Contrast Scout's learning experiences with Jem's?

It is obvious to me that Jem is an oldest child and Scout
is a youngest.  The way they interact with their father shows the difference in their
ages, gender, and birth order.  It also might have something to do with the way they
communicate and learn.

Jem learns best by watching things
modeled.  He is calculated and independent.  He does not necessarily want to be told
what to do, though he obeys directions.  (Consider the incident with Mrs. Dubose.)  Jem
is observant and a listener.  One of the best examples of his learning style comes at
the end of Chapter 10 when he says, "Atticus is a gentleman, just like me!"  Jem learns
by watching and copying those whom he respects most.

Scout,
on the other hand, learns in a variety of ways, not the least of these being through
making mistakes and talking about them.  As the narrator of the book, the first clue
into Scout's learning style is in her way with words.  She processes things by talking
or writing.  She doesn't usually think before she talks and acts (hence, provokes
several fights at school), but when she tells the story later, she has it all figured
out.  Scout obviously learns by experience.  Whenever Atticus sits her down to teach her
a lesson, he always provides a "for-instance" story.  He gets her to think about how
others feel by telling her to imagine being them.  Scout is less
observant, but naturally intuitive.  She reacts most quickly to
feelings and learns best by emotionally investing in the
lesson.

How does Steinbeck create a sence of hostility in chapter two in Of Mice and Men?

Chapter 2 of the story Of Mice and Men
introduces us to many difficult characters who we can almost foreshadow to be
a problem for Lennie and George.

First, they meet the new
boss, who is rough and unwelcoming. When he asks the questions, George answers for
Lennie because Lennie is mentally challenged. A climactic moment occurs when Lennie
answers a question despite George's efforts to keep him quiet. This is how he got found
out about his mental condition, making George quite
frustrated.

We also get to know the boss's son, Curly, who
was basically pedantic and insecure. He immediately picked on Lennie since he was
jealous of Lennie's much bigger size and his attitude immediately brushed George the
wrong way. In fact, George immediately knew that he hated
him.

Finally, we also meet Curly's wife which it was clear
from the get go that she is a tramp and she is trouble. She has probably slept with the
field hands and she was more than likely eager to know who are the "two new guys" so she
can start causing trouble.

Therefore, Steinbeck really
created unease and hostility all through the chapter by introducing at once every
obstacle that will come in the way of George and Lennie's dreams, and by making them so
unlikeable that one has to say "BOY, what a first day of work!"

What is the significance of Coketown in the novel Hard Times?

We are introduced properly to Coketown, the major setting of
this excellent Dickensian novel, in Chapter 5 of Book the First. It is described in a way that
forces us to see the link between Mr. Gradgrind's educational and utilitarian philosophy and
Bounderby's approach to work, as it is a "triumph of fact":

readability="16">

It was a town of red brick, or of brick that would have
been red if the smoke and ashes had allowed it; but, as matters stood it was a town of unnatural
red and black like the painted face of a savage. It was a town of machinery and tall chimneys,
out of which interminable serpents of smoke trailed themselves for ever and ever, and never got
uncoiled. It had a black canal in it, and a river that ran purple with ill-smelling dye, and vast
piles of buildings full of windows where there was a rattling and a trembling all day long, and
where the piston of the steam-engine worked monotonously up and down, like the head of an
elephant in a state of melancholy
madness.

Note how the simile, "like
the painted face of a savage," introduces Coketown as a brutal, uncompromising and fearful place.
It is a town defined by its work and industrialisation, emphasises by the "interminable serpents"
that endlessly coil upwards and also the monotonous nature of that work that is necessary to keep
the fortunes of characters like Mr. Bounderby increasing.

Coketown
is therefore essential as a setting epitomising the negative aspects of industrialisation and the
mechanisation of the human soul. The description of Coketown makes it clear that it is not a
place of enjoyment or pleasure or nature - rather, the only thing it encourages is dull,
repetitive and endless labour. Dickens wrote this novel as a protest against industrialisation
and how it was in danger of turning humans into machines and denying their creativity and
imagination. Coketown, then, is his creation showing this transformation in process. Note how the
reference to the workers as "Hands" reinforces this - they are named only for the work they are
able to do, and have no individuality.

What are the themes in "Sonnet 130" by William Shakespeare?

"Sonnet 130" by William Shakespeare has two themes: love for his
mistress and admonition for those who need to compare things that are really incomparable. He
gives the false comparisons and then tells what he really loves about this
person.

How does the poet demonstrate these
motifs?

His lover's eyes are
different and not as bright as the sun

Her
lips are not as red as
coral

Snow is white, but
her breasts are yellowish white

Her
hair is black and wiry

She
does not have a blush in her cheeks as roses
do

Her breath stinks unlike sweet smelling
perfume

Now---The poet loves to hear
her voice but music has a more pleasing sound

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My mistress when she walks treads on the
ground.

And yet, by heaven, I think my love is
rare

As any she belied with false
compare.

The lover is
human and not a
deity.

Despite these unlikely comparisons, the
poet believes that his lover is unique and special.

He gives no
credence to these comparisons.

The poem seems to be a poem making
fun of love poems and the unnecessary comparison that are made in them...an anti-love
poem.

The earliest American writings come from which three groups?

I am not sure what exactly you mean by "groups" but I can
offer the following suggestions:

1.  One group of early
American writers where the actual pilgrims who arrived on the Mayflower from England. 
John Bradford would be the most widely known.  His writing recounts the events of the
passage over the Atlantic as well as his and the others' first impressions of the New
World.  Through his writing we can see the Puritan view of the world, his understanding
of God, and the hope he and the others have for this new
land.

2.  Another type of early writing are the sermons of
the preachers of the day.  One of the most famous published sermons is "Sinners in the
Hands of an Angry God" by Jonathan Edwards.  Through these types of readings we can see
the Puritan understanding of the God and their relationship with Him.  This sermon
certainly illustrates the reason Puritans were considered "God-fearing"
people.

3.  A third type of writing could be the poetry of
Anne Bradstreet, a Puritan woman writing in the 1670's.   For a female poet to writing
and published in her lifetime is interesting to begin with, but her poetry has stood the
test of time because she captures, with heartfelt emotion, the feelings she has for her
family and her role as in the family and the community.

In what way was Jonas handicapped by his early departure?

Basically, Jonas had to leave before he was ready and so
he did not have all of his preparations made.  He was also handicapped by having to take
Gabe, but that was not really the same thing.

Jonas and the
Giver had planned the whole escape out.  First of all, they were going to have a few
more weeks so Jonas could get more memories of strength and courage.  Second, they had
it planned so he would have a good head start before the people started looking for
him.  But then he had to leave before they had planned (because Gabe was going to get
released) and Jonas did not have the courage he was supposed to have or the ability to
leave just exactly according to their plan.

In "The Star-Spangled Banner," "fitfully" means which of the following: scorning, irregularly, sparked, greeted, terrifying?

In the poem "The Star-Spangled Banner" the use of the word
fitfully is in the lines:

readability="13">

On the shore dimly seen through the mists of the deep,

Where the foe's haughty host in dread silence reposes,
What is that which
the breeze, o'er the towering steep,
As it
fitfully blows, now conceals, now
discloses?

On the shore the enemy is
difficult to see due to the mist. They become visible when the mist is lifted for brief periods
of time in an irregular manner by the breeze.

The definition of the
word fitfully which is used as an adjective is "coming, appearing, acting, etc., in fits or by
spells; recurring irregularly."

Fitfully means
irregularly. None of the other options scorning, sparked, greeted or terrifying have the same
meaning as the word.

What are the references to red in Chapter 14 of The Scarlet Letter?

Having resolved in a previous chapter to meet with her
former husband and do whatever she can to rescue Dimmesdale from his grip, Hester
approaches Roger Chillingworth to speak to him about the minister in Chapter XIV.  When
she does draw near, Hester is shocked to witness what the last seven years have wrought
upon the visage of Chillingsworth.  For, although he seems energetic still, his once
intellectual face now seems "almost fierce" and "carefully guarded."  But, although he
tries to guard his face, it appears blackened to Hester, and his eyes emanate a
redness:

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...There came a glare of red
light out of his eyes; as if the old man's soul were on fire and kept on
smoldering duskily within his breast, until, by some casual puff of passion, it was
blown into a momentary flame....In a word, old Roger
Chillingworth was a striking evidence of man's faculty of transforming himself into a
devil, if he will only, for a reasonable space of time, undertake a devil's
office.

Chillingworth's
appearance has changed so because he has undertaken the "constant analysis" of a heart
that is tortured; he has violated the secrets of Dimmesdale's heart.  In fact, Hester
tells him that he has "burrowed and rankled" in the minister's heart, stealing the life
from Dimmesdale. To this Chillingworth agrees, as the "lurid
fire in his heart blaze(s)" before Hester's sight.  In seeking his
revenge upon the lover of Hester, Chillingworth has transformed from a scholar into a
devilish man who realizes that he has become a fiend, but
who feels that he can do nothing to stop his being from becoming evil, telling Hester,
"It is our fate."

In this chapter, therefore, both Hester
and Chillingworth are touched by the marks of sin, which are symbolized by
red.  Hester wears the scarlet A, which no official
will order removed from her breast; she must live out her punishment. Chillingworth's
eyes look red, his heart emits "a lurid fire."  He even admits to having become a fiend
as he punishes and tortures the heart of Arthur Dimmesdale and virtually steals the
man's soul, but he contends that he cannot be anything else, for as he tells Hester, "It
is our fate."

What is the value of x and y if the point (x, y) is equidistant from (3, 6) and (4,8)?

The distance d between the points (x1,y1) and (x2,y2) is given
by:

d^2 = (x2-x1)^2+(y2-y1)^2.

Given
that (x,y) is equidistant from the points (3,6) and (4,8), we have to find (x,y). But we  know by
geometry that  a lot of solutions will be there. Actually every point on the perpendicular
bisector of the line segment joining (3,6) and (4,8) is equidistant from (3,6) and
(4,8)

The distance between (x,y) and (3,6) is given
by:

d^2 = (3-x)^2+(6-y)^2....(1)

The
distance between (x,y) and the point (4,8) is given by:

d^2=
(4-x)^2+(8-y)^2....(2)

 The distances at (1) and (2) are equal by
data. Therefore ,

(3-x)^2+(6-y)^2 =
(4-x)^2+(8-y)^2.

9 -6x+x^2 +36-12y +y^2 = 16
-8x+x^2+64-16y+y^2.

45-6x-12y = 80 -8x -16y . Other terms
cancel.

8x-6x + 16y-12y = 80-45

2x+ 4y
= 35.

Therefore all the points on 2x+4y - 10 are equidistant from
(3,6) and (4,8).

Which is most correct about the French Revolution?1) The French revolution liberated the individual, creating and consolidating the modern state?...

I would argue that the second statement is more correct in the
short term but the first statement is more correct in the long term. The French Revolution did
not liberate people very much in the first few decades, but it did lay the groundwork for setting
people free.

The most important immediate effects of the Revolution
were the Reign of Terror and the rise of Napoleon Bonaparte. Neither of these can really be
characterized as a move towards liberating the individual. (Although Napoleon's reign can be seen
as a move towards the creation of a modern state.)

However, the
Revolution did destroy the old system that was so repressive. It did not replace the old system
with anything good in the short term, but later on France did move much more towards the ideals
of the Revolution.

Overall, then, both statements are somewhat true,
depending on the time period you use for evaluating them.

Determine the modulus of the complex number z=(3-i)/(3-2i)

The presence of the complex number from denominator is not
allowed. According to the rule, we'll transform the complex number from denominator into
a real number. For this reason, we'll multiply the ratio by the conjugate of the
denominator.

The conjugate of denominator is
3+2i.

The ratio will
become:

(3-i)/(3-2i) =
(3-i)(3+2i)/(3-2i)(3+2i)

We'll notice that the denominator
is a difference of squares:

(3-2i)(3+2i) = 9  -
4i^2

But i^2 = -1

(3-2i)(3+2i)
=  9 + 4

(3-2i)(3+2i) =
13

We'll remove the brackets from
numerator:

(3-i)(3+2i) = 9 + 6i - 3i -
2i^2

We'll combine like
terms:

(3-i)(3+2i) = 9 + 3i +
2

(3-i)(3+2i) = 11 + 3i

The
complex number z is:

z = (11 +
3i)/13

z = 11/13 + 3i/13

The
modulus of the complex number is:

|z| = sqrt [Re(z)^2 +
Im(z)^2]

|z| = sqrt[(11/13)^2 +
(3/13)^2]

|z| = sqrt
(121+9)/13

|z| = sqrt
(130)/13

In Alice Munro's "The Found Boat," what is the plot?

Like many of Munro’s stories, "The Found Boat" is set in
her imaginary small town of Jubilee, which is visualized as being in western Ontario,
near her own home town of Wingham. The story’s plot may be seen as the conflicts or
contrasts that young people experience at their time of growing sexuality. The "Truth or
Dare" game, for example, permits the young people to objectivize their private sexual
wishes in a mixed friendly setting. Similarly, the discovery and repair of the boat
offers the chance for companionship under the guise of cooperative effort. The high
point of the sexual by-play is the collective decision to strip and run to the river,
along with Clayton’s ejection of water from his mouth onto Eva’s breasts. At the story’s
end, it seems that the girls will try to resume their lives as they were before,
although their giggling suggests both their heightened emotions and their realization
that they are moving toward adulthood.

In The Scarlet Letter, Pearl constructs and wears a letter of her own. What is suggested by the color and material of her "A"?

It is in Chapter 15 that Pearl constructs her own Scarlet
Letter, which is formed from fresh green plants, to wear upon her own breast. This
triggers of a discussion between Hester and Pearl about the significance of the letter
"A". Hester draws back from explaining to the seven year old the intended meaning of the
stigma, which curiously makes her feel as if she has been false to the
letter.

Consider what the text says about the "A" that
Pearl fashions:

readability="15">

She inherited her mother's gift for devising
drapery and costume. As the last touch to her mermaid's garb, Pearl took some eelgrass,
and imitated, as best she could, on her own bosom, the decoration with which she was so
familiar on her mother's. A letter - the letter "A" - but freshly green, instead of
scarlet! The child bent her chin upon her breast, and contemplated this device with
strange interest; even as if the one only thing for which she had been sent into the
world was to make out its hidden
import.

Interestingly, and
perhaps ironically, Pearl tries to "decode" the symbolism of the scarlet letter herself
with great intensity. Clearly the fact that Pearl has fashioned her own "A" out of
eelgrass to form a green letter, instead of a scarlet one, confirms her description as
an "elf-child", a character who seems more at home in nature than in the "civilised"
town. She is confirmed in the novel as a character of the world of romance, and is an
incarnation of physical pleasure and imaginative freedom, entirely contrary to the
Puritan way of life. This "A", therefore, highlights a key theme in the novel, which is
the way in which symbols can be ascribed or imposed on others, but how then they can be
reinterpreted to symbolise other things. Just in the same way that Hester re-interprets
her "A" as a sign of honour, shown by the care with which she embroiders it, so Pearl
takes the sign of shame and uses it to symbolise her own position as an outsider in the
community, as one who is of nature rather than of civilisation.

What does Cyrano mean by his quote, "I may not cut a stylish figure, but I hold my soul erect."

This is an excellent question and an excellent quote.
Cyrano de Bergerac is the story of a great man who is continually judged by
his appearance, the most notable feature of which is an extraordinarily protuberant nose. Those
who do not know him make fun of him; the shallow woman he loves (Roxane) would never consider him
as a lover because he is not beautiful (though she does have an epiphany once it is too late to
be acted upon). This is Cyrano's life, and who he is has been shaped by his
appearance.

This quote is Cyrano's statement about who he is. When
he says he does not "cut a stylish figure" he means he is not fashionably beautiful. When he says
he holds "his soul erect," he means what he IS is beautiful. He is a man of his word, a loyal
friend, a steadfast lover, a fearless soldier, an artist, an enemy of injustice, and in all ways
a man of integrity and good character.

Cyrano is well aware that he
lives in a society full of shallow people who will never recognize the beauty of his soul; this
quote is a reminder that external beauty is not what matters most.

How does the type of sugar (eg. Glucose, Lactos, Maltose and Fructose) affect the rate of fermentation in a yeast solution?

Different strains of Saccharomyces cerevisiae are used by bakers
and brewers for fermentation to raise bread and produce alcohol. This species has a superior
ability to perform fermentation making it perfect for use.

The
anaerobic respiration of yeasts is what is used by bakers. Yeasts react at different rates to
different sugars.

Lactose, sucrose and maltose are disaccharides
while glucose, fructose and galactose are monosaccharides.

When
yeast is added to sucrose, the sucrose gets broken down into glucose and fructose and yeast is
found to perform fermentation at the fastest rate.

If sucrose and
maltose are present in a solution, the yeast utilizes maltose which is made up of two molecules
of glucose, only when the sucrose has been consumed. The rate of fermentation with maltose is
slower than that with sucrose.

Lactose is made up of one glucose and
galactose. Yeast does not undergo fermentation when it is put into a solution containing
lactose.

Can anybody give me some examples of light and darkness in "Of Mice and Men" and it's use?Steinbeck uses the theme of darkness and light...

John Steinbeck, in the novel Of Mice and
Men, uses a theme of light and dark throughout the novel.  Here are some examples from
the text and an explanation of the use.

readability="5">

The golden foothill slopes curve
up...

Here is an obvious image of
light.  It appears in Chapter One at the very beginning of the novel when describing the area
near the river where Lennie and George are first introduced.  The light image here depicts a safe
place for the men.

At
about ten o'clock in the morning the sun threw a bright dust-laden bar through one of the side
windows, and in and out of the beam flies shot like rushing
stars.

Here, the bunk house is
described in the opening of Chapter Two.  While there is some light coming into the bunkhouse, it
is actually a reference to darkness.  There is only a beam of light coming in.  Therefore, the
bunk house can be looked at as being a place where something bad will
happen.

Instantly the
table was brilliant with light, the cone of the shade threw its brightness straight downward,
leaving the corners of the bunkhouse still in
dusk.

Here again, this time in Chapter
Three, the bunkhouse is described as being dark.  Only a little light illuminates a small part of
the room (similar to the first picture readers are given).  Again, this illustrates that the bunk
house, although some light may penetrate its darkness, can be defined as a "bad" or dark
place.

In the stable
buck's room a small electric globe threw a meager yellow
light.

At the beginning of Chapter
Four, Crook's room is being describe.  While the room is clean, it is again void of any
brightness.  The reasoning behind this could illuminate the fact that Crooks is seen as an
outcast because of his black skin; he is an African American.  The other ranchers do not think
that he is worthy of sharing their space as white ranchers therefore, he is kept in the dark-
literally and figuratively.

readability="6">

It was Sunday afternoon. The afternoon sun sliced in
through the cracks of the barn walls and lay in bright lines on the
hay.

In the opening of Chapter Five,
where the climax of the novel happens, the barn is described very similarly to the other
buildings of the ranch.  While there is light, it is fragmented and isolated.  It is here where
Lennie's actions force him to leave the ranch. Again, the relevance of the light imagery here is
that at no place on the ranch is light able to completely penetrate anything at
all.

The deep green
pool of the Salinas River was still in the late afternoon.  Already the sun had left the valley
to go climbing up the slopes of the Gabilan
Mountains.

In the final chapter of the
book, the light is fading.  This cues readers in that something is about to change dramatically. 
At the opening of the novel, this area was the place associated with complete light. Now, the
light is changing and the river is changing with it.  It will no longer be the place of light
which Lennie and George first came upon.

In To Kill a Mockingbird, why does Mayella state "don't know- long time" when asked how long her mother's been dead?It seems strange that she would...

In my opinion, we have to use the facts to infer why Mayella
says this. First, we know that Mayella is uncomfortable with Atticus and this shows that she
doesn't want to answer his questions. Her ambiguous and vague answer shows disrespect to
Atticus.

However, it also demonstrates that Mayella has little value
of her family and circumstances. She may have longings outside of her home if she is going to
show such apathy and almost resentment towards her mother's
death.

Perhaps, it is just to painful to
revisit.

Whichever of the three circumstances mentioned above may be
true, Mayella does not want to talk about it. She does not want to trust Atticus or get
comfortable with him because then her guard will drop.

Overall, one can sense the compassion of Hamlet, but what lines from the play would indicate such a characteristic?I need one or two lines from the...

Hamlet is not, by nature, a hard-hearted person. He has
been pushed to harden himself in order to find out how deeply lies the evil in the
palace following his father's murder, and his father's charge that
he avenge Old Hamlet's death.

I sense
compassion on Hamlet's part when he kills Polonius by accident. He certainly had no
intent to do so.  When he discovers that the old man was hiding behind the arras in his
mother's chambers—rather than Claudius—he says,

readability="10">

Thou wretched, rash intruding fool, farewell. I
took thee for thy better. Take thy fortune. (III, iv,
31-32)

Hamlet also has
compassion for Laertes when he is dying and asks Hamlet for his forgiveness, even though
Laertes has poisoned him. Laertes identifies Claudius at the root of the evil plan to
kill Hamlet, and after Hamlet kills his uncle, he returns to Laertes, who
says:

Exchange
forgiveness with me noble Hamlet. Mine and my father's death come not upon thee / Nor
thine on me! (V, ii,
340-342)

And Hamlet offers
his forgiveness,

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"Heaven make thee free of it" (I, ii,
343),

even though he knows he
is dying by Laertes' act of evil vengeance.

Sometimes an adjective is used in place of the noun that it describes. Is there a technical term for this?

In the past, there have been noun usages called noun
adjunct or attributive noun, or noun
premodifier. In grammar, nouns can modify other nouns, acting as adjectives. This
"hybrid"—the adjective-working-as-a-noun" is optional in that it is not necessary in order for
the sentence to make sense. I.e., it can be removed and not change the sentence's grammar.
Examples would be "beef stew" and "rain storm." If a sentence reads, "We couldn't go out to play
because of the rain storm," the word "rain" can be removed—like an adjective; it simply provides
additional, descriptive information. Without it, the sentence still makes sense; the reader is
simply unaware of what kind of storm kept the children
inside.

Technically...

readability="5">

...we can use a noun as an adjective when it precedes a
noun that it modifies.

gt;

In this
case, the "modern" term for such a grammatical device is an adjectival noun;
it used to mean the same thing as the noun adjunct, but now the term adjectival
noun is defined as an adjective used as a
noun.

In the past, this process was
called "nominalization." As stated above, it is the practice of using one part of speech as
another.

Rules for writing adjectival nouns vary. One source states
that with an adjectival noun, it may be written as two separate words, such as "dust bowl" or
hyphenated. However, another source states that when nouns are joined, the two words should be
hyphenated, as with "eye-opener." But with this second rule, for these examples, removing the
first part of the word does not allow for the sentence's meaning to remain intact. For example,
if we say, "The presentation about raising money for the team was an eye-opener," we cannot
remove the word "eye" and have the sentence still make sense. This may be because technically we
are not using the "eye" (noun) specifically as an adjective. Some words may be hyphenated, while
others are written as "compound nouns," (adjectival nouns)—one
word.

All of the sources I checked pointed out the importance of
using a dictionary to double-check.

This is just one example of the
flexibility of language, especially the English language. Ironically, it is also one aspect of
the English language that makes it so difficult to
learn.

Additional
source:

http://www.grammarbook.com/punctuation/hyphens.asp

What does Ralph's sniggering about being rescued suggest about his state of mind?

I think this certainly suggests that Ralph is beginning to
lose it. All sense of hope for rescue is gone, it is as if he has been overtaken by the
beast, the Lord of the Flies, and/or evil.

To me, this also
suggests a loss of control. In the beginning, the boys believed in Ralph to keep order.
Their confidence helped Ralph believe in himself too, but after some time, civilized
boys gave way to savagery. As they left him for Jack, Ralph slowly lost control and with
it his focus and control over his own mind. Now, a course for destruction has been set
and Ralph doesn't know how to turn it around.

Ralph's body
is beginning to twitch, tremble, and spasm. These seem uncontrollable and they wake him
from sleep. His mind's ability to remain sober and think straight has left him whether
because of emotional or physical forces. This is similar to what Simon experienced near
the Lord of the Flies.

What is ironic about Myrtle saying "You can't live forever"?

In chapter two of The Great Gatsby,
Tom, Myrtle, and Nick are the primary guests at a party Myrtle is hosting for her
neighbors.  The apartment in the city is where Tom and Myrtle conduct their illicit
affair, and on this day everyone gets a little out of line--in fact, Tom actually hits
Myrtle, hard, in the nose when she taunts him about his wife Daisy.  In the course of
this evening, Myrtle makes this
statement:

You can't live
forever.

The irony of this
line is that, not so very long from this time, Myrtle will be dead.  She makes the
statement in a rather flippant way, no doubt; however, she clearly has an intent when
she breaks out of her house and runs into the path of the car she thinks Tom is
driving--an act that costs her everything. 

Find f'(x) if f(x)=5^tan5x.

f(x) = 5^(tan5x)

We will use
the chain rule to find the derivative.

Let g(x) =
tan5x.

==> g'(x) = 5*sec^2
(5x)

==> f(x) =
5^g(x).

Let us differentiate using the chain
rule.

==> f'(x) = [5^(g(x))' *
g'(x).

             = (5^(tan5x))' *
(tan5x)'

            = (5^tan5x * ln 5 )* (5sec^2
5x)

==> f'(x) = 5*ln 5 (5^tan5x) * sec^2
5x

But we know that sec^2 5x = 1/cos^2
5x

==> f'(x) = (5^tan5x + 1)*ln 5 /
cos^2 5x.

if f(x) = cos^3 x . Find f'(x) for the interval [0,2pi]

To calculate the first derivative of the given function,
we'll apply the chain rule:

[u(v(x))]' =
u'(v)*v'(x)*x'

We'll put u(v) = u^3 => u' =
3u^2

v(x) = cos x => v' = - sin
x

(uov)(x) = [u(v(x))] = [u(cos x)]^3 = (cos
x)^3

[u(v(x))]' = [(cos x)^3]'
(1)

[u(v(x))]' = u'(v)*v'(x)*x'
(2)

We'll put (1) =
(2)

u'(v)*v'(x)*x' = [(cos x)^3]' = -3(cos
x)^2*(sinx)

f'(x) =  -3(cos
x)^2*(sinx)

What do we learn about Jim in Chapters 40 to 43?***not 14 days

The most important thing that we learn about Jim in these
chapters is that he is extremely unselfish.  We find that he truly loves Huck and Tom and that he
is willing to put his own desires aside in order to help them.

We
see this best in how Jim acts after Tom is wounded.  Tom's wound has been incurred as he carries
out his silly plan to "help" Jim escape (Jim could easily have run off whenever he wanted and
Tom's plan only makes it harder).  Jim could well be expected to just try to escape since freedom
has been his major goal.  But he does not -- he stays to help Tom even though Tom has been making
his life difficult with his plan.

This shows how very selfless Jim
is.

Suppose that x > 0 , cos(θ) = 45/x and sin(θ) = 24/x . Find x

First, we'll impose the constraint of existence of the
trigonometric functions sine and cosine:

-1=< sin(θ)
=<1

sin(θ) = 24/x 

-1=<
24/x =<1

We'll multiply both sides by
x:

-x=< 24 =<
x

-1=< cos(θ) =<1

cos(θ)
= 45/x

-1=< cos(θ)
=<1

-1=< 45/x
=<1

We'll multiply both sides by
x:

-x=< 45 =< x

From both
inequalities, we'll get the interval for adissible value for x: [45 ;
+infinite)

Now, we'll solve the equtaion, applying the fundamental
formula of trigonomtery:

[sin(θ)]^2 + [cos(θ)]^2 
=1

(576+2025)/x^2  = 1

We'll multiply
both sides by x^2:

2601 = x^2

We'll
apply square root both sides:

x =
51

x =
-51

Since just 51 is in the interval of
admissible values, we'll accept just a single solution x =
51.

What type of images are used in the poem "Cargoes" by Masefield?

The images in "Cargoes" are mainly visual. Almost all
suggest colors and textures, though some also suggest aromas (cedarwood, cinnamon) and
some suggest smells (smoke-stack, coal). The blazing colors of stanza 2 are preceded by
somewhat less color in stanza 1 and followed abruptly by an almost unrelieved
gray-brown-black palette of color in stanza 3. There is little stress on auditory
images, except that one may imagine the apes chattering and the peacocks calling.
"Cargoes” is a fascinating poetic image-picture (analogous to a triptych in art), in
which specific things are almost graphically rendered. Readers respond readily to
Masefield’s language. Indeed, the poem’s great value is that its diction, being so real
itself, leads naturally into a general discussion of degrees of reality as represented
by language.

In terms of Jake's injury and his conception of manhood, is Jake successful as a self-healer in The Sun Also Rises?

This question requires quite a bit of interpretation and
therefore opinion and so must be argued (as opposed to
proven).

The briefest response to the question
is “no”, Jake is not a successful self-healer. In healing himself, Jake fails utterly.
The best we can say for Jake, in terms of recovering his manhood and mending his wounds,
is that Jake returns to the same emotional place he occupied at the opening of the
novel.

Regarding Brett, Jake began with a
wistful and narrow hope that the two could form a real romantic relationship. The hope
was wistful and narrow because it was based only on the most precious and fragile thing
in this book – love.

Love is not enough for
Brett and it is not enough for Jake. The wounds to his dignity and to his person, for
Jake, are only the outward signs of the wounds to his emotional being, if we can put it
that way, which are inflicted by Brett and Brett
alone.

In the end, Jake can go back to being
wistful and can give up on the majority of his small hope, but he can’t be said to be
potent or dignified or healed.

In "By the Waters of Babylon," why is John's journey unusual?

John's journey is so unusual precisely because it breaks so many
of the taboos that feature as part of his and his tribes life. Note what his father says to John
after John has had his dream of going to the Place of the Gods as part of his initiation
ritual:

"It is
forbidden to travel east. It is forbidden to cross the river. It is forbidden to go to the Place
of the Gods. All these things are
forbidden."

The phrase "It is
forbidden" is used a lot in the first paragraph to highlight the way that we are presented with a
society that is ruled by fear and tradition. John's dream points towards his journey into realms
in which no one else has entered for a very long time, precisely because of the taboos
surrounding these locations, but he knows that he must be obedient to the dream he had, whatever
awaits him. Thus John's journey is so unusual because of his destination and the way that it is
completely forbidden for him or anyone else to go there.

Give at least three reasons why the princess might have chosen the tiger in "The Lady or the Tiger?"

I prefer this question to the various questions about
which door the princess would have chosen. The fact is that the author very cleverly
gives us exactly the same evidence for either outcome so we are left with the staggering
ambiguity of the story.

However, when we think of why the
princess would choose the tiger, reference is made to as the "hot-blooded, semibarbaric
princess," which obviously indicates she, like her father, is capable of barbaric acts.
Remember that we are told she has a soul "as fervent and imperious" as her father's. Her
intense jealousy as she imagines her lover opening the door to find the beautiful maiden
is eloquently expressed:

readability="11">

But how much oftener had she seen him at the
other door! How in her grievous reveries had she gnashed her teeth, and torn her hair,
when she saw his start of rapturous delight as he opened the door of the lady! How
her should had burned in agony when she had seen him rush to meet that woman, with her
flushing cheek and sparking eye of
triumph...

The fact that the
author spends far more time narrating her terror of this outcome suggests that she will
pick the tiger.

find the equation of the circle with the center (2,1) if the circle passes through (4,1)

We'll write the equation of the
circle:

(x - h)^2 + (y - k)^2 =
r^2

The center of the circle has the coordinates C(h ;
k).

We know, from enunciation, that h = 2 and k =
1.

We'll substitute them into the
equation:

(x - 2)^2 + (y - 1)^2 =
r^2

 We'll find the radius considering the condition from
enunciation,namely that the circle is passing through the point
(4,1).

If the circle is passing through the point (4,1),
then the coordinates of the point are verifying the equation of the
circle:

(4 - 2)^2 + (1 - 1)^2 =
r^2

2^2 + 0^2 = r^2

r =
2

The equation of the circle
is:

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

Why does Mrs. Freeman get the last word and what does it mean?In "Good Country People," Mrs. Hopewell says, "He was so simple . . . but I guess the...

With a style that hides themes in plain sight, Flannery
O'Connor has Mrs. Freeman of "Good Country People" comment unsuspectingly upon the Bible
salesman, Manley Pointer. This comment expresses a trope of O'Connor's:  Salvation is
often effected through violent experiences. In fact, some critics see Hulga as a Christ
figure while Critic Gilber H. Muller states that this use of the grotesque is not
gratuitous; rather, it is employed  in order "to reveal underlying and essentially
theological concepts."

Without realizing the import of her
words, Mrs. Freeman, a simple woman herself, points to the sins of Hulga:  her high-held
and vain intellectualism.  When she is humbled by Pointer by her gullibility, Hulga has
nothing left to believe in.  Yet, with her nothingness, Hulga is finally open to believe
in something else, even if it is evil, but whether she will be converted
is questionable.  This openness after having nothing is what O'Connor means by the
comments about being simple by Mrs. Hopewell and Mrs. Freeman.  

How does Act 1, Scene 6 contribute to the "fair is foul" theme in Macbeth?

King Duncan has invited himself to dinner at Macbeth's
castle at Inverness. As he approaches the castle, he notes how beautiful it is
there:

This
castle hath a pleasant seat; the air

Nimbly and sweetly
recommends itself

Unto our gentle
senses.

Banquo agrees and
adds his own observations about how peaceful and sweet the castle and the surroundings
seem. Then Lady Macbeth prances down to greet them with fair and loving
words:

All
our service

In every point twice done, and then done
double,

Were poor and single business to
contend

Against those honors deep and broad
wherewith

Your Majesty loads our house. For those of
old,

And the late dignities heap'd up to
them,

We rest your
hermits.

What could be more
hopeful, more loving and more fair: a beautiful place and a lovely hostess. Fair, fair
fair.

Yet, within mere hours, this delicately sweet
environment will be turned in a place of unnatural, bloody murder by the very woman who
greets the king so sweetly and by her equally gracious husband and duplicitous. Foul,
foul foul.

So, what seemed so fair to the innocent senses
of an old and kindly king, will soon be turned into the putrid jaws of hell. Fair is
foul, and foul is fair... indeed.

In The Great Gatsby, what are some ways or examples that Nick conforms outwardly, while questioning inwardly?I am supposed to analyze how the...

Throughout the novel, Nick judges the characters somewhat
harshly, yet he does not voice his objections. He continues to see Jordan even after he
has realized that she is a cheater at golf.  He accompanies Tom to visit Myrtle even
though he "wants the world to stand at moral attention;" he helps arrange an illicit
meeting between Daisy and Gatsby, knowing that Daisy is a married woman.  He seems to
disprove of the drunken party at Myrtle's apartment, but he gets just as drunk as the
rest of them.  All these examples show Nick's outward conformity.  He does what he is
requested to do without showing his true reluctance.

Nick
is a passive character, and there are many instances of that passivity.  He no longer
cares for the girl back home, but he continues to write to her and sign his letters
"love Nick."  He lets his relationship with Jordan slowly drift away without telling her
why he is upset with her.

But perhaps the best example of
the tension that you are asking about comes at the end of the novel, when Nick meets up
with Tom after Gatsby's death.

readability="9">

I couldn't forgive him or like him but I saw that
what he had done was, to him, entirely justified.  It was all very careless and
confused.  They were careless people, Tom and Daisy . .
.

And yet, with this
disproving stand, Nick shakes hands with Tom, never telling Tom the truth about the
accident.  This action seems to be the most blatant and inexcusable sign of conformity.
 Nick, even here, refuses to take a stand, and goes so far to shake the hand of the man
who caused the murder of Gatsby.

Discuss the Langston Hughes poem, "Cross."

Like so much of Hughes' poetry, "Cross" is about an
exploration of one's identity.  The poem is reflective and rooted in rumination about
one's own sense of self and how race and ethnicity play a vital role in the construction
of how one sees themselves and how others see them.  The inspiration for it comes from
individuals who are born to different racial compositions.  These are beings who have
different feet in different racial or ethnic worlds and carry the diaspora of such
experiences within themselves.  In a world of binary opposition, where roles are clearly
defined for one group or another, individuals who carry the blood of different
narratives in their own psyches carry with themselves a new form of expression.  We get
this through the poem.  The inspiration for this might come from Hughes' own
background.  Both of his parents were "mixed," meaning that their racial compositions
came from different expressions.  Hughes' himself was the same, being of African-
American, Caucasian, and Native American descent.  This left a profound impact on Hughes
because it made the search for identity a challenging element that defied simple and
conventional means of articulation.  We can see this in the poem, when the speaker's
emotions vacillates between hated, poignancy, and a sense of liminality in the world in
"being white nor black."

What is meant by the word, "namesake" in "The Namesake"?

The idea of the concept of "namesake" is to convey a shared
connection between names. For Gogol, understanding and coming to accept his own name is of
central importance to the novel. The fact that Gogol hated his name for so long, his own
namesake, is essential in the development of his character. Although he knows the story behind
his naming, he fails to embrace it. It is only through his father's death that he has a firmer
grasp of the implications of his identity. The recognition of the name is something that comes at
the end of the narrative when Gogol is alone and understands that the only thing he possesses
that no one else can take from him is his name. The affinity he has for his "namesake" comes at
the end of the novel, when he starts reading work by Gogol, indicating a penchant for the writer
like his father. In the end, "the namesake" is within Gogol and in what he embraces and how he
demonstrates character development and growth.

What are some examples of metaphors in The Lovely Bones?

A metaphor is a comparison that does not use the words "like" or
"as."  Here are some metaphors from The Lovely
Bones.

1) I knew he was going to kill me. I did not
realize then that I was an animal already dying."

Susie
was not, of course, literally a dog or cat or any other animal.  Rather, she is
comparing herself to a dying
animal.

2) In the walls of my sex there was horror and
blood, in the walls of hers there were windows.

A sexual
experience does not actually have walls. Susie is comparing her experience to walls that limit
and contain a person.

 3) Mr. Harvey left his house for
the final time while my mother was granted her most temporal wish. To find a doorway out of her
ruined heart, in merciful adultery.

A heart does not have
a doorway.  The author is comparing an emotional release to an exit through a doorway.

Describe the imagery in "Fire and Ice" by Robert Frost.

According to astronomer Harrow Shapely, the poem Fire
and Ice was created due to a conversation he had with Robert Frost. The topic of the
end of the world came up and Shapely told Frost that Earth would be destroyed one of two ways: 1)
The sun would explode and roast the earth or 2) Earth would be somehow saved from the destruction
of the sun, but it would freeze due to the lack of heat and light provided by the sun. A second
theory about the inspiration of the poem is that Dante’s Inferno inspired
Frost. According to several historians, he wrote the poem after reading the section about how
traitors are frozen in ice as hell burns around them.

The imagery
in the poem surrounds the tactile feelings attributed to the heat and the cold. Fire gives heat.
A little heat is pleasing and comfortable, but too much fire results in pain and death. Likewise,
the cool nature of ice can be good in moderation by soothing a sore muscle or cooling off the
body on a hot day, but too much and the appendages are destroyed through frostbite. Fire and Ice
are also great forces in nature for change. Fire can destroy forests that have stood for
thousands of years in a matter of hours and Ice can rip apart mountains by seeping in as water
and expanding as ice.

Using this imagery, Frost alludes that the
human emotion of desire is much like fire. Like fire, desire feels good. However, desire like
fire, if allowed to run out of control is a destructive force. Likewise, the imagery of ice in
connection to hate- hate seeps in and expands. Hate's destructive nature rips apart lives and
people by seeping in and expanding until it breaks bonds that were once strong.

What makes the reader interact with the characters, & what responsibility do we then share to shape society through observation & innovation.in The...

Wow, what a thoughtful question!  I'll admit that I really
had to think about this one!  My final assessment is that it's not a "what" that makes
the reader interact with the characters of this novel, it's a "who."  Namely, it's Nick
Carraway that makes us interact with the other characters.  He is our narrator (some
claim him to be a totally unreliable one, actually), and it's through his eyes that we
see everyone in the story.

It is Nick's interaction with
Gatsby that continually confuses me.  The reason is that Nick is continually conflicted
about that particular character in the first place.  I'll give you an easy example. 
There are places in the novel where Nick has a bad feeling about Gatsby, such as when
Gatsby is telling his life story to Nick who notices, "his whole statement fell to
pieces, and I wondered if there wasn't something a little sinister about him, after all"
(65).  Yet, Nick's confusion is apparent when one starts citing the positive things Nick
says about Gatsby:

readability="11">

"They're a rotten crowd," I shouted across the
lawn.  "You're worth the whole ... bunch put
together."

I've always been glad I said that.  It was the
only compliment I ever gave him, because I disapproved of him from beginning to end.
(154)

This doesn't say much,
I suppose, about what Nick thinks about the other characters in the
story as well (if Gatsby, a man Nick "disapproved of" is worth the "whole ... bunch put
together").  Such continues the air of mystery surrounding that character, clouding our
entire vision of Gatsby as well as 1920s New England.

Then
comes the true rub of your question, what responsibility do we share with Nick through
observation and innovation?  Hmmm.  I suppose we are required, then, to learn from
Gatsby's story.  We learn not to repeat his failures.  We learn that the American Dream
need not be found in glittering mansions, but elsewhere (perhaps in thriving, happy,
middle-class, Midwestern families with strong values?).  We learn to neglect the
recklessness that became the signature action of the 1920s and, perhaps, learn to
espouse deeper morals that will guide us safely to a long and happy life full of
meaning, ... not a short desperate life full of riches and
obsession.

Solve the system of equations y+3x-x^2=1 and y-x=2x^2+4.

y+3x - x^2 = 1 .........(1)

y-x =
2x^2 + 4 ........(2)

let us rewrite (1) and (2) as function os
x.

==> y= x^2 -3x +1
..........(1)

==> y= 2x^2 +x +
4.............(2)

Then (1) =
(2).

==> 2x^2 +x +4 = x^2 -3x
+1

==> Combine like
terms.

==> x^2 +4x +3 = 0

Now we
will find the roots.

( x+1)(x+3) =
0

==> x1= -1 ==> y1 = x^2 -3x + 1 = 1+3+1=
5

==> x2= -3 ==> y2= 9 + 9 +1 =
19

Then we have two sets of solutions to the
equation.

==> The solution is the pair ( -1, 5)
and the pair ( -3, 19).

How are wages determined in a competitive labour market?

In a competitive labor market, wages are determined by the
supply of and the demand for labor.  In such a market, both the firms who hire the labor and the
workers who supply it are price takers.  Neither can really impact the price of labor (the
wages).

In such a case, wages are determined solely by supply and
demand.  An influx of immigrants, for example, would increase the supply of labor and drive down
the price of labor.  An increase in aggregate demand for goods and services would tend to drive
up the price of labor because it would increase the demand for labor.

Are the friendships among men different from those among women in Persuasion?

In the story, as well as in Austen's society, men had to be more
careful than women when selecting their friendships. Friends were not only amicable companions,
but also endpoints for networking, and making business. Male friendships defined the man, as
well. This is why males often associated with their equals, so that they could get admittance
(for example) to all-male clubs, hunting, and other networking
activities.

Women, however, did not have such intense pressure on
their shoulders because they did not negotiate, held businesses, nor had the responsibilities
given to males. As you can see Anne free to associate with whomever she wanted, but her father
would suggest that she keeps it at level (which she did not do, as she continued to befriend Mrs.
Smith). Still, women may have had a harder time associating with each other because there is a
chance that women did invest themselves emotionally into their friendships with other woman and,
should one woman betray the other, the social and emotional consequences are more bothersome than
those of males.

Do you agree or disagree with Hamlet's view of greatness and heroism in act 4 scene 4 (about Fortinbras)?

Obviously you will need to decide this for yourself.  Here
are a few things that Hamlet observes as he thinks about Fortinbras and his command of
his army to go Poland and fight for "a little patch of ground that hath in it no profit
but the name."  These are some of the qualities that he associates with greatness and
heroism:

1.  He admires the ambition
of Fortinbras to take his army all the way to Poland to fight for
worthless land.

2.  He admires that Fortinbras
dares danger and death for the
fight.

3.  He admires that Fortinbras is willing to
fight for honor.

4.  He
acknowledges that perhaps 20,000 men are being lead by the strong and
persuasive leader to their "immiment death" as easily as if their graves
are their beds.

While Hamlet clearly sees how pointless the
fight is in terms of material reward, he admires the emotional cause behind it, and it
inspires the strongest language he uses in the play to this point.  His final cry is
inspired by Fortinbras's actions -- Hamlet says, "O, from this time forth, My thoughts
be bloody, or be nothing worth."

You now need to decide if
the "ends justifies the means" here.

What is the literary, symbolic, and thematic purpose of the paper-knife in Sartre's No Exit?

The paper knife represents the futility of any of the
character's efforts to cut through what each is, or to terminate their existence in the
room. After Garcin in his frustration shouts for the door to open, and it does, he then
is paralyzed with the fear of the unknown and cannot leave.  He stays because Inez knows
what it is like to be a coward.  Likewise, Estella and Inez do not act. Garcin tells
Inez,

readability="7">

Yes. You, anyhow, know what
it means to be a
coward. 

Shortly thereafter,
Inez remarks, "We're--inseparable!"  They understand each other; they see each other for
what they truly are.  The verity of Inez'a statement is emphasized by Estella's attempt
to stab Inez and kill her with the paper knife, and then her desperate attempt to kill
herself.  Laughing, Inez sums up their situation in her realization of its
finality:

readability="10">

Dead!  Dead!  Dead!  Knives, poison, ropes--all
are useless.  It has happened already, do you understand?  Once and
for all. So here we are,
forever. 

Garcin stops his
laughing, slumps onto his sofa:  "Well, well, let's get on with it....."  Certainly, the
paper knife, symbolic of the futility of the three characters to change themselves and
dissemble, underscores the theme of Jean-Paul Sartre:  "Hell is---other
people!"

Describe the atmosphere of the ranch and bunkhouse.

If you are looking for physical features of the ranch, it
is obvious throughout the entire reading of the text that there at least exists a home
for the boss and his family, a bunkhouse for the hands, a stable which also houses the
stable-buck, and fields to farm. Just outside the bunkhouse, we regularly hear the clank
of horse-shoes when the guys are at play. The atmosphere around the ranch feels
skeptical, people don't necessarily seem to trust each other and this is shown from the
top down. It has room to be positive if you learn to fit the mold which is staying away
from Curley's wife and just doing your job without
complaining.

The bunkhouse always has streaks of light
shining through the planks, the windows, the lampshade, or the doorway. I think this
makes the room feel like glimmers of hope in a dark world. You can find these
descriptions of the bunkhouse in particular in the beginnings of the 2nd and 3rd
chapters. For many of these guys, they hold out hope for a better tomorrow during a
really tough today during the Great Depression. We hear about Lennie and George's "hope"
and other characters slowly demonstrate curiosity in that hope (Candy... even the stable
buck) or have their own (Curley's wife, movies). But the truth is, this is a lonely
juncture for all of these guys. No one really has someone that is a real friend except
George and Lennie.

What is an ideal gas

A gas consisting of particles that could be atoms or
molecules is called an ideal gas if the particles that constitute the gas collide with
each other in a perfectly elastic manner. Also the particles should not have any
attractive forces between each other. If the gas can be pictured as one that is made up
of perfectly hard spheres with no inter particulate attraction it is called an ideal
gas. Internal energy in an ideal gas is purely kinetic, and a change in temperature is
accompanied by a proportional change in energy.

This can be
expressed by the relation PV= nRT perfectly. Here P is the pressure, V is the volume, n
is the number of moles, R is the universal gas constant and T is the temperature. Gases
around us are not ideal gases, so the ideal gas law is a close fit but does not exactly
express the properties of gases.

Where might I get a self written poem for school about oneself and written by some poet?

I have been having a problem this morning editing your
question - the system keeps kicking me off. As you originally wrote the question, it was
not clear what you needed because you made a typo. In any case, we need more information
to help you. What is your assignment? Do you have to write your own poem using a poem
written by a poet as a model, which is my guess? I will answer this question and if this
is not what you need, please post your question again.

You
should choose a poem that you like, or that you can relate to, and then re-do it from
your own point of view. For example, let's say you like the poem "The Raven" by Edgar
Allen Poe. As you may know, this poem is written by a somewhat unbalanced person who is
haunted by a creepy raven that suddenly appears in his study. You could re-write this
poem from your own point of view. What if you were in your room working, and all of a
sudden a huge raven flew in through the window? Your poem could be something
like:

Once
upon a midnight, dreary

As I pondered, weak and
weary

Trying to come up with a subject for a
poem

Suddenly there came a
tapping

Is that you, Mom? I'm not
napping!

Yes I'm working on my homework, up here all
alone

Quickly I signed off of
Facebook

Started writing, as my hand
shook

From the caffeine in my diet
coke

From there, you would
tell how the raven came in, scared you, or yelled at you to "GET BUSY DOING YOUR
ASSIGNMENT" - in the voice of your teacher - and then at the end, you can wake up and
find it is all a dream and you did not complete the assignment after
all.

If you don't like that idea, perhaps choose a poem by
Emily Dickinson - they are mostly short ones and might be easier to inspire
you.

How is The Jungle Book by Rudyard Kipling an example of a utopia or dystopia and why?

It might be said that Kipling's fable-like stories about
Mowgli in Kipling's The Jungle Book may represent both utopia and
dystopia in the cultures of the various animals Kipling describes and that human's, as
seen by Mowgli, may represent dystopia. To expound, the wolves live by a highly ordered
society in which compassion and mercy are allowed to supersede the rule of law. The
result of the combination of rule of law plus compassion is a society where all aspects
of life operate at a high level of order and care and where a special circumstance can
cause an expansion of the rule to include and protect someone like Mowgli. The monkeys,
on the other hand, live a chaotic existence in which ignorance cancels out any hope of
reasoned compassion and lawlessness cancels out any hope of order and careful execution
of responsibilities.

When Mowgli is introduced to humans,
he views their society as incomprehensible for the greed and for the destructiveness
that follow in their wake: Mowgli sees more similarity between humans and monkeys than
between humans and wolves. So for Kipling, wolves represent utopia and monkeys and
humans represent dystopia. Utopia is defined as an ideal place of social, political and
moral perfection. Dystopia is defined as a place with oppression, terror and deprivation
(TheFreeDictionary.com).

What writing techniques does Arthur Miller use in Death of a Salesman?What themes and techniques does he use and how does he incorporate flashbacks?

In Death of a Salesman, Arthur Miller
provides powerful themes which are supported by the use of
flashbacks.

Willy Loman is a man who lives in the past. His
sense of success is based upon achievements he had when he first started out as a
salesman. However, he has failed to change with the times, and is stuck within the
confines of a world that no longer exists outside of his own
mind.

Four major themes are appearance vs.
reality, the individual vs. society, the
individual vs. himself, and the perception of the
American Dream.

Loman's insistence upon living
in the past is directly related to all of the major themes. In terms of
appearance vs. reality, Willy believes that his son Biff can do
anything he wants. He does not see who Biff has become, but is tied to his vision of the
son who was a football star (flashback), who was to receive a football scholarship—but
loses by failing math in his senior year. Willy doesn't even recall the fact that Biff
never graduated high school. Willy finds fault with the choices Biff makes in trying to
get by, torn because as in the past, he believes every door is open
to Biff if he will only try.

Another of Willy's struggles
deals with the theme of the individual vs. society. Willy's
connection to the past keeps him from seeing that he is a dinosaur, that sales have
fallen into the hands of the younger generation who do things differently, and so get
the business his company wants...in this, he finally loses his job because his boss can
not carry Willie's "dead weight."

Individual vs.
self is seen in Willy's inability to understand what is going on around him.
Through flashbacks, he hears the voice of his brother (who is dead--appearance vs.
reality) and struggles with what he believes should be true of his
life, and what has not happened in his desire to be the best salesman ever. Now he
struggles financially, has been involved with another woman, has alienated Biff in the
process, and then gets fired. He struggles with how to make things right, and has often
contemplated suicide when things have gotten really
bad.

The American Dream is what
started Willy on his journey to being a great salesman: he believes that in the US, all
things are possible. He is drawn into the past when he met a successful salesman whose
lifestyle motivated Willy to go into sales. However, as is the case today, making
more money was desired rather than just making some money. And
while the dream was attainable when Willy was young, he is now in his sixties, and he
cannot compete with younger salesmen: the American Dream is no longer
his.

The flashbacks include reliving the time when his
brother Ben encouraged him to go to Africa with him to make enormous amounts of money,
which he never does, and regrets (individual vs. self). Flashbacks show Willy's son Biff
with his cousin Bernie who is always pushing Biff to study for school and issuing dire
warnings of failure if he doesn't do his work.

As the story
progresses, Willy finds his reality getting mixed up with the past through the
intermingling of the present day and flashbacks. As this continues, Willie begins to
fail, losing his grip on reality, facing life's disappointments, and the missed
opportunities that have shaped his life and that of his family. The flashbacks serve to
show him how he has failed in life.

Ultimately, Willie
takes his own life.

How does Arthur Conan Doyle make the ending of "How It Happened" so effective?

Because the victim of the accident is also the narrator of "How
It Happened" by Arthur Conan Doyle, the reader expects merely a continuation of the narrative by
this character rather than his death. In addition, as the narrator says after the crash, "When I
became aware of my own existence once more," the reader continues to believe in the same mode of
narration that has been begun. Also, with a dialogue between this narrator and his friend,
Stanley for whom, the narrator remarks, he "had a genuine affection" (Somehow the reader probably
misses the use of the past tense, had), the reader believes that the
narrator is conscious. And, it is not until "a wave of amazement" comes over the narrator as he
realizes that Stanley has died in the Boer War, so he, too, must be dead.

Which principle accurately suggests that the pressure of a fluid decreases with an increase in the velocity of the fluid?

Bernoulli's Principle describes the relation between the
pressure of a fluid and the velocity at which it is moving.

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Bernoulli's principle states that as the velocity of fluid
flow increases, the pressure exerted by that fluid
decreases.

This principle has many
applications and is used extensively in our daily life. It is this principle that makes the
flight of airplanes possible. As air flows at a faster speed on the upper part of an aircraft
wing than the lower, it has a lower pressure. This makes air move upwards lifting the
aircraft.

It can also be seen when a fluid moves continuously
through a pipe. Where the pipe constricts, the speed of flow increases and there is a
corresponding decrease in the pressure.

In the story "Through the Tunnel" by Dorris Lessing what is the theme? Use text support to support your answer.

Key to understanding this short story is identifying that
the key theme is all about the coming of age of Jerry and his transition from the state
of child to adult, as demonstrated symbolically by his self-imposed initiation ritual of
going through the tunnel.

It is clear from the first few
paragraphs that this story concerns a boy who is getting to the age when he needs to
break free from his mother's care. Note what the mother says to herself after letting
him go to the "wild beach" by himself:

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She was thinking, Of course he's old enough to be
safe without me. Have I been keeping him too close? He mustn't feel he ought to be with
me. I must be careful.

The
rest of the story marks Jerry's struggle to assert himself and prove himself to be an
adult through the trial of going through the tunnel. To me, after he has succeeded, the
last paragraph is very interesting:

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She was ready for a battle of wills, but he gave
in at once. It was no longer of the least importance to go to the
bay.

Now that Jerry has
succeeded in showing he can go through the tunnel, he has moved past that sign or stage
of proving he is an adult and thus does not need to assert his independence on this
point.

Therefore the theme of the story concerns one boy's
efforts to show to himself that he is an adult and no longer a child by accomplishing
the dangerous task of going through the tunnel.

If each side of a square is increased by x units then its perimeter is increased by how many units?

Let's note the length of the side of the square as
l.

As we know, the lengths of the sides of the square are
equal.

The perimeter of the square is the sum of the lengths of the
sides. Since the lengths are equal, we'll get:

P1 =
4*l

If each side is increased by x units, we'll have the new
perimeter;

P2 = (l+x) + (l+x) + (l+x) +
(l+x)

P2 = 4(l+x)

Now, the increasing
of P2 over P1 is:

P2 - P1 = 4(l+x) -
4l

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

P2 - P1 = 4l + 4x - 4l

We'll
eliminate like terms:

P2 - P1 =
4x

The original perimeter is 4x units
smaller than the new one.

How do the poetic devices contribute to the overall meaning of the poem, "Safe in their Alabster Chambers" by Emily Dickinson?

Well, the answer to this question depends a lot on which
version of the poem you are referring to. Dickinson wrote two, and they are both
markedly different. Stanza one is virtually the same in each version. The dead lie in
their graves, finally "safe" from the world, awaiting resurrection. This image of the
dead is juxtaposed in the first version of the stanza two with images of a joyful
natural world, and in the second version with images of a cold and indifferent
universe.

The first word of the poem, "Safe," might give a
certain smug confidence to the "elect" that the poem suggests may not be justified. The
unjustified smugness may also be implied by the manner in which the soft but heavy
alliterative "m" of "meek members" is offset by the harder alliterative "r" of "Rafter"
and "Roof." They may have their satin-lined coffins and their confidence in
resurrection, but their reality is suggested by the way they are cut off from all
vitality and sensation by the "Roof of Stone." The dead, in their "Alabaster Chambers,"
seem suspended in some cold white prison. They are untouched by "Morning," associated by
hope, or by "Noon," which we might associate with fulfilment and
intensity.

However, in the earlier version, stanza two
contrasts the coldness and suspension of the dead with the vibrancy and activity of
nature. The alliterative effects now change to support this sense of vibrancy as is
demonstrated in such phrases as "Light laughs the breeze" and "Babbles the Bee." Perhaps
Dickinson is using these natural images to offer consolation in the fact that in spite
of the death of the individual life goes on and the cycle
continues.

How can you argue that Oliver Cromwell was a tyrant?

To me, there are two main things you can point to in order
to argue that Cromwell was a tyrant.

First, you can look at
his tendency to keep power for himself and to oppress his enemies.  For example, he
dissolved Parliament when they did not act according to his desires.  He also used his
standing army to force local governments to act the way he wanted them to
act.

Second, I think that you can look at his actions in
Ireland.  He is criticized for the brutality of the invasion of Ireland, including
massacres like the one at Drogheda.

So here you have a
person who essentially used military force to close Parliament and to coerce local
governments.  He also (you can argue) acted brutally towards the Irish.  Both of these
ideas could be used to argue that he was a tyrant.

What are the similarities between the U.S. at the time of Lincoln's 2nd Inauguration and South Africa at the time of the Apartheid laws?

I think that you are probably examining how Jim Crow
legislation in the South is similar to apartheid legislation in South Africa.  There is
much in way of similarity.  White Southerners did not want to give rights to newly freed
slaves in much the same way that Afrikaners did not want to give rights to Black South
Africans.  Both used the law as a way to maintain control over their people and made
sure that there were strict penalties for those who violated the stratification present
in the legal code.  Both apartheid and Jim Crow laws were examples of substantive due
process violations, where the law itself was wrong and violated individual rights.  In
the end, both segregation and apartheid only met their end when intense social pressure
came to a boil and forcibly dislodged them out of practice.

Find the height of the cylinder, to the nearest tenth, if the volume is 231 and the circumference of the base is 8pi

Given that the volume of a cylinder is
231.

Then we know that:

v = r^2 * pi *
h such that r is the radius and h is the height.

But we are given
that the circumference of the base is 8pi.

==> C = 2* pi *r =
8pi

=> r = 8pi/2pi = 4

Then the
radius of the base is 4 .

Now we will substitute the volume and
radius into the equations.

==> v= r^2 * pi *
h

==> 231 = 4^2 * pi *
h

==> h = 231/ 16pi =
4.6

Then the height , to the nearest tenth, is 4.6
units.

Why was Santiago called El Campeon in The Old Man and the Sea?

This section of the novel comes as the sun sets one evening on
Santiago as he is out in the sea and he remembers a time when he was victorious "to give himself
more confidence." He remembers when he was playing the hand game with a black man called
Cienfuegos (a hundred fires). The battle raged back and forth all night, but in those days we are
told that just as this man had his nickname, Santiago was called El Campeon (the
champion):

The odds
would change back and forth all night and they fed the negro rum and lighted cigarettes for him.
Then the negro, after the rum, would try for a tremendous effort and once he had the old man, who
was not the old man then but was Santiago El Campeon, nearly three inches off
balance.

Thus Santiago is remembering
another titanic struggle to recall his strength and powers of perseverance. Although he only
possessed this nickname when he was young, it speaks a lot about the depths of his strength and
stubborness: precisely the qualities that he has to resurrect to catch the fish he is now engaged
in a conflict with.

At the end of The Crucible should Elizabeth have let Proctor hang?

At the end of The Crucible, the court
officials bring out Elizabeth, hoping that she will plead iwth her husband to confess,
so that he won't hang.  They hope that Proctor's confession will prompt other prominent
figures in the town to confess also, because the officials fear that if Proctor, Rebecca
Nurse, and Marth Corey all hang, the townspeople will turn against them, riot, or
overthrow the courts.  They hope that Proctor's confession will start a chain reaction
of confessions that will hopefully maintain their
authority.

Unfortunately for them, Elizabeth refuses to
make any promises about getting John to confess; instead, she asks to speak to him.  In
a frank, touching and very emotional conversation between the two, John decides that he
will confess in order to save his life.  However, once the officials of the court ask
him to sign a confession to be nailed on the church door, and to name other friends that
were also supposedly witches, he backs out of his confession, takes it back, and refuses
to do what they want him to.  He ends up going to the gallows and hanging.  Elizabeth
did not protest; she wanted him to do what he felt was right, and felt, instinctively,
that his deicsion finally gave him the confidence and redemption that he needed.  So,
she doesn't call out or protest, but lets him choose to die--even though it must have
been very hard for her.

The question of whether she should
have let him hang or not is an interesting one.  First of all, she did not have the
authority to make that decision for him.  Sure, she could have influenced him in that
direction, but that was not her style.  She realized that if she did "force" him to
confess and live, that he would have been a shell of a man who was ashamed of himself
for the rest of his life.  So, she let him make his own choice, keep his dignity,
preserve their family's reputation of integrity and honesty, and she supported him in
that choice. I think it was the harder choice to make, and honestly, the better
one.

I hope that those thoughts help to clear up any
confusion that you might have on the issue.  Good luck!

Compare and contrast literary elements in "A Rose for Emily" and "A Hunger Artist."

There are similar literary elements in "A Rose for Emily"
and "A Hunger Artist" as well as some contrasting ones. A literary element is one kind
of two literary devices. Literary elements are components of literature that are not
optional: they must be part of a piece of literature. This contrasts with the second
kind of literary device, that of literary techniques. These are optional and may be
chosen from by the author at will. Literary elements, necessary parts of literature,
include storyline, plot, conflict, structure, setting, tone, mood, characters, point of
view, language, style, and theme. Contrast these to some literary techniques such as
symbolism, irony, personification, allegory, allusion, alliteration, rhetoric, diction,
foreshadowing, and flash backs.

The storyline in both short
stories reflects a by-gone era. In "A Rose for Emily," the by-gone era is the opulent
and regal era of the privileged Old South, which has given way to a more democratic and
egalitarian city government.  In "A Hunger Artist," the by-gone era is when hunger
artists and entertainment artists were popular and drew large crowds of onlookers who
paid handsomely for the privilege of watching a hunger artist sit without eating or
drinking--watching him fast. Both stories have a similarity in plot because the central
character in each finds her-/himself at odds with society as a result of changing
communal ideas clashing with  unchanged personal ideas, such as Emily's need to hang on
to dead bodies and the hunger artist's need to continually
fast.

The stories contrast with each other on the
chronological order of events. "A Rose for Emily" is told with fragmented time, with
nothing given in chronological order. "A Hunger Artist" unfolds according to a straight
chronological string of events. Another contrast is that in "Emily," death is
unrelentingly clung to, as shown in the last scenes of the story, whereas in "Artist,"
death, when it comes the the artist, is unhesitatingly buried and done away with.
Another contrast is that just before death overtakes him, the hunger admits that society
was right all along whereas Emily herself dies staunchly holding onto her oppositional
view about relationships continuing past death. The themes of the stories thus also
contrast. The theme brought forward in "A Hunger Artist" is the freedom of robust life
while the theme of "A Rose for Emily is the decay of life.

What is the antiderivative of 1/(x^2+4x+4) ?

To find the anti derivative of
1/(x^2+4x+4).

We know that x^2+4x+4 =
(x+2)^2.

Therefore Integral { 1/(x^2+4x+4) }dx = Integral
{1/(x+2)^2 } dx.

Now put (x+2) = t, then dx =
dt.

Therefore Integral {1/(x+2)^2} dx = Integral 1/t^2
dt

Integral {1/(x+2)^2} dx = Integral t^(-2)
dt

Integral {1/(x+2)^2} dx = (1/(-2+1)) t^(-2+1) +
Constant

Integral {1/(x+2)^2 } dx = (1/-1)(1/t)
+C

Integral {1/(1+x)^2}dx = -1/t
+C

Integral {1/(x+2)^2} = -1/(2+x) +C , as t =
2+x.

Therefore the antiderivative of 1/(x^2+4x+4) =Integral
{1/(x+2)^2} dx  = -1/(x+2) +C.

In Oedipus Rex, what are three key steps in Oedipus's journey towards self-knowledge?

Of course, the whole play, in a sense, marks Oedipus's
gradual path to self-knowledge as he continues to piece together the evidence about the
identity of the murderer of Laius. Interestingly, whilst those who give him that
evidence seem to be reluctant to reveal what they know, because they have worked out the
identity of the murderer, it takes Oedipus rather longer to accept the final
truth.

People will vary in their thoughts about what the
three key stages are, but for me, you will want to think about the following parts of
the play:

1) The revelation of Teiresias that it was
Oedipus who killed his father. Note the way that Oedipus denies this vehemently and
cannot accept the truth, thinking that Teiresias is in they pay of Creon - another
contender for the throne. Yet this to me is the beginning of the self-doubt that will
only end when Oedipus accepts the truth.

2) The re-telling
of the murder of Laius by Jocasta in Act II is key because Oedipus, at some level,
recognises that it was he who killed Laius. This leads to his calling of the shepherd to
give witness and to testify.

3) Lastly, you have to include
the poor shepherd in Act IV who finally gives Oedipus the proof that he has long
suspected by narrating to him the story of his birth and how he escaped
death.

What is theme of "The Chaser" by John Collier?

Possible themes of "The Chaser" could be love vs. lust,
infatuation, or the illusive power of love.

When Alan falls
for Diana at some time before the story begins, he falls hard. He wants nothing more
than to be with her all the time. Somehow he hears about a potion that will make her
feel likewise, meaning she obviously doesn't now. So after giving her the potion, his
feelings seem to fade, or he must get annoyed because he eventually goes back to the old
man for "the chaser" a potion needed after the love potion to remove the effects of the
love potion.

This theme applies to all love relationships
because maintaining love after the "honeymoon" period is difficult for both parties. We
value monogamy in our society and therefore determine that these types of fake attempts
to fix the difficulties of a love relationship do not work. This is the intention of
Collier's piece.

Solved eq. x^3-x^2+8x+10=0 and had solutions 3i+1, 1-3i is correct?

We recall the property of complex roots: If a complex
number is the root of an equation, then it's conjugate is also the root of the
equation.

Fot the beginning, you'v get as roots 2 complex
numbers: z and z'(z' is the conjugate of z).

z = a +
bi

z' = a - bi

Now,l we'll
verify if the complex numbers are the roots of the equation by substituting them into
the original equation.

(1+3i)^3 - (1+3i)^2 + 8(1+3i) + 10 =
0

We'll expand the cube using the
formula:

(a+b)^3 = a^3 + b^3 +
3ab(a+b)

a = 1 and b =
3i

(1+3i)^3 = 1^3 + (3i)^3 +
3*1*3i*(1+3i)

(1+3i)^3 = 1 - 27i +
9i(1+3i)

We'll remove the
brackets:

(1+3i)^3 = 1 - 27i + 9i -
27

We'll combine real parts and imaginary
parts:

(1+3i)^3 = -26 +
i(9-27)

(1+3i)^3 = -26 -
18i

We'll expand the square using the
formula:

(a+b)^2 = a^2 + 2ab +
b^2

(1+3i)^2 = 1^2 + 2*1*3i +
(3i)^2

(1+3i)^2 = 1 + 6i -
9

(1+3i)^2 = -8 + 6i

We'll
substitute the results into the expression (1+3i)^3 - (1+3i)^2 + 8(1+3i) + 10 =
0.

 -26 - 18i - (-8 + 6i) + 8 + 24i + 10 =
0

We'll combine like
terms:

(-26 + 8 + 8 + 10) + i(-18 - 6 + 24) =
0

0 + 0*i = 0

It
is obvious that 1 + 3i is the root of the
equation.

According to the rule, the
conjugate of 1 + 3i, namely 1 - 3i, is also the root of the equation. So it is not
necessary to verify if 1 - 3i is the root, since we've demonstrated that 1 + 3i is the
root of the equation.

Conclusion: 1 + 3i and
1 - 3i are the roots of the
equation

 x^3-x^2+8x+10=0

Note:
In calculus, we've substituted i^2 by it's value,
-1.

How does Poe's use of grotesque humor affect the story in "The Cask of Amontillado"?

Edgar Allan Poe, author of "The Cask of Amontillado,"
often instilled in his protagonists a sense of morbid ("sick") humor.  This is certainly
true of Montresor, the main character in this particular story.  As the reader
progresses follows the plot of the short story, it becomes clear that Montresor must
suffer from some degree of mental illness
(delusions,etc.).

Montresor, who enjoys his revenge on
Fortunato, frequently makes what he considers to be humorous comments to his victim as
he leads him toward the site of his imprisonment.  This sense of sick humor leads the
reader to be truly aware that Montresor is not completely "right."  The knowledge that
Montresor is mentally unbalanced and that he is eager to repay Fortunato for his
wrongdoings cause the reader to feel a sense of suspense.  According to Montresor
himself, he intends to seek serious retribution for unpardonable acts committed by
Fortunato.

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...I must not only punish but punish with
impunity.  A wrong is unredressed when retribution overtakes its redresser.  It is
equally unredressed when the avenger fails to make himself felt as such to him who has
done the wrong.

The intensity
of Montresor's plans and feelings, coupled with the grotesque humor marking his mental
imbalance, lead the reader to understand that something terrible is to come; a
heightened sense of suspense is the result.

Define ‘Arc Elasticity’.

In economics, the term "elasticity" refers to how much the
demand for (or supply of) a product changes when certain other variables change.  For example,
price elasticity of demand looks at the change in quantity demanded for a good or service when
the price of that good or service changes.  Arc elasticity is simply a slightly more
sophisticated way of finding elasticity.

The simpler formulas for
finding elasticity tend to take the percent change in demand (or supply) and divide it by the
percent change in the independent variable (say price).  These formulas tend to get the percent
change in demand by subtracting the quantity demanded at one price from the quantity demanded at
the second price.

However, this can yield different values even for
the same change, depending on which way the change goes.  (Please see the about.com link for an
example.  To remedy this, arc elasticity instead uses a slightly more complicated formula that
uses the average of the old and new quantities demanded as the denominator for finding percent
change.

Again, what this means is that arc elasticity is a more
sophisticated and consistent measure of elasticity.

In To Kill a Mockingbird, what is the occupation of the brother of Atticus?

We are given this information in the very first chapter,
that describes the family history of the Finches and also details how Atticus and his
siblings made their way in the world. Also, the closeness of the family is indicated, as
Atticus supports his younger brother to follow his chosen career path until he is able
to establish himself, showing sacrificial love and how the Finch family supported one
another.

Note what we are told about John Hale Finch, the
brother of Atticus:

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During his first five years in Maycomb,
Atticus practised economy more than anything; for several years thereafter he invested
his earnings in his brother's education. John Hale Finch was ten years younger than my
father, and chose to study medicine at a time when cotton was not worth growing; but
after getting Uncle Jack started, Atticus derived a reasonable income from the
law.

Note the details given
of how Atticus was forced to practice "economy" through the amount of money he needed to
give to his younger brother to support him in his study. It is only after he has
finished his study that Atticus is able to earn a "reasonable income" from his
profession.