In Mary Shelley's Frankenstein, what expectations does the monster have about the future of his relationship with the family?

In Mary Shelley's Frankenstein, as
the creature has watched the DeLacey family throughout the winter and into the spring,
he has learned a great deal. They have, unknowingly, been his teachers. He has learned
not only about music and language, but he has also learned about the love of a family
for its members and the love between and man and a woman. He has come to understand the
depth of his own loneliness.

The creature hopes to be able
to find a way to make a connection with this family and become a part of their circle.
The creature has already been secretly doing things to ease their burden and make life
easier: gathering wood and clearing the snow, for example. They ironically credit a kind
spirit for these things, and while that is what the creature is (for he has told
Frankenstein that he was made for love), his appearance is something that these people
would not, will not, understand.

The creature believes that
he might approach them if he had a command of their language. And he has learned from
them, but knows he needs to learn more.

readability="14">

'I improved, however, sensibly in this science,
but not sufficiently to follow up any kind of conversation, although I applied my whole
mind to the endeavour: for I easily perceived that, although I eagerly longed to
discover myself to the cottagers, I ought not to make the attempt until I had first
become master of their language; which knowledge might enable me to make them overlook
the deformity of my
figure...

This will continue
to be uppermost in the creature's mind as he continues to work to master their language,
and he will ultimately approach the old man first because he is blind; he believes that
if Felix and Agatha's father could accept the creature for who he is rather than reject
him immediately because of his appearance, the creature might be able to find a way
through the old man, to be welcomed into their family circle.

If y=(1+x^2)^3 find dy/dx.

y = (1+x^2)^3.

We have to
find dy/dx

We  use d/dx {u(v(x))} =  (du/dv)
(dv/dx)

Let v(x) = 1+x^2

d/dx
{v(x)} = d/ dx {1+x^2} = d/dx(1)+ d/ dx(x^2) = =
0+2x

Therefore d/dx{1+x^2)^3 = 3(1+x^2^(3-1)*d/dx
(1+x^2)

d/dx(1+x^2)^3 =
3(1+x^2)^2*2x

Therefore dy/dx =
 d/dx(1+x^2)^3 = 6x(1+x^2)^2.

In Shakespeare's Romeo and Juliet, is Romeo immature when it comes to love? Why?

In Shakespeare's Romeo and Juliet,
Romeo's experience with love so far has been his infatuation with Rosaline. Because she
does not return his love, he moons around, sad and depressed as if he life were over.
Even his words are sappy:

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Love is a smoke made with the fume of sighs; /
Being purged, a fire sparkling in lovers' eyes; / Being vexed, a sea nourished with
lovers' tears; / What is it else? A madness most discreet, / A chocking gall, and a
preserving sweet.

Everyone
knows Romeo is despondent over his unrequited love and his friends encourage him to move
on.

Meeting Juliet, he does just that. When Friar Lawrence
asks if he has been with Rosaline, Romeo answers:

readability="7">

With Rosaline, my ghostly father? No. / I have
forgot that name, and that names'
woe.

Friar Lawrence is amazed
to hear of Romeo's new love, as Romeo had gone on for so long about his love for
Rosaline.

Perhaps we also see his immaturity in the speed
with which he forgets Rosaline to fall deeply in love with Juliet in just one meeting.
However, this is where he seems to turn the corner in terms of maturity, for he is
committed to life with Juliet or no life at all.

As he
prepares to marry Juliet, Romeo tells Friar Lawrence:

readability="9">

But come what sorrow can, / It cannot countervail
the exchange of joy / That one short minute gives me in her sight. Do though but close
our hands with holy words, / Then love-devouring death do what he dare. / It is enough I
may but call her
mine.

Romeo's final actions
prove his dedication to Juliet: he cannot be dissuaded from loving her; will not turn
his back on her after he is banished; and, he would rather die than live without her.
These things seem to indicate that he has turned his back on the childishness of
infatuation, such as with Rosaline, to fall deeply in love with
Juliet.

In Fahrenheit 451, Part 2, "The Sieve and the Sand," what is the importance of the dentifrice commercial?

Assuming that "importance" refers to literary
importance—or the importance of the scene to literary elements and development—rather
than referring to social criticism importance, then the literary
importance of the Denham's Dentifrice commercial is that it quite
intensely reveals the violent inner struggle Montag is going through. He is trying to
extricate himself from one false society and embed himself in a true society because he
has learned "of a time when books were legal and people did not live in fear" ( href="http://www.spaceagecity.com/bradbury/bio.htm">Jepsen and Johnston,
spaceagecity.com).

readability="15">

"Shut up, shut up, shut up!" [His] was a plea, a
cry so terrible that Montag found himself on his feet, ... this man with the insane,
gorged face, the gibbering, dry mouth, the flapping book in his
fist.

Montag has been reading
his stolen books to Mildred, whose only response is, "Books aren't people. You read and
I look around, but there isn't anybody!" when an electronic dog comes sniffing at their
front door, exhaling "the smell of blue electricity blowing under the locked door."
Montag—the fireman—knows full well what the sniffing dog means. Beatty knows Montag has
stolen and expects the return of the book ("If I pick a substitute and Beatty does know
which book I stole, he'll guess we've an entire library here!") that very night. He is,
as he says himself, "numb" ("I'm numb, he thought") as he slams the house door and goes
to board the subway. He has decided to go to Faber and ask to have a duplicate of the
stolen book made so he can safely—safely for himself and Mildred and safely for the
book—return the stolen book to Beatty.

readability="8">

"There's only one thing to do," he said. "Some
time before tonight when I give the book to Beatty, I've got to have a duplicate
made."

Riding on the subway
amongst so many people, Montag is both scared of what he is doing and earnestly
determined to memorize a portion of the New Testament that he holds open (foolhardy
action) in his hands. The Denham's Dentifrice jingle has all the passengers tapping
their feet and quietly singing along with the jingly words. The jingle acts as a
literary counterpoint as it lauds "Denham's Dentifrice. Denham's. Spelled D-E-N-" while
Montag struggles to retain the sentence "Consider the lilies of the field. ... Consider
the lilies, the lilies, the lilies ...." The old, meaningless society fights against
Montag's mind, as detergent would against impurities, "Denham's dental detergent," until
he breaks down, shouting "Shut up, shut up, shut up!" to the "rhythm of Denham's
Dentifrice, Denham's Dandy Dental Detergent, Denham's Dentifrice Dentifrice Dentifrice,
one two, one two three,...."

Montag battles, against dire
consequences, for thought under the fear, strain, desperation and desire that compel him
forward to Knoll View (symbolic as a rise from which to gain a vantage place for seeing
the panorama). There he hopes to perpetuate the life of a book that will stand against
the totality of "'the family'" and the "White Clown" and keep alive the society that he
seeks to embrace, the free society where books were desired. Montag's struggle for one
society over the other is the literary importance of this
scene in "The Sieve and the Sand." Montag's efforts to memorize "Consider the lilies of
the field" are so much sand through a sieve: "the sand was boiling, the sieve was empty.
Seated there in the midst of July, without a sound, he felt the tears move down his
cheeks."

readability="10">

"'Denham's. Spelled : D-E-N-' 
They
toil not, neither do they...
A fierce whisper of hot sand through empty
sieve. 
'Denham's does it!'
Consider the lilies, the lilies, the
lilies...
'Denham's dental detergent.'" 
 

readability="16.218">Regarding social criticism, the social importance of the scene
is significant also. After all, Bradbury wrote Fahrenheit 451 as a
social dystopia novel because the new technology of television and the resultant
escalations in advertising were disconcerting to Bradbury and cause for his negative
prognostics of the future. As stated by Biography.com, Bradbury expressed his " href="http://www.biography.com/people/ray-bradbury-9223240#literary-works-and-honors">distaste
for television" when he explained Fahrenheit 451 as a
novel about "how television drives away interest in
reading."

Compare John Winthrop and Mary Rowlandson's writings with reference to the concept of the jeremiad.

In his famous study of Puritan rhetoric, The
American Jeremiad (1978), cultural critic Sacvan Bercovitch argues that the
jeremiad was the prevailing rhetoric mode of American literature from colonial times
down to the nineteenth century. According to Bercovitch, the jeremiad "helped sustain a
national dream through two hundred years of turbulence and change". It was a ritual
which aimed at joining "social criticism" and "spiritual renewal". Although different in
topic, both Winthrop and Rowlandson's writings described the American experience as part
of a providential design to counter moral decay. The Puritan minister and the female
captive share a providential interpretation of natural and historical occurrences whose
ultimate meaning is always religious. The foundation of the Massachussetts Bay Colony in
1630 and the eleven weeks Rowlandson spent as a prisoner of the Algonquian Indians share
the same redemptive end which is reached through the complete dependence on
God.

How was imperialism a positive or negative effect in Belgium

On the positive side, an empire helps a country to exploit
a colony's economy and to use its labor force. On the negative side, maintaining
colonies may not be profitable.

Imperialism can be either positive or
negative, each case is different. As a whole, though, imperialism doesn't pay back the
effort. Most empires held colonies simply for glory.

also
see link.

Why are sponges considered colonial organisms?

Sponges are simple animals in the Phylum Porifera. They
have two layers of cells with a jelly-like material sandwiched between. They do not have
highly specialized systems in the body. Rather, they rely on water flow throughout the
sponge transporting food, oxygen and wastes. When they reproduce, they can carry out
both sexual and asexual reproduction. During asexual reproduction, if a piece of a
sponge breaks off, it can reattach someplace else and form a new colony. When well-fed,
a sponge will asexually reproduce by forming identical buds. These may remain attached
to the colony, or break off and form new colonies. Sometimes, sponges send out gemmules,
or survival pods, when conditions are not quite perfect for their survival. Sometimes,
these may merge with cells of other sponges from the same species to form a new
colony.