Discuss individuality of style, expressive goals and interests, and nationalism in romantic music from the (Romantic Era of classical music?

The period from about 1820 to 1900 is known as
the“Romantic Period.” Much of the music of this period does indeed have a certain
obsession with “love”or “romance,” or at least the pursuit of it. Strong outpouring of
emotions and the feeling of striving or longing for the unattainable are
“romantic”traits. It is during the Romantic period that composers are no longer thought
of as craftsman, but rather as artists, individuals possessing talents that other “mere
mortals” do not. It’s also the great age of “program music,” pieces of music that tell a
story or depict non-musical events or scenes.

Hector
Berlioz, despite being one of the greatest orchestrators of all time (in fact, he wrote
the first great treatise on orchestration), he could barely play the piano, even well
into his career. In his memoirs, Berlioz gives countless examples of the way in which
listeners in the Romantic era might be affected by music, yet none can compare to his
own experience.

Chopin made his living giving lessons to
wealthy clients, played only occasionally at private musical evenings (“musicales”),and
composed almost exclusively for the piano. He embodies the introspective side of
“romanticism,” concentrating on piano miniatures that capture fleeting, poignant
emotions.

While Brahms was highly regarded as a master
composer by the end of his life, his younger years were spent earning money as a bar
pianist. Brahms demonstrates another side of Romanticism, a new found reverence for the
past; it is during this time that the study of music history as we know it today takes
root.

Discuss if there is an ongoing parallel between today's real estate crisis and the issues outlined in The Jungle.

This is a real interesting question.  The short answer
would be, depends on whom you are asking.  I think that the one overriding connection
between both Sinclair's depiction as well as the ongoing challenges in the modern
setting with regards to the housing crisis is that regular people, middle class or
individuals on the lower economic end, are left holding the bag.  These are the people
who are left challenged by the larger configurations of capitalism.  Certainly, one
could argue that there consumers should have exercised more prudent judgment in
obtaining loans or mortgages for homes that could never have been paid.  These arguments
were applied to people in Sinclair's time, suggesting that they should have left jobs
that were abusing their workers.  Yet, I think that while these arguments have validity,
they do not fully represent the reality that a configuration where individuals are let
loose to make unprecedented profit without any sort of guidance from the government is
bound to feature abuses of power.  I think that a strong connection between both
settings would be this need for oversight or some type of assistance for those who wind
up on the lower end of reality.  The predicaments of Jurgis and Ona as well as the
family of four that is being crushed under a mountain of debt are very similar in that
both are victims to capitalism.  While individuals could argue that one has to "pull
themselves up by their bootstraps," it is a fairly cold and detached social or
governmental order that would cut these individuals loose and force them to fend for
themselves after actively encouraging them to partake in the capitalist
order.

Let f(x)= - X^2 - 4 x - 1 and g(x) = - 3 X^2 + 5 x + 4 . Find g(f(0)) .

f(x) = -x^2 - 4x -1

g(x) = -3x^2 +
5x + 4

find g(f(0)

First we need to
determine  g(f(x)

g(f(x) = g ( -x^2 - 4x
-1)

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

Let us factor (-x^2 - 4x -1)
:

        = ( -x^2 - 4x -1) [ -3(x^2 - 4x -1) + 5] +
4

         = ( -x^2 - 4x -1) ( -3x^2 +12x + 3 + 5) +
4

         = ( -x^2 - 4x -1) ( -3x^2 + 12x + 8)  +
4

Now we will substitute with x =
0:

==> g(f(0) = ( -0 -0 -1) ( -0+0 + 8)  +
4

                = -1* 8  +
4

                = -8 + 4 =
-4

==> g(f(0)) =
-4

Why are Nigeria and Botswana classified as LDCs?

I assume that you are using "LDC" to mean "less developed
country." The term "LDC" is also used to mean "least developed country." The UN keeps an official
list of such countries, but neither Nigeria nor Botswana is on
it.

Nigeria and Botswana are seen as less developed countries
because they do not have particularly high levels of income or of other measures of development
such as literacy or health. For example, the CIA World Factbook shows us
that Nigeria is # 182 out of 229 countries in the world for GDP per capita. Nigeria also has only
60% literacy among its adults. Botswana's average life expectancy at birth is # 193 out of 223
and Nigeria's is #221.

These statistics show that these two
countries lag behind the rest of the world in important ways. This is why they are seen as "less
developed."

What are examples of dramatic irony in Antigone, particularly from the beginning of the play?

Dramatic irony occurs when a character in the play speaks
in a manner that indicates he or she is unaware of other circumstances of which the
audience is aware. In Scene 3 of Sophocles's Antigone, King Creon
speaks to his son Haemon, who is engaged to Antigone, telling
him,

readability="10">

Therefore, rulers must be
supported,
and we must not yield to women.
It would be better, if it had to
be,
to fall at a man's hands and not to be called
worse than a
woman.
(687-691)

The
audience knows that Antigone has buried her brother and that Creon will probably be
defeated by her determination because she obeys the law of
god.

Another example of dramatic irony occurs in one of the
final scenes as the blind prophet Teiresias predicts the ruin of Thebes. But Creon
retorts,

But,
the cleverest
of mortals, old Tiresias, fall with shameful
crash,
when they decorate shameful words
for the sake of profit.
(1051-1054)

Unfortunately for
Creon, he is unaware that he is describing himself; for, he suffers a tragic fall in the
end as he realizes that his prideful actions against Antigone have precipitated the
deaths of his son and
wife.

For the newspaper article in toronto star "hydro price rebate could frustrate conservation" what is the issue or concern?

The issue or concern in this article is what effect the proposed
10% rebate will have on the consumption of electricity in
Ontario.

According to this article, the Liberals in Ontario have
proposed that there should be a 10% rebate on electrical power.  They want to give the rebate
because the price of electric power has been increasing due to the use of more expensive
electricity (expensive because it comes from "green" sources).

The
problem is that this is likely to make people use more electricity because it will lower the
price of the electricity.  Basic economics tells us that when something costs less, people use
more of it.  If the Liberals' plan is to cut the use of electricity, this seems like the wrong
way to go about it.

So the issue or concern is whether the rebate
will act to increase power consumption at a time when the Liberals are trying to reduce power
consumption.

explain how cells are specialized and what is the relationship between cells and living things?

Cells are the units of structure and function of all living
things, as stated in the cell theory. However, cells are highly specialized to perform various
jobs in a multicellular organism. Types of cells include, muscle cells which are able to contract
and relax leading to movement, bone cells which provide the material to produce the skeleton, a
framework for the body. Epithelial cells are for protection of the organism, fat cells can store
fat for energy use when needed. Neurons or nerve cells are specialized for conducting nerve
impulses to and from the spinal cord and brain. Blood cells are specialized for different
functions--red corpuscles transport oxygen, white corpuscles are part of the immune system and
are for defense against foreign cells. These are just a few examples  of how specialized cells
work together to maintain homeostasis in the body.

What does "When living light should kiss it?" mean in Macbeth?Act 2 scene 4

The meaning of this line is that it is supposed to be light. It
is daytime and therefore it is supposed to be light.

In this scene,
all kinds of crazy and unnatural things are happening. Ross and the old man think that these
things are happening because Duncan has been murdered. The idea is that nature itself is upset
because of the killing of the king because that upsets the natural order of
things.

If you look at the lines before the line you cite, you can
see that this makes sense. The lines are:

readability="10.029411764706">

By the clock ’tis day,
And yet
dark night strangles the travelling href="../../macbeth-text/act-ii-scene-iv#prestwick-gloss-2-4-119">lamp.

Is't night's href="../../macbeth-text/act-ii-scene-iv#prestwick-gloss-2-4-120">predominance, or
the day's shame,
That darkness does the face of earth entomb,(10)
When
living light should kiss it?

Ross is
pointing out that it is supposed to be daytime but the face of the earth is in darkness when
living light is supposed to kiss it (when it is supposed to be
light).

I need to support my idea about "A Worn Path." I think the grandson in the story is dead. I need support for this supposition.I have three reasons...

What an intriguing idea!  While there does seem to be an
argument for your interpretation, perhaps some other circumstances may prove a stronger argument
than the fact that Phoenix's shoe is untied.  (Remember that the boy is wrapped in a blanket and
lies helplessly.)  Also, Phoenix has to leave the boy in order to get medicine; there is no one
else, and she has done this repeatedly.  Here are some other supporting details that you may want
to use for the contention that the grandson is dead:

1. On her way
to the clinic, after traversing a stream, Phoenix imagines a boy bringing a piece of cake, but
opens her eyes to find her hand in the air, grasping nothing. 

2. As
she struggles along, she imagines that she has met a ghost, but it is merely a
scarecrow. 

The illusions of the boy and a ghost suggest that the
boy may be dead and Phoenix imagines him as she wrestles with her desire to believe that he is
yet alive. 

3. When Phoenix reaches the hospital the nurse mentions
that the grandson's condition has existed for "two-three years."  The nurse replies to Phoenix's
request for medicine,

"All right.  The doctor said as
long as you came to get it, you could have it....but it's an
obstinate case." [this can mean just what it says and Phoenix continues to come to
the clinic, or it can mean that as long as Phoenix comes they will give her medicine because she
is "an obstinate case" in her refusal to believe that her grandson has
died.

4.  Phoenix herself expresses her rue over his
loss: 

'We is the only
two left in the world.  He suffer and it don't seem to put him back at all.  He go a sweet look.
He wear a little patch quilt and peep out holding his mouth open like a little
bird.  I remembers so plain now I not going to forget him again, no,
the whole enduring times.  I could tell him from all the others in
creation.'

 The
denotations of these words are subject to different interpretations.  Phoenix may remember how
the grandson looks as ahe leaves him.  Wrapped in a quilt, he may not have been able to tie
Phoenix's shoes, but he also may have been dead with his "mouth open."  Phoenix may be referring
to her forgetfulness, or she may be speaking of not forgetting him for eternity--"for the
'enduring times" with the implication of telling "him from all the others in creation" after she
herself dies.

In "The Lady, or the Tiger?" which door will the princess choose for her lover?

This is a much debated question and I am sure that there
will be other answers for you to look at, especially in the discussion postings. I will
take a different approach on this and think about the crucial element that is exploited
by Frank R. Stockton to great effect: ambiguity.

Ambiguity
is a quality that allows something to be interpreted in several different - sometimes
conflicting - ways. Ambiguity adds complexity to a story. It can make fiction seem more
like real life, where we often encounter people and events that are puzzling and
mysterious. It is ambiguity that made this story such an instant hit and has kept people
asking and pondering your question for more than a
century.

Therefore, the whole point about this story is
that there is no answer - the author is highly skillful in ensuring that there is enough
evidence to suggest that the princess could open either door rather than just going for
one - on the one hand you have her fierce devotion for her love, but on the other hand
reference is made to the "hot-blooded semibarbaric princess." As Stockton himself
says:

The more
reflect upon the question, the harder it is to
answer.

Part of the sheer
genius of this story is that it keeps us pondering and guessing, never certain of what
the princess will ever do.

What is the meaning of the following poem by Thomas Randolph?Music, thou queen of souls, get up and stringThy powerful lute, and some sad...

This poem by Thomas Randolph seems to be a call formusic
to help first ease sorrow and then turn sorrow into joy--and then back to normal.  Music
here is personified (given human characteristics) and the first four lines discuss music
as a way of alleviating some grief or sorrow.  Note the words "requiem," "groan"ing, and
"dull"; even the rocks and hills will echo with the sounds of
grieving. 

Line five brings a change in tone, starting with
the word 'then."  This implies a shift in mood, as if to say once the grieving has been
done, do something else.  Music is told to change the sorrow into joy and it does so
with the use of words like "nimble," "dance," and "caper."  The trees have been
commanded to dance, and even the elm will "foot it." 

The
last two lines also begin with "then," indicating a further change.  The trees of every
kind are dancing.  Music must

readability="8">

Then, in the midst of all their jolly train,

Strike a sad note, and fix 'em trees
again.

After the joyous music
has uprooted the trees through their dancing, music then has the power to "strike a sad
note" to put those roots back firmly in the ground.  This poem is a commentary, then, on
the power of music to move us.  It can take us from sorrow to joy and back again.  Music
has power. 

What is the Pythagoreum Theorem?

Pythagoras theorem is relates the sides of a
triangle.

In a right angled triangle the sum of the squares
of the sides that contain the right angle is equal to the square on the the third
side.

Let ABC be a right angled triangle with right angle
at B. Then AB ,  BC  are the sides that contain right angle . Then Ac is the side
opposite to  the right angle. Then  AC^2 = AB^2+BC^2.

It is
also true that in any triangle ABC if sum of the squares of any two sides AB and BC  is
equal to the third side AC, then the triangle is a right angled triangle with right
angle contained by AB and BC.

Pythagoras theorem could be
used to  verify  whether a triangle is right angle. It could be used to create 90 degree
measure of angle with ordinary scale (not even calibrated) .

What are the conflicts in A Raisin In the Sun?

One of the most pressing conflicts that the Younger family are
facing is socio- economic. Simply put, the money is not there to facilitate their dreams. All of
the Younger family experience this, to a great extent. Walter is trapped in a job as a driver
that he hates and seeks to embrace his dream of opening up a liquor store. Ruth's job as domestic
help is not sufficient to take care of the family, with a child on the way. Beneatha moves from
endeavor to endeavor, utilizing her freedom each step of the way, but recognizing that freedom
costs money. Even Travis feels the economic pinch in the opening scene when he asks for money for
school. The money that is coming to Mama Younger through the insurance check from her husband's
death dominates the opening of the play because the family members see this check as helping to
alleviate some of their economic challenges. This sets the stage for most of the conflicts in the
play because it represents the reality against which dreams are formed. Hansberry constructs a
setting where being a person of color and a person of challenged economic means help to develop a
setting where dreams are formed. These dreams can be denied or deferred, causing conflict and
agony in the lives of the protagonists. The ending of the play shows that these dreams might be
achieved, with a sense of struggle and challenge being evident, as well. Conflict is inevitable
in these conditions. The best that Hansberry suggests one can do is to recognize it and act with
an eye fixated on the conditional and another set to what is. Economic reality and its social
construction is a part of this, causing conflict.

How does Macbeth’s dagger soliloquy reveal his state of mind in Act II, scene i of Macbeth?

Macbeth's dagger soliloquy in Act II scene i of
Macbeth shows his state of mind to be one in which his hold on
rationality has abandoned him. The first line reveals that Macbeth is having an
hallucination: he sees a dagger that he cannot grasp:

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Is this a dagger which I see before me, 

The handle toward my hand? Come, let me clutch thee.
I have thee
not, and yet I see thee
still.

The first fifteen
lines elaborate upon the hallucination. Macbeth directly says "I see" four times in the
first fifteen lines and indirectly implies that he sees three times (e.g., "I see before
me ..."; "yet I see thee still ..."; "fatal vision ..."; "Mine eyes are made the fools
..."). Lines sixteen and seventeen offer his denouncement of the
vision:

readability="5">

There's no such thing:
It is the bloody
business which informs
Thus to mine
eyes.

Macbeth's state of mind
is most plainly revealed in the first fifteen lines. First of all, he's hallucinating;
never a good sign of a good or sound state of mind. From this we must know that
everything that follows is the work of a mind unhinged and deranged (disarranged) and we
must know that Macbeth cracked under pressure before Lady Macbeth did, although Macbeth,
being a trained man of war, can hold appearances together longer than she and continue
to give the appearance of sensible conduct, while she soon retires to a wash basin and
"Out, damned spot! out, I say!"

We also know that Macbeth
questions himself as to whether the vision is real or an
illusion:

Art
thou not, fatal vision, sensible
To feeling as to sight? or art thou
but
A dagger of the mind, a false creation,
....

We also know that his
brain is oppressed with literally overwhelming fear--Macbeth's reason, his rational
thought, has been overwhelmed: "Proceeding from the heat-oppressed brain." Shakespeare
metaphorically describes and compares his fear to "heat." We also know that Macbeth
compares the hallucinatory vision to his own dagger, which he draws from its sheath ("As
this which now I draw").

His state of mind at this juncture
is separated from reality and operating from a delusional perspective because, as he
compares the real dagger to the vision, he regards the vision as an omen that points his
way: "Thou marshall'st me the way that I was going; ...." The result of the soliloquy is
that we know it is at this point that Macbeth's actions are set because of his state of
mind, a state in which the power of his fear-shattered and unhinged mind accept his
hallucination as an omen.

What did the Bolshevik Revolution do?

What the Bolshevik Revolution did was to destroy the provisional
government that had been formed after the overthrow of Tsar Nicholas II. After destroying the
provisional government, the Bolsheviks took power, although they had to struggle to hold on to
that power during the course of a civil war against "white" Russians who wanted to go back to the
old system. When this war ended in 1921, the Bolsheviks were in complete
control.

In the bigger picture, what the Bolshevik Revolution did
was to bring into power a communist government in Russia. This government, which created a new
country called the Soviet Union, was to hold power until the early
1990s.

Overall, then, the Bolshevik Revolution overthrew the more
democratic provisional government and set up a communist government that soon became a
totalitarian regime.

Prove that A is a constant A = (log_5_x^2 + log_5_x^3)/(log_4_x^2 + log_4_x^3)

To prove that A is a constant means that to prove that the
result of the ratio does not depend on x.

We notice that the
numerator is a sum of logarithms that have matching bases.

We'll use
the rule of product:

log a + log b = log
(a*b)

log_5_x^2 + log_5_x^3 =
log_5_(x^2*x^3)

log_5_(x^2*x^3) =
log_5_x^(2+3)

log_5_x^2 + log_5_x^3 =
log_5_x^5

We'll use the power rule of
logarithms:

log_5_x^5 = 5*log_5_x
(1)

We also notice that the denominator is a sum of logarithms that
have matching bases.

log_4_x^2 + log_4_x^3 =
log_4_x^5

log_4_x^2 + log_4_x^3 = 5*log_4_x
(2)

We'll substitute both numerator and denominator by (1) and
(2):

A = 5*log_5_x/5*log_4_x

We'll
simplify:

A = log_5_x/log_4_x

We'll
transform the base of the numerator, namely 5, into the base
4.

log_4_x = (log_5_x)*(log_4_5)

We'll
re-write A:

A =
log_5_x/(log_5_x)*(log_4_5)

We'll
simplify:

A = 1/log_4_5

A
= log_5_4

As we can notice, the result
is a constant and it's not depending on the variable x.

how to use the first principle to determine derivative of the function f(x)=square root(7x+5)

We'll express the first principle of finding the derivative of a
given function:

lim [f(x+h) - f(x)]/h, for
h->0

We'll apply the principle to the given
polynomial:

lim {sqrt [7(x+h)+5] -
sqrt(7x+5)}/h

We'll remove the brackets from
radicand:

lim [sqrt (7x+7h+5) -
sqrt(7x+5)]/h

We'll multiply both, numerator and denominator, by the
conjugate of numerator:

lim [sqrt (7x+7h+5) - sqrt(7x+5)][sqrt
(7x+7h+5)+sqrt(7x+5)]/h*[sqrt (7x+7h+5)+sqrt(7x+5)]

We'll substitute
the numerator by the difference of squares:

lim [(7x+7h+5) -
(7x+5)]/h*[sqrt (7x+7h+5)+sqrt(7x+5)]

We'll eliminate like terms
form numerator:

lim 7h/h*[sqrt
(7x+7h+5)+sqrt(7x+5)]

We'll simplify and we'll
get:

lim 7/[sqrt
(7x+7h+5)+sqrt(7x+5)]

We'll substitute h by
0:

lim 7/[sqrt (7x+7h+5)+sqrt(7x+5)] =
7/[sqrt(7x+5)+sqrt(7x+5)]

We'll combine like terms from
denominator:

f'(x)=7/2sqrt(7x+5)

In To Kill a Mockingbird what is an indirect quote that shows who Atticus is at the core (soul)?Please provide page and chapter numbers.

Who Atticus is at the core is often best stated by Miss Maudie,
a neighbor who I am sure saw him deal with the struggle of his wife's death and who has heard the
trouble the town has given him on more than one occasion.

In chapter
5, during a discussion with Scout, Maudie says some pretty piercing things about Atticus. She
calls him a Christian man, but not like the religious zealot Mr. Radey was. She notes that
Atticus exudes humility:

readability="10">

“What I meant was, if Atticus Finch drank until he was
drunk he wouldn’t be as hard as some men are at their best. There are just some kind of men
who—who’re so busy worrying about the next world they’ve never learned to live in this one, and
you can look down the street and see the
results.”

What Maudie says here is
that Atticus takes his Christian duty to be a man seriously and he lives it,
he doesn't just talk about it.

On page 240, Alexandra and Maudie
have a discussion that similarly shows Atticus to be a great moral man. He stands as the example
for the town in matters of legal and moral ramifications:

readability="30">

“I can’t say I approve of everything he does, Maudie, but
he’s my brother, and I just want to know when this will ever end.” Her voice rose:
“It tears him to pieces. He doesn’t show it much, but it tears him to
pieces. I’ve seen him when—what else do they want from him, Maudie, what
else?”

“What does who want, Alexandra?” Miss Maudie
asked.

“I mean this town. They’re perfectly willing to let him do
what they’re too afraid to do themselves—it might lose ‘em a nickel. They’re perfectly willing to
let him wreck his health doing what they’re afraid to do,
they’re—”

“Be quiet, they’ll hear you,” said Miss Maudie. “Have you
ever thought of it thisway, Alexandra? Whether Maycomb knows it or not, we’re
paying the highest tribute we can pay a man. We trust him to do right. It’s that
simple.”

This
set of dialogue indirectly shows Atticus' position in the town. I recommend either of the bolded
quotes, but left you the discussion to look at in case you have a particular direction you were
already going.

a rectengular field 21 cm^2 in area needs to be fenced. find the dimensions that requires least amount of fence if one side is protected by barn.

Whenever we need to determine a maximum or minimum amount
of something, we need to create a function that depends on the amount. After creating
the function, we'll calculate it's first derivative. Then, we'll calculate the roots of
the first derivative. These roots, if they exist, represent the extremes of a
function.

In our case, we need to determine the minimum
amount to be fenced.

We'll choose as amount one dimension
of the rectangle. We'll choose the length and we'll note it as
x.

We'll find the other dimension of the rectangle, namely
the width, using the formula of area.

A =
l*w

We'll substitute area by
21.

21 = x*w

We'll divide by
x:

w = 21/x

Now, we'll create
the function that depends on x, to determine the minimum amount to be fenced. This
function is the perimeter of the rectangle.

The formula of
the perimeter of a rectangle is;

P =
2(l+w)

We'll create the
function:

P(x) = 2(x +
21/x)

Noe, we'll calculate the first
derivative.

P'(X) = (2x +
42/x)'

P'(X) = 2 -
42/x^2

We'll calculate the solution of
P'(X).

P'(X) = 0

2 - 42/x^2 =
0

42/x^2 = 2

2x^2 - 42 =
0

We'll divide by 2:

x^2 - 21
= 0

x^2 = 21

x1 =
+sqrt21

x2 = -sqrt21

P(sqrt21)
= 2sqrt21+ 42/sqrt21

P(sqrt21) = (42sqrt21 +
42sqrt21)/21

P(sqrt21) = 4sqrt21 cm is the
least amount to be fenced.

The ratio of the length of the sides of a rectangle is 5: 2, and its area is 90 square feet. Find the length of the sides.

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

Then, we know that L >
W.

Given the ratio between the length and the width is
5:2

==> L/W = 5/2 

We
will cross multiply.

==> 2L =
5W

==> L =
(5/2)*W..............(1).

Given that the area of the
rectangle is 90.

Then, A = L*W =
90

We will substitute with L =
(5/2)*w

==> A = (5/2)*w * w =
90

==> (5/2)*w^2 =
90

Now we will multiply by
2/5.

==> w^2 = 90*2/5 =
36.

==> w=
6.

==> L = (5/2)*6 =
15.

Then, the length of the rectangle is 15,
and the width is 6.

To check :
L/w = 15/6 = 5/2

Then, the
ratio is 5:2

In Hard Times, give a brief analysis of Thomas Gradgrind, Louisa Gradgrind and Josiah Bounderby in Book I.

I will focus on how these characters are introduced in the novel
rather than give you a detailed account of what they do in the first book. Introducing characters
is something that is done particularly well by Dickens and his introductions always manage to
give us a very clear idea about who they are and their general
characteristics.

Thomas Gradgrind is characterised in the very first
chapter by his utilitarian philosophy and the reliance on facts in his philosophy of
education:

"Now, what I
want is Facts. Teach these boys and girls nothing but
Facts."

As the first chapter suggests,
everything about his rather austere and foreboding appearance underlines and emphasises this
maxim, showing Gradgrind to be a man divorced from emotions and
feelings.

We are first introduced to Louisa in Chapter 3 when she
goes to see the circus, "to see what it is like." Being brought up by their father's educational
philosophy and ideas, Dickens tells us that:

readability="11">

...struggling through the dissatisfaction of her face,
there was a light with nothing to rest upon, a fire with nothing to burn, a starved imagination
keeping life in itself somehow, which brightened its
expression.

In spite of her father's
attempts to teach her nothing but "Facts," it appears some lingering remembrance of the power of
imagination struggles on.

When we think of Bounderby, he is
introduced in Chapter 4 in ways that make clear his arrogance, his pride and his
power:

A man with a
great puffed head and forehead, swelled veins in his temples, and such a strained skin to his
face that it seemed to hold his eyes open and lift his eyebrows up. A man with a pervading
appearance on him of being inflated like a balloon, and ready to start. A man who could never
sufficiently vaunt himself a self-made man. A man who was always proclaiming, through that brassy
speaking-trumpet of a voice of his, his old ignorance and his old poverty. A man who was the
Bully of humility.

He literally has a
"big head," and by describing him as the "Bully of humility," Dickens prepares us for Bounderby's
endless fictions about his childhood used to justify his harsh treatment of his
"Hands."

In the poems “We Real Cool” and “Invictus,” how are the moods similar but the endings different?

Gwendolyn Brooks’ poem “We Real Cool” might at first seem to
have very little in common with William Ernest Henley’s poem “Invictus.” On closer examination,
however, the two works reveal some interesting similarities, including the
following:

• Both poems present highly confident moods.
  Indeed, this mood of confidence is implied in the very titles of both works, though "We Real
  Cool" presents an ironic confidence.


• The over-all tones of both
  works also suggest this as self-confidence, which might even be seen as somewhat cocky. Thus, the
  speakers in Brooks’ poem immediately assert, “We real cool” (1), while the speaker of Henley’s
  poem quickly proclaims,

readability="7">

I thank whatever gods may
be

For my unconquerable soul.
(3-4)

• Some readers might
  find the attitudes of the speakers in both poems a bit arrogant, although Henley seems to want us
  to admire his speaker’s pride, while Brooks may be mocking the pride of the speakers she
  presents.

Ultimately, however, the speakers of the two
poems seem to differ even more than they resemble each other. Some of the most significant
differences include the following:

• Henley’s speaker
  speaks for himself. Brooks’ speakers are part of a group and seem to define themselves as members
  of a group. Henley's speaker seems strong; Brooks' young men seem weak and
  shallow.


• Henley’s speaker seems to have faced and overcome real
  challenges in his life, whereas the speakers in Brooks’ poem seem to have retreated from even the
  most simple challenges:

. .
. We

Left school.
(1-2)

• Henley’s speaker
  seems to take pride in the genuine strength he has
  displayed:

readability="10">

I have not winced nor cried
aloud

Under the bludgeonings of
chance.

My head is bloody, but unbowed.
(6-8)

• Brooks’ speakers are
  proud of their accomplishments in the pool hall and of other insignificant
  achievements:

. . .
We

Strike straight.
(3-4)

• Finally, the most
  significant difference between the speakers in both poems is that Henley’s speaker seems
  confident even in the face of age and death (9-12), whereas Brooks’ speakers merely (and
  ironically) concede,

. . .
We

Die soon.
(7-8)

Henley seems to endorse the
values and attitudes of the speaker he presents, whereas Brooks seems to offer her brief poem as
a caution and warning to any other young men who think that being “cool” is a mature approach to
life.

In Charles, how do we know who Charles is?

We do not know for sure who Charles is -- we are not
explicitly told.  But we can easily infer that Charles is, in fact, Laurie
himself.

The best way to tell this is from the end of the
story.  In the time leading up to the PTA meeting, the narrator and her husband are very
interested to meet Charles' mother.  They want to see what kind of a woman could produce
and raise a child like that.

When Laurie's mother finally
talks to the teacher, we can see that the teacher reacts to her in the same way that
Laurie's mother might have reacted to Charles' mother.  When the teacher says that they
are all "so interested in Laurie" it shows that everyone wonders why Laurie acts the way
he does.

This is the clearest indication that Charles is
Laurie -- the fact that the teacher talks about Laurie in that
way.

What happens in the end of Julius Caesar?

At the end of this play, Rome finally regains its order and
peace.  The war between the various major characters finally ends.  In its place, Octavius and
Antony become the two men who indisputably have the most power in
Rome.

Through most of the play, there has been discord in Rome.  The
way that the play ends resolves much of this discord.  Brutus and Cassius essentially both commit
suicide.  By doing this, they are paying for the discord that they have caused.  Meanwhile,
Octavius and Antony are trying to take actions that will reunite Rome.  Octavius has his
prisoners treated well, Antony speaks well of the dead Brutus.

So,
at the end of the play, at least, there is harmony in Rome once again.

How many grams of manganese (IV) oxide are needed to make a 5.6 liters of a 2.1 M solution?

The number of moles of solute required to make a solution of
molarity 1 is 1 mole per liter. To make a solution of manganese dioxide with a molarity of 2.1 M
will require 2.1 moles of the solute per liter of the solution.

The
molar mass of manganese (IV) oxide or manganese dioxide is 86.9368 g / mole. 2.1 mole of
manganese dioxide weighs 2.1*86.9368 = 182.56 g.

As we need to make
5.6 liters of the 2.1 M solution the amount of manganese dioxide required is
1022.37

Therefore we get the mass of manganese dioxide required to
make 5.6 liters of a 2.1 M solution as 1022.37 g

In Hamlet, what are three metaphors used in Act 4 Scene 1?

In this important scene in the play, Gertrude narrates to
her new husband, Claudius, what happened when she attempted to reason with Hamlet, her
son, herself, whilst Polonius listened behind a tapestry. Of course, Polonius is killed
by Hamlet as Hamlet hears someone eavesdropping and assumes it is his
Uncle.

Interestingly, this passage contains far more
examples of similes than metaphors, and I assume this is what you are trying to
identify. Remember that both similes and metaphors are comparisons, but the only
difference is that similes compare one thing to another with the words "like" or
"as".

Gertrude describes her son's state of mind to her new
husband as:

readability="7">

Mad as the seas, and wind, when both
contend

Which is the
mightier.

It is interesting
that in comparing her son to the weather during a storm, she is perhaps trying to excuse
her son's behaviour, for if it is as if the elements are battling for sovereignty within
him, he can hardly be held accountable for his
actions.

Claudius describes his regret at not acting to
stop Hamlet sooner as follows:

readability="11">

But like the owner of a foul
disease,

To keep it from divulging, lets it
feed

Even on the pith of
life.

Hamlet is described in
explicitly negative terms here - as a foul disease that the owner lets spread out of
fear of others knowing about it, even as it swallows up "the pith of life." Clearly,
from the King's perspective, Hamlet is a cancer who threatens to eat up his sovereignty
and position.

The final example I will point to comes from
Gertrude when she tells Claudius where Hamlet has
gone:

To draw
apart the body he hath kill'd,

O'er whom his very madness
like some ore

Among a mineral of metals
base

Shows itself
pure.

Note again how this
simile presents Hamlet in a positive light - he shows himself to be "pure" in spite of
his madness, and his condition is compared to a precious ore in a bed of worthless
minerals that shows how precious and valuable it is, in spite of the surrounding
rubbish.

Hopefully this will help you identify others.
Enjoy!

Can you compare and contrast Lennie and George in Of Mice and Men?

This information can be found in the first few pages of
the book. Steinbeck takes great care to develop each of their characters so that they
are strikingly different, but very able to be
friends.

George is short with chiseled features whereas
Lennie is tall, big and somewhat less featured. This may be on purpose to illustrate a
smarter and not so smart character. Lennie has a mental
disability.

Both love each other but express it
differently. George can be rather harsh on Lennie in terms of tone of voice, while
Lennie can pour on a guilt trip like no other. George presents himself as angry, Lennie
looks for sympathy. Both are happy to work toward their goal of having a house together
one day. As the book continues, readers get the idea that Lennie believes in this more
than George and George may use the idea to illicit good
behaviors.

I like to describe George as if he were a dad,
and Lennie a kid. Steinbeck paints animal images of Lennie by having his bear paw grab
water to drink, and his capacity to think and get excited compares to a
dog.

Lennie has superior strength and works as if he were
two men.

In the Battle of Princeton, why wasn't gallantry enough for British victory?

Gallantry was not enough for the British because
Washington proved to be a fairly resourceful commander of the Colonial troops.  Dividing
his troops in half in order to flank the British so that they would essentially run into
Colonial gunfire proved to be a tactic that was successful throughout the Revolution. 
The Colonial manner of fighting that consisted of smaller and more agile mobile units
against the large and sometimes clunkier British forces was a tactic that Greene used in
the South and Washington used at Princeton.  When the British are in flight mode,
Washington says, "It's a fine fox chase."  This reflects the sheer strength of the
Colonists.  British gallantry and adherence to pomp and circumstance was no match for a
different technique of fighting.  In the end, this is what ends up becoming critically
decisive for the Colonists in their victory over the British.  The British method of
fighting, of which gallantry was a significant ornament, is not one that assisted the
British in this circumstance of combat.

Explain the quote below and say how it foreshadows the ending of "A Rose for Emily"?From "A Rose for Emily": "Then we knew that this was to be...

Emily has taken up with Homer Baron and her distant
relatives come to talk her out of her involvement with Homer. While the relatives are at
Emily's home, trying to convince her to come to her senses concerning Homer, he leaves
town. During this time, while the cousins are visiting and Homer is out of town, that
Miss Emily buys rat poison, arsenic. Homer returns again when the relatives leave. One
night he is seen going into the house by the back door opened by the man servant, and he
is never seen again. Emily herself isn't seen for six months after that, except for
brief glimpses of her at the window, for instance when the town's officials are
sprinkling lye in her yard to get rid of an atrocious stench coming from something in or
around the house. It is at this point in the story that the narrator makes the quoted
statement.

readability="6">

Then we knew that this was to be expected too; as
if that quality of her father which had thwarted her woman's life so many times had been
too virulent and too furious to
die.

This means that
considering the kind of man Grierson (Emily's father) was, it made sense to the
townspeople that Emily would retreat into her own mind after being abandoned by
Homer--as surely she must have been since he was never seen again. They attributed
Emily's behavior to the overwhelming affect of Grierson's dominance upon Emily's
delicate psychology. A key phrase in the quote is "quality of her father." This is
important to understanding this quote. The narrator does not mean to suggest that the
father had in any way been "too virulent and furious to die" but that the effect he had
upon Emily was too powerful and overwhelming to die; today, we might say the post
traumatic stress syndrome caused by her father's dominance was to strong to be
subdued.

This quote foreshadows the part of the surprise
ending that relates to Emily herself. The narrator says her father "thwarted [Emily's]
woman's life so many times," which refers to a woman's standard desire for a man's love.
It was the fulfillment of this desire that her father had so successfully "thwarted"
(meaning to oppose successfully and to prevent from occurring) all through Emily's
youth, so much so that she reached the age of thirty with every suitor being "driven"
from the door. This foreshadows the surprise ending where it is seen that Emily has
taken matters into her own hands to prevent her suitor being driven from her door by
anyone and to insure the fulfillment of her "woman's life" by using arsenic to keep
Homer for herself for all the rest of her life.

As Ralph thinks about the ocean as a barrier, what does Simon say to him that interrupts his thoughts in William Golding's Lord of the Flies?

By chapter seven of William Golding's Lord of the
Flies, Ralph is getting discouraged and afraid that none of them will ever be rescued.
In the passage to which you refer, Ralph is reflecting on what has happened to them. He has been
biting his nails to the quick without realizing it, and all of them are

dirty, not with the
spectacular dirt of boys who have fallen into mud or been brought down hard on a rainy day. Not
one of them was an obvious subject for a shower, and yet—hair, much too long, tangled here and
there, knotted round a dead leaf or a twig; faces cleaned fairly well by the process of eating
and sweating but marked in the less accessible angles with a kind of shadow; clothes, worn away,
stiff like his own with sweat, put on, not for decorum or comfort but out of custom; the skin of
the body, scurfy with brine—

Ralph is
dejected and feels quite hopeless about their future. He walks down to the rocks on the beach and
looks down at his feet, watching the incoming waves. This seems to soothe him for a time, but
then he looks up. He saw the vastness of the ocean and "the almost infinite size of this water
forced itself on his attention." In a moment he is confronted with the stifling realization that
his life will end on this island. "[H]ere, faced by the brute obtuseness of the ocean, the miles
of division, one was clamped down, one was helpless, one was
condemned,"

Simon interrupts these thoughts to say, quietly into
Ralph's ear, “You’ll get back to where you came from.” We have always felt as if Simon knows
things that no one else knows, but this is the most startling thing he has said thus far--and
both Ralph and the readers believe him. This gives Ralph hope that he and the others will be
rescued, which they are. Simon was right.

Integrate f(x) = 1/(x^2 - 4)

f(x) = 1/(x^2 - 4)

First
wewill implify using partial fractions:

==> 1/(x^2-
4) = 1/(x-2)(x+2)

==> A(x-2) + B(x+2) =
1/(x-2)(x+2)

==> A(x+2) + B(x-2) =
1

==> Ax + 2A + Bx - 2B =
1

==> (A+B)x + 2A-2B =
1

==> A+B = 0 ==> A =
-B

==>2(A-B)=
1

==>2(-B-B) =
1

==> -2B =
1/2

==>B =
-1/4

==>A =
1/4

==> 1/(x-2)(x+2) = 1/4(x-2) -
1/4(x+2)

Now let us
integrate:

intg f(x) = intg (1/4(x-2) - 1/4(x+2) ]
dx

             = (1/4) intg (1/(x-2) - 1/(x+2)]
dx

             = (1/4) intg (1/(x-2)dx - intg
(1/(x+2)dx

              = (1/4) * ln(x-2) - ln (x+2) +
C

              = (1/4) *ln(x-2)/(x+2) 
+C

==>intg (1/(x^2 -4)= (1/4) ln
(x-2)/(x+2) + C

width="560" height="315" src="https://www.youtube.com/embed/6qVgHWxdlZ0" frameborder="0"
allowfullscreen="">[embedded
content]

What is the summary of Tea Cake's character in Their Eyes Were Watching God?

Vergible Woods, better known as Tea Cake in Their Eyes
Were Watching God, is Janie's third husband and the man who teaches Janie what it like
to really be a part of a community. Janie's previous two husbands, Logan Killicks and Joe Starks,
both repressed Janie and did not allow her to be herself in front of others. Tea Cake, on the
other hand, welcomes Janie into his way of life. In Eatonville, Janie was well respected as a
shop owner, so Tea Cake is not sure that she will like the agricultural life that he leads.
However, when Janie says that she is willing and wanting to learn, he teaches her how to fit into
the community. Tea Cake is a gentle man, and he openly expresses his love for Janie. Ironically,
he tries to kill Janie near the end of the novel after he is bitten by a rabid dog while trying
to save Janie's life, and she is forced to shoot him to save herself and put Tea Cake out of his
misery.

What are the fates of the major characters in The Crucible, such as Rev. Parris, Tituba, Abigail, Rebecca Nurse, Martha Corey, Rev. Hale, and...

Reverend Parris is still the minister of Salem but he has
lost most of his credit in the community.  Tituba was arrested for being a witch but she
was not executed because she confessed.  Rebecca Nurse and Martha Corey were executed
for allegedly being witches.  Reverend Hale left Salem after the execution of John
Proctor, Rebecca Nurse, and Martha Corey.  Elizabeth Proctor was left in prision until
the birth of her four child. 

Describe Joe Christmas's relationships with women. In what ways is it different from men?

Joe Christmas has five major relationships with women
(Miss Atkins, Mrs. McEachern, Bobbie, Joanna Burden, and Mrs. Hines)  in the novel.  The
first is with the  Miss Atkins, the dietician, who tries to bribe the young Christmas
because she thinks he spied her having sex with the intern.  When the five year old
Christmas thought he was going to be in trouble for sneaking to eat Miss  Atkins'
toothpaste, he is instead rewarded with an offered bribe. He does not understand.   Mrs.
Atkins is later instrumental in getting him removed from the orphanage, by revealing
that Christmas is part black and needs to go to a black
orphanage. 

Her actions begin a cycle that is repeated with
subsequent women in his life.  They are unpredictable; they reward when they should
punish,they are instrumental in his leaving or being on the run, and they often play the
"race card."  

We see this pattern, for instance, repeated
with Bobbie, the prostitute/waitress. The teenage Joe Christmas falls in love (lust)
with Bobbie and plans to elope with her.  After Christmas gets into a fight with  Mr.
McEachern and probably kills him, Bobbie is furious that this incident will expose her
and ruin her prostituting business.  She turns on him, yelling racial epithets, leaving
him for dead, badly beaten by Max, her pimp, and a few others.  This incident sends the
traumatized Christmas on the road again. 

The more mature
and cynical Christmas meets Miss Burden.  Miss Burden is as  flawed and alienated a
woman as Christmas is a man.  A product of a Northern abolitionist family, Joanna Burden
has lived an isolated life in the small Southern town of Jefferson, helping Negroes find
scholarships.  A love/hate relationship develops between the two of them. Mrs. Burden
offers Christmas the closest he has had to a home, but she also is a controlling
individual who is obsessed and strangely attracted to the fact that Christmas is (or may
be) partially black.  Their relationship ends tragically, with Mrs.  Burden's death and
Christmas once more on the road again. 

Christmas
desperately seeks to define himself apart from the racial constructs of Depression Era
Mississippi.  He also seeks independence from the women who he thinks are trying to make
him soft, manipulate, or hurt him.  Each relationship represents a maturing Christmas,
as he becomes  a more broken, cynical, coarse and hardened man, who is unable to love a
woman or to find a woman who is able to love him.   

What is the climax for The Body by Stephen King ?

The climax, the pinnacle of action in the plot of King's
novella, would have to be when the boys find the body.  It is the climax for several
reasons.  The entire purpose of the quest was to find the body and throughout all that
was endured, this became the end.  The boys had thought that there would be some type of
significant culmination in finding the body.  The potential for rewards,
acknowledgement, and notoriety all fueled their motivations.  Yet, in finding the body,
nothing really transcendent happened.  The finding of the body, the moment of climax,
turned out to be anti- climatic.  Given the abuse that followed from the older boys and
not speaking about it, the climax proved to be as hollow and as lifeless as the body
that was found.  It is not surprising that the more potent moment in the novella was
learning what happened to each of the boys, in terms of their deaths.  This proved to be
more powerful and more moving than the climax of finding the body.  Perhaps, there might
be a statement here about life and its journey as being its own climax, and not some
external end.

How to simplify 200m^4 + 80m^3 + 8m^2?

Given the expression E = 200m^4 + 80m^3 +
8m^2.

We need to simplify as mush as
possible.

First we will need to factor all terms is order
to find a common factor.

Let us factor each
term.

200m^4 =
2*2*2*5*5*m*m*m*m

80m^3 =
2*2*2*2*5*m*m*m

8m^2 =
2*2*2*m*m

Now we notice that the common factor is 2*2*2*m*m
= 8m^2.

Then, we will factor 8m from all
terms.

==> E = 8m^2(25m^2 + 10m +
1)

Now we will factor between
brackets.

==> E = 8m^2 (
5m+1)^2

==> E =
8[m(5m+1)]^2

Knowing f(x)=lnx-[2(x-1)/(x+1)] demonstrate that for x>1 lnx>[2(x-1)/(x+1)

We've noticed that if we bring the paranthesis
2(x-1)/(x+1) on the left side of the inequality, which has to be demonstrated, is no one
else but the function f(x) itself.

So, we have to
demonstrate that f(x)>0. For proofing this, we have to verify if the first
derivative of the function is also
positive.

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

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

=(1/x)-(2x+2-2x+2)/(x+1)^2=(1/x)-(4)/(x+1)^2=

=[(x+1)^2-4x]/x*(x+1)^2=(x^2+2x+1-4x)/x*(x+1)^2=

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

But
for x>1, (x-1)^2>0 and x*(x+1)^2>0, so
f(x)>0

What is the meaning of this quote? How does it relate to Huxley's novels?Everyone who wants to do good to the human race always ends in universal...

Anna,

I believe this quote means
that government leaders often start out with good intentions for their people by giving them
handouts and enacting laws (like mandatory seat belt laws) to protect them. But what often
happens is that protection turns into control and control turns into totalitarianism...government
has total control of all aspects of the people's lives and individuals are pushed down and
silenced.

This is one of Huxley's main warnings, especially in his
work, Brave New World. In this novel, the state tells its citizens who they can sleep with, what
drugs to take, what jobs they can have, and what they can and can't read and do in their free
time. Leaders say this world is good for the people, because they are protecting them from
unhappiness by making sure there is no pain, or sin or social
instability.

The only problem is, Bernard, John, and Helmholtz feel
something is missing. They want some control over their lives, and seek to experience the
totality of life...even the pain and mistakes....because only in this can one be unique and
free.

It is the age-old debate over freedom or
protection.

What do you think Roger learned from the way Mrs. Jones treated him in "Thank You, M'am"? Name two things.

In spite of Roger's attempt to rob her, Mrs. Luella Bates
Washington does not call the police or punish him. Instead, she treats him with
dignity, offering him food even though it is obvious that she is so
poor that she can barely afford to feed herself. She asks his name, and tells him to wash his
face. Then she gives him the option of leaving, but Roger decides to stay. It is Mrs.
Washington's way of showing trust in the boy and giving him the
option of his freedom. After he eats, the lady gives the boy $10 in
order to pay for the blue suede shoes that he hoped to buy with his stolen money. As he leaves,
he humbly tells her "Thank you, m'am."

Mrs. Washington probably felt
a kinship with the poor African-American child, and she hoped that her kindness would offer him
an example of goodness and spiritual guidance for him to remember in the
future.

What were the major battles of WW2?Please describe the battles.

In addition to the turning points that I mentioned in answer to
your other question, here are some major battles:

• The
  Battle of Britain. This was an air battle over a number of months. In this battle, the German
  Luftwaffe tried to destroy the RAF and/or defeat the British by bombing their cities.
  


• Guadalcanal. This was a major battle between Japan and the US to
  control this strategically important island.


• Saipan, Iwo Jima,
  and Okinawa. These were huge battles that happened as the US fought its way towards the Japanese
  mainland.


• D-Day. The invasion of the European continent in June of
  1944 was a major battle and opened a western front that threatened Germany. The success of the
  landings essentially doomed Germany.

I would like someone to help me put my annotated bibliography in APA format.

Your annotated bibliography should be sure to have your
sources cited in APA format, followed by a brief description of the source. There are
several links on the internet that can show you the correct APA
format. 

The general APA format is usually author's name,
date of publication, article title, journal title, volume number, issue number, and page
numbers.

If you check out the links below, it is broken
down into each different type of source and the appropriate citation form (journal,
webpage, etc) with examples. The following sources are very reliable (Cornell and OWL).
Be careful to use reliable sources as APA has undergone a revision in recent years and
some of the old sites may no longer be applicable. 

What does the Nurse do to betray Juliet in Romeo and Juliet?

In Romeo and Juliet, by William
Shakespeare, the Nurse, who has been so dedicated to Juliet and so supportive of Romeo
in the past, urges Juliet to leave Romeo, and in doing so, loses Juliet's
trust.

One of the reasons that the Nurse may turn her back
on Romeo, and therefore Juliet, is that Romeo killed Tybalt who was a favorite of the
Nurse. It does not matter that Tybalt went looking for a fight, and not only killed
Romeo's dear friend Mercutio, but did so dishonorably. The Nurse blames Romeo for
Tybalt's death.

However, perhaps more than this, the Nurse
is also trying to be realistic.  Juliet's parents have threatened to throw Juliet into
the street if she does not marry Paris. (On a personal level, it is possible that the
Nurse would fear for her own livelihood, as she has been Juliet's nurse her entire life,
and would go with her should she marry, but have no income—with her husband dead—should
Juliet be exiled from her home.) And although the Nurse is generally a foolish kind of
woman, she is fiercely loyal to Juliet. Her reasoning here is solid (especially for
women of that era).

readability="12">

Romeo is banished, and all the world to nothing
/ That he dares ne'er come back to challenge you. / Or if he do, it needs must be by
stealth. / Then since the case so stands as now it doth, / I think it best you married
with the County.   (III, v,
214-218)

The Nurse then tries
to convince Juliet by listing the positive things about Paris that would make him a good
husband.

Juliet is young and desperately in love. She can
see nothing but her love for Romeo. If she were able to be more objective, she might
have seen that the Nurse was only looking out for Juliet's best interests. However, had
this happened, from the standpoint of the plot, the Nurse would not have been shut away
from their secret plans, and the tragedy of the lovers' last days would not have played
out as Shakespeare intended.

Why did the Framers create a system of appointing judges that required cooperation between the President & Senate?

This is part of the overall idea of checks and balances that is
one of the major bases of our political system.  The system was set up like this so that no part
of the government would be completely independent of the other parts.  That way, the parts of the
government can stop one another from doing things that tend towards
tyranny.

By making it so that the Senate and the President both have
to concur, the framers were trying to make it so that neither the President nor the Senate could
have too much influence over the judges.  They were trying to make sure that the President could
not get into office and start appointing judges who were for him but who were likely to do really
bad things once in office.

If it were not for this, the President
could come in and appoint people who were incompetent but were his friends.  Or he could appoint
people who were really radical in terms of their beliefs.  By making the Senate approve the
appointments, the Framers prevented this from happening.

A wave in which the vibration is at right angles to its direction of motion is called a ___ wave. a)longitudinal b)transverse c)compression...

A wave is a motion in the space in a certain
direction.

When the vibration is a long the same direction, than is
it longitudinal.

When there is question of a force directed to the
centre of the wave, than there is a compression wave.

When at the
contrary a centrifugal force is obseved, than there is a torional
wave.

When there is a angle of 90 degree upun the wave, than there
is a transverse wave...

So ?

What are a few major controversial events from 1922-1927?

I would argue that the most controversial single event of this
time was the Scopes "monkey" trial of 1925. This trial emphasized, and was caused by, the
cultural divide between the America that was more rural and old-fashioned and the "new" America
that was more identified with the cities and flappers and things like
that.

A second of these events is the Teapot Dome scandal of 1923.
This was a scandal in which a high government official (the Secretary of the Interior) took
bribes in return for leasing federally owned land that had oil under it to the people who bribed
him.

Finally, in 1927, Sacco and Vanzetti were executed. This was
hugely controversial because many Americans felt that the men had been unjustly convicted based
on the fact that they were immigrants who had radical political beliefs. Many people believed
that they were actually innocent and were only being executed because of who they
were.

In Julius Caesar, Brutus never gives in to Cassius; he must always have his way. What does this say about Brutus?In every disagreement between the...

This is actually a fantastic question, dramatically
speaking.  It goes to the heart of what makes drama,  works meant for performance on the
stage, so compelling.  Because Julius Caesar is a play, you won't
find a definitive answer to this question in the text, you must consult your own opinion
(if reading the play) or observe a performance of it and evaluate the actor playing
Brutus and his choices of behaviour, to understand why Brutus does what he
does.

A play must, by its very design, present all of the
characters equally.  By this, I don't mean that all of the characters are equally
important, but they are all equal in that they are presented to the audience without
benefit of, for example, first person narrative of the story, which would clearly give
favor to one person's point of view.  Even in soliloquy, and a character is not
necessarily giving the audience a full picture of what exactly motivates him or her to
action.  This implies, then, that the reader of the script intended for production upon
the stage, is never fully privy to what motivates a character to action.  This is part
of the work of the actor who will play the role.

And so,
with Brutus, I could say that he seems deeply concerned with the
fate of Rome, and that it is this concern that motivates him to argue against Cassius,
who seems motivated by much more personal, potentially selfish
ends.  But it is the fact that I can only say that these things "seem" to motivate them,
that should give us pause before assigning these or any other reasons for their
behaviour in the play.  We, as readers, simply can't know for
sure.

As a side note, it is interesting to me that your
description of Brutus' behaviour suggests a sort of bully -- that he brow-beats Cassius
into following his point of view.  This is a very interesting take on Brutus, as, simply
from reading the play,  I perceive Cassius as a real hothead, someone who cannot seem to
avoid losing his temper, who really tries to bully others into his point of view, while 
I see Brutus as very calm and level-headed, not really an "argue-er" at all.  To me, it
seems that others naturally follow Brutus' lead, not because he has bullied them into
it.

So, you can see that, when reading a play, there is
much that is left out of how the character is played, making it
possible for both you and I to perceive Brutus as quite different.  I think both
versions are possible within the play, and would depend upon the choices the actor
playing the role makes.

For more on Brutus and Cassius and
the differing points of view regarding their characters, please follow the links
below.

In King Lear, why does Edgar speak a dialect of English?

Edgar adopts what critics call a southern stage dialect in his
confrontation with Oswald:

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Edg. Chill not let go, zir, without
vurther [cagion].

Osw. Let go, slave, or thou
di'st!

Edg. Good gentleman, go your gait, and
let poor voke pass. And chud ha' bin zo long as 'tis by a vortnight. Nay, come not near th' old
man; keep out, che vor'ye, or Ice try wither your costard or my ballow be the harder. Chill be
plain with you.

Osw. Out, dunghill!
[They fight.]

Edg. Chill
pick your teeth, zir. Come, no matter vor your foins.
(4.6.235-45)

Critics have been puzzled
by Shakespeare's employment of a theatrical and comedic dialect in one of his darkest tragedies.
Edgar is a man of the court, having no provincial associations, but with the words of the broad
southern stage dialect on his lips he would have sounded like a rube from the country to his
audience. In fact, the 'che vor'ye' formulation “enjoyed a certain popularity as a shibboleth of
rusticity in the sixteenth and seventeenth centuries” (Kökeritz
99).

Two reasons appear to figure in Shakespeare's use of such
anomalous speech in Edgar. First, in a play marked by a preoccupation with language and power,
Edgar's adoption of a dialect identifies him as a man willing to associate with those outside his
aristocratic circle without losing his authority. Second, this dialect of a
rustic clown confirms Edgar as a master of disguise, both in form and language, thereby
increasing his rhetorical power in the play as a whole.

What is the theme of the story "The Lost Beautifulness" by Anzia Yezierska?

"The Lost Beautifulness" is the story of a woman, Hanneh
Hayyeh, who decides to paint her kitchen, in the poor rundown tenement where she and her
husband live, to prepare for the homecoming of her son from the armed services during
the war.

Everything that Hanneh does is with the idea of
making her home beautiful for her son, who is her joy. To accomplish such a feat of
fixing up her kitchen, she takes in extra laundry to buy the paint, and then does the
work herself. It is a long time in coming as she can only save pennies at a time.
However, when she is done, all but her husband agree that something beautiful has come
out of her heart and transformed her kitchen into a wonderful, welcoming place; and
everyone wishes her well for the good fortune of a beautiful room in her
home.

When her landlord sees what she has done, he demands
more money. The beauty of the room simply (in his eyes) makes the flat (apartment) worth
more money in rent to him: if she cannot pay it, someone else will.
(He raises the rent twice.)

Sadly, Hanneh tries to fight
the landlord, to make more money: to fight the injustice where there should be fairness
in this "land of democracy." She is, however, beaten, and she destroys the beauty of the
kitchen, believing that if she cannot live there, she will not give the landlord the
benefit of having the beautiful kitchen to rent out.

As she
does this, the destruction hurts her more than anyone, and she is
broken inside. She cannot, afterwards, understand what rage made her do such a thing.
The beauty of the room had come from her heart, and it was almost like a living thing
for the life she put into it. Destroying it robs her heart of the joy she had in
creating it.

In terms of theme, I would say there are
several. First, life is not fair.

Second, beauty should be
free, to be appreciated and be a reward in itself, but some people cannot see beauty for
its own sake—they must try to own it, robbing others of the ability to enjoy it.  (In
some ways, this is what happened when the Europeans arrived in the New World and "took"
the land from the Native Americans. It was beautiful and rich, but they wanted it and
took it for their own good.)

Third, beauty comes from the
soul, but some people cannot see beauty in the world. Their eyes remain blind to what
sits before them. For some of these people, things only have value if there is a reward
involved; beauty should be its own reward, but some people miss the point
completely.

Perhaps, too, the story is an allegory for how
we try to create a world of beauty around us, but become so caught up in the wrong
things (running around and doing so much), that we fail to slow down long enough to
enjoy the beauty around us.

In regards to Frankenstein, what are some common devices of defamiliarization (Shklovsky's)?I'm trying to position Frankenstein alongside a...

You listed narrative--which is the story itself and its
structure. I don’t know if you meant narrator or narration; but this would be great in
applying defamiliarization to Frankenstein because the narrator, the monster, is
actually looking at a world that is unfamiliar to him. Therefore, as he describes and
experiences things, both he and the reader are undergoing defamiliarization.
Defamiliarization is making the familiar unfamiliar; so, through the monster’s eyes, the
world will be very different. Defamiliarization is the act of slowing down perception
and then perhaps changing the way we perceive things in
reality.

I am not that “familiar” (ha ha) with Shlovsky
other than his contention that poetic speech defamiliarizes because it is different from
everyday speech; so, you’ve probably already considered this, the monster’s speech may
be a defamiliarizing device; his narration as well.

I just
found this: Shlovsky used an example from Tolstoy’s “Kohlstomer,” a story narrated by a
horse to show how the narration itself is the defamiliarizing technique. This could go
hand in hand with an analysis of Frankenstein where the horse is humanized
(anthropomorphism) and the monster is both humanized and dehumanized; the latter
(dehumanization) part of defamiliarization; causing us to rethink or notion/perception
of “humanness.” You might also want to focus on more specifics like the Monster's
descriptions of nature; which are familiar and which are
unfamiliar.

In the beginning of Act IV of Julius Caesar, what is going on between the conspirators and the triumvirate?

Just as Act III ends, right after Antony's funeral speech,
Rome erupts into a chaotic, mob-led brawl.  The people have been so inflamed by Antony's
speech and the murder of Caesar, that chaos reigns and the country is on the brink of a
civil war.

Act IV, by contrast, opens in what appears to be
a calm and controlled meeting of the three men who will become Rome's second triumvirate
of rulers:  Marc Antony, Octavius Caesar, and Lepidus.  They are preparing to fight the
Conspirators who are outside Rome, preparing to challenge the triumvirate's right to
take power.  The balance of the play concerns this military struggle, a struggle won by
the Triumvirate, and one that ends in the suicides of both Brutus and
Cassius.

In the opening scene of Act IV, Shakespeare shows
a new side of Antony.  Now that he is in a position to gain power, he appears much more
analytical and cold, even somewhat backstabbing.  He sends Lepidus on an errand (almost
as he would send a servant), and while Lepidus is gone, confides to O. Caesar that
Lepidus is not really fit to rule.  Shakespeare uses this scene to demonstrate what the
acquisition and maintenance of power can demand of a person -- acting from a
non-emotional, and potentially duplicitous perspective.

Act
IV, scene ii mirrors scene i, since it shows the jockeying for power going on within the
Conspirators' camp.  Cassius is attempting to discredit Brutus and gain more power for
himself, while Brutus is clinging desperately to the moral, just ideals that he has
followed up to this point.  Shakespeare seems to be showing that the man who is too
goody-goody (Brutus) and the man who is too hot-headed (Cassius) are both destined to
fail in the struggle to gain power.

Both the play and
history show that, ultimately, it is Octavius Caesar who wins the day, becoming Rome's
first Emperor.  But you'll need to read Shakespeare's Antony and
Cleopatra to find out how that happens.

"dear, inescapable, impervious, tranquil, and perverse": Show how Emily's character fits this description."A Rose for Emily" by William Faulkner

Perhaps the best approach to this quotation is the perspective
of Emily as symbolic of the Old South in William Faulkner's "A Rose for Emily." Earlier in the
short story, the narrators mention that Miss Emily has been

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a tradition, a duty, and a care; a sort of hereditary
obligation upon the town, dating from that day in 1894 when Colonel Sartoris...remitted her
taxes....dating from the death of her father on into
perpetuity.

And, as these narrators
continue to describe what they think and feel in relation to Emily, the reader comes to
understand the social conventions and tradition that have composed and directed Emily Grierson's
life. For, Emily is "a monument"; and, like a monument, Emily is held captive by a romantic Old
South that places its burdens upon those of old, genteel names. Thus, she is "dear, inescapable,
impervious, tranquil, and perverse."

For the most part women are kept on the sideline of action in King Richard II; discuss what roles these ‘minor’ characters play in this text.

Shakespeare uses the women in Richard
II strategically. Although they may be considered minor characters, their
importance (as with anything Shakespeare included in his plays) is crucial to the
development of the plot and characterization, and the revelation the story's
themes.

The Duchess of Gloucester adds the touch of human
emotion to the play. As a widow, she shows the depth of her love for her deceased
husband who she misses terribly. She also serves the purpose of showing how a family
experiences the loss of a loved one, especially (in this case) a husband, which is much
different than the loss one experiences for a friend. Her love will also be held up as a
source of comparison with regard to the loss other characters experience in the play.
And in her sorrow, her character repeatedly helps to establish and feed the mood of the
story.

The Duchess of York also exemplifies a kind of love:
in this case, parental love. The complication to this love is that her son is complicit
in the plot to kill Bolingbroke. This places the Duchess at odds with her husband; she
cares less for politics and more for her child, and the Duke cannot afford to place his
child above his politics.

As with Richard
III, the women in Richard II occupy minor places within
the society (as was common for the time), and the men elevate king and country beyond
all else (a necessity for survival at the time).  However, this propensity of the men of
the time to place politics above all else shows them as hardened, lacking a human
dimension, while the women in the play elevate the human emotion of love for another to
provide balance and a clearer snapshot of Elizabethan
society.

Queen Isabel shows yet another connection between
a man and a woman, especially when compared with the Duchess of York; whereas the
Duchess defies her husband for her son's sake, the Queen supports Richard in all things.
 Her character also helps convey the dark mood presented by the Duchess of Gloucester at
the play's outset, and it is through the Queen that Shakespeare provides the audience
with foreshadowing that some horrible fate waits on the horizon [Richard's
murder].

Minor parts they may have had from a historical
standpoint, but in terms of the play, the women's roles are nothing if not necessary to
set the mood, define other characters by their presence, and move the plot along thereby
making the story's themes that much more powerful.

Help with quote for To Kill a Mockingbird Who is speaking, who is the subject, what lessons are learned? Atticus - "If I didn't, I couldn't...

Atticus is the voice of reason in the novel; unwavering
reason. The majority of the town still harbors racist ideology passed on from previous
generations, they look at Atticus as a moral authority. Some characters are either
outright immoral or hypocriticalal. Some, like Tom Robinson and Atticus, provide moral
example whether the town likes it or not. Atticus says this (the passage you quote)
because he lives by example (a moral and just example); Someone else in the novel notes
that Atticus behaves the same way in court as he does in his home; he is consistent in
his life by example because it is the principle by which he lives which means he wants
to live up to his own standards, but also he wants to represent justice for the town and
his children. So, he must always act according to his conscience. Otherwise, he cannot
live with himself or

What is the poem "Mirror" by Sylvia Plath about?

This is an excellent poem exploring the psychology and impact of
aging upon a female. However, note the ingenious way in which Plath chooses to write this poem.
Instead of writing it from the perspective of the woman who is struggling to accept her aging,
she chooses to assume the persona of the mirror into which she spends so much time looking at her
physical appearance. This allows us to explore both the character of the woman and the character
of the mirror who narrates to us, dispassionately, what it
sees.

Note how in the second stanza the mirror compares itself to a
lake into which the woman peers:

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Now I am a lake. A woman bends over
me.
Searching my reaches for what she really
is.

This simile becomes powerful when
we imagine the woman starring intently into the "lake" trying to work out who she is and trying
to establish her identity, which is caught up so much in her physical appearance. It is the last
two lines of the poem that give it real strength, however:

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In me she has drowned a young girl, and in me an old
woman
Rises toward her day after day, like a terrible
fish.

This captures the theme of aging
in the poem, as it talks of how, by focusing so much on external beauty, the woman has ironically
drowned her younger self and now can only look in horror at the "terrible fish" that comes
towards her as she sees more evidence of her aging every day. The dangers of obsessing too much
about our beauty are thus highlighted. We, too, can actually waste our youth by being fixated on
the loss of our looks.

What is the intersepting point of y = 2x^2 - 7 and the line y= -2x + 1

To determine the intercepting point of the line and parabola,
we'll have to solve the system:

2x^2 - y =
7 (1)

2x + y = 1 (2)

We'll calculate x
form the 2nd equation:

2x = 1 - y

x =
(1-y)/2

We'll substitute x in
(1):

2*(1-y)^2/4 - y = 7

(1-y)^2/2 - y
= 7

We'll multiply by 2 both
sides:

(1-y)^2 - 2y - 14 = 0

We'll
expand the square:

1 - 2y + y^2 - 2y - 14 =
0

We'll combine like terms and we'll re-arrange the
terms:

y^2 - 4y - 13 = 0

We'll apply
the quadratic:

y1=[4+sqrt(16+52)]/2

y1
= 2 + sqrt17

y2 = 2 - sqrt17

x1 = 
(1-y1)/2

x1 = (-1-sqrt17)/2

x2 =
(-1+sqrt17)/2

The intercepting points
are:

((-1-sqrt17)/2 , 2 + sqrt17) and
((-1+sqrt17)/2 , 2 - sqrt17).

How are projective techniques used in consumer psychology?

Projective techniques are used in consumer technology in
order to a) anticipate, and b) influence the consumer's choices. Grocery stores use
projective techniques to figure out how best to organize the store's layout. For
example, some studies indicate that people are more likely to purchase higher-priced
foods if they are placed right next to lower-priced foods. For this reason, many grocery
stores place organic fruits and vegetables right next to their non-organic counterparts.
If all organic fruits and vegetables were placed in a different location, then fewer
consumers would purchase them. Another example of this is the absence of clocks and
windows in casinos. People spend longer on casino floors when they have no sense of the
passing of time. Projective techniques allow consumer psychologists to make changes and
adjustments that result in particular consumer choices.

What is a good summary of "The Raven"?I know a lot of you have links to long-winded explanations, but I just want to know a brief description of...

It is midnight on a cold December night. A man has been reading
well into the evening and ruminating about the death of his lover, the "lost Lenore," when he
hears a tapping outside. Assuming it is a visitor, he calls out, but there is no answer.
Eventually he discovers that it is merely a bird--a raven. Happy for any company, he begins
talking to the bird and, like some ravens, the bird can speak--but only one word: "Nevermore."
The man begins a long conversation with the bird, and the questions he asks are always answered
simply--"Nevermore." The man, in a state of near madness because of his lost love, begins to
think that the bird has a higher consciousness whose answers have some great philosophical
meaning. He believes the bird has been sent by God to further anguish him. Though he commands the
bird to leave, it remains; the man believes it will stay on its hellish roost within the home
forever as a reminder of the man's unhappiness and "self-torture."

In Animal Farm how does Boxer's attitude relate to the concepts of freedom and equality?

Of all of the animals, Boxer is the one who most accepts
and works for the ideals of animalism.  He does not seem to notice that things are
rotting, and Animal Farm is becoming a more opressive place.  Boxer is further exploited
by Napoleon and the pigs because he is loved and appreciated by the animals, he is loyal
and he is a hard worker.

Boxer's two favorite sayings are
"Napoleon is always right" and "I will work harder" so he is the ideal subject for the
pigs.  He sacrifices his free time and his health, and serves as a distraction for the
other pigs since he works on the windmill constantly.  Boxer never realizes that he is
being exploited, and continues to be a loyal subject until his death when Napoleon sends
him to the glue factory. 

How does Charles Dickens use satire in Great Expectations?You don't have to use quotes but if you can that would be perfect!

The principal character whom Charles Dickens uses in his
novel Great Expectations as his vehicle for satire is Uncle
Pumblechook.  This character is a stereotype of the shallow class-obsessed and envious
man who is also a hypocrite and one who exploits others; he is comical in his pompous
fatuity. At the Christmas dinner on the forge, Pumblechook pompously makes the toast and
berates Pip until he learns that Pip may have "great expectations"; then he takes credit
for Pip's social advancement, bragging at the Boar's Nest later on that it was he who
was responsible for Pip's good fortune. 

Satirizing the
elevation of a frivolous upper class in the character of Miss Havisham, who is an
eccentric old woman that remains in the wedding dress of decades past and lives in a
dark, rotting mansion,  Dickens has Uncle Pumblechook speak of her as though she is a
queen, but she is without the values that even the poor possess.  When Pip is picked to
visit Satis House and play with Estella, Pumblechook, who previously has paid no
attention to Pip, now takes charge of his preparation to go to Miss Havisham's. 
However, his petty and ill-educated nature is apparent and satirized by Dickens in
Chapter VIII as Pip is subjected to Pumblechook's poor company.  He gives Pip little but
crumbs to eat and quizzes him on his arithmetic.  When they arrive at Miss Havisham's,
Pumblechook is rebuffed by Estella and not allowed through the gate as she tells him
Miss Havisham does not wish to see him.

In Chapter XXVIII,
Pip learns at the Boar's Nest that Uncle Pumblechook has taken credit for Pip's good
fortune,  Clearly, Dickens satirizes in this passage:

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[Pip reads the newspaper]...the youth's earliest
patron, companion, and friend was a highly-respected individual not intirely unconnected
with the corn and seed trade...It is not wholly irrespective of our personal feelings
tht we record HIM as the Mentor of our young Telemachus, for it is good to know that our
town produced the founder of the latter's fortunes....

[Pip
remarks] I entertained a conviction, based upon large experience, that if in the days of
my prosperity I had gone to the North Pole, I should have met somebody there...who would
have told me Pumblechook was my earliest patron and the founder of my
fortunes.

In addition to
satirizing the stereotypical Pumblechook and the upperclass with Miss Havisham, Dickens
pokes fun of a gruff and impolite Mr. Jaggers, a character who is a parody of a lawyer
whom the author knew in real life, a notoriously unscrupulous lawyer.  Satirizing
Jaggers abruptness, like an emotionally detached jailer who abruptly disposes of people,
Jaggers says, "there's an end of it" and waves clients away.  In one passage, Pip
narrates that Jaggers even "seemed to bully his very sandwich as he ate
it." 

What type of tone do you think Hughes wanted to get across in "Theme for English B"?

The tone, or attitude, of Langston Hughes in his "Theme
for English B" is rather bemused and lightly ironic.  After being instructed to write a
page that comes out of him that will be true, Hughes thinks, "I wonder if it's that
simple!"  Of course, the greatest irony is in the poet's wonder if he can write a page
that his white instructor will understand, and yet he ends his poem with the assignment
completed:  "This is my page for English B."

Despite his
bemusement, Hughes writes a page that is "true" as he bemusedly
reflects

I
guess being colored doesn't make me not
like

the same things other folks like who are other
races....

Being me, it [the page] will not be
white,

But it will be

a part
of you, instructor,

You are
white--

yet a part of me, as I am a part of
you,

That's
American.

At this point, the
poem's tone turns to ironical regret since Hughes's poem was written in 1951, a time at
which racial discrimination peaked.  Hughes points to this disparateness of his
instructor and himself: 

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Sometimes perhaps you don't want to be a part of
me.

Nor do I often want to be a part of
you.

But we are, that true!

As
I learn from you,

I guess you learn from
me--- 

What are some primary characteristics of Nonwestern music?

There are, of course, many kinds of music from nonwestern
cultures.  They do not all share any particular characteristics -- they can differ from
Western music in many ways.

Perhaps the most important
difference between Western music and many other kinds of music is the scale that is
used.  Western music tends to use a scale with 8 tones per octave.  This is not dictated
by nature -- it is just a convention.  There are other ways of creating scales.  One
well known scale is the pentatonic scale.  As its name suggests, it divides the octave
up into 5 tones instead of 8.  This scale is used, for example, in Japanese
music.

This is a major difference between Western and
some other traditions of music, but it is not the only
one.