Using the chain rule we know that for a function y = f(x)
where x = f(t), dy / dt = dy / dx * dx / dt.
Now we have
the functions: y = x^2 , x = 2t-5
For y =x^2, dy/dx =
2x
For x = 2t-5, dx /dt =
2
So dy/dt = dy/dx *
dx/dt
=> 2x * 2 =
4x
=> 4* (
2t-5)
=> 8t –
20
dy / dt =
8t-20
x(1+ 2i) + y( 2-i) = 4 +
3i
Let us expand the
brackets.
==> x + 2xi + 2y - yi = 4 +
3i.
==> We will combine real terms and complex terms
together.
==> (x+ 2y) + (2x -y) i = 4 +
3i.
Now we will compare
terms.
==> x + 2y = 4
..............(1)
==> 2x - y = 3
....................(2)
Now we will solve the
system.
We will use the substitution method to
solve.
==> We will rewrite y= 2x -
3.
==> x+ 2y =
4
==> x + 2(2x-3) =
4
==> x + 4x - 6 =
4
==> 5x =
10
==> x=
2.
==> y= 2x -3 = 2*2 - 3 = 4-3
=1
==> y=
1
This is an interesting question. It would be simple to
imagine that one can evaluate the behaviour of a character in a play based upon simply
reading the script, but the behaviour of a character in a play is not a complete event
until an actor takes up the part and performs in on stage. This is because the actor's
choices -- how loud or softly he speaks his lines, whether he is moved to tears or not,
where he stands or sits on stage and in what proximity to the other characters in the
scene, etc. -- all of the actor's choices in combination with the lines that they speak
create the behaviour of the character.
One can evaluate how
"realistic" the lines that Shakespeare has written seem to be, but this shouldn't be
confused with evaluating the character's behaviour. This is one of the reasons why
reading a play can be a tricky thing to do. It is tempting to imagine that the text
itself is 100% of the play, but scripts aren't meant to provide the action of the
characters. The action, or behaviour, is chosen by the actors performing the play. And
this element, omitted when one simply reads the text, is crucial to a complete
understanding of any play.
Let's look at the text that
comes in response to the news of Macduff's family's murder. When, in Act IV, scene iii,
Ross begins to tell Macduff of the murders, Malcolm speaks to
Macduff:
Merciful
heaven!
What man! Ne'er pull your hat upon your
brows.
Give sorrow words. The greif that does not
speak
Whispers the o'er-fraught heart and bids it
break.
These lines are
significant, even though they are not spoken by Macduff. Shakespeare has done something
here he often does. He's given lines to one character that suggest the behaviour of
another. Malcolm cautions Macduff not to hide silently beneath his hat, but to speak
out his feelings.
Macduff, at first, has short, seemingly
unemotional responses:
My
children
too?
and
And
I must from thence.My wife kill'd
too?
But his emotions seem to
grow as the realization really takes hold:
. . .All my pretty
ones?
Did you say all? O, hell-kite!
All?
What, all my pretty chickens and their
dam
At one feel
swoop?
It is hard to know the
behaviour of Macduff during these lines, but the text indicates that he is having
trouble taking the news in, since he repeats the information as
questions.
All of this seems very realistic to me -- to
first be in such a state of shock that one cannot say a thing, and then to only be able
to question the information. Macduff speaks as a man who has received overwhelming news
and simply cannot take it in. He says to Malcolm that he must "feel it as a man," which
suggests that he cannot consider revenge until he has really taken in the enormity of
his loss. Shakespeare has created a very realistic sequence of text for Macduff, I
think, a sequence that displays the journey it must be to really take in being
blindsided by the news that one's entire family has been
murdered.
We'll consider the complex number put into the polar
form:
z = cos 20 + i*sin 20
(1)
We'll write the conjugate of
z:
z^-1 = cos 20 - i*sin
20
1/z = cos 20 - i*sin 20
(2)
We'll add (1) + (2):
z +
1/z = cos 20 + i*sin 20 + cos 20 - i*sin 20
We'll combine
and eliminate like terms:
z + 1/z = 2*cos
20
We'll multiply z by z:
(z^2
+ 1)/z = 2*cos 20
We'll use symmetric
property:
2*cos 20 = (z^2 +
1)/z
We'll divide by
2:
cos 20 = (z^2 + 1)/2z
(3)
cos 40 = cos 2*(20) = 2 (cos 20)^2 -
1
We'll substitute cos 20 by
(3):
cos 40 = 2 (z^2 + 1)^2/4z^2 -
1
cos 40 = (z^2 + 1)^2/2z^2 -
1
We'll raise to square the binomial z^2 +
1:
cos 40 = (z^4 + 2z^2 + 1)/2z^2 -
1
We'll multiply -1 by
2z^2:
cos 40 = (z^4 + 2z^2 + 1 -
2z^2)/2z^2
We'll eliminate like
terms:
cos 40 = (z^4 + 1)/2z^2
(4)
cos 80 = cos 2*(40) = 2 (cos 40)^2 - 1
(5)
We'll substitute (4) in
(5):
cos 80 = 2 (z^4 + 1)^2/4z^4 -
1
cos 80 = (z^4 + 1)^2/2z^4 -
1
We'll raise to square the binomial z^4 +
1:
cos 80 = (z^8 + 2z^4 + 1)/2z^4 -
1
We'll multiply -1 by
2z^4:
cos 80 = (z^8 + 2z^4 + 1 -
2z^4)/2z^4
We'll eliminate like
terms:
cos 80 = (z^8+
1)/2z^4
Now, we'll calculate the
product:
P = [(z^2 + 1)/2z]*[(z^4 + 1)/2z^2]*[(z^8+
1)/2z^4]
P = (z^2 + 1)*(z^4 + 1)*(z^8+
1)/8z^7
If z^2 + z + 1 = 0 and z^3 =
1
P = (-z)(-z^2)(-z)/8z
P =
-z/8z
P =
-1/8
Julia is not a spy. She repeatedly tells Winston in their
conversations in the apartment above the antique store that she doesn't care about
revolution or overthrowing the party. She is not an Inner Party member, or she wouldn't
be able to associate with Winston.
She is intrigued with
sex, with living her life for her own pleasure (fully knowing that if she is caught, it
could mean death for her and for her current partner), and with being smart enough to
engage in these activities without the Party's knowledge. She tells Winston that she
has had many partners, and some of them were with Inner Party members. This is one of
the reasons, Winston states, that he loves Julia so
much.
One wonders why Julia has been able to get along
with her activities secretly for so long. It is my contention that had she not
connected with Winston, she would still be at her extra curricular activities. Until
Winston, one can summise that Julia's partners were like she is...not looking to
overthrow the Party, but seeking sexual partners only for the pleasure, adventure,
and thrill it provides. When she finds Winston (who openly hates the Party and
envisions its downfall), they both are captured and sent to the horrors of The Ministry
of Love and Room 101.
Let the amount of loan be P, and the rate of interest be
at r%, and the amount of repayment A in n years.
Then
after the 1st year P becomes (1+r/100)*P and we repay an amount
A.
So the next year this balance of (1+r/100)P-A) grows
with interest ((1+r/100)P-A)(1+r/100) and we repay A and the balance for for the 3rd
year = (1+r/100)^2*P - A(1+r/100) - A. In this way at the end of n th year the position
is :
(1+r/100)^n P - A{(1+r/100)^(n-1)+(1+r/100)(n-2)
+..+(1+r/100) + 1} which should be zero.
Or (1+r/100)^nP =
A{(1+r/100)^(n -1}/{1+r/100 -1}.
Solving for A , we
get:
A = (1+r/100)^n*p}(r/100)/ {1+r/100)^n
-1}...(1)
We know P= $100000,n = 10 years and r = 10%=
10/100. So, 1+10/100 = 1.1
Therefore, A =
{1.1^10*10^5}(0.1)/{1.1^10-1}
A = $16274.54 (approximated
to two decimals).
Therefore , in order to settle the loan
of $100000 in 10 years, we have to make the annual repayment of
$16274.54.
John Donne’s poem “A Hymn to God the Father” is typical of
his religious poetry in many ways. For instance, the speaker directly addresses God. In
addition, the speaker expresses a deep sense of his own sinfulness. Furthermore, the
speaker shows his recognition that his only hope for salvation is God’s grace, which can
only be attained as a gift freely given by God, not earned by the speaker. All of these
ideas and techniques also appear in Donne’s Holy
Sonnets.
In the first stanza, the speaker asks
God whether He will forgive the speaker’s very first sin – a sin the speaker claims as
his own even though it was committed by many people before him (1-2). These lines also
allude, of course, to the standard Christian concept of original sin – the sin committed
by Adam and Eve in the Garden of Eden, a sin that tainted all their descendants. In the
next two lines, the speaker asks whether God will forgive the sins the speaker
continually commits, even though he continues to “deplore” them? When God has “done”
(that is finished) forgiving those sins, he still has “not done” (that is, not finished,
although the phrase also wittily suggests that God still does not have John Donne, the
sinner). After all, in line 6 the speaker admits that he still has “more” sins for God
to forgive.
In the second stanza, the pattern established
in stanza one is repeated. The speaker asks God if God will forgive the sin(s) the
speaker has committed that have led “Others to sin” (8), so that he has opened the door
for them to sin. In lines 9-10, the speaker asks whether God
will
. . .
forgive that sin which I did shunA year or two but
wallowed in a score . . .
In
other words, will God forgive the sin the speaker rejected for a while even though he
had “wallowed in” that sin, like a pig in mud, for twenty years? Lines 11-12 repeat
exactly the phrasing found in lines 5-6, as if to suggest that the speaker has an almost
limitless number of sins for God to forgive.
In stanza
three, however, both the method and the tone of the poem significantly change. Here,
rather than asking questions, the speaker makes a declaration: he is guilty of the “sin
of fear” (13). In other words, he worries that when he reaches the point of death (when
he has spun” his last thread [13-14]) he will die, spiritually, before being forgiven of
all his transgressions.
In lines 15-16, the speaker begs
God to
Swear
by thy self, that at my death thy SonShall shine as he
shines now and heretofore . . .
(15-16)
Here Donne uses the
standard Christian pun on Son/sun, while the repetition of “shine”/“shines” in a single
line mimics the very kind of continued light the speaker
seeks.
If God is willing to swear that Christ will assist
the speaker in his hour of need, then God “hast done” (17): that is, he is finally
finished dealing with Donne’s sins, and He also has John Donne as well, since Donne now
“fear[s] no more” (18).
In Thomas Auld, Douglass is able to establish one of his
fundamental premises about religion and slavery. Auld represents the difference between
"Christianity of Christ" and "Christianity of this land." In this light, Douglass goes
out to demonstrate that there is a "false Christianity" that allows slavery to exist in
America. Douglass' argument is that if individuals, such as Auld, believed in
Christianity, there could be no way that slavery could continue. When Auld recites
passages from the Bible as he is whipping a young woman, Douglass fully understands this
nature of "true" versus "false" Christianity. In this light, Auld, and other
slaveowners, have to be seen in one of two ways. Either slavery has choked the
spiritual life out of them that they cannot fully understand that what they are doing in
being active participants in slavery is against Christianity. The other side would be
more insidious in suggesting that Christianity was a religion that slaveowners used to
justify or to hide their immoral and evil practices. When Douglass argues that the
"church bell" is no different than the "slave auctioneer's," we have a good idea as to
which side Douglass advocates. Auld's corruption is aided by Christianity which he uses
as a way to maintain control in the name of a higher power. Auld's refusal to
acknowledge the full nature of how Christianity would deem what he is doing as wrong is
a stinging contradiction that Douglass uses to demand to the reader and to America, as a
whole, to ensure that there is consistency between what is practiced and what is
believed.
Key to thinking about the answer to this question is the
motivation of the king's daughter. We are given key clues that help us identify more
about the kind of person she is and based on that we are able to make inferences based
on how she would decide the fate of her lover. Another thing to consider is how the
author of this excellent tale gives us enough evidence to support both choices without
indicating that one would be more unlikely than the other. Consider how he does
this:
How
often, in her waking hours and in her dreams, had she started in wild horror, and
covered her face with her hands as she thought of her lover opening the door
on the other side of which waited the cruel fangs of the
tiger!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!
Both options are shown
to be equally terrible to the princess, and so when we consider which she chose for her
lover, we are left confused and unsure - evidence is provided to suggest that both are
possible. How you decide to answer the question will probably say more about you than it
will the story, for it is a masterful example of ambiguity.
The poem develops from images of late afternoon to those
of night. The sunlight shines through “chinks” in the barn walls, moving upward on bales
of hay as sunset develops. The cricket takes up its chattering song, and the fox returns
“to its sandy den.” The images are connected by the time sequence of day to night and
also by the references to the regularity of human activity, including the implication in
the last stanza that death, too, is as natural as the setting of the sun. The quotation
of John 13:18 leads naturally to the double meaning of the final repetition of the
phrase “let evening come,” and we recognize that evening will come to end breath and
life just as it comes to end each day. There is a regularity about the poem that
suggests acceptance and affirmation.
Homer Barron, the first real beau of Emily Grierson, stuck
out "like a sore thumb" in the town of Jefferson for many different
reasons:
First, he was a Northerner, which was reason
enough for the deep Southerner Jeffersonians to dislike him. To top it all, he was quite
charismatic, loud, brash, and rogue. He spoke his mind and did not care about the
mannerisms and propriety expected from people in the
South.
Second, he liked his drink. He would drink with
younger men in the Elk club.
Finally, let's face it: What
is HE doing with Emily, the town's oldest vestige and a woman whose last name makes the
old folk shudder due to its history and formerly aristocratic origins. This alone was
reason enough to consider him a bit weird.
We'll solve the equation using Lagrange's theorem on the
following intervals, [3,4] and [5,6] for the function
f(x):
f(x)=a^x
Before using
the theorem, we'll re-write the equality in this
manner:
6^x-5^x=4^x-3^x
According
to Lagrange's theorem, there is a value c, in the interval (5,6) and a value d, in
the interval (3,4), so
that:
6^x-5^x=f'(c)(6-5)
4^x-3^x=f'(d)(4-3)
Note
that we'll calculate the first derivative having as variable c, respectively d, so,
we'll differentiate a power function and not an exponential
function.
f'(c)=xc^(x-1)
(1)
f'(d)=xd^(x-1)
(2)
6^x-5^x=4^x-3^x
We'll
substitute both sides of equality by (1) and
(2)
f'(c)(6-5)=f'(d)(4-3)
We'll
remove the
brackets:
f'(c)=f'(d)
xc^(x-1)=
xd^(x-1)
We'll divide by x both
sides:
c^(x-1)=
d^(x-1)
x=0
or
x=1
It seems as if the French speaking contingent in Quebec has been
interested in national self determination. I would examine the two referendums that had been put
up for national election in 1982 and 1995. Examining these referendums and what the body politic
felt on the issue might be interesting to study to see what events helped to determine the body
politic's view on self- determination. The 1995 referendum failed by a very small margin. It
might be interesting to see why there was such a strong contesting of the issue. Examination on
this level might allow a better understanding of the significant issues and events related to the
topic, why people voted the way they did, and how the referendum voting broke down on such a
small and minuscule margin.
The reason for this is that lenders want to get back an amount
of money that is at least as valuable as what they originally lent, plus something extra to
compensate them for lending. If the interest rate is not high enough, the money that they get
when the loan comes due will not be worth that much.
Think about it
this way. If someone lends $100 at 5% interest for one year, they will get $105 at the end of the
year. But what if the rate of inflation is 7%? To get money that's as valuable as the $100 that
they lent, they would have to get back $107. If they only charge 5% and get back $105, they are
actually losing value because they lent the money.
For this reason,
the higher the rate of inflation goes, the higher interest rates go. If interest rates did not go
up, lenders might actually lose money (in real terms) when they lend.
Fats are made of fatty acids and glycerol which combine
with a dehydration reaction. Fats are differentiated by the fatty acid that is present
in them. Fatty acids are formed of the elements carbon, hydrogen and oxygen and are
linked together to form a carbon chain. At the end of each carbon chain is a carboxyl
group (-COOH).
Fats are divided into various categories
based on the number of bonds that the carbon atoms in the fatty acids have, saturated
fatty acids have all the hydrogen atoms that the carbon atoms can hold and no double
bonds between the carbon atoms. Fatty acids which have only one double bond are called
monounsaturated and those which have more than one double bond are called
polyunsaturated fatty acids.
To Scout, Dill meant summertime. She looked forward to him
being there to play with, and to be her fiancee'. On page 117, Scout narrates to the
reading audience:
I received a letter and a snapshot from him. The
letter said he had a new father whose picture was enclosed, and he would have to stay in
Meridian because they planned to build a fishing boat. His father was a lawyer like
Atticus, only much younger. Dill’s new father had a pleasant face, which made me glad
Dill had captured him, but I was crushed. Dill concluded by saying he would love me
forever and not to worry, he would come get me and marry me as soon as he got enough
money together, so please
write.
Remember, Scout is a
narrator that is very young and Dill is a kid that lies. These contents of his letter
make Scout feel like there are reasons that he isn't coming. From what we as readers
know about him, we can see that he moves from relative to relative, so we can't always
believe what we hear.
You have picked two excellent poems to compare and
contrast! Unfortunately your original question asked more than one question, so I have
had to edit it to just focus on the similarities between these two
poems.
Both of these poems are carefully built around
paradox. "Water, is taught by thirst" contains many paradoxes as Dickinson seems to be
pointing towards the paradoxical nature of so many aspects of
life:
Water,
is taught by thirst.Land -- by the Oceans
passed.Transport -- by throe
--Peace -- by its battles told
--Love, by Memorial Mold
--Birds, by the
Snow.
Note how this list
shows how concrete nouns are defined often by their negatives - peace is defined by "its
battled told", for example. In the same way, in "Success is counted sweetest" the whole
poem is built around the fact that it is only those who "ne'er succeed" who can fully
understand success and count it "sweet." She offers us a scenario of a victorious army,
none of whom, we are assured, can understand the "definition / So clear of victory" as
the dying soldier who in his last moments hears the triumphant noises of the opposing
forces.
One of the remarkable aspects of Dickinson's poetry
is that she forces us to see concepts and ideas in completely different ways and often
uses paradoxes to present them and really make us think about the nature of such things
as "success."
There are several examples of "guilt by association" in
Act Three of The Crucible. The first comes when Proctor and his
friends present a petition to the courts, where close to one hundred townspeople signed
their names, asserting that the arrested women were not witches, but instead righteous,
god-fearing people. The courts, instead of being impressed that so many people were
willing to testify to the good nature of the accused, instead assume that they must also
be guilty and covering for the witches. They think it is some sort of scheme to get the
guilty women out of jail and back causing havoc in the town. So, they arrest all of the
people that signed the petition.
The second example is the
unnamed witness that declares he heard Thomas Putnam say that he had prompted his
daughter to accuse a man of being a witch, simply so that he could buy up that man's
land. Instead of believing the witness's testimony, they assume that the man is lying,
and that he too should be questioned. To top it all off, Giles Corey, who presents the
information, is arrested too, merely for relaying the
information.
So, those are a couple blatant examples from
Act Two where innocents are assumed guilty simply because they associate and defend the
women and men who have been arrested. It is pretty sad. In these cases, none of the
accusations of guilt were valid or true. Now, if Giles Corey had been at the same party
where a bunch of witches had been performing spells, then maybe the entire "guilt by
association" theory would hold some credit, but in this case, there was no proof or
logical attachment to the actual guilty parties.
That can
help to get you started; good luck!
Right in the first four paragraphs of the story is the
answer to your question. It is the fact that:
Marley was dead.. . .Old Marley was as dead as a
door-nail.. . .There is no doubt that Marley was dead. This must be distinctly
understood, or nothing wonderful can come of the story I am going to
relate.
Dickens stresses that
this must be understood just as, in the play Hamlet, it must be
understood that Hamlet's father is dead. The appearance of a ghost who relays what life
is like "on the other side," makes its appearance and subsequent request of the living
person (be it Hamlet or Scrooge), and this appearance is a life-changing
event.
Marley's Ghost will come from beyond the grave to
warn Scrooge of the terrible torments that await him if he does not mend his ways. He
will send three Spirits to assist Scrooge in understanding why and how to change.
Scrooge must believe all of these things if he is to save his own soul before it is too
late.
So, Dickens wants to assure the audience that it is
their ability (and Scrooge's) to believe in Marley's Ghost that creates the environment
for his (and the audience's?) amazing change of heart.
To add to cidbently's excellent answer, it might be
helpful to define allegory as a story that uses symbols to tell simultaneously a more
general (symbolic) story. We use allegories and symbols all the
time.
Parables and fables are short allegories, for
example. Think about the story of the prodigal son from the bible or the story of the
fox and the sour grapes from classical collections of fables. When people today say
"killed the fatted calf" or "sour grapes," they're thinking of these stories, but
they're remembering them not just on the literal level (the level of the actual story)
but also on the symbolic level (where "sour grapes," for example, means something like
"pretending to yourself and others that you do not want now what you wanted just a short
time ago because you couldn't get it").
Not all stories
that use symbols are allegories, of course, and allegories are often viewed critically
today. They're often seen as simplistic or moralistic by many modern readers, probably
because allegories have a long history of being used for didactic purposes (e.g. see
Plato's allegory of the cave in addition to the parables and fables referenced
above).
To calculate the value of the first derivative in a given
point, h = 0, we'll have to apply the limit of the
ratio:
limit [f(x+h)-f(x)]/h, when h tends to
0.
We'll calculate the value of f(x+h) and we'll substitute
f(x+h):
f(x+h) = f(x+0) =
f(x)
The limit will
become:
limit [f(x+h)-f(x)]/h = limit [f(x)-f(x)]/h , h
-> 0
limit [f(x)-f(x)]/h = 0/0
indetermination case
We'll apply L'Hospital
rule. We'll differentiate separately both numerator and denominator, with respect to
x.
[f(x)-f(x)]' = f'(x) -
f'(x)
f'(x) =
[sqrt(x-1)]'
f'(x) =
(x-1)'/ 2sqrt(x-1)
f'(x) =
1/2sqrt(x-1)
f'(x) - f'(x) = 1/2sqrt(x-1) - 1/2sqrt(x-1) =
0
We'll differentiate the denominator h(x) =
(x-0)
h'(x) = x'
h'(x) =
1
limit [f(x)-f(x)]'/h'(x) =
0/1
limit [f(x+h)-f(x)]'/h'(x) =
0
The statement "Pre-shipment finance is not provided by the
commercial banks." is false.
Pre-shipment finance is also called
"packing credit" and is provided by commercial banks to exporters. When goods are being
manufactured for export, an agreement is created between the exporter and the intended buyer for
whom the goods are meant. The buyer receives payment on delivery of the
goods.
As the process here is quite simple and there is a definite
buyer for the goods that are produced with whom an agreement has already been created, there is
not much of a risk for the bank to extend credit to the
manufacturer.
The credit allows the manufacturer to complete his
side of the work and deliver the goods. As soon as payment is received the amount borrowed is
paid back to the bank which lent the money.
I believe the answer to that question lies in the fact
that mosses and liverworts have an entirely difference composition and
makeup.
These types of plants lack the usual
characteristics of other woody or flowering plants. They lack stems, deeply lobed or
segmented leaves, a vascular system, ovules, and seeds. Instead, they reproduce by
means of small spores. The spores send out filaments which grow into a matted,
clump-like carpet similar to thin, green felt. The mat eventually produces specialized
cells that form distinctive male and female parts. You can observe these as little
antenna-like projections rising above the clump or mat. A full reproductive cycle will
produce more spores, which in turn propagate the
species.
Most mosses rely on the wind to disperse their
spores, but some species produce special leaves and branches, which when broken off, can
reproduce with being fertilized.
Mosses can live on rocks, trees, wood, and by
the sides of streams. Wherever they occur, mosses require moisture to survive because
of the small size and thinness of tissues, lack of cuticle (waxy covering to prevent
water loss), and the need for liquid water to complete fertilization. Some mosses can
survive dessication, returning to life within a few hours of
rehydration.
This, then, is
the foremost reason why it is restricted in size and habitat.
PIP
In Stage One of
Great Expectations, Pip attends evening school in the village where
Biddy teaches him to write his letters. Upon returning home, Pip writes upon his slate,
handing it to Joe, who compliments Pip as "a scholar." Joe confesses to Pip that he has
never learned to read as he was forced to work to support his father and him. He tells
Pip the history of his having met Mrs. Joe, speaking kindly of her, and his having said
to include "the poor little child" in their family, Pip feels "a new admiration" for
Joe:
I had a
new sensation of feeling conscious that I was looking up to Joe in my
heart.
This admiration for
Joe wans after Pip has gone to Satis House to play with Estella, who ridicules him for
being "coarse and common":
They [his hands and his boots] had never
troubled me before, but they troubled me now. I determined to ask Joe why he had taught
me to call those picture card jacks, which ought to be called knaves. I wished Joe had
been rather more genteelly brought up, and then I should have been so,
too.
After he returns home
and goes to his little room, Pip reflects,
That was a memorable day to me, for made great
changes in me. But it is the same with any life. Imagine one selected day struck out
of it, and think how different its course would have been....think for a moment of the
long chain of iron or gold, of thorns or flowers, that would never have bound you, but
for the formation of the first link on one memorable
day.
Then, on the day that he
is apprenticed to Joe, Pip remarks,
It is a most miserable thing to feel ashamed of
hom....I had beleived in the kitchen as a chaste though not magnificent apartment; I had
believed in the forge as the glowing road to manhood and independence. Within a single
year all this was changed. Now, it was all coarse and common, and I would not have had
Miss Havisham and Estella see it on any
account.
While he is in
London, Joe visits, but Pip is ashamed of him and embarrassed before Herbert. So, Joe
departs; Pip recovers from his haughty behavior and hurries to ask forgiveness, but Joe
is gone, and Pip realizes,
I had not been mistaken in my fancy that there
was a simple dignity in
him.
Finally, Pip changes in
his attitude toward Magwitch from having been repulsed by him, to loving him. As
Magwitch/Provis lies dying, Pip thinks,
It was a good thing that he had touched this
point....he need never know how his hopes of enriching me had
perished.
And, he returns to
his loving attitude toward Joe, who nurses him after he is burned. Pip returns to the
forge and begs forgiveness:
"Oh, Joe, you break my heart! Look angry at me,
Joe...Tell me of my ingratitude. Don't be so good to
me!"
Pip also realizes that
he owes much to Herbert's "cheerful industry and
reddiness:
...I often wondered how I had conceived that old
idea of his inaptitude, until I was one day enlightened by the reflection that perhaps
the inaptitude had never been in him at all, but had been in
me.
MISS
HAVISHAM
Miss Havisham, who seeks revenge
upon the male gender for her personal rejection, finally begs Pip to forgive her for the
cruel treatment dealt him by her protege Estella. She tells
Pip,
"If you
can ever write....'I forgie her,'....I want forgiveness....What have I
done!....
Pip observes,
"There was an earnest womanly compassion for me in her new
affection."
ESTELLA
In
their final meeting, Estella asks Pip,
"...If you could say that [God bless you] to me
then, you will not hesitate to say that to me now--now, when suffering has been stronger
than all other teaching, and has taught me to understand what your heart used to be. I
have been bent and broken, but-I hope-into a better shape. Be as considerate and good
to me as you were, and tell me we are
friends."
In Paulo Coelho's The Alchemist,
Santiago is a young man who notices a great deal, who doesn't easily give up and who is
open to learning new things.
In the story, Santiago pays a
great deal of attention to his sheep. He has learned where to graze them and when to
move them. He is aware of how to keep them safe and where best to shelter them from
weather or predators. He knows his sheep well, he cares for them and they trust
him.
When Melchizedek encourages Santiago to pay attention
to omens, Santiago realizes that this is something he has already been doing, based on
advice given to him by his grandfather.
He remembered something his grandfather had once
told him: that butterflies were a good
omen.
In the same way,
Santiago will see the hawks fighting over the oasis and be able to convey the message
that soldiers are coming to attack the oasis—simply by reading the universal language of
the desert.
When Santiago is robbed, like a child who has
been hurt, he wants to run away and go home. However, he has no money so he is forced to
take a job and wait until the money is made. During this time, the boy has a great deal
of time to consider his options, and he learns from the crystal merchant for whom he
works.
...people were passing my shop all the time,
heading for Mecca. Some of them were rich pilgrims, traveling in caravans with servants
and camels, but most of the people making the pilgrimage were poorer than I...All who
went there were happy at having done
so.
Santiago takes this story
to heart and realizes that he does not want to turn around. He
takes his money and signs on with a caravan which will make the long and dangerous
journey across the desert to the oasis.
And Santiago is
open to learning new things. He reads the Englishman's books in order to better
understand the world: specifically, alchemy. He watches signs in the desert, looking for
omens and discovering that he can speak the universal language. He allows himself to
learn at the side of the alchemist, and accomplishes things he never thought himself
capable of.
All of these characteristics are inspiring: we
should all learn to watch things happening all around us; it is important to set goals
and stick to them; and, it is paramount to never stop learning, and to never believe
that learning takes place only in a classroom or by reading a book.
These examples reflect worthwhile characteristics.
It is clear that the major threat to the Sniper's life in
this short story as we are presented with it is the threat of the other unknown sniper
who is on the roof opposite where he is based. Note how the Sniper discovers the
existence of his enemy. The Sniper shoots the informer and the solder in the tank and
then suddenly, he is shot at himself:
Suddenly from the opposite roof a shot rang out
and the sniper dropped his rifle with a
curse.
The Sniper has just
revealed his position to his enemy who has now shot him and successfully managed to
wound him. Of course, the rest of the story tells us how this external conflict is
resolved as these two snipers duel in a battle of wits for their
lives.
Well, you have certainly put lots of thought into this! I like
your idea, but I am not entirely convinced that this story is a critique of Romanticism by making
"the woods" a dangerous place as opposed to the healing place that Romantics would consider it to
be. Key to realise about Hawthorne's style is that he writes allegorically very well, and it is
obvious that in this tale there are major allegorical references. Just consider some of the
names, for instance - Young Goodman Brown seems to be a kind of "Everyman" figure, representative
of humans who want one last "fling" with evil before being good and focussing on their faith and
religion. Note that he is married to "Faith," whose name tells us what she represents. Key to
this allegorical explanation is the fact that it is Faith that tries to argue with Goodman Brown
at the beginning of the play and asks him to not go out that night. As he leaves, Goodman Brown
reflects that he is a "wretch" to leave her behind, and says that after this one night he will
stick to her and allow her goodness to carry him to heaven:
Well, she's a blessed angel on earth; and after this one
night I'll cling to her skirts and follow her to
heaven.
This clearly establishes the
allegorical function of Faith.
Therefore you might find it more
fruitful to try and expand this analysis of this story as an allegory, thinking about what
Hawthorne is trying to say through it. Good luck!
Some people say that the physical appearances differ
according to the place people were born in. Take people who live in Africa,for example.
In fact, they are deeply impressed by their countries. This is why some of the are black
and look srict. On the contrary, if study the people living in Europe, you may find lots
who are calm due to the fact that they live in cold
places.
Moreover, people are impressed by the food they
eat. Those who are vegetarians differ from those who like eating meat. Therefore, their
mood and nature are highly impressed by their meals. Some beleive that vegetarians are
simpler and kinder.
Furthermore, the job one has can effect
his mood and nature. Dealing with people who work in mines is totally different from
dealing with people working in hospitals or airports. This means that it is important to
choose the right job because it affects your personality and the way you
behave.
When you consider that the society of the play is composed of
four miserable people who have little hope for a reprieve from the misery, it becomes clear that
Beckett is exploring the theme of disillusionment and its affect on the individual. We have
absolutely no idea what has happened before the play opens, but quickly learn that Vladimir and
Estragon live the bleakest of existences and don't even seem to have the energy to complain about
it too much. They are homeless and starving, forced to sleep in ditches and steal the meager
amount of bad vegetables they can carry in their pockets -- radishes and turnips that they eat
raw. They get beat up by unknown others at night. They can barely remember who they are, where
they are, what day it is, or any significant elements of their lives. The one positive thing they
hold on to is the fact that they remember they are waiting for Godot. They hope that Godot will
tell them what to do; they are waiting for direction. But even on that note, Vladimir has a more
confidence than Estragon that Godot is going to actually show up. Estragon even forgets about
Godot a good number of times in through the play. The two men contemplate suicide, but don't act
on the idea. They seem, to me, almost beyond disillusioned. They aren't angry at their situation;
they don't cry about their situation; they don't recall the 'good old days' and question what
happened. Instead, they just talk to fill the time, try to fix their boots or hat, and try to
remember Godot. They are completely complacent.
The only other
significant characters are Pozzo and Lucky. Lucky is treated like a beast of burden with a rope
around his neck while he carries all of Pozzo's belongings. Pozzo and Lucky, like Vladimir and
Estragon, seem to completely accept the status of things and act as if this kind of human slave
situation is normal. Pozzo too questions nothing. We know little of his background except that he
has access to better food and a human slave. Beyond that, nothing. He doesn't question his
situation either. He too seems beyond disillusioned. Lucky can't even speak in intelligible
thoughts, so he is clearly beyond disillusionment, lost in his half-human world where he
mindlessly obeys orders.
All of these characters spend their time in
the play passing the time and waiting for the next thing to happen. They don't take any
meaningful actions for themselves as individuals. They don't make any choices which could change
their lives. Lucky and Pozzo disappear from the scene, and Vladimir and Estragon just stand
around waiting for Godot.
I think this is a very interesting theme to explore. However,
the best arguments are ones that look at both sides, especially arguments against what you are
trying to show. Therefore, you will want to think through the following aspects of the story. I
agree that perseverance is shown in particular with the incident with the pendulum, however how
can we argue that the narrator shows perseverance when he is exploring the cell he is in and
literally stumbles across the pit? There appears to be more luck in this incident of survival
than anything else. You could likewise argue that he survives the pendulum only because of a
blind response to a terrifying fear.
However, the oppositie of this
would be the calculated way in which the protagonist seems determined to survive. He explores his
cell scientifically, and then carefully constructs a plan to free himself from the
pendulum:
Nor had I
erred in my calculations--nor had I endured in vain. I at length felt that I was
free.
Such quotes, referring to the
"calculations" of the protagonist, suggest that perseverance is indeed a very evident theme of
this great short story.
I have never quite viewed this gem of a poem quite like
others. It seems there is more in what is unstated than in what is given in the 16
lines E.A. Robinson chooses to give.
Interestingly enough,
the reader knows very little about Richard Cory except what the townspeople see. There
is no evidence that he is warm and kindly to the townspeople. Yet to them, he is a
"gentleman from sole to crown," and he is physically appealing as well; the narrator
tells the reader he is "Clean favored, and imperially slim." That first verse says
nothing about goodness or kindness. There is no hint that he has any friends. He is
simply observed by others. Preceding verses never mention any social relationships
either.
He is friendly enough when he says "good morning,"
and he "glittered when he walked," but one presumes he walks
alone.
But what the townspeople really envy is his wealth,
"yes, he was richer than a king," which made people "wish that [they] were in his
place."
In the final stanza, poor, lonely Richard Cory
"Went home and put a bullet through his brain." The townspeople were not mistaken about
Richard Cory. Everything they saw was right. But it is what they didn't see. There is
clearly an emptiness, a loneliness, an alienation about the descriptions of the man.
E.A. Robinson tells more about Richard Cory with what he leaves out of the poem than
what he includes.
Sadly, the townspeople fail to view their
own lives as having value because they lacked what Richard Cory had in his life. Maybe
with his death, the townspeople will realize they are mistaken about their own lives.
Nobody in that town knew Richard Cory, and Richard Cory knew none of the
townspeople.
One can presume, therefore, that the poem is a
scathing satire on the idea that wealth and good breeding can bring joy and purpose to
one's life, and that lack of "meat" and the struggle to earn "bread" (money?) may not
suggest an empty life. Economics may have little to do with a satisfying
existence.
Before calculating the product
f(5)*f(6)*f(7)*f(8)*f(9)*f(10)=7, we'll try to simplify the ratio
(x^2+x-12)/(x^2-16).
We notice that the denominator is a
difference of squares so we'll re-write it as a
product:
a^2 - b^2 =
(a-b)(a+b)
We'll put a^2 = x^2 and b^2 =
16
x^2 - 16 = (x-4)(x+4)
Now,
we'll try to factorize the numerator. For this reason, we'll compute the roots of the
expression x^2+x-12.
x^2+x-12 =
0
We'll apply the quadratic
formula:
x1 = [-1 + sqrt(1 +
48)]/2
x1 = (-1+7)/2
x1 =
3
x2 = (-1-7)/2
x2 =
-4
Now, we'll factorize the
expression:
x^2+x-12 =
(x-x1)(x-x2)
We'll substitute x1 and
x2:
x^2+x-12 = (x-3)(x+4)
Now,
we'll re-write f(x):
f(x) =
(x-3)(x+4)/(x-4)(x+4)
We'll simplify and we'll
have:
f(x) = (x-3)/(x-4)
Now,
we'll plug in values for x:
x = 5 => f(5) =
(5-3)/(5-4)
f(5) =
2/1
x = 6 => f(6) =
(6-3)/(6-4)
f(6) =
3/2
x = 7 => f(7) =
(7-3)/(7-4)
f(7) =
4/3
x = 8 => f(8) =
(8-3)/(8-4)
f(8) =
5/4
x = 9 => f(9) =
(9-3)/(9-4)
f(9) =
6/5
x = 10 => f(10) =
(10-3)/(10-4)
f(10) =
7/6
Now, we'll calculate the
product:
f(5)*f(6)*f(7)*f(8)*f(9)*f(10)=(2/1)(3/2)(4/3)(5/4)(6/5)(7/6)
We'll simplify
like terms and we'll get:
f(5)*f(6)*f(7)*f(8)*f(9)*f(10) =
7/1
f(5)*f(6)*f(7)*f(8)*f(9)*f(10) =
7
Google’s process for capturing customer information is
unique because unlike traditional data collection techniques it does not rely on direct
customer input. Traditional techniques rely on the customer entering their information
which is subsequently stored in a database for later use. Google on the other hand uses
a complex set of algorithms and data collection “bots” that can track a user’s general
internet activity. Anytime you log onto your Gmail (Google mail) or search the web,
Google is able to track and aggregate your searches. Complex algorithms crunch this
information and are able to discern, approximate and predict habits based on user
activity. This helps Google tailor their products to better meet consumer needs and
requirement and keep them in tune with customer behavior.
The word Kosher refers to a designation on processed foods
and meats that shows it was prepared in such a way that it is allowable for those of the
Jewish faith. Cloven-hoofed animals such as sheep, cows and goats are considered Kosher
according to the Torah (first five books of the Old Testament) It is a specific process,
and where meat is concerned, it means that the animal was slaughtered in a certain way,
contains no pork or pork products, and the process of preparation for sale and
consumption has been approved and witnessed by a
Rabbi.
Usually Kosher meats are prepared in smaller amounts
than wholesale slaughterhouses. There are strict guidelines for slaughtering called
"shechita", and the most important of these is that the animal is killed without pain.
Canned and packaged food in the grocery store that is Kosher is usually marked with a
small "K" with a circle around it.
I think that there are several areas to which one can
point. The idea that both settings are different worlds could be one staring point.
The worlds of both are different from modern reality and comparing their settings would
be a strong place within which to begin. There are definite evil figures in both.
Prince Humperdinck in Goldman's work and the Queen of Hearts in Caroll's might also be
good points of comparison in how they endanger the protagonists with their rules and
orders that seek to enhance their power, while taking others' away. I would probably
focus on the notion of the quest of Alice and Buttercup/ Westley and examine how they
are similar. Both characters are ordinary people thrust into extraordinary conditions
the quest makes them almost superhuman in what they have to endure. Finally, I think
that the characters that are met along the way of their quests might be another good
point of analysis. The side characters in both Goldman's work and Carroll's help to
bring out the unique nature of the protagonists' quests.
"Narrative discourse" is a
definitive term within the discipline of linguistics in the field of narratology.
Narrative discourse is a type of discourse in the category of href="http://www.sil.org/linguistics/GlossaryOfLinguisticTerms/WhatIsPragmatics.htm">pragmatics
(as opposed to semantics) and has specific defining features. Firstly, as a type of
discourse in pragmatics, a speaker and an
addressee are both participating in a context of
utterance so that the speaker makes expression
choices and the addressee makes interpretive
choices based on generally observed
principles and in accord with the goal of
the speaker (not the intention of the addressee).
Secondly,
a href="http://www.sil.org/linguistics/GlossaryOfLinguisticTerms/WhatIsADiscourse.htm">discourse
is defined by lexical and grammatical features that
emphasize main material of expression (as opposed to
emphasis on supportive material); have a theme to develop;
have a recognizable style; and present a main
framework within which the addressee interprets
knowledge and expectations expressed by the speaker.
Narrative discourse is but one kind of discourse; a few others are repartee discourse,
compound discourse, and expository discourse.
Thirdly,
because of its categorization in pragmatics as one type of discourse,
href="http://www.sil.org/linguistics/GlossaryOfLinguisticTerms/WhatIsANarrativeDiscourse.htm">narrative
discourse has defining characteristics. These structural
characteristics are as follow. A narrative discourse provides an account
of events (usually past events), organized
chronologically, with one event contingent upon, or
happening because of, a preceding event or events. Lexical
choices are verbs of action, speech and
motion that describe the series of contingent events as told by the
speaker from a first or third person point of view. The
content and context of narrative discourse is oriented around one or more
agents who are the performers of
actions.
The well known
component parts of a narrative discourse are the exposition
or setting; the inciting moment; the developing conflict; the climax; the denouement;
the final suspense; and the conclusion, or resolution. Some
examples of narrative discourse are historical events,
personal events, folk tales, mythology. [Further information is available via the
hyperlinks from the Glossary of Linguistic Terms (LinguaLinks Library), from which this
answer was drawn, available through SIL International.]
A .5mm mechanical pencil lead WILL emit light when enough
electrical current is passed through it. I, persoanlly, have tried 5-7 C batteries and it works
just fine. It burns quickly and the longer you leave the connection running the brighter it gets,
until it burns out, severing the circuit. I have also used a .9mm mechanical pencil lead and
10-12 C batteries. The .9mm mechanical pencil lead became red hot and glowed, but never became
hot enough to emit a white
light.
Thanks,
Jeff
Stephens
Senior Vice President - Phi Theta Kappa AZM
Lead is a
present tense verb and it means to guide or direct in a course of
action. Leading is the gerund of that verb, which
essentially acts like a noun in a sentence when combined with "is" or "am." Example: I
am leading a group of scouts on a hike. "Leading" here is an action but when combined
with "is" you should think of it more like an "activity." What are you doing?
Leading. Leadership is a noun. It is the
quality or characteristic of being able to
lead, or the capacity to do so.
This is an excellent question because through it you are
identifying how Miller has created a separate father-son relationship to act as a foil for the
relationship between Willy and Biff. In a sense, Bernard and Biff's relationship parallels
Charley and Willy's relationship. Bernard helps Biff academically with his Maths, as his father
helps or tries to help Willy financially, by giving him money and then offering him a job. Both
Bernard and Charley try to make Biff and Willy respectively face the realities of life. Bernard
is always encouraging Biff to study harder and plays almost a father-like role, telling him he
shouldn't drive without a license. Equally, Charley tries to get Willy to face the realities of
working life. Ironically, in spite of the way that Willy talks about Charley and Bernard, because
of their "unmasculine" traits, it is Charley and Bernard that are the success stories, with
Bernard becoming an incredibly successful lawyer.
Another central
difference that is reinforced through the comparison of these two father-son relationships is how
Charley never dwells on misfortune - he is a very down-to-earth and decent individual who is
intensely realistic and practical. Willy, on the other hand, is always talking about what could
have been rather than facing the reality of what has actually happened. According to Charley, he
owes his success to the fact that "I never took any interest in anything." Bernard and Charley
both fail to understand the importance of dreams to Biff and Willy and how their dreams sustain
them and give them hope. Unfortunately, it is only Biff who at the end of the play is forced to
become more like Bernard and face reality for what it is, rather than living a life deferred
waiting for dreams to become substantial.
RGB and CMYK are two formats for creating colors. RGB is
used for color creation on the screen. It has three basic colors, red, green and blue.
The LEDs on the screen light up according to the color that has to be created. In case
no LED is on the color is black. RGB is called additive as the change in color is due to
the lighting up of LEDs
In case of printing of paper, the
medium is black in color, CMYK or Cyan, Magenta, Yellow, Key or black is used to create
colors on paper. CMYK is called subtractive, as when color is added, the brightness from
the paper is reduced. Here there is a special ink for black because using the other
three colors together to create black is a waste of
ink.
Understanding the difference between RGB and CMYK is
important if you want to print something and achieve colors as close as what you want
without wasting resources.
If a line is said to be perpendicular to a given line, its slope
should be equal to the negative reciprocal of the given line.
The
given line is 7x + 5y - 10 = 0. To get the slope of this given equation, we have to transform
this equation in the slope-intercept form y = mx +b. The equation
becomes,
5y = -7x + 10
y = (-7/5)x +
2
so the slope is -7/5.
So the slope of
the new line perpendicular to the given line is 5/7 since it should be negative reciprocal, and
it should pass the point (3,4)
Using point-slope form y - y1 = m(x -
x1)
y - 4 = (5/7)(x - 3)
Multiply the
whole equation by 7 it becomes,
7y - 28 = 5(x -
3)
7y - 28 = 5x - 15
So transposing all
the terms in one side, the equation becomes
5x - 7y
+13 = 0.
In describing America’s treatment of blacks, King could
easily have stated the idea in a straightforward way, simply saying that the rights
guaranteed in the Declaration of Independence have not been granted to blacks. But, the
nature of King’s argument is to use words to give hope to the people fighting for their
rights, and to inspire them to continue in the battle. To do this, King uses vivid
language throughout. So, in the second and third paragraphs, he uses vivid metaphor of
checks and promissory notes to get his point across. The metaphor is easily understood
and takes the abstract idea of “inalienable rights” and puts it into concrete terms. The
metaphor is a powerful one, especially when King says that America has given blacks a
bad check stamped “insufficient funds.”This single image succinctly summarizes more than
200 years of injustice.
King says the black man has the
same dream and draws on language from the Emancipation Proclamation to reinforce his
audience’s emotional resolve to continue in their quest for equal rights. By this
analogyand through such techniques as incorporating the lyrics of “MyCountry ‘Tis of
Thee” (para.15) into his argument, King simply, butpowerfully, makes his
points.
King reminds his audience that the Civil Rights
Movement puts into action basic ideas contained in the Constitution. King reaffirms
minority rights as a way of renewing aspirations put forward by America’s founding
fathers:
“I
say to you today myfriends, even though we face the difficulties of today and tomorrow,
I still have a dream. It is a dream deeply rooted in the American dream. I have a dream
that one day this nation will rise up and liveout the true meaning of its creed: ‘we
hold these truths to be selfevident,that all men are created equal’“ (para.11).
By connectingthe present to
the past, King shows that the struggle of blacks is akinto other great struggles of
American history, such as our struggle tobe free of Great Britain, and the expression of
this ideal in theDeclaration of Independence.
By using
language from the Proclamation, he emphasizes the irony that a hundred years had passed
with so little freedom for blacks. His listeners recognize the reference he is making,
and can readily respond to King’s words with renewed vigor to continue the struggle for
equality.
King uses figurative language and parallelism
that echoes the Bible to enhance the effectiveness of his speech. King instinctively
chooses the proper phrases to ignite firein his listeners. He uses language that echoes
the Bible, the holiest of books to a minister (which King was), to show how important
the cause is and to reinforce his audience’s emotional resolve with an eloquent, noble,
and impassioned plea that America might fulfill its original promise of freedom and
equality to all of its citizens.
A function is even if
f(-x) =
f(x)
In other words, plugging in a number will be the same as
plugging in the negative value of the same number.
We'll analyze the given
function, replacing each x by -x.
f(-x) = 3(-x)^4 - 5(-x)^2 +
2
We'll compute raising -x to the 4th and 2nd powers and we'll
get:
(-x)^4 = (-x)(-x)(-x)(-x) = x^2*x^2 =
x^4
f(-x) = 3(x)^4 - 5(x)^2 + 2
So we can see
that:
f(-x) = f(x) which means that the function f(x) is an even
function.
An even function has symmetry across the y-axis. We also
know that if all of the exponents are even, then the function is even.
This is a great question. One of the key episodes at the
beginning of the novel, when Amir and Hassan win the Kite competition and Hassan captures the
kite, is mirrored at the end of the novel but under radically different circumstances, as the
roles have reversed entirely.
At the end of the novel, it is Sohrab
who wins the competition and it is Amir who runs after the kite for him, and it is also Amir who
finds himself saying what Hassan said to him all those years
ago:
"For you, a
thousand times over," I heard myself
say.
At the beginning of the novel,
this comment is indicative of the deep love and friendship that Hassan has for Amir, which
tragically he goes on to betray so terribly as he does nothing to prevent Hassan from being
raped. At the end of the novel, however, it is symbolically significant that Amir says this to
Sohrab, indicating how far he has travelled during the course of the novel and how he has changed
from a selfish, spoilt boy to a man who is brave enough to love and receive love in turn. Thus,
his comment at the end of the novel shows how he has transformed himself. It is also significant
to note that it is this episode that represents the first breakthrough into Sohrab's character
and makes him smile.
In crude oil separation, as the length of the hydrocarbon
chain increases the boiling point of the hydrocarbon goes
up.
Methane, which is the molecule with the shortest
hydrocarbon chain has only one carbon atom and is found as a gas. As the number of
carbon atoms goes up so does the boiling temperature.
In
crude oil, the very short hydrocarbons are gas, followed by liquids which get thicker
with the length and finally appear almost like a
solid.
This property is used in refining crude oil to
separate the components like gasoline, diesel, jet fuel, kerosene, paraffin wax, tar,
etc. The crude is slowly heated and depending on the boiling point of each compound it
separates at a different temperature and is collected.
Given how quickly and easily the US defeated Spain in this war,
it is clear that the Spanish did not have many strengths. Their main strengths would have been
the fact that they were fighting on the defensive and the fact that they had better equipment on
average than the American army did.
Because the Americans needed to
invade and conquer Cuba, the Spanish had an advantage. They could fight on the defensive and make
the Americans attack prepared positions. The Spanish also had better rifles. Their rifles fired
smokeless cartridges, which meant that American soldiers could not see where the fire was coming
from. This caused serious problems for the US in the few engagements that actually
happened.
These strengths allowed the Spanish to inflict more
casualties on the US than they took themselves. However, they were still unable to put up an
effective resistance.
I believe the question is about customer perception of service
quality. For physical goods the quality of a product is often measured in terms of adherence to a
given set of specified physical characteristics of the product. This method cannot be used to
measure quality of services because, it is impractical to set rigid standards of physical
characteristics of service. By its inherent nature, good quality service also exhibits a very
high degree of variability. Secondly the service as delivered to the customer is not available
for physical quality assessment prior to its delivery to customer, which gets consumed by the
customer as it is delivered. Therefore the only practical indicator of service quality is the
perception of the customer.
While many factors contribute to the
customer assessment of service quality, experts have identified five major dimensions of service
quality common to all kinds of service. These
are:
One important reason for the spread of Christianity was
the evangelical missions of Paul of Tarsus. Paul, originally called Saul, was perhaps
the one person most responsible for the spread of Christianity throughout the Roman
Empire. Paul was not one of the original 12 Apostles of Jesus Christ, whose life and
teachings are the basis of the Christian religion. Paul originally persecuted the
followers of the teachings of Jesus until he had a conversion experience after which he
became a strong follower of Christ and began his evangelical missions. Paul, a Greek
speaking Jew from Asia Minor, went on three missions covering 10,000 miles over the
course of thirty years. He traveled through Palestine, Syria, Asia Minor, Macedonia,
Greece, and Rome, establishing Christian communities in each area. Paul made the
decision to spread the Christian faith to non-Jews, which helped establish the Christian
religion throughout the Roman Empire. The Roman system of roads allowed the Christian
message to travel quickly from one place to another. The fact that Paul spoke Greek and
was a Roman citizen also helped Paul in his travels to spread the Christian
religion.
A New Historicist looks at how the individual writer writes but
also how the writer was influenced by his/her society and historical context; Point
A: including influences the author would not be aware of. Simultaneously, a New
Historicist must consider his/her own possible historical biases and must consider the historical
and cultural differences between, say, a 19th century Shakespearean critic from Jordan and a 20th
century Shakespearean critic from Mexico.
Althusser is a New
Historical-Marxist. For him, identity is acquired through economic-social relations but also
through ideology. Althusser stated that we are "always already" subjects; subjected to ideology.
Ideologies, ideas and how to act (identity) are all material; they are rituals; subjects comply
with the production of their own identities. Hence, he talks about ISA's and RSA's (Ideological
and Repressive State Apparatuses), which like Foucault's panopticon, reinforce these identities.
Since subjects are 'always already' subject to being watched, they police themselves; they are
complicit in producing their own subjugated behavior.
The Marxist
tradition looked at how the individual would recognize his/her individual subjection to larger
social forces and this awareness of subjection would be emancipatory. But Althusser spins this:
subjects are individuals oppressed by social forces; but, subjects
are individuals produced by ideology and the relations of social forces and production. Their
awareness of subjection is not emancipatory; it is recognition and
reproduction.
So, just as social forces "hail" or produce subjects
though economic determination and social oppression,texts and novels produce subjects as well.
So, readers not only identify, relate or recognize themselves in characters and literature, but
are produced by them.
This is all part of New Historicism; that
history (social forces) and literature (all forms of writing) are interdependent. They write and
inform each other; and write and inform the subject (individual). And they do so by basically
saying, 'yes, this is us. These are our roles and identities. It may suck, but we're all in this
together. We are each individuals but subjected to social forces and there is comfort in
commiseration." The reader is not just empathizing; the reader is being addressed "hey, you feel
this way too." The reader's identity is not emancipated as in "oh, we are oppressed in that way;"
rather the reader's identity is being produced! "hey, you feel this way." Reader, "Oh, yeah, I
do."
And - Like Foucault's panopticon;
people police themselves because they are always already subject to being watched; always already
subject to ideology. So, bringing this back to Point A, Althusser
notes how the subject, like the author, may also be unaware of how he/she is producing his/her
own identity via the interdependent relations of writing, history
and society.
I guess his biggest contribution in this context was to
note the prevalence of ideology in art and literature as well; and to recognize that writing may
be ideological production disguised as liberating text/criticism.
It is clear that in this excellent dystopian novel the powers
that be have not foreseen the impact of their decision to ban literature and "dumb down" the
quality of entertainment so far that it leaves their population nursing an inexplainable
emptiness that they cannot understand or control. Mildred and her friends are a classic example
of this. Note that, when Montag sees the men who come to save Mildred from her overdose out, they
say they are incredibly busy flushing people like Mildred out:
We get these cases nine or ten a night. Got so many,
starting a few years ago, we had the special machines
built.
This is clearly a massive
problem for this society. Notice too the way that Mrs. Phelps cries when she hears "Dover Beach"
read to her by Montag. Emptiness has been produced by trying to remove anything that could
seriously impact or effect society.
f(x) = x^2-6x+5.
To determine
the image of the function for x> 4..
f(x) =
x^2-6x+5.
f(x) = x^2-5x
-x+5.
f() =
x(x-5)-1(x-5).
Threfore f(x) =
(x-1)(x-5).
f(x) is a continous
funtion.
Therefore the image f(x) < 0 for x
belonging to the interval (1,5) and f(x) > 0, when x < 1, Or when
x>5.
Therefore the image f(x) < 0 for 4
=< x < 5 , f(x) < 0.
The image f(x) =
0 when x =5.
And f(x) > 0 , for x >
5.
x f(x) = (x-1)(x-5)=
x^2-6x+5.
4 -3
4.5 -1.75,
5 0
5.5 2.25
6 5.
According to the ideal gas law P*V = n*R*T, where P is the
pressure, V is the volume, n is the amount of the gas, R is the gas constant and T is
the temperature.
Now the piston of the pump is pushed and
the pressure increases slowly. We see that the terms on the left hand side of the ideal
gas law, which are pressure and volume are changing. Pressure is increasing and the
Volume is decreasing. There is no change in the Temperature when the piston is pushed in
slowly as there is enough time for the heat generated to get dissipated. The speed of
the molecules also remains the same as due to the escape of heat, there is no increase
in temperature.
If the piston was pushed in fast enough, or
the piston was insulated to prevent any escape of heat, there would have been an
increase in temperature.
But as the piston is pushed in
slowly, no change is seen in the temperature and the effect of the increase in pressure
is canceled by the decrease in volume.
From the bland, empty affirmation of religious belief in
the first line, through the piling up of stock patriotic phrases rendered meaningless by
being pulled out of context (and syntactical wholeness), culminating in the string of
idiotic interjections in lines 7 and 8, Cummings’ssense of the ridiculousness of the
rhetoric and the meretriciousness of the orator is all but palpable. In lines 9–12,
the speech maker plays a particularly nasty kind of moral trump card, manipulating the
sacrifices of the war dead to close off debate, followed by the reflexive and
hypocritical lip service to liberty in line 13. He is saying, in effect: We honor our
heroes for their defense of our freedoms, but anyone who exercises those freedoms to
dissent from my views is unpatrioticorworse. And then the entire speech is neatly
deflated by the poem’s final line.
The ending of "The Son's Veto" is veiled in suggestion on
purpose to give the reader a moment of mild horror at the reality of Sophy's situation and of
Randolph's inner traits. The resolution is thus intentionally elusive (though
not ambiguous); Hardy
would be pleased that his technique of suggestion succeeded and readers must do a double-take and
reread the last passage to truly understand what has happened. Let's piece the resolution
together.&llt;/p>
Randolph has made his mother swear before an alter in
his room that she will never "wed Samuel Hobson without his consent." Hardy subtly implies that
many years go by with the line, "Her lameness became more confirmed as time went on." He also
implies that the stress and sorrow of forestalled happiness is wearing her down because she
"would murmur plaintively to herself when nobody was near," saying "Why mayn't I say to Sam that
I'll marry him? Why mayn't I?"
Next, Hardy switches his point of view to "a
middle-aged man [who] was standing at the door of ... a fruitier shop" in a neat suit of black."
Here, the reader doesn't actually know who is spoken of--as Hardy intends--but suspects it must
be Sam. We hope, despite the change in narrator tone, that he is wearing black in front of a
"partly shuttered" window because it is his wedding day and Sophy has finally defied her son's
veto and will marry Sam.
Then Hardy throws us into confusion by
telling that a "funeral procession was seen approaching." What does the funeral mean to Sophy and
Sam? Whose funeral is it? That the man's "eyes were wet" as the funeral past by contradicts our
hope of a marriage between Sam and Sophy--if indeed the man is Sam--still we are not sure of what
is being presented.
Then we learn who is riding on the mourning coach. It is a
newly ordained clergyman: "a young
smooth-shaven priest." He looks "black as a cloud." His black look is aimed directly at the man
with wet eyes in a black suit with his hat in his hands. Then we know--against our wills we
realize--the man standing thus in front of his shuttered shop is Sophy's own Sam. The cold and
hard "priest" with the high collared "waistcoat" is Randolph, from whom his "education had ...
ousted his humanity." The one riding at rest in the funeral carriage is lame Sophy who has died
under Randolph's crippling veto. It is Sophy, Randolph's mother and Sam's love, who has
died.
Here the amount of air in the balloon at any moment of time t is
given as V(t). Now if the balloon is being filled or not can be determined by finding the value
of the differential of the function V(t).
At any t if the balloon is
being filled, the amount of air at t+ dt is going to be greater than the amount of air at
t.
=> V(t+ dt) > V(t)
Now
if dt --> 0, we get the instantaneous change in the volume of air at any time
t.
V'(t)= lim dt--> 0 [{V(t+dt) - V(t)} / dt
]
So we need to find V'(t).
Substitute
the value of time t at which you want to know if the balloon is being filled or not. If V'(t)
> 0 , the balloon is being filled, if V'(t)< 0, the balloon is being emptied and if
V'(t) = 0 it implies there is no change in the volume of air.
There are many efforts to prevent or reduce bullying that are
being carried out in schools across America. I would say that most of them revolve around a
couple of ideas.
First, there are efforts to teach kids to stand up
for themselves instead of allowing themselves to be bullied. These efforts encourage kids to
resist whenever they see bullying happening -- no matter who is being
bullied.
Second, there are efforts to encourage all kids (including
the bullies) to empathize with others. The most interesting one I've heard of is one that brings
infants into classrooms and makes the kids help take care of them. This helps the kids be in
tune with the feelings of others and makes them less likely to bully.
|x - 6| + 3 < 10
First,
subtract 3 on both sides
By subtracting, your equation should look
like
| x - 6 | < 7 now since
there's an absolute value sign your equation should change
to
x - 6 < 7 and x - 6 > -7
add 6 on both sides of both equation
By adding, your
equations should look like
x < 13 and x
> -1
-1 < x < 13
is your answer
The primary figure of speech in Sara Teasdale's "Barter" is
personification: the assignment of human traits and activities to non-human
entities.
The entire poem is based on the idea that "life has
loveliness to sell." "Life," of course, is not a person that can literally sell something,
lovely or not. The poet is speaking about life as if it were a human being that has something to
sell.
A secondary personification is in line 4: "Soaring fire that
sways and sings."
Some other figures of speech
in this poem are:
Simile (comparisons that use the word
"like" or "as"):
a) "Children's faces looking up, /
Holding wonder like a cup."
b) "Music like the curve of
gold"
Anaphora (repetition of
phrases):
a) "Life has loveliness to sell" (at the
beginning of stanzas 1
and 2)
Augustus and his successors could rule because the
military forces were devoted to them. That devotion was wearing thin with Claudius, who
was not a military man, and it finally broke with Nero, who did not care a whit for the
army. Because of Augustus's vision that the army should be devoted to the emperor and
not the republic was crucial in the downfall of the Republic. Without the talisman of
the Julio-Claudians, therefore, it was difficult to know just who should rule.And this
uncertainty led to rampant disorder.In 68, the empire was in crisis. Not only had Nero
been removed, but a massive revolt was underway in Judea aimed at removing the Romans
completely from the region. One affected the other, for the Jews were only able to
sustain their rebellion because the legions were preoccupied with their own struggles to
choose a new emperor. Nero’s fall was precipitated by the revolt of Vindex, the
commander of Roman forces in Spain who championed the governor, Galba, as the new
emperor.This was something new, for it suggested that the emperor could be made
elsewhere than Rome. Although Vindex was eventually defeated, the Senate agreed to
accept Galba and promised to pay the praetorian guard to do the same. But Galba rejected
the promise and the Praetorians lynched him. After a brief struggle between two other
claimants, Vespasian in the East was hailed as emperor in 69.
There are several symbols of which Lady Macbeth speaks in the
play Macbeth. In Act 2, Lady Macbeth says that she hears an owl shriek when
her husband is supposed to be murdering King Duncan. She calls the owl the "fatal bellman" which
symbolizes the death of King Duncan.
However, the more well-known
lines delivered by Lady Macbeth occur in Act 5 of the play. Here, Lady Macbeth shows her guilt
over helping her husband commit murder early in the play. She has learned that Lady Macduff and
her entire court have been killed, and Lady Macbeth cannot forgive herself for her role in her
husband's crime. Here, Lady Macbeth says, "Out, out damned spot!" and makes like she is washing
her hands. This symbolizes the "blood" that she sees on her hands and represents her
overwhelming sense of guilt.
Although Blackie is initially very angry about the way that he
has been deposed from his position as the leader of the gang by the upstart T., and is aware of
"the fickleness of favour," he quickly gets over his anger and rejoins the gang in their task. If
we look at the text carefully, we can see his reasons for doing
this:
...but suppose
after all what T. proposed was possible--nothing like it had ever been done before. The fame of
the Wormsley Common car-park gang would surely reach around London. There would be headlines in
the papers. Even the grown-up gangs who ran the bettering at the all-in wrestling and the
barrow-boys would hear with respect of how Old Misery's house had been destroyed. Driven by the
pure, simple, and altruistic ambition of fame for the gang, Blackie came back to where T. stood
in the shadow of Misery's wall.
Thus
it is that Blackie is inspired by the potential success of T.'s plan and the respect and fame it
would win for the gang if it is successful. To him, this is worth more than his own feelings of
anger at losing his position of leadership. Because T.'s plan is something that has never been
done before and that it is on such a monumental scale, it would ensure the fame of his gang. To
be part of that would definitely be worth the humility he needs to summon up to rejoin the gang
and work under T.'s leadership.
