How does physical illness relate to madness in Heart of Darkness?How does one’s environment relate to one’s mental state in this book?

Are you asking whether nature or physical illness
contributed to the madness?  Some physical illnesses can lead to madness.  In Conrad's
day, they were often conditions that are easily treated now, such as syphilis.  As for
environment, there seems to be something about the jungle that induces madness.  My
father was in Vietnam, and although he would never read Heart of
Darkness he described something very similar.  I do not think the jungle
alone leads to hallucinations though.  Being in an unfamiliar place, and being scared,
can lead to breaks with reality.

Remember too that the
madness in this story is symbolic.  Africa was the last great frontier, and Marlowe is
Conrad’s commentary of the madness of imperialism.  Africa was not meant to be tamed,
and is dangerous to those who try.

What are some examples of personification, paradox and alliteration in Act 1 of Macbeth?I found examples of metaphors and similies to be easy, but...

The play begins with one of the most often quoted
paradoxes:

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Fair is foul and foul is
fair.

A paradox is a seeming
contradiction, and this line spoken by all three witches at the end of the first scene
suggests their deceptive nature--nothing is what it seems to
be.

Examples of personification are more difficult to find
perhaps because they are more scarce.  But one example of giving inanimate objects human
characteristics might be in King Duncan's speech:

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My plenteous
joys,

Wanton in fullness, seek to hide
themselves

In drops of
sorrow.

Here Duncan is
ascribing human traits to his happiness that is disguising itself with his tears (of
joy).

Alliteration is the repetition of the first consonant
sounds of words that are close together.  It serves as a type of verbal highlighter that
emphasizes key ideas.  Alliteration is quite common throughout the play.  One example is
Macbeth's speech in scene 4:

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Stars, hide your
fires;

Let not light see my black and deep
desires.

"Deep desires" is an
example of alliteration suggesting Macbeth's murderous inclination.  This line, by the
way, is also filled with assonance--repetition of vowel sounds.  Look how many times the
long i sound, as in "eyes," is repeated.

find the real, linear, quadratic and irreducible factors of x^5 - 32

x^5-32. We have to factorise
this.

Solution:

Let f(x) =
x^5- 32.

Put x= 2  in f(x) = x^5-
32.

f(2) = 2^5 - 32 = 32-32 =
0.

So by remainder theorem, (x-2) is a factor of
x^5-32.

We know that (x^n-a^n)/(x-a) = x^(n-1) -
ax^(n-2)++a^2*x^(n-3)+a^3*x^(n-4)+....+a^(n-2)*x +a^n is an identity.Therefore (x^n-a^n)
= (x-a) {x^(n-1) - ax^(n-2)++a^2*x^(n-3)+a^3*x^(n-4)+....+a^(n-2)*x
+a^n}

We use the above to factor  f(x) = x^5 - 32 = x^5 -
2^5..

Therefore  x^45 - 2^5 = (x-2){
x^4+2x^3+2^2*x^2+2^3x+2^4}.

x^5- 32 =
(x-2)(x^4+2x^3+4x^2+8x+16).

So x-2 is the linear
factor.

So x^5 - 32 =
(x-2)(x^4+2x^3+4x^2+8x+16).

Solve for x 2^(x^2-3x+2) = 4^3

We'll create matching bases both sides. For this reason,
we'll re-write 4^3 = (2^2)^3 = 2^2*3 = 2^6

We'll re-write
the equation in this way:

2^(x^2-3x+2)=
2^6

Since the bases are matching now, we'll apply one to
one rule and we'll
get:

(x^2-3x+2)=6

We'll
subtract 6 both
sides:

x^2-3x+2-6=0

x^2-3x-4=0

We'll
apply quadratic
formula:

x1=[(-3)+sqrt(9+16)]/2

x1=(3+5)/2

x1=4

x2=[(-3)-sqrt(9+16)]/2

x2=(3-5)/2

x2=-1

The
solutions of the exponential equation are: {-1 ;
4}.

How did the media contribute to the public's lack of faith in the economy during the Great Depression?

In the 1920s, the media and popular culture had
contributed to spread euphoria about consumer culture that came to be closely identified
with and celebrated as modernity. This enthusiasm for modern products was often
contrasted with traditional values which were parodied as old-fashioned. The advent of
the Great Depression, however, suddenly showed that the media could also go the opposite
way and destroy the myth of consumer culture that they had
created.

The media machine itself was one of the victims of
the Depression. Newspaper circulation declined and advertising revenues went down by
almost half their value. several film studios declared bankruptcy as a result of
shrinking audiences. Yet, the media remained tools that could mold nation-wide beliefs.
In the 1920s and 1930s, sound was an important addition to the media both through films
and the radio whose reporting reached half of the American homes by the mid-1930s. With
sounds and images, in addition to the written word, the media painted vivid and dramatic
pictures of the impact of the Depression on the lives of the poor. Reporters and
photographers joined forces and travelled aound the United States creating the genre of
photojournalism. Appearing in widely-circulating magazines such as Survey
Geographic and Life, photojournalist essays combined
powerful articles with sensitive and intimate photographs that constitute an importance
legacy for the history of photography. Photographers such as Dorothea Lange, Walker
Evans and Margaret Bourke-White have left images that document the harsh realities of
the Depression. Although these pieces may have damaged the faith of Americans in a swift
recovery, they were generally progressive efforts and acted as a support to Roosevelt's
New Deal program. They validated the President's argument that the federal government
should manage economic affairs.

Roosevelt soon realized
that the media were decisive in shaping a positive image of his Administration in the
American mind. Conservative magnates such as William Randolph Hearst, Roy Howard and
Robert McCormick were the owners of large newspaper chains. Thus they often took a
negative attitude toward the actions of the Administration and tried to prevent
Roosevelt's plan to restore confidence in the American people. They largely ignored the
President's press releases. Yet, the President countered this hostility with an
assertive use of the media through his press conferences and the famous "fireside
chats".

Proving Trigonometric Identities Prove: cos3A = -3cosA + 4cos^3A

We need to prove that:

cos3A
= -3cosA + 4cos^3 A

We will start from the left sides and
prove the right sides.

We know
that:

cos3A = cos(2A + A)

Now
we will use the trigonometric identities to prove.

We know
that:

cos(a+b) = cosa*cosb -
sina*sinb

==> cos(2A+A) = cos2A*cosA -
sin2A*sinA

Now we know
that:

cos2A = 2cos^2 A
-1

sin2A =
2sinA*cosA

==> cos(2A+A) = (2cos^2 A -1)cosA -
2sinA*cosA*sinA

  Let us
simplify:

==> cos(2A+A) = 2cos^3 A - cosA - 2sin^2 A
* cosA

Now we know that: sin^2 A = 1- cos^2
A

==> cos(2A+A) = 2cos^3 A - cosA -2(1-cos^2
A)*cosA

                       = 2cos^3 A - cosA -2cosA +
2cos^3 A

Now we will combine like
terms.

==> cos(2A+A) = 4cos^3 A -
3cosA

==> cos(3A) = -3cosA + 4cos^3
A......q.e.d

What is a summary of Act 4 in Much Ado About Nothing?

Act IV scene 1 begins in front of the altar in the church.
However, instead of the wedding that everyone expects, Claudio denounces Hero as a
"loose woman." Leonato is furious, supposing that Claudio was the one who has slept with
his daughter, but Don Pedro and Don John second Claudio's charge. A furious and
distraught Claudio questions Hero about what he saw and the man she was supposedly with.
Hero rejects the accusation. Upset, Claudio says he will never love again. Hero is
overwhelmed by the events on her "wedding day" and swoons as Claudio, Don John and Don
Pedro leave the church. Leonato believes the accusation and say that if Hero is not dead
he will, with his own hand kill her. However, Friar Francis supports Hero and Benedick
guesses that Don John might have misled his brother and Claudio. The Friar therefore
tells Leonato to hide his daughter away and to publish news of her death to try and make
Claudio feel compassion towards her.

Benedick and Beatrice
find themselves alone and admit their mutual love. Benedick foolishly asks for Beatrice
to ask something of him to prove his love for her. Beatrice replies asking for him to
kill Claudio. Reluctantly, he says he will fight a duel with
Claudio.

Act IV scene 2 occurs in the jail, where the
incompetent Dogberry interrogates Conrade and Borachio. They deny all charges, but
Seacoal say they heard Borachio saying he received payment for falsely slandering Hero.
The sexton then shares the news that Don John disappeared after the accusation of Hero
and Hero has died with grief. The accused men are to be bound and brought before
Leonato. Conrade insults Dogberry, saying he is an "ass." Dogberry is shocked, but
insists on everyone recalling that he is an ass, although a written testament of this
will not be created.

Did some African Americans during the Revolutionary War remain loyal to Great Britain and oppose the independence of the United States?

The brief answer to this is "yes, but not very
many."

There was one official regiment of African American
slaves who fought for the British.  They were organized in Virginia and were called Lord
Dunmore's Ethiopian Regiment.  Around 1100 slaves joined the regiment, with the promise
of being freed after the war.  It may, however, not be all that correct to say that they
"remained loyal" to Great Britian.  This is more of a case of them going with whichever
side seemed likely to free them.

We can see this from the
fact that a larger number fought for the Patriot side.  Somewhere close to 10,000 slaves
are believed to have fought in the Continental Army.  Most of these slaves were also
hoping to be freed after the war.

So, there were slaves
fighting on both sides, hoping to become free after the war.  Please follow the link
below for more on this.

How can r = 6c + 2t be solved?

You have provided an equation r = 6c +
2t.

This equation has 2 variables c and t and r is
dependent on their values. There is no further information provided about either of
them.

It is not possible to solve for either of the
variables using just this information.

If we were to take
two of these values as constants, the third can be expressed as a relation of the
constants. For example:

r = 6c + 2t , where c and t are
constants.

c = (r - 2t)/6, where r and t are
constants.

t = ( r - 6c)/2, where r and c are
constants.

To solve for the three variables r, c and t, we
require three relations between the given variables which can be translated into three
equations.

What is the role of conversations in the novel Pride and Prejudice?

Conversations play a huge role!  Austen is the queen of
detailed, elaborate, flowery, lengthy conversations between characters.  This is why
many people struggle with her novels, and why others love them.  A conversation can
start on one page and ten pages later still be going.  Consider Austen's background and
life herself; living in England in a time when women were expected to sit around and do
practically nothing all day, what else did they have to do besides
talk?

Conversations help relay crucial and important
information, shape the characters in the novel, introduce conflict, and resolve
problems.  One major role it plays is in shaping the characters of the story.  Austen
always has a garrulous and excessively chatty character that says foolish things and is
a bore and annoyance to everyone around them (Mr. Collins, as an example).  She likes to
use conversation to shape those types of characters.  Her heroines (like Elizabeth or
Jane) are often more limited and wise in their conversations, being the listeners as
opposed to the spouters.

Consider also how much of the
NON-conversation narration in the novels centers and focuses around conversations that
were just had.  The characters not only have long conversations, but then go home and
sit there and analyze every tiny thing that was said in that conversation for potential
hidden meaning.  So even though they aren't talking constantly, most of the story IS
centered round people talking OR analyzing the talking that has occurred.  It reminds me
of a group of teenage girls talking about a party that a cute boy talked to them at, and
they all analyze and interpret, and read meaning into each and every word that poor boy
said.  That is what the characters do.

So, whether is it
actual talking to shape characters, introduce conflict or resolve it, or if it is the
characters thinking about what was just said, conversation is the main driving force in
Pride and Prejudice.  I hope that helped; good
luck!

At the tea party, for what is it that Aunty was silently thanking Miss Maudie?Harper Lee's To Kill a Mockingbird

Mrs. Merriweather, "a faithful Methodist under duress," is
a self-righteous, sanctimonious hypocrite.  Not only this, but she is inconsiderate of
her hostess when she tells Gertrude,

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"I tell you there are some good but misguided
people in this town.  Good, but
misguided."

She continues by
saying that some thought they were doing the right thing, but all they did was "stir 'em
up," meaning the black community.  She, then, goes on to say that her maid Sophy, who
she keeps on as an employee out of the goodness of her heart, has had the effrontery to
be "sulky."  In a remark that suggests the hypocrisy of the Merriweathers, Miss Maudie
asks her if her husband's food does not stick going down, meaning that they eat the food
of this maid whom they consider so inferior.

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"Maudie, I'm sure I don't know what you mean,"
said Mrs. Merriweather.

"I'm sure you do," Miss Maudie said
shortly [curtly].

Aunt
Alexandra, who looks at her with "a look of pure gratitude," appreciates Miss Maudie's
criticism of Mrs. Merriweather's disparaging remarks about her brother, Atticus Finch,
and his defense of Tom Robinson.

Critically examine Death of a Salesman as a realist tragedy.

Miller's depiction of Willy is highly based in realism. 
Miller wanted to depict a tragic condition of a "regular guy," someone with whom
audiences could identify.  Miller, himself, asserted
this:

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...the audience members "were weeping
because the central matrix of this play is ... what most people are up against in their
lives.... they were seeing themselves, not because Willy is a salesman, but the
situation in which he stood and to which he was reacting, and which was reacting against
him, was probably the central situation of contemporary civilization. It is that we are
struggling with forces that are far greater than we can handle, with no equipment to
make anything mean
anything."

In the
end, it is this level of identification that makes Willy a protagonist of a realist
tragedy.  Willy's depiction is one where audiences empathized with what is happening
because his life is theirs.  Combining this with Miller's belief that modern tragedy is
one setting where regular people's plights are emphasized helps to enhance the idea that
Miller's work is a tragedy of realistic proportions.  When Miller argues that tragedy is
of "the common man," it is something that reminds the reader that Willy is not a king or
inheritor of legal throne.  Rather, he is an ordinary guy facing difficult conditions of
being in the world.  This represents
tragedy.

Discuss the significance of the Gods' intervention in Achilles' reintegration into the war in The Iliad.

Essentially, the Gods' intervention in Achilles'
reintegration is prompted by the appeal to Achilles' intense despair over the death of
Patroklos.  The Olympians recognize that this is a significant moment and to seize it by
going after Achilles when he is at his most vulnerable will be critical.  Hera, who has
tried her best to get the Greeks to win no matter what her husband says, gets her
messenger, Iris, to rouse Achilles into such a rage that his entry into the war would be
inevitable.  Thetis, Achilles' mother, enlists the help of Hephaestus to make a new and
more powerful armor for him to wear in battle, as his companion was killed in his own. 
Athena does her best, as well, to ensure that Achilles cannot remain uninvolved as she
"wraps Achilleus in the aegis" and gives him an aura of dominance with a blinding
light.  Symbolic of the fire that rages within him, the Gods help to carve out an
identity of vengeance and mourning as blinding intensity embodied in Achilles. Their
attempts are significant as it shows the Gods are almost as wrathful as human beings
when they feel slighted and dishonored, and are as intense as human beings in seeking
victory no matter the cost.  The Gods' attempts are a directly violation of Zeus' order
in Book Eight that they are to not involve themselves in the war, allowing the mortals
to fight it out themselves.  In their attempts at getting Achillles reintegrated into
the war, the Gods show themselves capable of doing anything in order to achieve their
desired end.

Please comment on the importance of the dream-state in "Ode to a Nightingale."

The dream-like state into which the speaker enters is very
important because it allows him to meditate over the significance of the nightingale's
song to him and what it means. The speaker becomes intoxicated with the song of the
nightingale and the many different images that it provokes in his mind. This causes him
to wish for poetic inspiration that he might fly away from the suffering and
transformations that time inflicts on people:

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Here, where men sit and hear each other
groan;

Where palsy shakes a few, sad, last grey
hairs,

Where youth grows pale, and spectre-thin, and
dies...

The poet imagines
that practising his art would be able to free him from his torment and that even death
would be a release that would be desired if the bird could sing to him as he dies. As
the nightingale's song dies down, the speaker returns to consciousness, and contemplates
whether his visions were just a dream or reality.

In all of
this it is important to realise how the nightingale, through many different historical
periods, transcends time and place and symbolises eternity. Therefore, symbolically we
can say that the nightingale dwells in some sort of eternal realm, whereas the speaker
lives in a world where decay and time hold dominion. It is only by leaving that realm,
however temporarily, that the speaker is thus able to comment critically upon
it.

Who is the intended audience for "Shooting an Elephant" by George Orwell?

When the intended audience is not specified, we need to
make a deduction based on a number of factors, including the level of vocabulary of the
text and its theme or topic. Considering these issues leads us to infer that Orwell is
writing this essay for an educated Englishman. If you examine the kinds of phrases that
Orwell uses and the sophisticated vocabulary, it becomes clear that he is not writing
for the "common man" necessarily. Also, when we think about his purpose in trying to
inform and persuade his audience about the problems inherent within British Colonialism,
we can safely conclude that he is addressing a primarily British audience and seeking to
share his misgivings about Birtain's involvement in the leadership of others
nations.

In conclusion, Orwell is writing to an educated,
mainly British audience to share his ideas concerning colonialism and how by being
involved in colonial power, Britain is ironically making itself a slave to the
expectations that subjugated nations have of their British
overlords.

I need help writing an education paper???????

In order to answer the question fully, it would be helpful
to know a bit more about your topic. Are you writing about a specific aspect of
education (early childhood, middle grades, high school) or are you writing about a
specific aspect of education (reading skills, ESL, special education, curriculum
development)? There are many different topics within a subject as broad as education.
The first thing that you will need to do is determine a topic and a focus for that
topic. For example, you might decide to write about the benefits of mainstreaming
children with learning disabilities during their elementary years, or, as an opposing
viewpoint, the benefits of ESE classroom instruction for children with learning
disabilities during their formative years.

Once you have
setteld on a single narrow topic and a focus for that topic, then begin your research.
Look for valid academic sources (education journals are a good place to start) that
support your position on the subject or, if you are writing an informative piece, serve
to explain the significace of your topic.

After you have
gathered your research, outline the main points that you wish to make and then fill in
the supporting details on your outline with evidence, examples, and statistics from your
research. Remember to cite each outside reference in the text itself as well as on the
reference page. Connect each use of a source with a few ideas of your own as well so
that you are not simply collecting research.

Conclude your
paper with a restatement of the thesis, then verify that you have a unified, coherent
whole.

If you have any specific questions after you have
settled on a topic, don't hesitate to ask!

What has God to do with "Porphyria's Lover"? What is the meaning of the last line, "And yet God has not said a word!"

This is an excellent and intriguing question! Well done
for asking it! It is important to realise that Browning in this poem creates an
unreliable narrator whose words we clearly come to doubt as the poem progresses. Note
how he convinces himself that Porphyria did not suffer when he killed her, though we,
his audience, are far from certain:

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No pain felt she;

I
am quite sure she felt no
pain.

The repetition seems to
underlie the sense of doubt that we have in the narrator's account. As the poem ends, he
seems to be looking for some kind of ultimate justification that he has done the right
thing in killing her and thus possessing her forever:

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Porphyria's love: she guess'd  not
how

Her darling one wish would be
heard.

And thus we sit together
now,

And all night long we have not
stirr'd,

And yet God has not said a
word!

In the same way that
the narrator convinces himself that Porphyria felt no pain as he strangled her, so he
creates a justification for what he has done. The silence of God is seen as an approving
silence at the end of the poem, one that condones the "pure" actions of the narrator in
immortalising and cementing their love.

How does external pressure effect the reactions of characters in To Kill a Mockingbird?it can be any character

To Kill a Mockingbird is really a
study of the influence of culture on the individual.  All of the characters are affected
by external factors.  As Scout and Jem grow, a big part of their education about
adulthood is understanding what the outside world wants from them.  This means
understanding the pressures of racism and discrimination.   For example, Scout learns
about the Cunninghams and the Ewells and the different levels and cultures of poverty. 
They also learn about how society views racism, an accepted and required part of life. 
Finally, Scout learns how to be a lady.  Aunt Alexandra tries to teach her to understand
and act her social station so that she will be successful in the society she will need
to take part in.

Find the area under the curve y= x+ 6/x, x=1 to x=2.

The area under the curve y= x+ 6/x and x axis is
calculated using Leibniz-Newton formula.

Int ( x+ 6/x)dx =
F(b) - F(a), where a = 1 and b = 2

First, we'll determine
the result of the indefinite integral:

Int ( x+
6/x)dx

We'll use the additive property of
integrals:

Int ( x+ 6/x)dx = Int xdx + Int
6dx/x

We'll simplify and we'll take out the constants and
we'll get:

Int  ( x+ 6/x)dx = Int xdx + 6Int
dx/x

Int ( x+ 6/x)dx = x^2/2 + 6ln |x| +
C

The resulted expression is
F(x).

Now, we'll determine F(b) =
F(2):

F(2) = 6ln |2| +
2^2/2

F(2) = 6ln |2| + 2

Now,
we'll determine F(a) = F(1):

F(1) = 6ln |1| +
1^2/2

F(1) = 0 + 1/2

We'll
determine the area:

A = F(2) -
F(1)

A = 6ln |2| + 2 -
1/2

A = ln 2^6 +
3/2

A = ln 64 + 1.5 square
units

A = 4.15 +
1.5

A = 5.65 square
units

What sort of "Everyday Use" do we figure Dee would put the quilts to if she were to be given them?

The idea of the story, "Everyday Use" is that Dee wouldn't
put the quilts to everyday use.  That's the difference between her and the other two
members of her family. 

When Dee lived with her family,
apparently, the family was rural and backward and "beneath" her.  Currently, she has
become educated and hip and urban.  What was once backward is now quaint.  The quilts
are something from her past, from the past of her people.  She sees the quilts as works
of art, not as things to be put to every day use.  To Dee, using the quilts to, say,
cover up on the couch or use as a comforter on a bed would be a travesty and a waste. 
She would, most likely, hang them on a wall as decorations or display them in some
manner.

Dee is a "new" black woman, breaking away from the
boundaries society placed upon black women for years.

What is the derivative of the expression (10+lgx^10+e^10x)^10?

Since the given expression represents a composed function,
we'll evaluate its derivative applying chain rule.

We'll
put 10+lgx^10+e^10x = t

y =
t^10

We'll differentiate y with respect to
t:

dy/dt = d(t^10)/dt

dy/dt =
10t^9

We'll differentiate t with respect to
x:

dt/dx =
d(10+lgx^10+e^10x)/dx

dt/dx = 10/x +
10*e^10x

dy/dx = 10t^9*(10/x +
10*e^10x)

We'll substitute back
t:

dy/dx = 10*[(10+lgx^10+e^10x)^9]*(10/x +
10*e^10x)

What are 10 major events that happen in Speak by Laurie Halse Anderson?Please include page numbers.

I think that page numbers will be difficult to give
because every edition contains different pagination.  In the end, you are going to have
to match up specific events listed with where they happen in your version of the text. 
The first and most pressing event in the book is the rape of Melinda at the hands of
"it."  Adding to this would be her calling the cops to break up the summer party as to
where it happened.  The social ostracizing of Melinda at the hands of the high school
social order in the First Marking period are three events that are interlinked as cause
and effect realities of one another.  These three help to set the stage for the rest of
the narrative.  The growth and emergence of cliques and Melinda's response to them as
she is alone might be another element to discuss that is of importance.  I think that
noting the reaction that Melinda has to her teachers would also be of importance in the
identification of important events.  The discovery of "her place" as the janitor's
closet might also be important because it marks the specific realm where her
transformation is able to take place.  Along these lines would be the growing admiration
that Melinda has of David, who listens to his own voice and "speaks" in a manner that
Melinda wishes.  In confronting the memory of Melinda's horrific night over the summer
in the "Third Marking Period" section, the seeds are sown for her reclamation of voice. 
In the last section, the emergence of Melinda as an artist, the appreciation others have
for her work, the desire to be "reborn" as a tree, and the confrontation of "it" and her
declaring that "I said 'No," are all critical events.  In the end, noting that Melinda
begins the process of opening up to Mr. Freeman, after she was supported by members of
the Lacrosse team helps to close the novel, but open the narrative of Melinda's
reclamation of voice.

In the book Of Mice and Men, what do George and Lennie do for a living?

George and Lennie are migrant farm workers.  This means
that they travel from farm to farm, hiring themselves out as temporary labor.  Usually,
migrant workers travel along with the seasons of the crops.  George and Lennie go from
farm to farm looking for work.  In California in the 1930s this was quite common.  It
was a hard life though, because farm workers did not make much and had to do hard work. 
Picking crops is uncomfortable work.  George generally chose the assignments based on
rumor and what they happened to come across.  It was typical for migrant workers to go
looking for work and stop only when they found it, until the work was done when they
would move on to the next one.

What role did the media play in the disability rights movement?

As with many movements or actions meant to inspire change,
the media helped to broaden the cause and bring the movement's purpose to more people. 
In the 1970s, the protests for those who were physically challenged was understood by
many because of the media and the reporting of what was happening.  Protests at the
Health, Education, and Welfare offices in major cities being publicized by the media as
well as the broad nature of the struggle helped to bring to light that the fight for
integration for those who were disabled was going to be publicized, and not kept in the
shadows.  The media was primarily responsible for this, being able to take the message
as well as the narrative of those protesting and convey this to as many people as
possible.  All movements' successes are dependent on the individuals who seek change
being able to get their message across.  The media plays a role in this and did so in
covering the disabled rights cause and protests.

How does Juliet reflect the historic context of the Renaissance period?Romeo and Juliet

During the Renaissance, a wealthy woman was expected to
marry young, obey her husband and be loyal to him, and bear children, especially heirs. 
Like a young woman of her time, Juliet has a father who arranges the marriage to a young
man of family and wealth.  While other girls do not marry young because they must work
for their families, fourteen is the normal age at which wealthy women are married.  And,
the father, like Lord Capulet, makes arrangements with a suitable young man, one who has
a reputable name, position, and property.  A dowry is paid to the new husband when the
young couple are married. 

 Also, typically, Juliet is
cared for by a wet nurse just as other young wealthy women of her time are.  The Nurse
is probably a poor relative who serves in the Capulet home for her room and board; her
affection for Juliet seems to indicate that she is most likely related to the girl for
whom she is so fond and proud. 

Distinguish between Rosalind's healthy humor, Touchstone's professional humor, Jaques' satirical humor, and Corin's natural humor?

Rosalind's humor is "healthy" in that it is
compassionate.  It pokes fun, gently, at the foibles of human nature, particularly those
of men and women in love. She can even make fun of herself, as when she says to Celia,
"Do you not know I am a woman?  When I think, I must speak" (act III, scene 2, lines
247-248).  Her humor, though empathetic, is practical: "Men have died from time to time,
and worms have eaten them, but not for love" (IV,1,ll.101-102).  When she outduels
Jaques (IV,1), there is a sense that, in doing so, she is being as kind as possible
about it. Regarding his vaunted "experience," she remarks, "I had rather have a fool to
make me merry than experience to make me sad" (ll.25-27).  The greater part of
Rosalind's wit is found in the two scenes (III,2 and IV,1) in which she impersonates a
young man in order to "woo" Orlando.  This wit takes many forms, but it is always rooted
in her passion, need, desire and sympathy for her
lover.

Touchstone's humor is "professional" chiefly because
he is, of course, a professional humorist - a court jester.  He is more than able to
zing a quip here and there:  When Rosalind says, "O Jupiter! How weary are my spirits!,"
he responds, "I care not for my spirits if my legs were not weary" (II,4,ll.2-3).  When
she refers to Orlando's verses to her, saying "I found them on a tree," he retorts,
"Truly, the tree yields bad fruit" (III,2,ll.115-116).  Much of Touchstone's humor,
however, comes in the form of monologues, speeches so witty and complete they seem to be
rehearsed "party pieces."  Three clear examples of these comic tirades are his bit about
being in love with "Jane Smile" (II,4,ll.44-54), his parody of Orlando's poems to
Rosalind (III,2,ll.100-112), and his dazzling discourse "Upon a lie seven times removed"
(V,4,ll.69-103).  As a professional, Touchstone has a comic monologue ready for almost
any occasion.

As funny as Touchstone is, however, he cannot
get the best of Corin.  In fact, in act III, scene 2 (ll.11-69), the shepherd seems to
out-jest the jester.  In a sinuous argument in which the court clown attempts to trap
Corin and make him look foolish, the latter trips up the former, "hoisting him by his
own petard."  In making Touchstone assert that "civet is of a baser birth than tar,"
Corin makes him admit that the "shepherd's life" is superior to that of the court. 
Corin doesn't manipulate towards this end; he simply states what he knows to be true and
watches as his motley friend hangs himself.  He is not at all the "natural" that
Touchstone takes him for.

The humor of Jaques is, perhaps,
the most complicated.  Although he is primarily associated with "melancholy," he is ripe
with sharp wit - not as polished, perhaps, as that of Touchstone; certainly not as kind
as that of Rosalind.  When the singer says to him, "My voice is ragged, I know I cannot
please you," Jaques quips, "I do not desire you to please me, I do desire you to sing"
(II,5,ll.13-15).  After using a strange word to gather his mates around him, one of them
asks, "What's that 'ducdame'?" - to which Jaques replies, "'Tis a Greek invocation, to
call fools into a circle" (II,5,ll.52-54).  One of the most unique moments in the play
(and, perhaps, in Shakespeare) is when, in act IV, scene 1 (ll.28-30), Orlando says,
"Good day and happiness, dear Rosalind," and Jaques exits, saying, "Nay, then, God be
with you an [if] you talk in blank verse."

How do people react to Elizabeth and how does Victor feel about her in Frankenstein?Frankenstein by Mary Shelley

Elizabeth is a constant joy to the Frankenstein family; in
fact, the parents have always hoped that Victor would marry this lovely girl who comes
to the defence of Justine Moritz, the accused murderer of William Frankenstein.  Even
Victor, who knows that Justine is innocent is not as willing as Elizabeth to defend
her.  That he dissembles around Elizabeth is, indeed, an indictment against the
integrity of Victor.  In Chapter 7 he tells Elizabeth

readability="8">

'She [Justine]is innocent, my Elizabeth...and
that shall be prove; fear nothing, but let your spirits be cheered by the assurance of
her acquittal.'

Yet,
selfishly, Victor Frankenstein does not come forward with the truth; instead, he leads
Elizabeth to believe that he is "kind and generous."

This
selfishness is also blatantly evident after the creature tells Frankenstein will be with
him on his wedding night, and Victor refrains from telling sweet Elizabeth anything. 
Fatefully, she becomes a sacrificial victim to the ego of Victor Frankenstein. At the
end of Chapter 7 Victor even accuses himself:

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Thus spoke my prophetic soul, as, torn by
remorse, horror, and despair, I beheld those I loved spend vain sorrow upon the grave of
William and Justine the first hapless victims to my unhallowed
arts.

Elizabeth, the lovely
girl who "possesses a certain power over our minds which hardly any later friend
can,"--he loves her --becomes a sacrificial victim for the creature of Victor, "the
author of unalterable evil."

In Fahrenheit 451,what does Bradbury reveal to his audience about humanity through the irony conveyed by Clarisse?

Bradbury uses Clarisse to express that
humanity as we know it is on its way to being extinguished... just like
Clarisse. All those things that made Clarisse alive  (the ability to appreciate smells,
sights and sounds, the ability to think and ponder, the desire to learn) were values or
qualities that the society either frowned upon or moved away from because they all had
something to do with feeling or thinking. As readers we like Clarisse and her affect on
Guy, but as the storyline continues we realize that she just vanishes. It's ironic that
this happens to her because this is a part of Bradbury's message. If we do not do
something with the way that technology is robbing humanity of thinking, feeling, and
relating, we too are on our way to permanent extinction. It is a dreary message, but
certainly touches readers closely as they consider how lazy behaviors and attitudes
affect them.

Please explain Catholicism and emotion in Catcher in the Rye. How is it important, and what does it symbolise?I am writing an essay about Catcher...

There's two instances of Catholicism in The
Catcher in the Rye: one with Ackley at Pency and one at breakfast with the
nuns.

Holden asks
Ackley:

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"Listen. What's the routine of joining a
monastery?" I asked him. I was sort of toying with the idea of joining one. "Do you have
to be a Catholic and
all?"

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"Certainly you have to be a
Catholic. You bastard, did you wake me up just to ask me a dumb
ques-

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"Aah, go back to sleep. I'm not going to join one
anyway. The kind of luck I have, I'd probably join one with all the wrong kind of monks
in it. All stupid bastards. Or just
bastards."

Holden is
definitely a conservative: he relishes the past and doesn't want to grow up and be a
phony materialist.  He wants to live a holy life, but he doesn't know how to do it.  His
father was a Catholic, but he left the church when he got
married.

Like everything else, Holden is caught in the
middle.  He's not a child or an adult: he's a teenager.  He's not a Catholic or a
Protestant.  He's not a lover or a fighter.  He's desperately searching for a place to
call home.  He runs away from home and school.  Could he find a home in the church or a
monastery?

Holden also fears being a hypocrite, or a phony.
 He wants to live a quiet life surrounded by books instead of people and money, but he's
afraid that he'll be the "wrong kind of monk," a "stupid
bastard."

Later, on his run-away journey in the city,
Holden sees two nuns and their dilapidated suitcases.  The nuns also are symbols of
holiness, and their suitcases are symbols of modesty, humility, and anti-materialism.
 Holden likes the way they look and the way they "never [go] anywhere swanky for lunch."
 As such, nuns are some of the few non-phonies in the entire
novel.

These nuns are teachers too.  Holden gets into a
conversation about the nature of tragedy, focusing on Romeo and
Juliet's first character who dies, Mercutio.  Holden loves Mercutio because
he's an outspoken rebel, like himself.  Holden really shows his intellectual and
emotional side with the nuns.  He gives them ten dollars, mainly because he doesn't like
to see cheap suitcases.  Like him, the nuns are travelers, and rather than engage in
empty small talk, like the girls in the Lavender room, the nuns engage in meaningful
conversation.  Holden feels like a pilgrim talking to
them.

All this is echoed near the end of the novel when
Holden gets advice from Mr. Antolini, an Italian and--like Mercutio and the nuns--likely
a Catholic.  He says Holden is “in for a terrible
fall”:

"The
mark of the immature man is that he wants to die nobly for a cause, while the mark of
the mature man is that he wants to live humbly for
one."

Was Mercutio a noble
man?  Are the nuns noble?  Would Holden be noble if he becomes Catholic?  Or joins a
monastery?  What is Holden's noble cause?

Holden could end
up like Mercutio or the nuns.  He could die for a noble cause, like Mercutio and James
Castle, both of whom committed suicide.  Or, he would live humbly for one, like the
nuns.

In the end, what does he choose?  We don't know.
 But, we do know that he lives to tell his tale.  And, his "rest home" sounds a lot like
a monastery of sorts.  Ironically, too, Holden's creator J.D. Salinger, a Jewish
Catholic himself, became a monk after writing this book until his death.  No one saw his
face for 50 years.

How Gustave Flaubert showed his disaappointment with middle class in his novel Madam Bovary?

The disappointment experienced by the characters is mainly
the lack of money versus the fantasized version they have of what happiness and
contentment should be. Madame Bovary had come from a well-to-do family when she married
Dr. Bovary. Both were at first content with what they
had.

Yet, Flaubert lets us in the know of Emme's tendencies
when she was younger in the convent, how she lived on romance novels and romantic
stories where people always dressed well, and nice aromas always filtered, and she
stayed in that fantasy. Hence, the preoccupation she has with money and riches occupied
her mind and put values and common sense in second place. She felt of her current status
as dull, boring, intolerable, and classless and kept day dreaming about a life of
richness.

Later in the story, when the Bovaries receive the
invitation to the Marquess home and she dances with the Viscount, she sees THAT as the
perfect moment of her life. Nothing is important: Not health, nor family- just the
fantasy.

Therefore, Flaubert may show dissappointment
through his characters in that all that was material and superficial was what was
important to Emma, and that there is a massive chasm between her comfortable life and
that she aspires to live in opulence and ritual.

How do ethical and moral issues related to genetically modified crops affect society?

The fact that some people think there are ethical and
moral issues related to GMO crops affects society mainly by reducing the amount of food
that is available.  If people did not fear GMO crops, these crops would be more widely
grown and society would benefit.

Many people worry that
genetically engineered foods are not safe for human consumption or that they will manage
to contaminate the environment by breeding with other plants.  These people fear that
there has been too much of a rush to allow GMO because of its economic benefits.  This
becomes a moral or ethical issue because it pits A) economic benefits against potential
health and environmental concerns and B) immediate benefits against possible long-term
ills.

These moral and ethical questions, then, reduce the
amount of GMO being grown in the world.  Therefore, they reduce the amount of food
available to people.

What is the comparative central idea with Olsen's "I Stand Here Ironing" and "A Conversation with my Father" by Grace Paley?The only thing I have...

In accord with your assessment, in an interview with the
Shenadoah Review, Grace Paley, author of "A Conversation with my
Father," declares that the story 

readability="9">

...is about generational attitudes about life,
and it's about history...[The narrator] was really speaking for people who had more open
chances. And so she brought that into literature, because we don't just hop out of our
time so easily.

Likewise, "I
Stand Here Ironing" by Tillie Olsen is concerned with the open-endedness of life.  In a
conversation with a school official, Emily's mother is unable to account for "all that
life that has happened outside me, beyond me."  She says that she will never "total it
all."  There is too much that Emily has kept to herself and too much that the mother has
learned too late.  But, the mother is resigned:

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She is a child of her age, of depression, of
war, of fear. 

Let her be.  So all that is in her will not
bloom--but in how many does it?  There is still enough left to live by.  Only help her
to know--help make it so there is cause for her to
know-- 

In the case of
Paley's story, the father, an immigrant from Russia has a different perspective on life
from that of his daughter; he is similar to the school official who has a preordained
idea of the structure of life.  That is, he feels that the woman's action of becoming an
addict foretells her ultimate tragedy because in his life in Russia there were "no
choices," as Paley relates.

Similar to the mother of "I
Stand Here Ironing" is the author daughter of "A Conversation with My Father." 
Declaring that her daughter is "a child of her age," she is "more than this dres on the
ironing board, helpless before the iron."  Emily can change the direction of her life,
she can make choices.  The daughter who writes the story for her father contends that
people can change careers; things are "of small consequence."  But, the father, like the
school official, believes everything in life is "of great
consequence."

Clearly, one's perspective is determined by
one's time and generation: "We just don't just hop out of our time so easily."  While
the Russian father does not understand, Emily's mother whose metaphoric ironing takes
her back and forth, back and forth through time, does comprehend that her daughter must
be perceived through the open-ended lens of her time, as she is still "becoming" just as
the boy's mother, who is only forty, still has time to improve her
life.

In "The Most Dangerous Game," please comment on one section of the story that creates a foreboding atmosphere.

You might want to focus on how even before Rainsford
arrives at the island, the author makes every effort to create a foreboding atmosphere
and foreshadow the terrible events that occur on the island. One way he does this is to
discuss the sailors' superstitions and worries about the island itself. Note how the
author achieves this:

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Yes, even that tough-minded old Swede, who'd go
up to the devil himself and ask him for a light. Those fishy blue eyes held a look I
never saw there before. All I could get out of him was: "This place has an evil name
among seafaring men, sir." Then he said to me, very gravely: "Don't you feel
anything?"--as if the air about us was actually poisonous. Now, you mustn't laugh when I
tell you this--I did feel something like a sudden
chill.

Of course, Rainsford
is dismissive of such "supersition," but it is important to note that even the toughest
of sailors shares these views about the dangerous nature of the island. A clear
hyperbole is used to establish the character of the "tough-minded old Swede." By saying
that he would "go up to the devil himself and ask for a light" the author establishes
his bravery. Clearly, for him to be scared about the island creates a real foreboding of
what is actually on that island to be scared about. The strange, almost supernatural
chill that the speaker himself feels supports this sense of imminent danger. Of course,
when Rainsford is knocked overboard and makes for this island, we realise that we will
find out for ourselves what actually goes on there...

How Is Juliet cooperative, affectionate, sincere, mature, courageous, heroic, decisive, devoted, loyal, faithful & passive in Romeo and Juliet?

Here goes:

Cooperative-
Juliet agrees to consider Parris as a potential suitor at her father's party, even
though she says she's not particularly ready to consider
marriage. 

Affectionate - The person Juliet is most
affectionate with is the Nurse. They apparently tease one another, and Juliet literally
hugs her when she comes back from talking to
Romeo. 

Sincere - When she tells her father she has not
even thought of marriage, Juliet exhibits
sincerity. 

Mature - She is immature and impulsive most of
the time after she meets Romeo, so any maturity is displayed before that.  (See Sincere
and Cooperative.) A case may be made that after she gets the potion from the Friar and
becomes an obedient daughter (knowing she's not going to have to actually marry Parris)
she is showing some maturity. When Juliet does not, for once, share her plan with the
Nurse, she exhibits mature behavior.

Courageous - When
Juliet takes the Friar's potion, she show courage--though she's young and may not even
recognize the dangers inherent in such an implausible plan.  Certainly when
she buries Romeo's dagger in her breast she shows extraordinary courage and
conviction. 

Heroic - See
Courageous.

Decisive - Choosing to marry Romeo after just a
few hours' acquaintance shows decisiveness, as does her determination to carry out the
Friar's plan. 

Devoted - Juliet is clearly devoted to the
Nurse, her father, and Romeo--though she breaks faith with all but Romeo throughout the
course of the play.

Loyal - She is loyal to both her
beloved cousin Tybalt and her husband Romeo, though her loyalties are tested when one is
killed by the other.

Faithful - See
Loyal.

Passive - Agreeing to consider a man she hasn't even
met as a husband is the epitome of passive.

A tin can's diameter is 5 inches and it's height is two more than three times the diameter . Find the volume of the tin can.

Given that the diameter is 5
in.

The height = two more that 3 times the
diameter.

==> h = 2 + 3*d = 2+ 3*5 = 2 + 15 =
17

Then the height = 17
in.

Now we need to find the
volume.

We know that the volume of the cylinder
is:

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

==> r = diameter/2 = 5/2 =
2.5

==> h=
17

==> V = (2.5)^2 * pi * 17 = 106.25*pi
in^3

Then, the volume of the can is 106.25*pi
= 333.79 in^3

In Book II Ch.1-12 in A Tale of Two Cities, compare Darnay's revelation that he wants to marry Lucie to Stryver's revelation.

In Chapter 10 of Book II, Darnay declares to Dr. Manette
the love that he has long harboured for his daughter, Lucie. Dickens tells us
that:

He had
loved Lucie Manette from the hour of his danger... But, he had not yet spoken to her on
the subject...

Recognising
how important Dr. Manette is to Lucie, Darnay decides to speak to him first before
speaking to Lucie. Thus Darnay declares his love in rather traditional and stilted
language:

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"You anticipate what I would say, though you
cannot know how earnestly I say it, how earnestly I feel it, without knowing my secret
heart, and the hopes and fears and anxieties with which it has long been laden. Dear
Doctor Manette, I love your daughter fondly, dearly, disinterestedly, devotedly. If ever
there were love in the world, I love
her."

One cannot doubt the
sincerity of Darnay's serious language, and yet the alliteration in "dearly,
disinterestedly, devotedly" seems to undercut the fervency of this revelation, making
his declaration somewhat lacking in substance, although obviously very
powerful.

In Chapter 11, on the other hand, we have another
revelation of love for Lucie, but made in very different terms. Stryver dangles the
information in front of Sydney, trying to make him guess who he has decided to marry.
When he does not want to play, Stryver tells him,
saying:

"I
don't care about fortune: she is a charming creature, and I have made up my mind to
plese myself: on the whole, I think I can afford to please myself. She will have in me a
man already pretty well off, and a rapidly rising man, and a man of some distinction: it
is a piece of good fortune for her, but she is worthy of good
fortune."

How different a
declaration! The manner of playing with this information in front of Sydney indicates a
frivolous desire and the declaration when it comes is all about Stryver's needs and
wants, and how he can please himself. He uses the declaration as another opportunity to
boast about his prospects and assumes that his offer will be accepted because it would
be "good fortune for her", not worrying about Lucie's feelings in the
matter.

Two very different declarations therefore, but you
really should compare these declarations with Sydney's declaration of love for Lucie in
Chapter 13. Darnay's declaration is stilted but sincere, Stryver's declaration is
inappropriate and arrogant, but true depth of feeling and emotion is revealed by
Sydney's declaration in this Chapter.

Define what is meant by drug abuse and alcoholism. Include in your answer a discusion of the notions of dependence and tolerance?No

The phrase drug abuse relates to a person’s use of
prescribed medication and/or illicit substances in a manner which is deemed to affect
both their physical and psychological health. This definition applies to both alcohol
and other drugs. The phrase alcoholism is an antiquated phrase utilised to describe a
person who has an alcohol dependency, and can trace its roots back to the prohibition
movements popular in the early 20th century, and indicates that the person suffering
from the alcohol dependency has no control over their misuse. Modern therapeutic
concepts put the onus on the dependant person looking to change, so the concept of the
dependency being a disease is not very useful as it allows the person to opt out of
taking responsibility for their actions and by default their
behaviours.

Dependence:

Dependence
as a term refers to the normalisation of a behaviour in which the person who is using
substances becomes normalised to the process of using
drugs.

An easy way to think of this is to think about how
we use coffee, usually first thing in the morning to “wake us up”, this is how a
dependant substance user will view their drug of choice whether it is alcohol or heroin,
they always need to shoot up, have a drink to “square themselves” before they start
their day. The substance has become almost normal in the way they consume
it.

Tolerance:
Tolerance is a word used to
describe how used to a substance someone has become.
Tolerance is basically
when someone needs to take more of a substance to continue to feel the same way. This
can be seen if we look at how people utilise heroin.

The
majority of people first dabble in heroin through smoking or “chasing the dragon”, the
next hit they take is never as good as the first, and in some cases won’t last as long,
so to compensate, they increase the amount of heroin they smoke, eventually in some
cases they start to inject, as it is a better hit and this cycle continues.
 

In his book “living with Drugs”  Michael Gossop uses the
example of  200mg of heroin being fatal to a non tolerant user where as a tolerant user
may survive overdoses of 350mg. The average medical dose is around 10
mg.

Are the Nurse's speeches in Act II, sc. 5 consistent or inconsistent with the impression you have gained of her in earlier scenes?Romeo and...

With her bumbling mannerisms and rather risque speech at
times, the Nurse is a comic figure; as such her speeches are often interjected into
serious scenes in order to provide comic relief.  When, for instance, Romeo inquires of
her who the fair maiden is at the masquerade, the Nurse provides added commentary to her
response, saying that she has nursed the girl and whoever "can lay hold of her/Shall
have the chinks" (1.5.124), not realizing that she is talking with a
Montague. 

Later in Act II, Scene 5, when the Nurse returns
to Juliet with the message from Romeo, she is delays this message by complaining of her
aches and fatigue instead.  While she may be reluctant for her cherished Juliet to be in
love and want to marry Romeo, the Nurse is probably just being the Nurse.  For, this
delay and her circumlocution is consistent with ther character.  After all, she jokes
with Juliet and even makes innuendos later about Juliet's possible
pregnancy.

HOW DID THE KOREAN WAR END AND WHAT LASTING IMPACT HAS THIS HAD ON NORTH KOREA, SOUTH KOREA, AND U.S.?

The war didn't really end, it just stopped.  There was no
permanent peace deal or treaty, both sides agreed to a cease fire, one that has now been
in place for almost 57 years.  The lasting impact this has is that both countries have
to invest heavily in their militaries to guard the border against the possibility of
another war.  The DMZ, or Demilitarized Zone is a two mile wide stretch of territory
between both countries that is both one of the most heavily mined and heavily patrolled
pieces of land on Earth.

The US has had to maintain a
permenent military presence there, and recently, it was admitted that for a time, we
have kept nuclear weapons there as well, something that did not go over well with the
South Korean public.

North Korea has never recovered from
the war, and so much of its budget today goes towards military spending that the country
is largely without power, adequate food or energy supplies.

What is a mode of production?

The mode of production includes the means of production
which are human labor and the actual tools, machinery and capital that is used to
produce goods. The mode of production also includes the relations of production which
are the relations between people and the objects they use to make goods as well as the
relations between the people themselves. In particular, these relations of production
are the ways social classes interact and how workers function with employers, or how
workers relate to those who own property and capital.

In
Marxism, understanding the way goods are produced and consumed requires an understanding
of how they are produced. These goods are first and foremost what we need to survive.
So, the mode of production describes how we produce the necessities of our own survival.
These goods also include things additional to food, shelter and clothing. This can
include art, toys, and really any commodity. Anything that is produced is therefore, a
part of our mode of sustaining life. Some of these goods are excesses or luxuries and
profit is the excess value of production.

We don’t just
produce goods. We produce our means of life which means that we reproduce our way of
life. This includes our economic system but more fundamentally, our day to day
activities. And Marx states that these day to day activities produce our ideas,
politics, religion and cultural identities. In Marxism, the means of production are
bound up with social interaction and culture. They are inseparable. In this context,
culture is not just a concept of elite art. In this context, culture is broader. It
describes shared attitudes and practices of a certain group, country or period of
history. Everyday doings (modes of productions) inform the way we continue to perform
those everyday doings and they inform the way we think about the world
(culture).

In this context, culture emerges from the means
of production. Or, as Marx said, consciousness emerges from
life.

Why is Winston so reckless in 1984?

In this book, Winston Smith is reckless and takes actions
that make it almost inevitable that he will be caught.  The reason for this is that he
is desperate to the point where he does not really care that much if he lives or
dies.

Winston wants to be a real individual.  He wants to
be able to have the kinds of personal relationships that are not possible under the
Party.  He wants to be able to have real memories and real knowledge.  Again, this goes
against what the Party wants.  Because he wants these things so much, and because they
are impossible to have in his society, Winston is desperate.  He hates living the life
he has and so he doesn't think it would be that much of a loss if he dies.  This makes
him reckless.

What did Baz Luhrmann leave out of his film production of Romeo and Juliet that the play included?

Of all the reproductions I have seen that take a little
liberty to change something like setting or era, Luhrmann does pretty good sticking to
original text.

One of his biggest liberties is the final
scene. We never see Paris or the Friar and Juliet discuss the fight scene that occurs
between Romeo and Paris. We do not get to see Paris' page or Balthazar outside watching
out for anyone to come and check on the
monument.

Throughout the rest of the movie, Luhrmann often
portrays character lines through actions (we never see the word play of Gregory and
Sampson in the beginning scene), the television news, or a different character. He also
re-orders some lines, although he does stay true to Shakespeare's old
English.

Why did Mark Twain hate the concept of Imperialism?

Mark Twain believed strongly in the idea of democracy and
in the idea that people should be free.  You can see this sort of attitude revealed in
many of his books.  For example, in both A Connecticut Yankee in King Arthur's
Court aned The Adventures of Huckleberry Finn we see
Twain showing that he thinks that monarchy and elite rule are corrupt institutions.  He
shows that he believes that the common people should be give the chance to rule
themselves.  He clearly believes in the American way.

Twain
applied this way of thinking to his thought about imperialism.  He did want other
countries to become more like America.  However, he thought that imperialist countries
(including the US at the time) did not mean to try to actually improve the countries
that they took as part of their empires.  He thought that they, instead, were just
trying to exploit those countries.  This is why he opposed imperialism.  You can see
that idea in the following quote from the historywiz.org link
below

I said
to myself, here are a people who have suffered for three centuries. We can make them as
free as ourselves, give them a government and country of their own, put a miniature of
the American constitution afloat in the Pacific, start a brand new republic to take its
place among the free nations of the world. It seemed to me a great task to which we had
addressed ourselves.

But I have thought some more, since
then, and I have read carefully the treaty of Paris, and I have seen that we do not
intend to free, but to subjugate the people of the Philippines. We have gone there to
conquer, not to redeem.

Where are Ona and Jurgis living and working throughout the novel The Jungle?

Most of the novel takes place in the Stockyards of the
South Side of Chicago.  Packingtown is where Jurgis and Ona live.  The financial
challenge is evident in that they are not the only ones who endure such hardship. 
Everyone in this setting is challenged economically and struggles to make their American
Dreams a reality.  Packingtown is near the meat packing factories where work is
dehumanizing and degrading.

readability="16">

Even though these packinghouses and their
particular methods are gone, the drive to get employees to do more work for less money
still exists, as does the practice of handling merchandise, whether it is meat or
information, as expediently as the law allows. By symbolically linking the fates of the
immigrants with the treatment of the butchered food products, the book establishes a
nearly perfect link between setting and theme, which, even more than the sheer mass of
gruesome details, accounts for the impact of the stockyard setting upon the minds of
readers throughout the
decades. 

In this light, one
can see the setting of where Jurgis and Ona live have thematic applications in
Sinclair's work.

Act 3, Scene 2, Juliet: "Beautiful tyrant! Friend Angelical!... UNTIL: "O nature, what hadst thou to do in hell". What literary device is used?

Your teacher might be looking for the word
oxymoron as an additional literary device. The phrases you
see in those lines that oppose each other qualify for that device. For example, when we
say jumbo shrimp, we are saying big little. These are opposites. She calls Romeo an
honourable villain and a damned saint. These phrases do not work together, they are
oxymorons.

Another device at work is the
rhetorical question that the last line you cited is just
beginning. You can't really talk to nature. Juliet is wondering why Romeo would be both
her love and her great enemy, but this she did know before she got together with
him.

What are the economic implications of reintroducing gorillas into the wild?

The economic implications of reintroducing gorillas into
the wild can be both good and bad.

On the good side, the
presence of wild gorillas in an area can attract ecotourists.  These people will come to
observe gorillas in the wild and will (presumably) spend money that will help the local
economy.  In this way, reintroducing gorillas could help the economy of the area in
which they are reintroduced.

However, gorillas can also
hurt the local economy.  This is particularly true when the local economy depends on
agriculture.  If reintroduced gorillas destroy the crops on which the economy depends,
they will (obviously) have a negative effect on the
economy.

So, reintroducing gorillas into the wild can have
both positive and negative impacts on the economy of the area where the gorillas
live.

In The Odyssey, one epithet is "when rosy fingered dawn appeared." What type of figure of speech is this?

Consider what this expression does to dawn. What is the
expression "rosy fingered dawn" giving to dawn? Hopefully you should be thinking that it
is giving it human characteristics, by referring to the "fingers" of dawn. Thus we can
say that this figure of speech is an example of personification. Of course, in the Greek
world vision, Dawn in a sense was personfied anyway as a Goddess who brought morning
into being, so perhaps this helps us to understand the way that dawn is personfied
throughout this great epic classic.

However, just to remind
you, personification is a figure of speech where an inanimate object is given human
characteristics, in either actions or appearance. Note how the "rosy fingers" perhaps
refer to the effect on the sky as the sun rises and how beautiful patterns
appear.

In To Kill a Mockingbird, how is Scout influenced by her brother Jem in the story?

Scout is influenced by her brother in a variety of
ways.

First, Scout wants to do what her brother does, even
at the risk of her own safety. For example, Scout goes to the Radleys late at night with
Jem and Dill even though she doesn't want to. She does it because the boys start to call
her a girl and treat her like she is scared. She refuses to be pushed around or out of
their circle of friendship. So, in spite of being afraid, she
goes.

Secondly, because Scout doesn't have a mother, and
spends most of her time with Jem, she likely gets her "tomboy" tendencies from this
relationship. The two like to play in their treehouse together and the two are excited
about their air rifles from Uncle Jack at Christmas together. These boy activities
influence Scout to act more like a boy than the girl that she is forced to play by the
end of the story at the Missionary Society Circle.

Scout is
affected by Jem's every emotion. When she can tell he is being dared by Dill to go touch
the Radley's house in the beginning, Scout senses his apprehension but knows he won't
back down from a dare. Throughout Jem's quiet times and moody times Scout knows to leave
him alone because he is either thinking about his mother or the
trial.

In The Outsiders, the lament that life isn't fair is a major theme. Discuss.

You could link this theme in with the idea of class
consciousness and how the world of this novel presents us with two very stratified
groups that seem to shape so much of your life whether you want them to or not. Being
born into the working class means that you are a "greaser" and because of that you are
looked down on by society. As Ponyboy says in his introduction, Socs are attacked by the
press one minute and then praised for their contribution to society the next. Greasers
receive no such ambivalence from society. They are the outcasts, the "outsiders" whether
they like it or not.

Apart from this general treatment of
the unfairness of life, for a specific example, you might want to look at Darry. In
Chapter Eight, Two-Bit makes a fascinating remark, saying that the only thing that keeps
Darry from being a Soc is the gang. Ponyboy comments:

readability="9">

I had known it for a long time. In spite of not
having much money, the only reason Darry couldn't be a Soc was us. The gang. Me and
Soda. Darry was too smart to be a greaser. I don't know how I knew, I just did. And I
was kind of sorry.

Darry had
the necessary talent to go to college and receive a scholarship, however the unfortunate
demise of his parents meant he had to become a breadwinner and get a job instead. Life
was certainly not fair for Darry, forcing him into a menial job when he was capable of
making so much more of himself. This is, of course, why he is so hard on
Ponyboy--because he wants him to have the opportunities that life did not give
him.

What does Ulysses think of the people of his kingdom in "Ulysses"?

The emphasis in Tennyson's poem, "Ulysses," is not on the
failings of the people of Ithaca, although they are mentioned.  Most of what is revealed
about them is contained in lines four and five:  they are "savage" and "hoard, and
sleep, and feed, and know not me." 

The people of Ithaca,
then, in the speaker's view, are violent, uneducated, obsessively hoard food, etc., do
nothing but eat and sleep, and don't understand Ulysses.  Presumably, they don't know
what they have in the hero of The Odyssey.  Presumably, they don't
honor and listen to him as they should.

The people are also
"rugged," as mentioned in line 37.  It will take a calm, mild-mannered, diplomatic man
like Telemachus to "Subdue them to the useful and the good."  Ulysses is an adventurer
and a warrior, not a diplomatic leader, according to the
poem.

Tennyson presents Ulysses as somewhat of an artist. 
His adventures are artistic.  His mindset is not that of a diplomat.  He longs to be off
on an adventure, and he wants to leave the leadership of his people to someone
else. 

What injustice and discrimination is done to Hassan in The Kite Runner?

In The Kite Runner, Hassan is the
victim of discrimination because he is Hazara and the caste system in Afghanistan is set
up to look down on people who are Hazara.  When Hassan runs Amir's kite, the boys in the
alley gang up on him and figure that it is okay to abuse him because of his social
position.  They say that he is "just a Hazara," and so feel justified in their abuse. 
Amir does not want to reveal that he has witnessed the abuse, and he also tries to
convince himself that since Hassan is a Hazara it does not matter that he was hurt. 
Further, Baba does not admit to anyone that Hassan is in fact his son for the same
reasons.  So instead of living a richer lifestyle like Amir, Hassan must live on the
margins.  These are some the instances in which Hassan experiences
discrimination.

In what way is Winston "the last man?"

I think Winston is "the last man" because he may have been
the last to actually think, judge, deny, desire, and grow ambition. Certainly this book
demonstrates that humans are different from animals in our ability not just to be like
the proles, but to apply complex thinking. When the ability to think for one's self is
completely removed, it seems like a piece of humanity at the very least is
removed.

The proles seemed happy to exist, but took part in
nothing that caused them to affect change on the world that they took part in. To reach
the highest levels of self-actualization in one's life, one wants significance, or at
the very least some kind of meaning, legacy or purpose.

I
also think humanity means a desire for real truth, whatever that may be. When Winston
finally gave in to writing that 2 + 2 = 5, we know his desire for truth had been
defeated.

For Winston, to be human meant to experience
every aspect of humanity: relationship, faith, purpose, entertainment, and
contribution.

Why was the story about cats so silly?it from the book to kill a mockingbird.

In Chapter 2, Miss Caroline tries to read the students a
cute story about some cats who are a lot like human beings.  They have long
conversations and they make clothes and they order food from a drugstore.  I think that
the kids do not like this story because it is too far from their actual life
experiences.

The clue to this is that Scout mentions the
kids' clothes and how they've been working since they were little during her discussion
of the story.  She is basically saying that these kids have tough lives and are not
really interested in this kind of cute story that has so little of a connection to
anything real.

How does Holden and Hamlet think in a negative point of view? How does that isolate them from everyone around them?And how might their judging...

In Catcher in the Rye and
Hamlet, both Holden and Hamlet rant and complain about their
respective societies, and they are justified in doing so.  Post-war America was full of
corrupt, materialistic, sex-starved phonies.  Likewise, Denmark was a prison-like police
state full of murder, incest, and adultery.

Both Holden and
Hamlet have moralistic obsessions: they are all conscience.  Holden is obsessed with
calling out phonies and protecting children and art from obsenity and commercialism.
 Hamlet is obsessed with revenge, salvation, and his mother's
sins.

Neither Holden nor Hamlet offer any redeeming moral
advice or solutions to solve society's problems.  They seem to think their societies are
beyond repair, and they may be right.  Both of them nearly commit suicide because they
find themselves trapped in inescapable, meaningless existences.  Both Holden and Hamlet
are marginalized: they exist on the fringes of society only as critics.  But, they have
the courage to, in Holden's case, go home, and in Hamlet's case, fight
on.

I don't see their viewpoints as negative.  I don't see
them as whiners.  Rather, their rants and complaints are noble and courageous.  The
complain about themselves as much as others.  Both call themselves cowards, but at least
they are cowards with something so say (which, in Holden's case, I find hilarious).
 Indeed, they say what most of us are afraid to say ourselves.  Living outside a
corrupt, materialistic, and conformist society is a kind of religious
duty.

What's the contrast between land and sea in The Hairy Ape, & what are the implications from the expressionist technique?

In life, Eugene O'Neill was extremely amazed with the sea
and long for it as a cathartic means for escape. It is easy, with a psychoanalytical
view to see the connection between O'Neill's life and O'Neill's works. He seemed unable
to separate the two sides of himself making a wonderful, heartbreaking dichotomy ripe
for investigation. The main focus of the play is on the boorish Yank who prefers his
home slaving on the ship at sea to one on land. In his sea home, Yank is clearly the
alpha-male. He feels this sense of power that few workers would have had within society
at this time. At sea, Yank feels at home just as O'Neill always commented on himself.
O'Neill's works have this idea of the sea bring peace to the tormented mind and the sea
being home. Mildred, dressed in white, broke Yank's image of his home. By calling him
"filthy beast" and a "hairy ape" she forces Yank to see how the rest of the world,
outside of his home, views him. Being confronted with this reality, Yank must amend this
wrong. In a sense, Yank needs to save face. If the upper class thinks that it can walk
over the lower class, Yank will prove it wrong. As he and Long walk the New York
streets, Yank acts more like an animal, bumping in to people and being rude. Once he is
released from his cage (the ship, the sea) he is unsure how to act and runs purely on
emotion (instincts). After being arrested, Yank learns that Mildred's father created his
metaphorical prison of a laborers and his actual prison cell. This serves to only
release the beast more, causing him to bend the bars and escape. Free from all his
prisons, Yank does not know what to do. After various other stops, Yank befriends a
caged gorilla. Yank has now accepted his animalistic persona relating himself to his
captured "brother". He releases the gorilla which in turn kills Yank. O'Neill has a lot
to say about the sea, but in the play he advocates the sea's ability to return a man's
humanity that the land/society slowly take away.

In Shakespeare's The Taming of the Shrew, what is the purpose of Act IV, Scene ii, in the larger scheme of the plot?

In Shakespeare's The Taming of the
Shrew, Act IV, Scene i, concentrates on showing how shrewd Petruchio is in
not only taming his new wife, but also in punishing his staff in order to closer align
her sympathies to the servants. He plans, it seems, to control Kate by lack of food and
sleep—his final intent is to bring her around to his way of
thinking. It is during this scene that, ironically, Curtis states that Petruchio may be
more of a shrew in his behavior than Katharina.

As the plot
moves along then into scene two, Shakespeare shifts the attention
back to what is occurring in Padua with regard to Bianca and her "suitors." A lot of
information is shared with the audience in a "I won't bore you with details," though
even while in saying so, the audience is still overwhelmed with said
details.

And while all this
occurs...

Act
IV, Scene ii is purely “connective,” or structural. It ties up loose ends and ensures
the successful progress of the Lucentio-Bianca
subplot.

As this scene
progresses, one almost needs a score card to keep track of suitors who remain, those who
depart, who is trying to trick another suitor to leave the "race," and even those who
are willing to do what ever is necessary, honest or not, to get what they
want.

For the most part, then, Act IV, Scene two, is
primarily used as a structural device to connect the overlying plot of Petruchio and
Kate, and the courting that now continues after Kate's marriage, over Bianca's
hand.

Forces P, Q, R act along the line x=0, y=0 and x.cos A +y.sin A = p. Find the magnitude of the resultant and the equation of line of action.

Notice that the force P acts along x axis, the force Q
acts along y axis and the force R acts on a support that expresses the hypotenuse of
right triangle that has as legs the supports of P and Q forces. This support line
intercepts x axis at A and y axis at B.

You need to project
the origin O to hypotenuse of right triangle. This orthogonal projection falls in the
point M.

The line MO makes the angle `alpha`  to x axis,
thus `ltAOM= 90^o - alpha`  and the angle `ltBAO = 90^o +
alpha`

You need to write the x axis equilibrium equation of
forces such that:

`X = Q*cos 0^o + P*cos 90^o+ R*cos(90^o +
alpha)`

You need to write the y axis equilibrium equation
of forces such that:

`Y= Q*sin 0^o + P*sin 90^o +
R*sin(90^o + alpha)`

Thus, evaluating the resultant of
forces acting as problem suggests yields:

`resultant =
sqrt(X^2+Y^2)=gt`  resultant = `sqrt(P^2 + Q^2 + R^2 - 2R(2Qsin alpha+2Pcos
alpha))`

Hence, evaluating the resultant of
forces under given conditions yields resultant =`sqrt(P^2 + Q^2 + R^2 - 2R(2Qsin
alpha+2Pcos alpha)).`

Is this correct or incorrect?

If the given integration is correct the derivative
of

(u/8)*(2u^2 - a^2)sqrt( a^2 - u^2) + (a^4/8)arc sin
(u/a) + C

should be u^2*sqrt ( a^2 -
u^2)

[(u/8)*(2u^2 - a^2)sqrt( a^2 - u^2) + (a^4/8)arc sin
(u/a) + C]'

=> [(u/8)*(2u^2 - a^2)sqrt( a^2 - u^2)]'
+ [(a^4/8)arc sin (u/a)]'

=> [(u^3/4 - u*a^2/8)sqrt(
a^2 - u^2)]' + [(a^4/8)arc sin (u/a)]'

=> [((3/4)u^2
- a^2/8)*sqrt (a^2 - u^2) + (u^3/4 - u*a^2/8)*(-u)/sqrt (a^2 - u^2) + (a^4/8)/sqrt (a^2
- u^2)]

=>[((3/4)u^2 - a^2/8)(a^2 - u^2) + (u^3/4 -
u*a^2/8)(-u) + (a^4/8)]/sqrt (a^2 - u^2)

=>
[3u^2a^2/4 - a^4/8 - 3u^4/4 + u^2a^2/8 - u^4/4 + u^2a^2/8 + a^4/8]/ sqrt (a^2 -
u^2)

=> [u^2a^2 - u^4]/ sqrt (a^2 -
u^2)

=> u^2(a^2 - u^2)/sqrt (a^2 -
u^2)

=> u^2 sqrt (a^2 -
u^2)

Therefore the given integration is
correct.

How are lines 8 and 12 in Sonnet 18 by Shakespeare a bit of foreshadowing?

In "Sonnet 18" the speaker is comparing a person to a
summer's day and stating that this person is MORE lovely and MORE temperate.  That by
itself is rather surprising because we generally think of summer as the most lovely of
seasons, but the speaker goes on to explain.  He reminds us that summer sometimes has
rough winds, cloudy skies, and is too hot.  He is building to his ultimate point in
lines 7 and 8.  Here he says

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 And every fair from fair sometimes
declines,

By chance or nature's changing course
untrimmed. 

What he is
foreshadowing is that all things, especially beautiful things eventually fade away. 
People age and seasons change.  This point sets up the rest of the sonnet.  Lines 9-12
speak specifically about the person the speaker is addressing.  He says the beauty of
this person will never fade and that death will not be able to brag about him or her
because this poem ("eternal lines to time") will live on and in it, the beauty of the
person will live on so long as the poem exists.  As with most sonnets, the ultimate
point of the poem comes in the last lines.  In this case, it would seem the the speaker
is right.  Here we are more than 400 years after this sonnet was written thinking about
the beauty of the person being discussed.  We are doing that because the "lines" have
lasted that long.

Justify the title of The God of Small Things.

This is one of my favourite all-time novels, so well done
for studying it! You have asked a very important question, as obviously the title that
an author gives to their work is a very important decision to make, and clearly it must
link in somehow with the overall theme or message of the
book.

One place to start would be looking at Chapter
Eleven, which itself bears the same title as the title of this great book. One of the
things that is described in this section is the coming together of Ammu and
Velutha:

Who
was he, the one-armed man? Who could he have been? The God of Loss? The God of Small
Things? The God of Goose Bumps and Sudden Smiles? Of Sourmetal Smells - like steel
bus-rails and the smell of the bus conductor's hands from holding
them?

Considering this quote,
as the series of rhetorical questions thinks about the identity of Velutha, we can apply
the title of "The God of Small Things" to his character. However, of course, the
significance of this title is much wider and bigger than merely representing his
character.

One stylistic aspect of the novel is the way in
which Roy uses flashbacks and two separate time frames, jumping between the twins now
and the twins then, in their childhood. However, the novel ends with one critical
moment, describing the two lovers who have broken all of the Love Rules together,
sharing a moment of happiness. Pay attention to what Roy says about the focus of Ammu
and Velutha in the final chapter:

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Even later, on the thirteen nights that followed
this one, instinctively they stuck to the Small Things. The Big Things ever lurked
inside. They knew that there was nowhere for them to go. They had nothing. No future. So
they stuck to the small
things.

Therefore we can say
that Roy chose to give this novel the title it bears because the God of Small Things
somehow represents the determination and stubbornness to make the most of a situation
and enjoy it for its pleasures no matter how fleeting those joys may be. Ammu and
Velutha instinctively realise that they are fighting a losing battle. So much goes
against them as they break the "Love Laws" of caste and race. They instinctively accept
the tragic fact that "they had nothing" and "nowhere to go," and so deliberately limit
their thinking to the "small things" that enable them to enjoy their love until the
inevitable happens. Arundhati Roy presents us with the operation of "big things" such as
caste and race and how people become the victims of such concepts. "The God of Small
Things" therefore celebrates the lives of such victims, lamenting their unjust end, and
recognising that against such big forces, it is perhaps only the "small things" that we
can build our lives around.