What is m is 1/m^2 = 1/m - 1/2

Given the equation 1/m^2 = 1/m -
1/2.

We need to find the values of m that satisfies the
equation.

Let us get rid of the denominator by multiplying
by 2m^2.

==> 2m^2(1/m^2) = 2m^2(1/m) -
2m^2(1/2)

==> 2 = 2m -
m^2

Now we will combine all terms on the left
side.

==> m^2 - 2m + 2 =
0.

Now we will use the formula to solve for
m.

==> m1= ( 2 + sqrt(4-8) /
2

             =
(2+sqrt-4)/2

              = (2 +
2i)/2

                 = 1+
i

==> m2= 1-i

Then
there are no real solution for
m.

However, the equation has a complex
solution.

==> m = { 1+i,
1-i}

In Chapter 18 of The Giver, what do you think the Giver meant when he said "Memories are forever"?

This part of chapter 18 comes when the Giver and Jonas are
talking about what would happen if anything happened to Jonas and what happened when the previous
giver, Rosemary, elected to be released. The Giver points towards the permanence of memories and
how they cannot simply disappear with a Giver. If a Giver dies, those memories are set free in a
way and are visited on all of the community:

readability="12">

"I think I mentioned to you once," the Giver reminded
him, "that when she was gone, the memories came back to the people. If you were to be lost
in the river, Jonas, your memories would not be lost with you. Memories are
forever."

The
Giver thus points towards the way memories are handled and dealt with in this community, and the
dangers that would exist if a Giver, like Rosemary, should die without being able to transfer
those memories on to a different Giver and therefore protect the community from those
memories.

Prove the impulse momentum relation.

The changes in momentum of an object can be connected with
th impulse given to an object.

Let's see
how!

We'll begin with the equation that relates velocity
and force. We know that the force is the result of the product between mass and
acceleration.

F = m*a (1)

The
average acceleration is:

a = dv/dt (2), where v is velocity
and t is time.

We'll write dv = Vt -
V0

and

dt = t -
t0

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

F = m*dv/dt (3)

F = m*(Vt
- V0)/(t - t0)

Now, we know that to obtain impulse, we need
force and time.

Impulse = F*dt
(4)

We'll substitute (3) in
(4):

Impulse = m*dv*dt/dt

W'll
simplify and we'll get:

Impulse =
m*dv

Impulse = m(Vt -
V0)

We'll remove the
brackets:

Impulse = mVt -
mV0

Impulse = Pt - P0 =
dP

Daisy says, "Tom's getting very profound." What do you think her tone might be? Explain.

Daisy makes this statement in chapter 1 of The
Great Gatsby, and it's clearly a facetious comment made to mock her husband
Tom.

Tom and Daisy Buchanan, Daisy's cousin Nick, and a
friend Jordan are sitting around a table at a rather awkward dinner.  Several glasses of
wine later, the conversation is still rather sparse and awkward, and
then this:

readability="6">

"Civilization's going to pieces," broke out Tom
violently.

Tom goes on to
extol the virtues of a new book he's read, The Rise of the Coloured Empires
by "this man Goddard." This book apparently warns white people that black
people are getting poised to take over the world, a theory which might have been more
credible at that time; today it would certainly be seen as ridiculous and outrageous. 
Daisy apparently thinks so, too.  The theory espoused, says Tom, is
that

if we
don't look out the white race will be--be utterly submerged.  It's all scientific stuff;
it's been proved.

The very
next line is Daisy's comment to which you refer.  We read that she made her comment
"with an expression of unthoughtful sadness," then goes on to kind of make fun of him
for reading "deep books with long words in them."  While her words may not sound
particularly mocking or sarcastic, Tom interrupts her to defend his position on this
book.  The text says he "insists" and he glances at her "Impatiently."  This
defensiveness is his reaction to Daisy not taking him seriously.  Her tone, then, is
mocking and sarcastic. 

Give a brief description for discussing the quote A person who never make mistakes has never tried anything new by Einstein.

Those who yearn for
anything they haven't had before have to do things they haven't done
before.

It is difficult if not
impossible to get ahead in life by just continuing to do what we have always been doing or what
has always been done. It would be difficult to find examples of people who are successful and
have not tried out things that were different if not radically
new.

Nobody is perfect. Our imperfections seldom allow us to be
successful the first time we try anything. Failures should not make us stop; instead, they should
be used to learn; to make changes in the way we are trying to move ahead. Only if a thorough
analysis actually reveals that what you have started out to do is not feasible should you
stop.

And perhaps then you can take up another path that hasn't been
explored.

What was Laius doing when he was killed in Oedipus Rex?

Laius and Jocasta were both warned by the Oracle at Delphi
(consulting Apollo) that their child would one day grow up, kill his father, and marry
his mother.  In order to escape this fate, Laius and Jocasta bind the ankles of their
son when he is but a baby, and abandon him on top of a mountain.  The baby, Oedipus, is
saved and brought to the king and queen of Corinth who raise him as their
own.

Many years later, the teenaged Oedipus hears of his
original fate, and leaves his home in anger, an attempt to avoid the tragedy.  At the
same time, Laius has received omens that his son might return to kill him.  Therefore,
he is traveling to consult the Oracle at Delphi concerning these omens.  On this journey
he happens to run into Oedipus at a crossroads.  Both father and son likely display a
similar attitude of anger and arrogance.  Neither will yield to the other and, as the
story goes, Oedipus kills Laius, securing his original fate in a remarkably ironic
moment of running in to one another.

What is the difference in tone of when Nick and Jordan kiss and Daisy and Gatsby first kiss in The Great Gatsby?

The basic answer to this question is degree of intensity. Nick's
and Jordan's kiss is "ho-hum" while Daisy and Gatsby's kiss is "va-va-va-voom!" In fact,
Fitzgerald compares the two moments directly! (Fascinating!) Let's look at them both just for
fun. First, Nick's and Jordan's kiss:

readability="12">

Unlike Gatsby, ... I had no girl whose disembodied face
floated along the dark cornices and blinding signs, and so I drew up the girl beside me,
tightening my arms. Her scornful mouth smiled, and so I drew her up again closer, this time to my
face.

The word "kiss" isn't even used
here, but a kiss happened nonetheless. It is significant that the particular word is left out. A
symbol of love, a kiss should be significant and not wasted on "the girl beside me." This hints
at Nick willing to simply enjoy the moment with whoever was there. No lasting love here. No
obsession. A fling perhaps? Maybe. (Definitely.)

Oh my, now let's
look at Daisy's and Gatsby's:

readability="10">

His heart beat faster and faster as Daisy's white face
came up to his own. He knew that when he kissed this girl, and forever wed his unutterable
visions to her perishable breath, his mind would never romp again like the mind of God. ... Then
he kissed her. At his lips' touch she blossomed for him like a flower and the incarnation was
complete.

Is it hot in
here?

The diction here and the images are ones of complete
intensity: "unutterable visions," "perishable breath," "blossomed," and "incarnation." This is a
spiritual experience. This is a holy experience. Gatsby has found his goddess. Or perhaps
further: god kisses goddess.

Therefore I would define the tone of
the Nick/Jordan kiss as one of nonchalance while I would define the tone of the Gatsby/Daisy kiss
as one of passionate intensity.

An object is projected vertically upward from the ground. Show that it takes the object the same amount of time to reach its maximum height as...

Let u be the initial velocity of the object  thrown up
verically.

So the ovject goes on loosing its velocity till the final
velocity of the object becomes zero.

Therefore  v = u-gt = 0, where
v is the final velocity and g is the acceleration due to the gravity. So u = gt or time when the
velocity becomes zero is u/g.

Therefore the height reached by the
object h = ut -(1/2)gt^2. Substituting t = u/g in this equation h = u(u/g)-(1/2)g(u/g)^2 =
u^2/g-u^2/2g = u^2/2g. Therefore the maximum height reached by the object is u^2/2g in time t =
u/g.

Now we calculate the time required for the object to fall from
the height  u^2/2g to the ground . Let t be the time to reach the
ground.

Then the equation of motion is h = u^2/g = u't+(1/2)gt^2, 
where u' = is the initial velocity = 0 when the object has reached the highest point and lost all
its velocity and begins fall.

u^2/2g = 0*t +(1/2)gt^2 . We solve for
t. We multiply both sides by g/2:

(2/g) *u^2/2g =
t^2.

u^2/g^2 = t^2.

Therefore u/g = t.
Or the time for the object to reach  the ground from the highest point is u/g which is the same
as the time to reach the highest point from the ground.

If 3 log 4 (a-2) = (9/2), what is a?

First, we'll divide by 3 both
sides:

log4(a-2) = 9/2*3

We'll simplify
and we'll get:

log4(a-2) = 3/2

Now,
we'll use the property:

log a (b) = c => b =
a^c

We'll put a = 4, b = a-2 and c =
3/2

log4(a-2) = 3/2 <=> a - 2 =
4^(3/2)

But 4 = 2^2

a - 2 =
2^3

a - 2 = 8

a = 8 +
2

a = 10

What is the summary for "Self-Reliance" by Ralph Waldo Emerson?

In this essay, Emerson makes a persuasive argument for
nonconformity and self-sufficiency, finds sanctity in the individual mind, and calls
upon us to express ourselves strongly rather than meekly. He insists that only as
individuals do we know the best course of action and that imitation of others is
ignorance.

He argues against "society," stating that it is
only when we are apart from society that we can truly be ourselves and make the
decisions that we need to make as individuals, away from the pressures that society
creates. Note how Emerson describes society:

readability="10">

Society everywhere is in conspiracy against the
manhood of every one of its members. Society is a joint-stock company in which the
members agree for the better securing of his bread to each shareholder, to surrender the
liberty and culture of the eater. The virtue in most request is conformity.
Self-reliance is its aversion. It loves not realities and creators, but names and
customs.

Note how Emerson
sets up society as being the antithesis of self-reliance. He argues that society is
build around the "surrender" of the culture and liberty of its members, arguing that it
inhibits free expression and creativity.

In The Apprenticeship of Duddy Kravitz, is Duddy at all justified in making the prank phone call to Mr. MacPherson?

Mr. MacPherson suspects, but cannot prove, that Duddy made the
prank call that ended in the death of his wife. He suspects that this is in retaliation for the
insult that MacPherson made against Duddy's father, and this is partially supported by the text;
it is clear that Duddy values his family above many other things and viewed the insult as far
worse than its face value.

readability="19">

"Kravitz! Put out that cigarette
immediately."

"My father is aware that I smoke,
sir."

"Then he's not fit to bring up a
boy."

"He's my father, sir."

"Would you
like to stay on in this school, Kravitz?"

"Yes, sir. But he's my
father, sir."
(Richler, The Apprenticeship of Duddy Kravitz,
Google Books)

However, much of the
friction between them comes from Duddy's own actions; he, like the other boys, takes pleasure in
tormenting his teachers and seeing how much he can get away with. If he made the call, he never
intended it to result in a death; it was purely for amusement. However, actions have
consequences; Duddy thought that he was punishing MacPherson for the insult, but in fact he was
responsible for a lot more, including MacPherson's return to alcoholism. Looking at the whole
picture, including the insult that spurred the phone call, there is no moral justification for
the thoughtless act.

What element of satire is evident when Swift says that England will not mind if Ireland kills and eats babies?

Near the end of "A Modest Proposal," Jonathan swifts writes that
his plan of using Irish children as food "can incur no danger in disobliging England"; in other
words, he is sure that England will not mind if Ireland eats its babies. Swift also mentions that
it would be impractical to export the child meat, because it would require salting for
preservation; however, he could "could name a country that would be glad to eat up our whole
nation without it."

Both of these sentences are references to the
English exploitation of Ireland in Swift's times. In those days, England essentially used Ireland
as a colony, milking its labor, resources and crops for English
profit.

When Swift indicates that England would not mind if Ireland
ate up its babies, he is really saying that England already is eating up Ireland's "babies." This
is an example of irony, which is always an important element in satire.

In 1984, why is volunteerism compulsory?

We are never told straight out why Party members have to
volunteer for so many things, but we can infer the reason for this from what goes on in the book.
Basically, the Party wants to make everyone volunteer for things so that the people can feel more
committed to the Party's goals.

Totalitarian regimes often do things
like this. They have quasi-voluntary organizations like the Hitler Youth or they organize
"voluntary" activities where people do extra work (the Soviet Union encouraged people to join the
Stakhanovite movement to do this). By having people engage in these extra activities, they hope
to make the people feel like they are really a part of what the government is doing. If you are
working that hard towards some goal, the hope is, you will come to believe in it even
more.

We know that the Party wants the people in Winston's society
to identify solely and completely with the Party and its goals. One way that they try to
accomplish this is by requiring people to "volunteer."

Find the number of sets of six objects that can be formed from eleven objects.

Find the number of sets of 6 objects from 11
objects.

We know that the number of different combinations
of r objects from n objects is nCr = n!/{(n-r)!*r!}, where n! = n(n-1)(n-2)
[i.e.  3*2*1].

So the number of different sets of 6 objects
that could be formed out of 11 objects = 11C6.

11C6 =
11!/(11-6)!6!

11C6 = 11*10*9.....
6*5*4*3*2*1/(5!)(6!)

11C6 =
11*10*9*8*7/5*4*3*2*1

11C6 =
55440/120

11C6 =
462.

Therefore it is possible to chose 462 different sets
of 6 objects from 11 total objects.

11C6 =
462

Why does Macbeth blame himself for the death of his family?

Lady Macbeth is Macbeth's only family in the play, and she
dies in Act V, scene v.  Macbeth is in the middle of putting down a rebellion led by
Macduff and Malcolm at this moment, and he barely takes the time to acknowledge the news
from Seyton that she is dead.  So, I would say that Macbeth, in fact, does
not blame himself for her death.  His only concern is winning the battle
and retaining his kingship.

This lack of feeling or
consideration of the feelings or deaths of others is an important thing to note about
Macbeth by Act V in this play, for it is part of his journey as the tragic hero.  He has
transformed from a brave warrior with a conscience, into an emotionless killing machine
who considers life to be a joke without meaning.  He has, just after Lady Macbeth's
death is announced, one of the most famous speeches in all of
Shakespeare:

readability="15">

She should have died hereafter;
There
would have been a time for such a word.
Tomorrow, and tomorrow, and
tomorrow
Creeps in this petty pace from day to day
To the last
syllable of recorded time;
And all our yesterdays have lighted
fools
The way to dusty death. Out, out, brief candle!
Life's but a
walking shadow, a poor player
That struts and frets his hour upon the
stage
And then is heard no more. It is a tale
Told by an idiot, full
of sound and fury,
Signifying
nothing.

This speech is
spoken at the culminating moment of Macbeth's sacrifice of everything he has respected,
loved and honored in the name of ambition.  So, no, I would emphatically say that he
does not, in Act V, spend one moment in the sort of self-reflection that would cause him
to blame himself for the death of his wife.  Life, he concludes in the above speech, "is
a tale/Told by an idiot, full of sound and fury/Signifying
nothing."

Differentiating f(x) results f'(x)= (2x-4)/(3x+5). Find f(x).

To determine the function f(x), we'll have to integrate
(2x-4)/(3x+5)

Int (2x-4)dx/(3x+5) = f(x) +
C

To determine the integral of f'(x), we'll use
substitution technique, by changing the variable x.

We'll
note 3x + 5 = t

We'll subtract 5 both
sides:

3x = t-5

We'll divide
by 3:

x = (t-5)/3

We'll
differentiate both sides:

dx =
dt/3

We'll substitute in original
integral:

Int (2x-4)dx/(3x+5) = Int
[2((t-5)/3)-4]dt/3t

(2/3)*Int [(t-5)/3 - 2]dt/t = (2/3)*Int
(t-5-6)dt/3t

(2/9)*Int
(t-11)dt/t

We'll use the additive property of the
integral:

(2/9)*Int (t-11)dt/t = (2/9)*Int tdt/t -
(2/9)*Int 11dt/t

(2/9)*Int (t-11)dt/t = (2/9)*Int dt - 22/9
Int dt/t

(2/9)*Int (t-11)dt/t = 2t/9 - (22/9)*ln |t| +
C

Int (2x-4)dx/(3x+5) = 2(3x+5)/9 -
(22/9)*ln|3x+5| + C

Name one way Norway and Sweden are similar and one way in which they are different?

The languages spoken in Norway and Sweden are very similar,
although English is so widely used in Scandanavia (Norway, Sweden, Finland, Iceland and Denmark)
that Scandanvians often use it with each other.

Norway is a member
of the North Atlantic Treaty Organization (NATO), Sweden is not. Sweden is one of 27 members of
the European Union, Norway is not.

How does Zaroff in "The Most Dangerous Game" succeed in getting people to play his game?

Basically, Zaroff gets people to play the game by forcing
them to do it.  He makes it so that playing is the best option that the people
have.

So how could this be?  How could your best option be
to run off and try to hide while some guy comes to hunt you and kill you if he catches
you?  Well, it is the best option if your other option is that you will die for sure and
die for sure in a more painful way.

So what Zaroff tells
them is that if they do not let him hunt them, he will give them to Ivan and Ivan will
kill them in terrible ways.  Here is the quote that shows
this:

"Oh,"
said the general, "I give him his option, of course. He need not play that game if he
doesn't wish to. If he does not wish to hunt, I turn him over to Ivan. Ivan once had the
honor of serving as official knouter to the Great White Czar, and he has his own ideas
of sport. Invariably, Mr. Rainsford, invariably they choose the
hunt."

Identify significant Supreme Court decisions on First Amendment rights.

There have been so many of these that there is no way to put a
significant percentage of them on here. For
example:

• Lemon v. Kurtzman. This was a case having to do
  with the Establishment Clause. It set up a test to determine what government actions that seem to
  favor religion are actually acceptable.


• Miller v. California. This
  one also set up a three part test. This one determines what things are and are not
  obscene.


• Johnson v. Texas. This one struck down a law against flag
  burning.


• Near v. Minnesota. This one said that governments
  cannot, in most circumstances, exercise "prior restraint" to prevent a newspaper from publishing
  something.

Again, there are so many more that have been
very significant, partly because there are so many aspects of First Amendment
law.

In Silas Marner, how does Dunstan justify to himself stealing Silas' gold?

The robbery that you refer to occurs in Chapter 4, after
Dunstan's plan of selling the horse belonging to Godfrey have come to naught when the
horse dies in an accident. Making his way through Raveloe at dark, he comes across
Marner's house, and is planning on intimidating Silas Marner into giving him some money
and letting him gain interest from it as another alternative source of money. As he gets
closer and enters the house, he is surprised to see that Silas Marner has abandoned his
home with food cooking and the lantern on. Dunstan, perhaps looking for justification
for the crime he is about to commit, wonders if Silas Marner had gone out to get more
fuel and slipped into the Stone-pit:

readability="9">

That was an interesting idea to Dunstan, carrying
consequences of entire novelty. If the weaver was dead, who had a right to his money?
Who would know where his money was hidden? Who would know that anybody had
come to take it
away?

With this
thought, Dunstan determines to find the weaver's fabled hoard and make off with it
himself.

In Clement Clarke Moore's poem, "A Visit From St. Nicholas," "ere" (line 55) means: as, when, before, since or none of these.

In Clement Clarke Moore's poem*, "A Visit From St. Nicholas,"
the sentence which you refer to is:

readability="8">

But I heard him exclaim, ere he drove out of sight
—
Happy Christmas to all, and to all a good
night.

This is a difficult question
because the word "ere" is archaic: it is not used anymore, though it
was

In answering the question,
we must look at the responses you have to choose from. The "throw-away" answer is probably
"since;" using it in place of "ere" sounds awkward, and it if St. Nick is in the
process of leaving, "since" would not make sense because it deals with the
past. E.g., "Ever since I broke my ankle, skating has been hard for me.) This is the most common
use of "since" in my experience (though some people use "since" as
"because").

For this particular question, you need to
know the definition of "ere" before you can select from the other three, for the three
answers sound as if they might make sense. There are no context clues to use, or root words to
give us a hint as to what "ere" means. However, if you look the word up in the dictionary, you
will find your answer. (Online, when I double-checked, I had to go to a second source because
none of the answers provided for your question were given at the first site.) "Ere" comes from
the Middle English, before the year 900. It is a very old word. And in
answer to your question, it means "before."

(*Note: there are those
who think Henry Livingston, Jr. might have written the poem, but it is generally credited to
Clement Clarke Moore.)

What is factor intensity?

Factor intensity can be defined with regards to factor
proportions theory of production and trade, where the factor intensity can be narrowed down to
individual products within an industry or in different industries. Comparisons can then be made
between the different products and the ratio of factors they utilize in their production. The
importance of a factor in different industries is determined by calculating the factor
intensity.

In its simplest form, a product may utilize two factors
in its production, Labor (L) and Capital (K). Thus by obtaining the ratio of capital to labor,
one may determine the intensity of the factors. For
instance,

K1/L1 <
K2/L2

Where K1 and K2 represent the amount of capital
used in the production of item 1 and item 2 respectively.

Where L1
and L2 represent the amount of labor used in the production of item 1 and item 2
respectively.

In this case, we would conclude that item 2 is
capital-intensive which makes item 1, automatically,
labor-intensive.

What is the basic meaning of this quote, and why was it written?Excerpt from "The Laws of Manu," the Rig Vedas, 100 B.C.E.-200 C.E. 74. A man...

These particular quotations from the Book of Manu are
complex.  I think that a literal interpretation of the verses carries with it the idea
that there is a strict hierarchy of men over women in the religious thought of
Hinduism.  It does not take much to reflect and understand this.  There is a dominant
force in all of these quotes that reflects women being secondary to men.  Yet, I think
that some further analysis is needed to not justify this read, but rather expand on it. 
While the quotes here do show women's freedom being curtailed, I think that such a
reality applies to all people in the Book of Manu.  As the lone survivor of the flood,
and the recipient of Vishnu's help as the Matsya avatar, Manu codifies a way of living
that locks everyone in stratified roles.  Men were not allowed to do what they wished,
as they were limited by their caste and their condition of being in the world.  The
caste in which they lived, into which they were born, was the caste in which they died. 
Such a reality reflects the fact that everyone, men and women, were denied freedom. 
Yet, one cannot stray from the fact that such a reading as rendered in the quotes above
do tend to reflect a harsher condition of women.

I think
that modern analysis and thought has shown that some of these ideas as reflected in the
Book of Manu, a book written by humans and intended for humans, tend to go against some
of the basic and most elemental fibers of Hindu thought.  For example, these quotes have
to be aligned with the fact that one of the strongest forces of divinity are female ones
in the Hindu pantheon.  For instance, the Goddesses Lakshmi or Parvati occupy powerful
roles in Hindu thought.  The same goes for the goddesses Durga and Kali.  It seems
inconceivable that a religion which stresses so much power in its female gods would be
so vindictive to its women.  Like other religions, the theory and the true fiber of the
religion have been subject to human approval and some in the position of power, such as
men, have used this to their advantage to consolidate control.  This is not a reflection
of the religion, as much as the people, particularly men, who fail to live up to
it.

A great resource of this, and the way in which the
modern setting forces one to reassess the codes in the Book of Manu or religion in
general within a modern frame, is Deepa Mehta's film, "Water."  If these quotes can be
reconciled against a modern vision of them, this film will be an excellent source for
you.

How would the criminal justice system be altered if state attorney generals supervised local elected district attorneys

State Attorney Generals are usually charged with looking after
the legal interests of their particular state, and then after larger legal interests and issues
that affect a significant part of their population, such as consumer safety and fraud issues.  If
they were involved with direct supervision of locally elected District Attorneys, they would be
expanding their scope to cover felony cases usually handled in the individual
jurisdictions.

The way in which each level of justice decides how to
handle and/or prosecute cases is completely different.  The State offices tend to have larger
guidelines, which they use as a litmus test when deciding how to direct state legal resources. 
If they were to supervising local level DA's offices, they would likely issue sweeping and
general guidelines for the selection of cases to pursue.  Local DAs would find their hands tied
more often by procedural questions and both the conviction and prosecution rates might suffer a
drop.

How does the information below add to your understanding of the story "Thank You, M'am"?Langston Hughes lived in Harlem, New York, for most of his...

The paragraph you have provided gives us valuable background
information in terms of trying to understand the reason of Hughes for writing this excellent
short story. Note the way in which the dignity that he attempted to give African-Americans who
struggled with poverty and want is shown through the character of Mrs. Jones, who, in spite of
Roger's attempted robbery, takes him in, treats him like her own son and ends up giving him money
for his pair of blue suede shoes, that he had been trying to get through robbery. Let us also
focus on the setting of this excellent story. It is very gritty, down-to-earth and real in its
exploration of the factors (that are never fully explained) that led Roger to be out by himself
so late and to be so hungry and the kind of situations that characters like Roger and Mrs. Jones
have to face on a day-by-day basis. This story therefore represents a celebration of the dignity
of African-Americans.

What are the unrealistic aspects of Holden's desire to be a catcher?

The unrealistic aspect may be that he thinks that he would
have the power, an unrealistic power, to save EVERY child from danger. He gives a lot of
power to the idea that it IS possible to collectively save children from danger (or in
his case, from "falling off some crazy cliff") by only one course of action, and he is
even more unrealistic in thinking that this is a possibility that he has an option to
fulfill that duty.

Holden was terrified of the dangers of
adulthood and cherished children for their innocence and their honesty. This idea to
become a catcher in the rye was an unrealistic view at protecting children. The
unfortunate truth is that nobody is really safe from the evils of the world, and there
is no catcher in the rye to help children be more protected.

math for the physics of a roller coasterA roller coaster cart of mass m = 339 kg startsstationary at point A, where h1 = 22.7 m anda while later is...

The question does not mention the direction of movement of
the roller coaster cart. We assume it to be in vertically downward
direction.

In this case the the speed of the cart is purely
due to acceleration due to gravity (g) as it falls from a height of 22.7 m to 7.1
m.

Thus the distance travelled by the cart
is

Distance = s = 22.7 - 7.1 =
15.6

We know that:

s =
(gt^2)/2

Where: t = time taken to move the distance s when
starting from velocity 0 and accelerating under the influence of g, the acceleration due
to gravity.

Substituting values of s and g in above
equation:

15.6 =
(9.8/2)t^2

t^2 = (15.6*2)/9.8 =
4

Therefor:

t = 4^(1/2) = 2
s

Thus the cart takes 2 seconds to reach the point
B.

The speed of the cart is then given
by:

Speed = g*Time

= 9.8*2 =
15.6 m/s

Answer:

Speed of cart
at B = 15.6 m/s

Find two consecutive of the odd natural numbers in the sum of the whose squares is 202

The odd number is 2k + 1.

The other
consecutive odd number is 2k + 3.

The sum of their squares is
202:

(2k+1)^2 + (2k+3)^2 = 202

We'll
raise to square:

4k^2 + 4k + 1 + 4k^2 + 12k + 9 =
202

We'll combine like terms:

8k^2 +
16k - 192 = 0

We'll divide by 8:

k^2 +
2k - 24 = 0

We'll apply the quadratic
formula:

k1 = [-1 + sqrt(4 + 96)]/2

k1
= (-1 + sqrt 100)/2

k1 = (-1+10)/2

k1 =
9/2

k2 = -11/2

The first
odd number is:

2k + 1 = 2*9/2  =
9

The second odd number
is 11.

Since the numbers are natural,
the second solution of k is rejected.

In the book Of Mice and Men why does Lennie threaten to leave George?

Lennie threatens to leave George because George makes
Lennie feel like he is a burden. George can't have a girlfriend. George has to have the
life of a traveling laborer because wherever they go Lennie gets in trouble. Lennie has
the needs of a child like needing ketchup to go with his beans. Lennie plays with soft
dead animals because he likes how they feel even though they aren't healthy for him to
play with. Finally, Lennie says that he can go and live off in a cave somewhere by
himself and be just fine.

Lennie does this with intention.
He knows it will make George feel guilty. He knows George will never make him follow
through with it. But on the one hand, it is at least sweet that Lennie offers because he
does quite effectively drain George of his life. George can barely leave Lennie's
side.

Here is a good quote to
use:

Lennie
avoided the bait. He had sensed his advantage. "If you don't want me, you only jus' got
to say so, and I'll go off in those hills right there
-"

How have legislatures responded to crimes involving the use of computers?

With difficulty.  The internet craze and the effect it has had
on commerce and communication has made it very difficult to regulate, because no one planned for
its regulation ahead of time.  That is, the cat was out of the bag and legislatures had to try
and react to problems that arose from computer use.

On the one hand,
computers offer a splendid record of activity. Pretty much everything you do, type or download
with a computer is recorded somewhere, and can usually be found on your own computer, and this
makes for fantastic evidence in a court of law to prove wrongdoing. This has helped to track
child pornography rings, but at the same time, the anonymous nature of the internet has caused
the crime rate in that area to explode.

But the internet knows few
borders, so the states have had to deal with how to assess taxes on transactions that happen
between residents of one state and those of another.  They have had to rewrite some laws to
define fraud and other illegal activity as including computers and the internet as well, and of
course, identity theft is a huge problem for law enforcement because of its international
nature.  States Attorney Generals have therefore had to concentrate some of their resources on
protecting state residents from international and interstate computer fraud and
theft.

What are the "eyes of Dr.T.J. Eckleburg" in The Great Gatsby?

The first mention of the the eyes of Dr. T. J. Eckleburg is at
the start of Chapter 2. When Tom brings Nick into the city and he meets Myrtle, Tom's mistress,
Nick sees a part of New York that is completely unlike either East or West Egg, or the city of
New York proper. Nick calls this middle place the "valley of ashes" because everything in this
area is run-down place is covered in ashes -- it is an industrial waste land where everything is
very bleak. In contrast to those images, Nick notices the eyes of Doctor T. J. Eckleburg. He
provides the following description:

readability="10">

[The eyes] are blue and gigantic -- their retinas are one
yard high. They look out of no face but, instead, from a pair of enormous yellow spectacles which
pass over a nonexistent nose. Evidently some wild wag of an oculist set them there .. [and now
they] brood on over the solemn dumping ground.

This enormous billboard, advertising
for an eye doctor, looks out over the wasteland that is the valley of ashes. The billboard is
located across the street from Wilson's garage, where Myrtle lives with her husband. The
billboard is an interesting symbol because eyes usually represent sight, but these eyes are
"blind," yet present -- perhaps a symbol that someone/God is watching everything. God sees Tom
and Myrtle carrying on their affair. God knows what Daisy will do to Myrtle on this same piece of
street when she races back from the city in chapter 7. The color of the billboard is also
symbolic. Blue frequently represents dreams, but yellow frequently represents disease and decay,
so the combination of the two implies that there are corrupt dreams here. That can be seen by all
of the characters: Wilson wants more business and to achieve more wealth; Tom wants Myrtle;
Myrtle wants a life-style that Wilson can't provide, but that she can pretend to have with Tom as
his mistress. Nick's final comment in this chapter is that they walked under Doctor Eckleberg's
persistent stare. To personify the billboard as if it would actually see clues the reader into
the fact that those eyes are peculiar and potentially important.

Is this title seriously meant? What are the sources of humor in this story?Does the humor arise from observation of life or from distortion of...

The title is a serious reference to both the father and
the son. The father has always been "the drunkard", and his alcoholism has caused both
the mother and the son pain. To pay for his alcohol, the father has pawned items from
the house. This is why the wife and son are so concerned when the father decided to go
to the funeral, knowing that he will also go to the bar with his friends
afterwards.

The humor in the story stems from the son's
behavior when he's drunk. He is a mirror image of his dad when his dad is drinking. The
father must take his son home before he can get drunk, and this is why the mother calls
the son his father's "guardian angel".

How do we know that in Act 4 of Macbeth, Macbeth's second visit to the witches leads to his downfall?

In Act 4, it is apparent that Macbeth's second visit to the
witches leads to his downfall because Macbeth tries to control fate.  He commands the witches to
let their masters speak for them, so the witches allow Macbeth to see the apparitions.  After the
first apparition reveals that he should beware Macduff, Macbeth tries to ask questions to get
more information.  The witches, however, tell Macbeth that he can only listen, not speak and
command more answers.  But Macbeth does not take this to heart, and he tries to ask more
questions rather than simply listen to the information that is given to him.  When the third
apparition departs, Macbeth again demands that the witches answer his question about Banquo's
sons becoming kings.  This display of arrogance suggests that Macbeth will soon meet his end. 
The witches then show him the line of kings who are all kin to Banquo, and one of the witches
asks Macbeth why he looks so surprised.  She tells him that of course he knew this from the
beginning.  But Macbeth has thought that he could change the course of fate by murdering Banquo. 
This confirmation foreshadows the downfall of Macbeth.

Comment on the irony in the short story "Lamb to the Slaughter."I am having a hard time starting my literary analysis. Should I write about the...

Even the title of this short story is ironic.  Literally,
a leg of lamb is used as a murder weapon, one the police eventually consume, creating
dramatic irony, while jesting that the weapon is probably "right under [their]
noses," which, of course, is verbal irony.  What might be overlooked, however, is that
the title is also a Biblical allusion.  The Bible refers to Christ as being led "like a
Lamb to the slaughter."  This allusion sets up even more irony, this time situational. 
Mary's name is an allusion to the Biblical Mary, but she is nothing like the the Virgin
Mother.  Once scorned, she sets in motion a premeditated course of action to kill her
husband--a husband who is himself a detective, which is yet another case of situational
irony.

What is Jane Tompkins saying in "Me and My Shadows"?

In short, the theme is to mix personal concerns with
professional contexts. Jane shows how objective criticism is elitist, exclusionary to
women, impersonal and, (this is my interpretation) practically and humanly speaking;
pointless. So, Jane advocates a more personal approach to theory and criticism with good
justification.

Jane discusses the two people (same person)
of writing: 1)  impersonal, objective, scientific is the critical writer; and the
personal, subjective writer.  She suggests that the typical critical writer academically
insulates her discourse from feminist theory.  In other words, the increasing trend in
objective, highly impersonal, academic (and elitist) discourse rids itself of real human
concerns; namely, feminism. Jane would like to include “private” (personal) concerns
with the so-called transcendent “public” concerns of academic discourse. She notes that
this public-private hierarchy has been a root of female oppression. (Man goes to work in
public; female stays home in private.) Women have been historically conditioned to stay
at home; academics have been conditioned to keep personal emotions at home because it is
weak and illogical. Men have been conditioned to put aside emotion and women to embrace
it. Thus, academic discourse is for men and emotion is taboo. Jane says “to hell with
that.” She also says, “No wonder I felt so uncomfortable in academic postures” – like
wearing men’s jeans. The very practice of academic criticism is exclusionary to women.
To bring emotion into academic criticism is to risk being ignored because emotion is not
encouraged. Jane would say “to hell with this.”

Jane’s
disagreement with Ellen Messer-Davidow: Post-structuralism shows all truth to be
subjective to cultural construction, perception, etc. Jane agrees with this. But she
disagrees with trying to get away from this subjective interpretation of the objective
world (which post-structuralism describes) because it is impossible. (If all truth is
subjectively obtained, how could one move to an objective epistemology? Ellen, from a
post-structural context, says, “truth is subjective; let’s be more objective.” This is
ridiculous.

(The very idea of moving to a more objective
epistemology, Ellen’s idea – to make epistemology more logical and objective, is a
culturally reinforced idea, a subjective
idea, which states that good philosophy is not subjective, not emotional.
This brings us back to Jane’s main theme; such cultural reinforcement is 1) culturally
reinforce and thereby, subjective!, and 2) exclusionary to women because of the whole
“subjectivity and emotion are unprofessional” thing.

Jane
notes that she doesn’t know how to make this argument without sounding smug. Maybe Jane
would say this kind of debate and this kind of objective criticism, male-dominated,
impossible and elitist, “insists upon itself,” exists only for itself, to continue its
own elitist debate. (p. griffin).

So, a move to more
objective epistemology is impossible; you can’t not think
like yourself – you can't not be a subjective human. You
can’t “get behind” or beyond “your shadow.” So, maybe a critic could think with their
shadow; with emotion and personability.

Jane talks about
academic discourse with personal touches, in spite of the intellectual condemnation of
pop psychology and sentimentality. "Real critics" are discouraged from using words like
"love." Jane says, Literary theory must matter to people and READERS; not just to
literary theory/theorists.

What was the main idea of the Atlanta Compromise speech given by Booker T. Washington?

The main idea of Booker T. Washington’s “Atlanta
Compromise” speech (delivered in 1895) was that blacks and whites in the South should
realize that they needed each other and that they should act in ways that would allow
them to coexist.  Washington told both sides to “cast down your bucket where you
are.” 

Washington’s message was aimed at Southerners of
both races.  He wanted the white Southerners to realize that black Southerners were a
good source of labor for them.  He wanted the whites to hire black people to work for
them instead of hoping that they could get immigrant labor.  He argued that black
workers had proved their fidelity and their industriousness and that they would not
engage in strikes and other disruptions that would harm their
employers.

At the same time, Washington wanted black
Southerners to be content where they were.  He wanted them to stop thinking about going
to the North or to foreign countries.  He felt that they should not try to push for
political power or equal rights.  Instead, they should work hard in the South and, by
doing so, cause whites to (eventually) respect them.

In Trifles, discuss the ways that the idea that Minnie, the “oppressed” person is a willing victim in the play.I am contrasting this to how...

I would have to take issue with your idea of Minnie being
a "willing" victim in this excellent play. I think one of the major points about this
play and A Doll's House is that both plays try to present the
position of women in a patriarchal society and how it makes them suffer. Whilst of
course both Minnie and Nora get out by one way or another, we cannot underestimate the
profundity of their actions. What Nora did in Ibsen's play was incredibly rare, and of
course, Minnie, in killing her husband, chose a rather unorthodox escape route, perhaps
because she recognised that she had no other chance to escape. Whilst we can see that
Nora plays along with her husband's ideas and thoughts, the play is a gradual
realisation of how she is trapped inside a doll's house of her husbands making, whereas
Minnie in Trifles has in some ways a much harsher reality. It would
be worth your while to go back over this play and consider how her husband is described,
in particular by the other women who piece together the "trifles" that give us the
motive. Note how Mrs. Hale describes him:

readability="7">

But he was a hard man, Mrs. Peters. Just to pass
the time of day with him. (Shivers) Like a raw wind that gets to
the bone.

What is hinted at,
especially with the dead bird, is that John Wright was physically, psychologically and
mentally abusive, and kept his wife in a kind of prison. There is no sense that she was
a willing victim because that was the role society had cut out for her. Of course, her
only escape was to kill her husband.

Why is the marginal cost curve in the short-run u-shaped?

The basic reason for this is the fact that, after a certain
point, returns tend to diminish as output goes up. This is called the law of diminishing
returns.

At first, marginal costs tend to go down as production
increases. This is typically because of specialization in the labor force. For example, if you
have 1 person making shirts, they have to do the whole job. But then if you add another person,
one can cut and the other can sew. If you add another, one can cut sleeves, another cuts the
body, and the third sews. In this way, you actually reduce your marginal costs as you add
output.

At some point, however, the law of diminishing returns sets
in. Once you have the right number of workers, making more shirts ends up costing you more
because you have to pay overtime, for example. This could also happen because you have to hire
another person to cut sleeves but that doesn't really help much because it's the short run and
the number of sewing machines is fixed and the person sewing can't really keep up with all the
cut pieces coming at them.

So, marginal costs will tend to go down
at first as specialization helps you make more, but they will go back up as the law of
diminishing returns kicks in.

Is there any connection between Darwin's views and Sherlock Holmes stories by Arthur Conan Doyle?

This is a really interesting question!
Holmes scholars, you may have a better idea here, but I'll
give it a shot.

Darwin lived from 1809-1882 and Arthur
Conan Doyle lived from 1859-1930.  Darwin was a naturalist and Doyle studied medicine
and eventually practiced opthamology. Given that they were partly contemporaries and
that they were both living in the same country and that Darwin's ideas were
revolutionary at the time (and still controversial for some today) and that both men
were involved in scientific/biological careers, I would say it is safe to say that Doyle
was certainly aware of Darwin, likely influenced by
him. 

He quotes Darwin in "The Study of Scarlet" (I think
this is the right story):

"Do you know what Darwin says
about music? He claims that the power of producing and appreciating it existed among the
human race long before the power of speech was arrived at. Perhaps that is why we are so
subtly influenced by it." 

You could easily make the case
that there is a general parallel between Darwin's gathering of information and Holmes'
gathering clues. You might say that Darwin's inductive process incorporated elements of
deduction along the way.  In other words, like Holmes at times, Darwin began to
inductively piece together clues and the idea of evolution and species adaptation began
to develop. Then, he deductively began to organize and gather data to support that
hypothesis.  Holmes scholars would do better than I on this: But Holmes would recognize
specific, detailed clues and inductively form conclusions; then, he would have an "aha!"
moment and would then have the overall conclusion; then he would deductively put all the
pieces together. I don't really think he got this idea from Darwin; it is just part of
the scientific process.

Lastly, in terms of
religion/science, Doyle was a Christian Spiritualist so his ideas of reality would
probably contrast pretty starkly with Darwin's more scientifically based world.  Darwin
pretty much referred to himself as agnostic.  Both extremely intelligent guys, so who
knows; Doyle could have been as open to the most progressive scientific ideas as he was
to Spiritualism. Check more bio on Doyle, inductively pick up clues; form a hypothesis. 
Then, deductively find the clues and organize the data to support your hypothesis.

In "The Devil and Tom Walker," what details of the devil's physical appearance give him his "Everyman" quality?

The most description we are given of the Devil in this
excellent short story is when we are first introduced to him - when Tom discovers a
cloven skull and kicks it to shake the dirt from it. Consider how we are introduced to
the Devil, or "Old Scratch" as Tom calls him:

readability="19">

Tom lifted up his eyes, and beheld a great black
man seated directly opposite him, on the stump of a tree. He was exceedingly surprised,
having neither heard nor seen anyone approach; and he was still more perplexed on
observing, as well as the gathering gloom would permit, that the stranger was neither
Negro nor Indian. It is true he was dressed in a rude half-Indian garb, and had a red
belt or sash swathed round his body; but his face was neither black nor copper colour,
but swarthy and dingy, and begrimed with soot, as if he had been accustomed to toil
among fires and forges. He had a shock of black hair, that stood out from his head in
all directions, and bore an axe on his
shoulder.

What is important
to note in this description is that the Devil is described in such a way that does not
link him to any race - note how he is described as being "dark" but not of any
recognisable race. He wears some Native American clothing but is not Native American. In
addition, the description paints him to be a mysterious and enigmatic figure - note how
he appears without having been heard, and also how his face is covered with soot as if
he works round a fire, even though there is no fire in the
swamp.

These descriptions certainly promote the Devil's
Everyman qualities, as we see the figure of the Devil as not linked to any geographical
location or area or even time, and thus is free to work in all places and
periods.

What is the effectiveness and impact of the different poetic devices used in "IF" by Rudyard Kipling.

1) Personification is when inanimate objects are spoken
about as if they were human.  For example, the following sentence uses personification:
The sun was smiling on the children in the park.

"If" is
not very rich in personification.  The only example I can find
is:

And so
hold on when there is nothing in you
Except the Will which says to them:
"Hold on";

In this passage, a
person's "will" is pictured as a living being that can "talk" and say, "Hold
on." 

2) Alliteration is the repetition of beginning
consonant sounds.  Some examples from "If" are:

readability="9">

"treat those two
impostors";

"the truth you've spoken/Twisted by knaves to
make a trap for fools";

"sinew/To serve your turn.../And so
hold on..."

These examples of
alliteration, and others, serve to draw the reader's attention to certain key phrases. 
In the second passage, for example, alliteration draws our attention to some of the
opposing forces that the poem discusses: truth, and traps.

3)
Metaphors are comparisons that do not use the words "like" or "as."  This poem speaks
mostly in straightforward language; still, it does contain some metaphors, such
as:

"triumph
and disaster...those two impostors"';

"the truth.../Twisted
by knaves to make a trap for fools" (truth is compared to a metal object that can be
twisted out of
shape).

Metaphors such as
these make the poem much more beautiful and memorable.  Imagine if Kipling had written:
If you can bear to hear the truth you've spoken misrepresented by knaves in such a way
that they would cause fools to make intellectual errors.  Not exactly
memorable!

4) By far the most important device used in this
poem is the repetition of similar words or phrases; this is referred to as
anaphora. 

Consider these examples  just from the first
stanza:

when
all men DOUBT you,/But make allowance for their
DOUBTING;

If you can WAIT and not be tired by
WAITING;

Or, being LIED about, don't deal in
LIES;

Or, being HATED, don't give way to
HATING.

These repetitions
serve to emphasis one of the poem's major themes: balance.  Kipling believes that many
character traits and actions must be used, but always in the proper
balance.

You must wait sometimes, but not become worn out
by waiting. You must be decisive, but not so cocksure that you cannot "make allowance"
for others who doubt.  You must dream, but not be enslaved to your dreams; you must
think, but "not make thoughts your aim."

Compare and contrast the poems "Because I Could Not Stop for Death" and "Stopping by Woods on a Snowy Evening."

These are two very good poems to compare and constrast. If I
were you, I would approach this question by thinking about what these poems say about death and
how death is presented in both. This is the thematic link, if you like, that you can use to
compare and contrast them.

"Because I could not stop for Death"
features the character of Death personified as a carriage driver who kindly stops to pick up the
speaker. As the journey progresses, the passenger feels steadily colder, until finally the
carriage pauses at her graveside and the passenger realises that the carriage ride has been going
"toward Eternity." There is intense irony in Dickinson's presentation of death and the process of
dying, focusing on the gradual comprehension of the speaker and what is happening to her and the
presentation of Death, normally so fearsome and scary, as a polite carriage driver. Note how the
last stanza couples two differing tones regarding death and the speaker's acceptance of
it:

Since then--'tis
Centuries--and yet

Feels shorter than the
Day

I first surmised the Horses'
Heads

Were toward
Eternity--

On the one hand, there is
the tone of terror in that one day of the speaker's understanding seeems to last longer than
centuries. However, there is also a tone of calm acceptance, as we are told that the centuries
have passed quickly. Thus Dickinson in her poem presents death in a way that demythologises the
frightening figure we normally associate with death and explores how sometimes death and our
understanding of it can creep up upon us unawares.

"Stopping by
Woods on a Snowy Evening," in contrast, is all about the desire for the rest and lack of
responsibilities that death brings with it. It is important to realise the symbolic significance
of the woods in this poem, as featured in the last stanza:

readability="15">

The woods are lovely, dark and
deep,

But I have promises to keep,

And
miles to go before I sleep,

And miles to go before I
sleep.

The speaker desires to stay in
the woods, that are described as tempting and almost seductive. However, he still has
responsibilities at this stage of life, featured in the "promises" he has to "keep," and note how
the repetition of the last line reinforces the way that his life is not over yet whilst at the
same time presenting death as a "sleep," as an attractive stage of life that is to be yearned for
as a time when there are no more "promises to keep" and the body can find rest in a beautiful
place.

Thus what unites these poems is their novel presentation of
death, not as something to be feared, but as something that is to be yearned for on the one hand,
and something that we are surprised by on the other.

In Charles, when does the reader realize Laurie was not telling the whole truth ?

This answer will vary depending upon the person.  Some
people may see it sooner and some may see it later.

When I
first read this story, I was suspicious very early on.  The reason for this was Laurie's
bad behavior.  The way Laurie behaved to his parents showed that he himself was a pretty
bad kid.  For example, the "look up, look down" incident might show you that Laurie is
not very respectful to authority figures.

The point in the
story where every reader knows Laurie is lying is the very end.  At this point it
becomes quite clear.  Laurie has been talking about Charles all this time and there is
no Charles.  Therefore Laurie is not telling the truth.

Dickens makes great use of the signalman's characteristics and job description to create an evocative ghost story. Explain how."The Signalman" by...

In Charles Dickens' short story "The Signalman," the author
conveys clear characteristics in the subject of the title in order to further develop the
eventual sense of horror that descends upon the narrator, and perhaps the reader as
well.

Dickens describes the signalman as someone who is never of
what he has seen and haunted by it, but also as a masterful signalman who does his job well and
with care and great accuracy. In this way, Dickens shows the reader that this is a man to be
trusted. He is a reliable voice in the story, so the reader (and the narrator) are inclined to
believe him and take him seriously.

The signalman is also a caring
individual. He expresses to the narrator that he cannot understand why a specter would visit him
and not provide him with the details or means to prevent the death of the individual the ghost is
warning him about. It is distressing to him to know something must be done, but he knows not what
or how to do so.

In allowing us to see the kind of man he is, and in
sharing with the reader the careful professional he is, we expect that he will be always
vigilant, looking for a way to avert disaster. However, perhaps because he is all of these
things, his death is that much more horrible as the specter must be the thing that leads him onto
the track, to a place he would usually no better than to
venture.

Losing sight of what he knows of his job, he allows himself
to become unmindful of his surroundings in looking for answers, and he becomes the latest victim,
as foreshadowed by the ghost's warning.

What are the differences and similarities between "The Death Bed" by Siegfried Sassoon and "The Call" by Jessie Pope in terms of literary analysis?

Jessie Pope's "The Call" has
an essentially iambic rhythm ( ^ / ) that is varied by trochees ( / ^ ). Trochees are
used for emphasis primarily in the stanzas’ first lines (e.g., Who's'  for^ / the^
trench' ) . It is built around diameter (two feet) but varied both by hypercatalectic
unfinished third feet and by full tetrameter:

Who'll^
fol' / -low^ French'—   
(diameter)
Will^ you', / my^
lad' / -die^?     (hypercatalexis: added unstressed
syllable)
Who's^ fret' / -ting^
to' / be^ -gin',    
(tetrameter)

In contrast Siegfried Sassoon's
"The Death Bed," though also essentially iambs varied with
trochees (Soar' -ing^ / and^
quive' / -ring^ in' / the^
wings' / of^ sleep'), is
written in pentameter (five feet): Through^ crim' / -son^ gloom' / to^ dark' / -ness^;
and' / for^ -got'.

"The Call" is a call to
arms of war that uses prodding and "egging on" (from Old Norse
eddja meaning to urge) to either inspire martial attitudes or to
shame someone into martial attitudes--the enthusiastic are inspired (Who longs to charge
and shoot— / ... / Who'll earn the Empire's thanks—) while the reluctant are shamed (And
who wants to save his skin—). The last stanza describes the victorious procession ending
the war. The second to last line adds some confusion, though. The phrase
"bite his thumbs" sounds like the action of a shamed man
gnawing on his nails out of guilt and humiliation. Yet, the English idiom "bite your
thumb" has historically been used to insult the recipient to a great degree. Despite the
confusion with this idiom, the context indicates that the "laddie" of the last stanza
should be understood as biting his thumbs in shame, not as an insult to the victorious
troops returning, as Pope was a noted war supporter.

In
contrast, the story of "The Death Bed" is a lament for the death of an
innocent young soldier (he is "young; he hated War") following the
receipt of some horrible and painful wound: "The opiate throb and ache that was his
wound." The lament takes the young soldier to the moment that, despite the plea to help
the soldier fight for his life,

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Light many lamps and gather round his
bed.
Lend him your eyes, warm blood, and will to live.
Speak to him;
rouse him; you may save him
yet.

“death” comes to choose
him and take him away to quietude:

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But death replied: 'I choose him.' So he
went,
And there was silence in the summer night;
Silence and safety;
and the veils of sleep.

The
tone of "The Call" is light and rousing (Who's keen on
getting fit,); Pope was a propagandist for the war effort. In contrast the
tone for "The Death Bed" is pained, ponderous and labored
(he could hear it rustling through the dark), like the experience of the dying young
man. The meters each poet chose and the variations to the rhythm contribute to these
differing tones. Pope emphasizes the verbs of choice for
war (earn, longs to charge and shoot, swell, begin, follow) while using little imagery.
Sassoon in contrast emphasizes imagery, metaphor and simile
(blowing the curtain to a glimmering curve; aware of silenced heaped; silence in the
summer night; like a prowling beast; etc). One significant and ancient
image Sassoon uses relates to the timeless ritual of providing the dying
or the dead with candles to light their souls from the present realm to the next: "Light
many lamps and gather round his bed."

find the distance between the points of the triangle A(2,1) B(-1,4) and C(-4,3).

I believe that you need to find the length of the sides of
the triangle ABC.

Given the vertices's A(2,1), B(-1,4), and
C(-4,3).

Let us use the distance formula to find the length
of the sides AB, BC, and AC.

==> AB = sqrt( xA-xB)^2
+ (yA-yB)^2

            = sqrt(2+1)^2 + (1-4)^2 = sqrt(3^2
+ -3^2)

           = sqrt(18) =
3sqrt2

==> AB =
3sqrt2.

==> AC = sqrt(xA-xC)^2 +
(yA-yC)^2

              = sqrt(2+4)^2 + (
1-3)^2

              = sqrt(6^2 +
-2^2)

              = sqrt(36+ 4) = sqrt40.=
2sqrt10

==> AC =
2sqrt10.

==> BC = sqrt(xB-xC)^2 +
(yB-yC)^2

             = sqrt(-1+4)^2 +
(4-3)^2

            = sqrt(3^2 +
1)

            =
sqrt10.

==> BC =
sqrt10

Determine arithmetic mean of the numbers f(x1), f(x2) for f(x) = x/2-6 ; x1 = -8, x2 = 10

We'll determine the arithmatic mean of the numbers f(x1)
and f(x2):

A.M. = [f(x1) +
f(x2)]/2

To compute the value of A.M., we'll have to
compute the values of f(x1) and f(x2).

For this reason,
we'll substitute x1 and x2 in the expression of f(x).

For
x1 = -8, we'll get:

f(-8) = -8/2 -
6

f(-8) = -4 - 6

f(-8) =
-10

For x2 = 10, we'll
get:

f(10) = 10/2 - 6

f(10) =
5 - 6

f(10) = -1

Now, we'l
substitute f(x1) and f(x2) by the values of f(-8) and f(10) in the expression of
A.M.

A.M. = [f(-8) +
f(10)]/2

A.M. =
(-10-1)/2

A.M. =
-11/2

What is the purpose of the mind games in Ender's Game?

We need to remember that in this excellent novel that raise so
many ethical issues, Ender is being prepared in every sense of the word to champion Earth against
the Buggers. As such, the purpose of the mind games he plays, in particular the one with the
giant, are supposed to stretch him mentally, forcing him to think laterally and create different
ways of solving problems that he would never be able to experiment with without the mind games.
We find a very interesting conversation at the beginning of Chapter Seven referring to Ender's
"triumph" over the mind game in killing the giant supporting this
view:

"Isn't it nice
to know that Ender can do the impossible?"

"The player's deaths have
always been sickening, I've always thought the Giant's Drink was teh most perverted part of teh
whole mind game, but going for the eye like that--this is the one we want to put in command of
our fleet?"

"What matters is that he won the game that couldn't be
won."

Thus we can see that the mind
games are all about testing Ender in a different way, a way that forces him to show his
creativity and problem solving skills by looking for extreme solutions, all with the express
purpose of Ender trying to achieve and accomplish the impossible. Just as the mind game couldn't
be won, so the Buggers supposedly can't be defeated.

Given that sina + sinb =1 and cosa + cosb = 1/2 calculate cos(a-b)

We'll note the given relations
as:

sina + sinb = 1 (1) 

cosa
+ cosb = 1/2 (2)

We'll raise to square (1), both
sides:

 (sina + sinb)^2 =
1^2

We'll expand the
square:

(sin a)^2 + 2sina*sinb + (sin b)^2 = 1
(3)

We'll raise to square (2), both
sides:

(cosa + cosb)^2 =
(1/2)^2

We'll expand the
square:

(cos a)^2 + 2cos a*cos b + (cos b)^2 = 1
(4)

We'll add (3) + (4):

(sin
a)^2 + 2sina*sinb + (sin b)^2 + (cos a)^2 + 2cos a*cos b + (cos b)^2 = 1 +
1/4

But, from the fundamental formula of trigonometry,
we'll get:

(sin a)^2 + (cos a)^2 =
1

(sin b)^2 + (cos b)^2 = 1

1
+ 1 + 2(cos a*cos b + sina*sinb) = 5/4

We'll subtract 2
both sides:

2(cos a*cos b + sina*sinb) = 5/4 -
2

2(cos a*cos b + sina*sinb) =
-3/2

We'll divide by 2:

cos
a*cos b + sina*sinb = -3/4

We'll recognize the formula in
the sum from the left side, the formula of cos (a -
b):

cos (a - b) =
-3/4

Write the ratio of the atoms present in the formula of each: ammonia (NH4), calcium hydroxide {Ca(OH)2}, carbon dioxide (CO2),copper...

A chemical formula describes all of the elements present
and their ratios to one another for a single molecule of a particular chemical.  The
identities of the elements are denoted by their one or two letter symbols and their
ratios are denoted by numerical subscripts.  Let's look at each chemical
separately.

NH3 (ammonia): 1 molecule of ammonia consists
of 1 atom of nitrogen (N) and 3 atoms of hydrogen (H).  Basically, for ammonia the ratio
of nitrogen atoms to hydrgen atoms (N:H) is always 1:3.  You have written NH4 which is
not ammonia but the ammonium cation (NH4+).

Ca(OH)2
(calcium hydroxide): 1 atom of calcium (Ca), 2 atoms of oxygen (O), and 2 atoms of
hydrogen.  Since the subscript 2 is located outside of the parenthesis it describes both
the O and H elements.  Ca:O:H = 1:2:2

CO2 (carbon dioxide):
1 atom of carbon (C) and 2 atoms of oxygen.  C:O =
1:2

CuSO4 (copper sulfate): 1 atom of copper (Cu), 1 atom
of sulfur (S), 4 atoms of oxygen. Cu:S:O = 1:1:4

C2H5OH
(ethanol): 2 atoms of carbon, 6 atoms of hydrogen, and 1 atom of oxygen.  C:H:O =
2:6:1

C6H12O6 (glucose): 6 atoms of carbon, 12 atoms of
hydrogen, and 6 atoms of oxygen.  C:H:O = 6:12:6 which reduces to
1:2:1

HCl (hydrochloric acid): 1 atom of hydrogen and 1
atom of chlorine (Cl).  H:Cl = 1:1

HNO3 (nitric acid): one
atom of hydrogen, one atom of nitrogen, and 3 atoms of oxygen.  H:N:O =
1:1:3

Na2CO3 (sodium carbonate): 2 atoms of sodium (Na), 1
atom of carbon, and 3 atoms of oxygen.  Na:C:O = 2:1:3

NaOH
(sodium hydroxide): 1 atom of sodium, 1 atom of oxygen, and 1 atom of hydrogen.  Na:O:H
= 1:1:1

H2SO4 (sulfuric acid): 2 atoms of hydrogen, 1 atom
of sulfur, and 4 atoms of oxygen.  H:S:O = 2:1:4

In Dreams From My Father, what impact does his father's absence have on Obama's life? How does he cope with this, or fail to?

Because Barack Obama is of mixed race origin, the absence
of his Kenyan father throughout most of his life caused him to have something of an
identity crisis.  That is, he knew he had a Kenyan family and heritage, but had no
connection to that side of his culture while he was growing up.  He substituted the male
role model with his Grandfather, who he speaks of in glowing and affectionate terms
throughout this book.

He still wandered a bit when he was a
teenager, experimented with drug use, and got involved in other negative activities.  He
attempts to adopt some Indonesian culture as well during his time livign there with his
mother and stepfather.  All of these were coping mechanisms and strategies that didn't
really help all that much until he spent some time with his father, and traveled to
Kenya to meet his extended family.

In The Scarlet Letter, explain the Puritan attitude toward luxury and how Governor Bellingham and Revered John Wilson responded to it.

It becomes abundantly clear that Arthur Dimmesdale is not
the only character in the novel who is living a kind of double life. Ostensibly at
least, Puritanism eschewed luxury and embraced a simple, plain kind of lifestyle. And
yet, as Hester Prynne and Pearl go to and enter Governor Bellingham's house, it is clear
that in spite of his society's professed rejection of luxury and indulgence, a taste for
the good things life has to offer persists in private
behaviour.

Note the description we are given of Governor
Bellingham at the beginning of Chapter Eight:

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The impression made by his aspect, so rigid and
severe, and frostbitten with more than autumnal age, was hardly in keeping with the
appliances of worldly enjoyment wherewith he had evidently done his utmost to surround
himself.

It is clear that the
Reverend Wilson shares this belief as well:

readability="12">

The old clergyman, nurtured at the rich bosom of
the English Church, had a long-established and legitimate taste for all good and
comfortable things; and however stern he might show himself in the pulpit or in his
public reproof of such transgressions as that of Hester Prynne, still, the genial
benevolence of his private life had won him warmer affection than was accorded to any of
his professional
contemporaries.

This
professed disavowal of luxury combined with the private embracing of it seems to point
at the central hypocrisy of Puritanism, as its proponents certainly do not spare
themselves any luxury they can obtain. It also points towards the double life lived by
so many characters, and establishes Hester Prynne as being, in some senses, more honest
than other characters in the book - she openly confesses and owns up to her "sin"
whereas other characters are not so forthright.

How does Hercules compare to modern heroes? this weblink is given by my teacher, you can answer by your own...

One striking difference between modern heroes and Hercules
would be the lack of divinity attached to the heroes that dominate our current
landscape.  When reading about Hercules, the article makes frequent mention of how the
Gods play a role in either placing obstacles in Hercules' path that need to be overcome
or how divine counsel allows Hercules to achieve great things.  The modern hero does not
have this level of divinity attached to them.  If we were to consider a modern hero as
someone who accomplishes something superhuman, our thoughts might drift to an athlete or
a political figure.  Either way, there is little in way of divine attachment to them. 
Our modern heroes differ from those of antiquity in large part because of the absence of
divinity.  Another way in which our modern heroes differ is the more internalized nature
of their quest.  The hero like Heracles had to travel to distant lands or pray at remote
temples and physically embark on quests or journeys.  The modern hero has a much smaller
field of play.  They don't travel to distant lands or voyage as far.  Rather, their
quest is, by comparison, an internal one or on a smaller physical scale, though the
tales of glory are just as expansive in our own relative scale.

How does Shakespeare solve the problems of appearance and reality in the play Much Ado About Nothing?

In Much Ado About Nothing,
Shakespeare shows that the duality between appearance versus reality is a matter of
gender, social class, age, and status.

In terms of gender,
Beatrice appears to scorn all men, and Benedict appears to scorn all women.  But, with
carefully crafted "lies," their friends convince them that "love" destroys all scorn.
 Or, one could say that Beatrice had always secretly loved Benedick but only appeared to
hate him to save face and defend herself as an old maid.

In
terms of social class, Dogberry appears to be a blathering idiot, but in reality he is
more vigilant in his duty than the Prince and his entourage.  He and his watchmen
discover the plot against Hero and save the day, not with words (appearances), but with
actions (reality).

In terms of age, Leonato and Benedick
show the young Claudio the meaning of honor as they defend Hero and Beatrice
respectively.  Even though he is an old man, Leonato challenges Claudio because he knows
that his daughter is honorable.  So too does Benedick, at the bequest of Beatrice,
challenge Claudio.  Each man shows that women's actions (reality) far outweigh what men
say (appearances) about them.

In terms of status, Don John
takes advantage of the naive Prince and Claudio.  He appears to be an honorable man by
showing that women are deceivers.  This confirms what most men wanted to believe, and so
the Prince and Claudio fall prey to Don John's words and the appearance of promiscuity
(by Hero's gentlewoman).  Even though Don John is a bastard, an illegitimate son who is
not to be trusted, the other males place more stock in his reputation than that of the
otherwise pure Hero.

All in all, words are used to uphold
the appearances of male status, reputation, and sexist double-standards instead of the
reality of a world in which women, old men, and lower classes may indeed be
honorable.

Name and describe three different reproductive strategies in fishes?

In many species of osteichthyes (bony fish), sperm and
eggs are developing in separate individuals - males and females. Fertilization is
usually external. In some cases, fertilization is
internal.

Males and females may show different or they
could not be distinguished, in terms of size, colors, external reproductive organs, head
or body shape characteristics.

The reproduction in fish
bone is generally cyclical, but it can be influenced by certain factors such as changes
in temperature, moon phases or changes of location of spawning
areas.

Fish bone have at least three types of development
of the embryo: the spawning (oviparous fish, egg-laying), egg retaining  (ovoviviparous)
and the birth of live young fish (viviparous).

In some
ovoviviparous species, the offsprings are developing in enormous eggs where they are fed
by the egg yolk until birth. At birth, they already have 30 cm and they are exact
miniature copies of their parents.

Although the
reproduction methods used by species of fish are heterosexual,  some species of fish are
hermaphroditic -  individuals develop both ovaries and testes.

In what ways did Scout and Jem make Mr. Cunningham stand in Atticus's shoes in To Kill a Mockingbird?

Being children and discussing the things children
understand like children do puts Mr. Cunningham in Atticus' shoes for a minute at the
jail that night when Cunningham went down to rough Robinson up in chapter
15.

As Scout talked about her relationship with Walter and
what she knew about his entailment Cunningham saw humanity. He saw that Atticus had two
sweet kids that got him through his workday. That's what we all do as parents. We work
to provide what we can for our children. Cunningham could relate to the same in his own
life and realized that he did not want to take anything away from Atticus, a man who has
done many a kind turn for Cunningham in the past.

What causes assembly line justice?

I would say that there are two major causes of assembly line
justice.

First, there is the crime control model's idea that the
point of the criminal justice system is to prevent crime.  This idea generally holds that the
accused are likely guilty and that there should not be all sorts of procedural red tape that
would make it harder to convict and punish the guilty.  (So there should be fewer appeals,
etc.)

Second, there is the fact of the crowding of the court
system.  Overcrowded dockets make it so that it is in the interests of prosecutors and judges to
get cases done as quickly as possible so as not to make the system even more backed up than it
is.

In "The Necklace", what is the direct and indirect characterization of Madame Forestier?

Madame Forestier is the old friend of Madame Loisel in
this sharply ironic short story by Maupassant. We are not told much about her but we do
know that she is wealthy and therefore has a stock of jewels that her friend can borrow.
She seems almost to be careless of her wealth. Consider how she lets Madame Loisel
choose what she wants:

readability="12">

Mme. Forestier went toward a large closet with
mirrored doors, took out a large jewel box, brought it over, opened it, and said to Mme.
Loisel, "Pick something out, my
dear."

She is certainly very
open with her possessions, and gives Madame Loisel free reign of her jewels as she looks
for something for the party.

When they return the (new)
necklace, Madame Forestier is quite sharp with Madame
Loisel:

When
Mme. Loisel took the necklace back, Mme. Forestier said to her frostily, "You should
have brought it back sooner; I might have needed
it."

Although she speaks
sharply here, it is with sympathy that Mme. Forestier addresses Mme. Loisel at the end
of the story and tells her of her mistake:

readability="10">

Mme. Forestier, quite overcome, clasped her by
the hands. "Oh, my poor Mathilde. But mine was fake. Why, at most it was worth only five
hundred francs!"

Mme.
Forestier therefore is a character who is a friend of Mme. Loisel's who lends her the
jewels, appears slightly put out when she returns them, and then finally embraces her
with sympathy because of the mistake she has made.

In Act 5 of Macbeth, I need to show an example of Shakespeare's use of a pun.

In Act V Scene i we see the Doctor and the Gentlewoman observing
Lady Macbeth's sinister night time ritual of washing her hands after the murder of King Duncan.
The Doctor comments-

DOCTOR: You see, her eyes
are open.

Lady Macbeth is sleepwalking, and her eyes are literally open. However, this
could be interpreted as a pun as she is also able to 'see' why she is in such at terrible
psychological state. Similarly the Gentlewoman's response also has a double
meaning-

GENTLEWOMAN: Ay, but their sense is
shut.

Lady Macbeth is not alert to those around her and cannot see them as she
is in her sonambulant state. She is also 'blind' to the perilous future her and her husband have
unleashed on themselves having killed the king.

Make a list of all the questions in "The Love Song of J. Alfred Prufrock," and group them into catigories such as time, action, and/or death.

Prufrock's comments and questions regarding death are as
follows:

"'Do
I dare?' and, 'Do I dare?' 
Time to turn back and descend the
stair, 
With a bald spot in the middle of my hair—                            
   
[They will say: 'How his hair is growing thin!'] 
My morning
coat, my collar mounting firmly to the chin, 
My necktie rich and modest, but
asserted by a simple pin— 
[They will say: 'But how his arms and legs are
thin!'] 
Do I dare 
Disturb the universe? 
In a minute
there is time 
For decisions and revisions which a minute will
reverse."

The above quote
(and questions) reflect the speaker's aging, his movement toward death, where he asks
if, at this late time of his life, he dares to change things, "disturb the
universe"—even while asserting that it only takes one minute to change everything,
hoping that it does not matter that it is so
"late."

"Though I have seen my head (grown
slightly bald) brought in upon a platter" is an allusion to the death of John
the Baptist.

readability="7">

"And I have seen the eternal Footman
hold my coat, and snicker:" the "eternal Footman" is the personification of
death.

And
again...

"To
roll it toward some overwhelming question, 
To say: 'I am Lazarus, come from
the dead, 
Come back to tell you all, I shall tell you
all'"

This portion refers to
the Biblical account of Lazarus' return from the dead, one of Christ's
miracles.

"I am not Prince Hamlet, nor was meant to
be" refers to Shakespeare's tragic hero, Hamlet, who dies due to his failure
to act.  
"I grow old . . . I grow old . . . / I shall wear the
bottoms of my trousers rolled" talks about the passage of time, moving ever
closer to death, especially "heard" in the repetition of "I grow
old." 

What is the effect of maltose solution on an onion cell?Thank you :)

Maltose is a  disaccharide consisting of two molecules of
glucose joined together by dehydration synthesis. If onion tissue was surrounded by a
solution of maltose, there would be a greater concentration of solute outside the cell
relative to inside. The membrane is selectively permeable. The freshwater inside the
onion cells would be in greater concentration relative to the outside environment, due
to the presence of the solute. As a result, osmosis would occur and water would move out
of the onion cells from high concentration inside, to low concentration outside. This
effect is known as plasmolysis and the onion cell would dehydrate and shrink. The cell
would lose turgor, which is the pressure of the liquid inside pressing against the cell
wall. If enough fluid is lost, the rigid, non-living cell wall may even
collapse.

In Fahrenheit 451 how long ago was it that Faber was teaching and college newspapers were being printed?

When Montag first shows up at Faber's house, at first
Faber is reluctant to reveal any information about himself or his previous life.  But
when Montag reveals himself to be trustworthy and seeking answers, they start making
plans.  In talking, Faber mentions a few things about his previous life; he was a
professor, and in talking about it, says,

readability="6">

"I know a man who printed our college paper half
a century ago.  That was the year I came to class at the start of the new semester and
found only one student to sign up for
Drama."

So, according to that
quote, we can guess that half a century ago, which is 50 years, papers were still being
printed, even though they were on the steady decline in popularity.  Faber mentions that
not soon after that newspapers pretty much disappeared completely because people weren't
interested in reading them anymore.  That is a pretty quick decline; it only took a few
decades for their society to degenerate into an entertainment only place where people
chose to be amused rather than educated.  I hope that helped; good
luck!

How is a U.S. company's international marketing different from or similar to that of its marketing within the United States?

Your professor may be looking for a specific textbook
answer we are not privy to, but I can help you with the fundamental differences and
similarities.

Differences: 

1) 
Cultural differences - most foreigners do not watch as much television as we do, and
they tend to read more, so the approach you take with marketing has to fucntion in a
different media model. 

2) Language - of course, marketing
fluent in the local languages is a must, and sometimes in multiple languages.  Nuance
matters, as does subtlety.  What is unoffensive and humorous in our language sometimes
translates into something completely different.  There was the famous Chevrolet disaster
of marketing the Chevy Nova in Mexico - "No va" meaning, it doesn't go in
Spanish.

3)  Buying habits - Many people in foreign
countries do not have refrigeration as it is very expensive, so they tend to shop every
day, and buy smaller quantities.  Costco-Europe, for example would have a hard time
being successful, as people just don't shop in huge quantities like that.  In many other
countries, there isn't the buying power in terms of economic strength to do
so.

Similarities:

1) 
Materialism is nearly universal - what motivates buyers in the US often motivates humans
everywhere - to find a convenience, to rest and recreate, to be fashionable and
popular.  So the underlying motivations for the individual economic behavior of a human
is the same almost anywhere.

2)  Price consciousness - All
humans, not just Americans, want to get the best deal possible.  They often react to
sales and sales prices in the same manner - by buying more.  Marketing has to be
adjusted to reach the audience, but many of the basic tenets are the
same.

3)  Demographics - I think you'd find that marketing
techniques that are successful in the states with the under 18 demographic are
successful in many places, and the same could be said of the senior citizen
demographic.  Cultural differences exist, to be sure, but marketing toys to young kids
and medicine to senior citizens is bound to find some success in any
market.