What is the irony in the story "How much land does a man require" By Leo Tolstoy?

There are several ironies in Tolstoy's short story "How
Much Land Does a Man Require?" (traditionally translated "Need").  The first is dramatic
irony, a contrast between what Pahom thinks is happening and what we (readers) know to
be true.  Pahom and his wife are adamant in a discussion early in the story that living
a more rural, simple life is much better than a life in the city because they are not
tempted to participate in the Devil's activities so rife in the cities.  Pahom's only
complaint is that he could do so much more if he had more land, and he and his family go
through several moves in an attempt to attain that goal.  He boasts that he wouldn't be
afraid of the Devil himself if he just had enough land.  The Devil overheard him and
tricked Pahom, playing on his greed, into actions which lead to his death.  We recognize
the Devil at work, but Pahom does not.

Another example of
irony in this story is situational irony--a contrast between what we and the characters
expectto happen and what does happen in this story. The deal which Pahom made is to pay
1,000 rubles for whatever land he can walk around in one day; after he was tricked by
the Devil and beaten by his own greed, Pahom did end up with all the land he
needed--literally.  Six feet of land on which to be
buried.  

Ironies generally point readers to the themes of
a work; in this case, that greed is no way to gain happiness, that taunting the Devil is
not going to turn out well, and that all we really needis enough to
meet our basic neccessities--in this case, land enough on which to be buried. 
  

I've included an excellent e-notes summary below, as
well, which I think you'll find helpful.

How would one summarize Shakespeare's Twelfth Night?

When summarizing a piece of
literature, such as a story or a play, it's important to first know how to
pick out the important details. When it comes to stories, we can actually
use what we know of typical plot structure to help us
notice what is important. A typical plot structure includes five
elements: the exposition in which characters
are introduced; the rising action, which involves all
actions that develop the conflict and lead up to the climax; the
climax, which is the most intense moment of the conflict;
the falling action, which involves all actions that lead up
to the resolution; and finally the resolution, which is the
ending to the story. If we keep these elements in mind and know how to pick them out,
then we know how to pick out what is most important and can
quickly summarize the story.

The
exposition takes place in mostly the first act with a
little still developed in the second act. In these two acts, we meet all
of the principle characters, including but not limited to Duke Orsino,
Viola, Olivia, and Sebastian. In addition, we are introduced to the play's
conflicts. We learn of the first conflict in
the very first scene, which is that Orsino is obsessively pining for
Olivia who has rejected him, not wanting any company since her brother's
death. We are introduced to the second conflict in the
second scene and learn more about it in the fifth, which is that
Viola feels the need to disguise herself as a
manservant, allowing the opportunity for Olivia to fall in
love with Viola as the manservant Cesario while Viola has
fallen in love with Orsino. Any scenes developing these conflicts also
serve as the rising action, such as the moment when Malvolio hunts down Cesario to
return a ring Olivia says the servant left with her, allowing for Viola to realize that
Olivia has fallen in love with her as Cesario.

The
climax starts in Act 4, Scene 1, the moment that
Olivia mistakes Sebastian for Cesario. This serves as the
climactic moment because, from that point on, Viola's true identity will inevitably be
revealed. The climax continues in the fifth act when Sebastian and Viola
see each other, exposing Viola's real identity and revealing that Olivia
has married Sebastian rather than Cesario. This final scene also serves to develop the
play's resolution, which is Olivia's marriage
to Sebastian as well as Orsino's proposal to
Viola. Now that Viola has been exposed as truly being a noblewoman,
Orsino, having fallen in love with her as Cesario, decides to ask Viola to be his wife,
as we see in his lines:

readability="11">

Your master quits you; and, for your service
done him,
So much against the mettle of your sex,
...
And
since you call'd me master for so long,
Here is my hand: you shall from this
time be
Your master's mistress.
(V.i.327-34)

Hence, we see we
can easily summarize the story by first taking note of the important events through
examining the plot structure.

Prove that (b/c)^lga*(c/a)^lgb*(a/b)^lgc=1

We'll take logarithms both
sides:

lg[(b/c)^lga*(c/a)^lgb*(a/b)^lgc] =
lg1

We'll use the product rule of
logarithms:

lg[(b/c)^lga] + lg[(c/a)^lgb] + lg[(a/b)^lgc] =
0

We'll use the quotient rule and power rule of
logarithms:

lga(lg b - lg c) + lgb(lg c - lg a) + lg c(lg a
- lg b) = 0

We'll remove the
brackets:

lga*lg b - lg a*lg c + lgb*lg c - lg b*lg a + lg
c*lg a - lg c*lg b = 0

We'll eliminate like terms and we'll
get:

0 = 0
q.e.d.

It is obvious that the
identity (b/c)^lga*(c/a)^lgb*(a/b)^lgc=1 is true.

How can I show that later protest movements were influenced by the American Civil Rights movement?

I think that you might be well set to analyze how the Civil
Rights Movements were appropriated by other social and political movements. This will help
substantiate your fundamental thesis that other movements took their cues from the Civil Rights
Movement. We can see this in the LGBT movements that emerged in the 1970s, most notably in Harvey
Milk. When Milk talks about how he seeks to enfranchise more voices in the political discourse,
he is taking a page out of the Civil Rights Playbook, which wanted to do much of the same for
Black Americans in demanding a "need for the piece of the pie" in American Culture. The women's
movements of the 1970s sought to address social issues through civil disobedience in much the
same manner of the Civil Rights Movement, gaining strength and momentum from it. In this setting,
the need to address social inequality through social demands of change is another element of the
Civil Rights Movement. Finally, I think that the work of the Cesar Chavez is heavily influenced
by the Civil Rights Movement. In Chavez's fight, one sees the chords of Dr. King and other
leaders that sought to bring voice to a group of people who lacked voice. Taking the moral
example from Gandhi, like King himself, Chavez sought to initiate peaceful change in a world that
sought to deny both peace and change. In articulating the pain of others and seeking to expand
the moral and ethical imagination of the cultural majority, Chavez's work is heavily influenced
by Dr. King and the Civil Rights Movement.

find x values if l 2x -5 l + 7

To find values of the inequality |2x-5| < 10
.

We know that |x-n| = x-n ix x >n and  |x-n| = n-x if
x< n.

Therefore |2x-5| = 2x-5 for 2x-5 > 0. Or x
> 5/2.

Therefore or x > 5/2 , |2x-5| < 10 
implies 2x-5 < 10

2x-5 < 10 implies 2x-5+5 <
10+5 , as  we added equals to both side.

2x <
15.

2x < 15 implies x < 15/2 = 7.5 , as we divided
 both sides by positive equals.

Therefore x>2.5
, x < 7.5.

When x < 2.5 ,
|2x-5| < 10 implies 5-2x < 10.

We add 2x to both
sides:

5 < 10 +2x.

5-10 <
10+2x-10.

-5 < 2x

-5/2 <
2x/2

-2.5 < x. Or x >
-2.5.

Therefore  x  < -2.5 for any x <
=2.5.

Therefore x  is in the interval
(-2.5 , 7.5} but the strict inequality does allow  x  to take boundary
values.

Find the exact value of trigonometric function sec2x if sinx =3/5, cosx=4/5

Since sec 2x = 1/cos 2x, we'll have to determine the value of
cos 2x, given the values of sin x and cos x.

cos 2x = cos
(x+x)

cos 2x = cos x*cos x - sin x*sin
x

cos 2x = (cos x)^2 - (sin x)^2

We'll
substitute cos x and sin x by the given values:

sinx =3/5
and cosx=4/5

cos 2x = (4/5)^2 -
(3/5)^2

cos 2x = 16/25 - 9/25

cos 2x =
7/25

We'll substitute the value of cos 2x in the formula of sec
2x:

sec 2x = 1/(7/25)

The
exact value of sec 2x = 25/7.

How do you define the word barbarian before and after you have read Waiting for the Barbarians?

Good question because J.M. Coetzee changes our ideas of
barbarians.  Before the novel I understood "barbarian" to refer to uncivilized people, savages.
 But after the reading the novel, I see that perhaps there is not much difference between savages
and civilized.

In this unnamed village, fear of barbarian attacks
causes Colonel Joll to seek out savages who live close by and bring them in for questioning and
torture.  These scenes are quite brutal.  Fear of the barbarians causes the supposedly civilized
members of the Empire (could it be the British?  I think Coetzee is implying that the Empire is
comprised of the British), to act in the most inhumane ways toward innocent natives.  Their
brutality is presented as savage, as the threat of a barbarian attack seems more and more
unlikely.  The members of the Empire become image of those they deem their
enemies.

The Magistrate--the narrator and main character--exploits
the natives as well, but he makes the attempt to atone for his past abuses.  He befriends a
native girl who has been blinded through the interrogation.  His intentions toward her are not
always innocent, but he does journey to return her to her people, and later faces the wrath of
Colonel Joll, an official of the Empire, and endures torture for his
disloyalty.

In a way the theme is similar to Conrad's
Heart of Darkness.  We are all savage underneath.  In this work, fear of
outsiders reduces the civilized to savage, while power leads to exploitation and
excesses.

The barbarians are anyone and everyone who is inhumane,
brutal, and exploitive.