In Fahrenheit 451, what was the tone towards a society's freedom? Need a specific quote and explanation.

In Fahrenheit 451 (1953), there is no
freedom in this futuristic society. (Ray Bradbury wrote this book in response to
McCarthyism and the censorship of artistic expression in America at that
time.)

The most obvious and central oppression in the novel
is against the owning or reading of books. Guy Montag, the protagonist, is a fireman
whose job it is to burn books—and sometimes the homes that contain these
books.

This society controls everything, including what
people know and learn, and therefore it also controls their thinking and behavior, for
one cannot think and behave as a "growing entity" without knowledge.  (This behavior is
also reminiscent of Hitler and his burning of books during his tyrannical move
throughout Europe in the 1930s and 1940s.  As seen then, and in this
book, the loss of knowledge—of intellectual freedom—leads to
self-annihilation.)

readability="26">

Don't step on the toes of the dog
lovers, the cat lovers, doctors, lawyers, merchant, chiefs, Mormons, Baptists,
Unitarians, second-generation Chinese, Swedes, Italians, Germans, Texans, Brooklynites,
Irishmen, people from Oregon or Mexico. The bigger your market, Montag, the less you
handle controversy
(57).

This quote, eerily
reflective of today's society, explains what brought about the banning of books: people
were robbed of the right to think, speak, and write freely because of the people who
were offended by free thoughts and free speech.

Even today,
what is "politically correct" becomes not only awkward, but, in some cases, ridiculous.
"Political correctness" has become the tail that wags the dog, and something is lost in
trying to please everyone.  In many ways, no one is satisfied, and
what needs to be addressed is sometimes left unsaid, or "cleaned up" so that what
is said lacks conviction, and, therefore, credibility.  After all,
if Thomas Paine or Thomas Jefferson had been concerned with "political correctness,"
where would we be today?

Name three crimes and punishments that the Puritans might witness in The Scarlet Letter?

In Puritan England (and then again in Puritan "New
England"), different crimes warranted different punishments. Puritans were religiously
zealous and were especially watchful of anyone who did not follow the laws of their
community.

Of course, in The Scarlet
Letter, Hester is "convicted" of adultery, and she is not only
shunned within the community, but is forced to wear the scarlet "A" on her
dress. This was one form of punishment.

For crimes such as
witchcraft, treason and murder, those convicted would be
put to death. Anyone who has read the play by Arthur Miller called
The Crucible will know that in America witches were never
burned. They were hung or pressed to death. (There were, of course, "tests"
the Puritans used to check for guilt regarding witchcraft, which often resulted in
death. For example, "dunking" the accused in water was one such test. If she—or
he—floated, she was a witch; if she sank, she was innocent—and
dead.)

Drinking, failing to attend church, being
vain (this would have applied to women), etc., were crimes punished
by whipping, prison, fines, or being placed in the stocks. (While locked in
stocks, often food would be thrown at the guilty party.)

In
"Bilboes, Brands, and Branks: Colonial Crimes and Punishments," James A. Cox
reports:

In
l668 in Salem, Massachusetts, John Smith and the wife of John Kitchin were fined "for
frequent absenting themselves from the public worship of God on the Lord's days." In
l682 in Maine it cost Andrew Searle five shillings merely for "wandering from place to
place" instead of "frequenting the publique worship of
god."

And woe to the man who profaned the Sabbath "by lewd
and unseemly behavior," the crime of a Boston seafaring man, one Captain Kemble. He made
the mistake of publicly kissing his wife on returning home on a Sunday after three years
at sea, a transgression that earned him several hours of public humiliation in the
stocks.

What reason does Macbeth give for not going and killing Banquo himself?Macbeth hands the dirty work to the murderers, but what is it that stopped...

In Act III Scene 1 of Macbeth by Shakespeare, Macbeth is
told by Banquo that he has all the titles now as the witches have predicted, but he also
says,

...and
I fear

Thou play'dst most foully for
't. 

Yet it was said'It should not stand in thy
posterity,

But that myself should be the root and
father

Of many kings....
(3.1.2-5)

When Banquo says
that he expects to have the propheses of the "weird women" come true for him, Macbeth in
fear determines that

readability="8">

To be thus [King]is nothing, but [unless] safely
thus

Our fears in Banquo stick deep.
(3.1.47-48)

So, in order to
ensure that he will remain king, Macbeth orders the murders of Banquo and his son
Fleance.  He tells the murderers that he could perform the act except for the fact that
he and Banquo have mutual friends, friends who Macbeth must court for they would protest
the death of Banquo.  So, he must hide this act from
them:

...and
though I could

With barefaced power sweep him from my
face 

And bid my will avouch it, yet I must
not

For certain friends are both his and
mine,

Whose loves I may not drop, but wail his
fall

Who I myself struck down. And thence it
is

That I to your assistance do make
love,

Masking the business from the common
eye

As he talks with the
hired murderers, he tells them where to put themselves and expresses the urgency of
their killing Banquo and his son.  Also, Macbeth instructs them to be sure to perform
their deeds away from the palace, remembering that he

readability="7">

...require(s) a clearness; and with
him--

To leave no rubs nor botches in the
work--(3.1.133-134)

Macbeth
wants no suspicion of his being involved in the murder of Banquo and Fleance because he
wishes to remain as King.

Ice on a car windscreen will disappear as you drive along, even without the heater on. Why?

The phenomenon you are observing is called sublimation, which is
the change from a solid state to a gas state without passing through a liquid
state.

Let's say the temperature of the ice is 0 degrees C. This
means the average temperature of all the molecules in the ice is at that temperature.  However,
the actual temperature of any individual molecule can be greater or less than the average. That
means that some of the molecules are moving faster, and others slower, than the
average.

Occasionally, some of the water molecules leave the surface
of the ice on the windshield and are blown away by the moving wind. Since there is no way to
supply more water molecules to the ice, it gradually gets smaller and smaller until it
disappears.

Of course, a sunny day will make the process go faster
as more molecules absorb energy from the sun and are able to escape their icy
prison.

This same thing happens to comets as they get closer to the
sun. See the link for more information.

"As flies to wanton boys are we to the gods." Please give background to this quote in King Lear.

Gloucester speaks this line in Shakespeare's King Lear. 
It is a fairly profound line in a drama that is filled with many of them.  The sum total
of the line represents the relationship between individuals and the gods.  It reveals
how the forces of fate and predestination can be cruel, and how individuals have little
say, if any, about it.  In the end, the statement reflects the futility of human freedom
in the face of overwhelming odds and contexts.  Gloucester says these lines after
revelation about many elements. He understands his own folly, in supporting one son over
another, and grasps his own poor decision making, in believing the good one was bad and
the bad one was good.  He speaks from a position of having been blinded physically, but
possessing a restored sense of sight subjectively.  In the end, the comparison of human
beings to flies and the gods as impetuous, young boys helps to bring out the dynamic of
a world order where there is little structure or guidance.  There is only a condition of
servitude and lack of justice which governs it.

The Boy in the Striped Pajamas, by John Boyne. I am looking for examples showing that even the most horrific events can disappear through denial.I...

Here are a couple of main themes:
1.
Childhood Innocence. Although Shmuel and Bruno have a lot in
commond the most significant is the childhood innocence which seems to characterize both
boys. Bruno is unaware of his father's Nazi affiliation or that his home is near the
border Auschwitz. Shmuel, although imprisoned, doesn't seem to grasp the severity of his
situation. Shmuel doesn't realize that his father was sent to the gas
chamber.
2. Boundaries. The story also explores both
figurative and literal boundaries of life. Bruno and Shmuel are separated by a fence and
complain that they can never play together. They are also separated by the strict rules
that Germans (Nazi Germans) may not be friends with Jews, Poles, and any other groups
persecuted by Hitler.
There are definitely more horrific events but these
should get you started.

What were some literary influences on the style of Sir Francis Bacon's Essays?plz answer in detail

The style of Sir Francis Bacon’s
Essays is indebted to a number of sources, both literary and
otherwise. Like most Renaissance Christians, especially the well-educated, Bacon was
very familiar with the Bible and took its teachings quite seriously. He was also
familiar with many of the Greek and Latin classics, and his style was especially
influenced by such writers as Seneca and Tacitus (rather than Cicero). Seneca and
Tacitus favored a kind of writing often called “curt.” Cicero's writing, by contrast,
was often long, complicated, and highly patterned. Phrases in the "curt" style were
short; grammar was unconventional; and ideas often whizzed by quickly. Bacon liked
lists, antitheses, and phrases involving three elements. Yet writers such as Tacitus and
Seneca were only two significant influences on his style. He was familiar, for instance,
with the essays of Montaigne and sometimes alluded to them, but his own essays were less
personal, more abrupt, and less informal.

The brief essay
“Of Revenge,” chosen more or less at random, illustrates many of the traits and
influences just discussed, as well as some others. Consider its opening
sentence:

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Revenge is a kind of wild justice; which the more
man's nature runs to, the more ought law to weed it
out.

Here, in the first
phrase, we see Bacon’s frequent brevity, as well as his tendency to use aphorisms and
his sometimes vivid language. In the phrasing that follows the semicolon, we see his
love of balance. Meanwhile, Bacon’s tendency to think in terms of threes is evident in
the following sentence:

readability="9">

Certainly, in taking revenge, a man is but even
with his enemy; but in passing it over, he is superior; for it is a prince's part to
pardon.

In the immediately
following sentence, we see Bacon’s familiarity with scripture, as well as his tendency
to use what we would term “sentence fragments”:

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And Solomon, I am sure, saith, It is the glory of
a man, to pass by an
offence.

Bacon’s wide reading
in history (another important influence) allowed him to cite more recent examples to
support his arguments, as when he says,

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Cosmus, duke of Florence, had a desperate saying
against perfidious or neglecting friends . . .
.

Such reading is also
apparent in his later reference to "the death of Henry the Third of
France."

Yet Bacon could also
easily cite examples from his reading of the classics, as he does
here:

Public
revenges are for the most part fortunate; as that for the death of Caesar; for the death
of Pertinax . . .
.

Scripture, however, was
always the most persuasive source to quote in Bacon’s culture, as he proves again when
he writes,

But
yet the spirit of Job was in a better tune: Shall we (saith he) take good at God's
hands, and not be content to take evil
also?

As these quotations
suggest, Bacon’s style was compounded of a wide variety of influences, but perhaps the
writers who had the most important impact on his phrasing per se
were Seneca, Tacitus, and other Roman writers who favored the “curt”
style.

Find the equation of the tangent to the curve y = x^3 - 7x^2 + 14x - 8 at the point where x=1.

We'll determine the y coordinate of the tangency point,
that is:

y = 1^3 - 7*1^2 + 14*1 -
8

y = 1 - 7 + 14 - 8

y =
0

So, the tangency point has the coordinates
(1,0).

Now, the expression of the first derivative
represents the tangent line to the given curve.

y' = x^3 -
7x^2 + 14x - 8

y' = 3x^2 - 14x +
14

For x = 1 => y' = 3 - 14 +
14

y' = 3

The slope of the
tangent line is m = 3.

The equation of the
tangent line, whose slope is m = 3 and the point of tangency is (1,0),
is:

y - 0 = m(x -
1)

y = 3(x -
1)

y = 3x -
3

Convert the following : 60 degrees to radians, 156.34 degrees to radians, 3.1 radians to degrees.

Let's recall that the circumference of a circle is given
by the formula:

C = 2pi*r, where 2pi represents one
revolution of a circle.

2pi = 360
degrees

We'll divide by 2:

pi
= 180 degrees

Starting from this result and using
proportions, we'll convert radians in degrees and degrees in
radians.

 We'll convert 60 degrees to
radians:

pi radians............................
180

x
radians................................60

We'll cross
multiply and we'll get:

60*pi =
180*x

We'll divide by 180 and we'll use symmetric
property:

x = 60*pi/180

We'll
simplify and we'll get:

x = pi/3
radians

So 60 degrees
represent pi/3 radians.

Now, we'll convrt
156.34 degrees to radians using proportions also.

pi
radians............................ 180

x
radians................................156.34

We'll cross
multiply and we'll get:

156.34*pi =
180*x

x = 156.34*pi/180

x =
2.7286 radians

So 156.34 degrees represent
2.7286 radians.

The inverse conversion is
going from radians to degrees, so we'll apply proportions,
too.

3.1 radians to degrees

pi
radians............................
180

3.1 radians................................x

Notice
that the unknown x is located below 180 degrees.

x*pi =
3.1*180

x = 3.1*180/pi

x =
177.62 degrees

So 3.1 radians represent
177.62 degrees.

How did the end of WWII impact the countries of the Pacific Rim?

Of course, the end of WWII impacted different Pacific Rim
countries in different ways. Let us look at three
examples:

• Japan was the most clearly impacted Pacific Rim
  country. Its economy was completely devastated by the war and it was occupied the United States.
  The occupation left Japan with a new constitution that completely changed its government and
  society.


• The United States benefited from WWII (other than, of
  course, the immense loss of life). The US emerged from the war as the most powerful and
  wealthiest country in the world.


• Indonesia became independent
  largely as a result of the war. The Dutch were easily pushed out of Indonesia during the war. The
  Indonesians then resisted vigorously when the Dutch tried to return after the war. This
  resistance led to the creation of an independent Indonesia soon after the war.
  

Of these three, only the Indonesian experience was
shared by many other Pacific Rim countries. Countries such as Vietnam, Korea, and the Philippines
became independent after the war (of course, both Vietnam and Korea became split countries also
to some extent as a result of the war).

Does the scenery illustrated in the film Of Mice and Men (1992) fit the descriptions in the book?

For the most part, I would say that it does. The filmmaker
is careful to depict the two scenes by the river as Steinbeck describes them, and the
Tyler Ranch, from the interior of the barn to the fields, closely resembles the
novella's portrayal of it. Steinbeck helps any screenwriter who would want to transfer
his book to film because he gives detailed descriptions much as a modern playwright
offers set directions for his play. Gary Sinise--who portrays George in the 1992 film
version and who played a significant role in bringing the book to the big
screen--carefully patterns each scene in the book after Steinbeck's descriptions,
especially Chapters 1 and 6. While the film does include some extra dialogue and scenes,
it is a faithful rendition of Of Mice and
Men.

If you need to point out any discrepancies
in regards to scenery, a couple of the film's scenes take place in the fields. While
Steinbeck does refer to the men working in the fields, the conversations between Slim
and George take place in or outside of the bunkhouse (in the book), not actually in the
fields.

How does Marlow shape our reading of Kurtz in Heart of Darkness?

Marlow acts as the reader's moral compass, observing many cruel,
shocking, and repulsive sights and witnessing acts of stupidity and moral degradation. His
reactions to all he experiences and the judgments he makes provide the moral framework of the
novel. The reader's view of Kurtz is shaped by Marlow's relationship with him and by Marlow's
final assessment.

Kurtz is presented as the greatest of the ivory
traders, the agent who sends more ivory out of the interior than anyone else. Marlow describes
Kurtz' appearance in a startling image: "death carved out of old ivory." Marlow associates Kurtz
with death, strongly influencing the reader's emotional reaction to
Kurtz.

Marlow's narrative detailing the life Kurtz lives at his
inner station repulses the reader, just as Marlow is repulsed. Exercising power over the natives
and constructing his fence of heads, Kurtz also engages in unspeakable, degrading rites in the
jungle. Kurtz becomes a satanic figure, a devil; Marlow associates him with the powers of
darkness through numerous instances of devil imagery. Kurtz has "kicked himself loose of the
earth" and lives in "impenetrable darkness." He exalts himself: "My Intended, my ivory, my
station, my river . . . ." It is this love of self that leads to his victimizing
others.

In dealing with Kurtz, however, even Marlow is not
completely invulnerable to his power. He begins to identify with Kurtz and merges with him
psychologically in the final confrontation in the jungle at night; the jungle drums merge with
Marlow's own heartbeat so that he cannot distinguish between them. When Kurtz "rises before him
like . . . a night shadow," Marlow faces a moment of truth. He must choose. He can join Kurtz in
degradation, abandon him, or overpower him and bring him out of the jungle. For Marlow to have
been brought to such a moral crisis emphasizes the power of Kurtz' being: Kurtz is evil
itself.

However, the reader's assessment of Kurtz is not final yet,
because Marlow's relationship with him continues to be dynamic. After dragging Kurtz out of the
jungle and back to the ship, Marlow continues to interact with him. He rejects Kurtz' evil, but
he does not reject him as a man. Marlow attends to Kurtz, even comforting him as he lies dying.
Marlow acts with compassion and human charity, prompting the reader to see Kurtz as a desperate,
broken human soul. With Kurtz' last words, "the horror, the horror," he reasserts his own
humanity, and mortality. Marlow's experience with the dying man adds another dimension to Kurtz'
character.

In Macbeth, is Macbeth a tragic hero?

If you go by the Aristotelian prescription, the tragic hero must
be a person belonging to high rank/station. Macbeth, the most admired General of King Duncan, is
one such towering personality. But Aristotle suggested that the ideal tragic protagonist, though
not all good, must be generally inclined to the side of goodness. In his view, no villainous
character can ever be tragic, for the overthrow of a villain can never arouse the emotions of
"pity" and "fear" to achieve a "catharsis" of those and suchlike emotions. Macbeth, sometimes
called a "villain-hero", does not conform to this Aristotelian requisite. Macbeth rather
illustrates the paradoxicality voiced by the witches at the outset of the play: Fair is
foul and foul is fair. Divided within his own self between his "vaulting ambition" and
imaginative conscience, Macbeth is both"fair" and "foul"; both a saviour and a tyrant; both a
poet and a murderer. Macbeth is a Renaissance protagonist who, by his own characteristic moral
failing, invites his own fall. His decline from prosperity to adversity is the restoration of
order and vindication of justice. Even then, Macbeth does not wholly alienate our sypathies
though he goes down to defeat and death.

How did the United States earn the role of "super power" in the 20th century?

The US earned this role in two ways. First, by being the one
major country in the world that was relatively untouched by World War II (in terms of its
industrial capacity). Second, by being willing and eager to take on the Soviet Union in the Cold
War.

After WWII, most of the other major nations had been badly
bombed, severely damaged by invasion, or both. This made these other major countries much less
capable of affording a large military. It also mean those countries needed economic help, help
that only the US was in the position to provide.

In addition, the US
became a world superpower because it did not just sit back safely behind its borders. Instead, it
involved itself in trying to prevent the spread of communism. This got the US involved in affairs
in every corner of the globe.

America's industrial capacity and its
Cold War willingness to get involved in the affairs of countries all over the world, made the US
a superpower.

How does fiction relate to life in a journalistic or historic sense?Considering O'Brien's experience with Linda, how does it prepare him for war or...

One question per day, please.  I'll answer the
first...

The Things They Carried is
fiction, non-fiction, myth, and memoir all in one.  Mainly though, it is metafiction, or fiction
about fiction.  O'Brien chooses to break the fourth wall between storyteller and audience in
order to show how the interplay between memory and imagination makes it difficult for the reader
to distinguish the truth and fiction.  Ironically, O'Brien says that story truth is truer than
happening truth.  And I agree.

O'Brien begs the questions: how can
anyone tell the truth during war, when bullets are flying about and comrades are being blown to
bits?  Who can remember anything in such a panic?  At age 19?  And then, after the post-war
traumatic syndrome and nightmares and flashbacks, who wants to? To whom do you tell these
nightmares?

Too many people only believe what they think is true:
facts, first-person witnesses, objectivity, overt realism.  This is the literalist trap.  Quite
frankly, these readers fail to let their imaginations, or the storyteller's imagination, lead
them to the truth.

What O'Brien means, I think, is that fiction
allows more freedom to craft the best truth.  The truth is not always the literal way an event
happened; more often, the truth of a story is achieved over many years after the actual event
happened, and the story is told, re-told, and revised, after which many of the original
characters, plot points, and points-of-view have been altered.

Also,
fiction will always be fiction when there's a 20 year gap between the event and the story's
version.  Quite frankly, O'Brien cannot remember in detail what exactly happened 20 years ago:
the names, dates, chronology, and dialogue.  He must have the freedom to re-create, re-name,
amend, combine, delete, and select which memories make it to the final draft and which remain on
the cutting floor.  Journalists and non-fiction writers do not have such maneuverability, and
their time gap is usually not so wide.

Non-fiction and journalism
are limited by word counts, sources, citations, editors, and the like.  But, a fiction writer is
not hemmed in by limits: he can craft the best version of the truth over time by re-telling and
revising.  Not only that, but he has more language at his disposal, for fiction is an amalgam of
all the others: poetry, journalism, myth, narrative, and history.  It can have flashbacks and
flash-forwards.  O'Brien can be 20 in 1969, or he can be 40 in 1989 in the same story.  Fiction
is the greatest venue for O'Brien's metafiction because it provides him with the most tools for
fitting together these multiple-POV stories into one novel.

What are some questions to ask someone I am interviewing for a profile essay?The person I am interviewing is a business professor and a world...

There are two ways to approach this interview. The first is to
come in to the interview without a plan for your essay and to ask as many open-ended and broad
questions as possible. Based on the answers and the direction the person takes with the answers,
you then organize your essay around the information you receive. If you take this direction, some
sample questions to get you started might be:

• Tell me
  about how/why you chose this particular career path?


• How has
  traveling affected your career?


• What is your favorite story about
  some of your travels?


• What parts of your personality suited you
  for this career and hobby?


• What advice do you have for someone my
  age who wishes to do something similar to what you have done?


• Do
  you have any regrets and what are they? Or, if not, why
  not?

This can make for an interesting interview and
likely, because the note-taking is similar to brainstorming, you will see some logical
organization points emerge from which to base your essay. This approach would be best if you are
starting from scratch and do not have any ideas about the purpose of your essay when you begin
the interview.

The second approach to writing interview questions is
to have a plan in mind for the purpose of your essay. It can be a rough idea, but base your
interview questions only around the subjects you wish to include in your essay. For example,
perhaps you intend to only focus on this person's adult-life, his career, and his travels. It
would be a waste of time to pose questions that might only provide information from his
childhood. Perhaps you have a specific character or personality trait you wish to highlight in
this profile essay. Base your questions around these specifics to provide the concrete details
for points you already planned to include. Some example questions from this approach might
be:

• How have your organization skills specifically aided
  you to getting where you are today?


• How have your communication
  and networking skills furthered your career?


• How has communication
  and networking skills also been beneficial in your world
  traveling?

Which charcter grows/develops and matures the most in The Great Gatsby?

Nick is the most dynamic character in the book. In the
beginning, he says that he is admired for his ablility to "reserve judgment," but by Chapter 9,
he unleashes a barrage of scathing judgments on the characters in the book and their careless,
hollow lifestyles. Chapter 9 is, effectively, Nick's chapter. He shines. Even though Gatsby
"represents everything for which [he] has an unaffected scorn" and Nick disapproves of him "from
beginning to end," Nick goes out of his way to handle the funeral arrangements and try to "get
somebody" for Gatsby. Nick, who came to New York in search of his own American Dream and attempts
to pursue wealth as a bond salesman, has witnessed first hand the corruption and decadence
associated with easy money. Now, he wants "no more riotous excursions with privileged glimpses
into the human heart." The last four paragraphs of Chapter 9 illustrate how much he has grown and
learned from the events of the summer of 1922. Ultimately, he learns that although we strive to
move forward, our past is always behind us, beckoning from the perspective of "the dark fields of
the republic" which roll "on under the night."

What is the concentration of a 450 mL solution that contains 200 grams of iron (II) chloride?

Moles = mass of solute/ gram molecular mass.
Solute is the 'stuff being disolved.
Solution is a homogeneous mixture of a solute in a
solvent

. moles of
solute

Molarity
is defined as: ____________________

. liters of
solution

In this problem (assuming the
values given are both to 3 significant figures)

. 200g
/ 127 g / mol 1.57
mol

Molarity =
___________________ = ________ = 3.50 M
FeCl2

. 450mL
* 1 L/1000ml 0.450 L

I
ALWAYS recommended to my students that they attach the chemical
formula (eg: FeCl2) as a subscript behind the unit of meaure symbol
(eg: M).

Why does Holden think it spoils a conversation if someone asks what religion he is in The Catcher in the Rye?You can find the information from...

Holden Caufield and his author J. D. Salinger both had
parents of different religious faiths, so they are sensitive to religious phoniness and
stereotyping.  Salinger had one parent who was Catholic and one who was Jewish, so there
was some religious identity issues and confusion.  The same it is with Holden: he says
his father was a Catholic once, but now he is an
atheist.

In Chapter 15, however, Holden loves the fact that
the nuns (who outwardly show their Catholic faith by wearing the habit) do not ask him
if he's Catholic.  He says:

readability="13">

That's why I was glad those two nuns didn't ask
me if I was a Catholic. It wouldn't have spoiled the conversation if they had, but it
would've been different, probably. I'm not saying I blame Catholics. I don't. I'd be the
same way, probably, if I was a Catholic. It's just like those suitcases I was telling
you about, in a way. All I'm saying is that it's no good for a nice conversation. That's
all I'm saying.

Instead, the
nuns discuss Mercutio, who--like Holden--refused to pick sides between the warring
families.  Rather, Mercutio cursed both houses.  The same it is for Holden: he curses
groups (religious or otherwise) who cluster together and have a mass identity.  Notice
that Holden doesn't have to lie to the nuns; he engages them honestly because they're
not phony.  He even gives them money.

Holden is an
individual who aggressively asserts his own religious free agency and refuses to commit
to the mass phoniness of the watered-down religion, prep-school "good old boy" network,
or the materialistic consumer culture of the 1950s.  Instead, he enjoys conversations
about literature with other book lovers who are not consumed with appearances, money, or
status.

In To Kill a Mockingbird, how do the children's perception and the reader's perception of Boo differ?

It is important to remember that we are told the story
from Scout's perspective, using the first person point of view. Therefore we see
everything through her child-like eyes. What is key to focus on is how the children's
perspective of Boo Radley begins as a childish joke almost, as they treat him like a
bogeyman and try to get him to come out, but then it develops into a real relationship
as Boo Radley begins to leave them things in the tree.

It
is in Chapter 1 when we are first introduced to Boo Radley and the children, thanks to
Dill, come up with the game of trying to get him to come out. Note how he is
described:

readability="11">

Inside the house lived a malevolent phantom.
People said he existed, but Jem and I had never seen him. People said he went out at
night when the moon was down, and peeped in windows. When people's azaleas froze in a
cold snap, it was because he head breathed on them. Any stealthy small crimes committed
in Maycomb were his work.

It
is clear that for the children at least, Boo Radley and the story of the Radleys is the
stuff of legend and horror stories to keep you up at night and fill you with a
delightful terror.

However, gradually, and especially when
Boo Radley begins to leave them gifts in the knot-hole of the tree, it is clear that
this has changed and with the maturing of Jem and Scout they are beginning to consider
Boo as another human being and they treat their relationship as something that is
important to them. Consider how in Chapter 7 Jem cries when the knot-hole is filled with
cement because he realises that the only way he can communicate with Boo Radley is now
closed.

So, clearly we as readers can see Boo Radley in a
somewhat different light, whereas the children view him at first as the bogeyman of the
community. However, and key to the maturing of the children, this view changes as they
begin to realise that he is another human being worthy of
respect.

What redeeming qualities do the characters have?Do the characters receieve redemption or damnation by the end of the story?

I don’t think the characters in this short story have too
many redeeming qualities. In fact, that is the point. Joy/Hulga is spiritually as well
as physically crippled. Her soul is as wooden as her leg, as O’Connor herself described
it in her letters. Joy/Hulga is therefore a sinner in need of redemption, so perhaps the
only thing you can say that is redeeming about her is that she is human. Her mother,
Mrs. Hopewell, has “hope” and love for her daughter. She named her “Joy” after all, even
though the surly girl changed her name to the ugliest one she could think of – “Hulga”.
Nevertheless, Mrs. Hopewell, although an annoying woman, does love her daughter, but she
is intimidated by her. There is not much redeeming about the Freeman family – the girls
are vacuous and the mother is a monologuer and braggart. Finally, the Bible salesman is
a con man and a liar. When he steals Joy/Hulga’s wooden leg, he has stolen part of her
personality and her soul, but this reveals her deeper affliction for the first time. At
this point in the story, the Bible salesman, in an ironic twist, reveals himself to be a
representation of the devil. When he steals Joy/Hulga’s leg, it is at this point that
everything is stripped away from her and she is humbled for the first time in her life.
In O’Connor’s fiction, it is often when characters are brought so low that they are
ready to be redeemed. In this story, however, we do not see it – we just see that
Joy/Hulga is ready. All of her pride has been stripped away, so she is ready to receive
grace and mercy, but then the story ends.

We also see the
Bible salesman moving on, to do his evil to some other unsuspecting soul, so he deserves
damnation, but we don’t see it. Mrs. Freeman and Mrs. Hopewell see the Bible salesman
walking off, assuming he has tricked some of the black people into buying Bibles, while
peeling "evil-smelling" onions. It's as if he has left his evil smell
behind.

You might be interested to know that in her
letters, Flannery O’Connor often said that Joy/Hulga was one of the easiest characters
to create and that she related to Joy/Hulga more than any other
character.

Why would Blake's poem "Garden of Love" have been considered revolutionary and controversial in its day?

To answer this question, let us consider what this poem is
about, and more importantly, how it criticises establishes religion. Notice how the poem
describes a visit by the speaker to "The Garden of Love," which now has a "chapel" built in the
midst of it, where the speaker as a child used to play. We can infer therefore that the "The
Garden of Love" was a happy, carefree place of enjoyment and pleasure. However, now, the buidling
of the chapel seems to have converted it into a place devoid of pleasure. Instead, on the chapel
there is a sign saying "Thou shalt not." Turning away, instead of the flowers that the speaker
remembers in this Garden, all he sees are "tomb-stones." The last two lines in particular convey
the criticism of Blake of established religion:

readability="7">

And priests in black gowns were walking their
rounds

And binding with briars my joys and
desires.

The overwhleming force of
this poem is the way in which religion, symbolised in the "chapel," and its ministers, symbolised
in the "priests in black gowns," choke our "joys and desires" with their religion and creed and
turn joy into ashes. We can understand therefore why such overt criticism of the church would
have been controversial in its day.

How does Rahim Khan redeem Baba and Amir in The Kite Runner?I just want to know how Rahim Khan redeems Baba and Amir. Can somebody please give me...

I'm not so sure that Rahim Khan is able to help his old friend
Baba find redemption, but he certainly supplies the secret that helps Amir redeem himself in
The Kite Runner. Amir's guilt over the betrayal of his servant/friend Hassan
continues to haunt him even after Baba's death. But when Rahim Khan summons Amir to Pakistan for
a visit, he provides Amir with the information that can ease his conscience. Rahim reveals Baba's
greatest secret: Hassan is not Ali's son, but Baba's; Hassan is Amir's half-brother.
Additionally, Hassan's son, Sohrab, is still alive and living somewhere in Afghanistan. Although
Hassan is now dead, Amir knows that finding Sohrab and providing him with a safe passage through
war-torn Afghanistan will make things right again. Amir accomplishes his mission, returning with
the troubled Sohrab back to America where he welcomes him as part of his family: Sohrab, Amir's
nephew, becomes the son that he and wife Soraya were unable to produce
themselves.

Rahim had long tried to help Baba see the positive side
of Amir's nature, but the stubborn Baba was not easy to convince. Rahim continued to live in
Baba's house in the hope that he could one day return it to his friend, but Baba's death
prevented this from happening. So, with Rahim's own death looming, he made the conscious decision
to reveal Baba's secrets to the young friend he had always encouraged. Though Baba took his
secret to the grave, Rahim knew that revealing Hassan's true heritage--and the knowledge about
Sohrab--would create a motive to free Amir from his personal
demons.

During his phone call to Amir in California, Rahim tells him
to

readability="5">

Come. There is a way to be
good again.

Another
important quote occurs while Amir is taking a beating from Assef as Sohrab looks on (Chapter 22).
Amir cannot stop laughing.

readability="7">

"WHAT'S SO FUNNY?" Assef bellowed... What was so funny was
for the first time since the winter of 1975, I felt at peace... My body was broken... but I felt
healed. Healed at
last.

How did the Russian period called the Time of Troubles (1598 to 1613) get its name?

The Time of Troubles was a period in Russian history from
the death of Fyodor Ivanovich, the son of Ivan the Terrible, in 1598 up to the year 1613
when Michael Romanov was chosen as czar.  Fyodor became the leader of Russia after the
death of his father, Ivan IV.  Fyodor was feeble-minded and the real power belonged to
Boris Godunov. When Fyodor died childless in 1598, Godunov succeeded to the throne.  The
rightful heir to the throne, Dimitri Ivanovich, Fyodor’s half brother, had been murdered
in 1591 with many believing that Godunov was involved in the murder. In 1601, 1602, and
1603, during Godunov’s reign, Russia experienced a terrible famine, with over 100,000
deaths in Moscow alone. Then, a person claiming to be Dimitri found support and asylum
in Poland.  This False Dimitri entered Russia with a band of Polish mercenaries, which
provoked riots and peasant insurrections.

In 1605, Godunov
suddenly died and the False Dimitri entered Moscow and took power.  He was then
assassinated in 1606 and a boyar (Russian noble) named Vasisli Shuiski assumed the title
of czar. After putting down a revolt led by a man named Ivan Bolotnikov with peasant and
Cossack supporters, a second False Dimitri led a new insurgent movement.  Shuiski turned
to Sweden for help, but during this chaotic time Poland intervened with a large military
force.  In 1610, Shuiski was deposed by the boyars and the Second False Dimitri was
murderd by the captain of his bodyguard. The Polish army, after entering Moscow, tried
to make the Polish king the new Russian czar.  Finally, a nationalist army led by Kuzma
Minin  and Prince Dimitri Pozharskii, swept into Moscow capturing it from the Poles. 
This allowed a National Assembly to choose Michael Romanov as czar, ending the Time of
Troubles.  This period received its name from the political chaos, riots, insurrections,
assassinations, famine, and foreign interventions described
above.

Find two integers whose sum is 12 and whose product is maximum.

We'll note the integers as x and
y.

The sum of the integers is
12.

x + y = 12

y = 12 -
x

We also know that the product of integers is a
maximum.

We'll write the product of integers
as:

P = x*y

We'll substitute y
by (12-x) and we'll create the function p(x):

p(x) =
x*(12-x)

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

p(x) = 12x - x^2

The
function p(x) is a maximum when x is critical, that means that p'(x) =
0

We'll calculate the first derivative for
p(x):

p'(x) = (12x -
x^2)'

p'(x) = 12 - 2x

p'(x) =
0

12 - 2x = 0

We'll divide by
2:

6 - x = 0

We'll subtract 6
both sides:

-x = -6

We'll
divide by -1:

x =
6

So, x is the critical value and the
integers are x = 6 and y = 6.

Find the value of x so the distance between the points A(3,5) and B(x,8) is 5 units.

The problem provides the length of the segment `AB = 5` , hence,
using Pythagorean theorem yields:

`AB^2 = (3 - x)^2 + (5 - 8)^2 `

`5^2 = 9 - 6x + x^2 + 9 => 25 - 18 = x^2 -
6x`

`x^2 - 6x - 7 = 0`

You may use the
factorization to evaluate the solutions to quadratic equation, such
that:

`x^2 - 7x + x - 7 = 0 => (x^2 - 7x) + (x - 7) =
0`

`x(x - 7) + (x - 7) = 0 => (x - 7)(x + 1) = 0 =>
{(x - 7 = 0),(x + 1 = 0):} => {(x = 7),(x = -1):}
`

Hence, evaluating the missing coordinate x yields
that there exists two points whose y coordinate is `y = 8` , such that:` x = 7, B(7,8)` and
`x = -1, B (-1,8).`

Outline examples of the use of modernism in the short story "A Rose For Emily."

According to Trent Lorcher in "Lesson Plans: Modernism in
Literature," modernism is:

readability="8">

...marked by a strong and intentional
break with tradition. This break includes a strong reaction against
established religious, political, and social
views.

In
"A Rose For Emily," Faulkner uses a modernist style in laying aside the perceptions of
the proper Southern woman, a member of polite society. He presents—"speaking" as a
member of the community—the impressions the townspeople have of Emily who is the
daughter of a well-to-do leader in the community in which Emily still lives, many years
after the death of her family and peers.

Where authors
previously chose to write in the Realist mode, with modernism, writing took on topics
that questioned the status quo and presented themes that would have been considered
unsuitable or "inappropriate" by earlier writers and
audiences.

Faulkner writes a story of a woman who shatters
the perceptions the townspeople have of the culturally and economically elite: members
of society who have been put up on a pedestal, who are "better" than the common
folk.

Emily does not follow the dictates of society: she is
seen riding around in an open carriage with Homer Baron, a member of the working class,
and a highly visible bachelor who would be perceived as being beneath
her.

Emily also is unapproachable about the smell emanating
from her home. The town's "elders" are unable to get her to speak to them about taxes,
later, about the odor. She is a law unto herself. This would have been expected of a
woman of her status: in the absence of a man in her home, she lives alone and does not
rely on a man for her survival in any way. The men of the society would have expected
her to marry, but the women would have understood that her father made it impossible, as
no man was ever good enough. Because she was a member of the upperclass, everyone would
have excused her unusual behavior.

Faulkner's "unmasking"
of Emily's "real" self is the true mark of the modernist style of writing. All the
town's (and readers') preconceived notions of Emily are disproven—literally blown
apart—and Faulkner achieves this by not only methodically giving brief glimpses of
Emily's existence, but telling her story while jumping around on the timeline of her
life.

The truly taboo subject that would have stunned
readers in 1930 when it was first published (and still stuns readers today) is
not that Emily has murdered her lover, Homer Baron, but that she
was sleeping in the same bed with his corpse LONG after his death: this is evident with
one small detail...the single strand of steel grey hair resting on the pillow next to
the dead body's head.

What is the purpose for Literature ?Be specific , details

Literature has several
purposes.

First, literature introduces readers to a variety of
characters as a way for readers to learn more about themselves, others, and to let readers
understand that others have gone through similar situations as they. An example is Ralph in the
Lord of the Flies. He is a gentle boy and like more boys is adventurous but
not violent. Then in the situation that he is placed in, he finds himself taking part in the
murder of Simon. Golding's interruption: everyone contains evil. Not a trait most would like to
admit they possess.

Second, literature allows readers to develop
their imagination and find comfort, excitement, and adventure, and to experience differrent
realities than exist on earth. These realities usually carry a message for today's world like Ray
Bradbury's Sound of Thunder.

Third, literature
opens up the world for all readers. Experiencing and understanding different cultures and peoples
allows readers to connect with humanity where they might not have the opportunity to do so
otherwise. In this day of instance connections, this experience and understanding give readers
more empathy with people different from them. Chinua Achebe's Things Fall
Apart is one literary work that allows the reader to experience another country's
justice.

Fourth, literature enables readers to trace ideas and
philosophies from ancient times forward to today to allow readers to assess the changes that have
taken place and to intellectually speculate on the purpose of those changes. In Aeschylus'
The Oresteia readers see the seeds of the development of modern
democracy.

Fifth, literature allows readers the opportunity to
improve their reading, vocabulary, and writing skills.

What makes Trifles such a great play when some would consider the fact that it is a One Act play as a negative point?

One way to approach this question might be to analyse the
various themes of this play and see how they are defined and established to discuss whether or
not Glaspell succeeds in her task of writing an exceptional play, albeit in only one Act. I guess
you could treat this question as being similar to asking why some short stories are so effective,
in spite of having the length that other, longer novels have. Certainly, One Act plays, just as
short stories, need to do what they do quicker rather than the leisurely way longer plays are
able to introduce characters and conflict, but this play certainly succeeds in presenting us in
the middle of a tense situation.

To me, one of the most moving
elements of this play, that certainly indicates how effective it is, comes at the very end of the
play, when Mrs. Peters and Mrs. Hale conspire to hide a vital bit of evidence from the men in an
act of female solidarity with Minnie Wright. What is surprising is that it is Mrs. Peters who
first tries to hide the dead bird, as she at the beginning of the play seemed to be very much of
the opinion that the menfolk were the experts and women shouldn't meddle in their work. This
represents a huge success against male patriarchy, which is, of course, one of the central themes
of the entire play.

In The Tempest, consider Prospero as the Duke of Milan, as father to Miranda and as a powerful magician?

Duke of Milan

Although Prospero was
an intelligent, honest and compassionate leader, he had two fatal flaws that caused his downfall:
his inability to detect betrayal, and his passion for knowledge. Prospero mentions that he
dedicated the bulk of his time to establishing his library and towards study, while leaving
Milan's administrative responsibilities to his brother. Like Duncan in Macbeth, Prospero is
unaware of the dangers surrounding him and is blinded by his emmersion in his books. Therefore,
he has strong leadership abilities and intentions, but weak empthatic
qualities.

Prospero as a father:

By
today's standards, Prospero was a terrible father. He keeps his daughter ignorant about her past,
treats her more as property than a human, and even casts her to sleep in order to keep her in the
dark about his plot. However, I believe that for an Elizabethan audience, Prospero would have
appeared as an ideal father (or perhaps it was Shakespeare's twisted ideal). He is protective,
assertive, controlling, and understands her gender's weaknesses. All of his actions towards her
are therefore justified because she is incapable of making her own decisions, and knowing what is
best for her. In a sense, Prospero's parenting style only works because Miranda is one of the
most plastic, stereotypical female roles ever conceived.

Prospero as
a Magician

There is a strange dilemma here. Shakespeare needed
Prospero to be a sympathetic protagonist, however, he was one that dabbled in magic which was
highly frowned upon by the Elizabethan audience. Therefore all of Prospero's spells were
immediately shown to be harmless. The best example of this is the scene immediately after the
storm sinking the ship. Ariel makes it painfully clear to Prospero (and the audience) that no one
was hurt in any way. This makes Prospero's use magic less 'sinister'. At the end of the play,
Prospero relinquishes all of his powers before he journies back to Milan. This restores the
natural order and shows that dabbling in magic should only be reserved for 'brave new
worlds'.

What were the strengths of the U.S.'s enemies during World War II?

There were two major strengths that the Axis Powers enjoyed in
WWII. (I am speaking mainly of Germany and Japan here.) These were that A) they were much more
ready to fight and B) they had more experience and better war plans than the Allies originally
did.

When WWII broke out, the Germans and Japanese were ready to
fight where the Allies were not. The Axis had been planning the war and were naturally more
prepared for it than the Allies. The Germans had much better plans for the war (the new tactic of
blitzkrieg) than the Allies had. The Japanese were much more experienced at fighting because of
their recent experience in China.

It is also worth mentioning that
the Axis had better weapons in some significant ways. For example, both the Germans and Japanese
had better airplanes at first than the Allies did.

Regarding the ducation system of India, I need to write an article discussing the social impact of education.

I think that a very interesting starting point on this front
would be to examine how free education is on the rise in rapidly developing economic powers like
China.  Obviously, there is something there in terms of offering free education, bringing more
people into the realm of education and knowledge, and generating greater economic power for the
nation.  I think that a line can be drawn between all three in the instance of China to develop
an argument or a thesis about free education.  Education has always been seen as part of the
democratic process and a part of the upwardly mobile.  Few have ever made the argument that the
more education one has, the lesser the chance social mobility is possible.  In fact, the history
of education would prove the opposite.  The compulsory education and free providing of education
that American Revolutionary thinkers like Thomas Paine put forth would indicate this.  Paine
argued that the new nation should feature free education, something that America ended up
adopting much after the time of Thomas Paine.  Education and its access has always been linked to
social mobility, the strengthening of social fabrics, and the idea that economic gaps can be
bridged.

What is the most important line in Act 1 Scene 2 of Shakespeare's A Midsummer Night's Dream?

To some extent, the answer to this question depends on your
personal opinion.  However, you must keep in mind the purpose of this scene as you try to think
about which line is the most important.  This scene is really about establishing the
personalities of the craftsmen who will be performing in the play within a play.  Since the most
important of these characters is Bottom, the most important line should be one that reveals
something about his character.

Bottom has many lines that show what
a buffoon he is.  You could pick almost any one of them.  My pick is this
line:

I will
href="../../midsummer-nights-dream-text/act-i-scene-ii#prestwick-gloss-1-2-19">aggravate
my voice so, that I
will roar you as gently as any sucking href="../../midsummer-nights-dream-text/act-i-scene-ii#prestwick-gloss-1-2-20">dove;
I will roar(75)
you an't href="../../midsummer-nights-dream-text/act-i-scene-ii#prestwick-gloss-1-2-21">were
any nightingale.

This line shows
perfectly who Bottom is because it is a silly concept to begin with (he'll roar gently while
playing a lion so he doesn't scare the women) and because he makes mistakes ("sucking dove")
while doing so.  This really shows us what his character is
like.

What is the main conflict in My Side of the Mountain?

This novel is a chronicle of Sam's year of living in the
wilderness. During his time on the mountain, Sam is challenged to find ways to take care of his
basic needs for food and shelter. Much of his story is also concerned with Sam's need for
companionship - a need that proves to be, ultimately, the central conflict of the novel.

Sam quickly learns how to take care of his basic needs in the
woods, living off the land proficiently and happily. With his survival needs met, Sam's social
needs move to the forefront of his narrative.

First, he makes
friends with the animals of the forest.

readability="8">

Sam's closest companions in the woods are Frightful, a
trained peregrine falcon; Jesse Coon James, a raccoon; and Baron
Weasel.

These creatures
offer some friendship for Sam, but soon the company of these animals is not enough. When Bando
shows up on the mountain, Sam is drawn to him, despite the fact that Sam believes Bando is a
criminal on the run.

Bando is the first human friend Sam makes on
the mountain, but not the last. When spring finally comes Sam is surprised to find that he is
open to the friendship of other boys his age. He seeks out people instead of running away to
maintain his privacy on the mountain, even scheduling visits with Bando and and Matt.

Through Sam's changing attitudes toward the benefits of isolation,
the novel's central conflict and theme find expression.

readability="5">

The book develops the theme of independence versus the
need for relationships...

Sam begins
the novel wanting to be alone and ends the novel accepting the comfort of family and
companionship.

To whom is the Duke speaking in "My Last Duchess"?

Part of the mastery of Browning's art in this poem is that we
are only told who the audience of the Duke's dramatic monologue is at the end of the poem, after
he has seemingly quite cheerfully narrated how he had his "last Duchess" disposed off because of
how, in his perception, she bestowed attention of others. Thus, having established the immense
pride and cruelty of the Duke, it is highly ironic that we discover in the last few lines that
the silent listener is a representative from a Count whose Duke the daughter is negotiating to
marry:

The Count your
master's known munificience

Is ample warrant that no just
pretense

Of mine for dowry will be
disallowed;

Though his fair daughter's self, as I
avowed

As starting, is my
object.

Now, when we think about this,
this is either incredibly ironic or/and it is incredibly chilling. Either we think that the Duke
has no awareness of what the story of his last Duchess is doing to the listener, or, he is
deliberately sending a message to the Count about the kind of behaviour he expects from a wife
and the kind of response he can expect if his daughter does not behave
accordingly.

How would the criminal justice sysytem be altered if state attorneys general were given authority to supervise locally elected DAs?

In my state, District Attorneys are elected by the people of the
Judicial Circuit, but are under the supervision of the State Attorney General. The AG does not
have power to "fire" the DA, but he can supervise, and take over the prosecution of a case
if/when he feels it advisable. Also, if the DA is involved in any questionable activity, the
Governor has the right to suspend him pending resolution of the matter, and can remove him for
good cause shown. By this method, the local populace has some control over the administration of
justice in the local circuit; however at the same time, there is some uniformity of justice
throughout the state.

Which of the first ten Amendments is the most important?

In my mind the right to free speech is one of if not the
most important one we have.  The idea that we can speak out against a government or even
against a particular elected individual and not be afraid of reprisals is so
important.

I find it to be somewhat troubling that this
right is more limited than we think it is, most people cannot speak out against their
employers (even though there are some very minor whistle-blowing protections) because
anything of that nature is grounds for dismissal, job-speech is not protected by the
first amendment.

Students don't have the right to free
speech, in the end the principal can decide what can and can't be published in a school
newspaper and it can often be very difficult for them to make their voice
heard.

So protecting for and even enhancing this right
seems absolutely vital to me.

Attempt a critical appreciation of John Donne’s "A Hymn to God the Father".Donne’s A Hymn to God the Father

One of Donne's last works, written in 1623, "A Hymn to God
the Father" is all-embracing in its religious feeling. From its opening reference to
original sin - "that sin where I begun,/Which was my sin, though it were done before..."
- to its final words of acceptance - "I fear no more" - the poem narrates the sin, the
repentance, the forgiveness, and the struggle for holiness of John Donne and of many
others.

The poem's salient characteristic - both in form
and thought - is its circularity. In the poem Donne describes his life as a kind of
anti-creative movement: Sinful thoughts beget sinful words which beget sinful deeds,
which in turn give rise to more sinful thoughts. The poet's self-absorbed round of
sin is signalled in the text by the coda of "For I have more" appearing at the end of
both the first and second stanzas. However, if the poet's life revolves in the dreary
circularity of sin, the merciful God must follow in circles,
too:

"But swear by Thyself, that at my death Thy
Son
    Shall shine as he shines now..."

Punning,
but at the same time ardently serious, Donne looks forward with longing to his last day
when the Son of God rises upon the poet in a definitive new day of forgiveness where
fear of punishment for sin is "no more".  

If f(x,y)=2y^2x-yx^2+4xy , find the local extrema and saddle points of f .

higher dimention problems are solved analogously with 2-D
extrema problems: take derivatives for each direction, and
solve.

Steps:

Find critical points
where Fx = Fy = 0; evaluate second derivative at those points:

. Fxx
< 0  & Fxx Fyy -  Fxy^2 > 0 -->
maximum

. Fxx < 0 & Fxx Fyy - Fxy^2 > 0
 --> minimum

. Fxx Fyy - Fxy^2 < 0  --> saddle
point

f(x,y) = 2y^2x - yx^2 +
4xy

fx = 2y^2 - 2yx + 4y    -->  fxx = -2y  and  fxy = 4y -
2x + 4

fy = 4yx - x^2 + 4x   --> fyy = 4y   and  fyx = 4y -
2x + 4

Note that fxy = fyx, as it
should.

Solve system for critical
points:

fx = 2y^2 - 2yx + 4y = 0

fy
= 4yx - x^2 + 4x = 0

solutions: (0,-2), (4/3, -2/3), (4,0),
(0,0)

We'll complete the solution for one of these
points. Each of the points is evaluated in like manner:

fxx (4/3,
-2/3) = -2y = -2(-2/3) = 4/3 > 0

fyy(4/3, -2/3) = 4y =
4(-2/3) = -8/3

fxy(4/3, -2/3) = 4y - 2x + 4 = -8/3 - 8/3 + 4 =
-4/3

fxx fyy - fxy^2 = 4/3 * -8/3 - 16/9 = -16/3 <
0

Because fxx fyy - fxy^2 < 0, the point (4/3, -2/3) is a
saddle point.

What is Shakespeare's rhythm and use of punctuation in Much Ado About Nothing, Act IV, scene i?

The rhythm of Much
Ado about Nothing, which is continued in Act IV, scene i, is that of
iambs. Iambs describe a rhythm that is
duple, having two beats to each unit of rhythm. It is described as an
unstressed beat followed by a stressed beat and is thought to be the rhythm closest to
the spoken form of English. We'll use Hero's line in the middle of the scene to
illustrate iambs. An unstressed beat is shown by this sign ^ and a stressed beat is
shown by this ':

readability="5">

They^  know'  that^  do'  ac^ -cuse'  me^;  I' 
know^  none'

You can see that
the duple rhythm of unstressed stressed repeats, in fact, it repeats five times yielding
the poetic meter called pentameter--or five measures of
repeated rhythm.

Shakespeare usually uses line-end
punctuation, seldom utilizing
enjambment. Enjambment is when
the thought of one poetic line continues in the following line and thus has no line-end
punctuation. This same speech of Hero's shows both enjambment and line-end punctuation.
There are three enjambed lines. They
are:

1) If I
know more of any man alive
2) Prove you that any man with me
conversed
3) At hours unmeet, or that I
yesternight

Each of these has
a thought that is carried on in the next line, for
instance:

If I
know more of any man alive
Than that which maiden modesty doth
warrant,

Line-end
punctuation ends the current thought and is such as you are familiar with
from your prose reading. A couple of examples of line-end punctuations that end thoughts
that do not carry on in the next line are:

readability="6">

1) They know that do accuse me; I know
none:
2) Than that which maiden modesty doth
warrant,

Shakespeare also
uses punctuation in a medial (middle) position. This can
either end a thought in mid-line or can designate parts of a thought, just as in prose.
An example of the first is: "Let all my sins lack mercy! O my father, ...." Examples of
the second are:

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1) At hours unmeet, or that I
yesternight
2) Refuse me, hate me, torture me to
death!

Identify common solutions for hardware installation problems under the following topics: power, video, RAM, CPU, hard drive, and optical...

Working with building, upgrading, or repairing computers can
lead to great technological victory or humiliating defeat depending on a lot of factors.  Using
your list, it is possible to see some common issues that one would need to be aware of before
attempting any of those three procedures.  Proper static protection is important for all of
these, so lets just get that out upfront.

1) Power --
the biggest problem with the power supply is making sure that it is powerful
enough to run the components attached to it.  You would, if building a computer or adding
components, want to add up their consumption to be certain the power supply could handle it.
 Secondly, if a power supply is "dead" and not responding it is a good idea to check for an
internal fuse that might need replacing.  Technically there is a voltage switch on the back of
many power supplies that might have gotten flipped as well, though that doesn't happen too often.
 Lastly, if putting in a new power supply you would need to be certain that it fit the case and
had the connectors you needed to properly drive the motherboard (especially video card
power.)

2) Video -- First, make sure
you have the right card for the slot: AGP and PCIe are not compatible.   Some motherboards seem
to have problems with backward compatibility, too, between 4x and 8x AGP so that is good to check
into. You need to also consider the size to make sure it will physically fit in the case.  For
full functionality, many video cards require an direct power hookup to the power supply, so that
needs to be checked.  Make certain the card is seated well in the slot and that the correct
drivers are installed.

3) RAM -- The
RAM has to be right.  Though there is a good deal of backward compatibility, you need to be sure
you have the right stuff or it won't fit (or maybe it will fit and won't work, if it is too
slow.)  Some RAM needs to be installed in pairs, period, or in pairs for better performance.  It
is important to make sure that RAM is well seated in the slot or it will cause you trouble.  
Troubleshooting RAM usually involves swapping it out, changing it to a different slot, or pulling
it out and running with less RAM to see if that stick is defective.  There are software
solutions, too.

4) CPU -- Again, it has
to be the correct one to fit in your motherboard.  Must be installed carefully so as not to bend
the pins.  Cooling is very important, so the heat-sink/fan must be the right size and properly
installed.  There may be some BIOS settings involved with setting up the CPU you way you want it,
but in general it will be self-configuring.   If it doesn't work it may be damaged or improperly
seated....if the computer shuts off or freezes heat may be an
issue.

5)Hard Drive -- Fairly straight
forward.  Make sure you have the right connectors ATA/SATA.  Make sure the jumpers are set
correctly. If it doesn't work, check the power, the connection to the motherboard, and the jumper
settings.  Hard drives are pretty tough when not turned on but easy to damage when powered up and
active, so don't jostle it.  I don't know much about SSDs, so you are on your own
there.

6) Optical Drive -- Same as the
hard drive, really.  Jumpers and cabling.  If you want to install a Blu-Ray drive you have to
keep a thought out for HDCP compliance between it, the video card, and the
display.

convert 3.35 hours into hours and minutes

3.35 hours to express in hours and
minutes.

In 3.35 hours 3 is hours and 0.35 hours is the only
fractioal part. So  there is no change 3 hours. We have covert  only 0.35
hours.

We know that 1 hour = 60
minutes.

Therefore we have multiply 0.35 by 60 get the number of
minutes in 0.35 hours.

So we do the multiplication of 0.35 and
60:

0.35*60 = 39.

Therefore 0.35 hours
= 39 minutes.

Therfore 3.35 hours = 3hours 39
minutes.

What is the antiderivative of integrand (2x+5)e^(x^2+5x)?

To determine the antiderivative, we'll have to compute the
indefinite integral of the function f(x) =
(2x+5)*e^(x^2+5x)

Int (2x+5)*e^(x^2+5x)
dx

We notice that the exponent of e is a function whose
derivative is the other factor of the integrand.

We'll note
the exponent by t = x^2+5x and we'll solve the integral using substitution
method.

We have:

t =
x^2+5x

We'll differentiate both
sides:

dt = (x^2+5x)'dx

dt =
(2x + 5)dx

Now, we'll re-write the integral changing the
variable:

Int (2x+5)*e^(x^2+5x) dx = Int e^t
dt

 Int e^t dt = e^t + C

But t
= x^2+5x

Int (2x+5)*e^(x^2+5x) dx =
e^(x^2+5x) + C

Find the derivative of x^2+6x+10 using the first principle .

First, 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 {[(x+h)^2 + 6(x+h) + 10]-(x^2 + 6x +
10)}/h

The next step is to expand the
square:

lim {[(x^2+2xh + h^2) + 6x+6h + 10]-(x^2 + 6x +
10)}/h

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

lim (2xh + h^2 +
6h)/h

We'll factorize by
h:

lim h(2x + h + 6)/h

We'll
simplify and we'll get:

lim (2x + h +
6)

We'll substitute h by 0 and we'll
get:

lim (2x + h + 6) = 2x +
6

So, the first derivative of the given function
is:

f'(x) = 2x +
6

Are electrons influenced by the gravitational attraction of the particles in the nucleus of an atom?

This is a question asked pretty often, especially when we
consider the fact that the distance between the nucleus and the electrons is very
small.

Now, let us take a simple case of a hydrogen atom,
which has one proton in the nucleus and one electron. The electron is negatively charged
with a charge equal to 1.6 * 10^-19 C. The proton is positively charged with a charge of
1.6* 10^-19 C.

The mass of an electron on the other hand is
approximately 9.11*10^-31 kg and that of a proton is 1.673*10^-27
kg.

If the two particles are separated by a distance r, the
force of attraction due to the electrical charges is k*Cp*Ce/ r^2, where k is a constant
equal to 9.0*10^9 N*m^2/C^2

The gravitational force of
attraction is G*Me*Mp/r^2, where G is the gravitational constant equal to
6.673*10^-11.

If we find the ratio of the electrostatic
force to the gravitational force between the particles it is equal
to:

[(1.6*10^-19) ^2* 9.0*10^9] /
[9.11*10^-31*1.673*10^-27*6.673*10^-11]

= 2.26*
10^39

So the electrostatic force is 2.26 * 10^39 times
larger than the gravitational force of
attraction.

Therefore it is evident that the
gravitational force is negligible compared to the electrostatic
force.

Discuss Tagore's contribution to Indian English Literature.

In my mind, the question is asking to assess what Tagore gave to
Indian Literature translated into English. Part of what makes Tagore such a compelling figure in
Indian Literature is that he is not writing in English. At a time when so many believed that
English was right and indigenous forms of expression were wrong, Tagore pretty much invented the
short story in Bengali. His embrace of both social realism and transcendent themes were all
composed in his native tongue, making his contributions to the Indian literary canon powerfully
compelling and highly significant. Tagore was also one of the first artists of a "globalized"
world. This means that his contributions were even more significant because they spoke for a
condition of Indians, as well as people all over the world. This was because Tagore had been
exposed to literature that many in India had not experienced. Tagore integrated these artists'
work into his own:

readability="14">

...other influences on Tagore were British colonialism
.... Because of colonialism, he was exposed early in life to the literature of William
Shakespeare, John Milton, and George Gordon, Lord Byron, who became his particular favorites, as
well as the philosophy of John Stuart Mill and Jeremy Bentham. Other literary influences (Tagore
read them in their original languages) included Johann Wolfgang von Goethe and Guy de
Maupassant.

This ability to combine
other literary voices into his own is what makes Tagore responsible for a giant contribution to
Indian English Literature.

In Kafka's Before The Law this short fable, where we can find clear points indicate existentialism?

Kafka's theme in "Before the Law" is that the pursuit of
meaning is often endlessly difficult and, in the spirit of existentialism, it is an
individual struggle.  Existentialism means "existence precedes essence."  You exist and
then develop your essence, what is essentially you: beliefs, desires, wants, fears,
etc.  You are not predetermined to "be" anything.  You make yourself.  Thus, you are
responsible for making yourself as it is an individual quest.  With that responsibility
can come anxiety because you are alone in that
struggle.

There is an allusion to the gates of heaven here,
but Kafka is speaking of granting entry to meaning, knowledge and truth. Kafka also sees
bureaucracy as mimicking the existential quest for truth.  The "law" represents meaning
but also, analogously, the man-made systems (law, government, politics, academia, the
aristocracy or owning class, etc.) which claim to create, sustain and categorize things
like truth and knowledge.  These systems also tend to keep others out.  Often, being
granted entrance into these groups is as difficult as discovering meaning; especially in
an existential outlook, which means it is an individually responsible and usually uphill
battle. It is up to him/her to go through the open gate. 

Mond relates the best argument for the brave new world society. what is it?

I see that you have tagged this with "Chapter 16" so I
will use lines from that chapter, even though I think that his arguments in Chapter 17
are at least as persuasive as those in Ch. 16.  Basically, Mond's best argument in Ch.
16 is that the brave new world keeps people safe.

In the
world that John and Helmholtz want to have, people can have strong emotions.  They can
enjoy beautiful things.  They can really, truly, be human.  Mond agrees that there are
benefits to this.  However, he points out that these things come at a price.  Here is a
good line:

readability="5">

What's the point of truth or beauty or knowledge
when the anthrax bombs are popping all around
you?

What Mond is saying is
that it is better to be safe, to be alive, than to have the excitement and intense life
that you could have in our "regular" world.  The civilization has traded emotions and
such for safety and that is Mond's argument.

The demand curve for kerosene is upward sloping as the price of kerosene rose the quantity demanded of kerosene increased. What question did we raise?

I am sorry, but your question is a little hard to
understand.

First of all, the demand curve for a good or service is
downward sloping (higher on the left, lower on the right) when the vertical axis shows price and
the horizontal shows quantity. This is because the quantity demanded for any good or service goes
up as the price goes down (all other things being equal).

If the
price of kerosene went up and the quantity demanded went up as well, something must have happened
to move the demand curve. That is the question that arises--what caused the demand curve to
move.

If the price went up and the quantity demanded went up,
something must have increased demand and you would need to ask what it was that caused demand to
increase. This could be something like a rise in the price of goods that compete with kerosene or
an increase in the population of an area that uses kerosene.

So,
there are two points to be made. First, a demand curve does not slope upward. Second, if price
rose and quantity demanded rose, the demand curve must have moved to the right (demand must have
increased). Therefore, the question raised is "why did the demand curve
move?"

Help solving? What are the possible values of x and y? Line AB is perpendicular to Line CD. A(1,3). B(4, -2). C(6,1). D(x, y). Answer choices...

Since AB is perpendicular to
AC

Then the product of the slopes =
-1

Let m1 be the slope for
AB:

==> m1= (-2-3)/(4-1) =
-5/3

Let m2 be the slope for
CD

==> m1*m2 =
-1

==> -5/3 *m2 =
-1

==: m2 = 3/5

but m2 =
(y-1)/(x-6) = 3/5

==> y-1 =
(3/5)(x-6)

==> y= (3/5)(x-6) +
1

=> y= (3/5)x - 18/5 +
5/5

==> y= (3/5)x -
13/5

Therfore , we need x, y alues that verifies the
equation,

Let us substitute the
choices:

A( 1, -2)

==>
y= (3/5)*1 - 13/5

           = 3/5 - 13/5 = -10/5 =
-2

The point (1, -2) verifies the
equation.

Then D = (1,
-2)

Why is Don Quixote (First book) viewed as a tragedy by some people? Explain, and use references.

On many levels, Quixote and the book for which he is named can
be seen as a tragedy.  I think that there are a couple of reasons for this.  The first being that
Quixote's quest is unrealized in reality.  In the end, Quixote's voyage and purpose to honor
Dulcinea, live the code of the knight, and bring justice to a world lacking it are elements that
are not fully realized.  While Quixote is fully confident in what he does and self assured in the
value of these elements, they are not values that the world embraces as transcendent.  In this
light, there is a certain tragic condition in Quixote the character and book.  There is a certain
level of sadness and tragedy in how people take advantage of him and how his sense of self,
something so pure ends up being manipulated and discarded.  Quixote aims for the stars and
crashes to Earth, full of bruises and scratches.  There is something tragic and sad within this
vision.

What point was Rachel Carson trying to get across to the general public in Silent Spring?

In her 1962 book, Silent Spring,
Rachel Carson was trying to alert the public to the dangers of pesticides.  She was
trying to make people more environmentally aware.

At the
time that Carson wrote the book, there was very little environmental consciousness in
the United States.  People were not really aware of the possibility that chemicals and
things like that could actually harm the environment.  Chemicals were identified with
progress.  DDT was an example of that.  It had been something of a wonder pesticide and
was very popular.

What Carson was doing was trying to
change this view.  She was trying to get people to realize that pesticides were capable
of causing harm and that they had actually been causing great harm to bird populations
especially.

When Scout and Jem ask Atticus why he took the Tom Robinson case in To Kill a Mockingbird, is there a specific quote that he responds with?

Atticus always tried to give his children straight answers to
even the toughest questions, but he didn't divulge the entire truth when Scout first asked him in
Chapter 9. After Cecil Jacobs told Scout that Atticus "defended niggers," she asked her father if
it was true. He told her that all lawyers defended Negroes, but Scout said that Cecil's
accusation made it sound like Atticus was "runnin' a still." Atticus told her that he had many
reasons for taking Tom's case. In addition to Tom being a friend of
Calpurnia's,

I couldn't
hold my head up in town, I couldn't represent this county in the legislature, I couldn't even
tell you or Jem not to do something
again.

When Scout asked if he would
win the case, Atticus told her "No, honey." Later in the chapter, however, Scout overhears
Atticus talking with his brother Jack, and she hears a slightly different
version.

You know, I'd
hoped to get through life without a case of this kind, but John Taylor pointed at me and said
"You're it."

She discovers that it was
Judge Taylor who had directed (asked?) Atticus to take the case.

In the story "A Death in the Family", who is the protagonist?

In the story "A Death in the Family" the protagonist is
Rufus, because the action revolves around the series of events that occur as a result of
the death of his father, whose name was Jay. In a way, Rufus's process of coping, and
the adaptation to a new life without Jay is the antagonistic influences that test,
challenge, and make or break the main character. For this reason, the protagonist is
Rufus, as he underwent the most intense transformation as a result of the climatic
moment in the story when the father died.

How is the importance of studying literature shown in "A & P" by John Updike?

John Updike's short story "A & P" demonstrates the
importance of reading literature.

Sammy is the main
character in this story. He is a youngster who works at the grocery store, and the story
takes place during the summer.

Three girls come into the
store in bathing suits. As they are checking out, the manager, representative of society
and its rules, chastises the young women because they are inappropriately dressed. They
may only enter the store in the proper attire.

Sammy stands
up for the girls, even though they have already left. He does so based on the principle
of the situation, and then he quits his job, even as his manager explains that he will
probably be sorry later. Sammy acknowledges that this may be the case, but cannot stop
himself. This often-anthologized story represents the coming of age of, in this case, a
young man of conscience. Updike's story rings true to many individuals, of either
gender, who can relate to a specific turning point in his or her life when childhood was
left behind, innocence put away, and the journey to adulthood,
begun.

Literature provides the reader with experiences they
can relate to or learn from. The personal response of the reader to the text provides a
wide variety of opportunities: to revisit a memory, to understand something about one's
self, or to better understand the world at large.

Updike
takes characters that may not be familiar to us, and conveys their stories, which may be
familiar to us. Updike's appeal, and that of many successful writers, is that he
connects to a common thread in the lives of people from every walk of life. In this, his
story takes on a new dimension that provides a variety of responses to each person who
reads the tale. By studying literature, we better understand
ourselves.

Why did Thoreau emphasize the good qualities of prison?

I think that Thoreau would have inverted the traditional
depiction of prison in a variety of ways.  The first would have been to identify an area that is
so frowned upon in society as a realm of complete detachment and solitude.  These were profound
themes in the work of Thoreau, who suggested that the individual who is able to move themselves
away from society and achieve a sense of introspection through solitude is farther down the path
of self- realization than all others.  In this light, prison can be seen as representing good
qualities.  Additionally, Thoreau was of the mindset that individuals who listen and heed the
thoughts of their conscience might come into conflict with the authority structure.  Thoreau's
own belief in civil disobedience found him at odds with the political and legal structure.  In
these lights, prison can be seen as a testament to one's own convictions, a realm where there can
be no compromise.  If this means prison must be the end result, Thoreau would rather see this end
realized than one where an individual has to betray their own beliefs. Prison might be the only
end where one can "get right" with their own conscience and sense of right and wrong.  In this
vein again, one can see prison as possessing good qualities.

In chapter seventeen of To Kill a Mockingbird what does Atticus attempt to establish through Bob Ewell`s testimony?

Atticus' main purpose with Bob Ewell's testimony is actually
two-fold.

First of all, Atticus works to prove that Bob Ewell didn't
care enough about his daughter's health to seek the help of a doctor. This is an odd behavior for
a parent, especially if he is so excited to get Mayella to testify in court against her supposed
attacker. You would think Bob Ewell would want as much evidence as
possible.

Secondly, Atticus tries to prove that Bob is left-handed.
Bob clearly shows he doesn't understand what it means to have strength in both hands or one more
than the other because on the last page of the chapter, he confused the question while proving
himself to be left-handed.

What customs of puritan life did Miller misrepresent in The Crucible?I am writing a research paper about how The Crucible is an inaccurate play...

Most scholars of this work would disagree with your thesis
because Miller went to great lengths to portray the Puritan lifestyle as closely as
possible to a viewing audience.

However, if you have the
Penguin Classics version of this text, there is an introduction and a "note of
historical accuracy of this play" worth looking through. In these, I have uncovered some
misrepresentations.

First of all, during the witch trials
we can prove with absolute certainty from primary source documents that Abigail Williams
was 11 and John Proctor was 60. These circumstances create a far less believable affair
when compared to the 19 and 35-year-olds we watch. Sure, Proctor had his beefs with the
court, but they were of a much different documented nature. This dulls the suspense of
the entire storyline, but it is easy to understand that any author would want to create
sex appeal to sell tickets. So the fact that adultery ever happened in Puritan society
could be a questionable subject.

Next, there were many more
accusers and many more judges. This is a pure fact. This probably demonstrates that
Puritans would have customarily relied on great majorities to make decisions, not just 6
girls.

Finally, the language was changed because audiences
today would be bored by the discussion of Puritans. In fact, we would likely struggle
with their vocabulary. Although Miller tried to somewhat represent them it is not
authentic.

I guess in my answer I have come to the
conclusion that I disagree with your thesis. However, instead of trying to show that he
misrepresented Puritan customs, why don't you think about writing how he misrepresented
facts (although he did do a lot of it accurately) in order to create a suspenseful and
engaging storyline. His purpose to inform remained the same and we are the better for
having this work, it makes us think about how we treat others.

In "The Star-Spangled Banner," what "gave proof" in line six? Twilight, bombs, mailed, stripes and stars, or the dawn's early light.

The first lines of the first stanza of the national anthem pose
the question about whether the American flag is still visible flying above Fort McHenry in
Chesapeake Bay. Author Francis Scott Key witnessed the War of 1812 naval Battle of Fort McHenry
from a British ship where he was temporarily being held prisoner. He was unable to determine who
was winning the battle, but he realized that as long as the American flag was flying above the
fort, there had been no American surrender. In the sixth line, the "proof" that is being shown is
the visibility of the American flag above the fort. Key could not have seen the flag in the total
darkness, but the "rockets' red glare" and "the bombs bursting in air" lit up the sky enough for
Key to see that the flag was "still there."