Find the perimeter of the triangle whose vetices A(2,3) B(-1, 4) and C (-4,-6)

Given the triangle ABC such
that:

 A(2,3) B(-1,4) c(-4,-6) are the
vertices's.

To find the perimeter, we need to calculate the length
of all 3 sides:

We will use the following distance
formula:

D = sqrt[( xA-xB)^2 + (
yA-yB)^2]

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

               = sqrt(9+1) =
sqrt10

==> AB=
sqrt10

AC = sqrt[(-4-2)^2 +
(-6-3)^2

      = sqrt(36+ 81)

       =
sqrt(117)

AC =
sqrt117)

BC= sqrt[(-4+1)^2+ (
-6-4)^2

     = sqrt( 9 + 100)

      =
sqrt(109)

BC =
sqrt(109)

==> The perimeter
is:

 P = AB + AC +
BC

     = sqrt10 + sqrt117 +
sqrt(109)

       = 24. 42 (
approx.)

Then the perimeter is 24.42

In "The Mask of the Red Death," how does setting reflect something specific about the main character? Please provide text to back-up the question.

In Edgar
Allan Poe's "The Masque of the Red Death," the Gothic setting in an old abbey borders on
magical realism in which the line between what is real and what is not is worn away,
replaced with a setting that is both at the same time.  There is an eerieness to the
rooms, an other-worldliness to the "multitude of gaudy and fantastic appearances."  The
panes of the windows appear blood-tinted, "ghastly in the extreme."  The phantasms
abound in this abbey;  There is a gigantic clock of ebony which emits a sound that is
both musical and disconcerting.  

The giddiest grew pale,
and the more aged and sedate passed their hands over their brows as if in confused
reverie or meditation.

The
glare and shadows and glitter, the arabesque figures with "unsuited limbs," and the
madman fashions and beautiful and wanton all turn and twist through the seven chambers. 
Poe writes, "In truth the masquerade license of the nights was nearly unlimited."  But,
as the "mad revelers" feel the presence of the gaunt fighre who seems to have come from
the grave.  Yet,

readability="6">

The mask which concealed the visage was made so
nearly to resemble the countenance of a stiffened corpse that the closes scrutiny must
have had difficulty in detecting the
cheat.

The Red Death's
appearance is as a masqued personage, as well.  The company feels that "in the costume
and bearing of the stranger neither wit nor propriety existed."  He is an interloper. 
Angered the Prince Prospero addresses him, "Who dares?"  Yet, no one will touch him
because of a "deadly terror." The masqued intruded makes his way through the seven
rooms until he is in the black room: 

readability="11">

...the Prince Prospero....rushed hurriedly
through the six chambers....He bore aloft a drawn dagger...There was a sharp cry--and
the dagger dropped gleaming upon the sable carpet, upon which, instantly afterwards,
fell prostrate in death the Prince Prospero....And now was acknowledged the presence of
the Red Death.  He had come like a thief in the
night.

Only the Prince has
dared to enter the black room; only he has tried to kill death in the form of the masked
skeleton. 

In "Sonny's Blues," please explain the last sentence.

The last sentence of this excellent short story is actually an
allusion to The Bible and is used to denote the way in which Sonny has made
peace and gained understanding both with himself and with his brother. After a story that talks
about the various misunderstandings and animosity that has existed between Sonny and his brother,
it is only at the end, when Sonny takes his brother to hear him play jazz so that he can
understand how important it is to him, that the narrator makes peace with him, as symbolised when
the narrator buys drinks for his brother and the other musicians on stage. Note how the story
ends:

For me, then, as
they began to play again, it glowed and shook above my brother's head like the very cup of
trembling.

This is a reference to
Isaiah 51:22 where is says, "I have taken out of thine hand the cup of trembling... thou shalt no
more drink it again." Thus this allusion signifies how Sonny has overcome his various problems
and sufferings and found release through his music, and likewise how his brother has made his own
peace with Sonny and how attached he is to jazz music.

"Beauty is truth, truth beauty" - explain.

Oh, boy- Is this one tough!  You have identified one of
the most debated and analyzed lines in all of poetry, and probably of written thought. 
If anyone claims to know what these lines mean, I think they are not being fully
transparent.  The fact of the matter is that Keats' closing line is open to wide
interpretation.  I think that he would have wanted it this way, as it enhances the feel
of negative capability in the poem. This condition stresses that there is an aspect of
unknown in human consciousness, a significant part or experience in what it means to be
human that will not be entirely grasped and this is something that is not only present,
but also good.  It is this condition that applies to the poem and the closing lines. 
The vision on the urn is static, not changing, and one where the lines make sense.  The
condition featured in art is that "beauty is truth, truth beauty," because art is a
snapshot, a moment in time.  Within art, this is understood.  It is when we step outside
of art, when the human consciousness is fluid and dynamic, and when situations arise
that are complex- at these moments, it is difficult to fully understand the meaning of
the line and how truth and beauty are to be defined.  This is where challenge arises,
and does so in examining the lines of beauty and truth.  In the end, Keats might be
saying that the reason why one should be devoted to creating art is that it is the only
realm where "beauty is truth, truth beauty" is evident and where one might even have a
chance of grasping such concepts, if only for a fleeting
instant.

Chapter 19 when asked "Did you resist her advance?", Tom answered "I tried to 'thout being' ugly to her. What does he mean by this ?

Harper Lee did an excellent job of using dialect throughout her
novel, To Kill a Mockingbird.  The quote you have referred to here is an
example of the Southern dialect used by Tom Robinson as a member of Maycomb's African-American
society and culture. 

When Atticus asks Tom Robinson if he
"resist{ed} her advance," he is simply asking if Tom Robinson tried to escape Mayella Ewell's
romantic advances and attention.  In other words, Atticus wants to know if Robinson welcomed
Mayella's hug and kiss, or if he discouraged such actions.  In return, Robinson states that he
tried to resist Mayella's attempts.  When he says that he "tried to 'thout being' ugly to her,"
he means that he did not want to do anything that is considered unkind or less than nice in any
way.  "Ugly" behavior would be mean or nasty in some way.  Tom Robinson is a gentle, considerate
man and has no desire to harm anyone; Robinson feels sorry for Mayella and only wants to help
her. 

Why is that -2 X -3 = +6?

We'll recall the rules of multiplying 2
integers:

- multiplying 2 positive integers, you'll get a positive
integer, too:

(+2)x(+3) = +6

-
multiplying a positive integer and a negative integer, you'll get a negative
integer:

(-2)x(+3) = -6

(+2)x(-3) =
-6

- multiplying 2 negative integers, you'll get a positive
integer:

That is why (-2)x(-3) = +6

Would Jane Austen have been influenced by the first wave of feminists such as Mary Wollstonecraft?

I believe that Jane Austen would have been influenced by Mary
Wollstonecraft (1759-1787).

This would probably most especially been
the case with Wollstonecraft's authorship of A Vindication of the Rights of Woman, with
Strictures on Political and Moral Subjects (1792), a "radical feminist manifesto" that
was printed even before Thomas Paine's Rights of Man
(1791-1792).

Jane Austen, like Wollstonecraft, was a free-thinking
feminist who questioned the place of women within society by flouting the conventions that
limited the things women were "allowed" to do. However, Austen handled her "rebellion" in a much
more conventional way. Where Wollstonecraft struck out on her own, took work to support herself
and wrote under her own name, Jane Austen was secretive about her writing and when she published
her pieces, her name did not appear on the cover.

There is no
question, however, that Austen's female protagonists flouted convention and were heroic rather
than vulgar or scandalous as one might expect some readers of her day to react. Born in 1775,
Jane would have been approximately seventeen when Wollstonecraft's "call to arms" (A
Vindication of the Rights of Woman, with Strictures on Political and Moral
Subjects) was printed to address the inequities of society towards women. Jane wrote
her first novel at the age of fourteen, so she would also have been well read even before
Wollstonecraft's book was published.

And as a reader and educated
woman, I believe it would be logical to assume that Jane would have found a kindred spirit in the
person of Wollstonecraft, though whereas Mary would have flaunted the reading of such a book,
Austen probably would have read the book secretly, just as she completed the writing of her
novels.

Having both lived in England at approximately the same time,
and both having been associated with a wide variety of free thinkers and/or writers, I would
expect that both women, while not necessarily knowing each other, might have traveled in some of
the same "sub-circles" of society, finding themselves in the "orbits" of some of the same
literary figures of the day.

Differentiate f(x) = 2sin(x^2)*cos(x^2).

f'(x) =
[2sin(x^2)*cos(x^2)]'

We'll use the product rule and the
chain rule:

(u*v)' = u'*v +
u*v'

We'll put u(x) = 2sin(x^2) => u'(x) = 2(cos
x^2)*(x^2)'

u'(x) = 4x*cos
x^2

v(x) = cos(x^2) => v'(x) =
[-sin(x^2)]*(x^2)'

v'(x) =
-2x*sin(x^2)

We'll substitute f,g,f',g' in the expression
of product:

 f'(x) = 4x*cos x^2*cos x^2 -
2sin(x^2)*2x*sin(x^2)

 f'(x) = 4x(cos x^2)^2 - 4x(sin
x^2)^2

We'll factorize by
4x:

f'(x) = 4x[(cos x^2)^2 - (sin
x^2)^2]

f'(x) = 4xcos
(2x^2)

In as many words as possible, explain 'normal' regulation of the cell cycle in eukaryotes?Include checkpoints, cyclins, CDKs, etc. in your answer.

The cell cycle is regulated at various checkpoints in the
cycle.  At these checkpoints a sensor mechanism is responsible for analyzing the DNA 
for damage and it either gets repaired or the cell is destroyed.  A signal mechanism is
responsible for this step. Finally, an effector mechanism is responsible for stalling
the cell cycle or for the destruction of the cell.  During the G1 phase, the RP or
restriction checkpoint is when just before entering the S or synthesis phase, it is
determined whether the cell should divide, delay mitosis or enter the resting phase. If
conditions are not possible for cell division, the cell may stay in the Go phase, which
is a resting state. The restriction point is  controlled by the action of CDK inhibitor
p16, which inhibits the CDK4/6 causing it to no longer interact with cyclin D1, which is
responsible for allowing the cell cycle to proceed. When growth is induced, the
expression of this cyclin is high and they do bind which in turn stops the transcription
factor E2F from being inhibited. As this occurs, cyclin E can be expressed. This in
turn, interacts with CDK2 and allows for the cell to proceed to the Go-G-S
transition.  At the next checkpoint, or at the end of the G2 phase, the start of mitosis
will be initiated.  The CDK's at this checkpoint are activated when the CDK is
phosphorylated. This is because of MPF, which is mitosis promoting factor. This factor
will allow the DNA to begin replication. This is necessary because after mitosis, the
two daughter cells will each need a complete copy of the DNA. The phosphatase called
Cdc25 removes inhibitory phosphates in the MPF complex. This will occur only if the DNA
is not damaged. The next checkpoint is called the mitotic spindle checkpoint. This
occurs during mitosis at metaphase. During metaphase, the chromosome pairs or sister
chromatids line up in the middle of the cell. They should be under bipolar tension. This
tension is sensed and initiates the entry into the next step in mitosis known
as anaphase. Cyclin B is degraded and this allows the cell to progress into anaphase. 
Next, the anaphase promoting complex is no longer inhibited. This in turn allows the
breakdown of securin. This protein inhibits separase, which is responsible for the
separation of the sister chromatids. Finally, the cells splits into two daughter cells
and the cells will enter G1 again. The entire process of the cell cycle is like falling
dominoes. As one step occurs, it triggers the next and so on.

Blanche is called "mad" and is institutionalized in Streetcar. Elaborate on the issue of madness in this play employing Foucauldian perspective?

Like everything with Foucault, there are many different
approaches in answering this question.  The first would be the notion of division and
exclusion in society.  Blanche is declared "mad," in large part, because she is
different.  As Williams would write in another play, "too rare to be normal."  Her
institutionalization is because she is "different."  Stanley angles for Blanche to be
institutionalized through her sister in order to consolidate his own power and not be
threatened with Blanche and the formidable hold she had on her sister.  In using mental
illness as a reason to commit her, one sees the Foucaudian idea of being able to
manipulate mental illness as a way to foster division between society and the
individual.  Like  the genealogy offered in Foucault's work where there is a strict
division of those who are "accepted" and those who are rejected, the idea of the insane
person as being isolated as a way to consolidate the prevailing social order's
conception of power is one that is replicated with Blanche's own
institutionalization.

Find the area between the curve f(x) = cosx and x= 1 and x= 2

f(x) = cosx

We know that we
can obtin the area by integrting the function.

Let F(x) =
integrl f(x)

==> we know that the area
is:

A = F(2) - F(1)

Let us
integrate f(x):

F(x) = intg cosx
dx

         = sinx +C

F(2) =
sin2  +C

F(1) = sin1+
C

==> A = sin2 -
sin1

             = 0.0348 -
0.0175

               =
0.0173

Then the area btween th curveand x= 1
and x=2= 0.0173 square units.

In what genre did Kurt Vonnegut most often write?

Kurt Vonnegut began his writing career as a writer of short
stories published in local and national magazines. These stories were primarily of the science
fiction genre, and, even though he wrote a couple of science fiction novels early in his career,
he made the most money from writing the short stories.

This changed
when television swept the nation causing many people to lose interest in reading magazine stories
and serials. As a result, Vonnegut turned to writing paperback novels. Most of these were still
science fiction, but as a result of suffering tragic loss, he turned to writing autobiographical
introductions to these novels and even some general essays.

Critics
agree that within his stories' and novels' themes, Vonnegut employed satire, often asking the
question:

How can the
individual maintain dignity and exercise free will in a world overrun by death and destruction, a
world in which both science and religion are powerless to provide a
solution?

Vonnegut later went on to
republish his novels in hard cover form and to write plays and television screenplays. Later,
after his fame was firmly established, he became a much sought after
speaker.

Describe how the war to save the Union became the war the end slavery

There was also another factor that led towards a shift of
focus: military realities.  By 1863, the Union had lost hundreds of thousands of men. 
In July of 1863, the New York Draft Riots broke out after long lists of the dead of
Gettysburg were posted next to new lists of draftees.

In
other words, the Union had both a motivation and a potential manpower issue.  By
changing the focus of the war towards ending slavery, Lincoln won the unequivocal
support of northern abolitionist churches, the abolitionist movement, and northern free
blacks as well.  180,000 African-Americans joined to fight against the South, in much
higher percentages than their actual portion of the population, and were some of the
most highly motivated, hard fighting soldiers of the
war.

Also by that time, it was getting harder to sell the
idea to the American public that the war was about restoring the Union alone, as many
were starting to believe it was not worth the price.

What do you believe was the turning point of the outcome of the First World War? Why?

In my opinion, the turning point in this war was the entry
of the United States.  I hope I am not saying that just because I'm American.  My
reasoning is that the war had been stuck in a total stalemate from 1914 all the way to
the time that the US entered.  After that, the war ended rather
quickly.

The US entry was important because the US had so
many men that they could throw into the battle. When you have two sides in a war who are
so evenly that they can't move each other for years, and then you throw a huge new army
in on one side, of course it's going to make the decisive
difference.

So the US totally changed the balance of forces
available when they entered the war.  That is why I think their entry was the most
important factor in the outcome of the war.

In "The Tell-Tale Heart", what is the climax?

Your original question asked more than one question, so I
have had to edit it down to focus on the climax of this terrifying story. Let us
remember that the climax of the story comes after the rising action, where the story
reaches its high point, or the stage at which the reader is most engaged and excited
about what is happening. It comes before the resolution, when the conflict is resolved
and we are given our ending.

It is clear then that in this
story, the climax actually comes when the policemen come to visit, alerted by a
neighbour about the shriek that was heard as the narrator killed the old man.
Interestingly, at first, the narrator is completely nonchalant about their
arrival:

I
smiled - for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was
my own in a dream. The old man, I mentioned, was absent in the country. I took my
visitors all over the house. I bade them search - search
well.

The narrator clearly
feels that he has nothing to be worried about, having concealed the body. He talks of
the "wild audacity of my perfect triumph" as he revels in the fact that the policemen
sit in the same room where he has concealed the corpse. The policemen are obviously
satisfied, but stay talking to the narrator, until he begins to hear a sound, which with
terror he realises is the sound of the old man's heart, still
beating.

It is this point that is the climax, as the sound
of the heart becomes ever louder, driving the narrator insane and causing him to confess
to the murder that he would have otherwise gotten away with.

In The Scarlet Letter, give at least 2 reasons why Hester does not leave the colony.

It is curious, isn't it, that after her daughter inherits so
much money and is able to leave for the Old World, that her mother decides to stay in the colony
where her life and name are marred by the scarlet letter. And yet, as Hawthorne tells us in the
final chapter of this amazing novel, in a sense, it is perfectly logical for her to stay in the
colony:

But there was
a more real life for Hester Prynne here in New England than in that unknown region where Pearl
had found a home. Here had been her sin; here her sorrow; and here was yet to be her penitence.
She had returned, therefore, and resumed - of her own free will, for not the sternest magistrate
of that iron period would have imposed it - resumed the symbol of which we have related so dark a
tale.

Thus we are told that Hester
Prynne remained in the colony, in spite of so many reasons to leave, because she felt it was in
the colony that she should still serve penitence for her "sin." Her entire experience of sin,
sorrow and shame had been based in the colony, and she presumably felt that after these intense
experiences she would be unable to start again somewhere else.

In The Help what did Minny do to Hilly that she said she could never tell anyone when she was fired?

When Minny was working for Hilly's mother's, Hilly treated
Minny poorly and always accused her of trying to steal things from the home.  Minny was
fed-up with Hilly's disrespectful attitude, so she made a chocolate mousse pie and put
her own excrement into the mousse.  Minny would not let Hilly's mother eat any of the
pie, and insisted that it was only for Hilly to enjoy.  Hilly ate it up.  Minny was
initially excited about her revenge, but afterwards, she realized that her actions could
have severe consequences.  No one will want to hire Minny as a maid if word gets out
about what she did, and Minny fears that she will be left without a job.  But Hilly
cannot stand for anyone to know this because she too will be socially embarrassed having
to admit that she ate the pie.

Of five items, two are defective. Find the distribution of N, the number of draws to find the first defective item. What is the mean and variance.

Given is the probability of dective item = 2/5 = 0.4 = p
say

So the probability of not getting the deffective item
in a draw = 1-2/5 = 0.6 = q = (1-p) say .  Also 0 < p , q <
1

The probability of getting the 1st defective in the 1st
draw = 0.4.

Probability drawing the 1st defective in the
2nd draw = P(not getting defective  in the 1st draw)*P(getting a defective in the 2nd
draw) = qp.

Probability of getting the dective in the 3rd
draw = P(failure of getting a defective  in the 1st 2 draws)*P(sucess of getting a
defective  in the 3rd  draw.) = q^2*p

Let  x  denote the
number of draws to get the first defetive item.Then the probability of getting a
defetive in  the nth  draw = P(not getting a defective inall x-1 draw)*P(getting the 1st
defective in the nth draw) = q^(x-1)*p.

Thus the
distribution of  getting the 1st defective item in the xth draw =
q^(x-1)*p.

Mean of the distribution m = E(x) =  {sum
(x*q^x*p) for x = 1,2,3,.... } =
1*p+2*qp+3*q^2p+4*q^3*p+......

E(x) = p(1
+2q+3q^2+4q^3+.....)

E(x) =p(1-q)^(-2) = p/p^2 = 1/p
.

Therefore mean m = E(x) =
1/p = 1/(2/3) = 3/2.

E(x^2) =
1^2p+2^2*(qp)+3^2*(q^2p)+4^2(q^3p)+...

E(x^2) = p {
1+4*q+9q^2+16q^3+..}

E(x^2) = p {
(2-1)+(2*3-2)q+(3*4-2)q^2+(4*5-4)q^4+...}

E(x^2) = 2p
{1+2*3q+3*4q^2+4*5q^3+...}- p{1+2q+3q^2+4q^3+...}

E(x^2) =
2p(1-q)^(-3) - p(1-q)^2 = 2/p^2 -1/p

Therefore variance =
E(x^2) - (E(x))^2 = (2/p^2-1/p)-(1/p)^2

Variance =
2/p^2-1/p -1/p^2 = 1/p^2-1/p =  (1-p)/p^2.

But p =
2/3.

Therefore variance =
(1-2/3)/(2/3)^2 =0.75.

Find the inflection point of the function y=x/(x^2+1)

The inflection points could be found by calculating the
roots of the second derivative (if there are any).

First of
all, we'll calculate the first derivative applying the quotient
rule:

f'(x)=[x'*(x^2+1)-x*(x^2+1)']/(x^2+1)^2

f'(x)=(x^2+1-2x^2)/(x^2+1)^2

f'(x)=(1-x^2)/(x^2+1)^2

f"(x)
=
[f'(x)]'

f''(x)={(1-x^2)'(x^2+1)^2-(1-x^2)[(x^2+1)^2]'}/(x^2+1)^4

f''(x)=2x(x^2-3)/(x^2+1)^2

After
f"(x) calculus, we'll try to determine the roots of
f"(x).

For this,
f"(x)=0

Because (x^2+1)^2>0, only the
numerator could be
cancelled.

 2x(x^2-3)=0.

2x=0,
for x=0

x^2-3=0, for x=-sqrt3 or
x=sqrt3

So, the inflection points
are:

(0,f(0)),
(-sqrt3,f(-sqrt3)),(sqrt3,f(sqrt3))

Why is it that a plant species that reproduces only by self pollination can adapt better than a plant species that reproduces asexually?

The answer to your question is that in asexual reproduction
there is no exchange of genetic information to create offspring that are different from the
parents. In the case of plants, the new plants created are clones of the parent plant. It is
important for genetic information to be shared so that the new plants created have genes which
are different from the parent plant. If the new genetic make-up is better than that of the
parents, the plant is able to flourish better and the species
evolves.

Now, self pollination is a process where the same plant
provides the pollen and the egg for the new plant that is created. Though this is not as
efficient a way of improving the genes of the plant as cross pollination, it is in a way better
than asexual reproduction.

This is the reason, plants only self
pollinate when they are unable to cross pollinate. This could be due to a small number of other
plants of the same species in the surrounding environment or no medium to carry the pollen from
one plant to another.

How does the plane crash in Korean Airlines tie into culture of honor in Outliers?

Gladwell explains that the culture of honor prevents people from
admitting that they potentially may have made a mistake; also the culture of honor prevents
people in lower positions in social hierarchies from challenging the decisions of those in higher
positions. Gladwell outlines the conversation that occurred between the pilot and his subordinate
just before the crash--the subordinate knows that something is very wrong, yet he does not
directly tell the head pilot of his concerns. Instead, he attempts to allude to the problem, but
the head pilot follows his own plan. Gladwell says that the interplay between the two men is
bound by the culture of honor, so much so that the subordinate lost his life rather than break
social custom.

Discuss verbal irony and how they contribute to the theme and overall tragic vision of Oedipus the King as a whole.

You have, of course, identified what this play is
absolutely famous for and one of the reasons why it is such a work of art. The play
consists almost entirely of dramatic dialogue. But in this work what is left unsaid is
often more powerful than what is explicitly expressed. Practically every line contains a
possible double meaning or an ambiguity. This verbal irony serves to reinforce the
dramatic irony of the play, as the main characters and even the Chorus only gradually
come to grips with what is evident to the audience at the very
start.

You might want to consider some of the following
examples from the beginning of the play:

readability="5">

I learned of him from others; I never saw
him.

Oedipus here talks of
the old king Laius, who is actually his father and who he actually killed during an
altercation at a crossroads, without ever learning of his
identity.

readability="8">

Until now I was a stranger to this
tale,

As I had been a stranger to the
crime.

This speech of Oedipus
is again harshly ironic, because it is both true and not true - he is a stranger to the
tale as he does not know how deeply he has been involved. But at the same time, he is no
stranger to the tale or the crime, as he is intimately involved and convicted in
both.

It is this sense of irony that makes this play so
gripping, as Oedipus plays the role of the detective only to find that the evidence
increasingly proves that he is the victim he seeks. What heightens the irony in this
sense is the number of hunting and tracking images that Oedipus uses to describe his
pursuit of the villain - only to find that the person he is pursuing is
himself.

Find the points of intersection of the curve xy=6 and the the line y=9-3x

To find the points of intersection of the curve xy =6 and
the line y =
9-3x,

Solution:

xy =
6......(1)

y =
9-3x................(2).

We eliminate y between xy = 6 and 
y = 9-3x by substituting y = 9-3x fot y in xy=6.

x(9-3x) =
6.

9x-3x^2= 6

9x-3x^2 -6 =
0

Multiply by (-1):

3x^2 -9x +
6 = 0

Divide by 3:

x^2-3x+2 =
0

(x-1)(x-2) = 0

x-1 = 0. Or
x-2 = 0

x = 1 . Or x = 2.

To
get corresponding y values, put x= 1  in xy = 6: 1*y = 6. Or y =
6.

Put x= 2 in xy =6: 2*y = 6. So y = 6/2 =
3.

Therefore (x,y) = (1,6) or (x,y) = (2,3) are the point
of intersection of the curve xy = 6 and y =  9-3x.

What is the relation between the atomic size and electronegativity of an element?the relation between them according to their atomic size (from...

Electro negativity is the tendency of elements to attract
electrons. They form negative the negative ions when the combine with other elements.
Like NaCl has a Na+ and a Cl- ion.

As we move down along a
column in the periodic table the electro negativity decreases. This implies that as the
size of the atom increases the electro negativity decreases. It can be attributed to the
fact that the positive charge in the nucleus is shielded by more
electrons.

As we move from the left to the right across a
row the electro negativity increases. So elements like fluorine, chlorine, etc which lie
at the extreme right, just before the noble gases are the most
electronegative.

Fluorine is the most electronegative
element.

Discuss Macbeth's relationship to himself. What personal flaws led to his tragic death?why in spite of his cruel deeds and murderous ways was he...

According to Aristotle, a tragic hero must possess all of
the following qualities, which Macbeth does not.

1. The
tragic hero must possess a great character and he must fall from a high standing to a
low standing. (Macbeth falls from kingship to his death, but his character is not
great.)

2. Must possess a tragic flaw (also known as
harmatia), but is otherwise a good person. (Macbeth has unchecked ambition, but he also
becomes exceedingly cruel, which the reader cannot relate
to.)

3. The hero gains awareness after his loss. (Macbeth
does not gain awareness, in fact he loses all sense of humanity that can be noted to his
lackadaisical reaction to his wife's suicide.)

4. The
audience must feel pity and fear for this character. (By the end of the play, the
audience is disgusted with Macbeth's continued murdering spree and wishes only for him
to receive his punishment.)

The best way to
formulate a thesis statement is to take an IDEA + YOUR OPINION + WHY. For example:
Macbeth cannot be considered a tragic hero because his unchecked ambition causes the
audience to never experience pathos for his character.

Then
you formulate paragraphs to support this thesis by first choosing quotes that support
the concept. A great way to make sure you have enough commentary in your text is to
follow the SQUIDS method.

SQUIDS(A reminder of the steps in
the process of analysis and commentary)• Select• Quotation: a specific line (or
passage)from the text• Understand• Identify (explain, hold forth, etch)•
Define/Describe/Deconstruct its• Significance

In "Ode on a Grecian Urn" what two words does the speaker repeat in the the third stanza?

The two words that are repeated frequently in the third stanza
are "happy" and "forever." Remember that the speaker of the poem is commenting on a scene that he
is seeing painted on a Grecian urn, and thus he is talking about the emotions of the scene he is
looking at and how those involved in the scene will experience those emotions and joys
forever:

Ah, happy,
happy boughs! that cannot shed

Your leaves, nor ever bid the Spring
adieu;

And, happy melodist,
unwearied,

Forever piping songs forever
new;

More happy love! more happy, happy
love!

Forever warm and still to be
enjoyed.

The repetition of these two
words could be said to have two purposes. Firstly, it could emphasise the joy that the speaker
has and his enthusiasm for everlasting art, which of course the Grecian urn is a symbol of.
Secondly, it could be seen as an ironic comment on the stasis and unfulfilled passion that the
scene on the vase represents. Throughout the whole poem Keats seems to offer a certain ambiguity
surrounding everlasting art, and this could be said to be captured though the use of repetition
in this third stanza.

What can you tell me about Scout's character in the first 2 chapters of To Kill a Mockingbird?

Being the narrator, Scout tells us much about everyone
else, so we have to read in between the lines a little bit to uncover her character. She
tells the story as a 6 year old with great curiosity about the world around her and she
is telling us some very specific details so we can tell she is pretty smart. Here are
some quotes to get you going:

readability="29">

Our mother died when I was two, so I never felt
her absence. (6)

We lived in the main residential street in
town— Atticus, Jem and I, plus Calpurnia our cook. (6)

She
was always ordering me out of the kitchen, asking me why I couldn’t behave as well as
Jem when she knew he was older, and calling me home when I wasn’t ready to come.
(6)

When I was almost six and Jem was nearly ten, our
summertime boundaries (within calling distance of Calpurnia) were Mrs. Henry Lafayette
Dubose’s house two doors to the north of us, and the Radley Place three doors to the
south. (6)

Before the first morning was over, Miss Caroline
Fisher, our teacher, hauled me up to the front of the room and patted the palm of my
hand with a ruler, then made me stand in the corner until noon.
(16)

Scout obviously gets in
a little bit of trouble every here and there. But that trouble is often because she is
so smart. If you are to do a character sketch on this gal, it seems that we learn early
on that she is a tomboy, so include some overalls. Note too that she hangs out with a
couple of boys and that the removal of her mother might be contributing to her
actions.

I hope these help.

When was it women were allowed to go out drinking on their own and similar social outings?Im looking at feminism and how things have changed...

Obviously, this would have been very different for
different families and different places even within the United States.  However, the
usual answer for this is that this sort of change started in the 1920s.  Again -- this
is the sort of thing that is very hard to generalize because there are not statistics
about it and things vary widely, but that is the usual
story.

The usual story is that the advent of labor saving
devices, of lots of kinds of entertainment like movies, and of cars led to this change. 
It is said that these changes gave women the ability to go out and gave them places to
go.  As this happened, mores began to change and women were "allowed" to go out on their
own more.

What is the concept of zero-value of a resource in economics?

In economics the value of any good or service is not zero if it
has the ability to satisfy a requirement of the person who is paying to obtain it. In addition,
the good or service must be limited in nature i.e. the person should not have enough of the
resource already to satisfy his/her requirements. If these two criteria are not met, the price of
the good or service is going to be zero.

For example, for a person
trapped on a lonely island and with access to the sea, the value of sea-water is zero. He can
obtain as much of it as he requires by himself without incurring any expense. It would not be
possible to sell sea water to the person at any price above zero. This is in addition to the fact
that most probably sea water does not satisfy any requirement of the
person.

Comment upon the author's use of point of view in "Once Upon a Time."

Firstly, it is important to realize that this story is
actually a frame story, or a story within a story. Thus the point of view begins with
Nadine Gordimer herself writing about an incident when she is asked to write a story
about the "duty" of being a writer. In bed that night, she is awakened by a strange
noise. To calm herself down, she makes up a story, which marks a shift in point of view
as we move from first person point of view to an omniscient narrator. We would do well
to consider why Gordimer presents the story with this particular frame around it. When
we consider the fairy-tale element of the central story, and the way it represents a
parody in many ways of this genre, the frame story seems to highlight the message of
what the author is trying to communicate. Although the central story is written as a
tale, the opening grounds the story in reality as we are forced to remember that nothing
in the fairy tale is that long ago or far away, even from the troubled sleep of the
author herself in South Africa. Fear and the lengths that it will force us to go to are
the subject of this tale - with the accompanying tragic consequences of such an
approach. This is the impact of the shift in point of view of this excellent
story.

In To Kill a Mockingbird, is there a chapter that explains the situation of Mayella taking advantage of Tom? (Other than the case).I remember...

I don't think there is any part of this novel in which the
events regarding Mayella and Tom are occurring in real time. The events are told in
retrospect, especially the chapters you are thinking of. The events of the alleged
"crime" are told through the testimonies of the characters. For example, in chapters 17,
18 and 19, we have the testimony of Bob and Mayella Ewell and Tom Robinson. When Atticus
questions the Ewells, we can see flaws in their stories and extrapolate what really
happened. You might be referring to chapter 19, however, in which Tom Robinson
testifies. When we read about his testimony, we see that Mayella has asked him several
times for help, and it appears as if she has been flirtatious with him, although Tom is
hesitant to come right out and say that she "came on" to him. However, from his
testimony as well as Mayella's and Bob's, we can infer that Mayella had most likely
"come on" to Tom and it was at that moment that her father came upon the scene. Seeing
his daughter flirting with a black man caused Bob to lose his temper and strike Mayella.
That is why her face is bruised. Atticus shows how Tom could not have done this because
of the side of the face that is bruised. Tom has a crippled
hand.

So, I think you may be thinking about chapter 19 -
with Tom's testimony, but there are also hints as to what really happened beginning in
chapter 16, and ending with chapter 19.

What are some points about the importance of childhood relationships that are found in "Full Moon and Little Frieda" by Ted Huges?

The poetic speaker is speaking from a third person point of view
while describing the world surrounding Little Frieda as she goes out to fetch water on an early,
though dark, winter's night. (It must be early night because the cows are just now returning home
to be milked and because the water-mirror tempts a "first star" to a tremor; it must be winter
because only winter has early dark nights). The speaker describes the dark night in terms of
sounds, minute sights, and water in a bucket. Then the speaker describes the cows breath; their
physical might ("dark river ... many boulders"); the milk "unspilled" in their udders. Then
Frieda sees the moon, and the speaker describes the moon in terms of a personification in which
the moon sees Little Frieda with equal wonder, awe, and delight.

The
only aspect of "childhood relationships" that is apparent within the text is the loosely
suggested relationship between Frieda and the bits of nature near her and surrounding her in the
cosmos (e.g., dog, spider web, water, first star, moon). The most significant relationship that
is suggested is that of wonder and awe between Little Frieda and the moon, which is reciprocated
through personification between the moon and Little Frieda. The speaker is completely
unidentified, except by tone, which is one of tender admiration, and so might be any loving
individual with whom Frieda has a relationship; an omniscient impersonal speaker who is narrating
from afar; a nearby observer who may be known or unknown to Frieda. Consequently, there are no
significant indicators of "the importance of childhood relationships in 'Full Moon and Little
Frieda'," except for the one indicator of the awe-filled joy she experiences when she finds
herself unexpectedly face to face with the Moon, which was equally delighted with her through
personification.

Find the value of b if b satisfies 3=

Given the inequality 3=< 2b-3 =<
13.

We need to find all possible b values where the
inequality holds.

Let us solve the same way we solve the
equality.

==> 3 =< 2b-3 =<
13

The goal is to isolate b by itself in the middle of the
inequality.

==> We will add 3 to all
sides.

==> 3+ 3 =< 2b -3 + 3 =< 13 +
3

==> 6 =<  2b  =< 
16.

Now we will divide all terms by
2.

==> 6/2  =<  2b/2  =< 
16/2

==> 3  =< b ==<
8.

Then we notice that b values are bounded by the numbers
3 and 8.

Then, b belongs to the interval [ 3,
8].

==> b = [ 3,
8].

Calculate the diagonal of a rectangle if the base is 14 less than the height and the diagonal is 22 less than twice the height.

We'll note the height of the rectangle as
x.

The base is x - 14.

We'll
apply the Pythagorean theorem into the right angled triangle, whose cathetus are the
base and the height and the hypothenuse is the
diagonal.

We'll note the diagonal as
d.

d^2 = h^2 + b^2

d^2 = x^2 +
(x-14)^2

But, from enunciation, d = 2x -
22.

(2x - 22)^2 = x^2 +
(x-14)^2

We'll expand the squares from both
sides:

4x^2 - 88x + 484 = x^2 + x^2 - 28x +
196

We'll combine like
terms:

4x^2 - 88x + 484 = 2x^2 - 28x +
196

We'll subtract both sides 2x^2 - 28x +
196:

4x^2 - 88x + 484 - 2x^2 + 28x - 196 =
0

We'll combine like
terms:

2x^2 - 60x + 288 =
0

We'll divide by 2:

x^2 - 30x
+ 144 = 0

We'll apply the quadratic
formula:

x1 = [30+sqrt(900 -
576)]/2

x1 = (30+18)/2

x1 =
24

x2 = (30-18)/2

x2 =
6

Since the base is x - 14, the height has to have a value
> 14. For this reason, the only valid value for x is
24.

height = x =
24

base = 24 -
14

base =
10

diagonal = 2x -
22

diagonal = 2*24 -
22

diagonal = 48 -
22

diagonal = d =
26

What is the main tone of Edgar Allan Poe's story "The Black Cat?"This is for a literary analysis of "The Black Cat" by Edgar Allen Poe; my theme is...

Your definition of tone is accurate. I think that the difficulty
with Edgar Allan Poe's "The Black Cat" is that his tone is
ironic.

The definition of irony is the difference between what we
expect to happen and what really happens. The narrator starts by eliciting our sympathy, along
with establishing himself as a reliable narrator.

The narrator tries
to convince the reader that the occurrence of every day incidents lead to his fate, even when he
stabs the cat (Pluto) in the eye. By the time he kills the cat, the reader
is beginning to seriously suspect that what the narrator is saying is not
entirely accurate.

The narrator soon becomes an
unreliable voice; we discover he is in jail waiting to be executed, but it
is not until later that we realize he has committed murder—something we may not be totally
prepared for. This is another "swoop" the plot takes as the narrator weaves his tale, even as he
reports the image of the cat hanging from a noose burned onto his house's wall (which the author
explains away) when he burns his own house.

The narrator brings a
new black cat into his home. This cat, he later finds, is also blind; the white patch on its
chest begins to resemble a gallows (in the narrator's mind), and the narrator is fearful of
hurting the cat. However, one night when he swings an ax at the feline, his wife stops him, and
he goes on to strike her head with the ax. This sudden action will probably
at last convince most readers that the narrator is deranged.

In
finding a place to hide the body, the narrator seals his wife's corpse into the wall of the
basement. When the police finally arrive, the narrator (sure he won't be caught) begins to brag
about the sturdiness of the foundation, but when he strikes the spot where the body is hidden, a
sudden howl reverberates through the cellar. Opening it, they find the body
and the cat who the narrator had mistakenly sealed into the
cavity.

Here is the final irony: the cat that is so much like the
murdered Pluto is the one who exposes the narrator as a
murderer.

Perhaps we should be suspicious before we are. The
narrator does all he can to remove himself from any blame. He tries to blame "a series of
unfortunate events," and later intoxication, for the actions that have led him to this juncture.
His seeming insanity is confusing as we try to follow his story as if he were not at all
demented. What we think we learn at the story's beginning is very different that what we expect
and discover at the end. The narrator's disturbed mind makes it difficult to follow the tale. Our
confusion is not an accident: Poe has led us here.

readability="6">

Clearly the most ironic element in "The Black Cat" is the
Narrator's own perversely unrealistic and distorted view of the horrible scenario that
unfolds.

The poetic justice I see is
that poorly abused Pluto's "replacement" is the means by which the narrator is exposed to the
police.

Is Murder in the Cathedral a "modern" drama?

I believe this play's themes can be
considered "modern," and that the play itself, then, can be considered a modern
drama.

If one looks at the play literally, there are still
places in the world where it is clear that the church and state are at odds with one
another, not just in terms of disparate views, but pertaining to aggressive politics.
 For example, China has strong laws in place to prevent any
religious assembly that might cause a "disruption" to any part of
society, especially with regard to restrictive Chinese political policies. In places
like Iraq and Afghanistan, a religious group actually acts as the governing body in
those countries—and many times one country may have several different religious sects
vying for political control.

In a figurative sense, the
play is modern as it shows two powers struggling for supremacy.  In our country, there
is a constant fight for power between the Republicans and the Democrats.  Each side
believes (as did Henry II and Becket) that they are in the right.  Paranoia abounds, as
is the case with Becket's priests.  Temptation is rampant in politics, as seen with the
four Tempters in the play.

On a more philosophical level,
the play speaks to elements of the human experience: fear of death, temptation, hunger
for power, and the ultimate sacrifice for what one
believes.

If one is contemplating whether this play is
modern, and whether it still speaks to its audience years after T.S. Eliot wrote it, the
answer is yes.

In "Just Lather, That's All," describe the barber's reaction to Torres's entrance into the barbershop.

The entrance of Captain Torres into the barbershop is presented
in such a way that makes it clear how dangerous a character he is and also that he feels he
clearly has power over the unnamed narrator who tells us this story. When the narrator realises
who it is that has just entered, he begins to "tremble" and he "hopes to conceal his emotion."
Particular attention is paid to the Captain's equipment as he hangs it
up:

At that moment he
took off the bullet-studded belt that his gun holster dangled from. He hung it up on a wall hook
and placed his military cap over it. Then he turned to me, loosening the knot of his tie, and
said, "It's as hot as hell. Give me a shave." Then he sat in the
chair.

This description of Captain
Torres and the way he hangs up his belt reinforces his position as a dangerous, violent man, for
these are the tools of his trade and the narrator, we later see, has seen first hand what kind of
"work" the Captain is involved in. Note too the order in his words - the Captain clearly feels
that he is a person to be obeyed and respected in this community.

It
is clear that because the barber is associated with the rebels who Captain Torres is fighting
against, having his enemy so close to him produces a response of fear and trembling as everything
that Captain Torres does only serves to reinforce his position as a military power who is opposed
implacably to the rebel movement.

ABC is an obtuse triangle where angle C>90 degrees. AD is perpendicular to BC produced and BE is perpndicular to AC produced prove AB^2=AC*AE+BD*BC

In the question ABC is an obtuse triangle with C>
90 degree. AD is perpendicular to BC produced and BE is perpendicular to AC
produced.

Now take the triangle ADC: AD^2 = AC^2 -
CD^2

In triangle ABD: AD^2 = AB^2 -
DB^2

=> AC^2 - CD^2 = AB^2 -
DB^2

=> AB^2 = AC^2 + DB^2 - CD^2
...(1)

Now take the triangle BCE: BE^2 = BC^2 -
CE^2

In triangle BAE: BE^2 = AB^2 -
AE^2

=> BC^2 - CE^2 = AB^2 -
AE^2

=> AB^2 = BC^2 + AE^2 - CE^2
...(2)

Adding (1) and
(2)

2AB^2 = AC^2 + DB^2 - CD^2 + BC^2 + AE^2 -
CE^2

=> 2AB^2 = AC^2 + DB^2 - CD^2 + BC^2 + AE^2 -
CE^2

=> 2AB^2 = AC^2 + DB^2 - (DB - CB)^2 + BC^2 +
AE^2 - (AE - AC)^2

=> 2AB^2 = AC^2 + DB^2 - (DB^2
+CB^2 - 2*CB*DB)+ BC^2 + AE^2 - (AE^2 +AC^2-
2*AE*AC)

=>2AB^2 = AC^2 + DB^2 - DB^2 -CB^2 +
2*CB*DB+ BC^2 + AE^2 - AE^2 -AC^2+ 2*AE*AC

=> 2AB^2
= AC^2 -AC^2+ DB^2 - DB^2 -CB^2 + BC^2 + 2*CB*DB + AE^2 - AE^2 +
2*AE*AC

=> 2AB^2 =  2*CB*DB +
2*AE*AC

=> AB^2 = BD* BC + AC*
AE

Therefore we have the required result:

AB^2 = BD* BC + AC*
AE

Suggestions needed for writing a Thesis on Shakepearen's women and 5 points proving itlady macbeth and juliet

Here's how I would go about beginning this
essay-

To start formulating a thesis for your essay,
consider the following:

What do some of Shakespeare's
female characters have in common? Is there one trait you have observed in multiple
characters that you can discuss in your essay?

Are there
two characters you can compare and/or contrast for your
essay?

You could also consider arguing whether
Shakespeare's women are weak or strong. You could discuss their relationships with other
characters as well... an example could be whether they are manipulative or supportive of
their husbands/significant others.

Once you have chosen a
direction for your essay, you can choose characters to discuss within the essay. Here
you will use 5 examples from Shakespeare's plays to support your assertions about his
female characters.

You might also want to consult secondary
sources for opinions about Shakespeare's female characters.  

complete the following ordered pairs for the equation 2x-5y=17 (1,_) (_,-1) (-4,_)

2x-5y = 17. To complete the ordered pairs which satisfy
the equation: (1, ...), (..., -1) , (-4 , ...)

We
substitut  the one coordinate inthe respective variable  of the equation and solve for
the other variable.

(1 , ... ) : We substitute x = 1 , in
2x-5y=17 and find the y vaue:

2*1-5y = 17. Or -5y =17-2 = 
15. Or y = 15/-5 = -3

(... ,
-1): We substitute y = -1 in 2x-5y = 17 and solve for x: (2x-5(-1) = -19. So 2x  +5 =
17. Or 2x = 17-5 = 12. Or x = 12/2 =
6.

((-4, ...): To find the
missing y coordinate  we put x = -4 in 2x-5y = 17 and solve for x. 2(-4)-5y = 17. Or
-8-5y = 17. Or -5y = 17+8=25. Or y = 25/-5 =
-5.

How does the form of "Strange Meeting," by Wilfred Owen, relate to its content?

The Poem’ Strange Meeting’ is written as an elegy: traditionally
a form used to lament or mourn the dead. Owen is mourning the death of the narrator, curiously a
poet who we take to be Owen himself, and a soldier with whom he died in battle who identifies
himself:

 I am the
enemy you killed, my friend

This use
of antithesis and contrast occurs throughout the poem to highlight the opposites of life and
death, war and peace, friend and enemy. The effect is to draw attention to the cruel ambiguities
and senseless contradictions of war.

What is x if 2/(2x-2) + 2/(2x+2) = 10

First, We'll factorize by 2 the denominators from the
given expression:

2/2(x-1) + 2/2(x+1) =
10

We'll simplify and we'll
get:

1/(x-1) + 1/(x+1) =
10

we'll move all terms to one
side:

1/(x-1) + 1/(x+1) - 10 =
0

Now, we'll determine the least common
denominator:

LCD =
(x-1)(x+1)

We notice that the result of the product is the
difference of squares:

(x-1)(x+1)  = x^2 -
1

We'll re-write the
equation:

x + 1 + x - 1 - 10(x^2 - 1) =
0

We'll remove the brackets and we'll combine and eliminate
like terms:

2x - 10x^2 + 10 =
0

We'll divide by -2 and we'll re-arrange the
terms:

5x^2 - x - 5 = 0

We'll
apply the quadratic formula:

x1 = [1 + sqrt(1 +
100)]/10

x1 =
(1+sqrt101)/10

x2 =
(1-sqrt101)/10

Since the roots are different
from the values 1 and -1, we'll consider as being valid.

Where did Daedalus fly after Icarus's death?

Daedalus is the mythological figure who created two pairs of
gigantic wings in which he and his son, Icarus, could use to fly. Before doing so, Daedalus
warned Icarus to fly neither too high nor too low: The sun would melt the wax holding the smaller
feathers together, and the ocean water would drench the wings. However, in his excitement at
flying, Icarus forgets these words of warning, and flies too close to the sun. The wax melts and
he plummets into the ocean, where he drowns.

Afterward, Daedalus
flew on to Sicily, where he built a temple to honor Apollo (as well as his son). He gave up his
wings and offered them as a gift to Apollo. Still being hunted by King Minos for the failure of
his complex but faulty creation of the labrynth to protect the Minotaur, Daedalus' location is
discovered. But before Minos can exact revenge against Daedalus, he is murdered in his bath. (In
some versions of the story, Daedalus kills Minos himself by pouring boiling water over the king.)

What is the main theme of Act 4 in Hamlet?

In contrast to the first three acts of the play, in Act IV
the action comes hot and heavy as things really heat up and the major events of the play
are set in motion, with Act V on the horizon to bring it all to a thundering
close.

So the theme in some ways is action, it directly
contrasts the complete inability of Hamlet to take any substantive action in the first
three acts of the play as he works and works to try and find out whether or not his
hunch is true and if he ought to act.  So much of what needs to be resolved to move
forwards is resolved in Act IV, Hamlet's madness is revealed as false, his mother
revealed as loyal to her son, Claudius as completely scheming and continuing his evil,
etc.

Given f = 3x - m find m if the point (-1,-5) is on the line. For m = 2 find the point that is on the line and it has similar coordinates.

If the given point (-1,-5) belongs to the line y= 3x - m,
then:

f(-1) = -5

f(-1) =
3*(-1) - m

f(-1) = -3 - m

-3 -
m = -5

m = 5 - 3

m =
2

The equation of the line
is:

y = 3x - 2

We'll note the
point that has like coordinates and it belongs to the line y = 3x - 2 as
M(n,n).

Since the point is located on the line y = 3x - 2,
it's coordinates verify the expression of the line.

We'll
put y = f(x) and we'll substitute x and y by the coordinates of the given
point:

f(n) = 3n-2 (1)

But
f(n) = n (2)

We'll conclude from (1) and (2)
that:

3n-2 = n

We'll isolate n
to the left side. For this reason, we'll subtract n both
sides:

3n - n = 2

2n =
2

n = 1

The
point located on the line y = 3x - 2 has the coordinates
(1;1).

What important events happen in the second half of The Color Purple?

In the second half of the novel, quite a number of events
take place:

• Celie and Shug become something of a
  romantic couple. 


• Sofia returns home and Squeak runs off
  with Grady. 


• Celie's step-father
  dies.


• Celie inherits her step-father's house and
  store. 


• Celie begins making pants as a
  business. 


• Shug has a fling with a nineteen year old
  boy. 


• Mr. Albert ____ and Celie become
  friends. 


• Corrine
  dies.


• Nettie marries Samuel and Adam marries
  Tashi. 


• Nettie, Samuel, Olivia, Adam and Tashi come to
  the United States. 

readability="9">

   Say what? I ast.
   Your stepdaddy
been dead over a week, she say. ...
Your real daddy owned the land and the
house and the store. He left it to your mama. When your mama died, it passes on to you
and your sister Nettie.

I need help finding a thesis topic and sample thesis statement about symbolism in "A Clean, Well-Lighted Place" by Hemingway. What could I talk about?

One significant symbol in
this story is the "shadow of leaves," a phrase repeated in three descriptive passages.
The dominant theme is the existential nothingness, the "nada," of life; the meaningless
in which each individual must create their own meaning. The old waiter says the "shadow
of leaves" are an advantage to those who want "a clean, well-lighted place" to sit in
when they don't want to sleep, when they "need a light for the
night."

The well-lighted cafe creates an appearance of a
life with substance, a life not completely overshadowed by the darkness of "nada" (i.e.,
"nothing"). The shadow of leaves creates an illusion of substance; an illusion of a
something dancing in the nothingness. This appearance of substance is comforting for
those who have no hope left for meaningfulness, who have come to despair in an existence
of meaninglessness: they have come to what is called existential
despair.

The "shadow of leaves" is the
symbol of this appearance of substance, this shadow of
substance that counters the nothingness of a meaningless existence. In other words, if
life has no meaning to it, if the universe is in fact meaningless and despair (i.e.,
hopelessness) is the end of all humankind, then pick something that offers the shadow of
light, of beauty, of interest, of hope to latch onto to in the surrounding darkness that
is teeming with despair, as represented by the girl and soldier on a street quiet with
dew and one street light.

readability="12">

This is a clean and pleasant cafe. It is well
lighted. The light is very good and also, now, there are shadows of the
leaves.

the tables were all empty except where the old man
sat in the shadow of the leaves of the tree that moved slightly in the wind. A girl and
a soldier went by in the street. The street light shone on the brass number on his
collar.

A possible
sample thesis statement (depending upon your level of
writing development) might be something like: Since Hemingway is exploring the
alternatives to a life of dark nothingness, the symbol of the "shadow of leaves"
illustrates that he believes any alternative will be the allusion of substance and not
substance
itself.

Alternatively: Since
Hemingway is exploring the alternatives to a life of dark nothingness, the symbol of the
"shadow of leaves" illustrates that the older waiter believes any alternative that is
the mere allusion of substance and not substance itself is as important as real
substance.

What are the results of Ophelia's madness in Hamlet?

The major result of Ophelia's madness could rightly be
assumed to be Laertes willingness to go along with Claudius' plan to kill Hamlet.  They
arrange the duel, the poison is placed on the sword and on the pearl, things are all
arranged and everyone, in the end, dies.  Without Ophelia having completely lost it and
her brother seeing this and flying into a rage, it might not have been possible to
convince him as he had some respect for Hamlet.

But another
effect is the emboldening of Hamlet to try and act.  It is clear from the scene around
Ophelia's funeral that he grows more capable of voicing his feelings, of making things
public and the action proceeds from there.

How can we analyze a poem or a text from a Russian formalist approach?

 In order to answer this question we have to consider the
origins of the formalist approach in literary criticism. The Russian Formalism emerged
in Russia in the early 1920s. The main figure was Roman Jakobson. The formalists were
solely concerned with the form of a literary text; hence the word formalism soon gained
a pejorative meaning to imply “limitation”.

The concern
about form was indeed primordial to analyse a text and terms like sjuzet (the plot), and
fabula (the story) became inherent in the Russian Formalism. The former refers to the
order and manner in which events are presented in a narrative, whereas the later
pertains to the chronological sequence of events.

  To
analyse a text according to the Formalists one should focus on the text itself and
forget all sorts of external sources that might refer to the literary work. Thus, the
historic and social context, the author’ intentions and how the text affects readers are
irrelevant. Instead, we should concentrate on every single element of the literary
work.

Furthermore, the formalists came with the term
“defamiliarization”, which means that works only have a literary value if they differ
from ordinary language. Works have an alien language which can only be deciphered
through a careful close reading. So, the role of the critic is to decipher this
“estranged” language by paying attention to all sorts of figurative language.
This includes paradoxes, irony, tensions within the text and possible
ambiguities.  Those are important elements that pertain to sjuzet. Another relevant
aspect is that sjuzet may not coincide with fabula. It all depends on how the events of
the story are told in chronological order.

Source:
"Dictionary of Literary terms and Literary theory"-Penguin
Reference

Level 2 FRENCH question on intonation, Est-ce que, and Inversion. (In description)Traduisez le question avec la forme donnee. 1. How does one speak...

TRADUIRE:  How does one speak
French?  

Without inversion: 
Comment est-ce qu'on parle
francais?

With
inversion:  Comment parle-t-on
francais?

There is another way which is probably
not in the textbook which you are using, but in conversational French and only in
certain areas, people will sometimes place the interrogative word at the end of the
question. Like this:

On parle francais
comment?

Then, of course, in much conversational
French, people simply raise their voices, changing the normal intonation, at the end of
the question without using either the est-ce que [question form] or
the inversion, as we sometimes do in English.  So, what would be a declarative statement
then changes to a question by means of intonation
only.

e.g.  Comment on parle francais?  [the voice rises,
rather than falls, on the last word,
francais]

What is the theme and topic of the poem, "The Road Not Taken" by Robert Frost?

One way to tackle this poem is to think about your own
life and consider a choice that you made that marked a real turning point in your life
and the way it was going. It might have been something simple or something big, for
example if could have been trying out for a sports team, standing up for a friend or a
job choice. However, now, because of that choice, your life has gone in a completely
different direction as a result. Go back to the moment when you made the choice, and
imagine that you made a different one instead. How would your life be different now?
What would you be doing?

This poem is symbolically about
these kind of decisions, as the persona of the poem takes a walk in a wood and is
confronted with this kind of choice:

readability="8">

Two roads diverged in a yellow
wood,

And sorry I could not travel
both...

This poet has to make
such a decision, chooses one, with the intention of going back and taking the other,
however he admits that:

readability="8">

Yet knowing how way leads on to
way,

I doubted if I should ever come
back.

This choice therefore
captures the theme of the poem which could be said to be contradictions. A particular
choice you once made might have improved your life in some ways but made it worse in
others. Was it a good choice or a bad one? It was both - and it was neither. Yet the
last stanza makes it clear that this relatively simple choice is one that the persona
knows will haunt him in his later life as he thinks what his life would be like if he
had taken the other path:

readability="15">

I shall be telling this with a
sigh

Somewhere ages and ages
hence:

Two roads diverged in a wood, and I
-

I took the one less travelled
by,

And that has made all the
difference.

In this poem
therefore the roads and the choice that the poet needs to make stand as symbols for the
choices we need to make in life. The last line of the poem recognises how even the
simplest of choices can have a massive impact on the course of our lives, and the last
stanza makes it clear the way that these life choices can haunt us as we consider what
would have happened if we had taken another path.

What lessons can be learned from the play Hamlet?I am explaining how the theme of hamlet can be applied to today's life and the lessons that can...

One passage in the play that plainly pertains to both your theme
and the question is Hamlet's "meet it is I set it down / That one may smile, and smile, and be a
villain. / At least I'm sure it may be so in Denmark"(1.5).  Polonius is a tedious old fool, yet
some of his lines are worth studying.  The "To be, or not to be" monologue seems to be a
soliloquy, yet the context is such that it may be directed at the King(Immediately after Polonius
offers his plan(2.2), Hamlet enters and seems to be reading a book). The King's response to the
play within the play seems to indicate guilt, yet we don't know until he speaks a soliloquy:  "O,
my offence is rank"(3.3).  Samuel Johnson's intro to Shakespeare is interesting and in the
discussion board there's a good note from June 10 of this year.

I want to calculate sin 30-cos 60. Can i calculate sin30-cos60=30-60?

No please. It is not correct to calculate sin30 - cos60 as
30 - 60. The concept is totally different.

If ABC is a
right angled triangle with right angle  at B, then sine and cosine ratios are defined 
as below:

sin A = Opposite angle / hypotenuse =
 BC/AC

cosC = Adjascent angle/hypotenuse
= BC/AC.

Therefore in a right angled triangle if A = x,
then C = (90-x) .

Therefore sin A =
sinx

sinx = BC/AC...(1).

cosC
= cos(90-x).

cos(90-x)  =
BC/AC....(2)

Therefore  from (1) and (2) we
get:

sinx =
cos(90-x)....(3).

If  we put x= 30 in eq (3), we
get:

sin30 = cos(90-30) =
cos60.

Therefore,  sin30 - cos60 =
0..

Therefore sin30 -cos60 = 0 and   it is not 30
-60.

Discuss the representation of white women, and any symbolic representation that might be present in Joseph Conrad's Heart of Darkness.

The most significant white woman portrayed in Joseph Conrad's
Heart of Darkness would be Kurtz's fiancee (his "intended"). When Marlow
sees her almost a year after Kurtz's death, she is still mourning as if he had died yesterday or
even that day: her sorrow has not abated at all. However, she is a part of the "civilized" world
and knows nothing about what Kurtz had become while in the jungles of the
Congo.

She asks Marlow questions, and he works hard to say what she
wants or even needs to hear—without revealing the ugly truth, though it might be safe to infer
that this woman so idolized Kurtz that she might never have believed anything but the highest
praise of him.

"You
knew him well," she murmured...

"Intimacy grows quickly out there,"
I said. "I knew him as well as it is possible for one man to know
another."

"And you admired him," she said. "It was impossible to
know him and not to admire him. Was
it?"

Marlow treads carefully as he
speaks to her. Her admiration and devotion to Kurtz is obvious. She mistakes Marlow for Kurtz's
friend, and turns almost with desperation to Marlow to tell him of her worthiness of the man she
believed she knew better than anyone else. She pours out her pain to Marlow for she has no one
else to tell: no one who knew Kurtz. She is sure that everyone admired
him.

He drew men
towards him by what was best in
them.

Ironically, without knowing how
truly she speaks, Kurtz's fiancee
notes:

He died as he
lived.

Marlow begins to get angry
inside, and his rebuttal reflects what he knows of Kurtz that
she will never—must never—know:

readability="8">

"His end," I said, with dull anger stirring in me, "was in
every way worthy of his life."

Kurtz's
fiancee needs some kind of ease for the loss of the love of this man she knew, seemingly not at
all—or at least not as he had become in the Congo—so Marlow lies in an effort to give her some
peace:

"The last word
he pronounced was—your name."

She is
greatly comforted, though Marlow expects to be struck down by heaven for such a blatant lie,
especially when Kurtz's last words were nothing so dear as his intended's name—they were
actually, "The horror! The horror!" It seems there was no place in his mind for Kurtz to remember
her at the end for it would seem he had lost even himself.

This
woman has no true knowledge of what Kurtz had become. In a sense, she is symbolic of Europe. The
women with their lovely fans and pianos that created music of such beauty, were also immersed in
the oblivion that surrounded the circumstances of retrieving ivory so that it could be turned
into a "cool" profit, while being cherished and enjoyed.

For Marlow,
even recalling his horror, he could find no way to share the truth with the
grieving woman. She would go on in ignorance, just as Europe did—until word of the atrocities in
the Congo began to spread. Until then, the fiancee represents society's peace and
complacency—found only in ignorance.

What is the difference between leadership and management?

Managers, particularly those managing the work performed by
large number of people also need to be good leaders to be able to manage effectively. Likewise
leaders also need to have good managerial skills. Thus there is a lot that is common between
leadership and management. However the two are not
identical.

Management focuses on making work effective, and in this
process uses some leadership skills and functions to influence the activities of the persons
performing the work. But leadership covers many other functions, which are not necessarily part
of management. For example, a leader may work for the betterment of the people that he or she
leads, rather than for achieving any specific tasks performed by the group. In doing this kind of
work the leader may just guide and inspire the followers into action without actually managing
their detailed activity. For example, Mahatma Gandhi inspired billions of  Indians to struggle
for freedom of India and to improve the economic and social condition of common people. But he
did not manage the activities of all these people.

Leaders do manage
their own activities and of their close associates. Unless leaders they do this effectively, they
cannot win the respect and support of their followers. However, their role goes much beyond these
managing activity.

Similarly, managers use leadership tools and
techniques to guide and motivate the people working under them, but they also perform many other
functions. For example, managers need to regularly plan, monitor and control all the activities
of their subordinates. Further the managers are responsible for achieving the objectives of the
work they manage. This work objective is different from the objectives of the subordinates. The
focus of manager is the work objective. They are concerned with the personal objectives of the
subordinates only to the extent it affect the work objectives. In contrast, leaders are not
concerned with any objectives independent of the followers. The leader influences the followers
to adopt and work only for such common personal objectives of followers. There are no other work
objectives. Thus a leader works towards influencing and achieving worthwhile objectives of the
followers, whereas, a manager focuses on the achievement of organizational
objective.

Find the area of the rectangle if the length is three times the width and the perimeter is 16.

Let the length of the rectangle be L and the width be
w.

Given that the length of the rectangle is 3 times the
width.

Then we will write:

L =
3*w ..............(1).

Also, given that the perimeter of
the rectangle is 16.

Then we will
write:

==> 2L + 2W =
16

We will divide by
2.

==> L + w =
8...........(2)

Now we will substitute with L =
3w

==> 3w + w =
8

==> 4w = 8

==>
w= 2

==> L = 3*2 =
6

Then, the length of the rectangle is 6, and the width is
2 .

Now we will calculate the area of the
rectangle.

We know that the area of the rectangle is given
by:

A = L * w

==> A =
2*6 = 12

Then, the area is 12 square
units.

In Chapter 6, Ralph and Jack stand looking at the sea. What does this episode demonstrate about Ralph?here's the quote from the book: "The lagoon...

At the point you mention, Ralph is realizing the power of
the tide and the fact that time and space and motivation  have positioned the boys far
enough away from the fire that it is sure to become a lesser priority if they choose to
go and explore this new found island now. In Jack's mind this appears a great military
stronghold and worth exploration at this exact moment.

This
diversion of purpose between the two of them demonstrates a valuable lesson: Ralph is
maturing in leadership, while Jack is longing for leadership but digressing in his
quality to be a leader. Ralph has chosen correct priorities and because this time occurs
and Ralph and Jack's ideas are juxtaposed against each other, we see Ralph grow. This
growth is the most important association to take away from the
episode.

What is the easiest way to find the line perpendicular to a given line?

Lines that are perpendicular have slopes that are negative
reciprocals of each other.  What this means is if the slope for the first line is a/b
the perpendicular line would have a slope of -b/a.

Let's
start with an example with numbers so that you can see the full
process.

Find the line perpendicular to y = 1/3x + 2, that
crosses at point (3,2)

It is easiest to start with a line
in slope-intercept form. For our example we will use y = 1/3x + 2 as the original line.
1/3 is the slope so we know that the line goes up 1 unit and right 3 units. The 2 is the
y-intercept, this tells us that this line crosses the y axis at
(0,2).

To find the perpendicular line, the first step is to
find the negative reciprical of the slope 1/3.  Invert the fraction to 3/1 and add a
negative sign.  The new slope is -3. One point is given as (3,2). If you substitute
these into the equation with the new slope you can solve for the slope intercept and
complete the new equation.

y = -3x +
b

2 = -3(3) + b

2 = -9
+b

11 = b

y = -3x + 11
(substitute the new slope and y-intercept into the equation) is perpendicular to y =
1/3x + 2.

I hope that this example helps you understand how
to solve perpendicular lines in the future. 

What was the purpose of the European Economic Community?

The European Economic Community was one step in a process
of European integration that was begun shortly after World War II.  The first of these
steps was taken in 1951 with the creation of the European Coal and Steel Community.  The
point of this integration was to give Europe (mostly Western Europe at that time) a
stronger economy and to decrease the chance of war between various countries of the
region.

The idea behind the integration was that countries
that were more economically integrated would not go to war with one another.  They would
already, in a sense, be parts of a single entity and would therefore not need to try to
take one another's territory.  It was also believed that more integration would
strengthen the economy by creating a larger free market so that companies in one country
could easily sell their goods all over Europe.

Evaluate the indefinite integral of (tan^3x+tanx)/(tan x+1)?

We'll factorize by tan x at numerator and we'll
get:

f(x) = (tan x)*[(tan x)^2 + 1]/(tan x +
1)

Now, we'll calculate the indefinite
integral:

Int f(x)dx = Int (tan x)*[(tan x)^2 + 1]dx/(tan x +
1)

We'll substitute tan x = t

x =
arctan t => dx = dt/(1 + t^2)

We'll re-write the
integral:

Int ydx = Int (t)*[(t)^2 + 1]dt/(1 + t^2)*(t+
1)

We'll simplify by (1 + t^2) and we'll
get:

Int tdt/(t+ 1) = Int (t+1)dt/(t+1) - Int
dt/(t+1)

Int tdt/(t+ 1) = Int dt - Int
dt/(t+1)

Int tdt/(t+ 1) = t - ln |t+1| +
C

We'll substitute t by tan x and we'll
get:

The requested indefinite integral is: Int tanx
dx/cosx(sinx+cosx) = tan x - ln |tan x + 1| + C.

Discuss the inner conflicts of Alida Slade in the story "Roman Fever" written by Edith Wharton.

There seem to be two internal conflicts that Alida Slade is
having to cope with as we are presented with her in this excellent story. The first is that she
is struggling with the change in her identity. As she reflects, "It was a big drop from being the
wife of Delphin Slade to being his widow. The death of her husband and the new resulting social
identity that she is forced to live with leaves her feeling "unemployed" and even hoping that her
daughter will start a relationship with an unsuitable man so that she could feel
"needed."

Secondly, and much more importantly, Alida Slade struggles
with her envy of her friend, Grace Ansley, and the way that she knows that her husband actually
loved Grace. It is this envy that caused her to try and kill off Grace by suggesting a meeting in
the Forum at night, which ironically actually resulted in Grace Ansley bearing her husband's
child. It is this envy that she is finally able to give voice to during the course of this
story.

If log 12 (3)=a and log 12 (5)=b, what is log 15 (20)=?

We notice that if we'll add log 12 (3)=a and log 12 (5)=b, we'll
get:

log 12 (3) + log 12 (5) = a + b
(1)

Since the bases are matching, we'll apply the rule of
product:

log 12 (3) + log 12 (5) = log 12
(3*5)

log 12 (3) + log 12 (5) = log 12 (15)
(2)

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

a + b
= log 12 (15)

But log 12 (15) = 1/log 15
(12)

1/log 15 (12) = a + b

log 15 (12)
= 1/(a+b) (3)

log 15 (12) = log 15
(4*3)

log 15 (4*3) = log 15 (4) + log 15
(3)

log 15 (4) = log 15 (12) - log 15 (3)
(*)

Now, we'll calculate log 15
(20):

log 15 (20) = log 15 (4*5)

log 15
(4*5) = log 15 (4) + log 15 (5)

log 15 (4) = log 15
(20) - log 15 (5) (**)

We'll write log 15 (3) with
respect to log 12 (3):

log 15 (3) = log 12 (3)*log 15
(12)

log 15 (3) = a*1/(a+b)

We'll write
log 15 (5) with respect to log 12 (5):

log 15 (5) = log 12 (5)*log
15 (12)

log 15 (5) = b*1/(a+b)

We'll
put (*) = (**):

log 15 (12) - log 15 (3) = log 15 (20) - log 15
(5)

We'll add log 15 (5) both
sides:

log 15 (20) = log 15 (12) - log 15 (3) + log 15
(5)

log 15 (20) =
(1+b-a)/(a+b)

Is this an example of age discrimination against this elderly person?She is 69 years old woman and lived alone. So she has to buy food for herself....

There is no definitive proof of age discrimination just
given the facts as you state them.  It might be happening, but it is not necessarily
going on.

The only place where discrimination may be taking
place is in the actions of the cashier.  When the cashier makes the old lady go to the
back of the line, she may be discriminating on the basis of age.  However, in order for
this to be age discrimination, you would need to see how the cashier treats people who
are not old but who pay slowly.

It would not be
unreasonable for a cashier to be unhappy with a slow customer.  Such a customer makes
everyone else in the line unhappy because they have to wait long periods of time.  This
would hurt the store's business.

So -- if the cashier makes
people wait when they are slow, that's fine.  But the cashier must make anyone wait --
an old person, a person with a baby who can't pay quickly because of having to hold the
baby -- anyone who's slow -- not just an old person.

How does the wife of Bath define a "good" husband?

I think that the best way to answer this is to say that
the Wife of Bath seems to want the following things in a
husband:

• First, she wants a husband who is
  obedient to her, or at least one that she can dominate.  That is the whole point of her
  story -- that women want to rule over their men.


• Second,
  she wants a husband who is young and "fresh in bed."  In other words, she feels taht
  sexual relations are an important part of marriage and she wants someone who will be
  interested in that.


• Finally, I think you can say she
  wants a husband who will die relatively young.  That way she can inherit their money
  when they die.

Here is a quote that embodies
these ideas.  It's from the very end of the tale.

readability="9">

and Jesus to us send
Meek husbands, and
young ones, fresh in bed,
And good luck to outlive them that we
wed.

If z=x+i*y prove that |x|+|y|=

We'll raise to square both
sides:

(|x|+|y|)^2=<[(square root
2)*|z|]^2

(|x| + |y|)^2 = x^2 + y^2 +
2|x|*|y|

[(square root 2)*|z|]^2 =
2*|z|^2

But |z| = sqrt[Re(z)^2 + Im(z)^2], where Re(z) = x and Im(z)
= y

 |z| = sqrt(x^2 + y^2)

We'll raise
to square:

|z|^2 = x^2 + y^2

x^2 + y^2
+ 2|x|*|y| =< 2(x^2 + y^2)

We'll subtract x^2 + y^2 +
2|x|*|y| both sides and we'll use symmetric property:

2(x^2 + y^2) -
(x^2 + y^2 + 2|x|*|y|) > = 0

We'll remove the brackets and
we'll get:

2x^2 + 2y^2 - x^2 - y^2 -  2|x|*|y| >=
0

We'll combine like terms:

x^2 + y^2
-  2|x|*|y| >= 0

(|x| - |y|)^2 >= 0
true, so

|x|+|y|=<[(square root
2)*|z|]

I am doing a research project for English class on dictatorship in 1984. Can you please help?I'm not positive what my general question is. It...

I think that you might be on a very good track here.  I
believe that you might be well set to argue that Orwell's work is more of a cautionary
tale about the dangers of totalitarian rule.  Given the fact that there is little in way
of redemption about dictatorship rule in the work, the narrative provided might be one
where individuals have to be mindful of allowing or enabling a government to resemble
that of Big Brother.  I think that I would use the need for individual rights to act as
a shield against government encroachment as part of this.  Orwell's vision of government
is only possible because there is no sense of the private available.  Individuals lack
any mechanism, such as inalienable entitlements, that would limit its reach.  In the
prevention of a dictatorship, individual liberties is one element that must be present. 
Another idea I would pull from the work is the idea that governments succeed in their
desire to wrangle the wills of the citizens when there is no will present.  The
submission of individuals to the Party and to Big Brother empowers the authority
structure.  I think that this might be another element that Orwell is discussing. 
Individuals who passively take for granted a supposedly benevolent form of government
might be asking for trouble.  The references to Soviet Russia are present.  Yet, Orwell
was equally concerned with what might happen in a liberal West, when individuals
surrender political activism for individual comfort or blind submission to that which
dulls the senses such as popular entertainment.  In this light, one sees that Orwell
suggests that vigilance and activity are vitally important to preventing a dictatorship
from forming.

Any idea what is the exposition in Bridge to Terabithia by Katherine Paterson?

The exposition is the name given to the initial part of the plot
structure, in which the main characters are introduced and their conflicts. It is introductory in
that it sets up the rest of the rising action that will follow as the conflict works itself
out.

In this great novel, we are introduced to Jess, who is
obviously brought up in a family with lots of issues, not the least of them being the poverty
they face. As he gets ready to school, he thinks about the race he is hoping he will win.
However, the race is won by a new girl who is obviously not from this area, and Jesse has to cope
with his feelings as he does not win the race. The resulting friendship between Leslie and Jess
and how they survive together in school and their imagination occupies the rest of the
novel.