Saturday, January 4, 2014

What is dark matter?

Dark matter in astronomy is the name give to an invisible
matter or substance of unknown composition, which is supposed to constitute more than
nine tenths of the total mass of galaxies and clusters of galaxies. This matter, unlike
all other matters or substances,  does not give off, reflect, or absorb light. This is
the reason why it is called dark matter.


Scientists have
proposed different theories or hypothesis about the nature of the dark matter but there
none of theories is are considered to be satisfactory explanations of nature of dark
matter. The nature of dark matter is one of the most important unsolved mystery in
science today.


Dark matter should not be confused with
black holes which are collapsed objects, such as a stars, that have become invisible.
They has such a strong gravitational force that even light is pulled in by it. Black
holes are invisible because any light approaching them is pulled in by the gravitational
pull and no light can then escape away from it.

On page 97 (unit 3) how do Jewel's actions in this scene echo his earlier wish?

Darl's narration on page 97 of As I Lay
Dying
is a recursive account of Jewel's cursing
rant.


It echoes his only narration on page 14 in which he
likewise curses about Cash building the coffin: "and that goddamn adze going one lick
less" and against heaven, "it would not be happening with every bastard in the county
coming to stare at her because if there is a God what the hell is He
for."


It also echoes Darl's narration on page 94 in which
Darl continues to psychologically tease Jewel about his mother, "It's not your horse
that's dead, Jewel," to which Jewel responds, "Goddmamn you.  Godddman you" and, at the
end, "Goddamn him.  Goddamn him."  Later, Jewel with call Darl, "You goddman lying son
of a bitch."


So, Darl, being psychic and omniscient with
his naturally-born siblings (Dewey Dell), can communicate silently with them.  But,
because he cannot do the same with Jewel, he knows that Jewel is not his blood brother.
 Instead, Darl knows that Jewel's a bastard, and he will taunt him verbally (not
mentally) every chance he can get, using his mother as
bait.


Jewel is indeed a bastard, and like all archetypal
bastards, he resents his status in the family.  He knows he is dispossessed, and he
hates his family, especially Anse (his "step-father") and Darl (his "half-brother").  By
cursing so much, it shows not only his hatred of the Bundrens, but also for his mother's
death.  His cursing is a form of love, a part of Jewel's wild grieving process.  Jewel
and Vardaman are the only ones who outwardly show anger at her death.  Jewel hates that
his mother is dead; he hates the journey to Jefferson; he hates having to cross the
river; mostly, though, he hates the spectacle of her dead, smelling body.  As a sign of
his love for his mother, Jewel will later rescue her coffin from Darl's barn
burning.


In this section on page 97, Jewel wants to hurry
up and get his mother buried.  He says, "Pick up!  Pick up, goddamn your thick nosed
soul" and "Come on.  Come on."  By contrast, the others want to wait.  Cash says, "We
better wait."  And Anser says, "Steady it a minute, now."  Darl says, "Wait, Jewel."
 So, Jewel fighting with all the other men as they carry the coffin shows the disunity
and lack of balance in the family: Jewel is not one of them.  He rides alone on horse,
not in the wagon with the others.  He wishes that this process were over, that his
mother were buried already.  Jewel hates the public display of the dead.  As such, he is
like Antigone--the one who risks her life to bury her dead brother; the other Bundrens,
then, are like Creon and Ismene--those who mock the dead by public
show.


In sum, Jewel's "Goddamn him" refers not only to Anse
and Darl, but also to God and even his real father, Whitfield.  As a bastard and a
mama's boy, Jewel has a definite Oedipal complex in which he subconsciously wants to
kill fathers and heavenly fathers.

Friday, January 3, 2014

How would you define "Jazz" by Toni Morrison Afro-Centric? Thanks

Like so much of Morrison's work, there is a dominant
presence of articulating the African- American experience.  The setting of the Harlem
during the Jazz Age and the South in the 1800s brings to light what it means to be
African- American in the urban North and the rural South.  Both settings become quite
important in identifying what it means to be Black in American History.  This would make
the novel one that seeks to bring formally marginalized voices that have been pushed to
the margins into the center of the discourse, giving voice to where there had been
silence.  I would argue that this is what helps to make works like this post Modern, in
that that seek to reconfigure a new discourse, one that is more inclusive and more
representative of the figments and fragments of what had been previously cut off from
understanding.

How would you describe George Harvey's appearance/looks and personality in The Lovely Bones?

In The Lovely Bones, George Harvey is
characterized as an odd man in terms of his personality, but on the outside he appears
to be just a normal man.  Mr. Harvey is a quiet, unassuming neighbor who keeps to
himself.  No one has anything really to say about him when the detectives go around
during questioning.  But behind closed doors, Mr. Harvey exhibits the classic signs of a
sociopath.  He is insanely orderly, and everything in his house has its place.  He is
fascinated with building dollhouses and creating these microcosmic worlds that he can
control.  It is also later revealed that Mr. Harvey keeps trophies from his many
murders, another sign that Mr. Harvey craves control.  So, Mr. Harvey is a man who on
the outside appears like just a quiet neighbor, but on the inside harbors serious mental
problems.

Could you please put this into your own words? Ive been having trouble & i am not sure how to do it.The Department of Education points to the...

My paraphrase is in bold throughout.  Each
part I typed paraphrases the part above
it.


The Department of Education
points to the National Assessment of Educational Progress) results, released in July
2005, “showing improved student achievement in reading and math”. More progress was made
by nine-year-olds in reading in the last five years than in the previous 28 years
combined.


The
department is asking people to notice that 9 year olds have improved more in the past 5
years than in the 28 years before
that.


  • America's
    nine-year-olds posted the best scores in reading (since 1971) and math (since 1973) in
    the history of the report. America's 13-year-olds earned the highest math scores the
    test ever recorded.

9 year
olds are better in math and reading than they have been in about 40 years, 13 year olds
are better than they ever have
been.

  • Reading and math scores for
    black and Hispanic nine-year-olds reached an all-time
    high.

Black and Hispanic 9s
have never been better in reading and
math.

  • Achievement gaps in reading
    and math between white and black nine-year-olds and between white and Hispanic
    nine-year-olds are at an all-time low.

Those two groups are closer to
white kids than they've ever been (in
scores).

  • Forty-three states and
    the District of Columbia either improved academically or held steady in all categories
    (fourth- and eighth-grade reading and fourth- and eighth-grade math)..

43 states and DC did as well
as or better than they had been doing.

Many argue that
these statistics are misleading. They compare 2005 with 2000, when No Child Left Behind
didn't even take effect until 2003. They point out that the increase in scores between
2000 and 2003 was roughly the same as the increase between 2003 and 2005, which calls
into question how any increase can be attributed to No Child Left
Behind.


Some people say NCLB
didn't cause this because it didn't go into effect until half way through the 5 year
time period mentioned.  There was just as much improvement before the law as there was
after.


They also argue that some
of the subgroups are href="http://www.answers.com/topic/cherry-picking">cherry-picked -- that in
other subgroups scores remained the same or actually
fell.


Some people say
that the Department only announced the stats that made them look good.  Other subgroups
got worse, they say.

Who kills Tybalt and why?

Tybalt is Juliet’s cousin (Which makes Tybalt a loyal
Capulet) While Romeo is a Montague (A sworn enemy to the
Capulet’s)


Romeo is pressured to go to the Capulet’s ball
and is seen there by Tybalt who asks Mr. Capulet if they can throw Romeo out and fight
him. Lord Capulet says no, that Romeo is a respectable man and that he can
say.


Tybalt is still furious at this, and, two days later,
Tybalt sees Benvolio and Mercutio (Benvolio’s foil) Benvolio is a calm man and Mercutio,
is well, not. When Tybalt sees Benvolio and Mercutio, he approaches them looking for
Romeo Montague. When Romeo shows up, an in-law to the Montagues now, he sees Tybalt and
approaches, Tybalt insults Romeo in front of everybody and Romeo shrugs it off since he
is married to Juliet now (But only Friar Lawrence, Nurse and I suppose Romeo’s servant
Balthasar know other then the husband and wife)


When Romeo
walks away, Mercutio steps up to fight Tybalt, Romeo tries to stop the fight since
Mercutio is Romeo’s best friend and now Tybalt and Romeo are now Cousin-in-law. But,
Tybalt, being a professional sword-fighter, he stabs Mercutio when it is very
un-expected.


Benvolio takes Mercutio away after Mercutio
died, while Mercutio was dying however, he foreshadowed: ‘A Plague on both your houses’
Romeo cries and gets angry at Tybalt for killing his best friend. If Romeo controlled
his temper, Tybalt would have been in trouble, but, Romeo fights Tybalt and kills him,
now Prince will have to kill Romeo, Romeo runs to Friar Lawrence to hide. Thus the
climax starts to take off.



With Love and
Care,


Alice.

In A Doll's House, what did Helmer mean when he said "miracle of miracles" at the end of the play?

Helmer's last words, which we are told are said when "a
hope strikes him" in the stage directions, are shown to refer back to what Nora says
just a few lines earlier:


readability="8">

HELMER: Nora--can I ever be anything but a
stranger to you?


NORA: (picks up her bag) Oh, Torvald! Then
the miracle of miracles would have to
happen.



As Nora says, she and
Helmer would have to change so much, and anyway, she doesn't believe in miracles any
longer. Thus, the play rather cruelly ends with Helmer repeating this phrase with hope,
when his words are cut short dramatically with the final sound of the play: the street
door slamming shut and Nora leaving his life, asserting her own independence and
determined to fashion her own identity. Helmer is left confronting the impossibility of
changing himself to save his marriage, and the reality of how he has treated Nora during
their marriage.

Calculate tan(x-y), if sin x=1/2 and sin y=1/3. 0

We'll write the formula of the tangent of difference of 2 angles. tan (x-y) = (tan x - tan y)/(1 + tan x*tan y) ...