To check if the function has limit, when x approaches to 3,
we'll determine the lateral limit and the value of the function in accumulation
point.
For x->3, x<3 (x approaches to 3, with values
smaller than 3)
lim (3 - x^2)/(x-3) = -6/-0 =
+infinite
For x->3, x>3 (x approaches to 3, with
values higher than 3)
lim (3 - x^2)/(x-3) = -6/+0 =
-infinite
Since the lateral limits are infinite and
different, the limit of the function does not exist if x approaches to
3.
Certainly the flame-thrower and the Mechanical Hound are the
most overt examples of computerized law enforcement. The Hound is programmed to locate both books
and people; this establishes the connection that books bind people together and technology drives
them apart.
Also, there are the television parlors; Millie's "4th
wall" and the equipment the technicians use on Mildred. This is underscored when Mildred is less
concerned with the war; more concerned with how the war may interrupt her television programs.
She is much more in tune with machines than she is with Montag. References to technology are
analogous to enforcement and to pacify the masses (television and
drugs).
When Montag leaves the city, he is leaving the mechanical
society behind. The suggestion is that books keep us more in touch with other humans and supposes
that technology can play a role in isolating humans from each other and diluting their
emotions.
Clearly, Hardy believes that Tess is a pure woman. He says so
in the subtitle to the work and he often refers to her as pure or innocent. So the author
clearly sees Tess's purity.
Scholars argue over whether Tess truly
is pure. Those who think she is not pure point to the fact that she sleeps with more than one
man in the book, not always while married. In addition, she kills a man. Both of these are,
arguably, signs of someone who is not pure.
On the other hand, some
scholars point to the idea that she does not act out of any motives that are impure. Her worst
actions come when she lets Alec have her body and when she kills him. But in both cases, she is
only doing it because of her desperate situation.
So an argument can
be made both ways and you should decide which argument is more compelling to
you.
Though To Kill a Mockingbird is told from
the perspective of the main character, Scout, and is considered a "coming-of-age" story, I
consider the main plot of the story to be the trial and Atticus' defending of Tom Robinson. This
is the premise on which Scout builds the rest of her story. In this main plot, the conflict is
the fact that a black man is on trial for a crime he did not commit. Because the book is set in
the South during the Civil Rights Movement, there is a social conflict concerning Atticus' fair
fight in defending him.
Scout's story focuses on the trial, but as a
result, the first sub-plot of the novel is the account of her growing up in the two years that
the book covers. This sub-plot focuses on the lessons she learns from the other characters as
well as the social circumstances of which she is naturally a part. The main conflict(s) in this
subplot is the way in which Scout reacts to the world around her. The growing-up sub-plot
encompasses the 2nd sub-plot: the story of Boo Radley. He starts as a mysterious fascination for
the children at the very beginning of the novel. The conflict starts out as a question of Boo's
identity. The ironic resolution to this conflict is that Boo, though a stranger and a social
outcast, is the one who saves Scout and Jem from Bob Ewell's attack (which was the result of his
anger toward Atticus, leftover from the trial).
All three plots are
masterfully woven together through the delicate connections of everyone to everything in the
small town of Maycomb.
To find x if (7x+1)^(1/3) - x =
1.
Substitute 7x+1 = t^3, x = (t^3-1)/7 in the given
equation :
t - (t^3-1)/7 =
1
7t -t^3 +1 = 7
7t -t^3 +1-
7 = 0
7t-t^3 -6 = 0
Multiply
by -1:
t^3 -7t + 6 = 0 which is satisfies for t =1 as
1^3-7*1+6 = 0.
Therefore , t-1
factor.
Similarly if t= 2 also satisfy t^2-7t+6 = 0, as
2^3-2*7+6 = 0.
Also for t = -3, t^3-7t+6 = (-3)^3-7(-3)+6
= -27+21+6 = 0.
t =1 gives x = (t^3-1)/7 = (1-1)/7 =
0
t = 2 gives x = (2^3-1)/7 =
1
t = -3 gives x = (-3^3-1)/7 =
-4.
Thereore x = 0, 1 and
-4.
Verification: Put x= 0 in (7x+1)^(1/3) -x =
(7*0+1)^(1/3)-0 =1-0 = 1, verifies with RHS.
Put x = 1 in
(7x+1)^(1/3) - x = (7*1+1)^(1/3)-1 = 2-1 = 1 verifies
RHS.
Put x = -4 in (7x+1)^(1/3) - x = (7*(-4) +1)^(1/3) -
(-4) = (-27)^(1/3) - (-4) = -3+4 = 1 verifies with RHS.
To solve the equation 4x^22+3x-5 >
2.
4x^2+3x-5 > 2
We subtract 2
from both sides:
4x^2+3x-5-2 >
0.
4x^2 +3x-7 > 0.
let f(x) =
4x^2+3x-7).
We find the zero of f(x) by quadratic
formula:
x1, x2 = {-b +or-
sqrt(b^2-4ac)}/2a.
Here a = 4, b= 3 and c=
-7.
Therefore x1 = {-3 +sqrt(3^2-
4*4(-7))}/2*4
x1 = {-3+sqrt121}/8 = {-3+11}/8 =
1.
x2 = (-3-11}/8 = -14/8 =
-7/4.
Therefore f(x) = (4x^2+3x-7) = 4(x+7/4)(x-1) >
0
if x < -3/4 or x > 1, when both factors are of the
same sign and the product is positive.
In To Kill a Mockingbird, Atticus
sweetly discusses this topic with his children when they wonder about juries. They ask
why city folks don't sit on them. Atticus explains that many business owners fear their
decisions would affect their customers' repeat visits. Then, the topic of women on
juries arises. Atticus, the one we all grow to love and defend and admire, stereotypes
many of Maycomb's women with the greatest care and ease.
He
points to Mrs. Dubose as an example. She would speak whenever she felt like it and would
try to get Judge Taylor to do things her way. Here is Atticus' explanation in his own
words:
"For
one thing, Miss Maudie can’t serve on a jury because she’s a woman
-"“You mean women in Alabama can’t—?” I was
indignant.“I do. I guess it’s to protect our frail ladies
from sordid cases like Tom’s. Besides,” Atticus grinned, “I doubt if we’d ever get a
complete case tried—the ladies’d be interrupting to ask
questions.”Jem and I laughed. Miss Maudie on a jury would
be impressive. I thought of old Mrs. Dubose in her wheelchair—“Stop that rapping, John
Taylor, I want to ask this man something.” Perhaps our forefathers were wise. (Chapter
23)
This demonstrates that
women talk... and talk... and talk.
In chapter 24, more
revealing details about women emerge. The women gather at an event that is all about
impressing each other. This particular event, the Missionary Tea, takes place at the
Finches house because Alexandra is hosting.
During this
part, we see the white women find great empathy for the poor people that their
missionary J. Grimes Everett serve, but they can't see the need right in front of their
face. The black community is desperately pierced by what has happened to Tom. The white
women hypocritically expect their black servants to just buck up and be strong. People
need periods to grieve.
This is a richly symbolic poem where things work on two
levels - a literal level and a more symbolic level. This poem is usually used as an
example of symbolism to help students explore symbolic meaning, or what lies beneath the
surface. Therefore, it is important to try and work out or discern what are symbols in
this poem to discover that Robert Frost is trying to say through his poem. There is much
more to this poem than a literal pause in a wintry journey. The secret to working out
symbolic meaning is to pay attention to clues the poet plants, such as repetition,
emphasis, word associations, and mysterious images.
Bearing
this in mind, examining the poem, an in particular the last stanza, we discover that
this poem is actually about the desire for death or "rest" against the long days of hard
work ahead. Consider the final stanza:
The woods are lovely, dark, and
deep,
But I have promises to
keep,
And miles to go before I
sleep,
And miles to go before I
sleep.
Notice how the woods
are described in an attractive way - they are "lovely" but also "dark" and "deep",
however, in spite of the temptation the speaker feels to stay here and rest, to "sleep",
he recognises that unfortunately, duty calls, for he has "promises to keep" and
obligations to fulfil. The repetition of the final line really serves to underline the
reluctance that the speaker has in continuing with his journey and the work of life -
"sleep" is an attractive prospect, especially in such a place of
beauty.
Thus the theme of the poem is to do with
obligations and duty, and how we need to keep pressing on with our commitments, even
though, at times, rest or death is a very attractive prospect.
In the words of Christopher Marlowe, she was the "face that
launched a thousand ships." Helen of Troy was certainly one of the most desired women in all
history (in fact and myth). Abducted when she was just a child, Helen became the mate of dozens
of men; among them were Ajax, Menelaus and Paris. The daughter of Zeus, she was proclaimed the
most beautiful woman in the world, and the Trojan War was fought primarily because of her
abduction.
Different writers give various descriptions of her final
years. After Paris' death, she became the mate of his brother, Deiphobus; when Deiphobus was
killed (and mutilated, by either Odysseus or Menelaus), Menelaus spared her from the sword after
she dropped her robe to reveal her great beauty. Menelaus and Helen were reunited in Sparta
following the war, and at "the end of their mortal existence, they continued to be together in
Elysium." Other sources claim she eventually made her way to Rhodes, where she was "hanged... on
a tree."
Author Bret Harte was doing his absolute best to describe their
crime as delicately as possible in his short story, "The Outcasts of Poker Flat." The group of
four people who were cast out of the town of Poker Flat were John Oakhurst (a gambler), Uncle
Billy (a thief) and two women--Mother Shipton and Duchess. Harte doesn't spell it out clearly,
but the two women are prostitutes, and they were run out of the town for the "impropriety" of
taking money for sex. Mother Shipton, the older of the two, is probably the
madam.
y =t^2 .
t
=3p+5
p = 6x^2
are the give
relations. To find dy/dx.
y =
t^2.
y = (3p+5)^2 , as t =
3p+5
y = {3(6x^2)+5}^2 =
(18x^2+5)^2
y' = 2(18x^2+5)^(2-1)
*(18x^2+5)'
y' =
2(18x^2+5)(18*2x)
y' =
72(18x^2+5)x.
Alternative
method:
Therefore , y = (18x^2+5)^2 =
2
To solve this we try to find y in terms of p and x
interms p and then find dy/dp and dx/dp. Then we use
:
dy/dx = (dy/dp)/(dx/dp).
y =
t^2 and t = 3p+5. We eliminate t and find y in terms of
p.
y= (3p+5)^2.
We
differentiate y wrt p:
y'
={(3p+5)^2}'
y' =
2(3p+5)^(2-1)*(3p+5)'
y'
=2(3p+5)*3
y' =
6(3p+5)............(1).
6x^2 =
p
We differentiate both sides of the equation wrt p
:
6*2x dx/dp = 1
dx/dp =
1/12x............(2).
Therefore using(1)
and(2):
dy/dx = (dy/dp)/(dx/dp) = 6(3p+5)/(1/12x) =
12*6(3p+5)
Therefore
dy/dx =
72(3p+5)x
dy/dx = 72(18x^2+5)x as, p =
6x^2.
The style of the narrative in Silas
Marneris very similar to that employed by the narrator of a fairy tale. You
have a clear beginning, middle, and end of each of the character's stories, and you can
see how each has a direct effect in the storyline of the main character. Silas is
portrayed like the banished, innocent victim turned cruel and angry over a series of
events that are directly connected to special people in his life. His abrasive and
selfish ways are realistic and yet semi exaggerated ways to expose his main problem of
trusting people and sharing what he had earned.
The way
that other characters are portrayed are also realistic but with characteristics almost
too fairy-talish such as for example the treason of William Dane, the shunning of Sarah,
and all the other things people did to him unfairly. This is how he employs his style to
describe characters.
Let us remember what happens in Act II scene 2. Romeo has stolen
in to the Capulet's orchard, and is now beneath Juliet's window. We hear Romeo's soliloquy and
then, as Juliet enters, we hear her soliloquy, that is, unbeknownst to her, heard by Romeo. She
feels that, standing on her balcony, she is alone and can speak out her thoughts of the momentous
event that has happened to her that evening. She voices her secret and hidden desires verbally
precisely because she feels she is in a safe environment and no one can hear her. Thus when Romeo
suddenly breaks out into speech and reveals himself in the dark, we can understand her fear at
the sudden interruption of her reverie and, indeed, the way that she has voiced her most secret
thoughts to someone and has exposed her emotions. Note what Juliet
says:
What man art
thou, that, thus bescreened in night,So stumblest on my
counsel?
We can see Juliet's point of
view here. Romeo is "bescreened in night" and has deliberately concealed himself so he could
sneak up on Juliet's balcony. He has deliberately eavesdropped in on her "counsel," which refers
to her private thoughts, when he could have revealed himself before she started talking. Having
confessed her love to a Montague, she has endangered her own public standing and her reputation.
No wonder she is frightened at this intrusion.
To find the the minimum f(x) =
9x^3+6x^2+4
We kow by calculus that f(x) is minimum if f(x)
= 0 for some x= x' and f''(x') < 0.
Therefore
(9x^3+6x^2+4)' = 0 gives:
9*3x^2+6*2x+0 =
0
27x^2+12x = 0
3x(9x+ 4) =
0
x = 0 or x = -4/9
Now we
find the 2nd differential coefficient:
f"(x) = (27x^2+12x)
= 27*2x+12 = 54x+12
f"(0) = 12 which is > 0. and
f"(-4/9) = 54(-4/9)+12 = --12
So, f(0) = 9x^3+6x^2+4 =
9*0^3+6*0^2+4 = 4 is the minimum locally.
But the global
minimum does not exist as f(x) becomes -infinity as x-->
-infinity.
x^2 + xy + y62 =
200...............(1)
x + (xy)^1/2 + y =
20...............(2)
First we will re-wrtie equation
(2).
We will move (xy)^1/2 to the right
sides.
==> (x+ y) = 20 -
(xy)^1/2
Now we will square both
sides.
==> (x+ y)^2 = (20- (xy)^1/2)
^2
==> x^2 = 2xy + y62 = 400 - 40(xy)^1/2)
+xy
Now subtract xy from both
sides.
==> x^2 + xy + y^2 = 400 -
40(xy)^1/2)
But, from equation (1) , we know that x^2 + xy
+ y^2 = 200.
==> 200 = 400 -
40(xy)^1/2)
==> -200 =
-40(xy)^1/2
==> (xy)^1/2 = 200/40 =
5
==> xy =
25.............(3)
Now we will substitute in
(1) and (2).
==> x^2 + y^2 + 25 =
200
==> x^2 = y^2 = 175
............(4)
==> x+ 5 + y
20
==> x+ y =
15
==> y= 15-x
...............(5)
Now substitute on
(3)
==> x*y =
25
==> x( 15-x) =
25
==> 15x -x^2 =
25
==> x^2 - 15x + 25 =
0
==> x1=( 15+ 5sqrt5)/2 ==>
y1= ( 15-5sqrt5)/2
==>
x2= (15-5sqrt5) /2 ==> y2= (15+5sqrt5)/2
I think that the place that you are probably referring to
is Gaul. Julius Caesar is most famous (militarily) for his campaigns in that region of
the Roman Empire. Caesar fought a series of wars against the Gauls for roughly 8 years
in the 50s BC. These wars made him more famous than he already had been and they gave
him a great deal of power.
It was Caesar's success in these
wars in Gaul that allowed him to come to power in Rome. When Caesar was recalled from
his post in Gaul in 50 BC, he brought his army with him, crossed the Rubicon, and
launched the civil war that led to him taking power in
Rome.
So Caesar's conquests in Gaul helped to make him
powerful and famous and so I would say that these were his most important
victories.
The denominator x^2 - 5x - 50 can be factorized
as:
x^2 - 5x - 50
=> x^2 - 10x +
5x - 50
=> x(x - 10) + 5(x -
10)
=> (x + 5)(x - 10)
The
denominator has the roots x = -5 and x = 10
Now to find the partial
fractions of 3/(x^2-5x -50), we can use this method.
The partial
fractions are A / (x + 5) + B/(x - 10)
To determine A, cover x + 5
and substitute in 3/(x - 10) the value of the root due to x + 5 , or x =
-5
we get 3/(-5 - 10) = -3/15 =
-1/5
Similarly for B, cover x - 10 and substitute in 3/(x + 5) the
root due to x - 10 or x = 10
we get 3/(5 + 10) =
1/5
The partial fractions of 3/(x^2-5x -50) are 1/5*(x
-10) - 1/5*(x + 5)
It is vague to say imaginary numbers are used in quadratic
equations. A quadratic equation is 2nd degree polynomial equation , ax^2+bx+c = 0 ,where
the quadratic coefficient of x^2 a , the linear coefficient x , b and the constant
term c are all real.
But in quadratic equations the
solutions or the roots could be imaginary or complex.
We
know ax^2+bx+c = 0 is a general quadratic equation. Then a(x^2+bx/a)+c/a =
0
x^2+bx/a +((b/2a)^2 -(b/2a)^2 + c/a =
0
(x+b/2a)^2 =
(b^2-4ac)/(2a)^2
x +b/2a =
+(1/2a)sqrt(b^2-4ac).
x+b/2a =
-(1/2a)sqrt(b^2-4ac).
Or
x =
-(b/2a) + (1/2a)(b^2-4ac)..........(1) Or
x = -(b/2a) -
(1/2a) (b^2-4ac)..........(2)
From (1) and (2) it is only
when b^2-4ac is negative that an imaginary roots can
occur.
Also it could be noticed that the imaginary roots
can occur in conjugate pairs like A+Bi and A-Bi and never in single imagiginary root.
The idea is usuful while solving the quadratic equation.
At the half way point through the novel, Hamlet has been beset
by bad news from the ghost and betrayal by his friends. He is extremely frustrated by his
mother's quick marriage and his own inability to take the action he needs to against Claudius. In
the nunnery scene, Hamlet confronts Ophelia and gives her a very stern talk about what he sees in
her as a woman. It is a devastating speech for Ophelia who is shocked and hurt by Hamlet's
attitude.
Hamlet tells Ophelia that he loved her once, and then
contradicts himself and tells her he never loved her. On the heels of that hurtful comment he
instructs her to get herself to a nunnery. It would seem that he is referring to a house for nuns
-- a religious order of nuns who would take a vow of celibacy. He tells her to do this so that
she will not become "a breeder of sinners." If she shuts herself away from men, then she can't
produce children who become sinners like him and like everyone else. He is especially condemning
of men, calling them "errant knaves all." It is important to note here that in Shakespeare's day,
a nunnery could also be used as a slang term for a house of prostitution. If he intends this
meaning, he is being even more cruel to Ophelia. In the next section of the conversation he does
insult women for their flirtatious ways ("You jig, you amble, and you lisp; you nickname God's
creatures and make your wantonness your ignorance.") He tells Ophelia that women make fools of
men and that he hopes if she does marry she be "as chaste as ice" meaning sexually frigid. No
matter how he intends the meaning of the word nunnery, it is a cruel awakening to Ophelia of how
much she perceives that Hamlet has changed.
Unfortunately for her,
she doesn't realize that Hamlet is only acting crazy and this speech is for
the benefit of the King and Polonius whom he suspects are spying on the whole exchange. When he
asks her where he father is and she replies, "at home," He immediately thinks she is lying. His
next line is "let the doors he shut upon him, that he may play the fool nowhere but in's own
house." Hamlet is essentially talking to the spying men and letting them know that he is on to
them with this insult.
Once Hamlet leaves the stage, Ophelia is left
alone on stage. In the soliloquy that follows, she shares her deep sadness for "what a noble mind
is here o'erthrown." She seems to be more upset for how changed Hamlet is, in that he would speak
to her this way, than for what he actually said to her. It shows a loyalty to her character that
makes the reader feel sorry for the way Hamlet treated her. He may have thought he had no choice
but to keep up the crazy act in this way, but he was awfully cruel in the
process.
Although I have not found literature references to the “Organic
Effect” in business management, there are articles on “Organic Organization” of
business management endeavors. The referenced study describes two forms of business management,
“mechanistic” and “organic”.
The “organic” form of organization of
business management recognizes the constant changes affecting business organizations. The
problems that must be addressed in the business management plan are in a continual state of flux,
and they require adaptive management strategies of which a few will be generally described
here.
In contrast to “organic”, the “mechanistic” model of
organization of business management assumes a static (unchanging) situation and a simple vertical
relationship of superior and subordinate. It is a non-adaptive, and by current standards,
non-productive model.
The “organic” approach recognizes change. It
provides for continual adjustments based on management’s special knowledge and experience of the
task of the company. It appreciates the realistic over the theoretical. It disallows shifting of
responsibility to others, and demands accountability. Instead of valuing only loyalty to the
company and obedience of superiors, the “organic” model values commitment to the task, and has a
goal of progress and expansion. Information and advice are valued over instructions and
decisions.
I would most likely call this person my substitute, although
some of the others would be okay to use. I would certainly not use the word
"delegate."
We tend to use the word "substitute" to denote someone
who comes in to fill in for a person. You could use the phrase "back up" for this as well,
though substitute is more formal.
In places I have worked, the term
"cover" is used to indicate someone from the same workplace who comes over to take your job while
you are off at lunch or some other very short-term thing (less than a whole day). You might say
that you are going to "cover" for someone while they go on
lunch.
Overall, though, I'd think that "substitute" would be the
best choice here.
I edited this question as we are no longer answering
questions about two separate characters/stories since they count as two different
answers.
Mrs. Mallard is a young woman. She is a married
woman with a supposed condition described as "heart weakness". When she first receives
the news of the death of her husband in a train wreck, she weeps and sinks in despair as
it is expected from those who gave her the news.
Yet, we
slowly discover that this woman has lived a life of oppression and self denial. She had
been living up to the social expectations placed upon women: They must marry, follow and
support their husbands, and bear children at some
point.
She seems then to be a woman who would have much
rather eliminated all of that in favor of living a life of independence and finding
herself. Yet, this was no possible. Or was it? Apparently it would have been possible,
as she began to realize how she could taste freedom now that she was on her own. As she
begins to daydream and drift into her new possibilities, she opens up completely and we
perceive the depth of her oppressive life. She desperately wanted
out.
Then, as we discover that the husband was not really
dead and she comes back to reality, she cannot bear it anymore. She is obviously a woman
who has given too much of herself and is desperate to recover it back. Yet, when she
cannot bear thinking of her life back to what it was her death is more than just
significant: It is symbolic of every person who once makes or needs a change and decides
not to ever look back again.
I guess that the answer is no, at least not according to
this poem. In the poem, there is nothing that gives us any indication that people are
going to stop killing each other (and actually getting better and better at it) any time
soon.
As far as out here in the real world (as opposed to
in the poem), I think there is some hope that we will no longer have huge wars. We
haven't had one since 1945, after all -- not one that really involved lots and lots of
people getting killed. But there seems no doubt that we are going to keep killing each
other on at least a small scale for the foreseeable future.
Despite the implication of the title, “The Weary Blues,”
the process of singing his song of suffering seems to change the speaker’s mood from
pain to acceptance, even peace. “The Weary Blues” is Hughes’s attempt to capture in
poetry the musical traditions of his people. Although he won a prize for this poem in
1925, many critics black and white objected to his inclusion of folk-music traditions
and Negro dialect, claiming that both reinforced Negro stereotypes. Hughes’s use of
rhyming and rhythmical lines to tell his story of the blues that originate in “a black
man’s soul” underscore the relation between words and music in African-American culture.
The setting of “The Weary Blues” is a bar in Harlem in the 1920s and details such as“old
gas light” and “rickety stool” evoke the place and the time period. The “droning” voice
of the speaker of “The Weary Blues” betrays the phonic complexities of the poem’s title.
His use of repetition, exclamation marks, and direct speech continue to echo the
“droning” sounds of the weary blues of the Harlem bar.
The three witches constituting a supernatural sisterhood
appear in the very opening scene of Macbeth on a desert place
amidst their incantatory thunder and lightning, striking the key-note of the whole
play:' Fair is foul, and foul is fair'. The ' weird sisters '
re-appear in act 1 scene 3 to deliver their proclamations to Macbeth. They also make
prophetic messages for Banquo. These agents of darkness and evil cast serious influence
on both Macbeth and Banquo.
Among the other options,
betrayal and loyalty in battle also deserve to
be considered. In act 1 scene 2, we are told how the rebellious Macdonwald is killed in
battle by Duncan's most loyal and courageous general, Macbeth. Then Macbeth and Banquo
fight together for their king against the Norwegian king, clandestinely supported by the
treacherous Thane of Cawdor. But the noble and loyal Macbeth goes on to kill his king
and kinsman, Duncan.
Scout, who has been talked to in adult fashion by her father in
which one person reasons with another, does not understand why Miss Caroline punishes her when
she simply tries to help her understand the social order in Maycomb. As a very intelligent child
who has been taught to reason, Scout is nonplussed by Miss Caroline's instructions that she stop
reading the Mobile Register with her father because he does not know how to
teach. Miss Caroline vows that she will undo the damage that Atticus has made:
"It's best to begin
reading with a fresh mind. You tell him I'll take over fro her and try to undo the
damage--"
After school is over, Scout
talks with her brother Jem, complaining of Miss Caroline's remarks. Jem tries to explain to her
that Miss Caroline has learned teaching methods from the educational reformer John Dewey, and she
is introducing the new method to Scout's class, but humorously he confuses this with the library
system of arranging books:
"I'm just trying to tell you, the new way they're teachin'
the first grade, stubborn. It's the Dewey Decimal
System."
In addition to Scout's
competency in reading, Miss Caroline has "caught" Scout writing, and scolds her for another
activity not meant for first grade, Scout finds her teacher's thinking that a student should be
prevented from learning something simply because of grade or age inane and completely
illogical.
To get the greatest common divisor of 15 and
28.
Solution :
We write both
15 and 28 with their prime factor in their highest
power:
15 =
1*3*5............(1)
28 = 1*2*2*7 = 2^2
*7...........(2)
We examine the factors of 15 and 28 at the
RHS of (1) and (2).
There are no common factors between 15
and 28 except 1.
Therefore 1 is the onl common factor for
15 and 28.
Therefore the GCD or GCF of 15 and 28 is
1.
A metaphor compares two dissimilar things that share the
same characteristics, without using "like or as." The following example is a metaphor in
the Prologue of The Canterbury
Tales.
Describing the Monk, Chaucer
writes:
And
that a monk uncloistered is a mere / Fish out of water, flapping on the pier (lines
177-178).
Chaucer is speaking
to the fact that a monk, a man of God, who is not cloistered/shut away in a monastery,
is out of his spiritual element.
An example of hyperbole
(exaggeration) can be found with the Friar:
He knew the tarverns well in every
town
And every innkeeper and barmaid
too
Better than lepers, beggars and that
crew,
For in so eminent a man as
he
It was not fitting with the
dignity
Of his position, dealing with a
scum
Of wretched lepers; nothing good can
come
Of dealings with slum-and
gutter-dwellers,
But only with the rich and
victual-sellers.
(238-246)
This description
talks about another holy man, the Friar. Chaucer had little time for religious
hypocrites, and he describes several in the Prologue. The Friar is one. When Chaucer
speaks about the elevated social position of the Friar, he is being sarcastic. He
exaggerates when he talks about his status, that the Friar could not
possibly be expected to mingle with the poor or diseased; no, he
was much more "at home" with the bar staff, the rich, or people selling food
(victuals)...(hardly what a man of God should be
doing).
Finally, imagery in Chaucer's work abounds.
(Imagery, of course, uses descriptions to paint a picture in the reader's mind). I have
included two. The following describes the Knight.
He wore a fustian* tunic stained and
dark
With smudges where his armor had left mark
(71-72)
*fustian - coarse
cloth
This description
praises the Knight. He is a humble man, but his worth is seen when he removes his armor,
for the intensity of his fighting has worn stains and smudges onto his tunic. He has
honorably fought, and immediately on arriving home, he goes on a pilgrimage to thank
God.
Or, Chaucer's description of the Pardoner is
classic:
This
Pardoner had hair as yellow as wax,Hanging down smoothly
like a hank of flax.In driblets fell his locks behind his
headDown to his shoulders which they
overspread;Thinly they fell, like rat-tails, one by one.
(662-666)
Another man of God
who didn't do his job, this description shows how Chaucer felt about
him.
Hope this helps.
W have the points: (2,5) and (4,6) passes through a lint L
.
We need to determine k values such that ( 7, k) is on the
line:
First we will determine the equation for the line
L:
( y- y1) = m (x-x1) where (x1,y1) is any point of the line and
m is the slope:
==> ( y-5) = m (x-2)
............(1)
Now we will determine the
slope:
m= ( y2-y1)/(x2-x1) = ( 6-5)(4-2) =
1/2
==> m = 1/2
==> (y-5)
= (1/2) ( x-2)
==> y-5 = (1/2)x -
1
==> y= (1/2)x - 1
+5
==> y= (1/2)x + 4
Now we know
that the point ( 7, k ) passes through the line:
Then ( 7,k) should
verify the equation for the line:
==> k= (1/2)*7 +
4
==? k = 7/2 + 4 = 15/2 =
7.5
==> k =
7.5
The domain of definition of the given function contains
the admissible values of x for the logarithmic function to
exist.
We'll impose the constraint for the logarithmic
function to exist: the argument of logarithmic function has to be
positive.
x^2 - 5x + 6 >
0
We'll compute the roots of the
expression:
x^2 - 5x + 6 =
0
We'll apply the quadratic
formula:
x1 = [5 +/- sqrt(25 -
24)]/2
x1 = (5+1)/2
x1 =
3
x2 = 2
The expression is
positive over the intervals:
(-infinite , 2) U (3 ,
+infinite)
So, the logarithmic function is
defined for values of x that belong to the intervals (-infinite , 2) U (3 ,
+infinite).
The reunion of
intervals represents the domain of definition of the given function f(x) = log 2 (x^2 -
5x + 6).
For a while at the end of Chapter IX, it looks as if
Boxer's death is going to have a huge impact. You sort of expect that the protest that
erupts when he is taken away will end up making a difference. But then nothing happens
for three days and then Squealer's explanation of his death smooths everything over.
The rest of the animals either believe what Squealer says or (maybe) they are too afraid
to go against the pigs.
At any rate, Boxer's death has no
impact in the way you might think. It does not cause the animals to rise up. All that
happens is that the pigs use Boxer as a hero to try to bolster their rule. They talk
about how the animals should live by the same rules (hard work and reverence for
Napoleon) that Boxer lived by.
So if Boxer's death has any
impact at all, it is simply to help the pigs take even firmer control of the
farm.
In the private detective mystery novel genre there is an
obligatory scene in which a client hires the detective to deal with a problem and
explains the details to him. A good example is in Dashiell Hammett's famous novel The
Maltese Falcon. Brigid O'Shaughnessy, calling herself Miss Wonderly, comes to the office
of Spade and Archer in San Francisco and tells Sam Spade a cock-and-bull story about how
she is trying to find her sister in order to get her away from Floyd Thursby and take
her back to New York.
Raymond Chandler had a much better
education than the typical pulp fiction writer, and he tried to improve on the
private-eye genre by giving it more variety, more subtlety, and more sophistication. The
writer he most admired was Henry James. In Chandler's introductory scene in The Big
Sleep he still had to have his detective meet a client and be told the details of the
problem before beginning to work on the assignment. But instead of having the client
come to the detective's office, Chandler has the detective go to the client's home. This
is understandable because the client, General Guy Sternwood, is an old man in extremely
bad health. By having Philip Marlowe meet the General in a greenhouse filled with
orchids, Chandler created an original kind of opening scene. It demonstrates the
General's wealth, which is the cause of his problems with his younger daughter, and his
feebleness due to his old age.The old man tells
Marlowe:
"You
are looking at a very dull survival of a rather gaudy life, a cripple paralyzed in both
legs and with only half of his lower belly. There's very little that I can eat and my
sleep is so close to waking that it is hardly worth the
name."
The setting shows the
client's wealth and also helps set the exotic tone of a mystery that will be played out
in gaudy, glamorous, and kinky Southern California. It also allows Marlowe to meet
Norris the butler and both of General Sternwood's daughters, and even to catch a glimpse
of Owen Taylor the chauffeur who will shortly be shooting Arthur Gwynn Geiger while the
dealer in pornographic books is photographing the nymphomaniac Carmen Sternwood in the
nude. In addition to meeting four of the principal characters, Marlowe will notice two
of the automobiles that will figure prominently in the story. These are a Packard
convertible and a big Buick sedan, both of which are being wiped down by Owen
Taylor.
So the opening of The Big
Sleep in a greenhouse filled with orchids is colorful and original, while
enabling the private eye to learn a great deal more than just the bare-bones details of
his assignment. Chandler is following a principle he learned from Henry James, which is
to "dramatize, dramatize, dramatize." Show, don't tell! Instead of being told a story by
a client sitting on the other side of the desk in his office, Marlowe is able to visit
the scene and interact with the most important characters. Not only that, but the
opening allows the reader to see Marlowe in action and not just sitting in a swivel
chair and listening to somebody talk.
The pastoral elegy will often represent death and an
idyllic--rustic and untouched--setting. Pastoralism creates a feeling of nostalgia in readers,
even if their experience is limited, for a simpler, more peaceful time. Much of the imagery of
pastoralism revolves around farms, shepherds, fields, animals, and so forth. In terms of Milton's
Lycidas, the mention of berries, leaves, the flock, the hill, the field,
mentions of green, and the titling of Lycidas as "Shepherd" all fit the requirements of a
standard pastoral.
Elegies generally open with an invocation to the
Muse, as epics, an expression of grief, the articulation of that grief as song, and various
symbols. In Lycidas, these are underwritten by the bitterness that later
turns into the bittersweet. The narrator speaks of mourning, of a man gone in his prime, and
insists "He must not flote upon his watry bear/Unwept," indicating that the grief must be
expressed in order for this death not to be in vain. The end of the poem recommends against
further mourning, however, as the shepherd is now one with the land over which he once presided
in life, and watches over travelers still.
The answer to this question can be found in Book XXI. I
cannot give you a page number because I do not know what edition of the book you might
have.
The basic answer is that the bow is too valuable to
Odysseus for him to want to bring it along to the war. It is valuable as a keepsake --
for sentimental reasons. This is because the bow was given to him as a token of
friendship by a man named Iphistus. The bow had belonged to Iphistus' father who had
been killed by Hercules. When Iphistus gave the bow to Odysseus, Odysseus was very
honored and therefore, later, he did not want to bring such a special bow to
war.
Here's a
quote:
This bow, then, given him by Iphitus, had
not been taken with
him by Ulysses when he sailed for Troy; he had used it so
long
as he had been at home, but had left it behind as having been
a
keepsake from a valued friend.
I see that you have tagged this with "Chapter 17" so I
assume that you are asking about the argument between John the Savage and Mustapha Mond
in that chapter. If so, I think that the main argument against the new society is that
it takes away people's humanity.
I think that John's major
argument against the brave new world is summed up pretty well in this long
quote:
"You
got rid of them. Yes, that's just like you. Getting rid of everything unpleasant instead
of learning to put up with it. Whether 'tis better in the mind to suffer the slings and
arrows of outrageous fortune, or to take arms against a sea of troubles and by opposing
end them … But you don't do either. Neither suffer nor oppose. You just abolish the
slings and arrows. It's too
easy."
What John is saying is
that the civilization has gotten rid of everything that is difficult. But it is
difficult things that really make us human. Love is not easy to come by. We can have
difficulties finding the right person to love and our relationships are not always
easy. But things like that are what make our lives worth
living.
So the major argument against the society is that
it has destroyed everything that made life worth living.
The exposition of the play, Act I, introduces the main
character, John Worthing-“Ernest” and presents the major conflict: he wants to marry aristocratic
Gwendolen but her mother does not approve. Furthermore, she loves him because of his name. Here
is the first example of irony. Jack is not really an earnest man, thought he calls himself
“Ernest,” and Gwendolen does not really want to marry an earnest man, but a man earnest is name
only.
The rising action of the plot occurs throughout Act II, and is the
longest part of the plot. During the rising action Algernon complicates the conflict because he
arrives at Jack’s country house and calls himself “Ernest.” This is an impediment because, soon,
Gwendolen arrives, and because Algernon has proposed to Cecily as Ernest, Gwendolen is bound
to-first, not want to marry Jack because of his duplicity, and second, find out that his name is
really not Ernest.
The climactic moment is when the women confront the men
about what they have discovered by talking-they can not both be Ernest Worthing. The men confess
and the women retreat
The women easily forgive the men and the denouement
arises with a surprise ending. The ending can be referred to as “Deus ex Machina”(God from
machine), which is a highly improbable ending. The chance of Jack really being whom he pretended
all along, not to mention Algernon’s brother, not to mention Lady Bracknell and Miss Prism
meeting on this fortuitous occasion-are all unlikely occurrences. Also in the resolution, is an
excellent example of the understatement, which occurs throughout. To Miss Prism, it does not seem
to be a grave occurrence that she switched a baby and her novel, losing both priceless items.
This play is equipped with many, many epithets-paradoxical, witty phrases.
These phrases serve to add to the comedy value of the play. An example if one of these phrases is
when Cecily says to Algernon: “Well, I know, of course, how important it is not to keep a
business engagement.” (Act II). This is humorous, because to Victorians-as well as to
ourselves-it is important to keep business engagements. Yet, this statement is not amusing to the
characters in the play.
To Winston, almost everything from the telescreen is bad
news because he can still think. Every announcement about Hate Week, or war or the fact
that he has to get up and do his exercises irritates him. However, one very specific
announcement comes from the telescreen close to the end of Book
2.
Winston and Julia are resting peacefully on their bed in
the apartment above the shop. Winston is reading aloud to Julia from Goldstein's book.
Once again, Julia has fallen asleep on Winston, who is in serious thought about what he
is reading. You may remember that there wasn't supposed to be a telescreen in that room.
There is. The Thought Police deliver a message to Winston and Julia over the telescreen
before they actually come into the room. The message is essentially this: You are dead.
I can't think of any worse news to receive.
Funny, Winston
after reading Goldstein's book and having a relationship with Julia was likely just
beginning to feel alive.
When we think about diction we are referring to word
choice. Thus, when considering the word choice or diction in "The Black Cat" you need to
consider which words are used that relate to the theme and create mood and tone, and are
linked to the effects Poe is trying to create.
One way to
start an examination like this is to simply see which words are repeated throughout the
story. Proceeding in this fashion reveals that phrases like "evil thoughts" and "heart",
"rest" and "sleep", "a rage more than demoniacal", references to God, and of course
"black cat."
Each of these words and phrases of course need
to be linked in with the theme of the story and how they create the dark, tragic yet
ironic mood of the narrator who is haunted by the black cat which, in his mind, causes
all of his misfortunes. Hope this helps give you some ideas!
For three terms a, b and c in a GP, ac = b^2. And for
three terms a, b and c which are in an AP a+c= 2b.
As a, b
and 8 are in a GP 8a = b^2
And as a, 8 and b are in an AP
a+b = 2*8= 16
Now we will use the two
equations:
8a = b^2 => a = b^2 /
8
substitute this in a+ b = 16 => b^2/ 8 + b
=16
=> b^2 + 8 b =
8*16
=> b^2 + 8b – 128
=0
=> b^2 + 16b- 8b -128
=0
=> b(b+16) –
8(b+16)=0
=> (b-8)(b+16)
=0
=> b = 8 or b=
-16
Now a+b=16
=> a +8
= 16
=> a = 8
This
gives an AP with difference 0 and common ratio 1.
For a-16
=16
=> a = 32
Here the
common difference is -24 and common ratio is
-2
The required sets of a and b are (32, -16)
and (8,8)
5 - 3 l 2C+5 l < 13
To solve
for C, first we need to isolate the absolute value on the left
side.
First, we wiil subtract 5 from both
sides.
==> -3 l2C + 5 l < 13 -
5.
==> -3 l 2C + 5 l <
8
Now we will divide by -3.
( Notice
that when dividing or multiplyin by a negative number, we need to reverse the
inequality).
==> l 2C + 5 l >
-8/3
Now we have two cases:
(
Case(1):
2C + 5 > - 8/
3
==> 2C > -8/3 -
5
==> 2C > -23/3
Now we
will divide by 2:
==> C >
-23/6
Then, C = ( -23/6, inf).
Case(2):
- (
2C + 5) > -8/3
==> -2C - 5 >
-8/3
==> -2C > -8/3 +
5
==> -2C > 7/3
Divide
by -2 and reverse :
==> C <
-7/6
Then, C = ( - inf , -7/6)
This is a tough question because of the intricate nature
of Roy's work. She provides no easy answers. In my mind, I think that if there is one
source of evil or a location for it, the class system and system of social
stratification based on caste might be a good candidate for where evil lies. The system
of segregation that was imposed on the Indians by the British was internalized to the
point where such divisions ended up demarcating personal relationships. It is for this
reason that Vellya Paapen kills his son, and why Ammu and Velutha are punished so harsh
for what they do in the hopes of transcending it. The fact that individuals take this
social segregation into the realm of the private and into their own states of being,
internalizing the failures of society as personal shortcomings, becomes a main reason
for the evil and cruelty in the novel.
Shakespeare uses two distinctly different locations in the
play A Midsummer Night's Dream. One (the setting at the beginning
and end of the play) is the court and city of Athens in ancient Greece, and the second
is an unnamed forest, or woods (the setting of the middle section of the
play).
There are a few significant observations to make
about these two settings:
To answer your specific question about
the shifts, they happen between Acts I and II, when the scene changes from Athens to the
woods, and then, during Acts IV and V, there is a more gradual transition back to
Athens.
Theseus, Hippolyta and Egeus wake the Lovers as
they are hunting in Act IV, thus bringing a bit of the law and order of Athens to the
edge of the woods where the Lovers sleep. Theseus, it seems, is affected somewhat by
his proximity to the world ruled by the emotions (the woods), as he decides to pardon
Hermia for her disobedience and allow the Lovers to join himself and Hippolyta on their
wedding day.
Act IV, scene ii brings the play fully back to
the daily world of Athens, as the Mechanicals, gathered at Quince's house, await the
return of Bottom. As a note: Quince's house is also a "setting," but is contained
within the perimeters of the world of Athens, so I have not listed it as a "major"
location.
For more on the settings of A Midsummer
Night's Dream, please follow the links below.
The descriptions of Mother and figurative
language show that she is strong.
Although
mother tells Nanny Penn that women folk know nothing, according to men, she is actually
a strong character. When her husband decides to build a bigger barn instead of the
better house he promised her, she is irritated and she decides to do something about
it.
Sarah Penn’s irritation is demonstrated by her
reactions to finding out her husband is building a barn. She shoved her daughter aside,
“plunged her hands vigorously into the water,” and “scrubbed a dish fiercely.” The fact
that she shows her displeasure in her housework demonstrates an awareness of her station
in life and how she can use it.
Sarah gets the idea to use
what strength and power she has. She moves into the
barn.
With
partitions and windows, what a house would there be! Sarah looked at the row of
stanchions before the allotted space for cows, and reflected that she would have her
front entry there.
There, she
is described with figurative language. The peas she is shelling are compared to
bullets, and “the barn threshold might have been Plymouth Rock from her bearing” when
the minister confronts her. She does not back down. Her husband built a bigger barn
when he promised her a bigger house, so she moved into the
house.
This depends on what government we are talking about -
either a national or state government - but I will do my best to
answer.
A. This is certainly true in all US states that I
am aware of.
B. This is FALSE, at least in Texas. See the
following link:
http://www.cathedral-elpaso.org/advancedstudies/govt2306/ch02/sl-ch02-trms.htm
C.
This seems true in all US states that I am aware of.
D.
This is certainly true in all US states that I am aware
of.
E. This is certainly true in all US states that I am
aware of.
To answer your question, the false statement
seems to be B: The plural executive is composed of appointed
officials.
You can find this answer in book 2, chapter 9. An excerpt
of Goldstein's book is provided. Within that excert, chapter 3 in entitled "War is
Peace". It establishes the reasoning for maintaining wartime as opposed to
peace.
For each of the superpowers, they have come to the
realization that war achieves several means. First and most important, it uses up the
surplus of goods produced by the people. This helps maintain a controlled society
because if some people began to use more goods than others or rationing was done away
with, wealth would occur for some. This would certainly disrupt the order. Without a
lower class, Big Brother and the other government hierarchies have no one who needs and
depends on them therefore remaining subject to them.
The
basis of war is acceptable to people. It is something they have lived with. To the
governments, it gives the people a reason to fear, they fear something else, never their
own government. It also helps them place their hate. People will hate. This is a way to
control where that goes.
We can use logarithms to solve exponential
equations.
We'll take the common logarthim both
sides:
lg 10^(1 - x) = lg 6^x
We'll
apply the power rule for logarithms:
(1-x) lg 10 = x lg
6
We'll recall that lg 10 = 1
We'll
re-write the equation:
1 - x = x lg
6
We'll add x both sides:
x + xlg6 =
1
We'll factorize by x:
x(1 + lg 6) =
1
We'll divide by 1 + lg 6 = lg 10 + lg 6 = lg
60:
x = 1/lg 60
Rounded to four decimal
places:
x =
0.5624
The way that this land was most connected to the coming of
the Revolution was through the Proclamation of 1763. In this proclamation, the British
government told the colonists that they could not settle beyond those
mountains.
The British had their reasons. They did not
want to anger the Indians and they did not want to have to pay to defend the colonists
from angry Indians. However, these reasons did not resonate with the colonists.
Instead, the colonists became angry. They felt that the government did not care about
them and was, instead, going to tax them but then turn around and refuse to protect
them. This helped to start making the colonists angry at the British and it helped to
(eventually) lead to the Revolution.
When the gas attack suddenly descends on the troop of soldiers,
who are described in terms that make them represent anything but soldiers, chaos descends on the
company as they struggle to put on their gas masks and protect themselves from the immense danger
of the gas. The description of the speaker of the poem of what he sees through his gas mask when
one of his company fails to place his mask securely on his face in time is a chilling description
of man dying:
Dim,
though the misty panes and thick green light,As under a green sea,
I saw him drowning.
Thus we can see
from this description that the gas is green in colour. The comparison the poet makes is to
compare the man dying with a man who is drowning. The green gas in the speaker's mind suggests
green sea water, and being gassed, like drowning, is a death that takes place gradually as oxygen
disappears.
ylnx - xy' = 0
First we will
rewrite the equations.
ylnx =
xy'
==> ylnx = x
*dy/dx
In solving differential equation, out first priority
is to isolate x an y terms on different sides.
Then we will
multiply both sides by dx and divide by
xdy
==> lnx/x) dx =
dy/y
Now let us integrate both
sides:
==> intg (lnx/x) dx = intg
dy/y
Let u= lnx
==> du
= 1/x dx
==> x du =
dx
==> intg u/x * xdu = ln
y
==> intg u du = ln
y
==> ln y = u^2 /2 +
C
Now subsitute with u= ln
x
==> ln y = (lnx)^2 /2 +
C
==> y= e^(1/2)(lnx)^2 +
C
In the exposition of Baldwin's "Sonny's Blues" Sonny is
the stereotypical resident of Harlem: the drug-addicted loser. He is on the outside of
society, and shows little potential to assimilate into mainstream America. While he
seems to be the antithesis of his narrator brother, Sonny and his brother both come from
the "killing streets"; the author remarks upon another similarity as they take the cab
ride through Harlem,
...it came to me that what we both were seeking
through our separate cab windows was that part of ourselves which had been left behind.
It's always at the hour of trouble and confrontation that the missing member
aches.
Sonny is not
talkative. As the brother and his family and Sonny dine, the narrator recalls that
Sonny and the father fought because the father was frightened for Sonny. But, it does
no good to fight with Sonny; he "just moves back, inside himself." There he cannot be
reached in his privacy, but the brother knows that Sonny is vulnerable. For, Sonny
suffers greatly. His solace has been his music. When Sonny comments that the street
singer must have suffered greatly to be able to sing as she does, he indicates that he,
too, that he has endured much to arrive where he is when he plays at the
nightclub.
"I sensed myself in the presence of something"
the narrator writes about Sonny on the day of the funeral of his mother. He knows that
Sonny has talent, but is vulnerable to the problems of life. Still, for Sonny music is a
medium in which he can live and breathe although it is an atmosphere which is not like
the narrator's. Instead, Sonny is "loose and dreamlike all the time." But, while his
music has been an excuse for the life he has led, it becomes, at the end of the story,
the salvation of his soul. And the music touches the narrator, too. "My trouble made
his real." As he sits in the nightclub, the narrator realizes that the music has helped
Sonny remain free as he has an outlet for his suffering, just as it is an aid to
everyone to be true to what they are.
In a system without jury trials, it would be more
difficult for defendants to be acquitted of the charges against them. This is because
the system would be more of a closed system, an insiders' club. This would build
systems of trust and mutual understanding that would lead to more
convictions.
If judges were the only ones who determined
guilt or innocence, there would be more convictions. Judges and prosecutors work with
one another every day because of the nature of the system. They get to know one another
better than they get to know the more numerous defense attorneys. If there were no
juries, the judges would naturally have more sympathy for the prosecutors because they
would know them.
The judges would also be more skeptical of
defendants' stories. Juries are less jaded than judges and are more likely to believe
what defendants say.
Overall, then, a system with bench
trials only would work to the benefit of prosecutors.
Heart of Darkness develops a journey motif,
and one of the journeys Marlow undertakes is a "night journey" into what has been called the
primal self. He leaves London seeking knowledge of himself, and discovers more than he ever
imagined as he is drawn into Kurtz' being. As he travels deeper and deeper into the Congo, Marlow
leaves civilization behind. He enters what could be described as a dream state, which is
reinforced through the novel's imagery of wilderness and fog. He is moving through a primal
forest as he grows closer to his primal self. Through his developing relationship with Kurtz,
Marlow descends psychologically into his deepest self where he finds that he, too, has a capacity
for evil. Unlike Kurtz, however, Marlow's psychological self is developed and integrated; he
makes a conscious choice to reject what he judges to be human degradation. Marlow's conscience,
his super ego, recognizes evil and will not embrace it.
Kurtz is
often interpreted as representing the bottom of the human psyche, the Freudian id, where
instinct, impulse, and the most primitive of human needs exist. Kurtz is brutal, self-indulgent,
and self-obsessed; his behavior is unchecked by conscience or society. Marlow notes that Kurtz
"lacks restraint" and that there is "something wanting in him." As representative of the id as
Freud defined it, what Kurtz lacks is judgment and a conscience. He does not operate from the ego
or the super ego, as defined by Freud.
I believe that you can find all the examples that you need
for this question in the first paragraph of the essay. There, the narrator gives at
least a few ways in which the people of Burma showed that they hated the
colonizers.
Here are a few
examples:
Billy Budd may be easier to
understand when taking a look at what was happening in Europe at the time this story
takes place.
The year is 1797. The French are in the
throes of the French Revolutionary War, and in 1797, England is attempting to thwart the
French's plan to "join a large Spanish fleet."
As was the
custom of the English, especially during times of war, when sailors were needed, the
Press gangs would actually impress (kidnap/take by force) men into service for the Royal
Navy. (This was a legally sanctioned action that had been in existence for many years in
England.) Those impressed included mostly Englishmen, of the seafaring sort, who were
between eighteen and forty-five years of age. They were basically prisoners of the Royal
Navy.
This situation affects the men on the ship called
Rights-of-Man. Billy Budd is one of the sailors on the ship who has
been impressed into service. It is logical to assume that he and others are treated
poorly. They were generally taken into service on the spot, without time to even
communicate with family members.
The frustration and
resentment of being pressed sailors would not have endeared the senior crew members of
ship to the sailors who were not their by their own
choice.
And because of what was going on with the French at
the time, rebellion was in the air. People who had been repressed for so long were now
uniting and fighting back at their oppressors. They were planning ways to overthrow the
upper classes who wielded the power and controlled the money in France, and bring a
revolution for change to the forefront of social reform. This battle moved out across
Europe as the French made war on other countries.
These
sentiments would have been clearly understood by those impressed on the same ship with
Billy Budd.
The senior officers perceive the threat of a
mutiny on board; when accused, Billy Budd stabs his accuser. He is ultimately hanged for
doing so. However, the same frustration the French feel is what all oppressed people
experience: rage, fear, and frustration.
This historical
events/practices allow the reader to be more empathetic to Billy Budd's actions: while
murdering is wrong, impressment denies the rights of those taken. I am sure this was not
the only incident of the times, where people were motivated for the same
reasons.
To find the first derivative of
tan^4x(x+1)^4.
Let f(x) ={
tan(x+1)^4}^4.
We know d/dx(tanx )=
sec^2x.
We know d/dx{f(x)}^n = n
{f(x)}^(n-1)*f'(x).
We know d/dx (u(v(x)) =
(d/dv){u(v(x)}{dv(x)/dx}.
Therefore d/dx{tan(x+1)^4}^4 =
d/dv(x(tanv)^4 * dv/dx, where v =
(x+1)^4.
d/dx{tan(x+1)^4}^4 = {4(tanv)^3sec^2v}
dv/dx.
d/dx{tan(x+1)^4}^4 = {4[tan(x+1)^4]^3sec^2 (x+1)^4}
d/dx(x+1)^4.
d/dx(tan(x+1)^4}^4 =
{4[tan(x+1)^4]^3sec^2(x+1)^4}{4(x+1)^3
Therefore
d/dx{tan(x+1)^4}^4 = 16(x+1)^3{[tan(x+1)^4]^3secx^2(x+1)^4}.
To add the ratios, we'll have to have the same
denominator. We'll calculate the least common denominator for the given
ratios.
LCD =
(1-tanx)(1+tanx)
We notice that the LCD is a difference of
square:
LCD = 1 - (tan x)^2
To
obtain the denominator 1 - (tan x)^2, we'll multiply the first ratio by (1+tanx) and the
second ratio, by (1-tanx).
We'll re-write the left
side:
1/(1-tanx) - 1/(1+tanx) = (1 + tan x - 1 + tan x)/[1
- (tan x)^2]
We'll eliminate and combine the like terms
from numerator:
1/(1-tanx) - 1/(1+tanx) =
2tan x/[1 - (tan x)^2] (1)
Now, we'll
re-write the right side:
tan 2x = tan
(x+x)
We'll apply the formula for the tangent of the sum of
2 angles:
tan (x+x) = (tan x + tan x)/(1-tan x*tan
x)
tan 2x = 2tan x/[1 - (tan x)^2]
(2)
We notice that we have
obtained (1) = (2), so the identity is verified, fro any value of
x:
1/(1-tanx) - 1/(1+tanx) = 2
tan x
First, we'll impose the constraints of existence of the
square root:
x - 4>
=0
x>=4
Now, we'll
solve the equation by raising to square both sides:
(x - 4)
= 1/(x - 4)^2
Now, we'll subtract 1/(x - 4)^2 both
sides:
(x - 4) - 1/(x - 4)^2 =
0
We'll multiply by (x-4)^2 the
equation:
(x - 4)^3 -
1>=0
We'll solve the difference of cubes using the
formula:
a^3 - b^3 = (a-b)(a^2 + ab +
b^2)
(x - 4)^3 - 1 = (x - 4 -1)[(x-4)^2 + x - 4 +
1]
We'll combine like terms inside
brackets:
(x - 5)[(x-4)^2 + x - 4 + 1] =
0
We'll put each factor as
zero:
x - 5 = 0
We'll add 5
both sides:
x =
5
(x-4)^2 + x - 4 + 1 =
0
We'll expand the square:
x^2
- 8x + 16 + x - 3 = 0
We'll combine like
terms:
x^2 - 7x + 13 = 0
We'll
apply quadratic formula:
x1 = [7 + sqrt(49 -
52)]/2
x1 = (7 +
i*sqrt3)/2
x2 = (7 -
i*sqrt3)/2
The roots of the
given equation are complex numbers. Since there is not any constraint
imposed with regard to the nature of roots, we'll accept them.
The term work assignment in the question is too general.
It could mean the task of assigning different duties or responsibilities to different
people employed in an organization as a part of organization design, or it could refer
to detailed production or project planning tasks. It could mean something in between the
above two examples. For example, it could mean assigning repair jobs to different
persons or teams in a maintenance department. Mathematical modelling is also used by
large airlines for scheduling their planes and crew.
Yes,
mathematical models and quantitative techniques are used in many of the work assignment
areas identified above. For example, mathematical models and graphical models such as
CPM (Critical Path Method), and PERT (Project Evaluation and Review Techniques) are used
extensively for planning and controlling of projects. Many different types of PPC
(Project Planning and Control) algorithms are used for planning of production activities
involving multiple work orders being processed on multiple work centers and involving
different work sequence for each batch. Queueing techniques are used commonly for
situations where work flow follows a random pattern and as such can be performed on any
one of multiple work stations. A technique called line balancing is used for taking
decisions on the operations to be performed at each work station of assembly lines for
mass-produced items.
The types of work assignment tasks is
very large and accordingly the list of quantitative techniques that can be used for work
assignment tasks is also very long.
The chemical equation that has to be balanced is: K4Fe(CN)6 +
H2SO4 + H2O = K2SO4 + FeSO4 + (NH4)2SO4 + CO
Go about doing this in
the following manner:
Consider the first compound K4Fe(CN)6, K is
present in only one of the compounds on the left. So you can write the coefficient of K2SO4 as 2.
Similarly, considering Fe and N, we get the coefficients of FeSO4 as 1 and (NH4)2SO4 as
3.
As K2SO4, FeSO4 and (NH4)2SO4 have SO4 and we get 6 SO4 in total
we can make the coefficient of H2SO4 as 6. (NH4)2SO4 has 8 H atoms and there are 3 of them, this
gives 24 H atoms. From 6 H2SO4 we get 12 H atoms, the rest or 12 more come from the H20, so H2O
can be given a coefficient of 6. Finally, there are 6 C atoms in K4Fe(CN)6, to accommodate this
give CO a coefficient of 6. We finally get:
K4Fe(CN)6
+ 6 H2SO4 + 6 H2O = 2 K2SO4 + FeSO4 + 3 (NH4)2SO4 + 6 CO
Gatsby's conflict with his self certainly relates to his
conflict with Daisy. His problem with self is an issue of identity. Having a specific
identity would have earned him acceptance with Daisy. As it was, early on in their
relationship, he could not fulfill requirements to gain acceptance. His quest for Daisy
is often touted as the embodiment of the idyllic American Dream. This dream is often
something that can't be grasped, but within America, the idea is that if you work hard
enough for anything, you can attain it. This work Gatsby does, although he encounters
struggles with morality and time.
Gatsby deems Tom the
enemy. Once he realizes Daisy is married, he invents the idea that she never loved him.
This figment of his imagination plays out as Gatsby's affair with Daisy becomes a
reality to Tom. Gatsby, for a short time in chapters 6 & 7, earns Daisy's favor
as a result of her being in a poor marriage in the first place. This creates tension
between Tom and Gatsby. This results in the questions of who is going to be in which car
on a trip to New York. The fact that Daisy got into a car with Gatsby determined a
victor for a time, but the brutal murder of Myrtle through the vehicle of the car
signifies also the death of this conflict. Daisy from this point on chooses Tom although
Gatsby doesn't really know it.
Gatsby's life conflicts all
seem to stem from or involve Daisy somehow. His conflict with her seems to be that no
matter what he tries, he cannot fully attain her. For a time, he is convinced that he
has her, yet, she did not divorce Tom.
The best research topics are ones that are debated among
scholars. Observing the debate can help you formulate your own opinions and contribute your own
argument to the debate while allowing you to prove your own opinion. There are many points of
scholarly debate and looking over articles and books on literary criticism can help you uncover
them, however, below are a couple worth noting that would make good research
topics.
One good point of scholarly debate is whether or not the women in this
play can be viewed as submissive, powerless, male-dominated women who contradict feminist views,
or if they are rather women in their own right, making their own decisions and accepting men on
their own terms. Some modern feminist scholars view Beatrice's union with Benedick as submissive.
They argue that Beatrice only saw her faults of being antagonistic and overly prideful because
Hero, the submissive woman, pointed them out. However, other scholars argue that Beatrice
recognized her faults on her own accord, not just because Hero pointed them out. Some modern
feminist critics also call Hero's reunion with Claudio in the final scene of the play a terrible
act of submission; however, others point out that Hero forgave him only because Claudio was
sincerely repentant, which gives her personal power, rather than makes her
submissive.
Another interesting point of scholarly debate is whether or not
Dogberry is an important character or if he can instead be considered disposable. Some scholars
argue that Dogberry is trivial and that the entire plot lacks purpose; however, other scholars
show that Dogberry represents the entire heart of the play, mirroring the vanity and excessive
pride found in all of the other characters. More importantly, by being the only character who
unfolds Don John's treachory, despite his own intentions not to catch any criminals that night,
Dogberry shows us just how inconsistent and inadequate the other characters in the story actually
are, especially the rulers of Messina.
The first stanza of "Full Moon and Little Frieda" is where
both sounds and stillness (dichotomous states) come together in the largest array. In
the first line, Hughes suggests that the night is defined in its moonless
darkness--moonless until the moon comes out later--by the sound of a dog barking and the
sound of the "clank of a bucket." In the next line Hughes uses imagery to paint the
picture of stillness by mentioning the spider's web, "tense" from being newly spun,
awaiting the deeper evening when the dew will fall. He then immediately draws a second
image of stillness with a brim-full pail of water acting as a mirror for a star that can
move with the water's "tremor." In the second stanza, he suggests the sound of cows
hooves and their swishing movement as they walk up a lane past hedges. The imagery of
stillness comes directly with the suggested sound, as the cows' warm breath blows
"wreaths" upon the hedges' leaves. Finally, Hughes presents a deeper image of stillness
as the moon steps back "like an artist" to admire the beauty of Earth. Hughes suggests
simultaneous sound with the image of peopled Earth pointing at the moon in amazement
echoing Little Frieda's cry of "Moon! Moon!"
Communist Manifesto is the popular
name of a pamphlet written by Karl Marks and Friedrich Engels, which was released by
them in 1848. The exact translation of the title of this pamphlet, which was written in
German is "Manifesto of the Communist Party". Several new edition
of the manifesto were released from 1872 to 1890.
This
pamphlet provided the basis for the establishment and development of Communism. The
manifest chalks out a ten point program for the same. This program includes abolition of
ownership of capital, and abolition of right of inheritance. It also lays down specific
measures for taxation, and government control of activities such as banking,
communication and transport. It envisaged a planned and centrally controlled system for
development of agriculture and industry, and for bringing parity between people from
different sections of society.
Before calculating tan a/2, we'll infer the formula for
tan a/2.
We know that the function tangent is a ratio of
sine and cosine functions.
tan a/2 = sin (a/2)/cos
(a/2)
We'll write the formula for the sine of
the half-angle.
sin (a/2) = sqrt [(1-cos
a)/2]
We'll write the formula for the cosine of
the half-angle.
cos (a/2) = sqrt [(1+cos
a)/2]
We'll make the
ratio:
sin (a/2)/cos(a/2) = sqrt [(1-cos a)/2]/sqrt [(1+cos
a)/2]
We'll simplify and we'll
get:
tan (a/2) = sqrt [(1-cos a)]/sqrt [(1+cos
a)]
We'll multiply by sqrt [(1+cos a)] to eliminate the
square root from denominator:
tan (a/2) = sqrt [(1-cos
a)]*sqrt [(1+cos a)]/(1+cos a)
tan (a/2) = sqrt [1-(cos
a)^2]/(1+cos a)
But 1-(cos a)^2 = (sin
a)^2
Since a is in the 1st quadrant, sqrt (sin a)^2 = sin
a
Now, we'll calculate tan (a/2) = sin a/(1+cos
a)
cos a = sqrt[1 - (sin
a)^2]
cos a = sqrt
(1-16/25)
cos a = 3/5
tan(a/2)
= (4/5)/(1 + 3/5)
tan(a/2) =
4/8
tan(a/2) =
1/2
Although the scenario you describe would be somewhat of a
problem for "us as a nation," it would be more of a problem for
businesses.
Imagine, in the scenario you give, being a cigarette
lighter manufacturer. If you wanted to sell your product in all 50 states, you would have to
creat 50 different types of lighters. This would mean that you would have to incur much higher
costs as you made sure that you were in compliance with 50 different sets of regulations. You
would have to design 50 different lighters, make 50 different sets of tools for making the
lighters, etc.
The nation as a whole would, most likely, be faced
with higher prices for various goods in the scenario you are imagining. All the different
standards would cause the manufacturers to incur higher costs. These costs would likely be passed
on to the consumer.
So, if the question is how we would "deal with"
this situation, it is likely that our only choice would be to either pay higher prices or go
without some products that we now use.
Act II, scene vii introduces the Prince of Morocco. He has come
to attempt to win Portia's hand by selecting, between three, the casket that holds the picture of
Portia. If he chooses correctly, Portia will be his wife. This device has been set up by
Portia's late father and not Portia. So, in essence, it does not matter whether Portia is
impressed by any of her potential suitors or not. The caskets, as it were, will do the
choosing.
Since Morocco knows that Portia has no say in her
choosing, he shouldn't be assumed to be saying anything to impress or flatter Portia. There is
no reason to believe that he is not speaking truthfully. And, what he speaks (a full 30 lines
worth!) is all the highest of the high praise of Portia and his love for her. He
says:
I do in birth
deserve her, and in fortunes,In graces and in qualities of
breeding.But more than these, in love I do
deserve.
And later he goes on about
how admired and desired she is around the world, and his reasoning leads him to choose the gold
casket. He chooses wrongly and does not win Portia for his wife. And Portia, once he is gone,
reveals her true feelings about Morocco (far from being impressed). She
says:
A gentle
riddance. ...Let all of his complexion choose me
so.
For more on Morocco and this
scene, please follow the links below.
I would say that the dominant emotion here is patriotism.
This is not one of the WWI poems like those of Owen that talk about how terrible the war
was. This is a poem that asserts that the war was important and that the dead demand
that the living continue the fight.
We can see this very
clearly in the last stanza. The speaker tells the living that they must take up the
torch that is being thrown to them. The dead will not lie easy unless the living keep
fighting against the foe who killed them.
This is why I
call this a patriotic poem -- its main point is that the living must continue fighting.
This tells us that the war has an important point and that the living must continue
fighting for that cause.
The suspense of W. W. Jacobs's story, "The Monkey's Paw"
is the feature that propels the plot, along with the
foreshadowing.
RISING
ACTION
In Part I, [the inciting
incident]after the old soldier leaves, Herbert's daring attitude prompts Mr.
White to take the paw from his pocket and look doubtfully at it. Mr. White wishes for
two hundred pounds, and as Herbert humorously strikes a few ominous chords on the piano,
the paw moves in the hands of Mr. White. As Mr. and Mrs. White retire to their bedroom,
Herbert gazes into the fire and sees hideous faces in it. With a shiver, he, too, goes
to bed.
In Part II,
[development]Herbert leaves for work; later in the day a man pauses
three times at the gate of the White home, but the fourth time he passes through. He
has the sad news that Herbert was caught in the machinery at his job and killed. Maw
and Meggins, the firm he represents, "admits no liablitity at all, but in consideration
of your son's services" the man says, "wish to present you with a certain sum as
compensation." The sum is two hundred pounds.
In Part III
[conflict increases with more development]the couple bury their
son, yet they remain in a "state of expectation as though of something else to happen."
Mrs. Smith thinks of the paw; she tells her husband that they have two other wishes.
She begs Mr. White to wish to have their boy back. When Mr. White warns her that
Herbert was unrecognizable after the accident and has been dead ten days, but she is
undeterred. So they wish for Herbert to return. Mr. White raises his hand with the
talisman, saying, "I wish my son alive again."
CLIMAX
[point of highest interest or
suspense]
After a while a stair creaks, so Mr.
White goes down the dark stairs to investigate. Then, the matches he has been holding
fall from his hands, and he flees back to the bedroom and closes the door. Despite his
fear and his warnings, his wife insists upon going down the stairs. Loud knocks resound
and Mr. White hears his wife: "The bolt," she cries..."I can't reach it." Hurrying to
assist her against the "fusillage of knocks," they drag a chair against the door as it
begins to give way. Finding the monkey's paw, Mr. White makes his third
wish.
FALLING ACTION [events that follow the
climax]
The knocking stops suddenly. A long
loud cry of anguish from his wife brings Mr. White to her
side.
RESOLUTION [denouement,
end]
Then, he runs through the gate and looks
down the lighted solitary road.
