In W.H. Auden's poem, "As I Walked Out One Evening" what does "love your crooked neighbor with your crooked heart" mean?

W. H. Auden's poem, "As I Walked Out One Evening," deals with
the naiveté of youth and its rosy-hued world colored by love, and the contradiction present in
the passing of time that robs us all of love, youth, innocence, and ultimately,
life.

The message of one lover to the other describes an endless
dedication and love. The images are gentle, romantic and perhaps even
familiar.

I'll love
you, dear, I'll love you

Till China and Africa
meet,

And the river jumps over the
mountain

And the salmon sing in the
street...

However, the element of Time
is introduced—personified as something that does not stop. More constant and
more insidiously destructive than anything else is the passing of time, which no one or thing can
escape.

But all the
clocks in the city

Began to whirr and
chime:

'O let not Time deceive you,

You
cannot conquer Time.

The speaker seems
to caution that we not lose sight of things left undone that have their own importance,
especially (perhaps) once the opportunity to pursue it is past. This stanza almost has the sound
of "the road to hell is paved with good intentions." The glacier and the desert may represent
great adventures open to the young who may still withstand the ice and heat. Missed opportunities
also carry us to the end of our time.

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The glacier knocks in the
cupboard,

The desert sighs in the
bed,

And the crack in the tea-cup
opens

A lane to the land of the
dead.

The stanza near the poem's end
that you ask about describes someone standing at the kitchen window, crying, perhaps over missed
opportunities, or the knowledge of the inevitability of death. The final two lines of the stanza
refer to loving others who are bent or twisted—or dishonest—just as our own hearts
are.

O stand, stand at
the window

As the tears scald and
start;

You shall love your crooked
neighbour

With your crooked
heart.

Where love allows us to see the
world as a perfect place, the speaker reminds us that the world is anything but. "Crooked"
probably means "bent," "twisted" or "askew." In this case, it would seem that the speaker tells
the reader that we are all "emotionally deformed" in some way; but even so, perhaps we still need
to love others as best as we are able.

The last stanza drives home
the point that lovers go and the clocks stop chiming, but the silence is beguiling: in the long
run, it all leads to one end: death.

What does the poem "In Flanders Field" teach you about the nature of war?

I would say that this poem is trying to tell us that war
is sad but it is also in some way honorable or at least
necessary.

We can clearly see that war is tragic in the
first two stanzas.  The speaker talks about how he and the rest of the dead were
vibrantly alive just a few days ago.  They could enjoy nature, they could love and be
loved, but now they are dead because of the war.

But that
is not all there is to war.  The last stanza shows that the war is important and that
they are not upset to have died.  Instead, they seem to feel proud of their actions and
they expect the living to continue the fight.

Can somebody explain to me the importance and significance of Giles Corey in The Crucible?

Giles Corey represents the voice of dissent in Salem.  At a time
and moment when so many were either speaking in favor of the conformist majority or when others,
such as Thomas Putnam, were speaking with ulterior motives or agendas, Corey's voice is one that
represented the lone voice of the minority.  While many dismiss him and his voice, Giles Corey is
one of the few people that consistently argues against the "trials" and how the notion of the
accusations are not exercises in spiritual or political justice, but rather manifestations of
self interest.  His refusal to acquiesce to the state of affairs in Salem makes him heroic.  As
with other such figures in the drama, he is made to suffer for such a position.  His demand of
"more weight" is symbolic of how while he may die, his belief in the cause of justice and truth
will endure and that his quest for justice and fairness represented by his state of being will
never die.

What is the tone of Shirley Jackson's short story, "The Lottery"?

I think you need to be aware that the tone of any given
work does not necessarily stay the same. This is a case in point with "The Lottery",
because the tone has a distinct shift from a peaceful, normal, everyday kind of tone to
a grimly horrific tone that finishes the tale. Note how Jackson almost from the first
sentence deliberately misleads us into thinking that this story is going to be something
very different from what it actually is:

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The morning of June 27th was clear and sunny,
with the fresh warmth of a full-summer day. the flowers were blossoming profusely
and the grass was richly
green.

This creates a happy,
cheery kind of tone and as we read on and discover that the villagers are gathering
together, we expect the lottery to be some form of village fete or festival. Note too
how the children, men and women engage in "normal" kinds of activities - the men swap
jokes, the women engage in gossip, the children play with stones. There is nothing to
indicate the sudden change of tone that leads to the devastating
finale.

However, it is as the villagers get whittled down
to the Hutchinson family it is clear that the tone subtly changes as Mr. Summers asks
Bill to show Tessie's paper in a "hushed voice." As the villagers, and even the friends
of Tessie like Mrs. Delacroix rush to gather stones, the tone shifts to one of horror as
we realise that the villagers are going to stone Tessie to
death.

Thus in this story the tone is not constant - it
shifts towards the end of the story from a normal, peaceful tone to one that is
frighteningly disturbing.

Please explain the meaning of "equal protection of the laws" in American Government.

The Fourteenth Amendment to the U.S. Constitution includes
the so called, “Equal Protection Clause” which provides that states may not deny people
the equal protection of the laws.  The practical effect of this has been not the
outright abolition of any law that treats different people differently, but rather to
expose such laws to judicial scrutiny which may then lead to a declaration that they are
unconstitutional and therefore, void. 

The court has given
rise to different levels of scrutiny that will be applied when a law appears to violate
the equal protection clause.  Laws which treat people differently on the basis of race,
religion, or national origin, or which burden fundamental rights, receive the highest
level of judicial scrutiny.  These are almost always struck down.  Laws which treat
people differently because of gender or illegitimacy receive slightly lower levels of
scrutiny.  There are, after all, real and legitimate differences between men and women
and the government may well have valid reasons for wanting to treat people differently
based upon these differences (for example, a major division in the way laws treat men
versus women may be based upon the fact that only women are capable of becoming
pregnant.)

Finally, the lowest level of scrutiny relates to
laws which treat people differently but do not do so on the basis of one of the suspect
classes (race, religion, national origin, gender, etc.) and do not burden fundamental
rights.  This lowest level of scrutiny demands only that the government advance some
rational basis for the law at issue.  This "rational basis" scrutiny is historically
easy to defend against, but the government will not always be successful.  For example,
if a state cannot prove that its anti-sodomy law has any basis other than an irrational
fear and hatred of homosexuals, that law will not pass even the rational basis
test.

Which social forces were most responsible for the new imperialism that began in the late 19th and early 20th century?1850-1920 imperialism

I would say that the social force most responsible for
this was ethnocentrism.  This could be seen in the idea of Manifest Destiny and in the
idea of the White Man's Burden that was so important in justifying this later
imperialism that you are asking about.

White Americans
tended to believe that they were morally and culturally better than the people they were
setting out to conquer.  They believed that they could help to civilize the people of
places like the Philippines.  This desire to civilize and Christianize (though most
Filipinos, at least, were already Christian) various places was a very strong force that
pushed the new imperialism along.

What is the give and take relationship between media and public officials?

I would say that the major give and take here is that both
sides try to use the other for their own benefit.  The public officials try to use the
media to portray themselves and their ideas in the best possible light.  The media try
to use the public officials to get stories that will sell.  Neither side's goal is
exactly compatible with the other so there is a bit of give and
take.

For a public official, it would be great if the media
would just print what the official says.  It would be great if the TV stations would
broadcast the pictures that the official wants shown.  This would make the official look
good.  So the official has to curry favor with the media to try to make this
happen.

For the media, what the public official wants
published is not always that interesting.  The media would rather publish stuff about
scandals, for example.  But the media also needs inside information from the officials
so that their stories can sound official and so they can get little facts that they
might use against various public officials.  So the media has to curry favor with the
officials.

So both sides are trying to curry favor with the
other while, at the same time, trying to manipulate the other side for their own
benefit.

Is Atticus an example of a static or dynamic character in part one of To Kill a Mockingbird?

In literature, a dynamic character experiences some change
in personality or attitude; this change is one that usually involves more than a mere
change in surroundings or condition.  On the other hand, static charcters remain the
same throughout a narrative and do not develop or change beyond the way in which they
are first presented. Harper Lee's character of Atticus Finch in To Kill a
Mockingbird is a static character, for although Scout's and Jem's attitudes
about their father change, he remains essentially the same throughout the
novel. 

Atticus Finch exhibits the same fortitude
in the courtroom that he demonstrates when he shoots the rabid dog earlier in the
narrative.  He exercises the principle of looking at things from others' points of view
throughout the novel, as well.  For instance, in the early part of the narrative,
Atticus admonishes the children to respect Boo Radley's privacy and strange ways.  Then,
in the final chapter, Atticus again acknowledges the importance of respecting Boo
Radley's privacy by concurring with Heck Tate's judgment regarding the death of Bob
Ewell.  Respectful of Miss Caroline, Scout's teacher, and of Mrs. Dubose and all his
other neighbors, Atticus Finch extends this same respect later, even to the perjurer,
Mayella Ewell.  Always, Atticus is constant in his courage and
character.

What impression of Julius Caesar’s character did you get in Act I?

The answer to this question depends upon whom you are
trusting to relay the "correct" information about his
character.

In the first scene, Marullus says that Caesar
should neither be cheered nor celebrated, since his victory for Rome has come at the
expense of Rome's other heroic leader, Pompey.  He chides the
Commoners:

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And do you now put on your best
attire?

And do you now cull out a
holiday?

And do you now strew flowers in his
way

That comes in triumph over Pompey's
blood?

In Scene Two, which
opens with Caesar, Antony and Calpurnia, Antony says, "When Caesar says 'do this,' it is
perform'd," suggesting the power and respect that Caesar has amongst his fellows and
people.  And, in this same scene, once Brutus and Cassius are alone onstage, Brutus says
that he fears "the people/Choose Caesar for their king," and in the next breath assures
Cassius that he "loves" Caesar "well."

However, it is
Cassius, a great talker in this play, who has the most to say about Caesar that might
form an audience member's opinion of Caesar's character.  He describes how he saved
Caesar's life when he nearly drowned, bemoaning how "this man/Is now become a god."  He
goes on to show how weak and unworthy of praise he considers
Caesar:

. .
.Ye gods it doth amaze me

A man of such a feeble temper
should

So get the start of the majestic
world

And bear the palm alone. . .
.

Why, man, he doth bestride the narrow
world

Like a Colossus,and we petty
men

Walk under his huge legs and peep
about

To find ourselves dishonorable
graves.

If we are to let
Cassius sway our opinion of Caesar, we will conclude that Caesar is all pomp,
circumstance, and fine platitudes on the outside, but is as weak and fearful as a little
girl on the inside.

But should we, in Act One, believe what
Cassius says?  Caesar enters just after this scene and makes a particular point to
single out Cassius for his "lean and hungry" look, as a man to be feared, if, in fact,
Casear was a man who felt fear.  Caesar says:

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I rather tell thee what is to be
fear'd

Than what I fear:  for always I am
Caesar.

These seem to be the
words of a very self-important man, but for my money, there are so many opinions and
points of view when it comes to Caesar in Act I, that it is not very easy to arrive at
one particular impression of his character.  So, depending on whose word you trust,
Ceasar is either a well-loved, celebrated leader about to be crowned, or he is a
self-important fake who has no right to assume the lion's share of Roman
power.

Why did Silas move to Raveloe in Silas Marner?

The main reason Silas moved to Raveloe has to do with his
"friend" Wiliam Dane.  In the town where he lived before, he and Dane were religious
buddies and they attended the same church.  Dane made it seem that they were great
friends, but at one point he decided that he had had enough of
pretending.

So he betrayed Silas on every level possible,
he had Silas blamed for stealing money from the church (something that Dane arranged)
and because of the social fall out over this, Silas lost his fiancee and Dane ended up
swooping in to rescue her and married her himself.

Because
of this betrayal, Silas was far too angry and bitter to live in the same town so he
moved to Raveloe to escape the memories and the social stigma he
faces.

What were Giles Corey's dying words in The Crucible?

In this telling of the story, Giles Corey's last words are
"more weight."  This makes sense because of the way that he is killed.  He is killed by
being pressed to death.  They piled rocks up on his body until he was no longer able to
breathe and he suffocated to death.  So, at the end, he was still telling them to add
more weight to the pile.

This shows us what a strong
character Corey had.  He remained defiant even until the moment that he died.  He was
still telling them, in essence, "bring it on, I can take it..."

What is the chemical structure of soap.

Soaps consist of molecules one end of which is hydrophilic
or is attracted to water. The other end is hydrophobic or is repelled by water and
instead is attracted to oil. We cannot clean oil with plain water as oil is not soluble
in water. The soap forms a link between the oil droplets and water and allows oil to be
cleaned.

Soaps are created as soluble salts of sodium
potassium and carboxylic acids. The most widely used salt is a sodium stearate.  This
has the property that it dissolves in water and forms ions of sodium and stearate.  The
stearate ion is mostly made of hydrocarbon but it dissolves in water due to a
carboxylate group it has.  The carboxylate end is the called hydrophilic end, and the
hydrocarbon tail is the hydrophobic end.

Zora Neale Hurston's most popular novel, Their Eyes Were Watching God, can this be considered an ethnographic text, and why?

Ethnography is the study of ethnic groups and ethnic group
formation. From this perspective, I can clearly see how Hurston's text could be analyzed
as an ethnographic text. Look at the formation, for example, of the town of Eatonville.
This was Florida's first "black" town, and it grew from being a small, unorganized group
of black people living in poverty in one area defined by geography to become a thriving
city with its own political organization. Much of what Hurston examines in her work is
the role that race plays on community and relationships, on the formations of culture
amongst a people who were still in the early stages of defining their own identity that
was unique from white culture but equally valid and viable. There are still elements of
marginalization at play in her narrative, and the divide between the races is still
present, evidencing the time period, but there is also an intense look at community
building. We act as observers, much like scientists, and her novel contributes to a
larger understanding of the emergent black culture.

Given the law of composition x*y=xy+2ax+2y determine a and b if the law is communicative and associative.

If the law is commutative
then:

x*y = y*x

We'll write
the law of composition for x*y:

x*y = xy+2ax+2y
(1)

y*x = yx + 2ay + 2x
(2)

We'll put (1) =
(2):

xy+2ax+2y = yx + 2ay +
2x

We'll eliminate like
terms:

2ax+2y = 2ay + 2x

The
coefficients of x from both sides have to be equal:

2a =
2

We'll divide by
2:

a =
1

If the law is associative
then:

 (x*y)*z = x*(y*z)
xy+2ax+2y

(xy+2ax+2y)*z =
x*(yz+2ay+2z)

(xy+2ax+2y)z + 2a(xy+2ax+2y) + 2z =
x(yz+2ay+2z) + 2ax + 2(yz+2ay+2z)

We'll remove the
brackets:

xyz + 2axz + 2yz + 2axy + 4a^2x + 4ay + 2z = xyz
+ 2axy + 2xz + 2ax + 2yz + 4ay + 4z

We'll eliminate like
terms (the bolded one):

xyz +
2axz + 2yz + 2axy + 4a^2x +
4ay + 2z = xyz +
2axy + 2xz + 2ax + 2yz +
4ay + 4z

We'll factorize by
2ax to the left side and by 2z to the right side:

2ax(z+2a)
+ 2z = 2z(x+2) + 2ax

There is no b in the
expression!

The law is commutative and not
"communicative"!

What is a short summary of "The Pit and the Pendulum" by Edgar Allan Poe?

Key to understanding this tale is considering how it might
operate symbolically. This classic horror tale opens in Toledo, Spain, in the final days
of the Spanish Inquisition. After an agonising trial, the first-person narrator hears
judges condemn him to death. He faints and awakens in a pitch-dark dungeon, where he
narrowly escapes a fatal fall into a pit. He sleeps, awakens to find food and water
nearby, drinks, and loses consciousness. Reviving from a drugged stupor, he finds
himself bound to a frame. He sees a glow from beneath the walls, realises that they are
solid metal, then looks up to see a scythe-like pendulum descending toward him. One of
his arms is free, and a bowl of meat is nearby. He rubs meat scraps on his bindings so
that rats eat through them. As he rolls free, the dungeon walls, now glowing hot, move
inward, forcing him toward the pit. At the last second, he hears a confused din. The
walls rush back. Fainting, he topples into the pit. A strong arm catches him; it is
General Lasalle of France, whose army has just taken
Toledo.

You will want to think about how various
ingredients could be said to operate symbolically, such as the scythe and the pit. Many
critics have said this is a story about faith or death.

Can you restate this arugument by Ockham? Can you state in your own words? No universal is a particular substance, numerically one; for if this...

If humanness is a universal that applies to all humans, why
can't Socrates also be a universal that applies to all Socrates'? Even though we know of only one
Socrates, who's to say what is a universal and what is not? But since Socrates is One thing, he
can't be a universal because a universal is a quality, type, property or state of being that
applies to more than one thing; such as humanness applies to all
humans.

If we look at each substance by itself, it is One and not
many. This is common sense. So, if we look at One universal by itself, it should also be one and
not many. But some would claim humanness is a several things (applying to all humans); if it is
several things it either has to be several particulars (several humans) or several universals
(several humannesses). Several humans is logical. This is several particulars.
 

If some substance is several universals, that is several
humannesses, take one of those universals and ask if it is One thing or many things. If one of
those universals, is One thing, then it is One thing; a particular. Therefore, it can't be a
universal. If one of those universals is several things, whether you call them several particular
or several universal things, that substance is several separate things. Being that they are
several different things, they are several particular things. Thus, even if you call humanness a
universal, and say that it applies to several humans, what you really have is several humans =
several particulars.

If humanness exists as something by itself, it
is One; a particular. If it exists as many things, it is many. Each of the many is One; each is a
particular.

You could distinguish One humanness (universal) from one
human (particular), but you could not distinguish One humanness from several humans; because One
humanness, again even if you call it a universal, actually means several particulars. So, saying
One humannes and several humans would be saying the same thing. Ockham is essentially saying that
a universal is a fancy abstract way of saying "many."

Please provide five quotations from Sophocles' Antigone regarding actions of Creon that make the play a tragedy.

In Antigone, both Creon and Antigone
can be interpreted as tragic figures. By the conclusion of the drama, Antigone is dead
and Creon's life is so unbearable he longs for death. Throughout the play, the numerous
tragic events develop as a result of Creon's specific
actions.

1. Creon declares that the body of Polyneices
shall remain unburied. This initial action drives the play and eventually results in the
deaths of Antigone, Creon's wife Eurydice, and his son
Haimon.

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Polyneices, I say, is to have no burial: no man
is to touch him or say the least prayer for him; he shall lie on the plain, unburied;
and the birds and the scavenging dogs can do with him whatever they
like.

This is my command , and you can see the wisdom
behind it. As long as I am king, no traitor is going to be honored with the loyal
man.

2. When Antigone
explains to Creon why she was compelled to bury her brother Polyneices' body, she says
that both of her brothers deserve the honors "due all the dead," and she implies she
loves both of her brothers. Creon rejects her feelings and does not absolve her for the
crime of defying him to bury Polyneices:

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Go join them, then; if you must have your
love,

Find it in
hell!

3. After Creon has
condemned Antigone to death for defying him, Haimon tries to change his father's mind,
to save Antigone's life because Haimon loves her deeply. Creon rejects his son's appeals
and becomes quite angry with him. Creon says he will kill Antigone before Haimon's
eyes:

Now, by
God--!

I swear, by all the gods in heaven above
us,

You'll watch it, I swear you
shall!

Haimon leaves quickly
to avoid Creon's killing Antigone at that very moment. Creon's words have so enraged
him, Haimon vows never to see his father again, a vow he keeps. Consequently, he does
not learn that Creon eventually does change his mind about killing
Antigone.

4. Creon orders that Antigone be shut up in a
tomb outside the city where she will eventually die:

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I will carry her far
away

Out there in the wilderness and lock
her

Living in a vault of
stone.

Antigone is entombed.
She hangs herself rather than die slowly.

5. When the wise
prophet Teiresias explains to Creon why he must reverse his course and let Antigone
live, Creon dismisses the old man's counsel even before he hears it. He makes this clear
to Teiresias:

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Speak:

Whatever you
say, you will not change my
will.

After Teiresias leaves,
Creon becomes frightened by the prophet's predictions of Creon's future. Creon goes to
release Antigone from the tomb in which he has placed her, but he arrives too
late.

Antigone and Haimon have both committed suicide.
Creon's wife kills herself when she learns of Haimon's death. Creon's actions through
the play result in tragedy for Antigone, for his wife, for his son, and for
himself.

.

How logical is the nymph's reply?

The nymph’s refutation may be schematized in a logical
pattern: 1. If a, then b. 2. Not a. 3. Therefore, not b. The 1 is “if the world were
young, etc., then I would live with you” (brought out in stanza 1). The 2 is all the
negative detail in stanzas 2–5. The 3 is the final stanza, in which she draws the
conclusion of the previous stanzas. The world is not eternally young and pleasant, and
therefore she rejects the shepherd; in fact, however, even if the world were perfect,
she does not concede to the shepherd that he would be her choice (“my mind might move,”
line 24). This a very logical argument that can be understood in an elementary
rhetorical class or on paper if one were to draw a
simple flow chart.

Is the following statement a good thesis for Katherine Mansfield's story "Miss Brill"?This is my thesis: Miss Brill, Katherine Mansfield...

Sadly, this is not a good thesis as it stands for several
reasons. The first is that it is not written in correct
English grammar. Therefore, it is not understandable.

The
second is that (even allowing for corrected English
grammar) it is not clear whether you intend to prove that Katherine Mansfield
demonstrates Miss Brill's isolation or whether you intend to prove Miss Brill's
isolation is revealed through her sensitivity, loneliness and vulnerability--or
something else entirely.

The
third reason is that, as already indicated, the
relationship between Miss Brill's isolation and the revelations of someone (presumably
Miss Brill) being sensitive, lonely and vulnerable is not clear.

Based
upon my best ciphering of what you might possibly actually mean, I suggest you
rewrite your these in this
way:

In "Miss
Brill," author Katherine Mansfield demonstrates Miss Brill's isolation through
revelations of Miss Brill as being sensitive, lonely and
vulnerable.

In this thesis,
you will be proving through textual quotations and
inferences that Miss Brill (1) is sensitive, lonely and
vulnerable and that (2) these proofs reveal that she is
isolated. As an aside, when writing your essay, be certain that each sentence contains a
Subject (the acting, responsible Agent of the sentence) and
a Verb (what the Agent precipitates or
is):

The
author demonstrates something.
The character is something.
The
isolation proves something.
The sensitivity is revealed by
something.

Be sure
each part of a complicated sentence is properly organized
alone, as in the above illustrations, before you try to join
it to another sentence to form an entire complicated thought and
concept.

Solve for x1/2 +7/10x =13/20

We have to solve for x given the following equation: 1/2 +7/10x
= 13/20.

1/2 + 7/10x = 13/20

multiply
all terms with 20x

=> 1*20x/2 + 7*20x/10x =
13*20x/20

=> 10x + 7*2 =
13x

Subtract 10x from both the
sides

=> 10x + 14 -10x = 13x -
10x

=> 13x - 10x = 14

=>
3x = 14

=> x =
14/3

Therefore the required value of x is
14/3.

In Willa Cather's novel, My Ántonia, compare the situation of the young Ántonia to the Ántonia at the story's end.

In Willa Cather's novel, My Ántonia,
the girl we meet at the beginning is very different than the woman we see at the
end—if all we use is our eyes.

In the
story's early chapters, we meet Ántonia, the daughter of a sensitive man pushed to leave
all he loves in the old country, behind, by his wife who wants a new life in this harsh
new land of Nebraska.

Ántonia is bright and engaging from
the first. She has a lot of energy and a quick mind. She wants to learn to speak
English. She works very hard on their farm, even through that first harsh and
unforgiving winter. Ántonia's exuberance for life and and the land flow out of her.
Little sets her back: she is very resilient.

After Jim's
grandparents sell their farm to move to Black Hawk, the first real town nearby, it is
not long before Ántonia follows, having been hired out to work for the family next door
to Jim. Once again, she is a hardworking with enthusiasm and energy. She is
well-received and loved. As she gets older, she loves to go out dancing, knowing that
for people like her, workers, foreigners, fun lasts only so long in life, and it is life
she embraces like the air she breathes.

Jim moves on to
college and Ántonia takes a new job for a questionable member of the community. When the
man of the house makes inappropriate advances, Ántonia quickly moves on to other work.
Jim loses track of Ántonia for a while, eventually learning she has had a child out of
wedlock when her fiancee left her at the alter. True to her strength of purpose, Ántonia
decides to raise her child with all the love she has in her, while continuing to
work.

The time passes again, until the years since Jim
and Ántonia have seen each other yawn between them. Jim finally makes his way back to
Nebraska, to the prairie where they grew up. When they first see each other, their
outward appearance has changed. However, it is easy for Jim to find that same girl still
thriving within the body of this older woman—the same spirited person, she has found all
she has ever wanted. Jim recognizes these strengths as he prepares to sleep in the barn
with Ántonia's slumbering sons:

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Ántonia had always been one to leave images in
the mind that did not fade.... She lent herself to immemorial human attitudes which we
recognize by instinct as universal and true.... She was a battered woman now, not a
lovely girl; but she still had that something which fires the imagination.... All the
strong things of her heart came out in her body.... She was a rich mine of life, like
the founders of early races.

In Oliver Twist, discuss the character and role of Fagin.

It is in Chapter 8 that we are first introduced to Fagin,
as Oliver enters the lair of the criminals. In a sense, Dickens has created a caricature
of the criminal Jew in Fagin. Note how he is first
described:

In
a frying pan, which was one the fire and which was secured to the mantel shelf by a
string, some sausages were cooking, and standing over them, with a toasting fork in his
hand, was a very old shrivelled Jew, whose villainous looking and repulsive face was
obscured by a quantity of matted red hair. He was dressed in a greasy flannel gown, with
his throat bare, and seemed to be dividing his attention between the frying pan and a
clotheshorse, over which a great number of silk handkerchiefs were
hanging.

Note the way this
first introduction emphasises the comparison between Fagin and the Devil - he is holding
a toasting fork and standing next to the fire, and has "matted red
hair."

Fagin in the novel then is clearly a master
criminal, having set up a gang of child thieves and operating as their head, taking what
they gain. It is clear in the novel that he is depicted as a character that has no
loyalty except to himself. He exploits and manipulates others to suit his purposes,
turning on Bill Sikes as it suits him and even going as far as trying to get Nancy to
kill him. When he is eventually caught and sentenced to death, we are told that he goes
mad when he realises that nobody at all cares about him and he will die giving pleasure
to the audience who will watch him being hanged. He dies, alone and unloved, which we
are meant to see as justice for his evil crimes throughout the novel and his deliberate
plotting of Oliver's hanging.

Discuss post-colonialism in Mary Shelly's Frankenstein.

The way to approach this question if I were you would be to
explore the parallels between Victor Frankenstein and the monster/creature that he creates and
the relationship between the colonised and the European. Certainly, if we think of it this way,
there is a lot about identity--a key post-colonial theme--that we could comment on. Consider the
following point.

One crucial issue in colonialism is the way that
Europeans went to places with the aim of "civilising" the natives, or teaching them how to be
European and to reason and to read and write. Yet, having learnt such skills, the "natives" found
that although they had been taught all of these skills, they could never "be" European because of
their skin colour and physicial appearance. They had been educated like Europeans, thought like
Europeans for the most part and fitted in to the European's lifestyle, but they were still not
regarded as Europeans. In the same way, the creature has been created as human and with the
capacity to reason, to love, to desire and to think, and yet, because of his physical appearance,
he is at the same time denied companionship with human beings. Note what he says in Chapter
Thirteen:

"I admired
virtue and good feelings, and loved the gentle manners and amiable qualities of my cottagers, but
I was shut out from intercourse with them, except through means which I obtained by stealth, when
I was unseen and unknown, and which rather increased than satisfied the desire I had of becoming
one among my fellows... What was I? The question again recurred, to be answered only with
groans."

The rhetorical question "What
was I?" points towards the importance of identity and how ambiguous this issue is for the
creature. Just as colonial subjects had been "created" to resemble Europeans in their education,
thought and values, so had the creature been created to be human. Yet both are fundamentally
separate, in spite of these qualities, and were treated as such.

Discuss how each of the animals' personalities contributes to the pigs' control over them in Animal Farm?

There seems to be particular elements in the other animals that
contribute to their ability to be controlled by the pigs. Orwell is making the point that any of
these behaviors, not regulated to an extent, can become a pretense manipulated by those in the
position of power in order to secure their own power. For example, Boxer never questions
anything. If "Comrade Napoleon" says it, Boxer accepts it as unquestionable fact. His willingness
to "work harder" without any doubt or skepticism makes him work until his very end, manipulated
by Napoleon to die by the horse slaughterer. Boxer's friend, Benjamin, is the opposite extreme.
Embittered by his own cynicism, Benjamin fails to do anything, and his inaction is what prevents
some type of cohesive action against Napoleon to help save his friend. Mollie's own self interest
precludes her from taking action, as her concerns are her ribbons and her sugar. This benefits
the pigs' control because Mollie would never voice dissent if her needs are met. The sheep and
their willingness to follow "the herd" makes them perfect for the pigs' control. Even Moses the
raven is controllable by the pigs because of his emphasis on religion, not for social change, but
for social control. In this condition, all of the animals possess some characteristic that Orwell
has taken to an extreme in showing how individual qualities, without limitation, can be
manipulated by those in the position of power.

How does Shakespeare use the sonnet form to develop the theme in "Sonnet 116"?

The majority of sonnets structurally include what is called a
"turn," or a shift in focus or thought. Where this turn occurs in each sonnet of course varies,
but what is interesting about this particular sonnet is that it only occurs in the very last
rhyming couplet. Having spent the three quatrains establishing the main theme of the sonnet,
talking about the constancy of love in the face of the passage of time and the fading of beauty,
the turn then serves to reinforce what the speaker has been saying by a shift to a far more
emphatic, direct tone and the use of irony:

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If this be error and upon me
proved,

I never writ, nor no man ever
loved.

Thus having established his
central argument in the main body of the poem, the poet delays the turn in this sonnet until the
last rhyming couplet, and changes the tone and introduces irony to highlight the truth of what he
has been arguing - true love does not change, and if he is wrong, then he is no writer and nobody
has ever loved.

Discuss Wordsworth’s theory of poetry as propounded by him in the Preface to Lyrical Ballads.

Much of Wordsworth's philosophy of poetry is outlined in
his Preface.  The idea that poetry should focus on commonplace subjects is something
that Wordsworth clung to in his body of poetry.  Wordsworth sought to bring out the
powerfully universal qualities in subjects that are very ordinary.  A woman in the
field, a set of daffodils, or the conversation between two people in love are ordinary
subjects, but ones that allowed Wordsworth to evoke some of the most powerful of
images.  In his language and context, the words and choice of words are ones that
reflect "language used by men."  Wordsworth wrote in a style that was approachable by
common people and in this, Wordsworth sought to democratize poetry and its
appreciation.  Finally, in "presenting the usual in an unusual way," Wordsworth was able
to bring out the universal from the specific, the objective from the subjective, and in
the process, allow his poetry to "see into the life of things" and create a new venue
where poetry allows the individual to open new doors of
perception.

What is the plot of the "Haircut" short story by Ring Lardner?

In literature, the plot revolves around the conflict and the
complications that--well--complicate the conflict. So when you ask, "What is the plot?" you are
really asking about what the conflict is and how it develops to its resolution. In "Haircut," the
town barber, Whitey, tells the town gossip to a silent and unnamed newcomer who sits quietly in
Whitey's barber chair and listens. The plot and conflict therefore are embedded in the narrative
Whitey tells and involves the townspeople Whitey talks about: it does not primarily involve
Whitey or his mystery listener, though Whitey is there once or twice as a witness of
events.

Much of Whitey's narrative gives background and examples of the central
character's behavior. It soon comes clear that Jim is the central
character and the antagonist (the antagonist predominates the story in a stylistic reversal such
as Milton used in Paradise Lost). The conflict Jim is involved in is
Human against Human as we learn about the horrible things Jim does to
others.

[Jim] didn't
have no intentions of bein' there [at the circus] or buyin' tickets or nothin'. He got full of
gin and laid round ... His wife didn't have a dime with her ... she finally had to tell the kids
it was all off and they cried like they wasn't never goin' to
stop.

The primary element of the
conflict, involving the town heroine and hero, Julie
and Doc Stair, turns out to be Jim's failed attempts to romantically involve Julie. This leads to
the (1) climax and (2) anticlimax of the plot when (1) Jim forces his way into Julie's house,
then, (2) when Doc is away, tricks her into thinking Doc wants to see her. After this, Paul
Dickson's anger and Doc's fury signify the falling action that leads to the final resolution of
the conflict. This occurs when the gun Paul is holding fires (accidentally or by intent?) and
kills Jim. Thus the conflict is ended: Human has won the conflict against Jim's
inhumanness.

Doc
examined the body and said they might as well fetch it back to town. They was no use leavin' it
there or callin' a jury, as it was a plain case of accidental
shootin'.

How did the Byzantine Empire influence the rise of Kiev?

Russian Kiev was heavily influenced by the Byzantine
Empire.  This influence began when Prince Vladimir I decided to abandon the old Slavic
gods.  He sent emissaries to both Rome and Constantinople in order to decide which form
of Christianity he should follow.  After hearing of the beauty and splendor of Byzantine
civilization, he chose to follow the Byzantine Church.  The acceptance of this religion
brought Byzantine culture to Slavic areas.  When Vladimir married the sister of the
Byzantine emperor, the ties between the two cultures grew.  Princes of the cities and
towns of Kievan Russia began to imitate the Byzantine rulers. Christian clergy became an
important class in Kiev and opened many schools.  The Cyrillic alphabet adapted the
Greek alphabet to the Slavic language of Kievan Russia.  Slavic artists created
religious art work that imitated Byzantine styles. The Church of St. Sophia built in
Kiev reflected the Byzantine architectural style. The acceptance of the Eastern Orthodox
religion gave the east Slavs a sense of belonging to the civilized world and helped the
development of Russian society in many ways.

Find f(g(5) if f(x) = log x^2 and g(x) = x+5

Given the functions:

f(x) = log
x^2.

g(x) = x+ 5.

We need to find
f(g(5)).

First, we need to determine f(g(x)), then substitute with
x= 5

f(g(x))  = f( x+ 5) 

Now we will
substitute with x+ 5 in f(x):

==> f(g(x)) = log ( x+ 5)
^2

From logarithm properties we know
that:

log a^b = b*log a

==>
f(g(x)) = 2 * log (x+ 5)

==> f(g(x)) = 2*log(x+
5)

Now that we found f(g(x)) we will substitute with x=
5.

==> f(g(5)) = 2*log
(5+5)

                     = 2*log
10

But log 10 = 1

==> f(g(x)) =
2*1 = 2

==> f(g(5)) =
2

Why does he use ponies?

Just before the narration begins, the two ponies have come
out of the woods, as if to welcome the two representatives of another order of beings
(the speaker and friend). The present tense gives the poem immediacy, so that the
greeting appears to be happening before the speaker’s eyes. The setting with the ponies
is specific: The event is located in place and time, moving from physical concreteness
into the speaker’s more intense but less easily described feelings of satisfaction and
happiness. The realization that overtakes the speaker is that of the kinship, perhaps
even the “oneness,” of living things. Filled with love for the animals, the speaker
delights in the feel of the pony. At that point the speaker realizes that, could he or
she transcend the human body and its limitations, the true expression at the moment
could only be a transformation into a burst of blossoms.

List 4 elements found in Islamic architecture style.http://www.islamic-architecture.info/A-HIST.htm

There is some variability in Islamic architecture, over
time and country to country because there is heterogeneity even within a culture.  I am
going to give you four elements that I see, and I have provided a link with some great
photographs that might help you identify even more.

The
element I want to discuss first is the decorative element of Islamic architecture
because this element reflects a religious principle of the religion.  The beauty of
decoration in this architecture is in the repetition of intricate geometric elements
because there must be no decoration or statuary that depicts Allah or Mohammad or any
other religious figure.  While churches might have statues of various religious figures
and geometric decorations, this is forbidden in Islam.

The
second element is the use of the dome, also common in Jewish and Eastern Orthodox
buildings, which, of course, have their roots in the
East.

A third element is the wide open space within the
mosque, a space needed for worship.  In Western religions, people are mostly seated on
chairs as they worship, but in Islam, one kneels, so there is a need for this open and
bare space. This contributes greatly to the beauty of the
mosque.

Columns and arches also figure prominently in
Islamic architecture.  I would guess that these predate the columns of Rome and Greece,
but I do not know whether the idea was borrowed from the Arab world.  I am going to have
to do some of my own research to find out.

Islamic
architecture is beautiful and awe-inspiring, two features that make it perfect to
consider God, by no matter what name we call a deity.

Need help finding quotes from To Kill a Mockingbird by Harper Lee that are examples of the literary tem "plot"?Chapters and page numbers would help.

Plot in a novel refers to the events that
make up the basic storyline.  Typically (though not always), a plot line is chronological and
moves through each of the following phases:

1. Exposition:
   background information and conflict


2. Rising
   Action: events which lead to the climax


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


4. Resolution: the solution to the problem or
   conflict

In a novel of this size, there can be several
conflicts, which create several plot lines.  In order to answer this question, you should choose
one conflict and identify a quote or two for each of the above phases of the plot line.  To help
get you started, here are some ideas for each:

1. Exposition
   (chapter 1): any background information about the Finches, Maycomb, or the trial (which is one of
   the main conflicts).


2. Rising Action: events building up to the
   trial--the mob scene in Chapter 15; details of the trial in Chapters
   16-20


3. Climax: the verdict at the end of Chapter 21; another climax
   occurs at the end of the story with the attack on the children in Chapter 28 as a culmination to
   Bob Ewell's hatred of Atticus.


4. Resolution: events following the
   trial--gifts of thanks to Atticus in Chapter 22 or the final scenes of the novel following the
   attack.

Explain the movie Evita through a short synopsis. How did she help her country?

This film is set up as a frame story, as it is framed by the
death of Evita (Eva Peron) herself. Seeing Eva in her coffin inspires the narrator to tell us
more about her. There is a short flashback to Eva's own childhood and the troubles having to do
with the death of her father. Then we follow Eva as she makes her way to Buenos Aires and
progresses through several relationships, moving her way up the social
ladder.

Eva then meets Peron, recognizes potential, and promotes him
through her radio program. The people of Argentina become enamored of the couple as a result of
Eva's support. Peron win the presidential election and Eva gives aid to the poor of the country.
Eva starts on her adventurous "Rainbow Tour" of other countries which begins well, but ends with
both sickness and the knowledge that the elites of Argentinian society hate her because of her
love for the poor. Eva eventually dies and our narrator is moved at her
coffin.

In short, Evita helps her country the most through her
determination to help the poor and working class of Argentina no matter what it takes to do so.
She remains an iconic figure in the country to this day.

If the sum of the first two of the five consecutive odd integers is 52, what is the sum of the last two integers?

Let the five odd integers be:

x ,
x+2 , x+4, x+6 , x+ 8

Then given the sum of the first two integers
is 52

==> x + (x+ 2) = 52

Let us
combine like terms:

x + x + 2 =
52

==> 2x + 2 = 52

==> 2x
= 50

==> x = 25

Then the first
number is 25

Then the second numbers is 25+2 =
27

The third consecutive integer = 25+ 4 =
29

The fourth integer is  = 25+ 6) =
31

The fifth integer is = 25+8 =
33

Then the sum of the last two integers
is:

 31 + 33 =
64

Who is the main character in "The Monkeys Paw?"

While the obvious assumption is that Mr. White is the main
character, an argument can be made that Herbert White is, indeed, the principal
character since he prompts his father to make a wish upon the monkey's paw, and he is
the character around whom the plot centers. 

When Sergeant
Major Morris visits his old friend, Mr. White, he pulls from his pocket a monkey's paw,
given to him by an old holy man, a fakir.  The older White asks him why he keeps it;
then, the sergeant throws the paw into the fire. Seeing the paw discarded so, Mr. White
is tempted by it and retrieves it from the fire; however, it is Herbert who, in his
frivolity, actually encourages his father to make a
wish:

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"Likely," said Herbert, with pretended horror. 
"Why, we're going to be rich, and famous, and happy.  Wish to be an emperor, Father, to
begin with:  then you can't be bossed
around."

As he runs around
the table, Mr. White takes out the paw from his pock and "eyed it dubiously."  This
action indicates that he has had no intention of using it--at least immediately. 
Herbert encourages him,

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"If you only cleared the house, you'd be quite
happy, wouldn't you?"..."Well, wish for two hundred pounds, then: that'll just do
it."   

So, even though Mr.
White makes the fateful wishes, he is prompted to do so by his son Herbert.  And, in the
other two cases, the dire states of Herbert are what effect the wishes made by Mr. White
and drive the plot of W. W. Jacobs's story.

What is Piaget's Cognitive Development theory?

Jean Piaget's Cognitive Development theory states that human
beings are born with impulses, instincts, and reflexes just like every other animal. In humans,
however, these impulses and instinctive behaviors are the product of a higher intellectual
capacity that all humans develop both biologically and
socially.

According to Piaget, there is a scheme or pattern that all
humans follow during their biological and psychological development. It consists of four steps,
each having its own purpose and goal. Depending on how well-adjusted is the individual to his or
her environment, the development will carry on successfully.

The
steps are:

1. Sensorimotor
   stage (Infancy). This is the stage with which we mostly associate the behavior of
   babies. This state alone is subdivided among 6 sub-stages. It is characterized by the discovery
   and exploration of the immediate environment, for the small connections that begin to be made,
   and for the use of memory, movement, and early language. Sensory means "feelings,emotions,
   senses", and motor stands for "mobility". Hence,the name of the
   stage.


2. Pre-operational stage (Toddler
   and Early Childhood). This stage refers to the growing period that pertains to children that are
   2-4 years of age. It is characterized by the child's use of objects to build understanding
   through concrete representations that expand the imagination. During this time children also make
   conclusions based on what they immediately perceive (for example: All apples are red, or
   chocolate milk is already brown, etc). This is the stage of the challenging ages known as the
   "terrible two's and the "trying three's". Its complete, primal
   experimentation.


3. Concrete operational
   stage (Elementary and early adolescence). This is the school-age to High School
   stage in which most of the individual's intellectual development and social interaction occur.
   The operational thinking also develops, meaning that children of this age group are able to
   build, produce, and perform an action, and are also able to reverse it, if needed be.
   


4. Formal operational stage
   (Adolescence and adulthood). During this stage one experiences the responsibilities of high
   school, college, and young adulthood. It is a time where students can operate in the abstract,
   and do not need that many concrete representations to understand a concept. This last stage
   continues to develop throughout life.

Piaget's theory is
the backbone of most educational theories today. It is accepted that students will go through a
series of developmental and cognitive changes that will necessitate for a standardized way to
develop instruction based on those needs.

Although society is
changing as a whole, and the field of psychology consistently finds new information about the
human brain, Piaget has consistently served as the accepted foundation on which new strategies of
academia are created, and tested.

What are a few examples of Pip's being lonely through his own fault in Great Expectations by Charles Dickens?

In this novel, Dickens explores the theme that money does not
lead to happiness.  Pip is born poor, but he does have a family.  Although his sister is abusive,
his uncle Joe is kind and caring.  When Pip encounters his first opportunity, visiting Miss
Havisham to “play” with Estella, he takes it to help his family but also to escape them.  He
misses his parents and his siblings, all dead.

When Pip is offered
the opportunity to leave and become a gentleman, he takes it without looking back.  He has a
chance to become a gentleman, and leave poverty behind.  He is also leaving Estella behind, but
he does not realize it.  Since Miss Havisham is the only person he knows with money, he assumes
that she is his benefactor and he is being groomed to be a mate for
Estella.

Estella is the first example of the lonliness of Pip’s new
life.  Although he is hired to be her companion, he is really being used by Miss Havisham to
teach Estella how to be cruel to men.  She is learning how to break hearts, as Miss Havisham’s
was broken so many years ago.  Estella is a constant tease, and Pip falls in love with her but it
is a one-sided and unsatisfying relationship.

When Pip reaches
London, he encounters true loneliness.  Jaggers looks out for him because he is paid to, and
Jaggers is another completely unfulfilling relationship.  Jaggers is so carefully guarded that he
does not become close to anyone, and although he does keep Pip close it is out of obligation and
not friendship.  Pip meets some good people in London, including Herbert and Jaggers’s clerk,
Wemmick.  Even Wemmick is faily guarded though, because he only shows his true nature at home and
not around Jaggers.

Pip makes few real friends in London, and
encounters the false friendships of “gentlemen” more and more often.  He is constantly teased by
Estella, and still harbors hope of marrying her.  He rejects his real family, including Joe.  He
later regrets this, wishing he had found someone like Biddy rather than hopelessly fawning for
Estella.

When Magwitch comes back into Pip’s life, the gig is up and
everything turns to chaos.  Pip loses every connection to the world of gentleman, but in the end
he is relieved.  He realizes that family is what’s real, and what’s important.  Whichever ending
you go by, it is safe to say that Pip continues to leave a pretty lonely
life.

This chapter begins on the same optimistic note that ends the previous chapter. On what kind of note does the chapter end?Chapter 19 , The Scarlet...

Near the end of Chapter XIX of The Scarlet Letter Hawthorne
writes,

So it ever is,
whether thus typified or no, that an evil deed invests itself with the character of doom.  Hester
next gathered up the heavy tresses of her hair, and confined them beneath her cap.  As if there
were a withering spell in the sad letter, her beuty, the warmth and richness of her womanhood,
departed, like fading sunshine; and a grey shadow seemed to fall across
her.

Hester and the Reverend
Dimmesdale have stood admiring the beauty of their daughter, who, in harmony with nature, seems
even more splendid; now, Pearl, the reminder of her sin of passion, demands that her mother take
up the scarlet A that floats in the brook and replace it upon her bosom. 
With the replacement of the reminder of her sin, Hester loses again her beauty. And, "the blush
yielded to a deadly pallor" on the minister, as well.  Pearl impetuously kisses the replaced
letter on her mother, but runs to the brook and washes off the kiss that the minister has placed
upon her forehead.  Then, Pearl stands apart from them.  The forest holds the secret of all that
has happened, and the

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melancholy brook would add this other tale to the mystery
with which its little heart was already
overburdened...

''and will not murmur
with any cheerfulness for ages heretofore."  A sense of gloom hangs over Chapter XIX as the
Reverend Dimmesdale retains his secret sin.  Signifying this, he holds his hand over his
heart.

Explain Macbeth’s battle strategy in Act 5, Scene 4. Why is he forced to adopt such a plan?

Macbeth's battle strategy in act 5 scene 4 is suggested by
Old Siward :

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We learn no other but the confident
tyrant

Keeps still in Dunsinane, and will
endure

Our setting down before
't.

Even after the junction
of the two armies, the defection of thanes, and the desertion of common soldiers,
Macbeth remains confidently confined in the castle of Dunsinane, waiting for the the
rebel command, led by Malcolm, to launch its offensive. Since most of the nobles and
soldiers of Scotland have deserted Macbeth, and the remnants of Macbeth's garrison have
already gone over to Malcolm in their hearts, the tyrant can not come out in the open
country to initiate the attack. Furthermore, Macbeth still believes in the prophecy of
the third apparition that the Birnam Wood can never come to Dunsinane, and so he shall
remain invincible.

What are some literary and figurative devices used in "Birches" by Robert Frost?

Like most of Robert Frost's poems, "Birches" uses a steady
meter, in this case a classic "blank verse" of 10 syllables per line.   Frost once said
that writing poetry without a set meter (free verse) would be like playing tennis
without a net.

Some of the figurative devices in this poem
are as follows.

a) Metaphor
(comparisons that do not use the word "like" or
"as"):

the stir cracks and crazes their
enamel.

(The branches of birch trees are not made
of enamel, of course.  The poet is comparing their hard, iced-over surface to
enamel.)

Soon the sun’s warmth makes them shed
crystal shells
Shattering and avalanching on the snow crust—
Such
heaps of broken glass to sweep away

(The poet
compares bits of broken ice to "heaps of broken glass".)

b)
Alliteration (The repetition of initial consonant
sounds)

They click upon themselves
As
the breeze rises, and turn many-colored
As the stir cracks and crazes their
enamel.
Soon the sun’s warmth makes them shed crystal
shells
Shattering and avalanching on the snow
crust—

(In these 5 lines, a total of 6 words begin
with a hard "c" sound.  Perhaps the poet wants to imitate the clicking of the
ice-covered branches, in which case it is an example of
onomatopoeia.)

c) Simile
(Comparison using the word "like" or
"as")

trailing their leaves on the
ground
Like girls on hands and knees that throw their
hair
Before them over their heads to dry in the
sun.

d) Personification
(speaking about inanimate objects and concepts as if they were
human)

I was going to say when Truth broke
in
With all her matter of fact about the ice
storm,

("Truth" is referred to as a female person
who interrupts one's thoughts.)

e)
Anaphora (the repetition of words or
phrases)

One by one he subdued his father’s
trees
By riding them down over and over again
Until he took the
stiffness out of them,
And not one but hung limp, not one was
left
For him to conquer. He learned all there was
To learn about not
launching out too soon
And so not carrying the tree away
Clear to
the ground.

(In this little section, the words
"one" and "not"  are used 4 times each.)

At what points on the graph of x^2+2y^2=1 is the tangent line parallel to the line y=x+7?

x^2+2y^2=1 To find  the point on the graph where the
tangent line is || to y = x+7.

A line y = mx+c is a secant
line to the curve x^2+2y^2 = 1 intercepting at two points as the curve is a 2nd degree
equation.

But suppose this secant line is parallel to the
line y = x+7, then m = 1.

So we consider the possibilty of
the tangent line from the family of secant lines y = x+c  whose  slope is
1.

Substituting y = x+c in (1) we get: x^2+ 2(x+c)^2 =
1.

x^2+2x^2+4cx +2c^2 -1 =
0.

3x^2+4cx+2c^2-1 =
0.....(1).

When the discriminant of eq(1) . that is,
 (4c)^2 - 4(3)(2c^2-1) = 0 , the secant line makes only one single coinciding double
point intercept. So the secant line becomes tangent  for this value of
c.

Therefore (4c)^2 - 4*3*(2c^2-1) =
0.

16c^2  -24c^2 + 12 =
0.

12 = 8c^2.

c^2 = 
(3/2).

c^2 = 3/2.

 c =
sqrt(3/2), or

c =
-sqrt(3/2).

From (1)  x =  {-4c +or-
sqrt(discriminant)}/(2*3)

x = -2c/3  , as discriminant is
zero.

x1 = -(2/3)(sqrt(3/2) ,
or x2 = -(2/3) sqrt(-5/6) = (2/3)
sqrt(3/2).

When x = x1 = -(2/3) sqrt(3/2)
, y = y1 = (-2/3)(sqrt(3/2) +(-sqrt(3/2)) =
(-2/3-1)sqrt(3/2) =
-(5/3)sqrt(3/2).

When x = x2 =
(2/3)sqrt(3/2), y=y2 = x+sqrt(3/2) = (2/3)
sqrt(3/2)+sqrt(3/2) = (2/3+1) sqrt(3/2) = (5/3)
sqrt(3/2).

Therefore there are
2 points, {-(2/3)sqrt(3/2) , -(5/3)sqrt(3/2)} and {(2/3)sqrt(3/2) , (5/3)sqrt(3/2)} 
where the tangent lines are parallel to y =
x+7.

The two
tangent lines are  y = x+sqrt(3/2) or y = x-sqrt(3/2).

Describe three key moments in morrie's childhood, and how did each help define his outlook later in life in Tuesdays with Morrie?

If I were doing this assignment, I would focus
on:

1.  The death of Morrie's mother.
Morrie internalizes his grief because he doesn't know how to share it
with others.  He is stuck in the denial stage of grieving here.  Coping with her death
eventually causes Morrie to become a member of a community later in life, namely a
member of academia focusing on the social sciences.

2.
 The rejection of his father. His father would wait until
Morrie was asleep before he entered the house.  This disturbs Morrie, peaking his
interest in psychology and counseling.  More, it sparks in Morrie the need for
communication and talk as therapy.  His father's rejection only causes Morrie to be that
much more of a caring and loving father.

3.
 The love of his stepmother. She re-instills a love of
compassionate talk in the boy.  She is a surrogate mother who teaches Morrie to be a
reflective and caring educator.  Without her, Morrie might have turned to anger and
denial in the grieving process of his mother's death.  Instead, he accepts her death and
learns to trust another mother.

In In Another Country, how is the Major different from the other wounded men?

The most important difference between the major and the other
wounded men is that the major is older than the other men.  This is true both chronologically (we
assume) and mentally or emotionally.

We can know that the major is
older partly because he is a major -- a rather higher rank than the others have and therefore
probably older.  We can also see it from the fact that the narrator refers to the others as
"boys" who are the same age as he is.  He does not refer to the major in that
way.

The major is also at a different level than the boys in terms
of his mental state.  He is much more serious and mature than they are.  He has been a champion
fencer.  He is married.  He does not go hang out with the younger men after they have worked on
the machines.

The major is on a different plane than the others in
terms of his physical age and his mental/emotional seriousness and maturity.  This is one reason
why he is the one whose circumstances end up being the most tragic -- he is the one who would
feel things most profoundly because of his mental and physical age.

How did Hegel's ideology influence marxism?

It is Hegel's vision of how history is formed that has a
profound impact on his student, Marx.  The notion of the dialectic as helping to reveal the
essence of historical consciousness is an important element in Hegelian thought.  The revelation
of synthesis from a collision of thesis and antithesis are elements that appealed to Marx.  Hegel
saw this phenomenology as something organic, gradually evolving within every thesis lay its
antithesis.  Hegel's depiction of it is akin to a flower shedding its pedals, revealing a new
essence.  Marx was fascinated by this, "standing Hegel on his head," through his assertion of
economic and material wealth into the dialectic, forming dialectical materialism.  In Marx's
depiction the dialectic is more curt and direct where thesis (capitalism) collides with
antithesis (lack of wealth) and within it evolves a new nature of reality (socialism).  The same
principles of the dialectic are present, but depicted in a more mathematical manner.  Hegelian
dialectics play a major role in the formation of Marx's thought and his belief on how material
reality will eventually move into a classless realm.

Talk about the irony reflected in Helene Johnson’s “Sonnet to a Negro.” With reference to the images used.

To me, the general irony in the poem lies in the
simultaneous praise and scorn of this "Negro in Harlem."  Written in 2nd person, the
speaker communicates directly with an unnamed black man or woman, assumedly walking down
the streets of New York during the Harlem Renaissance.  Words like "magnificent," 
"perfect body," and "splendid" praise this person's natural beauty.  "Your head thrown
back in rich, barbaric song" and "I love your laughter," draw from more primitive
African images and praise this person's pride in identity.  In one reading, it sounds
very much like a thematically accurate poem for the Harlem Renaissance.  It sounds like
a celebration of individuality and heritage, and encouragement to stand tall and
proud.

However, mixed with these images of praise are
negative images and negatively charged diction which suggest a tone of scorn.  The
phrases "Pompous gait," and "Small wonder that you are incompetent to imitate those whom
you so despise," have a slight suggestion of something
negative.

Don't read it wrong, however.  The
speaker does not scorn the individual of whom he speaks.  Instead,
the negatively charged diction plants the already present seed of scorn which existed
between black and white people during that time.  Black Americans were struggling with
the balance between being fully themselves and loving who they were, and being hated and
scorned for exactly that by white people.

This poem manages
to capture both the black and white sentiments together.  The irony lies in the blending
of these sentiments.  It is sadly ironic, afterall, that the very thing that makes some
people who they are, is what makes others hate them.

Could you analyze the theme of death in The Metamorphosis?Justifications should be included in the answer.

I wonder whether we can approach this theme through
discussing another theme, which is that of escape. It is clear that Gregor's life is one
of unsatisfying and unfulfilled drudgery. We are presented with a central protagonist
who wishes to escape the dreariness of his existence, and at first, becoming transformed
allows him to do that. Gregor is able to stay in his room and crawl around, something he
seems to initially find enjoyable. And yet, as time goes on, this is something else that
he seems to find problems with, and so he craves the ultimate "escape." Perhaps it is
only in his death that he is truly free.

Consider how his
death is described in the short story:

readability="11">

He soon discovered that he could no longer budge
at all. He was not surprised, it even struck him as unnatural that he had ever succeeded
in moving on these skinny little legs. Otherwise he felt relatively comfortable. His
entire body was aching but it seemed to him as if the pains were gradually fading and
would ultimately vanish altogether. He recalled his family with tenderness and love. His
conviction that he would have to disappear was, if possible, even firmer than his
sister's.

Death is something
that Gregor wishes and desires, and he sees it as a release - from pain and above all
from the miserable existence that he has lead - both in his transformed state and
before.

Why did Alice Sebold decide to bring susie back in the body of Ruth? (The Lovely Bones)plot choice

In the story Susie is left in a void where she can not
move forward nor backward.  She has some things that have been left undone and one that
is mentioned is her desire to have kissed.  She has never had her first kiss.  She was
taken away by the man who killed her.  In order for her to move forward and to give her
that one special part of the transition from childhood into adolescence the author used
the kiss as the representation of the transition.

For Susie
the kiss was also a transition form the earthly things that she had to leave behind to
the process of letting go which would enable her to go to her real heaven and not just
the temporary place.  By allowing Susie to be in Ruth's body, she could have access to
the final things that kept her earth bound.

3, -2, a, b, -17 are terms of an A.P find a and b

3, -2, a, b, -17  are terms of an
A.P

Let us calculate the common difference
(r).

r= -2 - 3 = -5

==>
r= -5 

Now we know that:

a3 =a
= a1 + 2*r 

          = 3 +
2r

          =  3 +
2*-5

           = 3 - 10 =
-7

==> a=
-7

also:

a4 = b
= a1+ 3*r

             = 3+
3*-5

              = 3 -15 =
-12

==> b =
-12

Then
,

3, -2, -7, -12, -17    is an A.P with r =
-5

In "Just Lather, That's All," when did the narrator last cross paths with Torres?

We are given the answer to this question as the narrator begins
too apply the lather to his face. The narrator comments that he had never been so close to
Captain Torres before in his life. The only other time that he had come face to face with him was
during what Captain Torres defines as his "fine show," when he had caught, punished and executed
some of the rebels that the narrator supports for the "pleasure" and "enjoyment" of the whole
town:

The day he
ordered the whole town to file into the patio of the school to see the four rebels hanging there,
I came face to face with him for an instant. But the sight of the mutilated bodies kept me from
noticing the face of the man who had directed it all, the face I was now about to take into my
hands.

Thus at the time the shock and
the horror of what Captain Torres had done to the rebels prevented the narrator from studying
closely his face - something that he now has ample opportunity to do.

Prove that if ab>0, then the equation a/x-1 + b/x-3 = 0 has at least 1 solution in the interval (1,3)

To prove that  a/(x-1)+b/(x-3) = 0  has a solution in the
interval (1 ,3).

Multiply both sides of the give equation
 by (x-1)(x-3):

a(x-3) + b(x-1) =
0.

ax-3a+bx-b = 0.

Add 3a+b to
both sides:

ax+bx =
3a+b.

x(a+b) = 3a+b.

x =
(3a+b)/(a+b).

x =
{3(a/b)+1}/(a/b+1)........(1)

Since ab> 0,  a and b
are of the same sign. Therefore  0 < a/b < 1 Or a/b
>1.

If a/b> 1, then   2
<{3a/b+1}/(a/b  +1) <
3....................(2)

If a/b = 1, then (3a/b +1)/(a/b
+1) = (3+1)/(1+1) = 2.....(3)

If 0 < a/b <1 ,
then 1 < {3(a/b) +1}/((a/b)+1) <
2..........(4)

From (1) and (2)  we see that whenab
> 0 and  a>b  there is solution in (2,3)
.

From (1) and (3) when  ab> 0 a = b , there is a
solution x =2.

From (1) and (4) , when ab> 0, a
< b rhere is a solution fox in (1 , 2).

Combining
the 3 cases, when ab> 0 , x has a solution in (1,3)

In Chapter 14, what is the Sealand philosophy in The Chrysalids?

It is in Chapter 14 that Rosalind and David are close
enough to the woman from Sealand to be able to communicate with her themselves, rather
than relying on Petra to communicate for them. Chapter 14 thus contains a description of
how the Sealanders view themselves and humans without their telepathic gift. In response
to Rosalind's question about who they are, the woman
responds:

"We
are the New People - your kind of people. The people who can think-together.
We're the people who are going to build a new kind of world - different from the Old
People's world, and from the
savages."

It is clear that
the woman regards the survivors of the Tribulation as "savages" and considers her "kind"
to be better than the Old People who existed before the Tribulation that ended
civilisation as we know it. According to her, the Old People (us) were an "inadequate
species" for many reasons, but primarily because of their inability to think together in
the same way that the "New People" are able to now. Thus the philosophy of the
Sealanders is that they are a superior, evolved form of human being, the butterfly that
has emerged from the chrysalis that the rest of humanity is in at the moment, and thus
they are destined to be the new rulers of the world who can make a better world than the
Old People.

Explain what Twelve Angry Men has to say about justice for the individual.

Rose's work argues that the most basic benchmark of our
system of justice is ensuring a sense of fairness within the law for the individual. 
Justice is defined as an ability to ensure that all individuals are presumed innocent
until proven guilty.  In the end, the play shows and highlights this theme.  While some
of the jurors are either unfit for service, or prove to have their own subjective
experience blind them from such a reality, the play does show that all jurors have to
work together to ensure that the due process of the individual is fully grasped and
understood.  In this light, justice is something that has to be pursued, as individual
temperament and disposition might subvert it.  Justice cannot be something that is
openly and easily accepted, or taken for granted.  Instead, it is something to be
embraced carefully and done so with a disposition that protects the idea that the
individual is entitled to fairness within the law.

What are the gothic ingredients for "The Monkey's Paw"?

To me, there are at least a couple of aspects of gothic
literature in this story.  They are A) horror and B) a focus on the supernatural or
imaginary rather than on things that can actually happen in our
world.

If you think about this story, it all revolves
around the idea that this monkey's paw could actually have the power to grant wishes. 
It has a spell put on it that allows this to happen.  This is clearly
supernatural.

Next, look at what happens to the Whites in
this story -- very horrible, right?  There is an atmosphere of horror as soon as the paw
comes out.  Then we have Herbert dying and, at the end, the implication that Herbert has
come back as some sort of zombie or something.

So we have
horror and the supernatural -- major aspects of gothic
literature.

In The Merchant of Venice, Act II, what is stopping Launcelot Gobbo from running away?

Launcelot opens Act II, scene ii in an internal argument between
his conscience and "the fiend at [his] elbow."  One, the fiend, is tempting him to run away, and
one, his conscience, is cautioning him to remain "honest" and "scorn running with [his] heels." 
He concludes with the decision to go with the fiend.  He says:

readability="7">

The fiend gives the more friendly counsel.  I will run,
fiend!  My heels are at your command.  I will
run.

But at this moment, he meets up
with his father whom he recognizes, but does not recognize him.  After much convincing of Old
Gobbo that he, Launcelot, is indeed his son, Launcelot reveals his plan to run away and serve
Bassanio.

Bassanio enters and agrees to have Launcelot serve him,
but instructs him to return to his former master and leave his service in an honest way.  And so,
Launcelot does not run away, but returns to take his leave of Shylock and change a Jewish master
for a Christian one.

1.Given the inequalities I. 3x-y-2 III.x-6y(_>)-28 (2,5) satisfies 2. can a graph be plotted for the inequality...

To verify if the point (2,5) is the solution of the system
of inequalities, we'll simply substitute x by 2 and y by 5 in each inequality, as it
follows:

3*2 - 5<5

6 -
5 < 5

1 < 5

So,
(2,5) verify the first inequality.

II. 2*2 - 3*5 >
-2 4 - 15 > -2 -11 > -2 As we can notice, -11 < -2, so the interval
(2,5) doesn't verify the second inequality. III. 2 - 6*5(_>)-28 2 - 30 = -28 -28
= -28 The interval  (2,5) verify the 3rd inequality.

To
plot the graph, we'll have to re-write the
inequality.

3x-4y-8 >=
0

We'll isolate -4y to the left side. For this reason,
we'll subtract 3x - 8 both sides:

-4y >= -3x +
8

We'll multiply by -1 and we'll change the direction of
the inequality:

4y =< 3x -
8

We'll divide by 4:

y
=< 3x/4 - 2

Now, we'll input values for x and we'll
find values for y.

What was the Kansas crisis?

I assume that you are talking about the crisis in Kansas
during the time just before the Civil War.  This is a time or incident that is often
referred to using the term "Bleeding Kansas."

Because of
the Kansas-Nebraska Act of 1854, Kansas was going to get to vote on whether it wanted to
be a free territory or a slave territory.  What this led to was partisans of both sides
trying to make sure they had a majority in the territory before the vote happened.  This
often led to acts of violence against the other side -- there were infamous massacres
committed by people on both sides.

So, this was a crisis in
which violence and other means were used to try to get a majority in Kansas for either
the pro-slavery or the anti-slavery side.

Could you tell me about about Atticus, Mayella, and Bob Ewell during the trial? Please reply as soon as possible... thank you for your help

In describing Mayella, on the first page of chapter 18 Lee
says of her,

readability="10">

"she seemed somehow fragile-looking, but when
she sat facing us in the witness chair she became what she was, a thick-bodied girl
accustomed to strenuous labor... Mayella looked as if she tried to keep clean, and I was
reminded of the row of red geraniums in the Ewell
yard."

These descriptors
demonstrate that Mayella maybe lived in a circumstance that was certainly not of her
choosing. She seems as if she wanted to be feminine, but had to play a role that gave
her great work. She made effort to be presentable and fit as best she could the
definition of "woman" but unfortunately, that wasn't really
possible.

Her responses in the courtroom further
demonstrate an inability to endure common courtesy, something a regular Southern woman
would handle quite well. When Atticus used "ma'am" and "Miss Mayella" she took it
offensively. She had practiced her responses and got confused between the truth and
lies. This is a lonely girl, who due to her father's poor choices lacked friends,
intellect and love.

Robinson was as honest as he could be.
Chapter 19's first paragraph describes Tom with these
words:

"Thomas
Robinson reached around, ran his fingers under his left arm and lifted it. He guided his
arm to the Bible and his rubber-like left hand sought contact with the black binding. As
he raised his right hand, the useless one slipped off the Bible and hit the clerk’s
table."

Tom's obvious flaw is
that he is a cripple. In this circumstance his flaw should arise as a benefit. But the
jury doesn't seem to see it that way.

Trial chapters are
17-20 if you want to dig for some good quotes.

Discuss the conflicts in Misery by Stephen King.

I think that we can see several conflicts of note in King's
work.  One of the most foundational is the relationship between artist and public.  The conflict
between what Sheldon wishes to have his own privacy or his own right of how his work develops and
the public, in the form of Annie, occupies a centrally important role in the work.  The collision
between what an author wants to do in terms of their own creation and composition of work and
what the public expects of them.  This creates a conflict in terms of being able to utilize
freedom and how that is contingent on the public.  Another conflict is the differences between
Annie and Paul and how they each approach Misery, as a character.  On a larger level, I think
that there might be a conflict present between how King view his gift of writing and the "devil
within the details."  When King writes that the work is a "love letter" to his fans, one can see
where there is a conflict created between the author and how the public perceives him.  I think
that this might be another conflict present in the novel.

I am looking for quotes of the three prophecies the apparitions give to Macbeth in Act IV of Macbeth. What were Macbeth's reaction to these...

This is Act IV, scene i, when Macbeth visits the Witches
to demand that they answer his questions, so the prophecies are prompted by Macbeth
himself in this act, which differs from Act I, when the Witches accost Macbeth and
Banquo with their predictions.

The first apparition, an
"armed Head" that appears in response to Macbeth's thought,
says:

. .
.beware Macduff.

Beware the Thane of Fife.  Dismiss me. 
Enough.

In response, Macbeth
says:

. . .for
thy good caution, thanks.

Thou hast harp'd my fear aright.
. .

So, Macbeth already
suspects that Macduff is his enemy.

The second appartition
is a bloody child.  It says:

readability="11">

Be bloody, bold, and resolute. .
.

. . .for none of woman
born

Shall harm
Macbeth.

Macbeth

Then
live Macduff; what need I fear of
thee?

But Macbeth decides to
go ahead and kill Macduff, just to be sure that he cannot hurt him.  (This, we find out
in the next scene, is not possible, since Macduff has fled to
England.)

The third apparition is a crowned child with a
tree in his hand who says:

readability="16">

Macbeth shall never vanquish'd be
until

Great Birnam wood to high Dunsinane
hill

Shall come against
him.

Macbeth

That
will never be.

Who can impress the forest, bid the
tree

Unfix his earth-bound root? . .
.

. . .and our high-placed
Macbeth

Shall live the lease of
nature.

So, Macbeth assumes
that, since trees can't grow legs and walk, he won't be defeated and killed in battle. 
He tries to find out one more thing:  "shall Banquo's issue ever/Reign in this
kingdom?"  But the apparitions will offer no more information.

Solve for x if 3 - log x = log 10x - 3

3 - log x = log 10x - 3

To solve
the logarithm function , first we will combine constant terms of the left side,and the logarithm
terms of the right side:

==> 3 + 3 = log 10x + log
x

==> 6 = log 10x + log x

From
logarithm properties, we know that:

log a + log b = log
a*b

==> 6= log 10x*x

==>
6 = log 10x^2

Now we will use the same properties to
re-write:

==> 6 = log 10 + log
x^2

But we know that log 10 =
1

==> 6 = 1 + log x^2

Subtract 1
from both sides:

==> 5 = log
x^2

We know that log a^b = b*log
a

==> 5 = 2*log x

Now we will
divide by 2:

==> 5/2 = log
x

==> log x = 5/2

Now we will
re-write using the exponent form:

==> x =
10^(5/2) = 316.23 ( approx)