How is Chris McCandless a visionary in the book Into the Wild?

Chris is a philosophical thinker who strives to put his
grand thoughts into action. Much like Henry David Thoreau (one of Chris's idols),
McCandless tries to make the idealized life of "simplicity, simplicity, simplicity" a
concrete reality. Much like a transcendentalist, Chris rejects the materialism that
consumes so many of the other people he witnesses and desires to live an honest life
closer to nature and close to God.  However, Chris’s idealism proves to be his downfall
as he ventures into the Alaskan wilderness completely unprepared for his adventure in
terms of equipment, knowledge, and experience. Alaska proves to be more challenging than
he anticipates and, ultimately, McCandless’s vision proves to be
unsustainable.

Why is Mrs. Danvers role throughout Rebecca so significant?

Without Mrs. Danvers, there would be no mystery to this
novel because it is she who keeps Rebecca's ghost alive. We learn the truth about
Rebecca and how evil she was by the end of the novel and we also learn that Maxim came
to despise her, and that he was the one that killed her. So, Rebecca's memory would not
even come into play if it had not been for Mrs. Danvers. If not for Mrs. Danvers, the
new Mrs. DeWinter would not be so insecure, would not think that her husband is still in
love with Rebecca. Mrs. Danvers moves the gothic nature of the novel forward by trying
to get rid of Mrs. DeWinter. She dresses her in Rebecca's clothes, she tries to convince
her to commit suicide, etc. If it were not for her, Maxim would have brought his new
wife home and they would have learned to build their life together, in spite of his past
tragedy with his first wife, Rebecca. In Mrs. Danvers, we have a living evil, whereas
Rebecca's evil is part of the past. Mrs. Danvers keeps Rebecca's memory and her ghost
alive.

Why has the novel been so widely read for so long in Westen culture? What is the primary source of its appeal?Is it aesthetic, emotional,...

The answer above is a great one and really speaks to the
importance of the content of this novella and its expression of one of the central
elements of the human experience: our understanding of good and
evil.

To this, I would also add that Heart of
Darknessis an expertly crafted example of the artistry of literature. The
themes, imagery, and symbolism are all tightly wound and all contribute to the central
theme and idea presented in this work. This novella is exemplar of literary 'high
art.'

Also, the novella stimulates an emotional response in
almost everyone who reads it. Conrad himself often criticized his lack of a central
message or moral to this story, but believed the reading experience of this novel could
have a profound and sometimes transformational impact upon the
reader.

For all of these reasons, Heart of
Darkness appeals to readers and remains a key title in our literary
canon.

The fourth term of an A.P. is equal to three times the first term and the seventh term exceeds twice the third term by one .Calculate the common...

We'll note the first term as a1 and the common difference
as d.

Now, we'll put in relations the constraints from
enunciation:

"The fourth term of an A.P. is equal to three
times the first term":

a4  =
3a1

But a4 = a1 + 3d

a1 + 3d =
3a1

We'll combine like
terms:

2a1 = 3d

We'll divide
by 2 both sides:

a1 =
3d/2

 The second constraint from enunciation is:"the
seventh term exceeds twice the third term by one"

a7 = 2a3
+ 1

But a7 = a1 + 6d

a1 + 6d =
2a3 + 1, where a3 = a1 + 2d

a1 + 6d = 2a1 + 4d +
1

We'll combine like terms:

a1
= 2d-1

But a1 = 3d/2

3d/2 
=2d - 1

3d = 4d -
2

d =
2

a1 = 3d/2 

a1
= 3*2/2

a1 =
3

Are there any similarities or differences between modernist fiction and postmodernist fiction in subject and form? urgent!

I'm going to assume that you are referring to American
fiction, but if you are not, most of the ideas below will still
fit.

Similarities:

Modernist
and Postmodernist Fiction both stress disillusionment with traditions and ideals.  In
American Literature, this means that authors such as Steinbeck and Fitzgerald portray
the American Dream as unattainable and as a cruel
illusion.

Another similarity is that American Fiction
became more multi-cultural during both literary eras.  During the Modernist Movement in
America, the Harlem Renaissance occurred, and the rhythm of jazz and blues made its way
into poetry. In comparison, the Postmodernist Era has produced American writers from a
myriad of ethnic backgrounds.  These writers, just like those from the Harlem
Renaissance, have added richness to the culture of American
Lit.

Differences:

One
of the most significant differences between the Modernists and Postmodernists is the
theme of conformity versus individualism.  The Modernists wrote for readers who had been
through several traumatic periods (World War I, the Stock Market Crash, and the Great
Depression).  Those readers seemed to long for a sense of normalcy.  For some, that
normalcy came from Europe where so many of them had been during the war. So, while
Hemingway often wrote of far-away places, he still dealt with intensely American issues.
Likewise, poets such as Ezra Pound and T.S. Eliot introduced Imagism and Symbolism which
possessed the flowery style of past eras.

In contrast, the
Postmodernists found themselves living in a nuclear, space-traveling world. Because of
the rise of technology, Postmodernist fiction often features people struggling to
establish their individualism rather than conforming. The Beats and other
avante garde poetry strayed from the Modernist style.  Poetry
became much more personal during the Postmodernist era through the influence of poets
like Robert Lowell.

The most significant difference between
the two literary eras is the rise of nonfiction's popularity under Postmodernism. I've
seen the influence of this change simply by teaching high school English.  More and more
tests focus on students' ability to analyze nonfiction, and nonfiction bestsellers have
become just as interesting and popular as bestselling novels.

Compare and contrast the sisters, Elinor and Marianne, in Sense and Sensibility to Cecily and Gwendolyn in The Importance of Being Earnest.

Elinor and Marianne are two very connected sisters who
have a major social burden: Their estate has been entailed to a relative and the only
way women in their day and time would obtain any right or property would be through
marriage.  Marriage, however, often did not come for love but for the merging of family
fortunes. Unfortunately for Elinor and Marianne, however, they did not have a fortune,
and their chances of "marrying well" are limited.

The
character of Elinor is that of an independent woman who wants to find love and prefers
to abstain from social norm. She is fiery, and she is an uber romantic. Marianne is the
more maternal of the sisters, and serves as the rock of a very dysfunctional
family.

Contrastingly, Cecily and Gwendolyn are not
sisters. They are both engaged to the same imaginary man named Ernest. The Ernest that
they know are Algernon and Jack, respectively, both of whom claim to be named Ernest
Worthing just to console the girl's obsession with marrying a man by the name of
Ernest.

Cecily is a rich lady from the contry, and a ward
of Jack. She is imaginative, and created from scratch a relationship with this Ernest
she is obsessed with before even meeting the fake Ernest, Algernon. She is clueless, but
comes out fiercely to defend her Ernest from
Gwendolyn.

Gwendolyn is a society lady from the city who
has also been duped into thinking that her fiance is named Ernest. Similarly to Cecily,
she is clueless and acts quite snobby to Cecily to reinstate her status as a city
aristocrat. However, both Cecily and Gwendolyn join forces at one point to counteract
and fight the "Earnests" that had fooled them.

In all,
Cecily and Gwendolyn have very little in common with Elinor and Marianne. The first pair
denoted more malice and less intelligence than the latter. If anything, they are alike
in that social expectations are placed upon them through marriage and the need for
status.

Why is Mary Warren scared to tell the truth about Abigail for herself and John in The Crucible?

By this time in the story, Mary is committed to the lies
she has already participated in.  If she admits to the court she has lied all of this
time, and people have hanged for it, then she will surely be sent to jail, and perhaps
killed herself.

To make matters worse, Mary is not a strong
person and she fears Abigail, who has told her flat out of a "pointy reckoning" if any
of the girls should recant their stories.  Now she is in a no-win situation where she
risks certain punishment on the one hand, or certain revenge on the other, and as a
frightened young girl, she doesn't know what to do except continue in the lie, even
after she has tried to come clean.

Who is Martha?

Martha is Eliezer's family's maid.  She offers to help the
family when they are rounded up and placed in the ghetto.  She understands, or at least
has a good idea, about what is in store for them.  In bringing out one of the
fundamental themes in the book, the family declines her help.  The significance of this
reflects the futility or failure of human freedom in the Holocaust.  We see this several
times in the narrative.  The decision to evacuate the camp, when it would have been
liberated in only a couple of days.  The need to try to get along in the brutal
conditions, only to find that it would have made no difference with whatever decision is
made.  The rejection of Martha's offer of help is part of this schematic whereby
individuals have freedom and try to use it, only to be undercut by the conditions of
life that make the use of such freedom futile or fruitless.  The situation with Martha
is one such example.

Is the poet serious about his use of the word "heart" in the poem, "An Apology for Using the Word "Heart" in Too Many Poems"?

There are a number of times of the meaning of “heart” that
might be construed as being not serious or extremely casual and frivolous, perhaps not
serious at all about his apology. The rhymes of “hustle” and “muscle” (lines 7–8), for
example, suggest a lightness of view about the issue, a tone that is maintained by the
phrase “slushily fits” in line 10. The long list of adjectives in lines 12–17,
culminating in “etc.” in line 17, does not indicate great respect for the word. Yet,
after this list, the speaker’s attitude shifts and the remainder of the poem points out
the importance of the word and the need for it. The poem’s last two lines seem totally
serious and earnest.

Explain why Thomas More wrote Utopia? Describe the geography of Utopia. What role does geography play in the way Utopian society developed?Describe...

Sir Thomas More, much like the utopian writers who
followed him, wrote Utopia as a response to the prevailing social,
economic, and political systems of the period.  Writing during the reign of Henry VIII,
a monarch known for his tight control on society and on politics, More builds his
utopian system in many ways as a response to Henry's method of rule.  The geography of
Utopia is that of an island of different cities.  The fact Utopia is an island speaks to
the isolated nature of the society and its distance from the influence of other
societies. 

The nature of the government in Utopia reflects
this kind of response.  Rather than having political power collected in the hands of an
all-powerful monarch, More adopts a more socialist system, in which the people play an
important role in governing the society.  Within the economic system, each member of
society serves a specific function, taking up a particular trade, which serves as their
contribution to the economy.  On a rotational basis, people from the cities go to the
countryside to live in households where they learn trades, so that they can be
productive individuals.  If someone does not contribute, he or she does not reap the
benefits of the economy's success, which instills work ethic in the
population. 

The cities play a vital role in the society of
Utopia.  While Utopians only work a six-hour day, much of the rest of their time is
spent in other pursuits, particularly those involving learning.  Learning refers not
only to the academic education but also moral education.  This idea is built on the very
nature of humanism, a prominent philosophical outlook in the sixteenth century. 
Concerning religion, a number of religious views are present in Utopia, and religious
dogmatism has been outlawed, so More presents a form of religious toleration in this
society, which is certainly a reaction of Henry VIII's own religious views.  In terms of
law, the legal system in Utopia is also founded on a sense of tolerance.  While there
are punishments for a variety of crimes, they tend to be more just and more relative to
the charges against an individual.  This allows for the punishment to be more fitting to
the crime.

The fundamental idea of Utopia is that to
improve society, individuals must improve.  More's view of humanity and human nature is
essentially one of hope. There is hope for humanity, and human nature is essentially
good.  What prevents people from reaching their potential are certain human
characteristics, particularly pride.  More spends the last part of
Utopia discussing this sin and how to address
it.

As far as whether such a society can exist, the meaning
of the world "Utopia" seems to suggest that it cannot.  The word, which More coined,
derives from "ou-topia," meaning "no place," and from "eu-topia," or "good place."  The
former meaning suggests that such a place is not real.  Combining it with the second
definition, such a good place is not real.  In a larger sense, many have attempted to
construct utopian communities with varying degrees of success.  In the long run,
however, none have succeeded in this sense.  When seeking the ideal, it is far too easy
for reality to creep into the picture.

Please summarize this article about Pres. Obama and health care. http://spectator.org/archives/2009/05/26/we-are-out-of-money

This article is an opinion piece in a very conservative
magazine's website.  It is from May of last year.  In it, the author is severely
criticizing Pres. Obama for his plan to create a new national health insurance
program.

The author starts with Obama's statement that the
country is "out of money."  To Obama, this is evidence that health care reform is
needed.  He thinks that health care costs are a major problem for the US and that his
program is needed to reduce these costs.

By contrast, the
author thinks that America's debt is exactly why the health care program is a bad idea. 
He believes that the program is something that only an advocate of big government can
like and he thinks it is something that America cannot
afford.

Here are two important quotes showing these
ideas:

First, the author says
that

nobody
who wasn't already committed to his vision of government managed, mandated, rationed
health care

could like
Obama's plan.  This is because

readability="8">

Obama is requesting over $600 billion in his
budget for what the White House bills as simply a "down payment" on his grander scheme
of universal coverage. Not to beat a dead horse, but that's over $600 billion that the
U.S. government doesn't have on hand to
spend.

How do I paraphrase an article or text?say about 600-750 word

To paraphrase means to take a text and rewrite the text in
your own words. You cite a certain number of words in the follow-up to your question. If
you are being required in an assignment to paraphrase an article, that means your
professor wants you to read the article, comprehend it, and put it into meaningful
language for yourself. A paraphrase is about the same length as the article. So look for
an article that is about a page, single-spaced.

If you were
to summarize, you would look at the article and make it
smaller.

The purpose of paraphrasing is to help you look at
a difficult text that needs disecting. As you put it into words that make more sense to
you, you are more likely to remember and internalize the
information.

What are Thoreau’s views of the role of government in his "Resistance to Civil Government"? Explain using examples.

In my mind, much of how Thoreau crafted his political
stance regarding government and its citizens is based off of his exaltation of the
individual.  If the individual believed that government was engaging in wrongful
practices, then the individuals has a moral, political, and spiritual responsibility to
stand for oneself and take whatever consequence may result.  This is based on the idea
that the individual voice is the highest notion of the good for Thoreau.  It is the
primacy placed on subjectivity that allows for individuals to fully understand and grasp
what it means to be a part of the unified configuration of consciousness.  The basic
premise here is that if government goes against this by forcing individuals into
something that either violates individual beliefs or by silencing this voice of
individuality, Thoreau believes that there is little question as to what needs to be
done.  The sanctity of the individual voice, of being able to walk to that "different
drummer," is absolute and one that government must either respect or one that must speak
out against that government, come what may.

Can you help me with these problems? Mark the meter in lines 15-18 The smiles that win, the tints that glow, But tell of days in...

The meter of a poem refers to the rhythm of the syllables
in each line.  Traditionally, meter uses two descriptions: the type of "foot" (a group
of either two or three syllables) and the number of syllables in each
line.

To figure out what type of foot is being utilized,
you must find out which are the stressed syllables.  This can be done by reading the
poem out loud and really exaggerating the strong beats of a line, or by clapping along
as if the line were part of a song.  The most popular feet are iambs and stroches.
 Iambs have an unstressed-stressed (or weak-strong) pattern, whereas stroches are
stressed-unstressed (strong-weak).

If you read this section
aloud, you can hear the iambs very clearly: "The SMILES that WIN, the TINTS that GLOW."
 Generally, when marking the feet, you use a small u above each unstressed, or weak
syllable, and an accent mark (`) above each strong, stressed syllable.  I'm not sure
what your teacher requires as far as marking the meter, but if he or she has not given
particular instructions, you might want to use the traditional metric
symbols.

Even though it doesn't seem part of the question,
there is another part to the description of the meter: the number of feet in each line.
 This usually is described by adding the suffix "-meter" to that number.  Thus, a line
with five feet will be "pentameter," or a line with six feet is a "hexameter."  By
putting the type of foot and number of feet together, you have the meter (i.e. iambic
pentameter or strochaic hexameter).

The second part of your
question is much easier!  Tradition dictates that rhyme schemes be described using
letters.  Beginning with the first line, assign the same letter to each line that
rhymes.  In this section of four lines, "glow" rhymes with "below," so those would both
be "A."  Any line that doesn't rhyme with "glow" gets the next letter, "B."  Once you
have letters assigned to all lines, you've got your rhyme
scheme!

What is the meaning of water in The Waste Land?

The shortest section of the poem, “Death by Water”
describes a man, Phlebas the Phoenician, who has died, apparently by drowning. In death
he has forgotten his worldly cares as the creatures of the sea have picked his body
apart. The narrator asks his reader to consider Phlebas and recall his or her own
mortality.

While this section appears on the page as a
ten-line stanza, in reading, it compresses into eight: four pairs of rhyming couplets.
Both visually and audibly, this is one of the most formally organized sections of the
poem. It is meant to recall other highly organized forms that often have philosophical
or religious import, like aphorisms and parables. The alliteration and the deliberately
archaic language (“o you,” “a fortnight dead”) also contribute to the serious, didactic
feel of this section.

The major point of this short section
is to rebut ideas of renewal and regeneration. Phlebas just dies; that’s it. Like
Stetson’s corpse in the first section, Phlebas’s body yields nothing more than products
of decay. However, the section’s meaning is far from flat; indeed, its ironic layering
is twofold. First, this section fulfills one of the prophecies of Madame Sosostris in
the poem’s first section: “Fear death by water,” she says, after pulling the card of the
Drowned Sailor. Second, this section, in its language and form, mimics other literary
forms (parables, biblical stories, etc.) that are normally rich in meaning. These two
features suggest that something of great significance lies here. In reality, though, the
only lesson that Phlebas offers is that the physical reality of death and decay triumphs
over all. Phlebas is not resurrected or transfigured. Eliot further emphasizes Phlebas’s
dried-up antiquity and irrelevance by placing this section in the distant past (by
making Phlebas a Phoenician).

In Love Medicine, what is the relationship like between LuLu and her mother?

In Louise Erdrich's novel Love
Medicine, there are many characters introduced to the reader. Lulu Nanapush
makes her first appearance in Chapter Four.

Lulu has come
to live with her uncle, Nanapush, and his wife Margaret Kashpaw, called Rushes Bear (for
attacking a bear, head-on). Lulu very much loves her uncle; for the most part, there is
no love lost between her and Rushes Bear.

Lulu has recently
come from the government school. As Chapter Four begins, she says that she "never grew
from the curve of my mother's arms." And as much as Lulu has tried to stay physically
connected to her mother in some way, her mother had left her to grow up
alone.

Lulu goes on to
say,

Following
my mother, I ran away from the government school...so often that my dress was always the
hot-orange shame dress and my furious scrubbing thinned sidewalks the matrons forced me
to wash.

Lulu continues to
run away, and is continually punished. However, her connection to her mother remains
strong. Surrounded by a foreign world of "rough English," Lulu misses her native
language as her mother used to speak it, and during very difficult times, she can hear
her mother's voice comforting her in her native tongue.

It
is this voice, which Lulu describes as coming from all around her, that keeps Lulu "from
inner harm." Her mother's voice is a living thing to
her:

[My
mother's] voice was the struck match. Her voice was the steady
flame.

Eventually, though her
mother is not there, her uncle writes the words in letters that she needs to hear, words
that bring her home. And as she gets older, Lulu admits she becomes more like her
mother, needing her all the more as this happens: for Lulu grows to be a wild and
passionate young woman.

Strangely, though they are not
together as Lulu grows up, mother and daughter are very close—not physically, but in
spirit. Lulu can hear her voice comforting her, and that voice never loses its ability
to strengthen her. That voice is what pulls Lulu's "pieces" together, so that she can
move on with a wholeness that might be missing from other girls growing up without their
mother.

What do you call a person who repairs large electrical appliances and also electrical wiring and heating in houses?

In this day and age we seem to have a title for every
possible type of occupation. You have already suggested the best titles for the
occupations you mention: A man who repairs broken appliances is an appliance repairman;
a person who repairs electrical wiring is an electrician. A person who works on faulty
heating systems is called a heating repair contractor, while a man who works on air
conditioners is called an air conditioning repair contractor. In earlier times, a man
who did all of these things was generally called a handyman.

What is the purpose of the gallbladder?

The gallbladder is situated under the left upper quadrant
of the liver in the abdominal cavity. The chief function is to store bile that was
synthesized in the liver. Bile is necessary to help emulsify and digest fats. When you
eat a meal that has a high fat (lipid) content bile is secreted through the cystic duct
and common bile duct into the duodenum (first part of the small intestine, small bowel).
Enzymes like CCK (cholecystokinin) help the gallbladder to contract and release its
contents. In the duodenum bile breaks apart the lipid chain molecules which assists in
the digestion of those fats.

People with gallbladder
disease have to have it surgically removed, a procedure called a cholecystectomy. This
can be done laproscopically or through open laparotomy.

What would you consider to be the climax of the book Freak the Mighty?

It is tempting to award the climax to the intense scene
when Killer Kane has gotten a hold of Max and held him tied up about to kill him only
for him to be saved by Kevin almost miraculously.

However,
I am more partial to say that the climax is actually when Max confessed or reveals
rather, that he witnessed the moment when his father strangled his mother to death. That
is a huge moment in the story that gives place to many other things to come to an end,
and because it is the biggest 'wow' factor moment in the story.

prove the following identity- cosA/(1-tanA)+sinA/(1-cotA)=cosA+sinA

For the beginning, we'll re-write the terms from the left
side of the given expression:

cosA/(1-tanA) = cosA/(1-
sinA/cosA)

cosA/(1- sinA/cosA) =
cosA/[(cosA-sinA)/cosA]

cosA/[(cosA-sinA)/cosA] =
(cosA)^2/(cosA-sinA) (1)

sinA/(1-cotA) = sinA/(1-
cosA/sinA)

sinA/(1- cosA/sinA) = (sinA)^2/(sinA-cosA)
(2)

We'll add (1) and
(2):

(cosA)^2/(cosA-sinA) + (sinA)^2/(sinA-cosA) =
(cosA)^2/(cosA-sinA) -
(sinA)^2/(cosA-sinA)

(cosA)^2/(cosA-sinA) -
(sinA)^2/(cosA-sinA) =
[(cosA)^2-(sinA)^2]/(cosA-sinA)

We'll re-write the
difference of squares:

(cosA)^2-(sinA)^2 = (cos A -
sinA)(cos A + sinA)

The left side of the expression will
become:

(cos A - sinA)(cos A +
sinA)/(cosA-sinA)

We'll reduce the like
terms:

(cos A - sinA)(cos A +
sinA)/(cosA-sinA) = cos A + sinA q.e.d.

find the values of x where the function: y= x^3 -3x^2 + 2 reaches a max and min, also calculate the max & min values, sketch the function

y= x^3-3x^2+2

To find maximum
and mimimum and trace the
graph.

Solution:

We  find the
critical points x1 and x2 by setting f'(x) = 0 and solve for x. We find the the sign of 
f"(x) at these critical points. If  f " (x) is negative (or positive )at the critical
point , then  f(x) should be maximum (or minimum)
respectively.

f'(x) = (x^3-3x^2+2)' = 3x^2-3*2x
=3x^2-6x

f'(x) = 0  gives  3x^2-6x = 0. 3x(x-2) =
0

So x= 0 Or x =2 are the critical
values.

Now find the 2nd
derivative.

f''(x) = (3x^2-6x)' =
6x-6.

Find the sign of f"(x) at the critical points x = 0
and x = 2.

f '' (0) =6*0 -6  = -6. S0 f(0) is a local
maximum at x= 0. f(0) = 0^3-3*0^2+2 = 2

So f(0) = 2 is  a
maximum.

At x= 2, f " (2) = 6*2-6 = 12-6 = +6. So f(2) is
the local minimum.

f(2) = 2^3-3*2^2+2 = 8-12+2 = -2 is the
local minimum.

Tracing the
graph:

Roots:

Obviously f(1)
=  0 . So x=1 is a real root of x^3-3x^2+2 = 0. The graph crosses x axis at
x=1.

Also (x^3-3x^2+2)/(x-1) = x^2-2x-1  becomes 0 for
x^2-2x+1 =2. Or

(x-1)^2 =2.
Therefore,

x-1 = +or- sqrt2
.Or

x1 = 1+sqrt2 and x2 =
1-sqrt2. 

So f(x) has  three real roots : A pair of surds
and one rational . x1 = 1-sqrt2, x=1 and x2 = 1+sqrt2.

So
f(x) crosses x axis 3 times.

y = 2 is the y intercept wnen
x = 0. Also it is the local maximum.

 Graph  and its
nature:

At  -infinity, f(x) = -infinity as the eading term
is  x^3  has a positive coefficient 1.

The graph  of  f(x)
is strictly increasing for  all x < 0  as f'(x) =3x(x-2)  is positive for
x<2.. So f(x )  is continuously  increasing from - infinity to a maximum in the
interval (-infinity to 0). It crosses x axis at x 1 =
1-sqrt2.

It reaches a local maximim at  of f(0) = 2 at x
=0.

In the interval (0 , 2),  f(x) continuously decreasing
from maximum local maximum 2 to -2. The graoh crosses x axis at x=1 as f(1) =
0.

At x=2 , f(x) reaches a local minimum off(2) =
-2.

For   x>2 as f'(x) = 3x(x-2) > 0. So  
f(x) is strictly increasing again. The graph crosses x axis  at x2 = 1+sqrt2 and f(x)
goes infinity as x--> infinity.

Since f'(x) = 0 at
x=0 and x =2,  the graph has  tangent at x = 0 and at x= 2 || to x
axis.

The  shape of graph is  like that of a curved letter
"N "  in the interval (1-sqrt2  , 1+sqrt2), further,  with left extremity approching -
infinity  as x-->-infinity and right extremity going to +infinity as x-->
+infinity.

Summarize Mike's story about the medals in Chapter 13 of The Sun Also Rises. What does the incident demonstrate about Mike's character, and how is...

Mike has fought in the war, but he has no medals of his
own, having never sent in for the ones to which he may have been entitled. One night he
is invited to a "whopping big dinner"which the Prince of Wales will attend, and to which
soldiers will wear their medals. Having none, Mike goes to his tailor and asks him to
set him up with some medals, and the tailor obliges, giving him some miniature medals in
a box. Mike puts the box in his pocket and forgets about them, which is just as well,
because that night, Henry Wilson is shot, the dignitaries do not show up, and those who
had worn their medals take them off. Later, Mike finds the medals he had forgotten in
his pocket, and gives them away to girls, who think he is a pretty big deal. The medals
had actually belonged to"some chap (who) had left them (with the tailor) to be cleaned,"
and the tailor asks for them back, but Mike no longer has
them.

Mike is not an upright character. He is apathetic
about things that have meaning in the greater society such as military honors, and he is
not above passing others' honors, or medals, off as his own. His nonchalant attitude
towards the medals he borrows from the tailor - he asks for them, then forgets them in
his pocket, then when he finds them, he gives them away to random girls as souvenirs -
is further evidence of the apathy that characterizes his life. This apathy and emptiness
is symptomatic of the moral bankruptcy that is at the heart of the "Lost Generation's"
malaise. Nothing has meaning, not awards, nor respect for the property or things that
are important to others. Mike does what is expedient at the moment, and does not care
about their deeper ramifications (Chapter 13).

Discuss Sammy as an unreliable narrator with supporting examples of actions or insights, and say how his unreliability impacts his choice at the end.

Sammy might be considered an unreliable narrator in that
he can only see the "visit" by the girls to his store as a totally innocent event; as a
"warm-blooded" young man, he can see nothing wrong with their
attire.

Sammy is very much aware of every aspect of the
girls who come into the grocery store where he works.  He is aware of what is covered
and what is not; who is sunburned and where.  His radar watches every move they make,
and his description of their journey up one aisle and down another is wonderful, but
certainly not objective.

It is easy to see that he is
responding to the girls' beauty, confidence and state of "undress."  He and the other
cashier are visibly "drooling."  Sammy is so overwhelmed (as a boy his age would be by
three girls in bathing suits "traveling through") that he makes a mistake ringing up the
woman whose order is in front of him.

When the girls are
called to task by the manager, who is following the rules (as unpleasant as it makes
Sammy feel), Sammy loses his head and speaks up for these girls.  His manager might have
let this go, in that he knows Sammy's family, but Sammy is so emotionally and physically
caught up in the presence of the girls, that he "leaps on his trusty steed to be their
champion," when they really don't need one, and he quits his
job.

Had a guy walked in without a shirt and been
approached by the manager over his inappropriate attire, Sammy would not have come to
the guy's defense, and certainly would not have quit his
job.

Though it may seem a noble gesture, Sammy is not
thinking too straight, and is therefore, not a reliable
narrator.

Multiply using expanded forms and distibutive law 45*7 56*7 145*2 415*6

To multiply 45*7, we'll write the expanded form of
45:

45 = 40 + 5

We'll re-write
the multiplication:

45*7 =
(40+5)*7

We'll use the distributive
law:

(40+5)*7 = 40*7 +
5*7

40*7 + 5*7 = 280 + 35

40*7
+ 5*7 = 315

45*7 =
315

We'll do the same steps for the
multiplication:

56*7

We'll
write the expanded form of 56:

56 =
(50+6)

We'll re-write the
multiplication:

(50+6)*7

We'll
use the distributive law:

(50+6)*7 = 50*7 +
6*7

(50+6)*7 = 350 +
42

(50+6)*7 =
392

56*7 =
392

We'll do the same steps for the
multiplication:

145*2

We'll
write the expanded form of 145:

145 = 100 + 40 +
5

We'll re-write the
multiplication:

(100 + 40 +
5)*2

We'll use the distributive
law:

(100 + 40 + 5)*2 = 100*2 + 40*2 +
5*2

(100 + 40 + 5)*2 = 200 + 80 +
10

(100 + 40 + 5)*2 =
290

145*2=
290

We'll write the expanded form of
415:

415 = 400 + 10 + 5

We'll
re-write the multiplication:

(400 + 10 +
5)*6

We'll use the distributive
law:

(400 + 10 + 5)*6 = 400*6 + 10*6 +
5*6

(400 + 10 + 5)*6 = 2400 + 60 +
30

(400 + 10 + 5)*6 =
2490

415*6 =
2490

In William Shakespeare's Macbeth, what is the significance of Act I, Scene 1?

The first scene of Macbeth serves as a prologue to the
whole Play and Introduces in the form of the Witches (Weird Sisters, weird being a
derivative from the old english word "wyrd" which translates into "fate" or "destiny")
the forces of action that will control the fate of the different characters. This scene
serves also to set the general mood of the play and the setting of it, as well
as Shakespeare's use of images in his language (thunder and lightning) Each phrase and
word pronounced by the Witches will have its resonance further on in the next
scenes.

ACT ONE, Scene I.

An
open place. Thunder and lightning. Enter Three
Witches.

First Witch:

When
sall we three meet again, / in thunder, lightning or in
rain?

Second Witch:

When the
hurlyburly's done, / when the battle's lost and won.

(When
the hurlyburly's done: The witches propose to meet again when the battle now in progress
is finished - whe nit is lost and won --> lost by one side and won by the
other)

Third Witch:

That will
be ere the set of sun.

(ere the set of sun- "before
sunset")

First Witch:

Where
the place?

Second Witch:

Upon
the heath.

(They announce the place where Scene III will be
set)

Third Witch:

There to
meet Macbeth.

(Introducing the character of
Macbeth)

First Witch:

I come,
Graymalkin!

(Graymalkin is the name of a cat; witches were
said to keep cats as assistants in theri
ceremonis.

ALL:

Paddock calls.
- Anon! -/ Fair is foul, and foul is fair:/ Hover through the fog and the filthy air.
[exeunt

(Paddok - "toad/ Anon! - "(We are coming) at once"/
"fair is foul, and foul is fair" The good and bad are confused; there is an evil
influence. This particular verse will be of significance as the rest of the play is
unfolded./ "Hover though the fog and the filthy air" imagery used by Shakespeare, along
with thunder and lightning to set the place and the mood of the
scene.)

As you can see the Witches are useful instruments
for Shakespeare to announce what will happen in the play, to slip little pieces of
information into the audience: here we are told of a battle taking place that shall end
before the setting of the sun with one side winners and the other losers, and most
importantly, we are told of a future gathering with Macbeth, which shall take place in
Scene III and will be of crucial importance for the rest of the
play.

What are the three different types of point of view and when are they used in To Kill a Mockingbird?

Scout is the narrator in this novel, but when she is
telling the story, she is grown up. So the point of view is interesting - it is that of
an adult trying to relate her thoughts as a child. In this sense, the reader really has
two points of view - the one of Scout as a child, and the one of the grown-up Scout, who
is relating what she remembers when she was a child. The adult narrator, however, has
learned many things, so even though she is telling the story through flashbacks, readers
are privy to her thoughts through an adult filter.

Another
point of view in the novel is that of Jem. The narrator Scout devotes a great deal of
time to describing things through Jem's point of view when they were children. This is
because Jem was her beloved older brother who in spite of the typical sibling stuff,
loved and protected his younger sister, Scout. Scout loves Jem very much, and this comes
out in the novel. It also gives the readers another view of things as Jem was an older
child and understood some things that the childhood Scout did not understand at the
time.

In Chapter 40, Magwitch says that he will gain great pleasure by watching Pip spend money, why?Great Expectations by Charles Dickens

As a child of the streets of London, unloved with no one
to care for him, and as a man who was once married to a termagant who threatened to kill
their child, a child whom he has not seen for many, many years, Provis feels that he
finally has someone to love, someone to whom he can be like a father and to whom
he can give his property.  With this one love Provis has found solace in his life as
well as value.  For, if his money turns Pip into a gentleman, does not he,
Magwitch/Provis, not, then, have some worth?

Provis is
proud to tell Pip,

readability="12">

"Yes, Pip, dear boy, I've made a gentlman on
you!  It's me wot has done it!...Do I tell it fur you to feel a obligation?  Not a bit. 
I tell it fur you to know as that there hunted dog wot you kept life in
got his head so high that he could make a gentleman--and,
Pip, you're him!" 

1 positive trait about Henry Flemming and 1 negative trait (The Red Badge of Courage) and how the author describes the setting?

One critical view of Stephen Crane's Red Badge
of Courage sees the novel as a bildungsroman in which
the main character, Henry Fleming reaches maturation as a man on the battlefields of the
Civil War.  In keeping with this motif, one negative trait of Henry's is his fleeing the
first squirmish with the enemy and his positive trait is Henry's acquisition of valor in
which he and his friend, Wilson, lead the regiment to
victory.

NEGATIVE TRAIT

In
Chapter III, Henry sees the battle flag in the distance jerking about madly.  His vision
of battle does not coincide with his romantic visions of Greek warriors from his
readings and Henry is taken aback by the chaos and panic of the battle in whose midst he
finds himself.  Panicking, Henry runs into the woods,groveling on the ground
and "careering through the bushes."

readability="12">

He yelled then with fright and swung about.  For
a moment, in the great clamor, he was like a proverbial chicken.  He lost the direction
of safety.  Destruction threatened him from all
points....

He ran like a blind man....Since he had turned
his back upon the fight his fears had been wondrously magnified.  Death about to thrust
him between the should blades was far more dreadful than death about to smite him
between the eyes.

It is an
indifferent nature--"It seemed now that Nature had no ears"--The sun blazed, the insects
make comfortable rhythmical noises.  "A bird flew on lighthearted
wing."

POSITIVE TRAIT

In
contrast to the flag that Henry views in Chapter III, Henry later sees the flag and
feels

a
despairing fondness for this flag which was near him.  It was a creation of beauty and
involnerability.  It was a goddess, radiant, that bended its form with an imperious
gesture to him.  It was a woman, red and white, hating and loving, that called him with
the voice of his hopes.  Because no har could come to it he endowed it with
power.

Fortifying himself
with his romantic vision, Henry and Wilson with valor lead the 304th regiment to
victory. "The impetus of enthusiasm was theirs again....And they were men."  The
regiment even takes four Southerners prisoner.  Still holding the flag, Henry "nestles"
in the long grass with Wilson by his side, and they congratulate themselves.  At this
point, nature seems benevolent as the clouds part to emit the warmth and light of the
sun amid images of clover and flowers; however, in actuality, it is still indifferent to
the inner feelings of Henry or any of the soldiers.

Why do you think Montag runs to Faber's house in Fahrenheit 451?

I assume that you are talking about what Montag does after
he kills Beatty.

I think that Montag runs to Faber's house
at this point in the book because he has no other possibilities.  So far, in the book,
there are only two people other than Montag who seem to have any inclination to rebel
against the society.  These two are Faber and Clarisse.  So you would think that Montag
would turn to one of them to hide him or help him escape the
Hound.

Of course, by this time, Clarisse is dead so Montag
cannot get any help from her.  It makes sense, then, to go to Faber.  Besides, Faber is
something of a mentor to Montag so it makes sense that Montag would think that he could
help.  After all, Faber is the one who gave him the "bullet" and who was going to help
him rebel against the society.

So, Montag runs to Faber
because Faber is his mentor and because Faber is the only one left who might help
him.

What happens to the ear when hearing lose occurs?

Sounds are perceived when sound waves pass through the 3
main structures of the ear. Hearing loss occures when one or more structures are
affected.

These structures
are:

- External ear canal;

-
Middle ear, which is separated from the external ear canal through the tympanic membrane
(eardrum);

- Inner ear, which contains the cochlea, the
main sensory organ of hearing.

Depending on the affected
structures of the ear, hearing loss can be of several
types:

-  impaired sound transmission (transmission
deafness): sounds do not reach the inner ear, this situation occurs when the ear wax or
growths block the sound transmission, such as in
otosclerosis;

- Hearing loss of sensorineural
cause (sensorineural deafness): examples of the sensorineural hearing loss include both
noise-related hearing loss and age hearing loss.

Another
category of hearing loss is due to central causes. In this type of illness, ear
structures function normally but there was a cortical damage of the structures that
control hearing, blocking the sound understanding. This can occur after a head injury or
a stroke. This type of hearing loss is very rare.

What are 10 examples of figurative language in The Scarlet Letter?Nathaniel Hawthorne's The Scarlet Letter

With his seminal novel, Scarlet
Letter, Nathaniel Hawthorne sets in motion the American predilection for
symbol.  And, while symbols are the predominant literary device, there are others that
are employed such as imagery and
irony:

SYMBOL

• The
  Scarlet Letter which first represents the sin of adultery that
  Hester has committed.  Later in the novel, this symbol's meaning changes to that
  of Angel as Scarlet so selflessly devotes herself to helping the
  ill of the community.  Then, as Hester nurses the ailing and aged, and sews for others,
  her symbolic A represents the word
  Able.


• 
  The character Pearl herself is a symbol, representing the sins and passions of her
  parents, Scarlet and the Reverend Dimmesdale.  In the forest Pearl arranges eel-grass to
  form a green A on her own breast.
  


• The characters of the Reverend Mr. Wilson Governor
  Bellingham, and Mistress Hibbins are symbolic of the Puritan worlds of church, state,
  and witchcraft respectively.


• The groups of unnamed somber
  and self-righteous Puritans in the market place who talk of Hester are also
  representative of Puritanism in general.


• The iron door,
  "the black flower of society," and scaffold are symbols of the restrictiveness and
  humiliation doled out by the Puritan community.


• The
  scaffold also represents the open acknowledgment of personal sin.
  


• The rose outside the prison is the tenacious passion and
  independence of Hester Prynne that no scaffold or punishment can kill.
  


• The letter A upon the breast of the
  Reverend Dimmesdale represents his guilt over his
  secret-sin.


• The letter A against the black background on
  Hester and Dimmesdales' tombstone serves to unite them in their transgression and love.
  


• Night is used as a symbol for concealment and day for
  exposure.


• The sun is used as a symbol of untroubled,
  guiltless happiness; it also represents the approval of nature and of God.
  


• The forest represents the world of darkness and evil. 
  It also represents the natural world away from the Puritan community where Pearl can run
  freely and where Hester can take down her hair and be affectionate with Dimmesdale.
  

IMAGERY

• Light/dark
  imagery comes into play especially when Hester and Pearl are in the forest and the
  shadows fall on Hester.


• Gray is a predominant color used
  to represent the Puritan austerity.  The opening paragraph of the novel depicts the
  Puritans' in their "sad-coloured garments and grey, steeple-crowned hats..." before the
  iron dor studded with "iron spikes."


• Green is used to
  refer to nature. In the forest, a natural setting away from the Puritan community, Pearl
  makes an A upon her breast with green
  eel-grass.


• Black is used to connote evil and the sinister
  character of Roger Chillingworth as well as the "Black Man" who performs the Satan's
  Mass in the primeivel forest.
  

IRONY

• When
  Hester brings Pearl to the governor's mansion, the governor, himself a Puritan, has a
  fantastic home with suits of armor with a sword and resplendent ornamental
  English garden and stained glass windows. There the Reverend Wilson, a prominent Puritan
  clergyman, both delight in the sight of the crimson-attired Pearl, who recalls for them
  their "days of vanity, in old King james's time, when [the governor] attended a mask." 
  And, the Rev. Wilson recalls,"Methinks I have seen just such figures, when the sun has
  been shining through a richly painted window, and tracing out the golden and crimson
  images across the floor.  But that was in the old land. [An Anglican church!]  The
  leaders of the Puritan colony are themselves hypocrites, yet they condemn
  Hester.


• When Rev. Dimmesdale confesses to the
  congregation that he is "the worst of sinners," the congregation interprets his words as
  an attempt at humility, and, instead, "did but reverence him  the more."  While
  Dimmesdale wants the crowd to shun him, but they do and think just the
  opposite.

In what significant ways are Jim and Huck alike and different?

I think the following points of comparison
are significant:

• Both are very
  superstitious - which connects them in some ways, provides conflict
  at other times.


• Both are running
  away and hiding in the process - this is the foundation for the entire
  novel.  The reason they need and rely on one another is due to this
  commonality.


• Knowledge and
  education - while Huck has attempted formal schooling and Jim
  hasn't - both have a very mixed up view of the things they discuss on the river.  Both
  have obtained most of their knowledge from experience - rather than books (or someone
  else teaching them), which makes for some humorous stories, gullibility, but also a keen
  sense of right and wrong based on intuition.


• Both, at the
  core of themselves, are kind hearted and mostly honest
  (with the important things), and this makes them genuine in their friendship
  with each other.

The significant differences
are a little more obvious:

• Their ages
  - this provides a lot of opportunities for situational irony because Huck is
  just a child and Jim is a full grown man, but at times, the role reversal between the
  two is laughable.


• The fact that Jim is a black
  slave and Huck is white and free (and subsequently
  wealthy though not by birth) - seems like it should create a big opportunity for
  conflict.  Again, ironically, the two not only get along - but manage to even disagree
  civilly when it comes to racial matters.  This is one obvious difference between them on
  the outside that doesn't affect them as much as it does others, on the outside.
  

Is it ultimately love that brings Emilia and Desdemona to their deaths and if so, is this justified?I'm doing a presentation on the theme of love...

I do not think that Emilia and Desdemona meet their
respective ends because of love nor that love was what ultimately brought about their
deaths.   Iago's jealousy and anger was what ultimately figured in both women's deaths. 
True, Othello did not have to kill Desdemona, but he acted like a coward instead of a
general until it was too late.

Emilia may have loved Iago
and trusted him in the beginning, but so did everyone else. How else would he have
gotten the appellation "honest Iago?" She loved him enough to believe that he only
wanted Desdemona's handkerchief for a prank, but once she found out what he had done,
she spoke the truth about what he had done.  She met her death because Iago chose to
kill her after she spoke that truth, not because of her love for
him. 

It is the same with Desdemona.  She loved Othello,
but he was too jealous and insecure to believe her, especially when "honest Iago" was
saying that she was having an affair with Cassio.  She was not especially willing to die
for love, but Othello was much stronger than she was, and, up until the end, she did not
really think he would go through with killing her.

It was
not love, but petty selfishness and jealousy that caused their
deaths.

Write a summary (100 words) of first chapter of "Of Mice and Men" by John Steinbeck.

In the first chapter of the novel, Of Mice and
Men, readers are introduced to the two protagonists.  Lennie and George are
on their way to a ranch to find work.  They have recently left Weeds because of trouble
that Lennie caused there.  Readers also find out about the dream that Lennie and George
have: to own their own ranch. Readers also learn that Lennie likes furry things (such as
rabbits and mice), but has a habit of killing them accidentally.  Lennie is a slightly
slow man and simply does not know his own strength.

What is the most important element of fiction in "The Darling"?

The most important element of fiction in Anton Chekov's
"The Darling" is characterization.  While as a character sketch, "The Darling" has
strong elements of parodic humor in it that point to more important underlying elements
of theme, it is through his characterization of Olga Semyonovena that these themes are
developed.

One of the themes that the character of Olga
develops is the limited role of women in Russian society.  This theme is illustrated
through Chekov's parodic humor as Olga is perceived as such a "darling" because she is
so involved in the life of her first husband who owns a theatre, even to the point of
reflecting his opinions.  By others she is perceived as a "gentle, soft-hearted,
compassionate girl."  Whenever she hears anything that pleases her, she smiles and lady
visitors cannot help taking her hand and exclaimining, "You darling!"  Yet, she seems
vapid as she "deeply mourns" her first husband, but three months later is married to
another man, whose profession then becomes her new preoccupation.  After all her
husbands are gone, Olga has no identity and is then perceived as having "no opinions of
any sort" for she has been totally dependent upon men for her
being.

Other themes that Olga's character unfolds are the
Nature of Love and Maternal Love. Olga's final acts as a woman are those of a mother to
the abandoned son of her last husband, and she feels great fulfillment in this role,
"surrendering her soul to the feelings."  However, the boy, Sasha, feels smothered by
Olga's devotion to him.  He cries out in his sleep, "I'll give it to you!  Get away! 
Shut up!"

Interestingly, the character of Olga Semoyonova
has enough ambiguity to it that readers and critics alike have interpreted the
characterization of Anton Chekov differently.  For instance, Tolstoy, a contemporary of
Chekov's lauded Olga's character as demonstrative of the fulfillment of woman as
mother.

In literature, describe how the setting and time play and integral part in the story.

The setting and time period is a relevent part of of the
action of most stories.  Knowing the historical time period affects the understanding of
the culture of the time.  If a story is set in Puritan Early America, then I would
expect to see and understand the importance of religion, strict moral codes, and
conservative attitudes.  If the story is set in the Depression, I would expect to see a
the hardships and depriviation, and perhaps the hope for a better day to
come.

Setting is equally important.  Like with time, all
characters are a product of their environment.  Setting includes every detail that
creates the physical backdrop--starting with large ideas like country, region and state,
and progresses to small details like city, street, home,
room.

A story such as "A Rose for Emily" relies heavily on
time and setting.  Only at the turn of the century, in a small Southern town, could a
women who lives on the best street in town, in what was once a very fancy house get away
with having a dead body upstairs for close to forty years with no one in the town having
the guts to confront her about the smell or anything else for that matter.  It is
arguable that this story could not happen anywhere but the setting Faulkner created for
it.

Solve the inequality (x+3)(2x-3)

We'll conclude that a product is negative if the factors
are of opposite sign.

There are 2 cases of
study:

1)  (2x-3) <
0

and

      (x+3) >
0

We'll solve the first inequality. For this reason, we'll
isolate 2x to the left side.

2x <
3

We'll divide by 2:

x
< 3/2

We'll solve  the 2nd
inequality:

    (x+3) >
0

We'll subtract 3 both
sides:

x > -3

The
common solution of the first system of inequalities is the interval (-3 ,
3/2).

We'll solve the second case  for the following system
of inequalities:

2)  (2x-3) >
0

and

      (x+3) <
0

2x-3 > 0

We'll add 3
both sides:

2x > 3

x
> 3/2

     (x+3) <
0

x < -3

Since there is
not a common interval to satisfy both inequalities, we don't have a solution for the 2nd
case.

So, the complete solution is the
solution from the first system of inequalities, namely the interval (-3 ,
3/2).

What would be the worst thing in the world for Winston?

When Winston and O'Brien are talking about Room 101 in
Book 3, Chapter 5, O'Brien tells Winston that the worst thing in the world is in that
room.  He then goes on to tell Winston what that means in Winston's specific case.  As
he says to Winston:

readability="7">

'In your case, said O'Brien, 'the worst thing in
the world happens to be
rats.'

We have seen before
that Winston has this horrible fear of rats.  Having seen this, we are not surprised
that this is what is in Room 101.  But it is still pretty horrifying because of what
O'Brien says will happen to Winston.  Basically, they're going to put a rat in a cage,
strap the cage to Winston's face, and let the rat
go...

'You
understand the construction of this cage. The mask will fit over your head, leaving no
exit. When I press this other lever, the door of the cage will slide up. These starving
brutes will shoot out of it like bullets. Have you ever seen a rat leap through the air?
They will leap on to your face and bore straight into it. Sometimes they attack the eyes
first. Sometimes they burrow through the cheeks and devour the
tongue.'

What is big brother?

The book 1984 was written at a time
when America was always in fear of the Soviets and the control of communism.  Big
Brother in the book is the agency that is responsible for controlling the people through
whatever means they feel necessary.  The idea behind it is that they are always watching
and knowing.

The goal of Big Brother is to keep people the
same.  The people are assigned their jobs, not allowed to keep any personal diaries or
information, and must be visible to the television screen at all times.  Everywhere they
go the agency is watching them.  In the event that a person does not conform they are
brought in and interrogated and modified so they function in cohesion once
again.

Big brother controls everything.  The people see war
as a constant around them and hear the messages that are transmitted to them to
essentially brainwash them.

What persuasive techniques does Iago use towards Roderigo, Othello & Brabantio?

In Othello, Iago uses logos, pathos,
and ethos to persuade characters.  At the beginning of the play, the audience learns
that Iago feels slighted by Othello because Othello offered a new position to Michael
Cassio instead of offering it to Iago.  Iago tells Roderigo that he will be handsomely
rewarded if he helps him inform Brabantio that his daughter has been secretly wed to
Othello.  Besides offering money, Iago also tells Roderigo about his loyalty to Othello,
and Roderigo is moved by the seeming betrayal.  When the two get Brabantio's attention,
Iago uses Othello's ethnic background to slander him and make him appear unworthy of
Desdemona.  As his scheme unfolds, Iago is also able to use these devices against
Othello by feigning his loyalty to work against Othello's ultimate
trust.

What are examples of alliteration for Old Man and the Sea by Ernest Hemmingway?Page number too. Please help.

Hemingway's simple, journalistic style does not allow for
much alliteration or flowery prose.  He's a straight shooter, and his narrative voice
offers little prosody.

Here are a few
examples:

• "His choice had been to stay in the
  deep dark water far out beyond all snares and traps and
  treacheries."


• “I’ll kill him though,” he
  said. “In all his greatness and his
  glory.”


• “I must hold his pain where it is,
  he thought. Mine does not
  matter."


• “But man is not made for
  defeat...A man can be destroyed but not
  defeated.”

As you can tell,
these examples of alliteration are usually coordinated at the end of sentences to serve
as a flourish.  Usually, there's "and" or other filler words in between so that the
alliteration is broken up slightly.  In all, Hemingway uses alliteration sparingly so as
to keep the narrative grounded in the way fishermen talk.

Describe how grief make Heathcliff behave in the garden?

You can read about this in Chapter 16. Heathcliff is out
in the garden outside Catherine's window while she is giving birth to young Catherine.
Catherine dies two hours later. Heathcliff's mourning for her is as passionate as his
love for her was when she was alive. He curses Catherine for causing him such  pain in
his life but then pleads with her spirit to haunt him for the rest of his life. He says
he does not care what form she takes, she can even drive him to madness, as long as she
never leaves him. Weird, huh?

Heathcliff stays out in the
garden all night. When Edgar leaves Catherine's side, Nelly lets him in for a brief
moment and he takes a piece of his hair and puts it in Catherine's locket instead of
Edgar's hair. When he leaves, Nelly takes both locks of hair and winds them together,
then closes the locket. This is symbolic of the two men in Catherine's life - Heathcliff
and Edgar - the two men that loved her. Heathcliff goes from bad to worse after
Catherine's death.

I can't understand The Tempest.hi, my name is mary i've asked last year about the wasteland and i had a good answer and by which i have knew what i...

In Shakespeare's The Tempest,
Prospero--the former Duke of Milan--has been usurped by his brother Antonio.  As a
result, Prospero goes into exile with his daughter Miranda on an unnamed island.  There,
Prospero defeats the witch Sycorax and takes her son Caliban as his servant.  Prospero
frees the sprite Ariel from a tree and takes Ariel under his service.  One day,
Alonso--along with Antonio and a crew of others--are sailing past the island on the way
from Alonso's daughter's wedding.  Prospero orders Ariel to create a storm to shipwreck
the crew onto the island.  Once on the island, Alonso's son Ferdinand falls in love with
Miranda, and the two eventually marry.  Caliban meets two of the drunken crew members
and makes plans to rid the island of Prospero.  Prospero eventually confronts his
brother and Alonso and demands to be given back his title.  Reconciliation occurs, yet
Prospero decides to remain on the island.  He frees Ariel, and keeps Caliban as his
servant.

The play is full of natural magic, and this is
often seen in scenes such as the wedding during which the goddesses of nature bless
Ferdinand and Miranda's union.

To help with your reading of
Shakespeare, you might consider getting a book that provides the original text on one
page with a contemporary re-write on the opposing page.

A motorcicle and a truck left the town at the same time .After travelling in the same direction for 1 and a quarter hours , the motocicle had...

Since we know the average speed of the motorcycle and the
time, we can compute the distance it had travelled.

We know
that the distance is the product of the speed and
time.

distance =
speed*time

distance = 60(Km/hr)*1.25
hr

distance = 75 Km

We also
know, from enunciation, that the motorcycle travelled 25 Km farther than the truck,
after one and a quarter hours.

The distance travelled by
the truck, after one and a quarter hours, is the difference between the distance
travelled by the motorcycle and the amount of 25
Km.

distance = 75 - 25 =
50Km

Now, we can compute the average speed of the truck,
since we know the distance travelled and the time:

av.
speed of truck = distance/time

av. speed speed of truck =
50Km/1.25 hr

av. speed speed of truck = 40
Km/hr

Calculate the multiplicative inverse of (3+4i)/(4-5i).

The multiplicative inverse  of the given ratio
is:

(4-5i)/(3+4i)

Now, because
it is not allowed to have a complex number at denominator, we'll multiply the ratio by
the conjugate of (3+4i).

(4-5i)/(3+4i) =
(4-5i)*(3-4i)/(3+4i)*(3-4i)

We'll remove the
brackets:

(4-5i)*(3-4i) = 12 - 16i - 15i - 20 = -8-31i =
-(8+31i)

(3+4i)*(3-4i) = (3)^2 - (4i)^2 = 9 + 16 =
25

(4-5i)/(3+4i) =
-(8+31i)/25

The multiplicative
inverse is:

-8/25 -
(31/25)*i

What is centripetal force?

For a body to move at the same velocity, in a linear
direction or a circular direction, the net force acting on it must be zero. Now for a
body that is rotating, there is a force acting away from the point around which it is
rotating. This is evident from the fact that if you try to rotate a mass tied around a
string and let go of the string, the mass flies outwards. This is due to a force called
centrifugal force.

To counter the centrifugal force another
force called centripetal force is required. This is pointed towards the center of
rotation. It is the result of differing causes, for example the gravitational force
between the Earth and the Sun provides the centripetal force in this case. For electrons
rotating around the nucleus of an atom, it is electro-magnetic attraction between the
protons and the electrons.

Do your teeth really affect your heart, such as with "periodontal disease"?

Dental health can have an impact on cardiovascular health.
When periodontal disease is present a complicating factor is usually inflammation and
infection. Because the oral cavity is highly vascular these bacterial pathogens can
travel to distant structures and cause septicemia. Any anatomical location can be
adversely affected, including the heart.

When bacterial
pathogens travel to the myocardium the bacteria generally colonize the heart valves.
This results in a endocarditis, the pathogens can also become systemic. Endocarditis is
a serious bacterial infection of the endocardium that requires specific intravenous
antibiotic therapy to eradicate the pathogens. Left untreated, the endocarditis can
affect cardiac filling times and cardiac output.

A common
situation is when a person knows they have mitral valve prolapse, MVP. Most dental
questionnaires ask about this condition and if present, prophylactic antibiotic therapy
will be prescribed at the time of any dental work or procedure.

Bring the equation of the line 3x-4y-12=0 to the intercept form and find the intercept on the axis .

3x-4y-12 = 0. To bring to the intercept
form.

Solution:

There are two
types of intercept forms:

(i) slope and  intercept  form: y
= mx+c , where m is slope and c is y
intercept.

The given equation is 3x-4y -12 = 0.
Add 4y.

3x-12 = 4y Divide by
4:

3x/4 -12/4 = y. Or

y =
(3/4)x-3.

(ii) Double ntercept form: x/a +y/b =1, where a
and b are the intercepts on x and y axis.

Given equation :
3x-4y  -12 = 0. Add 12.

3x-4y = 12. Divide by
12:

3x/12 -4y/12 = 1. Re write
as:

 x / (12/3)  + y/(12/-4) = 1.
Or

x/4 + y/(-3) = 1.

Therefore
3x-4y -12 has the double intercept form x/4 +y/(-3) = 1.

So
4 is x intercept and -3 is y
intercept.

x

Explain Atticus Finch's reputation as a father, brother, lawyer, and as a neighbor in To Kill a Mockingbird.

Atticus is considered exemplary in nearly every respect.
He is obviously the finest lawyer in the town, a fact that Judge Taylor already
recognized when he handpicked him to represent Tom Robinson. As a neighbor, he is liked
and, more importantly, respected by nearly everyone in the town. Additionally, he runs
unopposed each term for his seat in the Alabama legislature. As a brother, he helped put
his younger sibling, Jack, through medical school; it is Jack who comes each year at
Christmas to visit Atticus and the children, and it is Atticus who Jack seeks out for
advice. Although some people do not consider Atticus the perfect father (particularly
sister Alexandra), it is obvious that he cares for his children and teaches them by
setting the perfect example for them. He allows them more freedom than the average
parents, but Jem and Scout rarely forget the advice given to them before making an
important decision.

What does Nick learn from his first encounter with these people?

Concerning The Great Gatsby, you
should remember that Nick's first meeting with Tom and Daisy in the novel is not his
first meeting with them.  Daisy is his cousin and he went to school with Tom.  Jordan
Baker is the only person he meets that he hasn't met
before.

I'm assuming, by the way, that you're referring to
Nick's encounter with Daisy and Tom at their home, since you don't
specify. 

Also, Nick is so biased against Tom that he's
obviously made up his mind about him before he even enters his home on the
Egg.

That said, though, Nick's negative view of Tom is
reinforced by his first encounter with him.  Tom is cheating on his wife and takes phone
calls from his lover at home.  Daisy is in a miserable situation and has become
cynical.  And Jordan, the person he meets for the first time, is uppity and stuck on
herself (that's Nick's first impression, anyway, even though he swears that he doesn't
judge on first impressions).  And Daisy and Jordan both like to play games, so to
speak.  Daisy, perhaps as a defense mechanism, but Jordan because she likes the gossip
and the scandal.

Nick sums up his visit by saying that his
first thought is to call the cops. 

At the same time, of
course, beauty is present at the encounter--the home and the people are beautiful.  The
description of the scene during which Nick enters the house for the first time and the
women's dresses are floating with the blowing breeze, etc., is a special, though
deceptive, moment of beauty in the novel. 

Identify & explain the figures of speech in the first two stanzas of "The Battle" by Louis Simpson.How is the mood they establish enforced by the...

There are several figures of speech the first two
stanzas.

readability="7">

Helmet and rifle, pack and
overcoat
Marched through a forest. Somewhere up ahead
Guns thudded.
Like the circle of a throat
The night on every side was turning
red.

The first is the
personification of helmet, rifle, pack and overcoat
marching.  This takes away the identity of the soldiers and creates
an image that rather than men, they are simply equipment for killing and protection. 
The second is the simile "like the circle of a throat" the
night is lighting up red (presumably with bombs).  In this case I think the image of the
throat is to signify choking.  It is as if the night and bombs are closing in on these
marching soldiers and their lives will be choked
away.

They
halted and they dug. They sank like moles
into the clammy earth between the
trees.
And soon the sentries, standing in their holes,
Felt the
first snow. Their feet began to
freeze.

The final figure of
speech is the simile "sank like moles."  Moles burrow into
the ground for protection.  Moles are also blind.  This image suggests the trenches
built in WW1 for protection left the men inside them blind to whatever was going on
outside them.

These figures of speech reinforce the
mood of fear and helplessness presented in the rest of the
poem.  There is a pervasive tone of impending death (as in most WW1 literature).  The
men in the poem (as the real soldiers, historically) do not think nor feel like men at
all.  Instead, they are robots and machines, working simply to survive or to await
inevitable death.

What mysterious objects has John seen in "By the Waters of Babylon"?

John's innoeent and somewhat naive perspective in "By the
Waters of Babylon" forces reader to eye his journey through the fallen remains of our
own modern society through a fresh pair of eyes. John encounters many common place
objects throughout the course of his trip to the Place of the
Gods:

"great spike of rusted metal sticking out into the
river"-- This obscure reference could possibly mean the remnants of the George
Washington Bridge in New York.

"Everywhere in it
there are god-roads, though most are cracked and broken." This quote describes broken
highways and overpasses in New York City.

"there was a
carved stone with cut—letters, broken in half. I can read letters but I could not
understand these. They said UBTREAS." John is at the Subtreasury Building in New York.

"They got their food from enchanted boxes and jars." John
unknowingly refers to canned goods and sodas. Later, when John flees the pack of wild
dogs, he finds and consumes possibly a bottle of wine, commenting that the drink made
his head swim.

"On one side of it was a bronze door that
could not be opened, for it had no handle." John sees an elevator door for the apartment
building, but of course, without electricity, he cannot make it
open.

"There was a cooking-place but no wood" refers to an
electric stove top in the kitchen. The kitchen proves quite a mystery to John,
especially the sink with its labeled handles for 'hot' and
'cold'.

Support the statement that none of the characters want to hurt Janie in Their Eyes Were Watching God.

In order to support such a statement, we would need to
examine the motives of the various characters who do hurt Janie: her grandmother, Logan
Killicks, Joe Starks, and Tea Cake. In all four of these cases, no one wants to
explicitly hurt Janie but the pain is caused because these individual are unwilling or
unable to acknowledge Janie's own identity and "voice" as an authority over her own
life.

Janie's grandmother is concerned only with Janie's
safety and security. As she tells Janie, "it's not love Ah wants yuh to have, it's
protection." As a former slave, Janie's grandmother wants her to enjoy the freedoms that
she never had for herself. Unfortunately, Granny never stops to consider that Janie
might have even loftier goals for herself.

Like Granny,
Logan Killicks isn't interested in seeing Janie become a self-actualized individual; he
wants someone to help him with the responsibilities of the farm. He isn't interested in
Janie as a person, only as a farm hand.

Joe Starks shows
some interest in Janie as a person but only because she is a reflection upon him. The
better her social standing in the town of Eatonville, the better he looks himself.
Ultimately, however, Joe Starks sees Janie as another of his possessions and another of
his accomplishments. In his mind, she is nothing without
him.

And finally, Tea Cake--when stricken with rabies--is
unable to recognize Janie as the woman whom he fell in love with. The pain and
intimidation he causes, however, is not done so willingly on his part; it is the effects
of the disease on his brain causing his behavior.

In all of
these cases, these individuals believe they are acting in Janie's own best interests.
They do not mean to hurt Janie but each is convinced in one way or another that his or
her actions is more important than what Janie wants for herself. The message of the
novel, then, is the lesson Janie teachers us in standing up for our own dreams and not
shying away from making our own voices heard.

5.0 x 10^24 molecules = ____ liters (5 times ten to the 24th power molecules is equal to how many liters?)

The answer depends on the substance in question.  For the
sake of demonstration I will use pure water:

The first step
is to determine how many moles there are.  To do that we use Avagadro's number which is
how many molecules there are per mole.  The number is: 6.02×10^23
/mol.

To determined how many moles we have from the number
of molecules we divide the number of molecules by Avagadro's
number:

(5.0 x 10^24) / (6.02×10^23) = 8.3
mol

Next we can determine how many grams of water we have
based on the molar mass of water.

Water is H20 so the molar
mass of water = 2 times the molar mass of hydrogen plus the molar mass of
oxygen.

molar mass hydrogen = 1.00794 g/mol
molar
mass oxygen = 15.9994 g/mol
molar mass water =  2*(1.00794) + 15.9994 = 18.02
g/mol

Next to determine the number of grams of water we
have we multiply the molar mass of water by the number of total
moles:

Grams of water = 18.02 * 8.3 = 149.57
g

For water 1 g = 1mL therefore we have 149.57mL of water
or 0.15L

When a rib is fractured, how can it be treated?

Rib fracture
assessment:

- the affected area will be
tapped gently. If one or more ribs are broken, the person will complain of intense pain,
at the point of fracture.

- The injured person is asked to
cough an if the person feels an acute pain, he/she might experiences a
fracture.

- The next signs and symptoms will be searched:
deformation or coloring of the area, an easy breathing to minimize the pain, a more
alert respiratory rate. The presence of any of these signs may indicate a fractured
rib.

Treatment of the fractured
rib:

- The movements are reduced in the
fractured area using one of these methods:

• the
  fractured rib is immobilized with 4-5 pieces of tape, from sternum to spin;,
  


• apply an elastic bandage around the entire chest;
  


• the arm is immobilized near the fractured
  area.


• The wounded is encouraged to cough frequently, to
  remove secretions that occur in the lung, thus avoiding
  pneumonia.

I need help identifying the open or closed form of "To an Athlete Dying Young," by Housman and how the structure contributes to overall...

The poetic concepts of href="http://www.textetc.com/modernist/open-forms.html">open and closed
forms reflect the poet's attitude toward and use of poetic
structures, which include such things as meter, rhyme scheme, rhythm, verse (line)
length, stanzas and the convention of poetic devices. A closed
form is a conventional poem the scansion of which will reveal meter,
rhythm, and musicality and an analysis of which will reveal poetic devices such as the
tropes of irony, metaphor, and personification as well such thing as alliteration and
assonance. An open form is a form the considers these
conventions of poetic structure as imprisoning to the poetic endeavor and poetic
freedom. Open form has no predetermined rhythm, meter or
verse length; they have no or perhaps few tropes and other devices (some might still
retain meter or rhyme or other device).

Applying open form
and closed form to a structural analysis of "To An Athlete
Dying Young," shows the stanzas are regular and consistent,
being seven stanzas of quatrains (four verses per stanza); each stanza has a aabb
rhyme scheme (race / -place; by / high); the rhythm is in
consistent iambs (^ / ; unstressed - stressed), with an
occasional verse having a shortened first metrical foot as in "Man' / and^ boy' / stood^
cheer' / -ing^ by'," and "Run' / -ners^ whom' / re^ -nown' / out^ -ran' ". A shorten
fist foot is called an href="http://web.cn.edu/kwheeler/lit_terms_C.html#catalectic_anchor">acephalous,
or headless foot, which is a category of href="http://web.cn.edu/kwheeler/lit_terms_C.html#catalectic_anchor">catalexis
in which one or more unstressed beats are dropped from the beginning, or ending, of a
verse (line) of poetry. The meter (the number of metrical feet) throughout is four feet,
which is called tetrameter. When the metric label
tetrameter is combined with the rhythmic description iambic, the designation
iambic tetrameter is derived for the metrical structure of
the poem.

Even without proceeding to an analysis of
poetic devices such as metonymy ("we chaired you") and
metaphor ("townsman of a stiller town") and personification ("Eyes of the shady night"),
it is clear from structural evidence alone that "To an Athlete Dying Young" is a
closed form poem. One contribution the closed form makes to
the overall effect is to present a dirge-like musicality by
keeping a strict metrical (rhythm and meter) structure. Also the measured stanzas in
quatrains add to the perception of the measured slow step of a funeral march, while the
aabb rhyme structure provides a support to the dirge-like rhythmic repetition of iambs
and the metrical repetition of the four-count tetrameter.

What is the impact of incidental services like assembly, testing, marketing, etc. on the total cost?

If I understand your question correctly, you are wondering
how the cost of things such as assembly, testing, and marketing affect the final selling
price of a product.  All of these, with the exception of possibly marketing which I will
further discuss later, are actually variable costs as opposed to fixed costs.  That
isn’t to say they don’t have a direct impact on the price of a product though.  It
depends individually on the business plan to determine how great an impact each has.  I
currently work for a company in the Audio Visual industry that acts as a manufacturer,
an OEM, and as a reseller.  Our average markup, not considering volume orders or
“Premium” customers, is 60 points.  Our products are low cost but have a high mark up. 
With products we manufacture, assembly and testing are the responsibility of our
production staff.  Production workers are paid an hourly wage which makes them a
variable cost but in this instance they directly affect the selling price.  This is our
labor cost which we calculate at a per hour, per product rate.  Combing labor cost with
cost of raw materials and adding 60 points is how we determine the selling
price.

Marketing is something that can be a variable or
fixed cost but in the example I stated above has the least affect on the selling price. 
Marketing can be a variable cost if you are spending directly per campaign.  More
commonly, if you hire a marketing coordinator or staff, they are usually salaried
employees which would then make them a fixed cost.  The reason this has the least affect
on the selling price in my example is that these positions weren’t added until our sales
volume justified the company to budget for these positions.  The company didn’t raise
their prices as a result though.  Our marketing plan until these hiring’s had only been
direct sales and trade show participation.  Our sales staff is constantly embattled with
management to raise our marketing budget.  Neither side wants to raise prices though. 
Sales believes that if you sacrifice profit in the short run, it will yield you more in
the long.

What are 5 quotes for each that resemble ambition, guilt, and the class system?

I will give you one for each to get you
started.

When Hamlet is speaking with Rosencrantz and
Guildenstern he misleads them to think that he is upset over the fact that he is not the
new King.  He says something about having bad dreams, but Guildenstern jumps on that and
says, "Which dreams indeed are ambition; for the very substance of a ambitious is merely
a shadow of a dream."  Guildenstern's line may be a truth, but is NOT true for Hamlet
right now.

As for guilt, Hamlet is constantly concerned
over his mother's actions and wants her to feel guilty about this quick marriage to his
uncle.  Finally in Act Three he makes he feelings clear and they leave quite an
impression on Gertrude.  She replies to Hamlet, "Thou turn'st mine eyes into my very
soul, And there I see such black and grained spots."  She sees the guilt of her
actions!

This play isn't really about the class system in
any signifcant way, but the relationship between Hamlet and Ophelia is potentially
troubled by the fact that Hamlet is a prince and has obligations to the state, and
Ophelia is not a nobleman.  Her father is a courtier, but not royal in any way.  Leartes
rightly points out to Ophelia that Hamlet's position "greatness weighed" must be taken
into consideration because, "his will is not his own; For he himself is subject to his
birth... for on his choice (of wife) depends the safety and health of the whole
state."