What is the plot of this story?EXPOSITION, RISING ACTION. CLIMAX, FALLING ACTION, AND RESOLUTION

The plot is based on the concept of revenge for some
insult (never revealed) to the narrator, Montresor. Fortunado had the grave mistake of
somehow insulting Montresor. Montresor plotted his revenge against the unknowing victim
for quite some time. He used Fortunado's pride in the knowledge of wines to lure him to
his gruesome death, walled up alive in the catacombs of the Montresors. The ironies that
appear in the trip to the keg of wine warn the reader of Montresor's warped mind. His
false concern for the victim and his use of words with more than one meaning have no
effect on the drunken Fortunado however. His disappearance will remain a mystery to all
of the townspeople, except for Montresor.

What is the main response to "Ballad of Birmingham"?

This poem is a tribute to the children who were
sacrificial victims of the Civil Rights Movement.  Written as a ballad, the poem has
been set to music and sung prior to its 1965 publication.  The first stanza, which is a
dialogue between the child and her mother, sets up the irony of situation:  While the
mother fears for her child to go in the streets, she believes the child will be safe in
the Sixteenth Street Baptist Church:

readability="7">

The mother/smiled to/know that her/child/Was in
the /sacred place,/ But that smile/ws the last/smile/To come upon/her
face.

Following this dialogue
are images reflective of the brutal destruction of life and building: "glass and brick,"
"the shoe my baby wore."  These images are in sharp contrast to the images of "rose
petal sweet" and "white gloves" so evocative of the tragic innocence the child victims. 
Dudley Randall's poem is very poignant, touching deeply the
reader.

What are the characters of the two fathers, Lear and Gloucester, and the mistakes of judgement they make?

Both fathers are arrogant and blind to their
children.

Gloucester's attitude toward his children is
established in the first scene when he brags about how much fun he had in begetting
Edmond, his illegitimate son, while the young man is standing right there.  He treats
him like a lap dog.

It is amazing how quickly he believes
Edmond's lies about Edgar.  Admittedly, Edmond sells his brother's "betrayal" but
shouldn't a father know his children better?  The deception of Edmond is perhaps
understandable since he is away at school most of the time and has spent very little
time with Gloucester.

Edgar, on the other hand, would
appear to be the apple of daddy's eye.  He remains faithful to his father despite having
to flee and disguise himself.  He is there for his father when the old man needs him the
most.  Once Gloucester is blind, he begins to see.

King
Lear's question in Act I, scene 1 is also telling.  It shows that the old king is blind
to the truth.  Are Goneril and Regan evil?  I don't think so.  They haven't lived under
daddy's roof for quite some time.  Each woman has her own life with her husband away
from their father.  Do they love him?  I'm sure they do but as a daughter should love
her father.  They tell Lear what he wants to hear.  They know him well enough to know he
wants his ego stroked.

In her innocence, Cordelia does not
know what to say since she cannot heave her heart into her mouth.  Lear obviously does
not under what love truly is since he feels the need to ask the question and does not
understand that love is expansive.

For their part, Goneril
and Regan feel that they must protect themselves against the whims of their father.  If
he could disown his favorite daughter and exile Kent just because they did not please
him, what would he do to them if they displease him?  When people are scared, rational
behavior disappears.

As Lear loses his identity beginning
with the loss of his crown, then his men, he, too, experiences
fear.

Just as Edgar and Gloucester are reunited, so, too,
are Cordelia and Lear.  Before they die, each father realizes who truly loves them and
how powerful that love is.

from kaffir boy what point of view is this book written? how do point of viewand characterization help achieve yhe author"s purpose

The story is told from a first person narrator, namely,
Mark Mathabane. The entire story is his autobiography.

The
first person narrative voice means that we as readers are receiving the story much in
the same way we would hear a story from a friend.  We learn about Mark's thoughts,
words, and actions. We only hear about other character's thoughts and words by way of
Mark.  The first person narrative voice allows the author to show an up close and
personal look at life in Alexandra. The narrative voice helps the author achieve his
purpose of telling a tale about a man who has overcome adversity and escaped an
oppressive political system. If the story were told from a different narrative
perspective, such as the third person narrative voice, readers may not feel as connected
to Mark's story. Readers may not feel as though they were in Mark's shoes, as they
likely do while reading the story as it stands.

The first
person narrative is effective in that it places us in the narrator’s shoes. We only have
access to her/his thoughts and what she/he observes. We feel as though the narrator is a
friend relating a story to us.  The first person narrative allows readers to see
directly into a character’s mind. The first person narrator makes the story more
personal.

In contrast, the third person
omniscient narrative is effective in that it gives the reader access to the thought,
feelings, actions, and expressions of all the characters in the story. This gives the
reader a view of the action that they could not get from a first person narrative. The
third person omniscient narrative perspective provides more information than what we are
used to having access to in our daily lives. If this story were told from the third
person omniscient perspective, the story would create a vastly different impression on
the reader.

Could it be said that "The Boy in Striped Pyjamas" contains a form of irony in the way that Father thought he was killing the enemy; not his son?

Indeed, the ending to "The Boy in the Striped Pajamas" is
ironic.  It's painfully ironic.  If we operate on href="http://www.bartleby.com/116/102.html">H. W. Fowler's definition of
"irony" such as, "that the surface meaning and the underlying meaning of what is said
are not the same," we can apply Fowler's understanding to Boyne's novel.  The fact that
Bruno's father operates as an extension of the Nazis, promoting its values and living
his life in full confidence of what is being done in the Holocaust, would represent a
surface meaning of the narrative.  Running contrary to this surface meaning is Bruno's
befriending of Shmuel.  The fact that the father's orders to round up the prisoners for
mass execution would involve his own son, wearing "pajamas," is ironic because the
surface meaning of the father's actions contrasts with the underlying meaning and the
implications of them.  He is left to fully understand this at the end of the novel.  The
historical irony that is also present is that the Holocaust ended up killing both the
victims and the agressors' sense of humanity.  When the father recognizes this, he might
actually be mourning for both his son and his son's dignity.

What is the solution for 3x + 4y = 10 and 2x + 9y = 20

3x + 4y = 10 

2x + 9y = 20

First, multiply everything in the top equation by 2 and
everything in the second equation by 3

By multiplying, your
equation should look like

6x + 8y = 20

6x + 27y = 60 
now subtract 6x with 6x (which means subtract 8y with 27y and 20 with 60)

By subtracting, your equation should look
like

-19y = -40 divide both
sides by -19

By dividing, your equation should look
like

y = 49/19  which is your
answer for " y "

now plug 40/19 into one of the
equation

By doing that, your equation should look
like

3x + 4 ( 40/19 ) = 10
multiply 40/19 with 4

By multiplying, your equation should
look like

3x + 160/19 = 10
subtract both sides by 160/19

By
subtracting, your equation should look
like

3x = 30/19 now divide
both sides by 3

By dividing, your equation should look
like

x = 10/19 which is your
answer for " x "

So your answer is x = 10/19 
;  y = 40/19

Each statement has 2 unknowns. Represent both in terms of x. Q: The sum of two numbers is 35. Please explain and help.

The answer posted above uses two variables (unknowns), x
and y to represent the two terms. I am giving below a method of representing both the
terms using only one variable.

It is given that the sum of
two numbers is 35.

Let first term of the two be represented
by:

First term = x

We
know:

(First term) + ( Second term) =
35

Substituting the value x for first term in above
equation:

x + Second term =
35

Transferring x from left to the right hand side of
equation, which is same as subtracting x from both side of the
equation:

Second term = 35 -
x

Thus the two unknowns, the first term and the second term
are represented using just one (unknown) variable
'x'.

First term = x

Second
term = 35 - x

Please note that x, representing the first
term, can take any value, and based on value of x the value of second term will be
determined.

Fill in the blank: The number of protons in an atom of an element determines the atom's___, and the number of electrons determines ___of an element.

the number of protons in an atom of an element determines
the atom's (atomic number),and the number of electrons determines the (atomic number )of
an element.

the number of electrons in an atom=the no. of
protons=the ATOMIC NUMBER .

if you want to calculate the
neutrons number for an atom , you can easily make : MASS NUMBER- atomic
number

mass number = no. of positive protons and neutral
neutrons

 so,,,the atom consists of positive protons and
negative electrons (which resemble the atomic number) and the neutral neutrons
.

What do you think a person's sociological imagination could be who has been homeless for 20 years?initially being homeless because he was an...

There are many variables here.  Is he still an addict? 
Have people helped him from time to time?  Is he a complete misanthrope?  Is he mentally
ill?  Is he in a bigger city, or in a more rural
area?

Without any of that information, I would say that his
experiences would include witnessing events in nature (both human and non-human) which
give him much to work with imagination-wise.  His survival instincts have definitely
been honed if he has indeed been on the street for twenty years.  He has probably
learned where to easily find food and shelter, which shop owners are kind to the
homeless and which ones to avoid.  There may even be a "place" where the homeless gather
to provide a unique society among themselves which would also be an excellent source of
information.  He would have stored up enough information to be able to write a book
about being homeless with small vignets about the people he has met on his
journey. 

If he's been homeliess for twenty years, he's
succeeding in survival; however, I can imagine that he would see his inability to get
off the streets as a source of failure on his part and/or the forces of nature
surrounding him.  His drug addiction certainly wouldn't help
him.

Is it illegal in the state of Washington for a teacher to call a student retarded?today in class my teacher called me retarded because she thought...

Whether or not it is illegal in the state of Washington, I
cannot say.  It is, however, very unprofessional.  In my opinion as an educator and an
aunt to a mentally retarded boy, this teacher needs training on dealing with students,
and on what is offensive to human beings - this could have also been heard by a mentally
retarded student who very well could have been offended as were
you.

Your post reminded me of my 7th grade year in which a
teacher whom I admired greatly called me this term.  This was after she had preached and
preached about if a student calls you a name in her class to not call them one back, but
instead report it to her and she would handle the situation.  When I took her at her
word, she humiliated me in front of the class by saying, "You must be retarded because
you are coming to me about this!"  I was shocked, crushed, and very disappointed.  She
was, up until that day, my favorite teacher.  I can thank her for one thing, though -
when I tell a student to come to me with issues they might have, whatever I tell them I
will do - I DO - and I am VERY conscientious about not harming a student in this
way.

Again, whether or not it is illegal, I do not know,
but as a professional educator, I feel it is unethical, unprofessional, and, frankly,
distasteful.

Compare the story to the video. Did the video show the suspense or irony differently?

After watching the Vincent Price video, I thought the
music added to the suspense in the video, but I think I enjoyed the sense of suspense
Poe created in his writing more than in the video.  Poe's imagery is truly amazing: it
has quite an impact as if we were there in the catacombs, though we are
not.

However, the irony is much easier to pick out in the
video than in the short story because Vincent Price (who is so very excellent in tales
of horror) adds the right amount of inflection in his voice as needed, along with an
evil grin and the cocking of one brow.

The eerie smile
"Montresor" wears toward the end of the video makes the irony that much clearer to the
viewer, and in terms of the two forms of the story, I liked the video more for a better
appreciation of the irony.

What are some very interesting facts about copper?I have to gather facts for chemistry project.

Copper is a an element with atomic number 2n and atomic
weight of 63.546.

It is one of the earliest metals to be
used by humans. It has been in use by humans for over 10000 years. It was probably first
used in 8000 B.C. by people living along the Tigris and Euphrates rivers in the Middle
East.

It is reddish orange in colour. It is a very good
conductor of electricity. For this reasons it is used widely for manufacturing electric
power cables and other components using electricity.

It is
also a very good conductor of heat. This makes it a preferred choice for components like
radiators and cooling pipes in refrigerators.

Copper has a
density 8.96. Its melting point is 1083.3 degrees C. and boiling point is 3567 degrees
C. It is a very ductile and malleable material. This makes it ideal for forming into
various shapes including in thin wires, pipes, and sheets.

What mistake does Desdemona make when Othello asks for the handkerchief?

Although Shakespeare represents Desdemona as an
overwhelmingly virtuous character, he also shows us that she is a flawed human being
like everyone else, and can act unwisely.  This is true of her in two main contexts: her
impetuous elopement with Othello, revealed in Act 1, scene 1; and her dishonest response
to Othello's request to see the handkerchief in Act 3, scene
4. 

The truth of the matter is that Desdemona has
accidentally dropped the handkerchief in Act 3, scene 3 when mopping Othello's brow, in
perfectly innocent circumstances.  As usual, her motives are pure and, in this instance
a sign of love and concern.  In response to Othello's "I have a pain upon my forehead,
here" (3.3.288), Desdemona replies "Let me bind it hard..." (3.3.290).  Othello,
however, expresses an impatient desire to go inside and, following him, she drops the
handkerchief without noticing it fall to the ground.

By the
time the two meet again, Othello's mind has been so thoroughly poisoned by Iago, that he
is ready to attack Desdemona for the slightest sign of any indiscretion or unusual
behaviour.  Specifically, Iago has informed Othello in the interim that he has seen
Cassio wipe his beard (3.3.440-442) with a handkerchief “spotted with strawberries”
(3.3.438).  Othello sets Desdemona up by claiming to have a cold: “I have a salt and
sullen rheum offends me” (3.4.51).  He asks her to lend him her handkerchief, but,
unable to do so, she replies, “I have it not about me” (3.4.55).  Her main fault
consists in not explaining that she only very recently lost it which, of course, is
something that can happen to anyone.  We must remember that at one level, it is only a
handkerchief, but that, at another, it is to become for Othello the “ocular proof”
(3.3.365) of Desdemona’s infidelity.  Clearly, Desdemona knows that Othello is out of
sorts (“My Lord is not my Lord”: 3.4.125), but this is a very unwise first move. 
Othello is quick to pounce (‘That’s a fault.”: 3.4.57), and then proceeds to expound on
the magical properties of the handkerchief, and its significance as insurance against
infidelity. 

Desdemona then compounds her first mistake by
making three further inopportune comments.  The first of these is in response to
Othello’s revelation that the handkerchief was sewn by a prophetess from the silk of
sacred worms.  Her nervous and clumsy outburst, “Then would to God that I had never
seen’t!” (3.4.79) infuriates Othello and adds fuel to the fire of his anger.  The second
compounding fault is to lie to Othello by claiming that she will be able to produce the
handkerchief later: “Why so I can, sir: but I will not now” (3.4.82).  This is followed
immediately by her claiming light-heartedly that Othello’s over-reaction to the missing
handkerchief is a trick to prevent her from pleading Cassio’s case (3.4.89-90).  The
genius of Shakespeare allows the light-hearted response of Desdemona to become entangled
once again with Othello’s monstrous jealousy, and his now intense hatred of Cassio. 
Othello demands to have the handkerchief in three more rapid-fire outbursts, all of
which Desdemona meets with an innocent but misjudged reference to Cassio.  Othello exits
enraged.

How does Shakespeare portray love in Twelfth Night?

Love is a very common theme in Shakespeare's comedies. 
The structure of a classical Comedy is such that, after a series of complications for at
least one romantic couple, the play ends "happily" in at least one marriage.  Though not
everyone actually says his/her vows before the play's end, Twelfth
Night concludes in three marriages -- Viola and Orsino, Olivia and Sebastian,
and Sir Toby and Maria.

Love is depicted in a number of
ways.  First, there is the melancholy, unrequited "sickness" that is Orsino's love.  He
opens the play mooning over Olivia and the fact that she will not return his love.  He
seems to be the sort of lover that actually takes a sort of delight in his own misery. 
Viola mirrors Orsino when she dresses as Cesario and takes on the role of a young man
serving in Orsino's household.  She falls hopelessly in love with Orsino and describes
herself this way:

readability="15">

...[S]he never told her
love,

But let concealment like a worm i' th'
bud

Feed on her damask cheek:  she pin'd in
thought

And with a green and yellow
melancholy

Sat like Patience on a
monument,

Smiling at
grief.

Olivia, unable to
return Orsino's affections, falls in love with Cesario (Viola), and her love is a sort
of unrequited sickness as well.  However, when Olivia mistakes Sebastian for Cesario,
the two are wed, really even before Sebastian knows what has happened to him. 
Sebastian's love is "love at first sight" in the
extreme.

Then there is Malvolio, who fancies himself in
love with Olivia, but seems, rather, to be very much in love with becoming the lord and
master of her household. Sir Andrew also falls into the "unrequitedly in love with
Olivia" category.  Shakespeare uses him to spoof the actions of a young courtly man --
pursuing her through making good friends with her male relative (Sir Toby) and
challenging his rival (Cesario) to a duel.

And, though Sir
Toby and Maria (Olivia's serving woman) never have any scene in which they confess their
love for each other, it is reported at the end of the play that Toby was so grateful to
Maria for the part she played in duping Malvolio that "'[i]n recompense. . .he hath
married her."  Is there love between them?  Shakespeare doesn't answer this
question.

The links below will connect you to essays that
further investigate the topic of love in Twelfth
Night.

Find the area between f(x) = 3x^2 + 2x and x= 1 and x= 2

Since there is not established the other boundary curve,
we'll suppose that we have to calculate the area between f(x), the lines x=1 and x=2 and
the x axis.

The definite integral will be calculated with
Leibniz-Newton formula:

Int f(x)dx =
F(b)-F(a)

We'll calculate the indefinite integral of
f(x):

Int f(x)dx = Int (3x^2 +
2x)dx

We'll use the property of integral to
be additive:

 Int (3x^2 + 2x)dx = Int 3x^2dx + Int
2xdx

 Int 3x^2dx = 3*x^3/3 +
C

Int 3x^2dx =x^3 + C

Int 2xdx
= 2*x^2/2 + C

Int 2xdx = x^2 +
C

 Int (3x^2 + 2x)dx = x^3 + x^2 +
C

F(2) - F(1) = 2^3 + 2^2 - 1^3 -
1^2

F(2) - F(1) = 8 + 4 -
2

F(2) - F(1) =
10

The area bounded by the curve of f(x) and
the lines x=1, x=2 and x axis is A=10.

Evaluate the product (x+x/y)*(x-x/y) for x=30 and y=15

We notice that the product could be transformed into a
difference of squares:

(x+x/y)*(x-x/y) = x^2 -
(x/y)^2

x^2 - (x/y)^2 = x^2 -
x^2/y^2

We'll factorize by
x^2:

x^2 - x^2/y^2 = x^2*(1 -
1/y^2)

Now, we'll substitute x and y into the given
expression:

x^2*(1 - 1/y^2) = 900*(1 -
1/225)

We'll re-write the
expression:

900*(1 - 1/225) =
900(225-1)/225

900*(1 - 1/225) =
900*224/225

900*(1 - 1/225) =
4*224

900*(1 - 1/225) = 896

We
also could write the difference of squares, 25 - 1, as:

225
- 1 = (15-1)(15+1) = 14*16

(x+x/y)*(x-x/y) =
896

What major personality problems does this reveal in Othello when Desdemona tells Othello, "for the love I bear Cassio"?

Other forces in the world of this play help to make
Othello choose as he does. The workings of chance help Iago—for example, Desdemona’s
accidental loss of her handkerchief. Human fallibility helps Iago—for example, Emilia’s
desire to gain a kind word from him by giving him the lost handkerchief. People’s own
virtues may undo them—Iago uses Desdemona’s generous sympathy for Cassio against her.
The fertility of other people’s imaginations aids Iago—their ability to make their own
monsters. But Iago also makes use of Othello’s demand for “ocular proof” that Desdemona
is untrue. Without actually offering any material evidence, Iago makes Othello “see”
what he fears by spinning a story of Cassio talking in his sleep about a tryst with
Desdemona. The “ocular proof” that Othello is eventually given is an interchange between
Cassio and Iago that Othello does not fully hear. Iago’s fabrication of this proof is
helped by the fortuitous appearance of Cassio’s mistress, Bianca, brandishing
Desdemona’s handkerchief. Othello sees nothing of Desdemona’s supposed infidelity, only
the lost handkerchief. The object becomes equated with her lost honor and with Cassio’s
supposed possession of her. Othello’s choice to believe that Iago is honest and
Desdemona false has immediate consequences. He invokes the infernal powers of vengeance
and enters into a terrible covenant of revenge with Iago. He transforms Desdemona into a
“fair devil” whose white skin masks blackness within. He asserts that the purity of his
own name has been begrimed by Desdemona’s actions.

What sort of relationship has formed between Pi and Richard Parker?

Since this relationship comprises much of the novel, it is
essential to understand this relationship.

It would appear
that Richard Parker needs Pi more than Pi needs him.  Without Pi providing food to the
tiger, the tiger would kill him, then die.  In the wild, Pi would be fair game but
because he is zoo tiger, he must somehow recognise that the humans bring
food.

In the beginning, Pi was fairly safe as there was
other food for the tiger, but once Richard Parker's food supply had run out, it was
necessary for Pi to provide him food, just like at the
zoo.

On Pi's part, it is his only way to survive under the
conditions.  One can say that once Richard Parker had eaten the other animals, the life
boat became a mini zoo with the human being, Pi, providing for his
needs.

In Jane Eyre, how does the anecdote of the "little psalm angel" heighten our contempt for Brocklehurst?

In Chapter Four of this novel we are presented with the
character of Brocklehurst, and the overwhelming impression we receive of him, and in
particular his "brand" of Christianity, is that he is a massive hypocrite. Of course,
Jane as a character who feels she must speak the truth and stand up against injustice
and hypocrisy does not help herself in her conversation with Brocklehurst. You will want
to pay attention to how Brocklehurst is introduced by the first person narration - we
first see him from Jane's point of view and he is described as
follows:

readability="14">

...I looked up at - a black pillar! - such, at
least, appeared to me, at first sight, the straight, narrow, sable-clad shape standing
erect on the rug: the grim face at the top was like a carved mask, placed above the
shaft by way of capital.

The
reference to Brocklehurst as a "black pillar" indicates the harsh, unyielding nature of
his Christianity and character, and the face being described as a "carved mask" likewise
reinforces impressions of his hypocrisy. This is emphasised by the allusion to "Little
Red Riding Hood", when Jane comments:

readability="7">

What a face he had, now that it was almost on a
level with mine! what a great nose! and what a mouth! and what large prominent
teeth!

This echo of this
famous fairy tale compares Brocklehurst to the wolf who is dressed up as the
grandmother, thus making us doubt his words and seeing him for the dangerous character
he really is.

Thus, before we come to the part you have
highlighted, we already have ample evidence to condemn and despise Brocklehurst.
However, let us look at the anecdote. In response to Jane's dislike of the Psalms,
Brocklehurst tells her this story:

readability="14">

"I have a boy, younger than you, who knows six
Psalms by heart: and when you ask him which he would rather have, a ginger[bread nut to
eat, or a verse of a Psalm to learn, he says: 'Oh! the verse of a Psalm! angels sing
Psalms;' says he, ' I wish to be a little anger here below;' he then gets two nuts in
recompense for his infant
piety."

First this shows the
manipulation Brocklehurst uses to promote "infant piety" in his charges, but it also
presents an overly naive child who supposedly prizes piety over food. As we discover
when Jane moves to Lowood, this is something that is core to Brocklehurst's beliefs
about his charges spiritual education. Food is not a necessity according to him, and
would only spoil the girls. Starvation, apparently, is good for the
soul.

This story them continues to develop the contempt
that both Jane and we as readers feel for Brocklehurst by presenting Brocklehurst's
hypocrisy and unthinking approach to Christianity.

What is the minimum value of the expression f(x) = x^3 - 5x + 8

Now we have to find the minimum value of f(x) = x^3 - 5x
+8.

For that we start with finding the derivative of f(x) =
x^3 - 5x +8

f’(x) = [x^3 + 5x +8]’ = 3x^2 +
5

Now equate this to
0

=> 3x^2 - 5 =
0

=> x^2 =
5/3

=> x = -sqrt [5/3] or +sqrt
[5/3]

Now take the second derivative of
f(x)

f’’(x) = 6x

for x= -sqrt
[5/3], 6x = -6*sqrt [5/3] which is negative, therefore the maximum value is at x= -sqrt
[5/3]

for x= +sqrt [5/3] , 6x = +6*sqrt [5/3] which is
positive, therefore the minimum value is at x = +sqrt
[5/3]

The minimum value is: f[(+sqrt [5/3])] = (+sqrt
[5/3])^3 – 5*(+sqrt [5/3]) +8 = 3.69

The
required result is 3.69

Describe some of the barriers to effective communication in a team setting (how teams work together/how they don't).

The potential barriers to effective communication in any
setting are great and virtually limitless.  In communication terms, these barriers are
often called "noise" and can be classified as either internal or external.  Examples of
external noise include any distractions around the listener:  sounds of any kind, other
people, poor lighting, uncomfortable seating, inability to hear well, personal
discomfort, sleepiness, and more.  External noises can, to some degree, be controlled. 
Internal noise is anything happening inside the listener which causes distractions:
worry, lack of interest, excitement, lack of comprehension, and more.  One other type of
internal noise is known as semantic noise, which happens when the listener disagrees
with the speaker and is therefore busily formulating some rebuttal or argument rather
than really listening. 

In terms of a team, each member is
still an individual and will deal with those barriers (noises) as their exercise
progresses.  In addition, though, people tend to either "buy in" to team-building
exercises or they dismiss them as a foolish waste of time.  If they are "in," things
will go well with the group--until just one person demonstrates a bad attitude; until it
gets a little too frustrating (or ridiculous); until the task is too difficult (or too
easy); until the expectations are set too high (or too low); until someone tries to
dominate the team (or refuses to step up and fully participate); or until any other
number of barriers get in the way of effective communication.  The best way to overcome
those barriers is for the team to experience success in the task it has been
given.

In "Sonny's Blues" what does Baldwin mean when he writes that Sonny's band was "trying to find new ways to make us listen"?

Near the end of "Sonny's Blues," by James Baldwin, the
narrator goes to a nightclub to hear his brother Sonny play piano with a jazz combo.  It
has been a year since Sonny has played in public--a year in which he has struggled with
drug addiction and imprisonment.

The narrator describes how
the bandleader, named Creole, and "his boys" play a tune called "Am I
Blue":

He and
his boys up there were keeping it new, at the risk of ruin, destruction, madnesss, and
death, in order to find new ways to make us
listen.

This idea
of "finding new ways to make us listen" is one of the hallmarks of jazz, which is
primarily an improvised form of music.  Jazz musicians typically take a fairly simple
and well-known tune and "compose" variations on it as they play. 
In this scene from "Sonny's Blues," the tune is "Am I Blue," which the narrator
describes as a "spare, flat statement."  Jazz musicians try to find new ways to make us
listen to old tunes, new ways that will help us find the deep meanings in what seem to
be simple musical phrases.

how can I paraphrase of Randal Jarrell’s “The Death of the Ball Turret Gunner.” Is there anyone to teach me better paraphrasing ?...

To paraphrase is to put something in your own works.
Paraphrasing is NOT summarizing. You do not want to shorten the original text; you
simply want to rephrase the text in more understandable terms. This should be done
either line by line or sentence by sentence.

"The Death of
the Ball Turret Gunner" is a relatively short poem by Randall Jarrell. The poem's
speaker is a gunner on a WWII bomber who uses vivid imagery to describe a combat mission
and the aftermath of his death.

The poem is only three
sentences long. Each sentence begins with an adverbial phrase or clause that locates the
speaker in a particular place or moment.

The words
fell, hunched, and loosed
indicate the speaker's sense of lack of control.

The first
sentence tells of the speaker leaving home and going straight into being a soldier,
indicated by the word State. The image of hunching in its belly is
how the gunners crouched in the plexiglass sphere of the belly of the B-17 or
B-24.

The second sentence locates the speaker six miles
above the earth, which of course is in a plane. He describes being loosed from a dream
of life - awoken from a dream - the opposite of life is death. He is awoken by the fire
of anti-aircraft guns, which is the nightmare of all gunners like
him.

The last sentece tells of the aftermath of the battle.
He tells you outright that he died, and the final resolution is that his remains are
washed out of the plane with a stem hose.

A, B and C are terms of an AP and 2^A , 2^B and 2^C are terms of a GP. Are there any integer examples for A, B and C?

Since A,  B and C are in AP,  the succesuve terms have the
same common difference. So, B-A = C-B.

Therefore 2B =
A+C.

Since 2^A, 2^B and 2^C are in GP,  the successive tems
have the same common ratio. Therefore  2^B/2^A = 2^C / 2^A
.

(2^B)^2 = 2^A * 2^c

2^2B =
2^(A+C).

Bases being same, we equate the
powers.

2^2B = A+C.

Similarly
for x^A , x^B, and x^C ,

(x^B)^2 =
x^A*x^C

x^(2B) = x^(A+C) holds as 2B =
A+C.

Therefore for any integers in A,B and C  in A P ,  we
can choose a base x. Then  x^A, x^B and x^C  are  in
GP.

Example:

We take x = 7. 
A= 3,   B = 5 and C = 7.

7^3 , 7^5 and 7^7 are in GP with
7^2 as common ratio.

Where can I find the best guideline for writing a five page philosophy paper, the paper is a critical analysis?

Below are a few helpful
links. 

href="http://www.fas.harvard.edu/~phildept/files/ShortGuidetoPhilosophicalWriting.pdf">http://www.fas.harvard.edu/~phildept/files/ShortGuidetoPhilosophicalWriting.pdf

href="http://www.public.asu.edu/~dportmor/tips.pdf">http://www.public.asu.edu/~dportmor/tips.pdf

As
for general advice, I would say that when you write this paper, and if it is a
comparison of two philosophers' views on art, write it as if you were explaining these
two views on art to your friends.  Too often, students write "for a professor" and end
up paraphrasing philosophic passages instead of understanding them and reforming them in
their own words - within the context of the argument of the paper.  So, #1 - be
academic, but in your own words; it will sound better, more
natural.

Example:

* Intro:
Start with a thesis: In this paper, I will argue that Andy Warhol's philosophy of art
(aesthetics) was influenced by the work of Marcel
Duchamp. 

* Define any critical terms in understandable
language. Again, speak/write as if you were teaching it to your friends.  Explain why
(even if just one sentence) it is important to them, society,
etc. 

* Part 1: Duchamp's Found Art - discuss the first
artist/author's work, writing, etc. 

* Part 2: Warhol's
Condensed Soup - discuss the second author/artist's work and begin to segue into part
three. 

* Part 3: compare the two; it would help here to
offer counter-arguments and it would certainly help to cite some other scholarship (i.e.
a journal article on these two author/artist) whether it supports your argument or not. 
If the article challenges your thesis, you must refute it.  Then segue into your
conclusion. 

* Part 4 Conclusion: Marcel to Campbell's
Soup. Use subtitles for each Part if it helps you or if it helps to structure the paper
for the reader.  Don't just have one long paragraph for each Part. Section them off as
your paper shifts in context or subject matter.

Think
critically.  When considering your argument (thesis), ask yourself 'so what.'  Do not
compare two artists for the sake of comparing them.  What is the 'so what?'  This is
key. 

Determine the dimensions of rectangle if the perimeter is equal to area?

Area of the rectangle is the product of the length and the
width.

A = l*w

On the other
hand, the perimeter of the rectangle is:

P =
2(l+w)

According to enunciation, we'll put the area and the
perimeter in the relation of equality:

l*w =
2(l+w)

Now, we'll form the second degree equation, when
knowing the product and the sum of the length and
width.

x^2 - Sx + P = 0

We'll
use Viete's relations:

l + w =
S

l*w = P

But, l*w =
2(l+w)

P = 2S

x^2 - Sx + 2S =
0

delta = S^2 - 8S

S^2 - 8S =
0

S(S-8) = 0

S = 0
impossible

S = 8

l+w = 8
=> l = 8-w

l*w =
16

(8-w)*w - 16 = 0

w^2 - 8w +
16 = 0

w1 =
[8+sqrt(64-64)]/2

width = 4
units

length = 4
units

The dimensions of the
rectangle have to be equal for the area and the perimeter to be
equal.

What is the theme of "The Fury of Aerial Bombardment"?

Eberhart’s poem uses the occasion of war to consider
questions about God and humanity. This poems expresses strong antiwar sentiments. Though
Eberhart does not develop any characters. he raises the same questions of many poets who
invoke a feeling of sadness over war and expresses a sense of helplessness that man can
not do anything about it without some divine intervention., Though Eberhart attributes
war more to God than to humankind, that it is some kind of divine curse that must be
accomplished, suffered through and trod through. It is one of the more furious of the
anti-war poems at the exclusionary of which God possesses the provocations for
war.

Evaluate the limits of x^4*cos(2/x). x-->0

We'll  notice that we can't use the product law here (the
limit of a product is the product of limits).

According to
the rule, limit of cos(2/x) does not exist, if x tends to
0.

By definition:

 -1
=< cos (2/x) =< 1

If we'll multiply the
inequality above, by x^4, because x^4 is a positive amount, for any value of x, the
inequality still holds.

-x^4 =< (x^4)*cos (2/x)
=< x^4

We'll calculate the limits of the
ends:

If we'll calculate lim x^4 = lim -x^4 =
0.

Now, we'll apply the Squeeze Theorem and we'll get
:

lim -x^4 =< lim (x^4)*cos (2/x) =< lim
x^4

0=< lim (x^4)*cos (2/x)
=<0

So, the  limit of the
function (x^4)*cos (2/x) is 0, when x ->
0.