Find the circumference of the base of cylinder if the volume is 38 cm and the height = 3 cm

Given that the volume of the cylinder = 38
cm^3

Also given the height of the cylinder = 3
cm

We need to calculate the circumference of the base
:

First we will calculate the radius by using the volume
formula:

We know that the volume of the cylinder
is:

V = r^2 * pi * h   where r is the radius and h is the
height

==> 38 = r^2 * pi *
3

==> r^2 = 38 / 3pi =
4.03

==> r= 2 ( approx)

Now we
will calculate the circumference:

We know
that:

C = 2* pi *r = 2* 2 * pi = 4pi =
12.57

Then the circumference of the circle is 12.57
cm

Why does Shakespeare use the technique of elision in Macbeth, in which certain key events take place offstage?

Your question regarding off stage action in Shakespeare's
Macbeth is an interesting one. It might be useful first of all to consider
which actions are completed off stage: the slaying of Macdonwald, the execution of Cawdor, the
murder of Duncan, the murder of Lady Macduff, Lady Macbeth's suicide, and Macbeth's death. In
other words, most of the violence in this very bloody play takes place offstage, and this action
is reported by other characters. Logistically speaking, Shakespeare most likely had to omit some
of these scenes because they would have been very difficult to stage. His ability to use special
effects was quite limited. Further, it is quite likely that Shakespeare was influenced by the
Greek tragedies of Sophocles and Euripides who also consigned violent acts to offstage, probably
to maintain the three unities of time, place, and
action.

Nevertheless, some of the reported action is more horrible
in the imagining than in seeing it performed on stage. Macbeth unseaming Macdonwald from his
"nave to his chops" is one such example. The execution of Cawdor is interpreted for us. In other
words, from the report of this death, we understand that Cawdor died
nobly.

Nothing in his
life became it like the leaving
it.

And these words become quite
haunting when we see Macbeth meet his own death quite courageously. Both men, though, are
traitors.

Yet, some gruesome or violent scenes are portrayed on
stage: the return of Banquo's ghost, the severed head of Macbeth. Macduff's son is stabbed in
full view of the audience--this act which takes place in broad daylight serves to highlight the
depths to which Macbeth has sunk. No summary dialogue or interpretative words are needed here,
for the poignancy of this brutal act is best captured by the child's
words:

He has killed
me, mother.

So obviously it was not
just logistics dictating the mode of the action. In many cases, it seems to be the effect that
Shakespeare desired to achieve. We don't see Lady Macbeth's suicide perhaps because Shakespeare
wanted to focus more on Macbeth's numb response. We don't see Lady Macduff's murder but we hear
the screams offstage and imagine the worst. We don't see the actual beheading of Macbeth, but we
do see Macduff holding Macbeth's head high in victory amid cheers of joy.

How does Steinbeck develop the character Lennie Small in Of Mice and Men?

Certainly, the naturalism of Steinbeck's writing is evinced in
the characterization of Lennie Small of Of Mice and Men who, in the
exposition of this novella possesses a gait like that of a bear who drags his feet and has hands
described as "paws." After their long trek from the bus that let them off a few miles south of
Soledad, George and Lennie come to a clearing where Lennie dips his entire head under the water
in order to drink and refresh himself. That there is a Darwinian determinism to the character of
Lennie is evident as this opening scene is identical to the final scene, and George's early
description to Slim of the incident in Weed with the girl in the red dress is similar to the
fateful one of Curley's wife, who also is associated with red.

Of
diminished mental capacities, Lennie depends upon George for approval. When George scolds Lennie
in Chapter One, Lennie is hurt and tells George that he will just go away and live "off in the
hills or in a cave" or something, but he is terrorized to think of being alone. Always, he seeks
advice from George regarding his conduct and speech. Fearful that he will anger George, Lennie
tries to behave, saying repeatedly, "I don't want no trouble" after Curley enters the bunkhouse,
for instance. But, when Curley attacks him, Lennie only hurts Curley after George tells him, "Get
him, Lennie. Don't let him do it."

Childlike, Lennie is the keeper
of the dream of owning a farm as he constantly asks George to "Tell about how it's gonna be"; he
also has George recite about their fraternity,

readability="9">

"Guys like us, that work on ranches, are the loneliest
guys in the world. They got no family. They don't belong no place.....With us it ain't like that.
We got a future. We got somebody to talk to that gives a damn about
us....."

Lennie's relationship with
George is a symbiotic one. Critic Roger Moore explores the relationship of George and Lennie in
his essay "Of Mice and Men: George and Lennie." Moore
writes,

Lennie wears
the same clothes as George and even imitates his gestures. The extent of Lennie's psychological
integration with the George is acutely apparent in the novel's concluding chapter when the giant
rabbit of his stricken conscience mouths George's words in Lennie's own
voice.

When George has to shoot Lennie
in the final chapter, the determinism of this scene is apparent in its repetition of the setting
of Chapter One. With Lennie's death is the death of the fraternity of men and the dream, for as
George remarks,

"I
think I knowed we'd never do her. He usta like to hear about it so much I got to thinking maybe
we would."

Lennie is pursued as though
he is a hunted animal after Curley's wife is discovered by the others. But, it is too late as
George has put the bear-like Lennie out of his future misery after he returns to the stream
described in Chapter One where the "best laid plans of mice and men go
awry."

Locate examples of dramatic irony in Act II Scene Two of Romeo & Juliet. One example is when Juliet is standing on her balcony. She thinks that...

Irony is a very useful literary tool and Shakespeare uses
it widely to convey meaning, to warn his characters or his audience, to create humor and
to intensify tragedy. There are three main types of irony and dramatic irony occurs when
the audience knows something that the characters do not or one character knows something
that another does not, something so crucial that it will change the anticipated outcome
in terms of what the unsuspecting characters are expecting. In Romeo and
Juliet, Romeo and Juliet have no idea that their fate is sealed and yet the
audience know right from the beginning; before the action even starts as The Prologue to
Act I says, "A pair of star-cross'd lovers take their life..."
(6).

Act II begins after Romeo and Juliet meet and each is
overwhelmed by his or her feelings for the other. The dramatic irony begins immediately
as Romeo comments on what he has overheard Mercutio say. He suggests that Mercutio has
never felt the pain of love, referring to "scars" and "a wound," and Romeo thinks that
he, unlike his friend, already knows the pain of love. This is an example of dramatic
irony as the audience know that the pain Romeo feels now, knowing that Juliet is a
Capulet, is nothing compared to the real pain he will feel when, later, he will pay the
ultimate price with his life.  

Romeo's reference to the
"glove upon that hand" reveals more dramatic irony because Romeo wishes to be so close
to Juliet that he is completely reliant on her, such as a glove would be in order to
"touch that cheek," (25) and he doesn't realize that his dependence on her will be so
complete that he will die after her presumed death. The audience may not yet know how
the young lovers will die but the fact that it knows that they will both face the same
fate is enough to create the dramatic irony.

There is
further dramatic irony in line 70 when Juliet expresses her concern that if Romeo is
seen, "they will murder thee" without her knowing that she is as much at risk as he is,
as the audience well knows. 

Does the text of A & P by John Updike have a significant purpose? (Is it a call to action and is that action an important and relevant one?)

Literature is art, and art speaks to different people in
different ways. This is my personal response to the short story in
question.

When I read John Updike's "A & P," I
don't necessarily get the sense that the story's purpose is to act as a "call to
action," as it were. Although Sammy, our protagonist, takes a stand for his principles
in defending the young girls who get in trouble for wearing bathing suits into his
grocery store, my perception of the story's intent rests with visiting the past, and
learning about ourselves through our actions.

Sammy's
explanation of his behavior does not seem to encourage others to follow his example.
However, to me is seems to call upon us as readers to look over the past and revisit a
clarifying, pivotal moment when we took a step away from being a child, and moved toward
making more adult choices and/or decisions.

Whereas the
purpose of the story may seem to encourage a "walk down memory lane," moreover, I think
Updike provides the reader with a vehicle that will do more than stir up memories. He
asks the reader if he or she can define a similar experience, looking even farther on,
then, to attempt to understand the motivations of our actions, and most importantly, how
those actions have brought us to this point, today, in our lives. Who are we, how did we
get here, and what have we learned from this introspective
exercise?

That, I believe, is the most vital purpose of
this story—or perhaps any story. In reading literature, we can
learn more about who we are, and this is important in guiding us in what we choose to do
and/or be in the future. At the same time, it also assists us in understanding other
people as well, which I believe is equally important.

What are some examples of sarcasm in the poem, "The Prologue"?

Almost everything in this poem is sarcastic unless you are
going to take seriously the idea that Bradstreet is really saying that she, like all
women, is not competent to write decent poetry.  This poem is saying that her work is no
good because she is a woman and that men should not judge it too harshly.  But this is
surely not what she means to say.

Once you understand this,
you can see sarcasm pop up everywhere in the poem.  For example, the first three lines
of the poem say that she is not talented or smart enough to write about elevated things
such as wars and kings.

Perhaps the most clear cut example
of sarcsasm comes in the following line where Bradstreet claims that women are inferior
to men:

Men
can do best, and Women know it well.
Preeminence in all and each is
yours

Given the
fact that she is a woman trying to write good poetry, this is clearly sarcastic.  If she
believed this, she would not be trying to write poetry.

Discuss the causes of the Scientific Revolution in Europe in the sixteenth and seventeenth centuries.

First, it should be noted that the portrait of a
Scientific Revolution which replaced the darkness and superstition of the Middle Ages
with a "scientific" world view in the Renaissance is one that most scholars now regard
as somewhere between oversimplified and misleading. Many of the innovations attributed
to the Renaissance scientific revolution actually had their roots in medieval
scholasticism, include early advances in optics and other forms of empirical
study. 

A key factor in the development of western science
was contact with the Islamic and Byzantine worlds, especially in Venice and Moorish
Spain. Islamic thinkers in particular were responsible for the development of algebra,
which formed the mathematical basis for much of the subsequent scientific developments.
 The Byzantine and Arabic transmission of classical Greek texts also led to major
advances in western astronomy and medicine. Due to these influences, the late medieval
thinkers Roger Bacon, Thomas Bradwardine, and William of Ockham all were responsible for
the development of what is now known as the "scientific
method". 

Next, the rise of Protestantism in the
Renaissance led to a greater freedom in scientific thought, particularly breaking the
Thomistic, neo-Aristotelian orthodoxy. The age of exploration caused Europeans to
encounter other cultures and ways of thinking, leading to new knowledge and new
ideas.