Why is Daisy Miller shunned in Daisy Miller?

The key element that causes Daisy Miller to be shunned by
respectable society in this excellent novella is the low social class she occupies. Note how in
Chapter Two, Mrs. Costello points towards this by giving a number of reasons why Daisy Miller and
her family should be shunned and not accepted into polite
society:

"They are very
common," Mrs. Costello declared. "They are the sort of Americans that one does one's duty by
not--not accepting."

If this were not
censure enough, Mrs. Costello later backs this up by saying:

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"She is a young lady," said Mrs. Costello, "who has an
intimacy with her mamma's
courier."

So, in spite of the way that
Dasiy Miller dresses incredibly well and is very fashionable, her low social status and the way
that she and her family mingle with servants and people who normally have nothing to do with
their betters points towards why, in the eyes of Mrs. Costello and others, they must be
shunned.

In part two of Fahrenheit 451, why does Montag believe books might help? What is Faber's reaction to Montag's belief that books might help?

"You weren't
there, you didn't see. . . There must be something in books, things we can't imagine, to
make a woman stay in a burning house; there must be something there. You don't stay for
nothing" (51).

The above
passage is taken from Montag in part one talking with his wife about the woman who
burned herself along with her house and books the night before. There are many events
that place Montag on the path to discovering what books hold for him, but the woman
choosing to be burned just like her books is an event that pushing Montag over the edge.
In an effort to gain more understanding, Montag contacts the former English professor he
met a year before--Faber.

Montag shares his frustrations
and feelings with Faber who listens carefully. Montag tells Faber that he feels
something is missing, but he isn't sure just what. Faber's response is the
following:

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"No, no, it's not books at all you're looking
for! Take it where you can find it, in old phonograph records, old motion pictures, and
in old friends; look for it in nature and look for it in yourself. Books were only one
type of receptacle where we stored a lot of things we were afraid we might forget. There
is nothing magical in them at all. The magic is only in what books say, how they
stitched the patches of the universe together into one garment for us"
(82-83).

Montag does not take
Faber's advice. Faber claims he's a coward, so that's probably part of the reason he
doesn't listen, but there is a lot of truth to be found in what Faber says. Even Captain
Beatty said that people turned from reading books to movies and radio for entertainment.
The majority of the populace wants to be happy without dealing with difficult issues
found in books. As a result, the illiterate society developed and they won't be able to
change it until the majority brings it back again.

What does Tom mean when he says "civilization's going to pieces" at the beginning of The Great Gatsby?

Well, let's see, Tom means to show
that he is well-read and knowledgeable about the world, but what he actually
does is prove that he is, in fact, an unintelligent, prejudiced
bigot.

The quote you mention can be found at the first
dinner that Nick spends with Daisy and Tom at their house in East Egg.  This leg of the
conversation begins when Tom violently (and inappropriately) reacts to Nick's joke about
Midwestern crops.  Suddenly, Tom is trying to sound learned by explaining Goddard's "The
Rise of the Colored Empires."  After insisting that everyone read the piece, he tries to
expand by saying, "It's all scientific stuff; it's been proved" (13). (Note how Tom
neglects to give the evidence of this.)  Heck, I won't even mention how ditsy this
conversation makes Daisy sound.  Her idiocy is even worse
here!

Then Tom goes into a racist rant saying that "if we
don't look out the white race will be--will be utterly submerged" (13).  He gives a long
tirade with the convoluted theory:

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This fellow has worked out the whole thing. 
It's up to us, who are the dominant race, to watch out or these other races will have
control of things. ... This idea is that we're Nordics, ... And we've produced all the
things that go to make civilization--oh, science and art, and all that." 
(13-14)

Ah, Tom's attempt at
the evidence makes him sound totally asinine.  In trying to prove his intelligence, Tom
has proven just the opposite.  The irony is that even little Midwestern,
unreliable-narrator Nick notices Tom's stupidity here by saying, "There was something
pathetic in his concentration, as if his complacency, more acute than of old, was not
enough to him any more" (14).

In my opinion, this little
conversation is an invaluable part of Tom's characerization because it shows him to be
the "hulking brute of a man" (12) that Daisy accuses him of being.  It should definitely
add to the reader's dislike of Tom's character.

How are the gods depicted in Iliad?

In general, the gods in this story are depicted like
regular people, only immortal and with superhuman powers.  They have all the sorts of
emotions (especially negative ones) that we associate with
people.

Look, for example, at Apollo's behavior in Book 1
of this epic.  Apollo is offended because one of his priests has not been shown
sufficient respect.  This shows us that Apollo is protective of his honor -- he wants
people to treat him with the respect he deserves.

What does
Apollo then do?  He takes revenge.  He starts killing the Achaeans' animals and then he
starts killing the people themselves.  He is doing this simply because he has been
offended.

Examples like this show that the gods in the
Iliad are no better than people -- they have the same negative
emotions and are just as violent as the people.

In Shakespeare's Much Ado About Nothing, why are the two couples' relationships so drastically different, meaning Hero and Claudio and Beatrice and...

The relationships between the couples Hero and Claudio and
Beatrice and Benedick are so different because Shakespeare is showing us two opposite poles of
love. Hero's and Claudio's relationship represents a surface level physical attraction, while
Beatrice's and Benedick's relationship has lasted a great deal longer and involves an attraction
of minds.

We have evidence that both couples' relationships actually began
before the wars Don Pedro and his company have just returned from. However, Claudio indicates
that his attraction for Hero is based on looks while we know that Beatrice and Benedick
frequently engage in battles of the wits, showing us that their attraction is based on each
other's brains and humor. After meeting Hero, Claudio confesses to Benedick that he thinks Hero
is the "sweetest lady that ever [he] looked on" (I.i.160). Later, in this scene he tells Don
Pedro that before the war started he looked at Hero with a "soldier's eye" and liked her, but his
task of war drove the thought of love from his mind. Now that the war is over he sees "how fair
young Hero is" and knows that he "liked her" even before the wars started (225-263). At this
point, as far as we know, Claudio and Hero have never really had a conversation together, nor do
they say anything to each other until their betrothal has been arranged through Don Pedro. Hence,
we can fully see that Claudio's attraction for Hero, as well as possibly Hero's attraction for
Claudio, is based purely on physical looks.

In contrast, we learn in the first
scene that Beatrice and Benedick certainly have conversed together prior to Benedick's return
from the wars. In fact, we learn from Leonato that, "There is a kind of merry war betwixt Signior
Benedick and [Beatrice]. They never meet but there's a skirmish of wit between them" (50-53). Not
only that, there are also certain clues that Beatrice had feelings for Benedick at one point, but
that he sabotaged them somehow. The best clue can be found at the masquerade ball. After Beatrice
insults Benedick, Don Pedro tells Beatrice that she has "lost the heart of Signior Benedick,"
meaning that she has put him down (II.i.243-244). Beatrice responds by replying that he had
indeed lent her his heart once and that she "gave him use for it--a double heart for his single
one," meaning that she repaid him with her own heart (245-246). She also claims that Benedick
stole her heart from her dishonestly, as we see in the line, "Marry, once before he won it of me
with false dice" (246-247). We don't exactly know what she is referring to, but we can see it as
proof that Beatrice had feelings for Benedick but that he somehow sabotaged those feelings. Since
we know that Beatrice earlier had feelings for Benedick and since they constantly engage in
battles of wits, we can say that their feelings for each other are based more on their inner
qualities, such as their personalities and minds.

Hence, we see that
Shakespeare created such drastically different relationships for the couples Claudio, Hero,
Beatrice and Benedick in order to show the two opposing sides of love, physical attraction and
deeper attraction.

How is it that Parliament could sincerely pass the "Act of Supremacy"?

I am not sure what you mean when you ask how Parliament
could do this "sincerely."  I am going to assume you are asking how they could just go
and declare that there was a separate English church with Henry VIII at its head.  I
assume you are thinking that they should have realized that they could not just make a
new church by law -- that only God should be able to decide who heads the
church.

If this is what you are asking, I would argue that
what Parliament did was no worse than the way that the Pope was already acting.  In
other words, it's not like you had the Pope acting in a religious manner while
Parliament acted badly.  Instead, think about why the Pope wouldn't let Henry have his
divorce.  It was a political reason, not a religious one that led to this.  The Pope was
pretty much a prisoner of Catherine of Aragon's nephew and so the Pope had to do what he
said.

If the Pope is making his decisions based on
something other than God's word, then why should Parliament feel bad about breaking away
from the Catholic Church?

In Oedipus Rex, Why does Teiresias does not wish to tell Oedipus what he knows is true?

Teiresias is one of a series of characters called upon by
Oedipus to reveal information about the person responsible for the cause of the plagues
troubling Thebes, and he, like others, is distinguished by a profound reluctance to
reveal the information that he has. In his silence, Teiresias forces us to confront the
somewhat troubling nature of the truth:

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How dreadful knowledge of the truth can
be

When there's no help in truth! I knew this
well.

But made myself forget. I should not have
come.

In a sense, we can
admire Teiresias for not wishing to divulge what he knows - as he says, if he did, the
knowledge would no longer be his "misery," it would be the "misery" of Oedipus and of
Thebes. It is clear that he wishes to be silent to spare Oedipus from the terrible fate
of self-knowledge that he knows would completely destroy him and his family. You might
want to re-read the speeches of Teiresias in this section of the play to see how he
tries to warn Oedipus about the dangers of the truth that he so desperately craves - yet
more examples of dramatic irony in this incredible
play.

Teiresias, a blind prophet and servant of Apollo,
twice was asked by Oedipus to come to the palace to discuss the crisis in Thebes. In the
first act of the play he finally appears, revealing the reasons for the city's
devastation, knowledge that he is reluctant to reveal to Oedipus for fear of making him
miserable. Oedipus, feeling himself to be betrayed by the prophet's resistance, verbally
abuses Teiresias ("You sightless, witless, senseless, mad old man!" ) and accuses him of
working on behalf of the "usurper" Creon.

Reluctantly,
Teiresias tells Oedipus that he should not mock him so quickly; in a famous moment of
foreshadowing, he tells the king that it is he who is blind: "But I say that you, with
both your eyes, are blind:/You cannot see the wretchedness of your life,/Nor in whose
house you live, no, nor with whom." Significantly, Teiresias is also the first character
in the play to question Oedipus's assumption that he knows his parentage and to tell him
that he has committed atrocities that he does not yet know are his own. He tells Oedipus
that he will become blind and poor, that Oedipus is himself Laius's murderer, and that
he will learn that he has fathered children with his mother. While Teiresias's presence
on stage is brief, as a prophet representing the god Apollo he remains one of the most
powerful characters in the play; in addition, the Athenian audience would have
recognized him from Homeric mythology (inThe Odyssey the title
character must go down into the underworld to gain information from the dead
prophet).

Lines P and Q are parallel . The slope of P is 5 and the slope of Q is 10/v. What is v ?

If the two lines are parallel, then the slopes of the two lines
are same.

The slope the line P is
5.

Therefore the sope of the line Q is also
5.

The slope of the line Q is given  to be
10/v.

Therefore 10/v  shoul be equal to
5.

Therefore 10/v = 5. We solve  this equation for v to find the
value of v:

10/v = 5.

Taking the
reciprocal of both sides, we get:

v/10 =
1/5.

We multiply both sides by 10:

v =
10/5= 2.

Thereore the the value of  v = 2.

In Fahrenheit 451, what is Faber's explanation for reading?

Faber has a 3-principle response for Montag when Montag asks
about what is in these books that is so valuable, so forbidden that people would go to such
extremes as to extinguish them.

Faber says that books
have quality of detail. This is that ability to make us think and
feel and experience and relate. Next, reading books requires the "leisure
to digest" them. So many students read to get to the end of the reading
assignment. Faber insists that reading is so much more than that. Sometimes this takes time and
the ability to relax so you actually can think about what you're reading and process it. Finally,
a reader needs to be able to act upon what they read. If not brave
enough or able to act upon what has been read after thought about and processed, what is the
written word worth? If it's mystery is not going to be discovered, why read it in the first
place? The ability to carry out action based on what was learned was easy for Faber to talk
about, but ironically, it was difficult for him to carry out.

What is the critical value of the function -3x^2 + 6x ?

The critical value of the function is the value of x that
cancels the first derivative of the function.

f'(x)
= (-3x^2 + 6x)'

f'(x) = -3*2x^1
+ 6

f'(x) = -6x + 6

Now,
we'll determine the roots of the equation f'(x) = 0.

-6x +
6 = 0

We'll subtract 6 both
sides:

-6x = -6

We'll divide
by -6:

x = 1

The
critical value for f(x) is x = 1.

Now,
we'll determine the local extreme of the given function, substituting x by the critical
value.

f(1) = -3*1^2 +
6*1

f(1) = -3 +
6

f(1) =
3

The maximum point of the
function is the vertex of the parabola and it has the coordinates: (1 ;
3).

In a dark sky without a compass, how can I find the North direction?

The North Star can help in finding the Northern direction
at night without a compass.

If you’re having trouble
finding the North Star as it is not one that is very distinct, you have to first locate
the Big Dipper or Ursa Major constellation.

A line drawn
through two stars of the Ursa Major point to the North Star which is located at the tip
of the Ursa Minor’s handle. The North Star is located in the same direction as that of
the polar axis and so it does not vary. For a very long time the North Start was how
sailors at sea determined the direction they were headed in.

Compound Interest Question. Max is planning to take three years off work to travel the world. He plans to start this holiday in 5 years time and is...

Let Max invest P.

Then P in
5years with compound interest becomes = (1.083^5)P .

After
that he should recieve $ 35000 for the first year of his travel. Then the balance = $
{(1.085^5)P -35000}.

For the next year the above balance,
(1.083^5)P - 35000 becomes with interest = [(1.083^5P- 35000]1.083 and Max Recieves
$35000  for the 2nd year of the travel.

Now  the balance is
$ [(1.083)^5*P -35000](1.083)-35000. And this balance earns interest and along with
interest it  becomes {[(1.083^5 P - 3500)1.083 -35000] 1.83 }  and he recieves another
$35000 and at this point his balance should be zero
.

Therefore 1.083^7*P - 350001.083^2-35000*1.083 -35000 =
0.

Or  P = 35000 (1.083^2+1.083+1) =
35000*3.255889

Therefore P = 3500*3.255889/(1.083^7) =
65214 dollars.

Therefore he should invest 
$65214 sothat recieves $35000 each of the 3 years and at the end the balance is
zero.

Tally : $ 65214 becomes with 8.3%
compound interest in 5 years = 65214*1.083^5 =
$97159.

After recieving $35000, the balance is
$(97159-35000) = $62159.

$(62159) becomes with 8.3%
compound interest for 1 year = $62159*1.083 = $67
318.

After recieving $35000 , the balance to earn interest
in 2nd year is  $(67318 -35000) = $32318.

$ 32318 should
becomes along with interest at the end of the 2nd year $(3218)*(1.083) =
$35000.

So Max takes $35000 for the 3rd year travel and now
the balnce is zero.

What is the exact setting of Fahrenheit 451 (and on which page can it be found)?

The exact location and the year of the events of this
novel are never specified.  In fact, not only is the setting left ambiguous, but most
characters are referred to only by their last names and specific places are kept common
(ie: "firehouse") and identified by symbols like the Phoenix
emblem.

This is done purposefully.  First of all, the novel
is science fiction.  This means that it is understood that the time
can be literally anytime in the future, and the places, people and
events are not necessarily real, but an exaggeration and social commentary.  To take the
focus off such specifics as names and places, the emphasis comes
even stronger on the message of the novel and its application to
virtually everyone.

Discuss the imagery in "Everyday You Play" by Pablo Neruda.

Imagery employed by a poet brings to the reader a sensory
experience. Pablo Neruda’s “Every Day You Play” depends on his word images to explain the
relationship that he describes. Neruda was known for his great love affairs; in addition, he had
three wives. He never stayed too long in one place or with one
person.

There are many images in the poem. We will pick out the main
one in each stanza. The pictures that the poet paints describe an intense love
affair:

1st
stanza

The poet emphasizes the expression
every day because he repeats it in the same stanza. Each day, he holds the
head of his lover between his hands like a cluster of grapes. Apparently, he looks at the face of
the woman he loves and holds her close to him.

2nd
stanza

He wants to take his lover and lay her among
yellow flowers that are strung like clusters. The poet sees her name written in smoke among the
southern stars at night.

3rd
stanza

A sudden storm comes up with the wind beating
and banging against his window. The sky is compared to a net full of fish that are difficult to
see. The image of the rain taking off the clothes of the woman probably implies that the wet
clothing reveals the body almost as much as taking off the clothes and probably is more
sensual.

4th
stanza

Neither the birds nor the poet can fight the
wind. The poet can fight other men. When the storm blows, the dark leaves spin; and the wind
breaks the boats free that were moored.

5th
stanza

He asks the lover to hold tight to him. At one
time, he saw a strange look [shadow] in her eyes.

6th
stanza

The wind sadly kills the butterflies by
tearing their wings off. He tells her that he loves her; because of his strong emotional tie to
the lover, he compares her mouth to a plum that he would like to eat
into.

7th
stanza

Many times, the two of them have awakened to
the morning sun shining [kissing] their eyes. Over their heads, the ceiling fans give a light
breeze.

8th
stanza

His words pour [rained/reigned]
over her, soothing [stroking] her.

He has loved her beautiful, white
body for a long time.

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I go so far as to think that you own the
universe.
I will bring you happy flowers from the mountains, bluebells,
dark
hazels, and rustic baskets of kisses.
I
want
to do with you what spring does with the cherry
trees.

The cherry trees
bloom in the spring for about a week or two at the most. Then, the blossoms are gone and give way
to the buds that will become the luscious cherries.

It is a lovely
phrase which might be taken more than one way. The poet will leave her in the spring. Like the
blooms, he will go from her. Another interpretation might be that he will plant a seed in her in
spring; then, she will blossom with the bud [baby].

The images add
different nuances to this interesting and thought provoking love poem.

solve the equation cos^x=sin^x+1

Supposing that you want to solve the equation cos x = sin x + 1,
we'll start by saying that this equation is linear and we'll re-write it moving the function sin
x, to the left.

cos x - sin x = 1

We'll
solve the equation using a helping angle:

We'll write the
coefficient of sin x, namely 1, as the tangent function of pi/4
angle.

We'll re-write the equation:

cos
x - tan(pi/4)*sin x = 1

But tan pi/4 = sin pi/4/cos
pi/4

cos x - (sin pi/4/cos pi/4)*sin x =
1

cos x*cos pi/4 - sin x*sin pi/4 = cos
pi/4

cos (pi/4 + x) = sqrt2/2

pi/4 + x
= +/-arccos (sqrt2/2) + 2*k*pi

pi/4 + x = +/-pi/4 +
2kpi

We'll solve the 1st case:

pi/4 + x
= pi/4 + 2kpi

x = 2kpi

We'll solve the
2nd case:

pi/4 +x = -pi/4 + 2kpi

x =
2kpi - pi/2

The solutions of the linear trigonometric
equation are:{2kpi}U{2kpi - pi/2}.<lt;/strong>

Why did African slavery immediately become the dominant labor system in South Carolina, while it was slow to dominate in the other Southern colonies

Keep in mind this is a pretty specific question, and your
instructor may be looking for a specific response from class notes or your textbook.  In my
opinion, there were two key reasons slavery so quickly became the dominant aspect of the South
Carolinian economy:

1) Charleston, South Carolina was the largest
entry port in the colonies for slaves from Africa and the West Indies, therefore slaves were
somewhat cheaper and more readily available in that particular
colony.

2) South Carolina farmed different cash crops than North
Carolina and Virginia, specifically indigo and rice.  Slaves were imported to South Carolina from
tribes that already farmed rice in Africa, giving them a skilled labor force that needed little
training.  This simply accelerated the economy's dependence on slave labor in that
location.

In other colonies north of there, plantation owners had
experimented with indentured servants as a labor force for a time as the tobacco economy
developed there.  By the 1670s when the Carolinas were settled, large scale indentured servitude
had been abandoned in favor of the more economical slavery.

South
Carolina also engaged in the export of Indians as slaves for quite some time, and tens of
thousands were exported for other labor markets in the late 1600s and early 1700s, so in addition
to slaves on plantations, the slave trade itself was central to its early
economy.

In Fahrenheit 451, how would you describe the society through the description given?

A central term you need to understand when thinking about
the society in this novel is "dystopia", which refers to a future society in which all
has not gone well. In your thinking about this question, you would do well to compare
this novel to another similar dystopian novel, such
as 1984, Brave New World orA
Handmaid's Tale. Reading and comparing Fahrenheit 451
with any of these novels would give you a much better idea of dystopian fiction and some
of the central components of dystopia.

However, just to
give you a few ideas, I would pick the following three
elements:

Censorship: clearly,
in this novel, the banning of books and the censorship of knowledge is a central theme.
The government of this world have decided to ban all books and burn them for reasons
that are not explicitly spelled out. However, this could easily be compared to the
workings of the Ministry of Truth (irony there)
in 1984.

Simulated
experiences: another key element is the rise in popularity of simulated
experiences instead of reality. This is most clearly seen in Mildred and her "family"
and her devotion to the screens that her friends come and enjoy together. The
description of what these screens show is a maelstrom of different images and
experiences:

readability="11">

Abruptly the room took off on a rocket flight
into the clouds, it plunged into a lime-green sea where blue fish ate red and yellow
fish. A minute later, Three White Cartoon Clowns chopped off each other's limbs to the
accompaniment of immense incoming tides of laughter. Two minutes more and the room
whipped out of town to the jet cars wildly circling an arena, bashing and backing up and
bashing each other again. Montag saw a number of bodies fly in the
air.

Such disrupted and
fast-changing images and the avidity with which Millie and her friends watch them show
how they are living more in a simulated reality than in reality itself, a point driven
home when Montag forces them to listen to "Dover Beach" and they start crying. This is a
world that has truly embraced the mass media and forsaken individual thought and
expression.

Alienation and
loneliness: Montag is above all a lonely man. He, throughout the course
of the novel, realises how shallow his society and life and marriage has become and
yearns for companionship and ideas, which he finds in his friendship with Clarisse and
then in books. Again, this is a key theme for 1984 with the central
protagonist realising how alone he is in his world and seeking companionship as an act
of defiance against his world.

Hopefully these pointers
will give you some idea of the society in which the characters of this novel live, but
also how this novel links in with other dystopian novels which share many similar
characteristics.

Can someone help me find examples of loneliness and family in The Catcher in the Rye?Examples AND page numbers please!

There are two specific instances in which Holden states that his
problem is loneliness. The first is to be found at the end of Chapter 19 in which Holden is
having drinks at the Wicker Bar with a pseudo-intellectual acquaintance named Carl Luce. The
exact page number in my paperback copy is 149.

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     "Have just one more drink," I told him. "Please. I'm
lonesome as hell. No kidding."

The
second confession occurs in Chapter 20 when Holden is sick and drunk in the men's restroom at the
Wicker Bar. The exact page number in my book is 153.

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     When I finally got down off the radiator and went out
to the hat-check room, I was crying and all. I don't know why, but I was. I guess it was because
I was feeliing so damn depressed and
lonesome.

Throughout the novel Holden
is driven by loneliness. He keeps trying to think of people he might call and get together with.
He even tries to strike up acquaintanceships with total strangers, including a pianist who comes
into the restroom at the Wicker Bar to comb his hair (on page 152). Unfortunately, Holden has a
problem relating with anybody, so he remains lonely and frightened by his isolation. Holden is a
misfit and an outsider. People don't understand what he wants from them. They seem to be
satisfied with superficial relationships--almost as if they don't realize that any other kind of
human relationships can exist. Perhaps they are right.

readability="18">

The thing that most tormented De Maupassant, to which he
returns many times, is the painful state of loneliness, spiritual loneliness, of man, of that bar
which stands between man and his fellows; a bar which, as he says, is the more painfully felt,
the nearer the bodily connection.

                                  
               Leo Tolstoy

Distinguish between involuntary and voluntary nervous control.Thanks. :)

The voluntary nervous system(somatic) refers to the neurons over
which you have control. When you make the decision to move around, these neurons send the impulse
from the central nervous system(CNS) to the skeletal muscles.

The
involuntary nervous system(autonomic) refers to the neurons that are not under your conscious
control. These neurons are responsible for sending impulses from the CNS to the cardiac muscles
(heart), smooth muscles (e.g. muscles lining the gut) and
glands.

The autonomic nervous system again divides into two
antagonistic systems- the sympathetic and parasympathetic nervous system. Also called the “fight
or flight” system, the sympathetic nervous system mobilizes the body for activity, accelerating
heart rate, constricting blood vessels, and raising blood pressure. On the other hand, the
parasympathetic nervous system conserves energy, promoting “housekeeping” functions by slowing
heart rate, increasing intestinal and gland activity, and relaxing sphincter
muscles.

A chart that should help you organize these terms can be
found in the link below.

solve the sustem : 2x + y = 3 3y - 2x = 2

We'll re-write the equations:

2x +
y = 3

-2x + 3y = 2

We'll use the matrix
to solve the system. We'll form the matrix of the system, using the coefficients of x and
y:

        [2        1]

A
=

        [-2       3]

We'll calculate
the determinant of the system:

detA = 6 + 2 =
8

Since det A is not zero, the system is determinated and it will
have only one solution.

x = det
X/detA

             |3       1|

det
X =

             |2       3|

detX =9
- 2 = 7

x = det X/detA

x
= 7/8

We'll calculate
y:

           |2       
3|

det Y =

           |-2      
2|

det Y = 4 + 6

det Y =
10

y = detY/detA

y =
10/8

y =
5/4

The solution of the system is: (7/8
, 5/4).

What is "Sic Vita" all about?

“Sic Vita”, at its core, is about the transience of man.
Reading it I’m reminded of a verse in the New Testament, which
states:

For, "All people are like
grass, and all their glory is like the flowers of the field; the grass withers and the
flowers fall,

           
                        [1 Peter 1:24; New international Version
(NIV)]

The writer of this poem, Henry King,
Bishop of Chichester, focuses on the fact that human beings will, as stated above,
wither, no matter their respective stations in life. Henry King relates a bevy of
occurrences that mirror what the life of man eventually
becomes.

We will all die one day. We will all,
metaphorically speaking: fall like a star; descend down, such as eagles in flight; die
as a diminishing wind; and in a sense, pop as bubbles burst and
disappear.

I believe this poem is a treatise on
the fact that we should not exalt ourselves to too lofty of a position. No matter our
wealth, or lack thereof; no matter our goals and achievements (which can be noble and
noteworthy), and no matter our social standing, we all, in the end, have no control over
Death in and of ourselves.

The poem is very
hard-hitting in the finality of its final
line:

The flight is past, and man
forgot.

It is said that Death is the
great leveler, and this is propounded greatly in this poem. It is a poem that makes one
stop and think about the important things in life, as we scurry to and fro in an
increasingly hectic, complicated and chaotic world.

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If a^2 + b^2 = ( a+b)^2 . Find all possible pairs of numbers a and b.

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

Let us
simplify the expression.

We know
that:

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

We will substitute into the equation
above.

==> a^2 + b^2 = a^2 + 2ab +
b^2

Now we will subtract a^2 and b^2 from both
sides:

==> a^2 + b^2 - a^2 - b^2 = a^2 + 2ab+ b^2 -
a^2 - b^2

==> 0 =
2ab

==> 2ab =
0

==> a*b = 0

Then, we
conclude that in order for the equality to hole, either a or b should equal
zero.

Then: a = 0   OR   b =
0

Then there are unlimited possible solutions
for the equality such that the pair ( a,b)
is:

(a,b) = { ( a, 0) : a is
any real
number}.

          ={( 0, b) :
b is any real number}.

Find the increase of moment of inertia of a steel sphere of diameter 10 cm about it's diameter when it's temperature is raised from 15C to...

We'll write the momentof inertia as a function of
temperature.

The radius of sphere is r0, at 0 degrees
Celsius. The mass of sphere is m.

The moment of inertia of
the sphere about the diameter
is:

(2/5)*m*rt^2

When the
temperature rises from 0C to tC, the nwe radius is:

rt =
r0(1+a*t)

The moment of inertia
is:

It = (2/5)*m*rt^2

It =
(2/5)*m*[r0(1+a*t)]^2

We'll expand the
square:

It = (2/5)*m*r0^2*(1 + 2a*t +
a^2*t^2)

We'll neglect the quantity a^2*t^2. We'll remove
the brackets:

It = (2/5)*m*r0^2 +
(4/5)*m*r0^2*a*t

It = I0 +
I0*2*a*t

We'll calculate the moment of inertia at t = 65
C

I65 = I0(1 + 2*a*65)

We'll
calculate the moment of inertia at t = 15 C

I15 = I0(1 +
2*a*15)

I65/I15 = 1 +
100*a

I65 = I15(1 + 100*a)

I65
- I15 = 100*a*I15

I15 =
2*4*5^5*7.7*pi/5*3

I15 =
8*7.7*625pi/3

I65 - I15 =
8*7.7*625pi*0.0012/3

I65 - I15 = 48.40 gm
cm^2

How does Benedick change over the course of the play Much Ado About Nothing?A descriptive answer would be helpful.

I changed the reference in your question from "how your
opinion of Benedick changes" to "how Benedick changes."  Opinions are as changeable as
the weather and endless in their possibilities.  Let's look instead at how the character
seems to transform throughout the events of the play.

At
the opening of the play, it seems that Benedick will serve throughout the play as the
butt of everyone's jokes, especially Beatrice's jokes.  No matter how he tries, he
cannot get the best of her.  Not in the opening scene of Act I, nor in the dance scene
(Act I, scene i), when he believes that he has disguised himself so thoroughly that
Beatrice will have no idea who he is. She knows him instantly.  The audience sees only
the humour associated with Benedick in these early
scenes.

In Act II, scene iii, he sets himself up to be the
further butt of jokes when he has a long soliloquy in which he makes funs of Claudio for
falling in love and marrying, and he swears that such a fate would never befall him. 
And, in the action that follows, he is duped by Claudio, Leonato and Don Pedro into
believing that Beatrice loves him.   Pratfalls and his innuendo-ridden conversation with
Beatrice follow.  Benedick swears himself now in love with Beatrice, but seems to still
simply be an amusing character, one made even more riduculous in that he has just given
in to the one thing he said he would never do -- fall in
love.

Things change after the aborted wedding in Act IV,
scene i.  Benedick is left alone onstage with Beatrice (their first conversation
together since declaring their love -- to the audience -- for each other).  It is a
deeply serious scene, one in which Beatrice reveals her raw inner pain about her sex. 
Since she is a woman, she cannot fight for her cousin's honor.  She commands Benedick to
"Kill Claudio."  She demands that Benedick do this to prove his love for her.  And,
though Claudio is his friend, Benedick agrees.

The serious,
grown-up side of Benedick doesn't end here.  When he meets up with Claudio and Don Pedro
in Act V, scene i, he brushes off their attempts at lightheartedness and, in a gallant
and manly way, challenges Claudio to a duel.  He
says:

You are
a villain.  I jest not; I will make it good how you dare, with what you dare, and when
you dare.  Do me right, or I will protest your cowardice.. . .Let me hear from
you.

This Benedick is every
inch a hero and ticks all the boxes of the Romantic Comic Hero, just as Claudio, who
seemed to fit the heroic bill in the play's beginning, now seems a buffoon. The tables
have turned in a surprising way.

Throughout the rest of the
play, Benedick behaves in a sober and heroic way, graciously pardoning his friends at
the end and marrying the woman he loves.  So, throughout the course of the play,
Benedick transform from clown to hero.

Please follow the
links below for more on the character of Benedick.

Is mercy depicted in the novel Cry, the Beloved Country?When Stephen Kumalo and James Jarvis take refuge in the church during a rainstorm, Jarvis...

This is a fascinating question. The part of the story you
relate occurs in Chapter 32, when Jarvis inquires of Kumalo if there is mercy for
Absalom. However, when I first read this question I remembered what happened in Chapter
30 and the prayers that Stephen Kumalo offered up to God for his safe return to the
village. Kumalo prays:

Tixo, we give thanks to Thee for Thy
unending mercy. We give thanks to Thee for this safe return. We give thanks to Thee for
the love of our friends and our families. We give thanks to Thee for all Thy
mercies.

This leads me to think that there is mercy offered
in this excellent and moving novel, but not the kind of mercy that we would expect.
There is no "mercy" in the traditional sense of the word for Absalom Kumalo, and yet he
is apparently able to meet his death with calmness and confidence in God, as we can
discern from his letter. Likewise, in a sense, we know that the quest of Kumalo to
rebuild the tribe and keep the people from leaving the land is flawed at best, and yet
mercy is shown in the provision of so many things from Jarvis. Lastly, no mercy is shown
to Kumalo in living to out live his only son, and yet mercy is shown in the shape of the
daughter and grandson that he gains.

Mercy is present in
the novel, but perhaps we need to change our perspective to have eyes to see that mercy.
The two lead characters, Kumalo and Jarvis, have gone through experiences that
definitely change their perspective and understanding of life, which enables them to see
and appreciate the mercy that is shown.

Compare/contrast the duties required of the citizen in Auden's"The Unknown Citizen" and the soldier in Hardy's "The Man he Killed."

Both Hardy's and Auden's poems concern themselves with an
ironic observation about life and the power of each individual.  With the subject
of "The Man He Killed" being the death of an unknown soldier, Hardy's speaker wonders at
the disparity in the encounter with this stranger had war not been waged.  Because of
the power of a fate that Hardy termed the Imminent Will, the speaker, as a soldier, is
forced by duty to kill the stranger with whom he would have had a drink if circumstances
were different.  However, unlike Auden's unknown citizen, Hardy's soldier loses his
individuality only in wartime. 

On the other hand, Auden's
"The Unknown Citizen," a man lives his entire life in subserviance to the duty of
serving "the Greater Community."  Like the speaker of Hardy's poem, Auden's speaker asks
about the man's individuality:  "Was he free?  Was he happy?"  The man, too, is a
stranger to Auden's speaker as Hardy's speaker's enemy is a stranger.  Neither man has
the exercise of any individuality and the ironic tone of the poems suggests the
disillusionment of their authors regarding the control that the government has over the
individual.

When Sammy, in Updike's "A & P," quits in protest he knows that from now on, the world will be a more difficult place. How is this?

At the end of John Updike's short story "A & P,"
the protagonist Sammy comments that he now "felt how hard the world was going to be to
me hereafter."

 Three teenaged girls dressed in bathing
suits have just been rebuked for coming into the supermarket in such skimpy attire. 
Sammy feels that the boss, Lengel, has been harsh with them, so he impulsively quits his
job.

His action is a failure on all accounts.  Lengel
points out that Sammy's quitting will hurt his parents, and Sammy admits that although
he does not wish to hurt his parents, his action will pain
them.

Sammy leaves the store and looks for the girls,
hoping to be greeted as their hero, "but they're gone, of
course."

Sammy has learned the hard lesson that the world
is not fair.  He tried to be a hero, to stand up for what is right, and was rewarded
with nothing but a lost job and disappointed parents.  His youthful vision of a life of
well-rewarded heroism has been shattered.

Describe how population growth affected consumption in the Industrial Revolution.

In the end, the increase in population growth ended up impacting
production and consumption in directly variant ways.  I think that the more population, the
greater the demand for industrialized products.  This increased the need for supply, causing the
need for more people to work in the factories of the time period.  The cyclical nature of this
made population growth an indispensable part of the Industrial Revolution.  I believe that part
of this lies in the desire for more capital or wealth among more people.  Such a condition helped
to increase consumption and production, and thus the increase in supply and demand becoming
apparent.  I would also posit that population growth impacted the Industrial Revolution by
creating through its own design an increase in the labor pool that helped increase production. 
This same population consumed what was being produced, enabling the increase in both production
and consumption.

Compare and contrast the narrator of ''The Legend of Sleepy Hollow'' and the framework narrator of ''The Notorious Jumping Frog of Calaveras...

When it comes to point of view, "The Legend
of Sleepy Hollow" and "The Notorious Jumping Frog of Calveras County" are similar in that they
are not told by one narrator alone.  Both could be considered "frame" stories (that is, a story
within a story). "Sleepy Hollow" in fact, could almost be considered a story within a story
within a story...etc.  To understand this more fully, let's look at the narrators in each
story:

"Sleepy
Hollow":

• Narrator 1: Washington Irving, the author of
  The Sketch Book of Geoffrey Crayon,
  Gent.


• Narrator 2: Geoffrey Crayon, a fictional "author"
  established by Irving to give many of his stories a sense of folklore and
  credibility.


• Narrator 3: Diedrich Knickerbocker, the fictional
  character who first wrote these stories down (also given credit for Rip Van
  Winkle) before they were found by G. Crayon.


• Narrator
  4: characters within the story who contribute to the "legend" by repeating "headless horseman"
  tales they've either heard or read.

"Jumping
Frog"

• Narrator 1: Mark Twain, speaking (in 1st person) of
  the meeting between himself and Simon Wheeler.


• Narrator 2: Simon
  Wheeler, speaking (in 3rd person) about Jim Smiley.

As
with many frame stories and almost all stories told in the first person point of view, there
exists the question, "How reliable is the narrator?"  Consider that frame stories are very
similar to gossip.  The more people a story gets passed through, the more embellished and less
factual it often becomes.  In both of these stories, this framing is completely intentional.  The
tone therefore, is in itself ironic.  You, the reader,
are not to trust that these stories are true, despite the ever present emphasis (by all story
tellers involved) that they are.  It is almost like saying, "If this many people know of and can
tell this story, it must be true."

More than
likely the main purpose of the original authors for doing this is for humor and entertainment. 
Also, much like satire today picks on current events and news stories, and the
way in which these stories are often portrayed, both Irving and Twain are
likely making a social commentary on the kind of story telling that was accepted as "truth" in
their own generations.

What methods can prove two planes are parallels ?

Two lines are a1x+b1y+c1 = 0 and a2x+b2y+c2 are
parallel

if a1/a2 = a2/b2 in a plane or 2
dimension.

Two planes a1x+b1y+c1z+d1 = 0
and

a2x+b2y+c2z+d2 = 0  are parallel if a1/a2= b1/b2= c1/c2
i a 3 dimenssional space or solilid geometry.

So the above
condition proves the planes are parallel.

Also like
parallel straight keeps a constant distance between them, the parallel planes also
maintain a constant distance between them.

The perpendiculr
to the parallel planes  are also parallel.

How does Kate Chopin uses the characters in The Awakening to cast Edna Pontellier's desires in sharp relief?

Kate Chopin was quite wise in surrounding Edna Pontellier
with sharply distinctive characters who greatly contrast Edna's own social status.
Instead of corrupting Edna, or trying to change her, they all serve as extensions of
Edna. Her friends include Mademoiselle Reisz, who is an independent, liberated
bohemian-type musician, and Adèle Ratignoll who is a reflection of Edna's own prudish
upbringing. Robert, her love interest, is young, free, and passionate, while Arobin is a
skirt-chasing free spirit.

All these characters are
reflections of Edna's own needs for freedom, and her internal battles against the
imposed conventions of the time. When she "awakens", she finds herself becoming a
totally different woman than what she thought she was. She eventually died in isolation,
but it is obvious that Chopin was clever to connect Edna to characters who represent her
multifaceted personality.

solve the system: x - 3y = 5 2x + y = 4

We'll try to solve the system using another
method: substitution method.

 x - 3y =
5

x = 5 + 3y (1)

We'll
substitute (1) in the second equation of the system:

2x + y
= 4

2(5 + 3y) + y = 4

We'll
remove the brackets:

10 + 6y + y =
4

We'll combine like terms:

10
+ 7y = 4

We'll subtract 10:

7y
= -6

We'll divide by
7:

y =
-6/7

We'll substitute y in
(1):

x = 5 - 18/7

x =
(35-18)/7

x =
17/7

The solution of the
system is {(17/7;-6/7)}

How can I write orbital notations and complete electron configuration for the following elements? a. Beryllium b. aluminium no

Orbital notation refers to the electron configuration of
an element. The notation tells you how many electrons are in the element, what orbitals
of the atom they are in, and in what direction the electrons are spinning. They can spin
either clockwise (<) or counterclockwise, (>). In many sources, the
notation is usually an up arrow for clockwise rotation, and a down arrow for counter
clockwise rotation. Since electrons fill up orbitals in a special way related to their
energy level, and only two per sub-level, which does not matter at this time. The
orbitals can also only hold a certain number and the limits are as
follows:

s=2

p=6

d=10

f=14

Also
the orbitals are filled according to this method:

1s, 2s,
2p, 3s, 3p, 4s, 3d, 4p, 5s, 4d, 5p, 6s, 4f, 5d, 6p, 7s, 5f, 6d,
7p

Since Beryllium has 4electrons in its ground state the
notation is:

1s2 2s2, and this
is

1s<>

2s<>

Aluminum
has 13 electrons in it s ground state, using arrows for electrons, it is written like
this:

1s2 2s2 2p6 3s2
3p1

1s<>

2s<>

2p<>
<>
<>

3s<>

3p<

What is meant by historical and biographical approaches?

There are many "lenses" through which to consider a literary
text. Whenever we read, we are evaluating what we read through a lens, whether we are aware of
it, or not. When we read something (poem, short story, novel, drama, or even non-fictional
writing) through a biographical lens, or from a biographical perspective, then we are taking into
significant consideration the life and the times of the author and
looking to see how those elements are related to the work or revealed in the work. This kind of
reading is related to an historical reading where the history of the time period is considered.
With historical readings, we could consider the history of the setting of a work separate from
the historical time period of the author who wrote the work. So a modern novel, written about a
time in the past, could still be read through a historical lens.

The
biographical approach works better for some authors than others. For example, the works of
Charles Dickens are considered to reflect very strongly the time period in which he was writing,
and several of the novels reflect Dickens's own experiences as a child and young adult.
Shakespeare, on the other hand, is nearly impossible to read this way. We know next to nothing
about Shakespeare's personal life. We have little way to connect the man himself to the works. We
are able to do an historical reading of Shakespeare's works because we can look to see how the
Renaissance time period of England is reflected in the attitudes and behavior of his characters,
or we can read to see how Shakespeare depicts an historical time period, such as ancient Rome in
Julius Caesar or early England in Henry IV.

In order to do a biographical reading of a piece of
literature you will need to research the author's life and look for ways in which his or her life
is reflected in the piece. In order to do an historical reading, you will need to research the
time period of the setting of the novel, and then determine what the story reveals about its time
and place in history. To do a historical-biographical reading, you must research the personal
life and the historical time period of the author to determine what ends up being reflected in
the literature. All of these approaches to reading aid in expanding our understanding of the
significance of what we read

Identify the reasons that prove whether Hamlet's antic disposition/madness is fake or real insanity.

I think it is safe to say that Hamlet is aware of what he
is doing most of the time, though in some situations it could be argued that he acts
irrationally.

At the start of the play, when Hamlet has met
the ghost of his father, he plots to prove Claudius is the old king's murderer. (In
fact, Old Hamlet has charged Hamlet with the task of avenging his death.) With this is
mind, Hamlet says he will pretend madness, expecting that people will let their guard
down if they believe Hamlet is insane. He insists that he acts crazy
only to discover the truth of his father's murder, but really knows
what is going on.

readability="8">

I am but mad north-north-west: when the wind is
southerly I know a hawk from a handsaw. (II, ii,
272)

Hamlet acts crazy with
everyone, even poor Ophelia. He is extremely unsure who he can trust, so he puts on "an
antic disposition" in order to throw everyone off. He cannot trust Ophelia as she is a
dutiful daughter, and Polonius is beyond loyal to the new king, Claudius. Ophelia has no
part in the scheming. She is an innocent caught up in the deceit and evil that permeates
the castle. Hamlet's pretended insanity, and then her father's death, ultimately drive
Ophelia insane.

It could be argued, however, that when
Hamlet finds someone behind the arras (curtain) in his mother's room, thinking it is his
step-father, he lunges forward and stabs the man there, though it is, in truth,
Polonius, Ophelia's father.

His "impetuous" act, as his
mother calls it, could be seen as a blind, passionate action that would probably be
classified today as manslaughter. It is not premeditated in that moment (though Hamlet
is trying to avenge his father's death at some
point).

Hamlet seizes this moment,
believing that Claudius has been having "incestuous" sex with Gertrude, and will die
with sins upon his soul if he dies right then. Hamlet acts rashly, and commits
murder.

Bottom line: I believe Hamlet knows what he is
doing, though it would be easily argued that he loses control temporarily, mistakenly
killing Polonius.

What is the definition of assembly line justice?

It probably depends who you ask, but I would define it as a
court system that overwhelmingly uses plea bargains as a means of settling cases, so that the
time and expense of a trial is avoided, some measure of punitive sentencing can be guaranteed,
and so a system can process many, many more cases than it would ordinarily be able to.  Cases, in
other words, receive only superficial attention.

Owing largely to
the huge number of drug cases now before US courts, something we have only witnessed during the
Prohibition Era and the last forty years of the Drug War, many people would argue the US justice
system has devolved into assembly line justice, in the plea bargain fashion, and is
unrecognizable in the modern day.

Besides being faster and cheaper,
it also saves the witnesses from having to testify, which is often for the
best.

What is the importance of productivity in an economy?

To put it briefly, productivity determines how rich a
country can be.  Without high levels of productivity no country can get to the point
where it has a high level of GDP per capita and a high standard of living for its
people.

The reason for this lies in the definition of
productivity.  Productivity is the amount of value that a worker in a given economy can
produce for each unit of time worked.  In other words, higher productivity means that a
higher value of product is being produced by each worker each hour (or other amount of
time).

If you have low productivity, you need lots of
people to make amount X of money.  That money has to be distributed among many workers
and wages (and GDP per capita) are low.  The opposite applies in high productivity
economies.

Describe all phases of Build-A-Bear's product and what is being exchanged in a Build-A-Bear transaction.

The concept of this is very simple. It is about choice.
Instead of having bears or stuffed animals that are generic, it gives people the ability
to choose what they want. It fits in perfectly with our consumeristic and
individualistic society. From a business standpoint, you can charge a lot more for the
customization with very little extra overhead. The reason for this is, because there is
a limited number of mutations that are possible. Also things like clothing for the bear
is just pure and simple profit! So, you make all the possible variations and then allow
people to choose. At this point, you just put it together with the extra charge for the
customization.

If a credit card company charges 2% per month, how much would a person have to pay in interest for an amount of $1000 pending for a year at the...

The basic approach in the answer #1 above is correct.
However, the rate of interest assumed in the equation used is in terms of per unit
rather than percentage.

Also please that the interest is
compounded every month in line with general practice adopted by credit card
companies.

When:

r =
percentage rate of interest per month = 2

n = number of
months = 12 (given)

p = Principal amount of loan =
$1000

The total amount of principle plus interest payable
after n months is given by:

Total amount = p*(1 +
r/100)^n

Substituting the given values in the above
equation:

Total amount = 1000*(1 +
2/100)^12

= 1000*1.02^12

=
1000*1.26824

=
1268.24

Interest paid = (Total amount) -
Principal

= 1268.24 - 1000

=
268.24

Interest = $268.24

In Frankenstein, what are the main points of Victor's speech just before he dies, especially his advice to Walton?

When Victor realizes that he is going to die, he summons
Walton to his bed and makes several significant points in his final speech. He tells
Walton:

1. That he has let go of his feelings of vengeance
toward the creature but he still believes that the creature needs to die so that he
cannot harm anyone else.

2. He pleads insanity--really he
does! After everything that has occurred, Victor states that he has examined his "past
conduct" and that he believes he is blameless. He chalks up his creation of the monster
to "a fit of enthusiastic madness" and then explains that his duty to his family and
friends superceded any responsibility he should have had for his own
creation.

3. He asks Walton once again, but this time out
of "reason and virtue," to destroy the monster for him. While Victor believes that it is
his duty to mankind to destroy him, he realizes that he is no longer physically capable
of doing so.

4. Victor's final words to Walton demonstrate
that he has gained some self-awareness. He advises Walton
to

"seek
happiness in tranquillity and avoid ambition, even if it be only the apparently innocent
one of distinguishing yourself in science and discoveries" (Walton's September 12th
letter to Margaret; pg. 205 in Holt Rinehart Winston edition of the
novel).

These words prove
that Victor recognizes the futility of the glory-seeking ambition of his
youth.

Any idea what is the plot structure used in Bridge to Terabithia by Katherine Paterson?

The story opens as we are introduced to Jess, a boy who comes
from a poor family marked by conflict between the parents. As he goes to school, he is looking
forward to hopefully winning a race. However, the race is actually won by Leslie, a new girl who
started his school that day. Jess and Leslie form a friendship and play together in the woods,
forming a magical kingdom of Terabithia which they access by crossing a bridge over a river.
Their friendship deepens. However, tragedy strikes when Leslie dies in an accident when she tries
to cross the river to go to Terabithia herself. The way that Jess has to accept this truth and
come to terms with the end of his childhood marks the rest of the story, which finally ends when
he takes his little sister and introduces her to Terabithia.

Why did Lorraine Hansberry take the title of her play from Langston Hughes's poem?

I don't think it's ever an easy thing to know why an
author does one thing or another. To really know the answer as to why Lorraine Hansberry
used a line from a poem by Langston Hughes, we would have to ask her or review a speech
that she gave, a letter she wrote, an entry she made in her diary, etc. And even then,
all we could be sure of would be that's why she said was the
reason.

The idea of an "author's purpose" is a standard
taught in high schools used across the United States, but it's a very problematic
standard. The New Critics famously argued that the author's purpose is irrelevant to the
meaning in a work, and many later theorists have further problematized the idea of the
author's purpose.

Now, having said all that, I'll take my
shot at answering your question. Please allow me first, though, to rephrase it: ""Why
does the line from Langston Hughes' poem make sense to you as the title of the play by
Lorraine Hansberry?"

The line from Hughes' poem makes sense
to me as a title for the play because the line functions as an allusion. The savvy
reader may recognize the reference to Hughes' poem and may remember that the poem is all
about "what happens to a dream deferred." Hughes' poem has a list of similes that
explore a person's (or a group of people's) possible reactions when their dream fails to
become reality. Hughes, like Hansberry, is a famous black writer. Hansberry's play is
all about the dreams of African Americans -- to own their own house, to own their own
business and make money, to pursue an education and make a difference in the world, etc.
-- and the very real obstacles and hardships that interfere with the realization of
those dreams.

The smallest of the life forms in the play --
Travis, the potted plant, and the fetus in Ruth's belly -- seem to me to most clearly
embody the danger of a dream shriveling up like a raisin in the
sun.

Thinking of a character you have met in The Crucible, what role does greed play in their life thus far?Act II

Reverend Parris is a great example of greed in the play. 
In act one, he argues with everyone about how he shouldn't have to pay six pounds for
firewood; he's the minister, and deserves that firewood for free!  He also claims that
he deserves more than his "sixty-six pounds a year" salary, and refers to how he left a
prosperous business in Barbados to come and preach in humble circumstances.  So
obviously, he cares a great deal about money and wealth.  He even argues at one point
that he should get the title to the churchouse, meaning, that he should be able to claim
ownership of it.  He is so greedy that he wants to be the sole owner of the
church!

Later, in act two, we learn from John Proctor that
Parris fixated on getting golden candlesticks in the church, instead of the pewter ones
that Francis Nurse had made.  He even used that greed as the subject of his sermons, and
whined about it until he had his way and got his golden candlesticks.  Because of his
greed, of which there are numerous examples, he comes off as argumentative, bitter,
angry, whiney and petulant to many members of his congregation, and as a result, they
doubt his true piety and humility as a servant of God.

I
hope that helped; good luck!

What are the main structural elements in "A Good man is Hard to Find"?

Flannery O'Connor's "A Good Man is Hard to Find" is fiction, a
short story.  As such, it can be analyzed, or dissected, into structural elements according to
mainly plot, character, and figurative language.

What you must know,
though, is that O'Connor is a comic writer and a religious writer.  Many readers are confused by
her structure: she seems to be making fun of religion.  Rest assured, she is not.  In fact,
O'Connor is a very serious religious writer who uses caricatures (exaggerated characters) like
The Misfit and the grandmother to expose the relationships between good and evil, nihilism and
revelation, and hypocrisy and salvation.  In the end, all of her characters look flat, grotesque,
and evil, but--as readers--we have to imply that O'Connor means just the opposite of
them.

So, structural
elements:

Flat, static characters: the
Misfit, the grandmother.  They are both religiously confused: the Misfit is a nihilist, and the
Grandmother is a self-righteous Christian.  They change at the very end by touching each other
and realizing their lack of spirituality but not enough to be categorized as dynamic or
round.

Exposition: family readies for
the trip

Foreshadowing: the news about
the Misfit

Rising Action: grandmother
realizes the home she's looking for is in Tennessee and not
Florida

Turning Point: the accident
involving the cat; grandmother recognizes the
Misfit

Falling Action: the family is
escorted to the woods

Resolution /
Climax: the family is shot, one by one.  The grandmother pleads with the Misfit,
but to no avail.  Each character exposes the others'
hypocrisy

Symbolism: the Misfit
(archetype of evil); the gun; the inability to find one's home (spiritual home); the car; Jesus;
the woods

Situational Irony: the
grandmother is looking for the wrong house in the wrong state; the family wrecks and is rescued
by the Misfit; the grandmother thinks the Misfit is "saved," and the Misfit thinks that the
grandmother is "not saved"

Verbal
Irony: just about everything the Misfit and the grandmother
says:

readability="8">

Misfit: "Jesus was the only One that
ever raised the dead and He shouldn't have done it.  He shown everything off
balance."

Grandmother: "Why you're one of my
babies. You're one of my own children!"

What does the following quote from Fahrenheit 451 mean?"Go on, anyway, shove the bore down, slush up the emptiness, if such a thing could be...

This quote comes towards the beginning of the novel and
describes the machine that Montag sees that is used to flush out his wife's system after she has
taken an overdose and tried to kill herself. This quote helps establish how impersonal and
regular the system is, as we discover that such a process occurs very often in this dystopian
world of emptiness and despair. Note what Montag thinks just before this quote is
said:

The entire
operation was not unlike the digging of a trench in one's yeard. The woman on the bed was no more
than a hard stratum of marble they had
reached.

Note the slightly ironic note
in the quote you have mentioned. Can it really "slush up the emptiness," which is, of course, the
real reason behind Mildred's attempted suicide? Thus this quote seems to point towards the limits
of technology and the way that it is unable to meet the needs of humans--a key factor of this
society.

What modern celebrity could be compared to Achilles of The Iliad?

As I read your question, I started thinking about people
the world thinks of as "having it all" but who somehow "blew it" because of one fatal
weakness. You use the word "celebrity," so I assume this needs to be someone
recognizable as well as someone who is somehow seen as a hero.  Two men came quickly to
mind:  President Bill Clinton and Tiger Woods.

President
Clinton was arguably the most powerful man in the world when he was in office.  He had a
powerful and supportive wife, a loving daughter, and he was in the enviable position of 
being able to call any ruler of any country in the world and at least be heard.  He had
everything, including the love of the majority of the American people.  And then came
the Monica Lewinsky scandal and his eventual impeachment and censure.  What a low moment
for such a powerful man; he succumbed to his one failing--women. Clinton, of course,
recovered from this personal failing (actually many failings, since this was just the
most public incident of many) and is still beloved and sought-after by people all over
the world.

The second celebrity who had a similar failing,
though it looks different, is Tiger Woods. Arguably the best golfer who ever lived,
Tiger just seemed to have it all: money, fame, athletic ability, a lovely wife and kids,
you name it.  Then it all blew up.  His numerous extra-marital affairs became public and
he lost it all, including many of his fans and nearly all of his sponsors--and even his
stunning ability to play the game at a level no one ever has.  His inability to be
faithful to one woman was his achilles heel, and it remains to be seen whether he, like
Clinton, will recover.

Cutoffs:Find the corresponding Z score(s). Round answer to 2 decimal places! Cutoff for the bottom 37%.

To find the cut off 37% from the bottom of z
scores.

The z scores are the standard normal variates with
a normal distribution.

So  we have  probabilty of z is
<= x   such that this probability is 37%.

Therefore
P(z < = x) = 37%.

We know that Z has the standard
normal distribution. So P(z<=0) = 0.5.

Therefore 
p(z > -x) = 0.37 = , as normal distribution is sy
mmetrical.

Therefore P(0 <= z< - x) =
0.5+(0.5-37) = 1-.37 = 0.63.

From normal probablity tables
,  -x = 0.332. Or x = -0.332.

Therefore , the below cut
off  37% of the z scores is at z = -0.332 , or  at z = -0.33 (rounded of to 2
decimals ).

What do you think this quote means or what can I say about it?I'm using the quote below for an essay about how tree's grow and change through...

Interesting Muir quote and even more unique being able to tie it
to Anderson's work.  I think you would want to focus on the second part of the quote.  The idea
that individuals must understand that while nature can be cruel, it is second only to the cruelty
that human beings perpetrate upon one another is profound.  There is something that "speaks"
towards what Anderson might be driving in such an element.  Keeping this in mind, the first part
of the quote deals with the idea of nurturing and protecting growth.  With both of these notions
in hand, I think that you can focus on how Melinda has grown throughout the course of the novel
as a part of this.  In the end, the cruelty that her colleagues and many others in her world show
towards her would have destroyed the growth of other people.  Yet, her own notion of being able
to "speak" is what ends up insulating her from the foolishness of others.  When we consider what
the Art teacher said about, "You have a lot to say," we realize that Muir's quote is especially
profound.  There is no absolute guarantee that voices will always be heard.  Rather, individuals
have to fight to be heard, they must rise above the foolishness of which Muir speaks.  Melinda
understands this and it is through her embrace of this that she is able to "speak" and be
heard.

In Ethan Frome what reason does Ethan give for not driving Zeena to the station?

Ethan, who is not very practiced at lying or deceiving
people, doesn't want to take his wife to the station, because he wants to be at home
where he can spend more time with Mattie during her absence.  Taking her down to the
station would ruin the chance he would have to spend at least one evening alone with
Mattie; if Jotham takes Zeena, that would leave Ethan the freedom to have time with her,
and no servant around to bother them.  So, he conjures up some story about how he has to
go into town and get money for the lumber.  Originally, Jotham was going to take the
lumber into town, but Ethan says that he wants to do it in order to get paid for
it.

Unfortunately, he is not going to get paid for the
lumber at all, and he knows that telling Zeena he will be will give her hope
that

"he was
in funds on the eve of one of her therapeutic
excursions."

This would
encourage her to buy expensive remedies that in reality, they couldn't afford.  But, his
desire to spend time alone with Mattie and to avoid Zeena overwhelms that caution, and
he sticks to the lie.  I hope that those thoughts helped; good
luck!

What is a complication of Little Women?

Remember, in literature,
complications are the difficulties encountered by
characters which form the action of the plot.  Little Women is a
long enough novel that it involves several different conflicts and complications.
 Looking at the themes of the novel might help you identify different parts of the plot
that would be considered complications.

One of the major
themes of the book is that of gender roles and the fact that the book focuses on four
women as the protagonists during a social and historical time when women were not
considered equal to men in things like money, land ownership, business, and education.
 A complication these girls repeatedly run into (especially Jo) is the struggle to find
a voice and an identity in a male-dominated
society.

Another theme of the book is wealth versus
poverty.  Though the March girls are happy, healthy, and seemingly well taken care of,
they are not wealthy.  They are not so poor that they cannot give to others, but they
are by no means as rich as the Laurences.  This class dynamic results in several
complications in the novel.  First, it becomes a complication when Laurie falls in love
with Jo and later Amy.  Wealth also creates a complication among the sisters as they
discover the differences in what they want in life and compare themselves to
others.

Other specific details of the story that could be
considered complications are Beth's death and Jo's decision not accept Laurie's
proposal.

What is the role and significance of Mistress Hibbins?Nathanel Hawthorne's The Scarlet Letter

Mistress Hibbins, the sister of the governor of the Puritan
colony, calls to Hester Prynne in Chapter VIII as she leaves the mansion of the
governor,

"Wilt thou go
with us tonight?  There will be a merry company in the forest; and I well-nigh promised the Black
Man that comely Hester Prynne should make
one."

Mistress Hibbins, with her
"ill-omened physiognomy" who appears to cast a shadow upon the governor's house, is, ironically,
a witch.  With the leader of the Puritan colony having a witch for a sister, Hawthorne's scorn
for the hypocrisy of the Puritans is clearly apparent.  In addition, that Hester refuses to
accompany Mistress Hibbins because she "must keep watch over my little Pearl" or otherwise, she
says, she would go and sign her name in the Black Man's book--"and that with own blood!"--is
testimony to the validity of her plea that she be allowed to keep Pearl so she will live, and
live righteously.  Further, Hester's interview with Mistress Hibbins illustrates how dependent
Hester has become on the child of her illicit love affair now that she has been ostracized from
society.

Later in the novel, Mistress Hibbins appears at unexpected
moments; each time that she does enter the scene, however, either Hester or Arthur Dimmesdale
suffer from remorse.  Thus it would seem that the witch serves as a reminder to Hester and the
minister of their sin and of the darkness hidden in Puritanism.

In Act 3 of Hamlet, what developments have taken place in th revenge plot and romantic plot?this question is from hamlet by shakespeare...from act...

By the end of Act 3 things have changed quite a bit for Hamlet. 
On the "revenge" front, now has the proof he so desparately wants against Claudius.  During the
"play within a play" Claudius is disturbed enough to get up and leave, and Hamlet takes this an
admission of guilt.  Now Hamlet is free to go forward an exact his revenge for the death of his
father.  Unfortunately, Hamlet's first opportunity for revenge is a moment when Claudius appears
to be in prayer and Hamlet doesn't think this is a perfect moment, so I lets the chance go
by.

On the "romantic" front, his love life is in a shambles.  He has
had a terrible confrontation with Ophelia where she returns presents he has given her and he then
declares he never loved her.  He goes on to tell her to get herself to a nunnery and stay away
from the sinful nature of men.  He insults the behavior of women and, in general, is acting
crazy.  Ophelia is convinced that Hamlet has lost his sanity as evidenced by the way he is
speaking to her.  The scene is actually part of Hamlet's crazy act and brought on by overall
frustration with his mother's marriage and Ophelia's dishonesty about her father spying on them
at that that very moment.

What political power did the Church have over people in the medieval times?

I would say that the Catholic Church had political power
over people in the Middle Ages in a few different
ways.

First of all, there were places that were directly
under the control of the Church -- places where the Pope was the official ruler of the
country.  This was in the Papal States in what is now
Italy.

Second, the Church owned a lot of land in other
parts of Europe.  Each monastery, for example, owned lots of land and the abbots of the
monasteries ran those lands.  The people on the land (if they were serfs) belonged to
the monastery.  In that way, the Church had political power because it had temporal
power over its estates.

Finally, the Church had moral
authority that could be used politically.  The Church was seen as the only way to Heaven
and so the clergy could be pretty important in making people behave in certain ways. 
They could threaten, for example, to excommunicate people who did not make the "right"
choices. 
This gave the Church more power of an indirect
sort.

What is the retrograde motion of Mars?

When observing planetary motion with respect to the stars
that are located very far away and can be considered stationary, a few unusual things
are observed. One of them is retrograde motion.

The
observance of retrograde motion is best explained by an example where you are travelling
in a car and another car is travelling beside you. If the speed of both the cars is the
same, the other car appears stationary with respect to a very distant object, if the car
is moving faster than you, you see it moving ahead. On the other hand, if you are moving
faster you would observe the car moving in the reverse
direction.

The same phenomenon occurs with the planet Mars.
When observations of the planet are taken over extended periods of time, it is observed
that the planet does not appear to move in a constant circular orbit but instead moves
backwards and creates an s-shape or a loop.

There is no
particular month of the year when the planet is seen to be in retrograde motion. The
time varies and this occurs approximately once every two
years.

The links below show the retrograde motion of the
planet in the years 2003 and 2010.

In Macbeth, why does Macbeth ask Banquo so many apparently casual questions about where he is riding?

The questions Macbeth asks Banquo in Act III, scene i appear to
be casual, as if Macbeth is only concerned that Banquo not miss that night's banquet. In fact,
they are very pointed questions. He wants to know when Banquo is leaving the castle and how far
he will be riding. This will give him an idea of when Banquo will be returning. Macbeth needs
this information so that he can pass it along to the men he has employed to attack Banquo and his
son Fleance on the road and murder them both.

After his conversation
with Banquo, Macbeth meets with the murderers. He tells them the
following:

Within this
hour at most

I will advise you where to plant
yourselves,

Acquaint you with the perfect spy o' th'
time,

The moment on 't; for 't must be done
tonight,

And something from the
palace;

This suggests that Macbeth has
a general idea as to where Banquo will be, but he wants to plan precisely where the attack should
take place to ensure success and to make sure Banquo and his son are not murdered near Macbeth's
castle. After he figures it out, he will get back to them in no more than an
hour.

Please provide a summary of Chapter 5 of To Sir with Love.

 In chapter 5, Braithwaite still
looks for a job. Here, the character of Braithwaite remains the same since all those interviews
that he has gone in this chapter and racially rejected by them because of the color of his skin.
The character also changes.

 Braithwaite keeps on searching for jobs
but he always gets the same kind of response “To black”. He then saw an advertisement of the
electrical form at Dagenham. He went to the Personnel Office and when he was called to the
manager, the manager asked him why he wanted this job. This is when Braithwaite gets irritated
because whenever he went for a job interview, he was racially rejected not by his academic skills
but his skin color. “I need the job to help me pay for little things like the food I eat, the
cloths I wear and the lodging I occupy.” But then, he was still racially rejected when the
manager politely says that he will not fit here because none of his employees are uneducated and
he also says – “They might resent the posh way you speak and….” This shows the theme of racism.
This is also the possible answer which rejects Braithwaite for every
interview.

Till here, the character of Braithwaite is in a
sad/angry/irritated mood. But then, he meets someone that picked him up from the dark to the
light. In St. James Park, he met an old man. “A big city cannot afford to have its attention
distracted from the important job of being a big city by such a tiny, unimportant item as your
happiness or mine”. He encourages Braithwaite to become a teacher in East End of London because
they desperately need teachers over there –“From all accounts it is rather a tough area and most
teachers prefer to seek jobs elsewhere”. Listening to the words of the old man who has sat with
Mr. Braithwaite for two hours talking about the situation and still not exchanged names, he tries
to apply for that job. He gave his CV to the Ministry of education. They called him for the
interview and it went well and he got a job in Greenslade School.He also says that they did not
care for his color. The East end of London, people talk openly. The area is a war effected, dirty
and messy place and not a suitable attraction for people.

 Till this
point, Braithwaite’s character starts to change. His character is now in a relaxed and in a happy
mood. So in this chapter, the character of Braithwaite is
developed.

The plot if this chapter is when he meets the old man in
the park feeding the ducks. The plot is developed when they both have a two hour talk. The old
man is the main person of the plot and he is the one who changes Braithwaite and helped him
continue to search for a job and finally, Braithwaite got the job in Greenslade
School.

The theme that is introduced in this chapter is racism;
mainly racism. Every single time when Braithwaite goes for an interview, the theme of racism is
introduced. They racially reject him because of the color of his skin. Also, the theme of
friendship is introduced. It is introduces when Braithwaite has the talk between the old man in
the park. Usually people don’t get closer to Negros in London just like it happened in the first
chapter when the lady refused to sit with Braithwaite in the bus. But this old man was freely
talking to Braithwaite and through their talk; we can find that they were
friendly.     

What is the inverse of the function f(x) = (e^3x)*14 - 21

We'll suggest another method of getting the inverse
function.

We know that the product of derivative and it's inverse is
1.

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

We'll divide
both sides by f'(x):

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

We'll calculate the integral of functions both
sides:

Int [f^-1(x)]'dx = Int
dx/f'(x)

We'll differentiate the function
f(x):

f'(x) = [(e^3x)*14 - 21]'

f'(x) =
42*e^3x

f^-1(x) = Int dx/42*e^3x

Int
dx/42*e^3x = (1/42)*Int e^-3xdx

Int dx/42*e^3x =
-e^-3x/3*42

Int dx/42*e^3x =
-1/126*e^3x

Therefore, the inverse function is:
f^-1(x) = -1/126*e^3x.

Give 2 examples of cruelty his brother did to Doodle.

A first way that Doodle's brother is cruel is when he
shows Doodle his coffin from when Doodle was an infant. Not only does the sight of a
coffin scare a young child, but to consider that it was determined for Doodle himself
made it that much more vulgar. He admits the cruelty in these
lines:

One
time I showed him his casket, telling him how we all believed he would die. When I made
him touch the casket, he screamed. And even when we were outside in the bright sunshine
he clung to me, crying, "Don't leave me, Brother! Don't leave
me!"

A second way he
demonstrates this cruelty happens in the very end. When Doodle's brother leaves him
after it had started to rain, we see abandonment have dire, deadly
consequences:

readability="20">

The rain came, roaring through the pines. And
then, like a bursting Roman candle, a gum tree ahead of us was shattered by a bolt of
lightning. When the deafening thunder had died, I heard Doodle cry out, "Brother,
Brother, don't leave me! Don't leave me!"

The knowledge
that our plans had come to nothing was bitter, and that streak of cruelty within me
awakened. I ran as fast as I could, leaving him far behind with a wall of rain dividing
us. Soon I could hear his voice no
more.

This section shows that
Doodle's brother understood his cruelty. It also demonstrates that each time Doodle's
brother responded this way, Doodle interpreted the act as
abandonment.

For a character in Doodle's condition, no
greater affliction could be done to him by another than that, to be completely
abandoned.

How is Montag a hero in the book Fahrenheit 451?

Montag is heroic in that he reacts against a controlling society
that prohibits individuality and imagination. He finds such mindless conformity damaging to the
spirit.

Montag rebels against his dehumanizing society in the hope
of becoming a real person, one who truly thinks and acts without drugs. Having witnessed the
deterioration of his wife Mildred, who has become no more than the visions on the parlor screens,
a mere automaton who laughs on cue, and who listens to the buds in her ears, never hearing her
heart or that of her husband, Montag makes supreme efforts to re-engage her in life, but she
insists upon dwelling in the artificial world of her society. In fact, she is so insistent about
choosing this world that she reports her husband to the authorities. But, he defies these powers
of society, setting fire to Beatty and fleeing to Faber, who connects him to the people who dwell
in another place where they preserve the texts of famous works, the recordings of the thoughts of
philosophers, scientists, theologians, satirists, and historians of the past.

While Montag hides from the authorities, he talks with Granger, who
tells him about his grandfather, a sculptor, who created things. "He shaped the world. He
did things to the world," Granger
reflects.

"Everyone
must leave something behind when he dies, my grandfather said....Something your hand touches some
way so your soul has somewhere to go when you die....It doesn't matter what you do ...so long as
you change something from the way it was before you touched
it."

Montag changes his society by
rebelling against it, by burning what is evil rather than what is good, and he will leave
something behind as he has memorized the Book of Ecclesiastes.