the errors of their ways and
finally forgive one another, which is the resolution to the original
conflict.

What was Union's strategy during the Civil War?

The Union basically followed a strategy devised by the highest
ranking general in the army in 1961, Winfield Scott. A hero in the Mexican War, Scott was too old
to serve in the Civil War, but before he retired, he devised the Anaconda
Plan: a method to slowly strangle the Confederate states. Simply put, Union troops
and the Federal Navy would blockade the South's port cities along the Atlantic coast, the Gulf of
Mexico, and the Mississippi River. Additionally, Union troops would move down the Mississippi
River, and capture all garrisons along the way. Eventually, the seceding states would be
surrounded, except for in the Western theatre (Texas, Arkansas, and Louisiana), which would
effectively be cut off from the rest of the Confederacy. Opponents of the plan who wanted a quick
victory, initially (and correctly) thought that it would be a slow process. However, the
plan--named after the anaconda snake which slowly suffocates its prey--worked perfectly, though
it did take three years for the plan to work--and another year to defeat Robert E. Lee's stubborn
army in Virginia.

What are the events that lead up to Okwonkwo's exile from his homeland?

In an effort not to appear weak and lazy like his father,
Okwonko does several things that eventually lead to his banishment from his village.
Okwonko adopts Ikemefuna, a young boy given to Okwonko's village, and Ikemefuna lives
with Okwonko's family for three years. Okwonko cares about Ikemefuna and considers him a
good role model for Okwonko's son who seems to have the characteristics of Okwonko's
father. The Oracle of the Hills and Caves requires that Ikemefuna be sacrificed, and
Okwonko is warned by the eldest man in the village not to take part in the killing of
the boy. Okwonko, however, doesn't want to appear weak, so he joins in the killing of
Ikemefuna anyway. His son is angry with Okwonko and their relationship is never the
same.

The next two events leading to Okwonko's exile is
when he beats his youngest wife during the Week of Peace and fires a gun at another wife
during the Yam Festival. These actions show Okwonko's lack of respect for the traditions
of his community by allowing his anger to get out of control in order to keep his family
under his thumb.

The last event occurs during the funeral
of the eldest man in the village, Ezeudu. Okwonko's gun accidentally goes off, killing
Ezeudu's son. Ani, the Earth Goddess, is so angry at Okwonko's constant defiance of the
village's rules and laws that she sends him to live with his mother for seven years. The
order of the village relies on adherence to the traditional customs and beliefs, and
when Okwonko defies to break these traditions, he must be
punished.

What is x for the logarithm exist log(x+2) (15 + 2x -x^2) ?

To determine x for which log(x+2)(15+2x-x^2) is
defined.

We know that log a exists, if a > 0. And log a is
does not exist for x< 0.

Therefore log(x+2)(15+2x-x^2) exists
if (x+2)(15+2x-x^2) > 0.

Or (x+2)(x^2-2x-15) < 0
........(1), we multiplied  by (-1). So the inequality reversed.

x^2
-2x-15 = (x+3)(x-5).

Substituting in (1) , we get: (x+2)(x+3)(x-5)
< 0.

Or  f(x) = (x+3)(x+2)(x-5) <
0.

Clearly for x> 5, f(x) > 0, as all factors are
positive.

For   -2 < x <
5, f(x) < 0 as (x+3)(x+2) positive and x-5 <
0.

For -3<x<-2, f(x) > 0, as x+3 >0 and
(x+2) <0 and (x-5) < 0.

For x<
-3, f(x) < 0 as all 3 factors are
negative.

Therefore log(x+2)(15+2x-x^2) exits  only if  (-2<
x <5).

Why it was important for George Washington to put down the Whiskey Rebellion?

From Washington's point of view, the use of force to
subdue the insurrection was important for a couple of reasons.  The most evident one was
to settle the threat to federal power.  Washington and Hamilton both believed the
national debt to be a problem and the "sin tax" on whiskey was seen as a good way to
ensure that some revenue could be generated.  With the Constitution just having been
ratified, the idea of the federal government being able to pass a law with the local
governments complying was tested with the Whiskey Rebellion.  The use of force to subdue
it was done in this light.  Washington understood that the infancy stages of the nation
demanded quick and unilateral action to a problem that could swell as the framework for
the new nation was itself new.  With the reality of Shays' Rebellion, and the
destruction it wrought, still fresh in Washington's mind, avoiding this end at all costs
was essential.

What is the sum of the series 2, 4, 6, 8, 10...48. I never seem to get the right answer.

We can see that if we'll calculate the difference between
2 consecutive terms of the given series, we'll obtain the same value each
time:

4 - 2 = 6 - 4 = 8 - 6 = 10 - 8 = ...... =
2

So, the given series is an arithmetic progression whose
common difference is d = 2.

Now, we can calculate the sum
of n terms of an arithmetic progression in this way;

Sn =
(a1 + an)*n/2

a1 - the first term of the
progression

a1 = 2

an - the
n-th term of the progression

an =
48

n - the number of terms

 We
can notice that we know the first and the last terms but we don't know the number of
terms. We can calculate the number of terms using the formula of general
term.

an = a1 + (n-1)*d

48 = 2
+ (n-1)*2

We'll remove the
brackets:

48 = 2 + 2n -
2

We'll eliminate like
terms:

48 = 2n

We'll divide by
2:

n = 24

So, the number of
terms, from 2 to 40 is n = 24 terms.

S24 = (2 +
48)*24/2

S24 =
50*12

S24 =
600

How does Mark Twain's quotation, "America is really only about two things, race and space" connect with this novel?

The Mark Twain quotation seems particularly pertinent to
Zora Neale Hurston's Their Eyes Were Watching
God.

In many ways the novel (an all of Hurston's
work) is certainly an example of an ethnographic text. Hurston's background as a
folklorist and anthropologist certainly establish her knowledge and experience in
portraying the lives of emerging African American culture and its many manifestations.
We also see the interactions between that emerging African American consciousness and
the larger Euro-American culture that all too often oppresses it. Their Eyes is most
certainly about race.

However, it is also about space--not
only the importance of setting and physical location (the all-black town of Eatonville
is a prime example) but also the space for personal freedom and the space for the quest
for self-identity and self-understanding. We see this later idea best expressed in the
recurring metaphor of the horizon. From the novel's opening paragraphs to its final
message at the end, we witness Janie's quest to reach and understand her horizons, to
understand the "lay of the land" and the space around her.

The distance from Arville to Branton is 114 miles. The distance from Branton to Camford is 247 miles. If the 3 towns form a triangle, what's...

In a triangle the sum of measures of any side is always less
than the sum of other two sides.

As Arville, Bronton and Camford
form a triangle, the distance between Arville to Camford must be less than the sum of distances
of Branton from these two places. Thus

Distance between Arville to
Camford < (Distance between Arville to Branton) + (Distance between Camford to
branton)

==> Distance between Arville to Camford < 114
+ 247

==> Distance between Arville to Camford <
361

The distance between Arville to Camford also must be more than
the difference of distances of Branton from these two places.
Thus

Distance between Arville to Camford > (Distance between
Camford to Branton) - (Distance between Arville to Branton)
+

==> Distance between Arville to Camford > 247 -
114

==> Distance between Arville to Camford >
133

Thus:

Distance between Arville to
Camford  must be more than 133 miles and less than 361 miles.

Is there any doubt in the reader's mind that Dracula will be defeated in Dracula?

In my mind, there seems little doubt that Count Dracula
will be defeated.  The manner in which the battle is depicted with Dracula being on the
side of insanity and evil, while the empiricists of Harker, Van Helsing, and Holmwood,
for example, are against him almost set them up for victory.  Dracula is depicted as a
malevolent force that seeks to appropriate the world in accordance to his own
subjectivity.  In seeking to create an army of "undead" to overtake society, it is
designed so that Dracula could not win and should not win.  In this light, the depiction
of Dracula is rather one- dimensional, incapable of generating much in way of sympathy. 
In this reading, one understands that the battle will be a challenge, but one where
Dracula will eventually be defeated.

What are the major political issues that face Venezuela today?

In my mind, the most challenging political issues that
face Venezuela come down to the presence of Hugo Chavez.  As the singular leader that
has a control of the political state of Venezuela, much is going to be dependent on
him.  For example, in a world of an increasing need for globalization and a setting
where economies are linked to one another by free market self interest, Chavez seems
something of a throwback to a more ideological time.  Chavez's disdain for "the West"
makes this a challenge.  Yet, at the same time, his nation's embrace of a "multi- polar
world" where alliances are formed amongst so- called "Third World" nations is unique. 
There are questions as to whether or not this is going to be something that will
withstand in the new political dynamic.  For example, so- called "Third World" nations
that join Chavez's Venezuela might do so for political expedience.  Yet, if the
opportunity presented itself for more free market income to be generated, would such
nations continue to honor such ideological alliances, or be more pragmatic in their
policy making focus?  In this light, Venezuela might be pursuing an end that is not as
pragmatic as the current setting might demand.  Another political reality for the nation
would be its reserve of oil.  How it will handle this resource as the world dynamics and
desire for petroleum presents itself will be interesting from both economic and
political ends.  Given the fact that this is a point of political leverage for
Venezuela, the question becomes whether or not the nation will be able to parlay this
into greater political advantage.

What was D-Day?

D-Day was used as an accronym for the start of a military
operation. The phrase has been connected with the June 6, 1944 invasion of Normandy, France,
Operation Overlord. D-Day showed combined operations and cooperation of disparate military forces
committed to the liberation of Europe from Nazi Occupation.

The
number of things that could go wrong was finite and the top commanders wrestled with all aspects
from the initial airborne attack--expected to kill one-in-seven of the men who jumped that
night--to failure to gain a beachhead sufficiently deep to allow the follow-up forces to land
unimpeded.

The weather proved the most serious threat to success.
The gale in the Channel was unexpected and forced the recall of several convoys of landing craft
to return to England. The decision to go with marginal conditions caught the majority of the
German High Command off-guard.

The airborne drop were chaotic, but
spread confusion as the misdropped paratroopers attacked enemy formations where they found them
and spread enough confusion as to the scope of the attack to delay a counterattack by the German
troops on the drop zones and beaches. The naval bombardment proved insufficient, and the planned
airstrike failed due to bad weather and a late bomb drop resulting from fears that landing
parties would receive the bombs instead of the enemy. The planned launch of the dual drive tanks,
intended to support the infantry attack, failed as the majority of tanks destined for Fox Green
and Easy Red Beaches sank under the pounding of the waves. The concentrated fire put down on
Omaha, stalled the attack for several hours, and the planned boat lanes through the beach
obstacles was poorly done so that the sailors and soldiers assigned the mission were killed or
wounded in the effort. Landing craft commanders battered their way over the obstacles to land
their troops and equipment to build the pressure that brought small groups of men to scale the
bluffs between the German strongpoints and allowed the invasion to
succeed.

D-Day has rightly been celebrated for the courage,
devotion, and determination to succeed when all seemed lost.

A horizontal trough 12 feet long has a vertical cross section in the form of a trapezoid. The bottom is 3 feet wide, and the sides are...

The cross section of the trough is trapezoid. The bottom
width is 3feet. So the top width is 3 +or- 2xsin(4/5) feet at a height
x.

Case (i) the top width is
3+2xsin(4/5).

The area of the cross section  = height* {
top width and bottom width}/2 = x{3 + 3+2xsin(4/5)}/2 =
x(3+xsin(4/5).

Therefore the volume v(x) of water when
height is x = height {cross setional area)+length =  x(3+xsin(4/5)}*12 =
12x(3+xsin(4)/5)} = 36x+x^2sin(4/5)...(1).

Therefore when
the speed of water is 10 feet /m, the rate of increase in hieght per minute is
required.

dv/dt = 10 feet.

But
dv/dt =( dv/dx)dx/dt.

Therefore dx/dt = (dv/dt)/ (dv/dx) =
10/((dv/dx) .....(2)

We get
dv/dx:

v(x) =  36x+36x^2sin(4/5) =
36x+62xsin(4/5).

v'(x) = 36+36*2xsin(4/5)
.

When water height x = 2,  v'(2) v'(x) = 36+36*2*2 = 36+
144sin(4/5)sin(4/5) = 38.0106

Therefore we substitute v'(2)
= dv/dx at x= 2 in eq(2):

dx/dt = 10/38.0106.
= 0.2631  feet/ minute is the rate of increase in height / minute when water level is 2
feet.

Case (ii)  the top width is
3-2sin(4/5):

v(x) = 36x
-72x^2sin(4/5)

dx/dt =  10/v'(x) = 10/(36-144sin(4/5)) at
x= 2.

dx/dt = 10/33.9894 = 0.2942 feet /
minute.

Please apply psycoanalytic criticism to Nataniel Hawthrone's "Young Goodman Brown."Nathaniel Hawthorne's "Young Goodman Brown"

In searching for the underlying motives and thinking of Goodman
Brown, the reader need look first to the exposition of Hawthorne's "Young Goodman Brown."
There,the sanctimonious Puritan, Goodman Brown, tells his wife Faith that he is going into the
forest primeval just "this one night." In fact, he deludes
himself,

With this
excellent resolve for the future, Goodman Brown felt himself justified in making more haste on
his present evil purpose.

Goodman
Brown leads his wife to think that he makes the journey into the forest because it is a task that
he must accomplish, when he is actually challenging the devil:

readability="8">

"There may be a devilish Indian behind every tree," said
Goodman Brown to himself; and he glanced fearfully behind him as he added, "What if the devil
himself should be at my very
elbow?"

Brown feels that he must test
his faith, and as a good Puritan, he feels justified in what he does, believing himself a
Christian who can resist evil. However, when the old man with the staff that resembles a serpent
appears, he is the likeness of Goodman himself,

readability="8">

...the second traveller was ...apparently in the same rank
of life as Goodman Brown, and bearing a considerable resemblance to him, though perhaps more in
expression than features.

This second
traveller, who claims to have been good friends with Brown's father, laughs when Goodman claims
to be a man of "prayer and good works to boot, [who] abide[s] no such wickedness." Apparently,
the traveller is the darker side of Goodman himself, a side which he refuses to admit because of
his Puritan beliefs that he is saved. As further proof of this, while Goodman and the elder
traveller continue, the traveller's exhortations to "persevere in the path and discourses" seem

rather to spring up in
the bosom of his auditor than to be suggested by
himself.

Because Brown's faith is too
simple in itself--he says he will go "just this one night" to witness the black mass--his Puritan
self-righteousness projects his own Calvinistic sense of Depravity and Original Sin from which he
cannot free himself onto others. So, as the pink ribbons of Faith waft through the air, Brown
perceives not his faith being lost, but that of his wife's just as he views the evil purpose of
Goody Cloyse and Deacon Gookin. Yet, despite his sanctimony, he becomes "a distrustful, if not a
desperate man from the night of that fearful dream" as his inner self looks into his corrupted
heart and feels the "loathful brotherhood by the sympathy of all that was wicked in
him."

Young Goodman Brown's night at the black sabbath elicits his
underlying motives to create illusions to justify his Calvinistic indoctrination about the
concept of total depravity. It is from this concept that Brown's Puritan gloom emanates; it is
from this concept that no deeply thinking mind is completely free, Hawthorne seems to
say.

Need help with awkward sentence.This feedback is collected by surveying; because of differences in survey instruments, comparative data is not...

It would be a little easier to help with this if we had
more information about what exactly you are saying.  I say this because I believe that
this passage should be split up into multiple sentences with more explanation.  Given
the information here, this is what I would say.

This data
has been collected through surveys.  However, we are not able to present other data that
is directly comparable.  We are unable to do so because the surveys used to collect
other data have not been the same as the one we used.  Therefore, the data are not
comparable to the data we have collected.

I strongly
believe that it is better to give more explanation in more sentences than to try to fit
too much information into one sentence.

Do Jane Austen's characters in Persuasion create a consistent idea of folly in the novel or are there some instances that don't fit with others?

Those characters whom Austen designs to be living by folly are
certainly consistent at it! Yet there are other characters who combine elements of folly with
sense who, from a casual reading, may appear to present an inconsistent picture of folly--because
they are inconsistent, but only by Austen's design and intent. First of all, the
definition of
folly in the sense used means foolishness,
stupidity, rashness as a state of personal being (an individual characteristic) or in regards to
an action, idea, belief etc. (derived from the Collins and Random
House Dictionaries on href="http://dictionary.reference.com/browse/folly">Dictionary.com).

Sir
Walter and Elizabeth are the two main characters who embody folly. An example of
Sir Walter's folly, that he consistently upholds throughout, is his inability to be realistic
about living expenses because he connects appearances of gracious living with his identity as a
baronet (which is the lowest class of hereditary titled commoner and ranked just above
nonhereditary knighthood):

readability="12">

What! every comfort of life knocked off! Journeys,
London, servants, horses, table--contractions and restrictions ... No, he would sooner quit
Kellynch Hall at once,

Other examples
are the extraordinary power and importance Sir Walter attaches to the use of Gowland face lotion
(recommended to Anne and Mrs. Clay: “should recommend Gowland, the constant use of Gowland”) and
his silly, unseeing. all-encompassing vanity.

Elizabeth's primary
claim to showing unrelenting folly is her insistence that she must marry only a man who has a
baronet that is "worthy" of her own station in life. As a result of this folly (i.e., stupid idea
or belief), she has been the marriage-eligible belle of the social set balls for thirteen years
while her rejected suitors have gone on to marry ladies displaying far less
folly:

Thirteen
winters' revolving frosts ... thirteen springs shewn their blossoms, ... she had the
consciousness of being
nine-and-twenty.

The
Dowager Viscountess Dalrymple and her daughter, the
Honorable Miss Carteret, appear only briefly but give another very
good and consistent picture of folly (“Anne was ashamed. ... [They had] no superiority of manner,
accomplishment, or understanding”), which leads to consideration of the primary character who
inconsistently demonstrates folly, cousin William Elliot. At times,
William can show sense and reasoning power but his major decisions in life are based either on
maliciousness (which we aren't concerned about here) or on folly. The prime example of this is
his elopement with Mrs. Clay--the scheming, conniving, Mrs. Clay who
is herself a good example of inconsistent folly: “[whether] Sir Walter ... may not be wheedled
and caressed at last into making her the wife of Sir William.”

What is meant by the phrase: "faith within the bounds of reason"?

The phrase "faith within the bounds of reason" refers to
Immanuel Kant's radical notion that religion (or faith) could be deduced by logic alone. In 1793,
Kant published the treatise "Religion within the Bounds of Reason Alone" (variously translated).
In it, he defined religion as personal acceptance of divine law and ethical obligations. He
argued that any historically specific iteration of religion could not contain the entire truth.
He claimed that true religion supersedes the specifics of place and time. Moreover, he argued,
individuals can deduce moral law by exercising their powers of perception and
reason.

This doctrine put Kant at odds with the common thought of
his day, which presumed the unique truth of Christian dogma. For many of Kant's contemporaries,
faith and reason were strictly at odds. The idea that religious devotion need not involve a
rejection of scientific reasoning was therefore quite controversial.

Which character or characters develop markedly in As I Lay Dying by William Faulkner?Which character or characters develop/s markedly in As I Lay...

Dewey Dell may be the character with the most obvious
development in As I Lay Dying. Many of the characters
possess psychological depth, but Dewey Dell faces challenges within the narrative that force her
to change her mind about her world in ways the other characters do
not.

Some specific challenges Dewey Dell faces which lead to change
in her character:

• Upon the death of Addie Bundren, Dewey
  must take over the role of mother for the family, especially in relation to Vardaman. This
  changes Dewey Dell’s status in the family.


• Pregnant and seeking a
  remedy for her condition, Dewey Dell lies to her family and sneaks off to a pharmacy where she is
  given bad advice and, ultimately, taken advantage of by a clerk. Dewey learns that she cannot or
  should not trust the town-folk and that she should rely on her own innate sense of what is right
  and what is wrong.

Discussion of thematic elements/plot ideas having to do with The Great Gatsby.What thematic element/plot idea of The Great Gatsby does this refer...

I would say that the quote featured links very strongly to
Fitzgerald's discussion of the American Dream.  The manner in which he displays and
shows Gatsby's unrelenting belief in his accomplishment of the American Dream, there is
almost a belief that if Gatsby does not embody all aspects of his dream, there is a
sense of failure attached to it.  His idealism and faith in his own presentation of the
American Dream almost prevents him from embracing his own limitations within it.  It is
this idealism that prevents him from understanding that he might be used as a means to
an ends by the Toms and Daisys as well as the Jordans of the world.  In the quotation,
Gatsby would not accept the idea of "being crushed" as it goes against his notion that
human freedom in America is limitless, just as the dreams it facilitates.  There is a
sense of despair in the quote that Gatsby, at his height of belief, would never be able
to fully accept.  It is something that Nick comes to understand though in the course of
the narrative.

Looking back to the story's climatic point in which Sammy says, "I quit" what other passages are related to this one?John Updike's "A & P"

If I had to choose a line that is as intense and
course-altering as "I quit" is, I believe I would choose, "You'll feel this for the rest
of your life." I would also point out the line, "...my stomach kind of fell as I felt
how hard the world was going to be to me hereafter."

All
these statements point to a change of direction in the story's plot, and seem directly
related to the "rite of passage" theme this story
presents.

Prior to these statements, Sammy, our author, is
simply a kid working a summer job. He has little to worry about but stocking shelves or
ringing up grocery purchases. Life is relatively easy for him, and he reacts with the
impulsivity of youth out of a sense of "honor" he feels in order to defend the
girls.

To be accurate, the action
might be defending the girls, but the intent is to put himself "out
there," to take a stand and define, in some unconscious way, who he is and what is
important in his life: this may be as simply as being true to his sense of fair
play.

The time during which the girls walk through the
store is representative of Sammy's innocence. When he quits, he walks through the "door"
that takes him to the other side—to awareness...the first step of his journey to growing
up.

Each statement is an absolute: there is no half-way
here. For Sammy, it's all or nothing, and we find he is an "all" kind of
guy.

Compare the role of the Cabinet with that of the Executive Office of the President.

Typically, in modern American presidential
administrations, the Executive Office is much more important to the President than is
his (or maybe someday her) cabinet.  This is because the members of the Executive Office
are not divided in their loyalties.

One of the things that
a president most prizes is loyalty.  They want to be sure that their assistants are
really out to help them and no one else.  They can be relatively sure that members of
the Executive Office are loyal because they have no boss other than the
President.

By contrast, members of the Cabinet often have
divided loyalties.  They are confirmed by the Senate, for one thing.  They also have to
deal with the agencies they head and with the constituences for those agencies.  This
means that they may come to care more about the agenda of their agency or its
constituents than they do about the President's agenda.

Find the number of combinations of the for objects A,B,C,D taken three at a time . How many committees of three can be formed from eight people.

We'll write the formula of the combination of n elements
taken k at a time:

C(n,r) =
n!/k!(n-k)!

We'll establish that each
combination consists of 3 objects.

We'll have 3!
permutations of objects in the combination.

We'll note the
permutation as P.

P = 3!

P =
1*2*3

P = 6

The number of
combinations will be multiplied by 3!:

C(4,3) =
P(4,3)/3!

P(4,3) =
4*3*2

P(4,3) = 24

C(4,3) =
24/6

C(4,3) = 4

The possible
combinations are:

C(4,3) = {abc , abd , acd ,
bcd}

To determine the number of committees
of three that can be formed from eight people, we'll apply the combination
formula:

C(8,3) =
8!/3!(8-3)!

C(8,3) =
8!/3!*5!

But 8! = 5!*6*7*8

3!
= 1*2*3

C(8,3) =
5!*6*7*8/1*2*3*5!

We'll simplify and we'll
get:

C(8,3) =
7*8/1

C(8,3) = 56 committees of three that
can be formed from eight people.

In the play Hamlet, what is the significance of Act 1 scene 1, and what would the play be like without it?

Act 1 Scene 1 of any play, especially a Shakespearean play,
establishes the tone of the play and the background situation of the setting. It is important to
remember that in Shakespeare's theatre, the Globe, there are no lights to dim to signal the start
of the play, so the characters would need to enter center stage and just start talking.
Shakespeare usually opened his plays with minor characters so that the audience was primed and
ready for the revelation of the major characters and the major conflicts of the play by scene 2.
The theatre would have settled down and been ready for the big story by then.

In this play, scene one has four minor characters, guards of
Elsinore castle and Hamlet's best friend Horatio, talk about the strange occurrence they have
seen two times before. The guards report to Horatio that they have seen a ghost that looks like
the late King Hamlet. Horatio, as a university student and a scholar, is brought out to make sure
they aren't just imagining things. At first Horatio is skeptical, but once the ghost actually
appears, he is a believer. He attempts to command the ghost to speak, but the ghost merely
appears and then disappears again. The men decide that they MUST tell Hamlet the disturbing news
that a ghost like his father wants to see him.

The scene also serves
as a means for the Horatio to explain to the guards why there has been a recent increase in
military activity around the castle. Horatio reports that the young Prince Fortinbras of Norway
has "sharked up a list of lawless resolutes" to attack Denmark in an attempt to regain lands that
his father lost to King Hamlet several years before.

By the end of
the scene, we have established the external conflict with Norway and the internal trouble that is
suggested by the appearance of the ghost. A Renaissance audience would have believed that the
ghost comes for some terrible reason -- never anything good. This scene is essential to
establishing this background information. Once the audience has all of this information, they are
ready to meet Claudius, Hamlet, Gertrude, Polonius and all of the other significant characters in
the next scene.

In All Quiet on the Western Front what prejudice does Paul have against small men?

In an early chapter of All Quiet on the Western Front,
the men have returned from the front and are eating together.  They reflect on the
nature of war and their training (or lack thereof).  They then talk about Himmelstoss, the man
who is charge of their training.  They hate Himmelstoss because he is really hard on all the
men--Himmelstoss continually puts them through physically gruelling tasks and then berates them
verbally when they falter.  The soldiers do not respect Himmelstoss though because he himself has
never actually fought in the war.  Here, Kat says that small men are always like this:  they must
be overly cruel to make up for what they lack in physical stature.  Kat says that rulers around
the world are like this also, and that the smallest men end up in charge of great things like
wars.  Paul agrees.

What were the specific historical conditions in which Stalin rose to power?

The specific historical condition in which Stalin rose to power
was the chaos and infighting that followed the Bolshevik
Revolution.

Stalin rose to power gradually during the time that
Lenin was running the Soviet Union. Then, once Lenin died, Stalin seized complete control of the
country. This was made possible by the upheaval of the time and by the fact that the Soviet Union
had no set method of deciding who would succeed Lenin. In other words, Stalin was able to rise
because of the chaotic nature of the time (and because of his own political
skills).

Stalin rose by using a series of bureaucratic posts to take
power for himself and make people indebted to him. This was possible because the power structure
of the Soviet Union was just being created and things were chaotic. Stalin used the opportunities
provided by these conditions to amass power gradually until he was in a good position to openly
take the top spot after Lenin died.

Calculate z+1/z if z = (-1+i*3^1/2)/2.

To  calculate z+1/z if z =
(-1+i*3^1/2)/2

z =
(-1+6*3^(1/2)/2

z = (-1/2) + ((sqrt3)/2)
i.

1/z = 1/{(-1/2+
((sqrt3)/2)i}

1/z = {[ (-1/2)- ((sqrt3)/2)i)]/{[ (-1/2) +
((sqrt3)/2)i)]*{[ (-1/2)* ((sqrt3)/2)i)]}. We multiplied both numerator and denominator
by {[ (-1/2)- ((sqrt3)/2)i)].

1/z = {[ (-1/2) -
((sqrt3)/2)i)]/{1/4 - 3/4}.

1/z = (-2){[ (-1/2) -
((sqrt3)/2)i)].

1/z = 1+
(sqrt3)i.

Therefore z+1/z =  (-1/2) + ((sqrt3)/2) i + 1+
(sqrt3)i.

z 1/z = (1-1/2) +( sqrt3/2
+sqrt3)i.

 z+1/z = (1/2)
+(3/2)(sqrt3)*i.

How did the US respond to the economic needs of fighting during WWII?

There were three major ways, generally speaking, in which the US
government responded to these economic needs. There was rationing, there were government efforts
to ensure that companies produced the things that were needed, and there were major attempts to
get people to loan money to the government.

The government set up
the Office of Price Administration to make sure that the public did not use too much of various
commodities. The OPA instituted rationing for many things such as rubber and
gasoline.

The government also set up things like the War Production
Board and passed the Smith-Connally Anti-Strike Act. The WPB did things like halting the
production of passenger cars so that materials would go, instead, to war production. The
Smith-Connally Act ensured that strikes would not disrupt war
production.

Finally, there were many war bond drives meant to
persuade people to lend money to the government. This money was, of course, used to fund the war
effort.

Why do you think Shakespeare chose not to show the murder of Duncan, in the play Macbeth, directly to his audience?

In a word, the most significant answer to your question is
SUSPENSE.  Shakespeare was  a dramatist, and like any good dramatist, he knew that one of his
most important tasks was to keep the audience asking, "What happens next?"  Suspense is a great
way to achieve the desired result of having the audience on the proverbial edge of their
seats.

The scene in the play that your question refers to is Act II,
scene ii.  Let's look at the way that Shakespeare creates suspense here in this scene, including
not showing the actual murder.

For one thing, he includes ominous
noises, or at least the suggestion of noises that are "heard" by the characters onstage.  This is
a tried-and-true device of suspense, and, if you're a fan of horror movies, I'm sure you'll find
an exchange similar to the following in most of your favourite
films.

readability="7">

Macbeth

.
. .Didst thou not hear a noise?

Lady
Macbeth

. . .Did not you
speak?

Macbeth

When?

Lady
Macbeth

Now.

Macbeth

As
I descended?

Lady
Macbeth

Aye.

Macbeth

Hark!

Who
lies i'the second chamber?

Lady
Macbeth

Donalbain.

Macbeth

This
is a sorry sight.

This exchange
happens just after Macbeth enters from killing Duncan.  Shakespeare has put the focus on the
anticipation of whether they will be caught or not, rather than showing you the gory act
itself.

But, Shakespeare wasn't holding back on the idea of gore. 
He knew that his audience loved that too.  So, once he has milked the suspense of the act
happening offstage, he moves on to the gore.  And that is why, as I have reprinted above, Macbeth
looks at his hands and says, "This is a sorry sight."  His hands are covered in blood.  In fact,
he, himself, might be covered in blood.  An audience that sees all that blood can probably
recreate a much more gruesome murder in their minds than could have been displayed
onstage.

So, the creation of suspense and the horrible imaginary
murder an audience can create in their minds are the two reasons that Shakespeare chose not to
show the murder directly to his audience.

Can you please summarise the story "The Son's Veto" by Thomas Hardy?

Hardy's chronologically told story starts with an event
calculated to provide an in-depth character sketch of the heroine and her son Randolph. They are
at a public concert in a "neighboring parish" thus strangers to the locals who are all curiosity
to know about the delicate looking woman with intriguingly arranged hair who is in a wheelchair.
This exposition equally importantly establishes the relationship of domineering superiority her
"twelve or thirteen" year old son has over her as he "fastidiously" corrects her grammar in a
manner "that was almost harsh."

Hardy then gracefully dips into her
backstory that takes us to the village of Gaymead when she was a young woman of nineteen and in
love with Sam, a gardener ... and Sam was in love with her--Sophy. This flashback opens when
Sophy's employer's wife has just died and she and Sam are tentatively speaking of what will come
next: Will she stay with the widower vicar? Will she wait for Sam to prepare her a home and marry
him? Before the hardest of these questions could be satisfactorily answered, Sophy fell down
staris while removing a tray from the vicar's sickroom. The surgeon says it is such a bad injury
she will never walk or work normally again.

As a result, the vicar
saw his way clear to owning and stating his feelings for her. She consented to be his wife; he
takes a lucrative vicarage in South London; their son is born and generously educated among the
best; and fourteen years later, she still is ill-favored in society because she speaks in a lower
dialect of English and has ...

readability="7">

confused ideas on the use of 'was' and 'were,' which did
not beget a respect for her among the few acquaintances she
made.

Eventually she is widowed, her
son enters college to become a clergyman, and she encounters Sam seemingly by chance one day.
They proceed to rekindle their friendship and romance but when Randolph is notified by her of
their intentions to marry, he exerts his male veto authority over her by bursting into a protest
of "passionate tears":

readability="11">

He hoped his stepfather would be a gentleman? he
said.

'Not what you call a gentleman,' she answered timidly. ... The youth's
face remained fixed for a moment; then he flushed, leant on the table, and burst into passionate
tears.

As time goes by, Sophy tries
again and yet again and always receives the same authoritative negative veto on her plans and
happiness. In the end, the veto wins out as she dies alone leaving Sam to continue to live alone.
Randolph is a clergyman himself now and rides in the carriage that bears his mother to her grave
in Gaymeade. The procession passes Sam who mourns the loss of love and life while Randolph looks
like so many black clouds in his stern person, clothes, and
profession:

From the
railway-station a funeral procession was seen approaching ... towards the village of Gaymead. [A]
man, whose eyes were wet, held his hat in his hand ... while from the mourning coach a young
smooth-shaven priest in a high waistcoat looked black as a cloud
....

How do you solve the following? 3/(x - 3) - 4/(x √4x + 3

We have to solve

• 3/(x -
  3) - 4/(x - 2) = -4

• sqrt (4x) + 3 <
  6.

Now 3/(x - 3) - 4/(x - 2) =
-4

multiply all terms by
(x-3)(x-2)

=> 3(x-2) - 4(x-3) =
-4(x-3)(x-2)

=> 3x - 6 - 4x + 12 = -4 ( x^2 - 5x +
6)

=> 6 - x = -4x^2 + 20x -
24

=> 4x^2 - 21x + 30 =0

Now
find the roots of 4x^2 - 21x + 30 =0 using

[–b + sqrt (b^2 – 4ac)]/
2a and [–b - sqrt (b^2 – 4ac)]/ 2a

here b = -21, a = 4 and c =
30

sqrt (b^2 - 4ac) = sqrt
-39

Therefore the roots are 21/8 - i*(sqrt 39)/8 and
21/8 + i*(sqrt 39)/8.

sqrt (4x) + 3
< 6

=> sqrt 4x <
3

=> sqrt 4x < sqrt
9

=> 4x < 9

=> x
< 9/4

Therefore x<
9/4

What comic conventions have been used in Much Ado About Nothing?Give specifc examples.

Of course, the specific use of conventions would need to
reference the production in which they were used to answer your question completely. 
However, I will offer some suggestions of comic conventions that I have seen used and
reference the specific scenes in the play in which they were
used.

The two conventions that spring to mind right away
for me are pratfalls and
slapstick.  Both of these terms refer to types of physical
comedy -- a pratfall being a fall on one's backside (think slipping on a banana peel)
and slapstick being a term that includes most forms of comic violence between two or
more characters (think pie in the face).

The first scenes
that use these sorts of physical comedy are the eavesdropping scenes in which both
Beatrice and Benedick overhear that the other is "in love" with him/her (Act II, scene
iii and Act III, scene i).   Pratfalls suit the antics of Beatrice and Benedick as they
move about the stage from hiding place to hiding place, attempting to overhear the
conversations, yet trying to remain hidden.

The other
scenes where these sorts of physical comedy would be used are the two scenes with the
Watch.  Dogberry and Verges would be the main "clowns" in the play, but combining them
with the Watch provides much opportunity for comic violence or slapstick, especially
when apprehending Conrad and Borachio.  The scenes in which the watch appear are Act
III, scene iii and possibly Act III, scene v.

There are
multiple opportunities for physical comedy in Much Ado, especially
pratfalls and slapstick.

Who is the "other" with explaination from the text in Sherman Alexie's, What it means to say Phoenix, Arizona? Would it be Thomas, Victor,...

Both Victor and Thomas are perfect examples of the other.
You have a lot of evidence to argue both, but if you need to choose one I think that
there is a lot more subtle evidence in support of Victor as being the true other. Thomas
has a more obvious otherness to him, but often the hinted otherness with Victor allows
for greater analysis. Think of the airplane conversation with Cathy. Thomas initiates
the conversation while Victor would be perfectly content with his own thoughts. Through
out the story Victor separates himself from others (as in this case) which begs the
question of why? One can assume that Victor is use to being ostracized as he is the
other among his people.

Another example is Victor and the
Tribal council. Why is he not given the money needed to bring his father back home. They
claim it is due to a lack of funds, but there is more hidden between the lines there.
How is Victor different from the other Indians that we meet? He seems to struggle within
himself a bit. He can either be more like Thomas, and be more accepting of his heritage,
or he can turn his back on who he is.

I think that you will
have a lot more to write about if you choose Victor as your
other.

Define the term "sociocultural environment" with regard to business.

Every business firm operates in a given type of
environment.  The environment is the firm's surroundings.  Some aspects of the
environment have the ability to affect how the firm will need to behave and what its
strategies will be.  The sociocultural environment is that part of the firm's
environment that has to do with society and culture (as opposed to purely physical or
economic factors).

Each firm operates within a particular
society or societies.  It must alter its behaviors so as to conform to the social and
cultural values of the places in which it is operating.  For example, a firm operating
in America may well use scantily clad models in its advertising, but a firm operating in
a more conservative society should not.

Firms must always
be aware of their sociocultural environment so that they will not act in ways that are
offensive to their potential customers.

Use the fact that d/dx(x^6 - 2x^2 + x) = 6x^5 - 4x + 1 to show that the equation: 6x^5 - 4x + 1 = 0 has at least one solution in the interval (0,1)

We have the function f(x) = x^6 - 2x^2 + x. f'(x) = 6x^5 - 4x +
1.

Now we see that f(1) = 1^6 - 2*1^2 + 1 = 1 -2 +1 =
0

And f(0) = 0 + 0 +0 = 0.

Therefore we
can use Rolle's Theorem which states that if a function f(x) is continuous in the closed interval
[ a, b] and differentiable at every point in (a,b) and if f(a) = f(b) = 0, then there is at least
one number c between a and b at which f'(c) =0.

Now the function we
have is f(x) = x^6 - 2x^2 + x. This is continuous in [ 0,1] and differentiable at all points in
(0 ,1).

As f(0) = f(1) = 0 , there lies a point between 0 and 1
where f'(x) = 6x^5 - 4x + 1 = 0.

This is the solution for the
equation 6x^5 - 4x +1 = 0.

Prove that the suffering in Romeo and Juliet is the responsibitlity of the parents.I am looking for irresponsible acts they committed, actions they...

It is interesting that you want to isolate Romeo and
Juliet's parents, since there are two other grown-ups in the play that have much more
actual effect on the choices that Romeo and Juliet make -- The Friar and the
Nurse.

Lord and Lady Montague show their lack of
involvement in the opening scene of the play, when they confess to Benvolio that they
have no idea why their son is so melancholy and ask him to find out; and Lord and Lady
Capulet have no idea what is going on right under their noses throughout the course of
the play between their daughter and Romeo.

So, it is hard
to hold Lords and Ladies Montague and Capulet accountable for the suffering of
Romeo and Juliet, since this is a Tragedy and, as such, the
suffering stems from the choices made by the two main
characters.

Romeo and Juliet choose to keep their love
secret.  They choose to marry.  Juliet chooses to take the poison and pretend to be
dead.  Romeo chooses to fly to Juliet's side when he learns that she is "dead" and kill
himself.  And Juliet chooses to kill herself when she awakes and find Romeo dead beside
her.  All of these choices are made because both Romeo and Juliet suffer from the same
tragic flaw -- They are over-hasty in their actions.

All
the above being said, there are definitely things that the parents do (and don't do)
which contribute to the reasons that Romeo and Juliet choose as they do.  The most
glaring is that both families do nothing to end the feud.  Much of the choosing of
secrecy can be attributed to the ongoing feud, which the parents refuse to end until it
is too late, both Romeo and Juliet are dead.

Lord Capulet
is also guilty of motivating Juliet's choices when he insists that she marry Paris,
when, originally he had protested both that she was too young to marry, and that he
would defer to her in whether she was willing to wed.  His actions in Act IV really push
the haste with which Juliet decides to follow the Friar's desperate plan and contribute
to the final suffering by motivating Juliet's action.

But,
even though the parents are responsible for prolonging the feud and Lord Capulet pushes
Juliet by decreeing that she wed or "starve in the streets," the suffering of the play
is still the responsibility of the two main characters and the result of the choices
they make out of haste.

For more on the the roles of choice
and haste in this Tragedy, please follow the links below.

Please scan the last stanza of "Frost at Midnight" (detect the feet and the stress patterns within those feet). See below:Here is the stanza:...

I have scanned the paragraph as you have
asked.

I am mostly familiar with iambic pentameter, which is when a
poem has ten syllables per line, with the stress on every other
syllable.

Sonnets (fourteen-line poems) by Shakespeare, Petrarch,
Spenser, etc., were written in iambic pentameter.

In your poem, if I
have counted correctly, it appears to me that all the lines expect
one have ten syllables per line, with a stress on the second of the two
syllables.

For instance, refer to the first line of the
paragraph:

Therefore
all seasons shall be sweet to thee

The
stress lies on: -fore, sea-, shall, sweet, thee.  The stress does not follow words, but
syllables. There are times (as with the first two listed above) that the first syllable is paired
with part of the following word, or part of a word is joined with the word following
it.

So "Therefore" has two syllables, and "-fore" is stressed. The
next foot is "all sea-" and "sea-" is stressed. The second half of "season" (-son) is the first
syllable of the next foot: "-sons shall."

readability="5">

There -fore / all sea- / -sons shall / be sweet / to
thee

This continues up until the line
below.

Smokes in the
sun-thaw ; whether the eave-drops
fall

This sentence does not follow the
pattern. Now, this is written some time between the end of the 18th Century into the middle of
the 19th Century. Coleridge was one of the two poets who are considered the forerunners of the
Romantic literary movement in England.

I mention this only because
poets (Shakespeare is a perfect example—and Coleridge as an English writer would have been
influenced to some extent) would sometimes write in iambic pentameter, but some lines would have
ten syllables, some would have eleven, and others might only have nine. The "irregular" numbered
"feet" did not dominate the poem, but they were there.

For instance,
in Sonnet 29, Shakespeare's third line is not written in iambic
pentameter:

readability="6">

And trouble deaf heaven with my bootless
cries,

It is possible to
surmise that the line shown above (from "Frost at Midnight") simply does not fit the pattern
because Coleridge wanted to say something specifically that would not fit with the prescribed
number of syllables.

Sometimes poets (and song writers—who write
poetry to music) will add a word and rush two syllables together to "fit." Consider the word
"o'er." This is pronounced "or" (a one-syllable word), but actually means "over," a two-syllable
word. So perhaps Coleridge intended that when the poem was read, one of the two-syllable words
would be "rushed" or "pushed" together.

Considering the possibility
that Coleridge purposely chose a different number of syllables, I am unable to chart the line
which has eleven syllables. To make it fit into the ten syllable pattern (with a stress on the
second syllable), "whether" would need be said quickly—seeming the only place where such a "rush"
can be used and the line not only still make sense, but be able to hold onto the rhythm presented
in the other lines as well.

readability="5">

Smokes in the sun-thaw ; whether the eave-drops
fall

spoken "Smokes in / the
sun / -thaw whether / the eave- / drops
fall"

The only other possibility I can
perceive might be that the foot "-thaw whether" might be an "anapest" (three
syllables, with stress on the last), considered a "trisyllable" (whereas iambs are
"disyllables").

I hope this is of some help.

Describe the narrator in "First Confession."

As a narrator, Jackie is open and frank, sharing some of
his amusement about his childhood feelings, although he is an older person when he is
actually telling the story. He seems to be speaking rather than writing, and it is not
clear that he has any specific listener in mind beyond his anonymous audience. He is a
perceptive narrator, successfully transmitting his feelings of anger and indignation
against his sister, his being bemused by Mrs. Ryan, his apprehensiveness about the state
of his soul as he has learned to judge it in the punishment-driven household, and his
fondness for the understanding and friendly priest. Words like fastidious, mortified,
and indignant suggest his familiarity with a high level of diction. Jackie is also
inventive as a speaker, using combinations like heart-scalded and a religious woman like
that, you wouldn’t think she’d bother about a thing like a half-crown. There are a
number of Irish idioms and phrases, particularly in the dialogue, such as Was it the
priest gave them to you?, Begore, and Jay.

Why would Underwood, who hates Negroes, protect Atticus from a mob that wants to lynch Robinson?To Kill a Mockingbird by Harper Lee

While the answer to what motivates Mr. Underwood in
Chapter 15 of To Kill a Mockingbird to defend Atticus from his
The Maycomb Tribune office window other than to protect an upright
citizen of Maycomb from physical harm is not evident, more explanation to Mr.
Underwood's thinking comes through his editorial which follows "The Colored News" of the
town's newspaper.  In Chapter 25, Mr. Underwood, Scout narrates, is "at his most
bitter."

In his vituperative editorial, Mr. Underwood
expresses his belief, one that coincides with that of Atticus Finch,
that

it is a
sin to kill cripples, be they standing, sitting, or escaping.  He likened Tom's death to
the senseless slaughter of songbirds by hunters and children, and Maycomb thought he was
trying to write an eitorial poetical enough to be reprinted in The Montgomery
Advertiser.

By pondering
the meaning of Mr. Underwood's words along with what she has witnessed at Tom's trial,
Scout deduces that Mr. Underwood's words are a scathing attack upon the "secret courts
of men's hearts" that condemned Tom:  "Tom was a dead man the minute that Mayella Ewell
opened her mouth and screamed."  After the shooting of poor Tom Robinson, Mr. Underwood
has perceived the darkness of racial prejudice, a bias that supercedes all rationality,
all morality, all fairness, and all justice.

Why has Southwest's pricing strategy been successful the the last three decades?

I do not have more detailed information on the prices of the
Southwest versus their cost, and the growth in their market share. In absence of these figures it
is not possible to gauge the success of the Southwest's policy. However I would like to point out
that this strategy should not be considered just a pricing strategy. It is a complete product
strategy. Southwest has not reduced price for the same product. It has changed the basic
characteristic of the bundle of services it offers. It has changed the product from a bundle of
basic transportation combined with many other facilities, convenience and choices, to just the
basic transportation. This has enabled them to reduce their costs and pass on this benefit to the
customer in form of reduced fares.

Thus the main reason for success
of the Southwest's strategy has been the choice given to customer to buy and pay for only the
basic transportation services. This is in contrast to the strategy adopted by the full service
airlines that do not give the customers the choice of opting for only the basic transportation
without the additional frills. It is important to note that there are many passengers who want
all the luxuries that airlines have to offer, and are happy to pay for it. This is why we still
have first class passengers flying on full service airlines, paying fares that are several times
the fares of no-frills airlines.

Thus, success of Southwest should
be attributed to its ability to meet economically a large potential demand for basic air
transportation service without frills. meet this demand

During osmosis, what substance moves through the semi-permeable membrane?

Osmosis is the diffusion of water molecules across a selectively
permeable membrane. There must be a concentration gradient on either side of the membrane, from
high to low concentration of solvent. Inward osmosis will occur when the amount of water
(solvent)outside the membrane is greater than inside. Outward osmosis will occur when there is a
higher amount of water(solvent) inside the cell relative to outside and higher solute outside.
This can be demonstrated with a solution that contains salt outside a cell. The water inside the
cell will leave by outward osmosis, causing plasmolysis to occur. This results in the cell
dehydrating and shrinking as its contents leave.

factorise c^2-8c+15

c^2 - 8c + 15 = ( c -3)(x-5)

You
can calculate the roots using the following formula:

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

a = 1    b= -8    c =
15

==? x1= [ 8 + sqrt(64-4*1*15) ]/
2

          = [ 8 + sqrt(4)]/2 = (8+2)/2 =
5

==> x1= 5

==> x2= (
8-2)/2 = 6/2 = 3

==> x2= 3

We
know that if x1 and x2 are roots for f(x) then ( x-x1) and (x-x2) are factors of
f(x):

==> (x-5) and (x-3) are
factors.

==> ( c^2 - 8c + 15 = (
c-5)(c-3)

Calculate Coriolis acceleration?

Coriolis acceleration is caused by a combination between
the rectilinear motion and circular motion.

It's expression
is:

a = 2*v0*b'(t)

b(t) is the
unit position vector that is pointing in the direction of the motion of an object that
is moving along a line, with speed v0, from the center of a rotating disk. The disk is
moving with constant angular speed, omega.

Now, we'll write
the expression that determine teh position of the moving
object:

R(t) = v0*t*b

Since b
is the unit position vector, we'll describe it's motion with respect to polar
coordinates:

b = cos omega*t*i + sin
omega*t*j

We'll differentiate R(t) and we'll
get:

R'(t) = v0*b(t) +
v0*t*b'(t)

We'll factorize by v0 and we'll
get:

R'(t) = v0*[b(t) +
t*b'(t)]

Now, we'll determine the second derivative to
obtain acceleration:

a(t) = R"(t) = {v0*[b(t) +
t*b'(t)]}'

a(t) = v0*[2b'(t) + t*b"(t)]
(1)

b"(t) = -omega^2*cos omega*t*i - omega^2*sin
omega*t*j

We'll factorize by -
omega^2

b"(t) = -omega^2(cos omega*t*i + sin
omega*t*j)

b"(t) = -omega^2*b(t)
(2)

We'll substitute (2) in
(1):

a(t) = v0*[2b'(t) - t*omega^2*b(t)]
(1)

The first term of a(t)
represents Coriolis
acceleration:

a(t) =
2v0*b'(t)

How does ithe final chapter serve to wrap up the theme of the entire story?

Lots of things happen in the last chapter of The
Grapes of Wrath which are significant to the overall themes of the
novel. 

1. A flood displaces the Joads and others
   from their homes, just as another natural disaster prompted their initial move from
   Oklahoma.


2. The children are exposed to aspects of life
   they shouldn't have to see at such a young age (and I'm not making the case that
   childbirth is ugly, of course, just that they would not normally have been observers of
   the process).


3. People are willing to help but must, in the
   end, do what's best for their families.


4. Working hard (as
   in building the levee to hold back the flood water) may end in futility.  Sometimes it's
   just not enough.


5. The family is breaking up even further
   as Al and Aggie leave the Joad camp.


6. There is death and
   sorrow in the form of Rose of Sharon's stillborn child.  More grieving for this family. 
   


7. They leave and have nowhere to
   go.


8. Leaving is hard, and they have to leave things behind
   when they go.


9. BUT, there is hope.  Rose of Sharon is able
   to share a life-giving sustenance to one who is in need, and this scene(though a little
   off-putting to many young readers, for sure) offers us hope that this family will once
   again survive whatever struggles and obstacles are ahead of
   them.

You will undoubtedly find more as you
begin looking for them, and I hope you will. 

In Twelfth Night what makes Sir Andrew and Malvolio so easy to trick?

To put it simply, Malvolio and Sir Andrew are easy prey for the
likes of Maria and Sir Toby because they recognise the failings of these characters and their
susceptibility. Sir Andrew is obviously presented as a fool in Act I scene 3 in the discussion
that Maria has with Sir Toby, yet it becomes obvious that Sir Toby is bleeding Sir Andrew of all
of his money, using it to party at Sir Andrew's expense, by flattering his pride by suggesting
that he has a chance of being successful in courting his niece, the Lady Olivia. Note what Sir
Toby says about him: "Why, he has three thousand ducats a year."

In
the same way, Malvolio's failing is his own pride and sense of self-importance. Note what Olivia
says to him in Act I scene 5:

readability="8">

O, you are sick of self-love, Malvolio, and taste with a
distempered appetite.

It is the
recognition of this failing that makes Malvolio such easy prey to the idea that he has a chance
with Olivia, and that she is, in fact, madly in love with him. Thus, the susceptibility of Sir
Andrew and Malvolio to being tricked lies in their own failings and the ability of Sir Toby to
recognise those failings and exploit them, with hilarious consequences.

What is the frightening question Winston hesitates to ask?literacy term

Winston seems to hesitates asking when he will meet up
with O'Brien again in Book 2, chapter 7. At this point he mentions "the place where
there is no darkness." At that point O'Brien seems to get the idea that Winston is using
an allusion (possibly the literary term you are looking for). O'Brien agrees at that
point which is foreshadowing because they do later meet in
"the place where there is no darkness."

You cite Book 3,
chapter 2. This is where they meet in the light, the light of what seems to be an
interrogation room.

By the end of this chapter, Winston is
given the chance to ask any questions he wants to. He asks a few, but the one he really
wanted to ask evaded him for a while. Finally, Winston
asks:

'What is
in Room 101?'

The expression on O'Brien's face did not change. He
answered drily:

'You know what is in Room 101, Winston. Everyone
knows what is in Room
101.'

This may be a reference
to the literacy term because Room 101 might be an allusion to learning. All entry level
college classes start with the number 101. After you pass the 101 you can go
on.

I hope that helps, your idea of a literary term is
confusing as to what you are looking for.

What is an indirect quote that shows Atticus's courage?To Kill a Mockingbird by Harper Lee

Certainly, Atticus's bravery is exhibited in Chapter 10 when
takes Mr. Tate's rifle after so many years of not having held one and shoots Tim Johnson, the
rabid dog.  When Mr. Tate, the sheriff just cannot try, feeling he will not be accurate for the
one shot opportunity to kill the dog and insists that Atticus shoot, Atticus defers, saying that
he has not fired a gun in years. However, as he senses the urgency of his shooting the dog,
Atticus takes aim:

With
movements so swift they seemed simultaneous, Atticus's hand yanked a ball-tipped lever as he
brought the gun to his shoulder....The rifle cracked.  Tim Johnson...didn't know what hit
him.

Afterwards, Miss Maudie asks the
children if they still think Atticus cannot do anything; she explains why he never has told them
before of his skill, "If your father's anything, he's civilized in his
heart."

In another instance Atticus, cognizant of the fact that the
prejudices of his environment will never allow justice for Tom Robinson, he, nonetheless, defends
the innocent man as best he can.  After the trial, Bob Ewell threatens Atticus, saying he will
"get him."  One day outside the courthouse, Bob Ewell accosts Atticus, spitting on him.  Then, in
Chapter 23, the children hear this incident:

readability="17">

According to Miss Stephanie Crawford,...Mr. Ewell
approached him, cursed him, spat on him, and threated to kill him....Miss Stephanie said Atticus
didn't bat an eye, just took out his handkerchief and wiped his face and stood there and let Mr.
Ewell call him names wild horses could not bring her to repeat. Mr. Ewell...inquire[d], "Too
proud to fight, you n--lovin' bastard?"...Atticus said, "No, too
old."

Scout refuses to believe
that Atticus is anything but brave.  Else, why would he have shot the rabid dog that "wandered
their neighborhood?" she asks. When Atticus returns home he explains to the children that Bob
Ewell had to take his anger out on somebody and he would rather it be he than that "houseful of
children out there."