In my mind, the two worlds that are brought out in the first
scene are the realities of Blanche and the world. The setting is important in that Stanley and
Stella live in a working class or poor area of New Orleans. The industrial, cramped, and tightly
frantic condition of life contrasts with Blanche, who represents a vision of the "Old South."
She lived on Belle Reve, a plantation with "columns" and where life was different than in the
industrialized vision that Blanche sees in front of her now. Blanche, herself, might be a world
that is in contrast with what is there. She is noticeable awkward at this her entrance into this
world, seeking out a drink to calm her nerves. She is set apart from this environment and is
almost a juxtaposition to it. Blanche's entrance into the first scene and the awkwardness that
she brings to it helps to add to the disjointed relationship between Blanche and the modern
setting.
Sunday, February 8, 2015
What "two worlds" are juxtaposed in the opening of Scene I?Comparing and contrasting the two worlds.
Prove the equality 1+1/2*C(n,1)+c(n,2)/3+..+C(n,n)/(n+1)=[2^(n+1)-1]/(n+1) .
Supposing that C(n,k) are binomial coefficients, we'll recall
the binomial theorem:
(1 + x)^n = (1 + C(n,1)*x + C(n,2)*x^2 + ... +
C(n,k)*x^k + ... + C(n,n)*x^n)
If we'll consider the terms of
binomial theorem as functions and if we'll determine the definite integral of the terms of
binomial theorem, we'll get:
Int (1+x)^ndx = Int [1 + C(n,1)*x +
C(n,2)*x^2 + ... + C(n,k)*x^k + ... + C(n,n)*x^n]dx
We'll impose the
limits of integration x = 0 to x = 1
We'll manage the left
side:
Int (1+x)^ndx = (1 + x)^(n+1)/(n+1)
F(1)
We'll apply Leibniz Newton:
F(1) =
(1 + 1)^(n+1)/(n+1) = (2)^(n+1)/(n+1)
F(0) = (1 + 0)^(n+1)/(n+1) =
(1)^(n+1)/(n+1)
Int (1+x)^ndx = F(1) -
F(0)
Int (1+x)^ndx = (2)^(n+1)/(n+1) -
(1)^(n+1)/(n+1)
We'll factorize and we'll
get:
Int (1+x)^ndx = [(2)^(n+1) - 1]/(n+1)
(1)
We'll determine now the definite integral of each term of
binomial expanssion:
Int [1 + C(n,1)*x + C(n,2)*x^2 + ... +
C(n,k)*x^k + ... + C(n,n)*x^n]dx = Int dx + Int C(n,1)*x dx + .. + Int
C(n,n)*x^n]dx
Int [1 + C(n,1)*x + C(n,2)*x^2 + ... + C(n,k)*x^k +
... + C(n,n)*x^n]dx = x + C(n,1)*x^2/2 + .... +
C(n,n)*x^(n+1)/(n+1)
We'll apply Leibniz
Newton:
F(1) = 1 + C(n,1)*1^2/2 + .... +
C(n,n)*1^(n+1)/(n+1)
F(0) = 0 + C(n,1)*0^2/2 + .... +
C(n,n)*0^(n+1)/(n+1)
Int [1 + C(n,1)*x + C(n,2)*x^2 + ... +
C(n,k)*x^k + ... + C(n,n)*x^n]dx = F(1) - F(0)
Int [1 + C(n,1)*x +
C(n,2)*x^2 + ... + C(n,k)*x^k + ... + C(n,n)*x^n]dx = 1 + C(n,1)/2 + .... + C(n,n)/(n+1)
(2)
Comparing (1) and (2), we notice that are exactly the terms from
the equality that has to be demonstrated.
Based on
binomial theorem, the requested inequality
1+1/2*C(n,1)+c(n,2)/3+..+C(n,n)/(n+1)=[2^(n+1)-1]/(n+1) is verified, for any natural number
n.
Can you tell me what the speaker undercuts in Ben Jonson's poem "Come my Celia, let us prove"?
Three things are being
undercut in this href="http://www.poetryfoundation.org/archive/poem.html?id=173732">poem by
Ben Jonson. The first is the lady's right to independent decision. The second is joined
in the importance of a good name and the harm of rumor. The third is the nature of a
crime. To undercut means to undermine; to diminish in
importance; to destroy something's effectiveness; to destroy someone's range of
authority or governance. These variations of the definition of "undercut" apply to the
lady's right to independently choose and thus independently govern her actions; to the
value of moral behavior and the harm of rumor; and to the definition of what constituted
a crime in the England of Elizabeth I and of James I.
The
lady Celia has evidently rejected the speaker's request for unwed love, "Come my Celia,
let us prove, / While we may, the sports of love," and he is responding by attempting to
coerce her into agreeing. One of the main arguments behind his disrespectful behavior
is that time is not on their side because their good "gifts" of youth "Time will ...
sever." He attempts to persuade with an indirect metaphor between youth and the setting
sun: a setting sun "may rise again," however when youth sets, fades away, it results in
"perpetual night": youth once lost is lost forever.
Another
argument is that "fame and rumor" are not as important as they are made out to be. In
other words, if Celia loses her moral reputation and good name and if gossips spread
(true) rumors about her moral behavior, it really doesn't matter because a good and
trustworthy name and a few disparaging rumors are both insignificant "toys" and to be
equally disregarded.
These arguments undercut Celia's right
to decide without pressure, persuasion, and coercion. The second argument also undercuts
the truth of the importance of moral behavior and the harm of rumor, especially if it is
based upon truth--which if the speaker has his way, it will
be.
His third argument is that they should easily be able
to steal away from the prying eyes and overhearing ears of servants and family by their
"wile" (clever strategy) and find a remote place to themselves. His fourth argument
undercuts the nature of crime in the religious Renaissance period in which they live. He
says that stealing love [outside of marriage] is no sin, but that to reveal that love
has been stolen, that is the crime:
'Tis no sin love's fruit to steal;
But
the sweet theft to reveal.
To be taken, to be seen,
These have
crimes accounted been
These
arguments undercut Celia's rationality, her right to self-governance, and the nature of
society (i.e., right reputation is wrong and rumor is an unimportant toy). It also
undercuts the idea of what constitutes crime: in their era, immorality was sin and could
be a crime, but the speaker says the reverse.
Saturday, February 7, 2015
Explain the effects of the Haymarket Riot.
The Haymarket Riot, which took place on May 4th 1886 at
Haymarket Square Chicago, was a result of a peaceful labor demonstration turned chaotic. This
riot had both immediate effects and long term effects some of which will be discussed
below.
To begin with, one immediate effect of the riot was the loss
of lives caused by both the hurling of the bomb and the indiscriminate open fire by the police in
response. It is estimated that approximately eleven people died including seven policemen and an
unconfirmed number of civilians.
Another immediate effect was the
arrest of eight labor movement radical leaders who were arraigned and tried in court. Eventually,
seven of them were slapped with capital punishment and one handed a 15 year jail
term.
Also, the Haymarket riot sparked a deep sense of xenophobia
throughout the country. Chicago newspapers incited the public against the anarchists by
publishing the police version of the Haymarket incident and stirring sympathy for them. While
depicting the radical anarchists as a threat to social stability, the newspapers managed to
trigger deed hatred and fear towards labor movements and foreigners in
entirety.
The Knights of Labor, the largest labor movement,
declined in popularity as anti-labor sentiments surged. Alongside the above, the riot caused a
delay in the realization of the eight-hour work day as well as other better working conditions
advocated for by the labor movement.
In the long term, the labor
movement became stronger and organizations such as the American Federation of Labor (AFL) were
established to agitate for workers’ rights.
With evidence from the text, what is the novel's message about violence?I need the answer in one or two paragraphs, thanks you.
In her novel, S.E. Hinton addressed the topic of violence from
multiple angles. Johnny Cade is the the victim of violence when he is assaulted by the Socs and
beaten by his father (plus his mother's verbal and mental abuse); Ponyboy refers to Johnny as "a
little dark puppy that has been kicked too many times and is lost in a crowd of strangers..."
Ponyboy is also attacked by the Socs. The Curtis boys and their friends participate in a
"rumble," and Dally experiences violence during his childhood and adolescence spent in the
streets. Eventually, Johnny dies as in indirect result of the Socs attacking him; Dally dies a
violent death because he cannot handle losing Johnny. Overall, the novel delves deeply into the
idea of violence and sends a message that it solves nothing and only damages those
involved.
Near the end of Chapter 7, Ponyboy has a conversation with
Randy, Bob's friend and one of the Socs who attacked Ponyboy and Johnny. After Bob's death,
Randy seems to realize the futility of fighting a battle that no one can really win. He decides
that he will not participate in the rumble scheduled for that night because it is
pointless.
"...people
get hurt in rumbles, maybe killed. I'm sick of it because it doesn't do any good. You can't
win, you know that, don't you?...You can't win, even if you whip us. You'll still be where you
were before--at the bottom. And we'll still be the lucky ones with all the breaks. So it
doesn't do any good, the fighting and killing. It doesn't prove anything. We'll forget it if
you win, or if you don't. Greasers will still be greasers and Socs will still be Socs...So I'd
fight if I thought it'd do any good..."
What is a good analysis of this poem?
This poem does not
embody traditional form or even traditional grammar. The impression, the image, is what
Pound expresses, on the supposition that poetry exists in the transference of mood from
the poet to the reader through the creation and apprehension of strong and direct
images. The image of the petals is complex: Are they part of a full blossom? Have they
dropped off the flower? Are they sticking temporarily to the wet bough? Do they suggest
that, even in rain and clouds, some remnants of beauty are still visible in human
experience? If they were petals on a sunny tree they would be positive and less
ambivalent. Another aspect of ambivalence is the word “apparition,” which is usually a
ghostly figure, but which may be simply an unexpected sight. Short as the poem is, it is
still a poem because it works entirely in images, not logical development. It is, in
effect, in the tradition of the Japanese haiku.
Friday, February 6, 2015
In Macbeth Act 3 Scene 5, is there any imagery, symbolism, theme, or motif?
Just before Hecate exits the scene, she says "And you all
know, security is mortals' chiefest enemy" (III.v.32-33). Here Hecate refers to one of
the themes of the play--people's desire to feel safe often leads to their downfall.
Macbeth has been afraid that the witches' prophecy would not come true; his insecurity
in part drove him to murder King Duncan to secure his place on the throne. After this,
Macbeth continues to commit ill acts to maintain his sense of security in his new
position. Macbeth begins to see friends as enemies, and he is suspicious of everyone.
His sense of insecurity clouds his mind and his better judgment, ultimately leading to
his downfall.