James wants to cover a floor measuring 90 cm by 120 cm with square tiles of the same size. Given that he uses only whole tiles, find a) the...

The area of the floor that has to be covered
is:

A = 90*120 cm^2

We'll put
the length of the tile as x.

The number of tiles that
covers the length of the floor:

n =
120/x

The number of tiles that covers the width of the
floor:

m = 90/x

To find the
largest length of the tile, you'll have to determine the highest common factor (or
Greatest Common Divisor) of 90 and 120:

90 =
2*3^2*5

120 = 2^3*3*5

 GCD =
2*3*5 = 30 cm

The largest length of the tiles
is of 30cm.

To find the number of tiles that
are needed to cover the floor, we'll calculate the number of tiles needed to cover the
length of the floor and the number of tiles needed to cover the width of the
floor.

The number of tiles, whose lengths is 30, that
covers the length of the floor is:

n =
120/30

n = 4 tiles

The number
of tiles, whose lengths is 30, that covers the width of the floor
is:

m = 90/30

m = 3
tiles

The total number of tiles needed to
cover the floor:

m*n = 4*3 =
12 tiles

Clothing imagery quotes in Macbeth throughout the play?

Clothing in the play Macbeth symbolizes the idea of stolen
power or social status. Your teacher probably wants you to look at the way other
characters in the play describe Macbeth's clothes. If you look closely you will see that
as he begins to spiral out of control and slip into evil, his robes do not seem to fit
him. For your assignment, you must go through the play and pay attention to any mention
of clothes.

If price elasticity of demand is zero, what does it mean?

If Q1 and Q2 are quantity of the demand of commodities at 
prices P1 and P2, then the elasticity is the ratio
{(Q2-Q1)/(Q1+Q2)}/{(P2-P1)/(P1+P2)}.

Therefore eastity =
(Q2-Q1)(P2-P1)/((Q1+Q2)(P2+P1))

So the elasticity  is zero
, when Q1 = Q2 for any  change in price .

That means  when
the demand is unaffected by any change in price of the commodity, the elasticity zero.
Under the zero elasticity condition , neither the supply of commodities  nor the demand
for the commodities show any variation  dispite change in
price.

Elasticity is a pure unitless number as it is the
ratio of two absolute ratios. The numerator is the ratio of commodities and so it is 
unitless.The denominator is also a ratio of prices and so
unitless.

The elasticity is  made use of in market
analysis.

Solve 2^ (x -3) - 8 = 0

The task is to find the value of x such
that:

2^ (x -3) - 8 = 0

We make use
of the laws of indices to separate the "x-3" index into 2 terms:

2^x
. 2^(-3)   -  8  = 0

Add 8 on both
sides:

2^x . 2^(-3)   =   8

2^x . 1/
2^(3) = 8

We know that 2^3 = 8:

2^x .
1/8 = 8

Multiply by 8 on both
sides:

2^x  = 64

We also know that 64
can be written as 2^6

2^x =
2^6

Comparing the
indices,

x=6

Counter
check

It is a good habit to counter check our answer by putting the
values back into the original equation:

LHS = 2^ (6 -3) - 8  =  2^3
-8  = 0 = RHS

Therefore, we confirm that x=6 is the
answer

In a tug of war the tension in the rope that A and B are pulling is 1956 N. What is the work done by A if he pulls B by 2.8 m?

When A and B are pulling on the rope the tension in the rope is
the sum of the forces with which each of A and B is pulling the rope. To be able to pull the rope
towards himself the force that either A or B has to apply should be equal to the tension in the
rope.

Here we are given that the tension in the rope is 1956 N. A is
able to pull B by 2.8 m.

The work done by A in doing so is equal to
force*distance.

Using the values given we have work = force*distance
= 1956*2.8 = 5476.8 J

The required value of the work
done by A is 5476.8 J.

Analyze Hurstwood's character in Dreiser's Sister Carrie.

George Hurstwood is a most interesting character. He is
like a hothouse plant in the security of his job as manager of Fitzgerald and Moy's, but
he withers when he makes the fairly common mistake among middle-aged married men of
falling in love with a much younger woman. He is suffering from what nowadays is called
"middle-age crisis" and "male menopause." He feels dissatisfied with his life. He
doesn't love his wife and knows she doesn't love him. Acting on emotion rather than
reason, he steals money from the office safe and induces Carrie to run off with him. He
knows from the beginning that he is making a fatal mistake, but he can't seem to help
himself.

Without the aegis provided by his comfortable job,
his impressive home, and his social connections, and living in a strange new city,
Hurstwood loses his self-confidence and begins to neglect his appearance. His
custom-made clothes get frayed and out of fashion. Dreiser makes a great deal of
Hurstwood's deteriorating wardrobe because he is suggesting that the man was all facade
and pretense. He makes a bad investment in a saloon and loses much of his dwindling
capital when the building gets torn down. He loses more money playing poker in a
desperate effort to stop the hemorrhaging of his capital. He has a horrible experience
trying to work as a strikebreaker during a big streetcar strike which is turning
violent.

Carrie is losing all respect and confidence.
Hurstwood is asking her to get by on less and less household money. She decides to try
earning money on her own and ends up in a chorus line because of her personal
attractiveness. Eventually she is given a minor speaking role and then gets more
important parts because she has a winsome personality as well as beauty. As Carrie is
moving up in the world, Hurstwood is moving down. She leaves him, and he soon finds
himself homeless.

He starts panhandling and collects
enough to buy food and rent a cot in a flophouse at night. For a while he works as a
janitor in a hotel, but he gets sick and spends a long time in a hospital. When he
recovers, he finds that he has been replaced at the hotel. He suffers from the cold and
rain. He becomes too wretched even to be a successful panhandler. People refuse to give
him handouts because they take him for a drunkard and a bum. After losing all his
self-respect he commits suicide by turning on the gas in a dismal room in a flophouse on
skid row.

Why do some critics take a deteministic view of Hamlet, arguing that the prince's inability to act and his tendency toward melancholy constitute a...

Some critics take a deterministic view of the main character in
William Shakespeare’s play Hamlet, arguing that the prince’s inability to
act and his tendency toward melancholy constitute a “tragic flaw.” There are numerous reasons
that some critics take such a stance. Some of them assume, for instance, that the prince’s delay
in acting results from some deep-seated paralysis of the will. They assume that almost
immediately after Hamlet learned about the ghost’s charges against Claudius, he should have
killed Claudius. They assume that some flaw or defect in Hamlet’s character prevents him from
acting immediately.

Other analysts have argued, however, that the
prince is perfectly sensible to delay any plan for vengeance. According to these analysts, the
ghosts may be deceitful or an illusion. He may be an evil spirit who intends to seduce Hamlet to
take vengeance into his own hands, even though the Bible explicitly forbids private vengeance.
Rather than acting precipitously, Hamlet waits until he can acquire really convincing proof that
his uncle is guilty – something that makes perfect sense in the opinion of some analysts. He
acquires such proof (apparently) during the play within the play, but, until then, he apparently
still has some doubts.

Ironically, by pretending madness, Hamlet may
be behaving in a highly reasonable way. He wants to be sure that he is acting reasonably and
justly before he acts at all. Otherwise, he may be killing an innocent man. Doing so would not
only be enormously unfair to Claudius (to say the least) but would also put Hamlet’s eternal soul
in jeopardy. To have acted quickly may not really have illustrated strength of character but just
the opposite. From one point of view, Hamlet’s delay is not evidence of any paralysis of will or
tragic flaw but is instead evidence of good sense and wise
caution.

As Hamlet himself puts it when he is planning the play
within the play,

The
spirit that I have seen
May be a devil; and the devil hath power
T' assume
a pleasing shape; yea, and perhaps
Out of my weakness and my melancholy,
As
he is very potent with such spirits,
Abuses me to damn me. I'll have grounds

More relative than this. The play's the thing
Wherein I'll catch the
conscience of the King.