Discuss the use of dialogue in Hemingway's "A Clean Well-lighted Place" and how point of view complements the use of dialogue.

Dialogue predominates the story in Hemingway's "A Clean
Well-Lighted Place." The dialogue is almost exclusively between the two waiters--the
waiter with a wife who is in a hurry and the old waiter who is not in a hurry--except
for when the old man asks for more brandy and "A little more" and "Another" and says,
"Thank you." Since there is this predominance, much of what we know about the waiters
comes through the dialogue, although the narrator does contribute important character
and story information, such as the above description of the waiters and such as the
narrator’s indications that they were experienced and shrewd since "they kept watch on"
the old man because "they knew that if he became too drunk he would leave without
paying."

The point of view of this strange story is given
through the voice of the minimalist narrator. Dialogue is complemented by the point of
view because while dialogue provides information, the minimalist narrator provides
description and commentary that advances the story's
theme.

As an example, dialogue tells that last week the old
man "was in despair," that one waiter has a wife ("I have a wife waiting”), and one is
old (“I am not young”). From the point-of-view establishing narrator, we know the
setting and atmosphere (i.e., mood), e.g., the "street light shone on the brass number"
on the collar of the passing soldier. It also leads toward the theme: “The waiter
watched him go down the street, a very old man walking unsteadily but with dignity.”
More significantly, the narrator's point-of-view defining passages tell the indirect
dialogue (the thoughts) of the old man, thoughts with which the narrator’s point-of-view
establishing voice intertwines:

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Nor can you stand before a bar with dignity
although that is all that is provided for these hours. What did he fear? It was not a
fear or dread, It was a nothing that he knew too
well.

Thus, the
detail-revealing, emotional, predominating dialogue between the waiters is complimented
by the distanced, aloof, observational point of view established by the omniscient
minimalist narrator who delves below the surface to reveal motive; suffering; dark,
depressing feelings; and theme:

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It was all a nothing and a man was a nothing too.
... Some lived in it and never felt it but he knew it all was nada y pues nada y nada y
pues nada. ... A clean, well-lighted cafe was a very different
thing.

What does Hemingway mean when he says "But, thank God, they are not as intelligent as we who kill them; although they are more noble and able."in...

Santiago in Hemingway's The Old Man and the
Sea demonstrates a great respect for the fish that are, in effect, his foes. 
He respects and in a sense loves the fish, though he catches them, or tries to, in order
to stay alive himself. 

In the quote you ask about,
Santiago is grateful that fishermen are smarter than fish.  Humans, of course, have a
higher level of intelligence than fish.  This enables someone like Santiago to use tools
to catch them.  Otherwise, Santiago would have no hope of competing with a
marlin.

Yet, these huge creatures (marlins) are in some
ways more noble than humans.  They are far superior in strength, of course, and the
marlin Santiago fights with matches his endurance minute by minute and hour by hour. 
The fish is a creature who roams freely in its natural environment and is part of the
natural world that Santiago respects and admires.  The novel comes down to a test of
wills between the fish and Santiago, and though the fisherman wins, it is a great
struggle and Santiago wins at great physical costs. 

In
fact, it takes a man like Santiago, who shows nobility himself, to defeat the noble and
able creature.

In Coleridge's "The Rime of the Ancient Mariner," why does the crew’s joy shift to horror?

In Coleridge's "The Rime of the Ancient Mariner," the
mariner has killed the albatross, the bird the sailors believed had brought them fair
winds by which to sail.

When the breezes cease to blow, the
crew is marooned at sea, with no way to move. They are also unable to take on supplies,
and water becomes very scarce.

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Water, water,
everywhere,

And all the boards did
shrink;

Water, water,
everywhere,

Nor any drop to
drink.

The days pass on in
the same way. Until...

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Through utter drought all dumb we
stood!

I bit my arm, I sucked the
blood,

And cried, A sail! A
sail!

The response of the
crew is one of relief and joy believing another ship has come to save
them:

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Gramercy! they for joy did
grin,

And all at once their breath drew
in,

As they were drinking
all.

The crew's joy turns to
terror as they ship draws closer, when they see it is a ghost ship. Death and the
Nightmare Life-in-Death are "casting" dice, gambling. When the game is over, the crew
draws back in horror:

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One after one, by the star-dogged
Moon,

Too quick for groan or
sigh,

Each turned his face with a ghastly
pang,

And cursed me with his
eye...

Somehow the meaning of
what they have seen between the two entities has been clear enough to the mariner's
shipmates: they curse him, and then each man falls down "in a lifeless
lump."

Whereas the men were joyful believing they were
saved, they are delivered into the hands of Death, all but the
mariner.

How does Skinner's explanation of emotions compare to developmentalists' explanation of emotions?

Skinner believed that emotions could be conditioned. That
is, we can learn how to feel the appropriate (or suggested) emotions to external
stimulus. For example, f we were happy at the death of a loved one, we would receive
negative social feedback and this would "teach" us that the appropriate emotion is
sadness. The nature of our emotions, according to Skinner, is learned, rather than
innate.

Developmental psychologists view emotion as an
innate outgrowth of early childhood experiences. Emotions, for the developmentalist,
arise not from learning, but from observing and imitating early relational patterns
learned in childhood. For example, a young person who witnesses domestic abuse in the
household may grow up to feel a sense of security and fulfillment by participating in
such a relationship.

One view emotions as acquired through
a continuous learning process, the other views emotions as seated within early childhood
experiences.

What were the effects of Tom Robinson's trial on the characters of "To Kill a Mockingbird"?

Perhaps Mr. Dolphus Raymond
sums up the results of Tom Robinson's trial when, in Chapter 20 of To Kill a
Mockingbird, he comforts the crying Dill after Mr. Gilmer cross-examines Tom
Robinson:

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'You aren't thin-hided, it just makes you sick,
doesn't it?'

'Things haven't caught up with that one's
instinct yet.  Let him get a little older and he won't get sick and cry.  Maybe
things'll strike him as being--not quite right, say, but he won't cry, not when he gets
a few years on him....'

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'Cry about the simple hell people give other
people--without even thinking.  Cry about the hell white people give colored folks,
without even stopping to think that they're people,
too.'

• Scout, Dill,
  and Jem are very moved (Jem also cries); they do not understand how the jury could have
  found Tom guilty.  His face streaked with "angry tears," Jem says to his father, "I
  ain't right....How could they do it, how could they?"  Jem is
  disillusioned.


• Atticus is not surprised at the verdict. 
  He says they will do it again, and "seems like only children weep" as he echoes what Mr.
  Raymond has said.  When he sees what the black community has brought him the next day,
  Atticus's eyes fill with tears.  But, he is encouraged that the verdict did not come in
  right away.  There was someone who would not go along with the others, and this fact is
  encouraging, he says. 


• Dill reports that Miss Rachel's
  reaction was if a man like Atticus Finch want to butt his head against a stone wall,
  it's his head.


• Miss Maudie brings the Finches a cake and
  tells Jem not to fret; things are not as bad as they seem.  She says,
  

I
simply want to tell you that there are some men in this world who were born to do our
unpleasant jobs for us.  Your father's one of
them. 

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She is impressed with how Atticus handled Tom's
case.  Because Atticus kept the jury out so long, Miss Maudie remarks that "we're making
a step--it' just a baby-step, but it's a
step."

• Mr. Bob
  Ewell is filled with hate.  At the post office, he spits in the face of Atticus and
  threatens him.


• Aunt Alexandra worries that Atticus has
  become bitter.


• Sheriff Heck Tate seems fairly disgusted
  by the proceedings and the results of the trial; when Bob Ewell is killed, he feels no
  remorse, and does not think his killer, Boo Radley, should be
  punished.


• Mr. Cunningham, who has been on the jury, and
  is probably the man who has kept the jury from reaching a verdict for some time, is
  obviously disturbed by the outcome of the
  trial.

What are certain symbols and themes in The Count Of Monte Cristo?The Count of Monte Cristo by Alexandre Dumas

In the chapter entitled "The Betrothal Feast," old Dante's
father remarks, "What a silent party!" and his son replies that he is too happy to be
joyous because at times joy oppresses just as much as
grief:

"I
cannot help thinking it is not man's lot to attain happiness so easily.  Good fortune is
like the palaces of the enchanted isles, the gates of which were guarded by dragons. 
Happiness could only be obtained by overcoming these dragons, and I, I know not how I
have deserved the honour of becoming Mercedes's
husband."

Besides presaging
the misfortune which is to come for Edmund Dantes, there is an element of symbolism that
emerges from this remark. For, the isle of If where the prison is located, and the isle
of Monte Cristo figure greatly into the fate and composition of what makes Edmund
Dantes. Further, in his mission of revenge, Dantes must overcome the dragons of his
hatred in order to be redeemed.  For instance, in his plan to destroy de Villefort,
harms innocents in his path such as Edouard, the young son of Madame de Villefort, and
in disgracing Ferdinand, the Count of Monte Cristo damages the honor of Mercedes's
beloved son Albert.  Recognizing the dragons of malice that accompany what he feels is
his provendential retribution, Dantes then saves the love of Maxmillian and Valentine. 
In so doing, he, too, is redeemed.

Thus, from the wonderful
narrative of Dumas there emerge two themes, the limitations of revenge and the redeeming
power of love.  In his meeting with M. de Villefort after having saved Mme. de Villefort
and her son from imminent danger when the dappled greys run away with the carriage, the
Count of Monte Cristo declares,

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"...I have compared natural justice, and I must
say, sir that it is the law of primitive ation; that is, the law of retaliation that I
have most frequently found to be according to the law of
God."

However, as he pursues
his divine retaliation, Dantes realizes that there are limitations. Whereas he
originally has felt that the Biblical notion of the sins of the father being dealt upon
the children to justify the destruction of his enemies is righteous, Dantes is shocked
into reassessing his notion of being the instrument of Providence when Eduoard de
Villefort's life is innocently shed.  He tells Maxillian later that the gods of
vengeance operate with an infallibility that is not possible for mortal
man.

With his wisdom, then, comes Monte Cristo's
recognition of the power of love; he is most moved by the absolute devotion of
Maxmillian for Valentine, as well as the maternal love of Mercedes for her son, Albert. 
Finding some peace and returning to life as a man in the love of Haydee, Dantes tells
her, "...through you I again connect myself with life, through you I shall suffer,
through you rejoice."

Please answer this question about Death of a Salesman.How does Willy’s interview with Howard reveal that Willy transfers his professional...

In the interview that Willy has with Howard, his boss, we
definitely see the pressures of Willy's existence forcing him to act irrationally and in
a sense pushing Howard towards the conclusion of the interview, when he fires Willy. It
is important to note the context of the interview: just before it, Linda reminds Willy
to ask for an advance to pay off some outstanding bills, and then Linda is seen mending
her stockings that reminds Willy of his infidelity. The personal shame of being an
adulterer and also his lack of means are important to understand the desperate nature of
Willy but also the way he acts.

Howard is presented as
unsympathetic and as someone who does not understand. He suggests that Willy by the
recorder he is playing with, even when Willy has no chance of being able to afford the
money to pay for it. He barely listens to Willy's story about his inspiration of
becoming a salesman. Willy sticks to his version of "reality" as he begins to shout at
Howard and almost lecture him:

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Now pay attention. Your father--in 1928 I had a
big year. I averaged a hundred and seventy dollars a week in
commissions...

Howard makes
the truth clear by beginning to tell Willy that this is just not true, but Willy stops
him, shouting out the truth. However, after Howard leaves, Willy realises how he was
behaving irrationally. Rather than ushering in a period of sanity, however, he only goes
on to sink into his delusions further, addressing Howard's father, the long-dead
Frank:

Pull
myself together! What the hell did I say to him? My God, I was yelling at him! How could
I! Willy breaks off, staring at the light, which occupies the
chair, animating it. He approaches this chair, standing across the desk from
it. Frank, Frank, don't you remember what you told me that time? How you put
your hand on my shoulder, and
Frank...

Clearly the
pressures of his life makes the delusions that he experiences worse. Note that after
Howard exits, having fired him, Willy has an interview with Ben, his imaginary brother
who he "calls up" in times of need.