In chapter 7, contrast the reactions of Nick and Gatsby to Daisy's voice.

The answer to this question involves one of the most often
quoted passages of the novel:  "Her voice is full of
money."

Throughout the novel, Nick has been entranced by
Daisy's voice.  Even though many of her attempts at conversation seem inane, her voice
is entrancing.  In Chapter 1, Nick responds to Daisy's comment that he was like a rose.
 Nick disagrees with this comparison, but he admits that "a stirring warmth flowed from
her as if her heart was trying to come out to you concealed in one of those breathless,
thrilling words."  But by the end of the chapter, Nick is no longer intrigued by her
voice.

In Chapter 7, Nick tries to describe Daisy's voice
to Gatsby.  He calls it "indiscreet."  But he cannot be any more specific than this.  It
is Gatsby, surprisingly, who recognizes the source of its charm:  it is the voice of
money.  It is this voice and all its starshine that attracted Gatsby to Daisy in the
first place.  Daisy has always had money.  She came from a wealthy family; she married
an even wealthier husband.  This type of lifestyle exudes in her manner and her voice.
 She has never known sacrifice; she has never had to do
without.

Gatsby who has known what it is like to not have
everything he wants recognizes very clearly one who has and who always had it all.  This
is what Gatsby wants as well.  But no matter how hard he tries, Gatsby's voice will
never be full of money.  As a newly rich man, he can only pretend to speak as he
believes the wealthy speak.  But he does not speak as someone does who has known money
his entire life.

Nick comes from a fairly well-to-do family
himself.  So he cannot quite pinpoint the source of Daisy's charm--at least not until
Gatsby names it.  The desire to speak like that, to acquire the mannerisms of the very
rich, is not what Nick tries to assume.  He is somewhat privileged and is only mildly
curious about those who are more privileged that he.

Prove the equality for any real x ( sinx + cosx )^2 = 1 + 2sinx*cosx

To prove the equality means to obtain like expressions
both sides.

We'll start by expanding the square from the
left side. We'll use the formula of expanding the
square:

(a+b)^2 = a^2 + 2ab +
b^2

We'll substitute a and b by sin x and cos x and we'll
get:

( sinx + cosx )^2 = (sin x)^2 + 2sin x*cos x + (cos
x)^2

But the sum (sin x)^2 + (cos x)^2 = 1, from the
fundamental formula of trigonometry.

We'll substitute the
sum by it's value. We'll re-write the expanding of the
square:

( sinx + cosx )^2 = 1 + 2sin x*cos x
q.e.d

What is an example of intolerance?

The treatment of Tituba, the slave, is probably the most
obvious example.  While it's not surprising that tolerance of slaves did not really
exist in the 17th century colonies, her treatment at the hands of her questioners is
pretty telling.  They are intolerant of any religion other than Puritan Christianity, so
of course Tituba's practice of voodoo, in secret with the girls, is not going to be
tolerated on any level.  She is beaten for a confession, which she
offers.

The Puritans were not tolerant of dancing either,
or anything that could be construed as being of the Devil, or inherently
sinful.

Describe Hawthorne's use of irony in The Scarlet Letter and explain how those examples are ironic.Nathaniel Hawthorne's The Scarlet Letter

With irony being a contrast or incongruity between what is
expected to be and what actually happens, perhaps the greatest irony in The
Scarlet Letter is in the fact that a religious group of people who left
England to come to the colonies of America seeking freedom constructed a prison as their
first building.  This group of Puritans become the most restrictive of all religious
sects, allowing no transgressions.  Yet, in England they fought against the restrictions
put upon them.

In an effort to "purify" their church of the
corruption and excessiveness of the Anglican Church from which they broke, Puritans
allowed no disgraceful celebrations, no ornateness or pagan-like colors no drinking of
liquor.  Yet, when Hester and Pearl arrive at Governor Bellingham's mansion in Chapter
VIII, there sits upon a table

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--in token that the sentiment of old English
hospitality has not been left behind--stood a large pewter tankard, at the bottom of
which , had Hester of Pearl peeped into it, they might have seen the frothy remnant of a
recent draught of ale.

In
addition, contrary to the Puritan demand for simplicity,  the broken glass of the
windows admit much light and the front of the edifice

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glittered and sparkled as if diamonds had been
flung against it by the double handful.  The brillancy might have befitted Aladdin's
palace, rather than the masion of a grave old Puritan ruler.  It was further decorated
with strange and seemingly cabalistic figures and
diagrams....

The furniture of
the governor is "elaborately carved" and a serving-man wears a blue coat, the "customary
garb...in the old hereditary halls of England."

Another
great irony exists in the punishment of Hester as contrasted to the condition of the
Reverend Dimmesdale. While Hester is publicly humiliated upon the scaffold and made to
wear the scarlet A of an adultress, she suffers less that Arthur
Dimmesdale whose secret sin is not visible to the townspeople, but tortures his soul to
the point that his health is ruined and his body makes manifest his inner
A.  By having her sin exposed, Hester is able to make reparations
for her sin through good deeds, helping the aged and ill.  Her redemption is contrary to
Puritan doctrine that states that faith, not good works, are what save people.  Yet, the
town recognizes the goodness in Hester, referring to the A as
meaning Angel and
Able.

Indeed, throughout Hawthorne's
novel, there are many, many examples of dramatic and situational irony.  For instance,
the townspeople call upon Roger Chillingworth to heal their dear minister when it is
this sinister man who has told Hester, "He will be mine," and intends to destroy
Dimmesdale.  When Hester casts aside her scarlet letter and it falls in the brook, Pearl
cries and will not cross the brook until Hester resumes her wearing of it in Chapter
XIX.  In another example, at the end of Hawthorne's novel, even after achieving freedom
and peace in England, Hester returns to the colony and her former home.  Once there,
Hester bends down, picks up the scarlet letter, and replaces it upon her
bosom.

Calculate the mode, median and standard deviation for the following values of x: 18, 3, 5, 4, 6, 4, 2, 7.

You should stick to asking one question per
question. So I'm going to answer only the first one you have asked here and have removed
the rest.

Now the values we have are : 18,
3, 5, 4, 6, 4, 2, 7

The mode is the value that has the
largest number of observations. We can see that the number 4 has two observations, all
the others have one. So the mode is 4.

To find the median
you have to arrange all the values in increasing or decreasing order and see which is
the value that is separating the lower and the higher
halves.

So we have 2 , 3, 4, 4,
5, 6, 7, 18. As there are an even number of observations here we find the
average of the values at the middle. So the median is (4 +5) /=
4.5

To find the standard deviation, first find the
average:

(2+3+4+4+5+6+7+18) / 8 =
6.125

Now find the average of the square of the difference
of each term with the average:

[(2 - 6.125)^2  + (3 -
6.125)^2  +(4 - 6.125)^2  +(4 - 6.125)^2  +(5 - 6.125)^2  +(6 - 6.125)^2  +(7 -
6.125)^2  +(18 - 6.125)^2]/8 = 25.55

This is the variance.
The square root of the variance is called the standard deviation. Here it is equal to :
5.055

Chapters 42-58 What key events occur between Magwitch's appearance and Pip's metting with Estella?Great Expectations by Charles Dickens

With the exception of two chapters, what is under
consideration here is Stage III of Great Expectations.  This
composes the part of the novel in which Pip has his second change of character; that is,
he rejects his selfishness and cupidity of Stage II and returns to the true values of
friendship and love that he has known in Stage I.  Thus, after experiencing the falsity
of the world outside the forge, Pip reemerges as mature version of the honest and noble
person that he was as a child.

• In this third
  stage, Pip reencounters some of the characters that he has met in the beginning part;
  however, they emerge with different names or as older, wiser people.  Central to these
  characters is Magwitch, who comes to London as Provis, a
  name that closely resembles Providence, for, indeed Provis, has both guarded and
  indirectly guided Pip to his nobler nature.  After learning of the kindness of Provis
  and trying to assist him in his escape and learning his poignant history regarding
  Compeyson, Molly, and Estella, Pip no longer finds Provis repugnant; in fact, he grows
  to love the poor, unfortunate man, and holds his hand throughout his trial and
  condemnation.  Pip prays for him as he dies. 


• In return
  for the frienship and solicitude of Herbert, with the financial aid of Miss Havisham,
  Pip establishes Herbert in a banking house, thus enabling
  him to marry his love, Clara.


• Pip returns to Satis House
  where he confronts Miss Havisham and Estella, begging her
  not to marry Bentley Drummle, telling her, "You are "part of my existence, part of
  myself."  But, she refuses him; having witnessed this, Miss Havisham realizes her great
  sin against Pip and later begs him to forgive her. That evening her dress catches on
  fire and Pip rescues her.


• Pip's friend
  Wemmick intervenes for Pip and warns him not to go home as
  Orlick has been watching his apartment, for he wants to
  kill Pip, but, fortuitously, he has dropped a note that reveals Orlick's having lured
  him to the sluice house where he is rescued.


• After the
  traumatic events of caring for Provis and his near-death experience with Orlick, Pip is
  cared for by Joe, who returns to calling him the old names.  But, when Pip feels better,
  Joe begins to call him "sir."  Pip's reflections on Joe lead him to
  wonder,

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how I had conceived that old idea of his
inaptitude, until I was one day enlightened by the reflection that perhaps the
inaptitude had never been in him at all, but had been in
me.

• Then, after
  eleven years, Pip returns to the forge only to find Biddy
  who tells him it is hers and Joe's wedding day.  


• Two
  years later, he sees Estella, who arrives after all these years and they reconcile as
  friends. Pip has Joe's little son with him, whom Estella
  mistakes as his.  Asking to kiss him, Estella reveals "a heart to undersstand what my
  heart used to be.

What literary devices/strategies are used in the poem "We Real Cool" by Gwendolyn Brooks?I mean devices/strategies such as anaphora, ellipsis,...

Epistrophy - "we" is the
repeated word at the end of the successive clauses. It depends on how you look at it,
but I see this as taking emphasis off the "we" and more emphasis on what "we" do.  This
gives it somewhat of dark tone with the emphasis on play, sin, die, etc. And taking the
emphasis away from the subject "we" conveys a constructed insignificance; in other
words, it is as if the perception of the "we" in the poem is one of indifference; the
perception of the "we" is tragic but almost
nonchalant. 

You also have
alliteration (sing sin).  That with the brevity of the poem
gives it a kind of nursery rhyme tone. 

This may be a
stretch, but it would be interesting to consider this as an
enthymeme, which is an informally stated syllogism.  A
syllogism would be something like this:

Living is a
struggle.

All humans
live. 

All humans
struggle.

Brook's poem is not a direct or even an indirect
syllogism or enthymeme.  But the prosody of it resembles one and if you consider the
lifestyle (historical, cultural) of the pool players, you might assume that one thing
leads to another (dropping out, drinking, singing sin, dying soon -
young). 

Why are there more lunar eclipses than solar eclipses?

That's a cool question, and it has a cool
answer.

It all has to do with sizes and distances. The moon
is about 240,000 miles from the earth. That sounds like a long distance for sure. But
relatively speaking, the moon is a lot closer to the earth than it is to the sun...
almost 400 times closer. Because of this relative closeness, when the earth (which also
is a lot bigger than the moon) comes between the sun and the moon, the shadow of the
earth (which causes an eclipse) has a pretty good chance, each month when there's a full
moon, of blocking out the moon. Conversely, a relatively small moon 240,000 miles away
from the earth has a much smaller chance of blocking out a very distant (and apparently
small) sun which, in the sky, as seen from the earth, looks almost excatly the same size
as the moon.

Although not drawn to scale, the link below
may help you understand the relationships better.

What are some of the meanings the story "Communist" by Richard Ford generates in relation to the comment below?The intimacy between mother and...

The structure of the story can give you some hints about
the meaning it tries to generate. If you read closely, you will notice that the text is
a look back at a pivotal event. While the event itself can be read in different ways,
the fact that the narrator centers the story around the geese hunt that occurred
twenty-five years ago, is telling.

One way to read the
story is around the theme of intimacy and human relations. Remember for instance
that Les's father has died and thus indirectly deserted him. Glen leaves Aileen, and the
geese leave the wounded goose behind to die alone, and finally as you have pointed out,
Les and his mother Aileen lost contact ad haven't talked for years. The story repeatedly
points to the fragility of human relationships. Animals do not fare any better in the
story, since snow-geese are migratory birds that mate for life. Yet, the flock leaves
one of their own. While I am always hesitant to firmly lock down a certain
interpretation, you are right to say that the piece does generate
meaning: Love, intimacy and the connections to others are an illusion and a
fleeting phenomenon. You can also take a look at the author profile, which is quite good
to help you decide what you see in the story.

What is Othello’s flaw and how does he grapple with it?

Like all great tragic heroes, Othello is flawed.  Iago
finds this flaw and exploits it.  His flaw is his insecurity in his marriage and Iago
awakens his jealousy and uses it to destroy him and
others.

Since Othello is black and Desdemona is white, her
father believes that Othello enchanted her.  It is the only explanation he can
accept.

In Act I, scene 3, Othello tells the Duke his
story.  One could say that indeed Othello enchanted Desdemona but not in a negative
sense.  His personal story was one of adventure and exotic people and places.  He had
been a slave and was now a great general.  Desdemona seemed to hang on his every word
and as a result, fell in love with him.

Living the life he
had lived deprived him of love and affection.  As a result, Iago could exploit this
insecurity and arouse his jealousy, aka the green eyed monster.

How photograph can serve as a visual text at Elm/midd school.benifit of photograph as a visual text.

Have you ever heard the saying, "One picture is worth one
thousand words"?  Then you have the answer to your question.  You can use photographs to
stimulate conversation in a classroom.  You can discuss many things related to
art...perspective, angle, lighting, texture, color, grouping, subject.  However, you can
also use it in a language class to begin story writing.  Consider the picture as a
snapshot in the life or lives of the subjects you have chosen.  What is happening in the
picture?  What happened before this picture?  What will happen next? What is the mood or
tone of the picture?  How do you know?  Get the students thinking about it and talking
about it and writing about it.  You won't get two stories exactly alike, and it will be
so fun to share the finished products with the class.

Good
Luck!

the volume of a spherical segment with base radius, r and height, h, is given by the formula v= 1/6 pie*h (3r^2+h^2)a domed stadium is in the shape...

V = (1/6)pi * h(3r^2 + h^2)

r
= 150 m

v= 3,500,000 m^3

To
find the height we will substitue in v"

V = (1/6) pi *h
(3r^2 + h^2)

3,500,000 = (1/6)*pi *h (3(150^2) +
h^2)

Multiply by
6/pi

==> 3,500,000*6/ (22/7) = h(3*(150^2) +
h^2)

==> h(67,500 + h^2) = 21,000,000/
(22/7)

==:> h^2 + 67,500 h - 21,000,000*7/22 =
0

Multiply by 22:

==>
22h^2 + 1485,000h  -  147,000,000 = 0

Divide by
2:

==> 11h^2 + 742,500 h - 73,500,000 =
0

==> h= [-742,500 + sqrt(742,500^2 +
4*11*73,500,00]/22

          = 98.8
m

Then the height h = 98.8 m

How was the narrator treated in the past?

Montressor, the narrator of Edgar Allan Poe's "The Cask of
Amontillado," never specifically defines what actions were made against him by Fortunato
to earn such hatred. Montressor tells us in the opening sentence that he "bore a
thousand injuries" from Fortunato and that a specific "insult" finally led him to plot
his revenge. He gives the reader no other clues, however. The two men seem to have been
friendly acquaintances at one point, and Montressor continued to treat him in the same
manner so as not to arouse Fortunato's suspicions. His revenge, Montressor tells
us,

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... precluded the idea of risk. I must not only
punish but punish with impunity. A wrong is unredressed when retribution overtakes its
redresser. It is equally unredressed when the avenger fails to make himself felt as such
to him who has done the
wrong.

Montressor carefully
plans Fortunato's murder. He dismisses his servants for the night to avoid witnesses,
makes sure that Fortunato is drunk, and leads him into the catacombs with the promise of
a rare bottle of Amontillado--Fortunato's weakness. Montressor also has previously
determined Fortunato's final resting place in a far corner of the vast underground
burial chamber.

What does the term "Datta, Dayadhvam and Damyata" signify in the poem 'What the Thunder Said' ?

There are so many things going on in "The Waste Land" and
so many literary references that it is an oversimplification to suggest one grand
meaning. But in general, the 'wasteland' suggests that the Modern era (then 1922) was
the waste land. The tone of the poem is mournful (with only bits of hope, more toward
the end); the period after World War I left many people disillusioned, not just about
the current state of the industrialized world, but with the idea of progress. In other
words, if progress is real, if the world is getting smarter, more advanced and so on,
then how can such a war occur. In the first section, the opening line is "April is the
cruelest month." April is a time of renewal; but in this context it is cruel; the idea
is that renewal should be occurring but it is not.

After
all of this talk of a waste land, the thunder becomes audible, "da" (which may be German
for "there" - the thunder being there, audible but in the distance) and then "Datta,"
"Dayadhvam," and "Damyata." In order, they mean "give," "compassion," and "control."
These come from the Brihadaranyaka Upanishad, which is an ancient
philosophical text containing Hindu and Buddhist concepts. Among these concepts and
statements are three duties (giving, compassion, and control). These are things each
individual must sacrifice to the gods, to other people, animals, and so on. It is part
of the lessons of ethical responsibility for each
person. 

So, when the thunder "says" these three things
(giving, compassion, and control), the thunder is far away - and still no rain. While
the landscape is still dry and dead (waiting for rain), the thunder at least offers the
possibility of rain (the hope that these things will rain down on the waste land and
provide the spring that April has not yet provided). The thunder's potential promise of
rain - leading to growth and life - is a parallel to the promise of individual and
social improvement. So, the poem ends, not with the achievement of peace, but with the
potential of it. The thunder is the hope/potential; the rain, if it eventually comes, is
the achievement. 

Harriet Jacobs’s Incidents in the Life of a Slave Girl is a narrative with a great deal of symbolism. What role does Dr. Flint play?

As Linda's master, Dr. Flint represents the brutality of
slavery. The gender difference between master and slave stresses Jacobs's point of the
particular cruelty of the institution against slave women. "The slave girl," Jacobs
argues, "is reared in an atmosphere of licentiousness and fear" (51). In addition to
cope with the hardship of manual work, the slave girl also has to bear the sexual
assaults of her owner, his sons and his overseers. In Incidents in the Life of
a Slave Girl, Flint's sexual threats against Linda structure her narrative as
a site of resistance, which partly contradicts the narrator's explicit comment that, in
the face of these repeated sexual assaults, all "resistance is hopeless" (51). Linda's
decision to have two children with a white man, Mr. Sands, is dictated by her fear of
being raped from Flint. Yet, in spite of this, Flint continues to claim his ownership
over Linda, a claim that he continues to uphold once she emigrates North and that his
heirs make theirs once he dies. The figure of Flint thus symbolizes the pervasiveness of
slavery in shaping the lives of southern African American women in the Antebellum Era
and their efforts to resist against the cruelty of the
institution.

What are the symbols and theme of "The Rocking-Horse Winner"?explain by giving example

In a sense, many readers may feel y Paul’s periodic rides
on the rocking horse are regarded as symbolic acts. The single-minded frenzy with which
Paul rides his rocking horse parallels the intensity of the money-lust that dominates
Paul’s family. There is no joy in his riding, as there is no joy in his house.The theme
of “The Rocking-Horse Winner may be stated as "The love of money is destructive of all
other love, and even of life itself." The symbolism of the whispers and the money the
boy gives his money can extract rich rewards on the part of the reader. There are an
abundance of symbols.

How does the wife specifically die in The Road?

After the unspecified natural disaster destroys society as
they know it, the world of the characters in The Road spirals
downward until cannibalism and crime is the order of the day.  Our main character, his
wife and child have survived up until now, but the wife has grown despondent.  She knows
eventually she will be captured, assaulted, and then eaten, and she cannot live with the
fear.

Her husband has tried to prepare her for this by
teaching her to slit her wrists with obsidian, even teaching her how to do it most
effectively so that she can avoid her most feared fate if it comes to that.  Without
knowing it, he has taught her how to commit suicide before they are ever captured.  He
tries to talk her out of it, but she is adamant, and the man and their son walk away
knowing she cannot be convinced not to kill herself.  While the book doesn't detail her
death beyond that, it's clear that's what happens.

In Seedfolks, what is one way in which the characters work around language barriers to communicate?

The garden is probably the quickest answer to this.  Part
of what Fleischman's strongest argument in the novel is is represented through the
garden.  The characters who have experienced different valence and experiences in life
are able to communicate through a shared interest.  The garden and the actions that
represent it help to highlight how the characters work around language barriers to
communicate.  The garden represents a shared consciousness, where individuals can
partake in something that is not solely one person's.  The preservation and maintenance
of the garden is not something that is one person's, confined by one set of lexical
expression.  Rather, it is something that is universal, applicable to all individuals
and spanning across cultural and linguistic differences.  In the end, this might be the
most profound statement of the novel, that human beings can unify and transcend
differences through shared experiences and collective
consciousness.

In Macbeth, how is the theme "fair is foul and foul is fair" developed?This quote is from Act I, scene i, line 11, and is spoken by the witches....

"Fair is foul and foul is fair" is a theme that suggests
how appearances differ from the reality beneath the surface.  A good example of this is
how Lady Macbeth schools Macbeth to "look like the innocent flower/But be the serpent
under't."

From the time we first meet her in Act I, scene
v, Lady Macbeth is concerned about the goodness in Macbeth that she perceives as
weakness.  She wants to alter his natural, honest behaviour to create a two-faced
murderer, able to smile and shake Duncan's hand, while simultaneously plotting the
King's murder.

When she first suggests the potential that
Duncan be murdered in their home, she comments on how easily Macbeth's face gives his
true feelings away:

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Your face, my thane, is as a book, where
men

May read strange matters.  To beguile the
time,

Look like the
time.

So, Lady Macbeth
schools Macbeth in how to appear "fair" while remaining "foul"
underneath.

She displays her own skill in this art at the
banquet in Act III, scene iv.  Even when she doesn't know exactly what has spooked
Macbeth, she strives desperately to put a "fair" face on what is certainly a "foul"
moment.  She assures the lords assembled:

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Sit, worthy friends.  My lord is often
thus...

The fit is momentary.  Upon a
thought

He will again be
well.

And she condemns his
inability to ignore the "foul" (Banquo's ghost) and put on a "fair" face as womanly
behaviour:

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This is the very painting of your
fear.

...O, these flaws and
starts,

Impostors to true fear, would well
become

A woman's story at a winter's
fire....

Why do you make such faces?  When all's
done,

You look but on a
stool.

Of course, by the end
of the play, Lady Macbeth's ability to put a "fair" face on what is "foul" completely
breaks down and she dies from her own mad
imaginings.

.

Why does Orwell discuss tranlating the work of such writers as Shakespeare, Milton, and Swift into Newspeak?

I assume that you are talking about the part in Chapter 5
where Winston is talking to Syme about Newspeak and things like that.  If so, I think
that the major reason that Orwell discusses this is to show how much the Party is in the
business of changing the past.

When works like those of the
writers you mention are translated into Newspeak, they have to be changed completely. 
There would be no way to actually translate them because the ideas in those works are
totally against the Party's values.  As Syme says

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The whole literature of the past will have been
destroyed. Chaucer, Shakespeare, Milton, Byron -- they'll exist only in Newspeak
versions, not merely changed into something different, but actually changed into
something contradictory of what they used to
be.

By doing this, the Party
will be changing the past.  They will be putting new and different ideas into the
"mouths" of those past writers.  This shows how far they are going to try to change
their society and their past so that it all matches up with Party
doctrine.

What does it mean to "characterize the lifestyle of the upper class" in The Great Gatsby?I am trying to write an essay on The Great Gatsby, and I...

With trying to decipher the exact meaning of any prompt, I
think that opening a dialogue with your instructor would be the best course of action. 
I am confident that there are insights there which could be meaningful to you in your
study.  Overall, it seems that the prompt is fairly direct in trying to get you to
examine how Fitzgerald depicts the upper class.  In particular, I would pay attention to
how Tom and Daisy are shown along with others of the "flapper" era such as Jordan
Baker.  Of particular mention would be the description of Gatsby's parties, the people
that are there, and the way in which Fitzgerald, through Nick and his own narrative
voice, is able to highlight how "the rich live."  The focus on materialism, as well as
how the books in the library do not appear to be what they are, and other elements that
bring out the inauthentic and false nature of the wealthy might be particular examples
that can be used to highlight how Fitzgerald characterizes the lifestyle of the
rich.

Please give a short summary at the thematic level of "The Open Window."

Well to consider this story at the thematic level involves
a discussion of characterisation. For me, unlocking the theme of this short story
necessarily involves considering the character of Vera. Vera, of course, is the
storyteller without equal, who is quickly able to seize on details and weave convincing
tales to horrific effect. Note how she dominates the story - it begins with her words
and ends with them. We are told in the first sentence that she is "a very self-possessed
young lady of fifteen". It is clear that she sees in Framton Nuttel an object for one of
her stories, as she is quick to establish that he knows nobody from the area and thus
she is free to use her excellent wit and intelligence to create a fable that will shock
Framton Nuttel for her own amusement. She shows herself to be an excellent actor as well
as a storyteller. Consider how the author narrates her duping of Framton
Nuttel:

Here
the child's voice lost its self-possessed note and became falteringly human... She broke
off with a shudder.

She is
not only creative, but quick, intelligent and able to fool others into believing her
words. This is demonstrated yet again at the end of the tale when, nonchalantly, she
creates another tale to explain Framton Nuttel's swift escape from the house to trick
her family, telling the tale "calmly" with complete equanimity. Clearly this tale
celebrates the power that a good storyteller can have over a susceptible audience, with
Vera presented as the master storyteller who takes all victim to her powers of the
imagination. Fiction is shown to be more powerful than fact.

In Book 3, Ch. 2 O'Brien shows Winston the "mutability of the past." Explain the incident that he uses to demonstrate this concept to Winston?

Eleven years before the events in this chapter, Winston
had seen a picture that proved that something that the Party said was false.  In this
chapter, O'Brien shows Winston a copy of that picture.  He then throws it in the
incinerator and tells Winston that the picture never existed.  Winston says that he
remembers the picture and therefore it existed.  O'Brien says that he does not remember
the picture and therefore it does not exist.

By doing this,
O'Brien shows the power of doublethink and how that can change the past.  By being able
to truly forget the picture and to forget that he had forgotten, O'Brien can change the
past.  Once everyone forgets what really happened, the past has changed and a false
"memory" becomes the actual "truth" because that is what everyone
remembers.

In Romeo and Juliet, who is more practical? Give reasons to support your answer.

I agree with akannan, but would offer a few additions,
based on considering Shakespeare as a man of the
theatre.

It would have been highly unusual, theatrically,
for the young female character (referred to as the ingenue) to be headstrong and
independent.  Young female characters in Shakespeare's theatrical world were
conventionally dutiful and obedient.  If you know Shakespeare's play Much Ado
About Nothing, you'll see what I'm talking about, if you consider the ingenue
character, Hero, as compared to the unconventional character of Beatrice.  So,
Shakespeare has taken a very young female ingenue in this play
(R&J) and given her all the headstrong valor usually
reserved for the young male lead.

Romeo, on the other hand,
employs much flowery language, and, in the text his speeches convey many of the
attributes of a typical ingenue.  An especially interesting comparison between Romeo and
Juliet is the different ways they approach the Friar for help later in the play.  The
Friar must chastise Romeo ("Art thou a man?") and works hard to convince him to come out
of hiding and face his banishment.  Juliet, on the other hand, runs into the Friar's
cell brandishing a knife and threatening to kill herself rather than marry Paris.  This
just after she has endured one of the most intense scenes of the play, in which her
father tells her to "beg, starve, die in the streets."

What
is interesting theatrically to consider is that, in Shakespeare's company of actors,
both of these characters would have been played by young men -- young men very close in
age to each other.  Almost interchangeable!  This gives some frame of reference when one
ponders where the heck Shakespeare got the idea to have his female ingenue be full of
fight and logic, while making his young male lead softer in nature and full of flowery
language.

If the actors could be interchangeable, why not
the qualities of the characters they play?  And so might the very innovative characters
of Romeo and Juliet have been born.

Was Heatcliff's revenge justified? weathering heights question? Please could you write accuratly cause i really need this!

Ultimately it is the reader who has to decide whether
Heathcliff would fit the example of a Byronic hero in order to make the final decision
on whether he is to be "forgiven" and understood, or
not.

In this case, Heathcliff does fit the Byronic hero
profile in that he a) went through enough suffering for the reader to connect with the
character, b) has a nearly-supernatural ability to make an impression (for example,
Heathcliff was "found" and treated better than the own children of his adoptive father 
c) he is a victim (he received the worst beatings and treatment from his father's real
children, and was treated like trash).

Therefore, the
reader can almost feel sorry for Heathcliff and decide for themselves that he was indeed
justifiably angry to want a revenge.

What is the hierarchy of the ranch in Of Mice and Men?

Central to Steinbeck’s portrayal of ranch life is his
creation of a distinct hierarchy. It becomes immediately clear that the Boss maintains
the highest position. Through the symbolism of his lack of name, “The Boss” is defined
as being almost like an uninvolved god-like figure. This impression is reinforced by his
imposing body language; the daunting action, “he hooked his thumbs”, is used to
demonstrate the superiority in his position. At the conclusion of his meeting with
George and Lennie, he “abruptly” left, consequently stressing his
self-importance.

Simply because of his connection to The
Boss, Curley adopts a position of power. Corrupted by the authority, he possesses a
threatening personality. This is exhibited by Steinbeck’s description of his physical
appearance – his glance is “cold” and he adopts the stance of a fighter, with his “hands
closed into fists”. Furthermore, he seems to think that he can assert his authority only
by physically terrorising others, such as Lennie. The tension in their relationship is
exhibited by Curley’s vicious threat, “Well, nex’ time you answer when you’re spoke to.”
This bravado can be explained by the fact his status is undermined because his wife is
not satisfied with their married relationship and is “eyeing” other
men.

In juxtaposition to Curley, his wife is presented as
having a very low status. Steinbeck doesn’t give her a name and this has a symbolic
meaning that emphasises her second-class citizenship. It reflects the inferior role of
women in society at that period in time and gives the impression that she is a
“possession of Curley”; this is ironic, as they never seem to be together. Apart from
referring to her as “Curley’s wife”, the author and some of character use many
derogatory terms for example “tart” and “rat trap”. This shows that the men are wary of
and don’t class her as an equal.

Similarly, Crooks also
holds no authority and he has long been the victim of oppressive violence, due to the
colour of his skin. He is often referred to as “nigger” by his fellow ranch workers and
this dehumanising insult exhibits the lack of respect for him. Nevertheless, he gains
self-confidence from the company of Lennie and Candy in his “bunk”; this encourages him
to try to counter the intrusion of Curley’s Wife. However, his he humiliated by her
consequential fierce threat, “I could get you strung up”. This brutal threat establishes
the cruel power of white over black.

When Steinbeck first
introduces Candy, he is just described as “the old man”. This generic term dehumanises
him, showing the reader the low status he possesses, because of his old age. Moreover,
he is shown to have no real place on the farm; exhibited by the way he was “jus’
standing in the shade”. The word “jus’” implies that he has nothing better to do, due to
the other ranch workers; exclusion of him. This illustrates how, because of his age and
his disability, he has become marginalized, as symbolised by the word
“shade”.

Slim is the most respected person on the ranch.
Steinbeck's descriptions of Slim suggest an idealised characterisation and he attaches
images of royalty: “majesty” and “prince”. He exerts a natural authority as a result of
his strong moral sense. His opinions are valued by the ranchers and his pronouncement
about Candy’s dog, “he ain’t no good to himself”, seals its
fate.

What were the educational opportunities for women during the colonial period?

During the colonial period, schooling opportunities for
women were limited.

Young girls might be allowed to attend
classes in a one-room school house, with children of other ages. The boys would
generally be allowed to attend when young as long as they were not needed, for example,
to help on the homestead with things such as farming.

The
girls would also be subject to helping at home during the growing season, especially
with gardening and the fall harvest. In general, other household tasks would be assigned
to the young girls, the home being a major source of education to the daughters so that
they could not only help at home, but be good wives and mothers in their own homes at
some point.

The first school in the American Colonies was,
surprisingly, established during the 1600s; public school became available in some areas
more quickly than others because the wealthy ended up subsidizing the cost of the
schools which allowed poorer children to attend, and some of the wealthy did not support
this idea.

Girls would be taught to read, not write, since
reading of religious materials (especially the Bible) was expected of a woman. Men were
the lawmakers, so they needed to be taught to read and write at a
young age.

Women of the upper classes
in Philadelphia were finally allowed to be educated in more serious areas of study
(beyond painting, piano playing, sewing, etc.) such as the arts and
sciences.

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Many of the schools began as either schools for
girls, academies (which during the late 18th and early 19th centuries was the equivalent
of secondary schools), or as a teaching seminary (which during the early 19th century
were forms of secular higher education), rather than as a chartered
college.

The first school for
women in the Colonies was established in 1742; it was called the Bethlehem
Female Seminary, (now known as Moravian College). Whereas it was first
established as a seminary for girls, ultimately it would become a seminary
and college for women.

Ironically,
though the South was slower to conform to certain things (abolition of slaves, for
example), it was extremely proactive in educating its children, male and female.  Still
focusing on the upper classes (the planters/plantation owners), the children of the
wealthy would be educated tutors, while some boys were sent to England to be educated.
Grammar schools were established, open to boys and girls, and often run by members of
the clergy (pastors or ministers).

The early education in
the South did not maintain its promise of ongoing educational standards, having lost its
impetus by the beginning of the the twentieth century.

How does government intervention in market distort market equilibrium?

Whenever the government intervenes in a market it disrupts
market equilibrium in some way.  The exact way that it does this differs depending on
how the government intervenes.

The government can cause
shortages of some commodity by setting a price ceiling for that commodity.  If it does
this, there is more demand than supply at the price the government
orders.

Alternately, the government can cause surpluses by
setting price floors.  An example of this is minimum wage, which causes more people to
want to work compared to how many people employers want to
hire.

Government actions can stimulate or reduce supply (by
taxes or regulations or subsidies) or demand of a product (by changing the amount of
money available) as well.

There are many different ways
that government actions can distort market equilibriums.  But in all cases, the
government's actions do end up either raising or lowering the price and quantity of
goods and services.

In what way is The Devil in the White City like a novel?

Though it is not a work of fiction, this book reads a lot
like fiction.  Primarily, I think, because it contains the things most novels have:
plot, setting, characters, point of view, and
conflict.

Plot - It is an intricately woven plot, moving
between the two primary characters. Their paths run parallel to one another at times,
and they intersect at certain moments, as well.  There is amazing suspense and drama
built into the plot--I mean, one of them is creating a world's fair on a level never
before seen, and the other is methodically killing people who have come to be part of
that spectacle.  You just can't make this stuff up,
really.

Setting - I already mentioned the world's fair, a
work in progress but with so many intriguing and interesting elements it doesn't
seem real to a modern audience. As for Holmes's world, it's a
terrifying revelation throughout the book.

Characters - A
methodical and maniacal serial killer.  Enough said.  A relatively unknown man who is
both able to gather the greatest minds and talents as well as use his own inventive
genius in order to create what the world had never before seen. Plenty of smaller
players, but these are two enormously powerful
characters.

Point of view - Every novel has one, and this
book does, too. It's told in third person by a narrator.  This is one element which
might have changed if this had been a novel.

Conflict -
Well, I think I just laid that out in discussing the elements above.  The story is
jam-packed with conflict.

Clearly this is a work of
non-fiction, because there are elements which bog it down and keep it from reading
exactly like a work of fiction; however, it does contain all the classic elements of a
novel.

Analyze the first two stanzas of "Hope".

The first two stanzas provide meaning for hope by
illustrating various locations and actions where hope may be found. When hope hovers in
dark corners, it is presumably hoping for light. When hope is asleep, it will soon be
awake. When it is locked into dandelion heads, Nature itself allows it to burst forth to
carry abroad the seed of new growth. Essentially, hope is seen as both omnipresent and
ubiquitous, and it is both figuratively and literally identical with existence itself.
To adapt words by Thomas Jefferson, just as human beings have been given the inseparable
gifts of life and liberty, so have we also been given the gift of hope, and none of
these gifts can be separated.

Which two poems by William Wordsworth emphasize commonplace subjects and a reverence for nature?

The poem commonly known as "Lines Written Above Tintern
Abbey"(actually referred to by Wordsworth with the non-title "COMPOSED A FEW MILES ABOVE
TINTERN ABBEY, ON REVISITING THE BANKS OF THE WYE DURING A TOUR" is a simple and
reverent poem about the beauty of nature observed on a simple walking tour. He has been
to this place before and delights in the simple pleasures of the mundane sights and
sounds:

The day is come when I again repose
Here,
under this dark sycamore, and view
These plots of cottage-ground, these
orchard-tufts,

Which at this season, with their unripe
fruits,
Are clad in one green hue, and lose themselves
'Mid groves
and copses. Once again I see
These hedge-rows, hardly hedge-rows, little
lines
Of sportive wood run wild: these pastoral farms,
Green to
the very door; and wreaths of smoke
Sent up, in silence, from among the
trees!

The poem "Nutting" is also a poem praising the
beauty of simple activity: nut gathering in the forest. It is also a love poem of sorts,
using suggestive language to describe what may be a romantic
encounter.

Where does the climax in The Chrysalids begin?

Remember that the climax in terms of the structure of the
plot of a novel is defined as the key scene in the story - that tense or exciting or
terrifying moment when our emotional involvement is greatest. During the climax we learn
what the outcome of the conflict is going to be. The climax is also the penultimate part
of the plot structure coming as it does just before the
resolution.

So, when we think about this great novel, for
me the most tense, exciting and terrifying moment comes towards the end of the novel in
Chapter 14 and 15. What we see is a massive collision of all the different parties in
the novel with David, Rosalind and Petra caught in the middle. Having fled Waknuk and
having sought safety in the Fringes, we find out that in a sense they have gone from the
frying pan into the fire. David's uncle wants to kill David and keep Rosalind for
himself to breed children. They clearly have not found the safety they wanted. However,
at the same time, David's father is heading an armed force that is invading the Fringes
to capture David and Rosalind and also kill as many "deviants" as possible. But, as if
this was not exciting enough for us, we are also desperately waiting the arrival of
Petra's friend for Sealand, who is coming to help David, Rosalind and Petra escape.
Phew! Are you sitting on the edge of your seat yet? You should be! The resolution of
course focusses on how these various conflicts are played out and ended, leading to the
end of the novel.

Find the irony in Andrew Marvell's "To His Coy Mistress", giving examples.

"To His Coy Mistress", by 17th century English poet,
Andrew Marvell, is a notable example of metaphysical poetry, a type characterized by
among other traits, startling, fanciful metaphors and hyperbole or overstatement. In the
first section of the poem - from "Had we" to "at lower rate" - Marvell drives home his
theme of opportunism or carpe diem ('seize the day') through a
sustained set of ironic, overblown and deliberately insincere flatteries directed to the
young lady. "Had", the first word of the poem, is set in the subjunctive tense and
provides a grammatical counterpoint to the ironic fantasies that follow. To paraphrase
this section: If they had all the time in the world, then his lady could take a lengthy
journey to India (a remote and exotic place in the 17th century) to gather rubies by the
Ganges; then he would love her "ten years before" Noah's flood that swept away all
humanity, including lovers like himself; then she could refuse his advances until the
impossibly remote day when all Jews became Christians; and then he could amorously
linger for millenia in admiration over her physical beauty. But, as these ironies
imply, neither he nor the lady have any time for a long, drawn-out seduction, and thus
the poem concludes:   

Now let us sport us while
we may;
And now, like am'rous birds of
prey,
Rather at once our time
devour,
Than languish in his slow-chapp'd
power.

The sum of three integers is 66. The second is 2 more than the first, and the third is 4 more than twice the first. What are the integers?

Let the integers be n, m and
k

==> n + m + k =
66

given the second = 2 more than the
first:

=> m = 2 +
n........(1)

given the third i= 4 more that twice the
first:

==> k = 4+ 2n
........(2)

Now substitute in the
equation:

n + m + k =
6

==> n + (2+ n) + (4+ 2n) =
66

Now combine like
terms:

==> 4n + 6 =
66

Now subtract 6 from both
sides:

==> 4n = 60

Noe
divide by 4:

==> n =
15

==> m= 15+ 2 =
17

==> k= 4 + 2*15 =
34

Then the three integers are: 15, 17, and
34

To
confirm:

15+ 17 + 34 =
66

Why is the differential of cos x equal to -sin x?

We'll take the function f(x) = cos
x.

Now, we'll consider the
ratio:

R(x) =
[f(x)-f(x0)]/(x-x0)

We'll substitute f(x) and f(x0) by the
expression of the function:

f(x) = cos
x

f(x0) = cos
x0.

 [f(x)-f(x0)] = cos x - cos
x0

We'll transform the difference into a
product:

cos x - cos x0 = -2 sin [(x+x0)/2]*sin
[(x-x0)/2]

If we'll calculate the limit of the ratio R(x),
we'll get the value of the first derivative of the function, in the point x =
x0.

lim R(x) = lim -2 sin [(x+x0)/2]*sin
[(x-x0)/2]/(x-x0)

lim R(x) =  -lim  sin [(x+x0)/2]*lim sin
[(x-x0)/2]/(x-x0)/2

But lim sin a/a =
1

lim sin [(x-x0)/2]/(x-x0)/2 =
1

lim R(x) =  -lim  sin
[(x+x0)/2]*1

lim R(x) =  -lim  sin
[(x+x0)/2]

-lim  sin [(x+x0)/2] = -sin (x0+x0)/2 = -sin
2x0/2 = -sin x0

But lim R(x) =
f'(x0)

f'(x0) = -sin x0, when f(x) = cos
x.

a 250 ml container of fruit drink measures 6.5cm by 4cm by 10cm. the tcarton manufacturer would like to do design a 1L box with each dimension...

If the volume is increased by the same amount, then the
designed volume is 250ml+250ml = 500ml. Then the tarcton has to increase the dimensions
by a factor x. So the container dimension is 6*6x, 4x and
10x.

Since both shapes are similar,the volumes 250 ml and
500 ml  are proportional to the measures 6.5 by 4 by 6.5x by 4x by
10x

 250 ml =k*6.5*4*10..........(1)
and

500ml = k(6.5x)(4x)(10x).........(2)., where k is the
constant of proportionality.

We eliminate k  by dividing eq
(1) by eq (2):

250/500 =
k6.5*4*10/(k*6.5x*4x*10x)

1/2 =
1/x^3

Nultiply by 2x^3.

x^3 =
2

x = 2^(1/3) =
1.25992105

Therefore the  dimensions to be designed by the
manufacturer =

(6.5x , 4x , 10x) = 8.195 , 5.0397 ,
12.5992)

How is life for the couple?

Life for Ayah and her husband Chato has been endless
hardship. The economic basis of their meager life has been Chato’s work, keeping the
fences repaired on the property of a local rancher and caring for the cattle. As long as
Chato can work, he and his family have had a place to live, but when he becomes old,
injured, and enfeebled, the rancher orders him and Ayah out of the shack which had been
their home. After that the two have only a hogan to use for their home, or part of a
local barn, or else the outdoors. For many years they have planted gardens in the
spring, not because they could get the gardens to produce, but rather because in the
spring that is what people are supposed to do.

Why does the alchemist choose Santiago (the boy) as his pupil over the Englishman in Paulo Coelho's The Alchemist?

In Paulo Coelho's The Alchemist, the
alchemist chooses Santiago over the Englishman to be his pupil or "disciple" because the
Englishman believes that wealth in the world is found in gold. He believes that if he
reads enough books and talks to the right people (like the alchemist), he will be
successful. The Englishman does not recognize that each person has a Personal Legend and
he cannot make himself listen to or recognize the universal
language—he does not see omens or hear nature speaking to
him.

However, Santiago (the boy) has a dream, and while he
first believes that the dream involves discovering treasure at the Pyramids, he is
willing to listen to the teachings of others, like Melchizedek (the King of Salem) and
the alchemist. Santiago is able to realize that his happiness does
not depend on material wealth. It is only because he is so open to
the universe that the universe is able to speak to him and guide him to be much more
than he had ever imagined. He is able to speak the universal language, be one with
nature and the Soul of the World, and ultimately witness that it is all a part of the
Soul of God. Santiago also realizes that love is the greatest treasure in the world. The
alchemist knows that the Englishman could never do these
things.

The Englishman could ever appreciate the natural
world or be humbled enough to believe that something as simple as nature could guide
him—and the alchemist knows this. The Englishman has tunnel vision, and without true
"vision," he will never swerve from the path he has decided to
follow, therefore, we can assume he will never be happy.

Are all the people emotional like us', refer to the poem no men are foriegn by james kirkup

Personally, I do not believe that all people are
"emotional like us."  At least, I do not believe that the same things do not make all
people feel the same emotions.  I do believe that all people have the same emotions that
they can feel, but I do not believe that the same stimuli
make us feel these emotions.

However, Kirkup argues that we
do share the same emotions.  He says that all people in all lands have a "common life"
that everyone can understand.  He says that people's hands all show a "labour not
different from our own."  He says that all people have strength that can be "won by
love."

None of these is actually saying "all people have
the same emotions," but I think that together these lines imply that we do.  He is
suggesting that people in all places are essentially the same -- that they are affected
by their work and their emotions in the same way.  This is why they all have a common
life.

Tell briefly about Electra's mother Clytemnestra.

Clytemnestra is a miserable, wretched, and intimidating
woman who inflicts verbal and physical abuse on her family and servants. Electra is the
only one who isn't afraid of her. Clytemnestra's behavior stems from her guilt over
killing her husband, Agamemnon, after he returned from the Trojan War. She has no memory
of the act she committed with her lover, but she's unable to sleep most nights, or when
she does sleep, she has terrible nightmares. Her sleep deprivation affects her ability
to function during the day, and she feels like a zombie. Clytemnestra prays for the gods
to take away her pain and tries to do things that will appease the gods' anger.
Clytemnestra takes her misery out on everyone around her.

Write the solution set of /x-3/>5 in set builder notation

We'll have to solve the double
inequality:

-5>x-3>5

We'll
solve the first, left, inequality and we'll apply the symmetric
formula:

x - 3 <
-5

We'll add 3 both sides:

x
< -5 + 3

x <
-2

x belongs to the interval of values: (-infinite,
-2)

We'll solve the right
inequality:

x - 3 >
5

We'll add 3 both sides:

x
> 5 + 3

x > 8

x
belongs to the interval (8, +infinite).

The
common solution of the system is the empty set since there is no value for x to satisfy
both inequalities at the same time.

In Act 1 of The Crucible, why does Hale think the devil will go to the house of Reverend Parris?

In Act One, Hale arrives as a self-proclaimed expert on
the Devil and all of his wiles. He bears books, which, in his words, are "weighted with
authority" and information regarding all of the guises of the devil and his minions. It
is clear he feels he has significant experience in this whole area of dealing with the
devil and his works. The part of the text you are referring to comes when he begins his
efforts to discern what is going on with Betty Parris and Parris, scared, asks why the
Devil should choose his house to strike and not any other house with less godly people
in it. Hale responds as follows:

readability="7">

What victory would the Devil have to win a soul
already bad? It is the best the Devil wants, and who is better than the
minister?

Thus we see the
thinking and logic of Hale. If the Devil is going to choose this village to attack, he
is not going to bother working in a household with people whose soul is already bad - he
will want to attack "the best" from God's perspective and thus it is entirely fitting
that he would go for the minister's household in his quest for
domination.

Where are the pilgrims going in "The Prologue" from The Canterbury Tales?

The pilgrims are on a pilgrimage: this is a journey to a
holy place.  During medieval times (Chaucer's time) people often would visit shrines or
even the Holy Lands for the good of their souls.  All the people listed in the Prologue
are going to Canterbury Cathedral.  This is considered a holy place because Thomas a
Becket, the Archbishop of Canterbury, was killed by King Henry II's men, and became a
martyr and saint.

As the pilgrims travel they agree that
when they stop for the night at an inn, each will tell a story as a means to entertain
the others.  Chaucer includes himself among the number of pilgrims, and gives a running
commentary as to who is a truly good person, and who is putting on a show for the
others.

The culture of the setting is essential to this story. What demonstrates the strong relationship between culture/setting and conflict in this story

Undoubtedly the setting of the story has a strong
connection with the culture because we are talking about the NEW South versus Emily's
OLD South. In her days, she used to belong to a family of aristocrats who had
connections in the country, and had left a mark onto society. However, those days were
gone and Miss Emily was left alone with no money, and only a remnant of what used to
be.

In that same token, the South continued to grow, way
ahead of Ms. Emily's beginnings, yet, Emily wouldn't have it. She was still stuck with
the times and the places gone by. And this is why Faulkner makes sure that he entices on
the descriptions of Emily's looks and the looks of Emily's house so that we, as readers,
can see the grand discrepancy between the past and the present.

In The Crucible, how does John Proctor show honor in any part of the story?

Throughout the play, Proctor evolves from being an
ordinary man to a super human figure.  He is almost divine at the end of the play.  In a
social setting where individuals are in dire need of accepting responsibility, Proctor
is honorable in how he demonstrates notions of self worth and sacrifice.  At the start
of the play, he shows awkwardness in trying to reinforce his marriage and the damage he
has done to it.  Yet, as the play progresses, and the town is shown to be more
dishonorable as it devolves into madness because of Abigail's accusations, Proctor
assumes a greater role of honor in demanding that individuals demonstrate some level of
connection and bond to one another.  Proctor places honor in standing for the truth and
resisting the social paranoia that has gripped the town.  It is because of this that he
is able to stand for his word and not sign a false accusation.  When he says that the
town has "taken everything else," but begs to protect his name because " it is mine," it
is the ultimate moment of honor.  It is a moment where we understand that we, as human
beings, do not need to assume the role of the world around us, but rather are able to
assume a transformative stance regarding our world.  It is within this understanding
that I find Proctor demonstrating the greatest amount of honor as a figure who is able
to change his world for the better, and ours, as well.

Compare and contrast the characters of Brutus and Antony in Julius Caesar.

The most obvious contrast is how they feel about Caesar --
not personally, but in terms of how Caesar's power is growing as the play
opens.

Antony is Caesar's right-hand man -- literally.  He
is always just at Caesar's side.  He is so ever-present beside Caesar, that the
conspirators discuss murdering him as well as Caesar, since he seems to be so dedicated
and attached to him.

Brutus, while seen by Caesar as a
loyal compatriot, on the other hand, harbors deep misgivings about the power that Caesar
is developing.  Brutus is fiercely dedicated to the Roman democratic rule, to the ideals
of the Republic.  So, when it seems that Caesar would be declared Emperor, Brutus feels
that it is his patriotic duty to revolt.

Perhaps the most
accessible way to compare their personalities is to compare their funeral orations. 
Brutus speaks from logic and reason, appealing to the ideology of the people in order to
garner their support for his actions.  He appeals to their logic and sense of the
honorable action, the action that is "best"for the
Republic.

Antony, on the other hand, begins with the word
"Friends," making it clear from the beginning that it is not their responsibility as
citizens to which he will appeal, but their emotions, their feelings.  Suffice it to
say, Antony's speech over Caesar's dead body creates an uprising of the citizens that
drives the conspirators out of Rome.

Overall, Antony is the
sort of man who operates based upon his emotions and is able to garner support based
upon this mode of operation.  Brutus, on the other hand, operates based upon logic and
sacrifice for the good of the Republic, something that does not reach the common man in
the same passionate way that Antony can.

Can you discuss, and illustrate with examples, the range and variety of imagery in Donne's poetry?

John Donne is famous for the sheer variety and ingenuity
of the imagery he uses in his poetry. Few poets have used imagery so unpredictably and
inventively as Donne did. Donne’s poems rarely seem conventional (even when they are),
partly because readers can never quite guess what startling or unusual image (or
combination of images) Donne will use next.

A good example
of Donne’s tendency to use a wide range of images can be seen in his famous poem “A
Valediction: Forbidding Mourning.” In this poem, the male speaker urges his female
beloved to remain strong, even though he must leave her for a time. The poem is often
considered one of the most beautiful celebrations of genuine love in the English
language.

Few poets, however, have ever written a love poem
as inventive and wide-ranging in its imagery as this one. For example, the first five
lines compare the departing lovers to a dying man whose soul must leave his body. Then
the lovers are compared to a solid object that melts (5). Next they are urged not to
behave like floods or storms (6). Then they are compared to religious sophisticates who
are superior to mere religious “laity” (7-8).

In lines
9-10, Donne uses imagery of earthquakes to make his point. In lines 11-12, he alludes to
the heavenly spheres. Imagery of the earth and moon is implied in the reference to “Dull
sublunary lovers” (14), while in lines 21-24, the speaker famously compares genuine
mutual love to a piece of gold, which can expand enormously without
breaking.

In lines 25-36, the speaker offers perhaps the
most famous “conceit” (or detailed comparison) in all of English literature: the two
lovers are compared to the feet of a compass: they are solidly joined together, even
though one stays centered while the other moves away.

In
the space of less than forty lines, then, Donne’s speaker presents a startling variety
of images, and yet somehow the poem does not seem disjointed or haphazard at all in its
development. It is part of the special genius of Donne that he was able to range so
widely in his imagery and yet stay so focused in his
thought.

For an early study of Donne’s imagery, see Milton
Allan Rugoff, Donne’s Imagery: A Study in Creative Sources (New
York: Corporate, 1939).

Describe the qualities that Montressor insists on as the characteristics of a successfull vengeance.In details with reference to the story.

Montressor spells out some of these details in the very
first paragraph of Poe's "The Cask of Amontillado."

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At length I would be
avenged; this was a point definitely, settled—but the very definitiveness with which it
was resolved precluded the idea of risk. I must not only
punish but punish with impunity. A wrong is unredressed
when retribution overtakes its redresser. It is equally unredressed when the avenger
fails to make himself felt as such to him who has done the
wrong.

Above all, according
to Montressor, vengeance can be successful only if the risk of being caught is remote.
Therefore, Montressor planned his murder of Fortunato with careful attention to detail.
He made sure that his servants were gone on the night of the crime; there would be no
possible witnesses. He made sure that Fortunato was drunk beforehand. He lured Fortunato
with a temptation that he knew his "friend" could not resist--a rare bottle of
Amontillado. He made sure that Fortunato had no doubts about Montressor's apparent
sincerity. He came with the proper tools for his job: a trowel and mortar. He made
certain that Fortunato's screams could not be heard. Fortunato's final resting place was
one that could not be easily found.

"They don't fix them in those places," Mom said; " They give them drugs." Why is this quote from The Red Convertible by Louise Erdrich important to...

The quote, "They don't fix them in those places," Mom
said; "They give them drugs" can have several different
meanings.

This quote deals with the condition of her son
Henry who left for the war and came back a changed man.  They are part of a Native
American reservation, and as those present speak of what can be done to help Henry, his
mom is clear about the problem. Moses Pillager cannot be trusted because he had courted
her long ago and is jealous of her husbands, so he might try to hurt Henry out of
revenge. There are no Indian doctors on the reservation, and Henry's mom fears that if
they take him to the hospital, he won't be allowed to come home. "They don't fix them in
those places," Mom said; "They give them drugs."

There are
several ways to look at this passage for its
significance.

The first may be Henry's mom's distrust of
the treatment her son would get at a "white" hospital. It would seem she fears that they
would try to put a "band aid" on what troubles him by giving him drugs, but not finding
the root of the problem. In this way, he would be dependent on a substance, but have no
chance to truly get well: 'without knowing the cause of a problem, how can you fix it?'
she might be saying.

The quote might also reflect that she
has no faith in hospitals at all. She refers to "those places" which might lump all
hospitals together. This could be a cultural reflection as to the ineffectiveness of
anything but "old medicine," passed down through the generations of her
people.

A third possibility is that she may have a sense
that her son cannot be helped under any circumstances. The world of
the Native American has changed to something unrecognizable. Gone are the days of
raising strong warriors to live off of the land, ride free on prairies that belong to no
one in particular, and find a sense of positive self-worth, pride and accomplishment in
carving out one's life with the doing of everyday things in the old ways. Here her son
is sent to a foreign war, 'foreign' in every sense of the world,
and perhaps she dismisses the treatment already knowing that her son is lost, and
nothing any doctor can do will fix him.

What is the difference between substance dualism and property dualism? Which position adequately defends dualism and why?

Substance dualism holds that there are two kinds of
substances or two states: The physical is all the material, matter.  The mental is
non-physical; it has no spatial extension; the mental, or mind (not to be confused with
brain, which is physical) exists but somewhere immaterial (abstract consciousness, soul,
etc.)  The mental state exists and can causally affect the physical world, but the
mental state is abstract and therefore external to the physical
world. 

Property dualism holds that there is only one type
of substance but two kinds of properties which inhere in that substance: mental and
physical.  There are different versions of PD but the general idea is that mental
properties, emerge, arise or are produced by/from physical properties.  Mental
properties can be reduced/explained by physical states or they cannot.  But, property
dualists do hold that there is an ontological difference between mental and physical
properties.  Examples of properties: redness, spherical.  These properties inhere in/on
physical properties but, isolated, what/where are they?  Thus, they have a quality
(property) that is ontologically different from the physical properties and states in
which they inhere.  Property dualists believe that the consciousness is a property which
inheres in a brain as red inheres in an apple. 

Analogously
speaking, if you think red can exist without inhering in anything then you are a
substance dualist; that is, red (consciousness) is not just a property.  It is an
abstract something that exists somewhere/somehow else and it can manifest through or
affect some physical thing.  If you think red needs the apple or emerges as a property
of it, then you are a property dualist.

What is an example of alliteration in the story Antigone?

Do not forget that
alliteration is a sound mechanism, in which the same
initial consonant sound is repeated several times within a line or phrase.  It is a
poetic device.  When used in prose the purpose is most often to make a line more
memorable, or have a greater impact.

Keeping that in mind,
it is best if you are reading an early translation rather than a modern translation of
the play.  You will likely find several examples of alliteration in one of Creon's
speeches.  As the king in this play, he is the most flamboyant speaker because he wishes
to sound wise, confident, and powerful.  He does not speak plainly because he wants to
be taken seriously.

One famous line of alliteration in
Antigone comes in Scene 2, when Creon first brings Antigone in to
convict her in front of his people.  At this point of the story, Antigone is clearly
guilty, and now her sister Ismene's part is
questioned:

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Go, some of you, arrest Ismene. I accuse her
equally. Bring her: you will find her sniffling in the house there. Her mind's a
traitor: crimes kept in the dark cry for light, but how much worse than this is
brazen
boasting of
barefaced
anarchy!

Not only does the
alliteration in the final line bring home his point with demand and finality, but his
diction as well.

Describe briefly Dolon's Night Mission in Homer's Iliad.

The tenth book of Homer's Iliad
describes a scene that seems quite unusual, given the fact that most military
activity in the Greek world occurred during the daytime. In Iliad
7, the combat between Hector and Ajax is halted due to darkness. Three books
later, however, during the night, Hector asks for a volunteer to spy on the Greek
encampment. Dolon, whose name means "tricky," accepts the
challenge.

True to his "tricky" name, Dolon puts on a "grey
wolf skin" and "On his head he set a cap of marten skin". Thus, disguises as an animal,
Dolon makes his way through the darkness toward the Greek
camp.

The Greeks, also thinking about doing some spying of
their own, had sent out Odysseus and Diomedes, who capture Dolon, interrogate him
(learning numerous details about the Trojan forces and also about the fabulous horses of
Rhesus, who had just arrived as a Trojan ally).

After
learning all that they want from Dolon, Diomedes kills Dolon. Diomedes and Odysseus then
go on to the Trojan camp, where they kill Rhesus, men of his men, and then steal his
horses.

Given that sin a = 3/5 and a is in the interval (90,180), calculate tan a.

If the angle a is in the interval (90,180), that means
that the angle is located in the 2nd quadrant, then the value of tangent function is
negative.

The tangent function is the
ratio:

tan a = sin a/ cos
a

Since the value of cos a is negative in the second
quadrant, that means that the value of the ratio is negative,
too.

We'll calculate cos a from the fundamental formula of
trigonometry:

(sin a)^2 + (cos a)^2 =
1

9/25 + (cos a)^2 = 1

We'll
subtract 9/25 both sides:

(cos a)^2 = 1 -
9/25

(cos a)^2 =
(25-9)/25

(cos a)^2 =
16/25

cos a = -4/5

We'll
choose only the negative value for cos a, since a is in the 2nd
quadrant.

tan a =
-(3/5)*(5/4)

 We'll reduce the like
terms:

tan a =
-3/4

How does Tan contribute to the emotional effect in "Two Kinds"?

I have had to edit your question as you originally asked
more than one and also your question was not too clear. I have chosen out of the list of
topics you gave to focus on the emotional effect of this great
story.

Clearly, this story concerns a conflict between a
mother and a daughter. What makes this conflict more interesting or perhaps more
divisive is the fact that both characters have very different outlooks on the world.
Jing-Mei's mother is a Chinese immigrant to the United States, who has massive hopes for
her daughter, wanting her to be a "prodigy". Jing-Mei comes to resent the pressure and
the expectations her mother places on her, and as a second-generation Chinese immigrant
she is born in the United States and thus has a very different outlook on
life.

The conflict that occurs between these two characters
reaches its climax after Jing-Mei's ludicrous piano performance when she brings shame
upon herself and her family. Jing-Mei's mother's insistence that she continues to
practice brings about the most heated and emotionally intense argument they have
had:

"Too
late to change this," said my mother shrilly. And I could sense her anger rising to its
breaking point. I wanted to see it spill over. And that's when I remembered the babies
she had lost in China, the ones we never talked about. "Then I wish I'd never been
born!" I shouted. "I wish I were dead! Like
them."

Clearly this is a key
part where Tan uses the insults and the conflict between the daughter and the mother to
contribute to the emotional effect, as in their anger, both say things that are
incredibly hurtful to the other and words that will not be
forgotten.