What was the fight between Stradlater and Holden really about in The Catcher in the Rye?

Holden has issues with sex and manhood, and both are
issues when he learns that Stradlater and Jane are going on a date.  Since he can't
communicate his disapproval of the match to them or himself, he lashes out in childish
behavior, knowing full well that he will be punished the bully
Stradlater.

First, Holden does not want the adult world to
encroach on his childhood innocence.  He's in a state of maturation denial.  And he
doesn't want others to reach adulthood either, especially a childhood girlfriend like
Jane.  Stradlater clearly believes the opposite: he uses sex as a means to experience
the adult world sooner than he should.  So, when Holden learns that Jane is about to
cross the threshold from childhood to adulthood by losing her virginity to Stradlater,
he expresses hostility.

Holden also is a masochist.  He
likes to see himself be victimized by other males in an effort to protect children and
girls.  He's playing the role of James Castle here: a chilvarous defender of innocence.
 Later, Holden will get beat up by Maurice because he refused to pay Sunny.  In both
cases, Holden likes to see himself bloody: it's a overture to suicide.  He's a character
in his own sadistic gangster film in which the bullies of adulthood beat up the innocent
victims.  Again, all of this is repressive behavior in an effort to remain in
childhood.

Nature and Nurture? Explanations and examples?for my psychology class

"Nature" refers to behaviors that people do out of
instinct.  Behaviors that are based on nature may lie within one's genes.  "Nurture," on
the other hand, are behaviors that are guided by social practices.  Behaviors that are
based on nurture have been taught to individuals by others in their social circles.  The
"nature vs. nurture" argument is prevalent in issues dealing with discrimination.  A
classic example is the study and documentary titled Eye of the
Storm in which third-grade teacher Jane Elliot subjected her students to a
powerful lesson on racism and learned behavior.  With the permission of the students'
parents, Elliot told the children that all the brown-eyed people were inferior and
proceeded to treat them in such a way.  Soon, the blue-eyed children began acting like
they were in fact superior.  Then Elliot told the class that she had made a mistake and
that the blue-eyed children were in fact the inferior ones.  Soon, the brown-eyed
children assumed the superior stance.  In the end, Elliot told her students that she
made it all up and guided them in a discussion about discrimination.  Her goal was to
show that prejudice is a learned behavior guided by "nurture" and not an instinctive
behavior guided by "nature."

Write a short note on 'extended metaphor'.with examples

Sometimes called a “conceit”, an extended metaphor is one
that continues throughout a work. It is a comparison that, once established, occurs
frequently or throughout a work. Often, it permeates the entire work. It is very common
to see such extended metaphors in poetry and fiction.

Some
examples are Romeo’s speech outside of Juliet’s window. He compares Juliet to the sun
(“But lo! What light from yonder window breaks......”). Another example from Shakespeare
is Hamlet’s speech in Act 1, Scene 2, where he compares the world to a garden that has
been neglected for a long time. He is referring to his mother’s relationship with his
uncle as being smething "rank" just like a neglected garden. In Macbeth,
there are many instances when peoples’ roles are compared to clothing –
sometimes the fit, and sometimes they do not. When the witches tell Macbeth he will be
Thane of Cawdor, he states that the Thane still lives, so why do they “dress him in
borrowed robes?” and later, when he is talking about killing Duncan, he tells his wife
that Duncan has honored him, so why should he cast off this clothing so soon (the
clothing meaning the honor).

What is the context of Into the Wild?

Rather broad question, but here
goes:

Krakauer's interest in the story likely grew out of
his own desire to challenge cultural norms, particularly when it came to taking on
challenges of the great outdoors.  He saw McCandless' story as a sort of epic struggle
between the society and Chris' desire to live outside of the regular rules in a
way.

Chris in some ways grew up with such huge advantages,
a nice home, a nice school, admission to a top college like Emory and has all the
opportunities that come along with it.  But he still fought against it, eventually had
to disappear and not be in contact with his family anymore,
etc.

But those two forces are still obviously around and
the story obviously draws a great deal of its power from the conflict between
them.

What is cardioversion?

Cardioversion is a medical procedure for converting an
abnormal heart rhythm to a normal one. There are two different ways of doing this -
using electrical shocks or drugs.

Procedure using
electrical shock, called synchronized electrical cardioversion works by administering
measure amount of current to the heart at specific times during the cardiac
cycle.

Drug based cardioversion, called orpharmacologic or
chemical cardioversion, uses drugs called antiarrhythmia medication. This kind of
cardioversion is also used for maintaining cardiac rhythm after electrical
cardioversion.

What literary elements are used and what is the central theme in The Streetcar Named Desire?A Streetcar Named Desire by Tennessee Williams

In describing Tennessee Williams's artistic presentation
of his play, A Streetcar Named Desire, Arthur Miller wrote that
music served to underline motifs:

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[Williams's] rhapsodic insistence that form serve
his utterance rather than dominating and cramping
it...

To maintain the
continuity of his play, Williams has not employed separate acts; instead he has scenes
that are thematic using symbols and music to highlight these motifs.  For instance,
Williams uses the blues to connote animalistic pleasure--such as in Scene Four when
Stanley wins Stella back and smiles over her head to Blanche--or in moments of leisure
as the men play cards or when people relax and drink.  Blues are also used in highly
charged emotional scenes involving sexual desires, or when Stanley consoles Stella after
she comes down the stairs.  It plays during the rape scene. The polka which is heard
only by Blanche signals crucial moments in the play.  And, once the audience learns that
this music is what played in the ballroom where Blanche renounced her young husband,
they are alerted to disaster when this music plays. 

The
symbolic streetcar is also employed as a literary element.  Blanche must ride this
streetcar to arrive at Stella's and she alludes to it in her remark, "Haven't you ever
ridden that streetcar named Desire?"  The streetcar continues running, just as Blanche
and the others must see their lives through to the end.  For, Blanche must transfer from
Desire to a streetcar named Cemeteries and then come to Elysian
Fields.

These motifs underscored by music and symbol
develop the theme of Class Conflict as Blanche of the
aristocratic South comes into conflict with Stanley Kowalski of the North who is a
factory worker.  Her sister's and her Belle Reve, the plantation, have been replaced by
a second story flat in the Vieux Carre of New Orleans  and Blanche, as respresentative
of this dreamy and romantic era, is in conflict with the animalistic Stanley who has
his "party of apes" and has taken her sister Stella "down off them columns" and she has
"loved it."

Another theme is that of Gender
Roles.  Mitch has elevated Blanche to the Southern lady, and when he
finds out that she does not fulfill this role, he rejects her, causing her the loss of
her final opportunity.  Blanche understands the subservient role of women as she
repeats, "I have always been dependent upon the kindness of strangers," but her sexual
desires cause her to say and act outside what is expected of her, a behavior that
effects this conflict.

A third major theme is that of
Violence and Cruelty.  When Blanche objects to Stanley's
violent nature, Stella tries to explain to her that "there are things that happen
between a man and woman in the dark" that mitigate the violence.  This Blanche does not
understand even though the upstairs residents have the same violence in their
relationship.  As the streetcar passes down the street, Blanche tells Stella she is just
talking about hard, cruel desire, "the name of that rattle-trap streetcar." It is a
place where Blanche has been, and the streetcar Desire has brought her to Stella's
apartment. And, it is Stanley's violent rape and cruelty--he tells her, "We've had this
date with each other from the beginning"--which drive poor Blanche to her maddess, an
act that demonstrates the continuity of violence that is hard to
break.

What are two external conflicts between Pip and his environment in Chapters 10-19?what kinds of internal conflicts result from these external...

Pip has two external conflicts in these chapters, his
social status and his family. First of all, he is in conflict with his social status as
a poor boy. His low-class environment has not even occurred to him until he meets
Estella and Miss Havisham. In these chapters, Pip is first introduced to Satis House,
Estella and Miss Havisham. Until this time, he was content to live with Joe and dream of
the time when he would become Joe’s apprentice. Although his sister is a terrible shrew,
he takes solace in his camaraderie with Joe. After meeting Miss Havisham and Estella,
however, for the first time Pip beccomes aware that he is poor, a mere “blacksmith’s
boy.” From this point on, he is at odds with his environment, grieving over the fact
that he does not have any expectations outside of becoming Joe’s apprentice. The more he
is around Estella and Satis House, the more he realizes how lacking in opportunity his
life is. He is conflicted over his desire for advancement and his love for the family
that is preventing that advancement.

The second external
conflict is with Pip’s family. Pip learns that he has a mysterious benefactor and that
the benefactor intends to make him a gentleman. Pip does not know what a gentleman is or
how to become one and as he struggles to figure this out, he becomes a snob. Pip is
excited about his future, but he is torn between his “great expectations” and his
loving, though embarrassing, family. He does not really know how a gentlemen is supposed
to act, but when he makes a stab at it, he becomes conceited and obnoxious. He looks
down on Joe and Biddy, relishing the fact that the town tailor is sucking up to him
while making him a suit in the hopes that Pip will give him more business. At the end of
chapter 19, Pip moves to London, leaving his family behind – he
thinks.

I have a project due on The Old Man and the Sea but am confused with how to start. Please give me some suggestions. See below.Map out...

Your project on The Old Man and the
Sea is an intriguing one, and I understand why it might seem a little
overwhelming to you.  You ask for some help getting started; by breaking it down into
smaller segments, you should be able to begin working.  There are two major components
to this project--Santiago's journey and your own imaginary journey.  Start with the one
you know.  Santiago is on a literal journey, so make a list or draw a kind of plot line,
or do whatever is going to help you visualize his actual journey.  Identify the
obstacles (such as hurting his hand and the sharks) and the blessings (the tuna and the
birds) and the friends (Manolin and the fish) which are part of that journey.  As you
identify his journey, including all these elements, note any lessons Santiago learned
from each of them.  Add any discussion of symbols and allusions (as you've probably
discussed in class), plus any other ideas which come to mind.  This is the hard part,
but it deals with something you've read and should know fairly
well.

Now comes the easy part, though it does force you to
be creative and to make some applications to the novella.  Santiago persevered through
obstacles of all kinds--the sea, other animals, poverty, injury, misfortune, hunger,
lack of sleep, and more.  Pick a place where you can have this same kind of journey. 
Perhaps you're hiking through the mountains and get separated and lost.  Maybe you end
up on a deserted island and have to survive alone.  It may be you end up trapped in a
cave, stuck on the Amazon (with cannibals on either shore), or trekking through Alaska
during a blizzard.  In any case, make the geographical setting the starting point, and
then identify some obstacles and lessons learned as your journey progresses. 

How you decide to show these two parallel journeys is
certainly up to your own creativity.  The essential visual will be the legend (key), so
be sure to make yourself clear on that.  Your adventure awaits!

What did Emerson mean "It may be safely trusted as proportionate and of good issues, so it be faithfully imparted, but god will not have his...""It...

This passage from "Self-Reliance: by Ralph Waldo Emerson
concerns a man's integrity and wholeness of experience. He
writes,

Not
for nothing one face, one character, one fact makes much impression on him, and another
none.  This sculpture in the memory is not without preestablished
harmony.  

 Emerson begins
his essay by defining genius: 

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To believe your own thought, to believe what is
true for you in your private heart is true for all men--that is
genius.

The meaning of the
passage that is recorded in the question comes from an examination of this definition of
genius along with the preceding lines about the harmony of memory
cited above.  "Self-reliance" involves the "proportionate," that which is balanced
between one person's thoughts and the harmony of these thoughts with those of others
while one also "accepts the place the divine Providence has found" for him/her.  As a
part of the Over-Soul which Emerson, like other Transcendentalists, believed in, man
arrives at truth that is "faithfully imparted" and "proportionate" with others and with
God.  This is, indeed, truth; it is not what is "made manifest by cowards," for they
would alter the truth out of fear. 

"She spoke sullenly, careful to show no interest or pleasure, and he spoke in a fas, bright monotone.”Please explain within the context of Where...

The narrator provides the line.  It is part of the
narrative; it is not dialogue.  "She" refers to Connie, a 15 year-old girl rebelling
(quietly) behind her mother's back to the realities of the real world that Connie
neither believes or spends time contemplating.  She thinks she knows how the world
works; she has no clue.

While sneaking off to hang out with
the older kids, "on the other side of the tracks," Connie
unwittingly draws the attention of a dangerous man, Arnold Friend
(the "he" in the piece of narrative mentioned in the question), who appears much younger
than he is.

Connie notices him, but sees him only in
passing and forgets all about him.  He does not forget about her,
and shows up one afternoon at her home when no one is
around.

The context of the quote is how the two of them
converse when she answers his knock to see him on the other side of the screen
door.

In terms to what the quote,
"She spoke sullenly, careful to show no interest or pleasure,
and he spoke in a fast, bright monotone” means to the rest of
the story, it describes the manner in which she ends up so totally under his control by
the end of the story, with no chance of deliverance.  Her conversation with him doesn't
encourage, but neither does it discourage him.  In fact, it allows him to get closer,
invading her psyche.  She may be hesitant, but he is the aggressor.  He chooses words
and a tone that are energetic and non-threatening, but the monotonous tone he uses
mesmerizes her into a dark, frightening, hopeless place.  By the time he begins to
threaten her and her family, she is completely out of her league, and she shuts down
emotionally and mentally, resigned to her inevitable death at his hands.  She moves
toward him and through the door like a zombie.

The story is
loosely based on the case of an actual serial killer in the Tuscon, Arizona, who lured
and murdered several young girls in the 1960s.

What role does Stella play in the conflict of the story? What is the significance of Blanche trying to convince Stella to leave Stanley?Why is...

In A Streetcar Named Desire, the
central plot and conflict come down to one battle--the battle for Stella.  At its heart,
or at least at the heart of the plot, the play is a conflict between Blanche and Stanley
for Stella. 

That's why the scene during which Blanche
tries to convince Stella she should leave Stanley is so important, and why it's so
important that Stanley hears what's going on.  It's also the reason Stanley is so intent
on finding out the "truth" about Blanche.  At stake is his wife and his way of life. 
Stella is that which the conflict is about, to answer your question specifically. 
Stella is the goal.

Of course, Stanley wins.  The
"immigrant" Pole, though not technically an immigrant, wins out against the old,
traditional South.  And what enables Stanley to win?  Desire.  Life at its heartiest, in
a sense.  Passion.  Love.  Lust, if you want to use that word, though I, personally,
would not. 

Blanche does lie, of course, but she is also a
bit deluded, employs defense mechanisms in order to cope with reality, tries to hold on
to what she and her family once was.  Her behaviors are often not something to be
admired.  But at the same time, she is much like all of us, just trying to find a way to
survive and hang on and stay sane and be well-liked, and to find
love. 

What is the meaning of this line & quote: If Winter comes, cann Spring by far behind?What is the meaning of this quote: "If winter comes, can...

Countries with 4 seasons follow this order:
SPRING->SUMMER->AUTUMN->WINTER, such is a cycle. Using symbolism,
we may interpret the quote based on human's life cycle and the actual
observations/experiences that we could associate for each
seasons:

Spring symbolizes birth and rebirth, as trees
begin to grow new leaves and young plants begin to
sprout.

Summer symbolizes youth and energy, as this season
brings warm and lively atmosphere.

Autumn symbolizes old
age, because like the leaves that falls, human life begins to fade during old
age.

Finally, Winter symbolizes death, the last season, the
last stage of life, cold, freezing, lifeless...

Now, if we
are going to place Winter face to face with Spring, considering the symbolisms that we
associated with them: BIRTH face to face with DEATH; or if we will put these words in
place of winter and spring we could come up with this: If DEATH comes, can BIRTH be far
behind? Then we could now have a more meaningful
reflection.

Death is negative, as associated by the
freezing cold of winter. We may also link this concept with mourning, sadness, gloom,
lamentation, chaos, hell, etc. and if anyone is at this state (literally or
figuratively), it is but expected that a person will look forward to experience life
again (literally or figuratively)... Rebirth! New life, revival, new hope,
spring...

If F(X)=2x+1/x+2 then what is the inverse function. please explain how

y = 2x+1/x+2

To find the
inverse function:

Solution:

y
= 2x+1/x+2. Multiply by
x.

yx=2x^2+1+2x.

2x^2+(2-y)y+2.

x1
= {(y-2))+sqrt[(y-2)^2-4]}/2*2

x1 = {(2-y) -
sqrt((y-4)y)}/4

x2 = {(2-y)
-sqrt(y(y-2)y}/4.

Therefore , there is no inverse funtion
as y has the same value for two different values of x = x1 and x2. Thus   set of x and
the set of y f(x) is not a bijection.

Also y' =
(2x^2+1/x+2)' = 0 gives 2-1/x^2=0 giving x1 = 1/sqrt2 and x2 =
-1/sqrt

y"(x1) = -1/x1^2 = -1/sqrt2
<0

y"(x2) = - (-1/sqrt2)= 1sqrt. >
0

So y has minimum 2(1/sqrt1)+1/(1/sqrt2) +2 =  2(1+sqrt2)
at x = 1/sqrt2.

Y has a maximum  of
2/(-sqrt2)+1/(-1/sqrt2)+2 = 2(1-sqrt2) at x= -1/sqrt2.

At x
= 0 , y is not defined,

At x = 0, y(x+1/x) has avertical
asynptote,

As Lt x--> 0+  tha y value is
inf.

As Lt x--> 0- the y value is -
inf.

 2x+2 is the straight line which is an oblique
asymptote( as x --> infinity  or x -->
infinity).

So there are four domains where the function is
bijective.

(i) When x >=1/sqrt2,   y= 2x+1/x+2 is
bijective with inverse function:

 x = {(y-2)+sqrt[(y-2)^2
-8]}/2*2

(ii) when 0 < x < =
1/sqrt2

x = {(y-2)+sqrt[(y-2)^2-8] }
/4

(iii) when  -1/sqrtx < = x <
0.

x = {(y-2) -
sqrt[(y-2)^2-8]}/4

(iV) When x < =
-1/sqrt2.

 x= {(y-2) - sqrt{y-2)^2
-8}/4.

y has no value  in the open interval  ] 2(1-sqrt2  ,
2(1+sqrt2)  [ .

Under what kinds of conditions does technology develop?

Jared Diamond summarizes the conditions beneficial to the
development of technology in chapter 13, titled "Necessity's
Mother."

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Hence, all other things being equal, technology
develops fastest in large productive regions with large human populations, many
potential inventors, and many competing
societies.

He highlights the
value of having a society that is sedentary, as members then have the ability to
accumulate goods.  Nomadic societies would be limited to easily portable technologies.
 Contact with other societies is also beneficial in that technology can diffuse from one
society to another.  Technology was (and still is) frequently inspired by other
societies and then tweaked to meet a certain need, causing an evolution of the
technology.

What is Anita Desai's writing style in Clear Light of Day?

The writing style of Clear Light of
Day takes its readers back to the tragic events of Partition in 1948 and then
forward to see how those events have influenced the rationship between the two Das
sisters, Bim and Tara. Of the novel's four sections, the first and the last are in the
fictional present, while the two central ones are flashbacks. Within the flashbacks, the
narration does not follow a strictly chronological order but follows the working of the
sisters' memories, juxtaposing events through childhood associations. The psychological
investigation of the difficult relationship between the two sisters is intertwined with
imagery and symbols that stress decay and stagnation. Significantly, the novel opens
with Bim's description of Old Delhi as "a great cemetery, every house a tomb. Nothing
but sleeping graves" (5). These images contribute to increase the sense of
claustrophobia and entrapment felt by the chracters. This feeling of entrapment markedly
contrasts with Bim's realization, once she has gone through and partially solved her
family's conflicts and tensions at the end of the novel, that "her own house and its
particular history" did not bind the family "within some dead and airless cell" (182).
On the contrary, Bim compares past family history to a fertile soil that can help the
different characters develop their inner selves.

I need help with symbolism in the story "The Devil and Tom Walker" by Mark Twain.Explain the symbolism of the following: (a.) Walker’s house,...

Tom Walker's house mirrors the decay of Tom and his wife's
relationship. They are abusive to each other, lazy, and let their horses starve because
of their own greed. The lifeless trees and forest surrounding the Walker house symbolize
the fruitlessness of Tom and his wife's marriage--they have no children. This adds to
the loneliness and isolation of their marriage.

The
pirate's treasure that the devil offers Tom is supposedly buried in the swamp. In order
to acquire the treasure buried in the swamp, Tom has to work for the devil. The swamp
represents Tom's immoral services (becoming a usurer) for the
devil.

The darkness adds to the ominous mood of the story
and represents the evil and hypocrisy of people like Tom, his wife, and others in his
New England town. Although Tom comes to believe he can outsmart the devil, he is never
out of the darkness, which symbolizes the devil's
influence.

At the end of the story, just before the devil
comes for Tom, Tom is ready to foreclose on a man's house. Tom had spent his latter
years being outwardly religious by going to church, praying loudly, and carrying a
Bible. The Bible being under the foreclosed mortgage shows Tom's true nature--that he
cares more about material wealth than about his fellow man. Tom's actions contradict the
Biblical principles that he obviously knows nothing about. He cannot trick the devil
with his outward display of religion.

The conflicts in the novel between older generation and younger generation.

The conflicts between the older generation and the younger
generation show through the whole way through the play. Although there isn't much
conflict in the first scene, as the Inspector puts pressure on each character the
atmosphere becomes more and more tense. Sheila and Eric and also Gerald were willing to
accept their responsibility, whereas Mr. and Mrs. Birling were not. this fuels the
majority of the conflicts the whole way through the play, mainly because Sheila feels
remorse for Eva and challenges her father as to why he doesn't show remorse, and being a
stubborn character, he sticks to his original point of view. Eric becomes angry with his
mother because she tries to lay the blame on him and get out of it herself. This
provides the majority of the fighting in the last scene. The inspector always has
something to do with the conflicts, he is mostly the one to stop the fighting but also
starts a lot of the conflicts because of what truth's he teases out of the
characters

In Book One of The Odyssey, why did the goddess Athena want Zeus to send Hermes to Calypso?

Athena, the goddess of war and wisdom, Odysseus's guardian
and protector in many ways. They are both extremely clever figures, which bonds them.
Gods often have "favorite" mortals and meddle in their lives. Athena really admires
Odysseus's qualities, so she makes him into one of her "favorites." In a way, she is his
patron goddess. (It also helps that Athena and Poseidon, who hates Odysseus, have a bit
of a rivalry.) 

Odysseus has been imprisoned on Calypso's
island, Ogygia, for about seven years. Calypso is a nymph who has fallen in love with
Odysseus and wants to make him her immortal husband. As time passes, Odysseus grows more
and more depressed as his desire to go home to his true love (his wife Penelope)
increases. Athena want to help him get home, so she goes to her father Zeus and asks for
his help. Zeus sends the messenger god Hermes to Calypso. He tells her to let Odysseus
go. Calypso is angry, but eventually concedes and helps Odysseus leave the
island. 

Discuss the nature of tragedy in Dubliners by James Joyce.

In the opening story "The Sisters" from The
Dubliners, you might find the answer to the question in the italicized words:
 gnomon, paralysis, and simony.  These form the heart of what plagues the characters in
these short stories.

Paralysis is the most pervasive cause
of the individual characters' tragedies.  The characters are trapped by their poverty,
routine, religion or sense of duty, or the past.  In "Araby," the narrator longs to
escape the drudgery of his surroundings and sees Mangan's sister as a key to that
escape.  Going to the bazaar to find her a gift gives him a sense of purpose, a mission
that blinds him to the drabness of his surroundings.  Bitter and disillusioned at the
end of the story, the narrator finds that there is no Araby in Dublin.  Eveline is
another character whose tragedy is her inability to escape; she is paralyzed by her
sense of duty, her obligations to her family, her fear of the unknown, and at the end of
the story she cannot go to Buenos Aires with Frank and becomes a "helpless
creature."

But the other two words are also keys to the
tragedies that face the characters in these stories.  Religious corruption or blindly
following religious routines is the heart of "The Sisters."  Many stories have the
symbol of a dead priest or empty chalice to show the inability of the church to provide
true inspiration to its members.

The gnomon is a
parallelogram with a smaller parallelogram taken out.  The idea of a missing piece or
obscured truth is prominent in many of the stories, but most specifically in "The Dead,"
when Gabriel realizes that he did not know his wife at all (a missing piece) and that he
cannot compete with a ghost from his wife's past.

What is the indefinite integral of y = 1/( x^2 - 4 ) ?

We notice that the denominator of the function is a
difference of squares.

We'll re-write the function as a sum
of elementary fractions:

1/(x^2-4) =
1/(x-2)(x+2)

1/(x-2)(x+2) = A/(x-2) +
B/(x+2)

We'll multiply the first ratio from the right side,
by (x+2), and the second ratio, by (x-2).

1 = A(x+2) +
B(x-2)

We'll remove the brackets from the right
side:

1 = Ax + 2A + Bx -
2B

We'll combine the like
terms:

1 = x(A+B) + 2(A-B)

For
the equality to hold, the like terms from both sides have to be
equal:

A+B = 0

A =
-B

2(A-B) = 1

We'll divide by
2:

A-B = 1/2

A+A =
1/2

2A = 1/2

We'll divide by
2:

A = 1/4

B =
-1/4

The function 1/(x^2 - 4) = 1/4(x-2) -
1/4(x+2)

Int dx/(x^2 - 4) = (1/4)*[Int dx/(x-2) -
Intdx/(x+2)]

We'll solve Int dx/(x-2) using substitution
technique:

We'll note (x-2) =
t

We'll differentiate both
sides:

dx = dt

 Int dx/(x-2) =
Int dt/t

Int dt/t = ln t + C = ln (x-2) +
C

Intdx/(x+2) = ln (x+2) +
C

Int dx/(x^2 - 4) = (1/4)*[ln (x-2)-ln (x+2)] +
C

 We'll use the quotient property of the
logarithms:

Int dx/(x^2 - 4) = (1/4)*[ln
(x-2)/(x+2)] + C

Which is the value of the sum cos177+cos176+...cos4+cos3 ?

Cos177+cos176+ cos 175 + .. cos91+cos90+co89+.. ...cos4
+cos3 . To find the sum.

We know that cos (90+n) = 
-cos(90-n),

So the given series is equal to Sum
of {cos(90+n)+cos(90-n) + cos 90  for n = 1 ,2,3,....97.

=
Sum of ( 0) +cos90 , for each n = 1.2,3...87.

= 0. as cos
90 = 0. 

Find the equation of the line that passes through (3,4) and the sum of it's intercepts on the axis is 14.

The equation for the line
is:

y-y1 = m (x-x1)

We have
the point (3,4) psses through the line,

==> y-4 =
m(x-3)

==> y = mx - 3m +
4

==> y - mx = -3m +
4

Divide by -3m +
4:

==> y/(-3m+4) + x/[(-3m+4)/-m] =
1

==> y intercept a =
-3m+4

==> x intercept b =
(-3m+4)/-m

But we know that a+ b =
14

==> -3m + 4 + (-3m+4)/-m =
14

==> -3m + 4 + 3 - 4/m =
14

==> -3m^2 + 7m - 4 =
14m

==> -3m^2 - 7m - 4 =
0

==> m1= [7+ sqrt(49-48)]/-6 = [7+1]/-6 = -8/6=
-4/3

==> m2= [7-1]/-6= 6/-6 =
-1

==> we have two
solutions:

m= -4/3:

==>
y-4 = (-4/3)(x-3)

==> y= (-4/3)x +
8

m= -1:

==> y-4 =
(-1)(x-3)

==> y= -x +7 

5(2+n) = 3(n+6)

In order to to solve the equation and to find the value of
n for the identity to be tru, we'll follow the steps:

-
First, we'll remove the brackets, both sides:

5(2+n) =
3(n+6)

10 + 5n = 3n + 18

-
Now, we'll isolate the terms that contain "n", to the left side. For this reason, we'll
subtract 3n both sides:

10 + 5n - 3n = 3n - 3n +
18

We'll reduce like terms and we'll
get:

10 + 2n = 0 + 18

 - Now,
we'll subtract 10 both sides:

10 + 2n - 10 = 18 -
10

We'll reduce like terms and we'll
get:

2n = 8

We'll divide by 2,
both sides:

n =
8/2

n =
4

So, the solution of the
given equation is n = 4.

- To verify the
equation, we'll input the value 4 in the given
expression:

5(2+4) =
3(4+6)

We'll calculate the sum in each pair of
brackets:

5 * 6 = 3 * 10

30 =
30

The identity is verified for n = 4, so the
solution n = 4 is valid.

Suggest why global warming may lead to malaria becoming more common in Europe?

Malaria's main source of transmission is from mosquitoes,
and one of the trends we're seeing from Global Warming and the ensuing Climate Change is
that as snowpacks melt and the average temperature of higher elevation areas rise, the
habitat there becomes more favorable for insects.  So one of the things computer models
and scientists have predicted is larger insect populations, and more migrations of
insect species beyond their original habitats.

As Africa
has a very serious malaria problem, it is conceivable that malaria-carrying mosquitoes
transported by ship or plane may be able to multiply and spread north from the
Mediterranean into Turkey and from Italy into Slovenia or France, and with the larger
numbers, be able to start epidemics or higher infection rates in some European
populations as well.

Comment on Sri Aurobindo's , Is India Civilized ?

The reality of Aurobindo's work is to help raise awareness
to the idea of how vague and imprecise the term "civilized" actually is.  According to
Aurobindo's work, the notion of India, as a nation and people, being "civilized" can
only happen when they adopt and fully appropriate the existing conditions and realities
of other, "more civilized" cultures.  In the end, this is not "civilization" as much as
parody of social orders.  In Aurobindo's work there is a clear call to demand
clarification as to what "civilization" entails and whether or not India, as a nation,
wishes to be a part of it.  It seems to me that one of Aurobindo's most compelling
claims is that the notion of "civilization" is one that can actually represent the
opposite end, based on which social order is using the term.  Certainly, one can
conclude that Aurobindo is right because much of what the British did to Indians under
colonial rule was far from "civilized."

What is the setting of the Disney classic, Pocahontas?

Hmmm, I would argue that (considering the movie was made
in 1995) Pocahontas cannot be considered a Disney "classic" quite
yet, but that being said, I will be happy to explore with you both elements of setting
that are important: the setting of time and the setting of
place.

First, the film is set in 1607.  How do I know
this?  The very first song entitled "The Virginia Company" the very first line is "In
1607 we sailed the open sea, for glory, God, and gold and the Virginia Company."  To
there ya' go.  It's also reveals the iconic first trip of the European settlers on task
to settle in the new world and create Jamestown.

I find the
setting of place to be a bit ironic.  In reality, the "current" setting of the film is
Jamestown, Virginia.  The irony is that the "Jamestown, Virginia" looked absolutely
nothing like the Jamestown, Virginia of today.  Why?  When John Smith arrived in a "new
world" of complete wilderness with no settlements at all, ... and absolutely no settlers
other than himself and the Virginia Company that traveled with him.  So perhaps the more
correct term for the place that is the setting of this film is exactly what is quoted
above:  the "tidewater region of Virginia (called Tenakomakah by the Powhatan)."  Part
of Disney's goal in the setting is to show the profound beauty of the region before
European settlers arrived.

I must end
my answer with a request for you to read John Smith's account of the story in
The Generall Historie of Virginia (which you will see romanticises
his involvement quite as much as the movie).  It's actually fun to note the differences
and similarities here and consider the difference between history and fiction and how a
piece of literature can actually blend the two (to the detriment of future generations
knowing the "real" truth).

What was the condition of Germany at the time when Hitler was in power?

I noticed your question actually asks about the condition
of Germany when Hitler was in power, as opposed to when he was
seeking power.  On the chance you mean during his reign and not before it, let's
approach this another way.

From 1933 - 1938, Germany was
recovering from a worldwide economic depression, just like the US.  This means times
were still somewhat tough, but what Hitler did was restore order and reduce crime, so
that Germany was safer to live in (unless of course, you were anti-Hitler).  He also
created hundreds of thousands of jobs in the new German military and in war industries
making weapons for the coming conflict.  So Hitler was very popular because life in
Germany became visibly better in these early years.

Once
the war started, his government became harsher and more controlling, and by 1943 bombing
raids were making it harder to live in the cities, travel or get the things you needed
to live.  More and more families lost loved ones as soldiers in war or as civilians in
the line of fire.  So life in Germany during the wartime half of Hitler's rule became
increasingly more deadly and difficult.

In the poem "Because I Could Not Stop for Death"by Emily Dickinson, what words have a connotative meaning?

In the second line, the word, "kindly", has a positive
connotation giving the impression that the poem is not going to look at death in a
negative manner.  In the next four-line stanza, the words, "slowly", "no haste",
"labor", "leisure", and "civility" all carry meaning.  The implication is that the
narrator is in a peaceful existence where time is not measured.  The third stanza
displays images more than single connotative words.  The image of children playing
innocently, free of worry comprises the first two lines and the image of ripening fields
being seen in the setting sun are the last two lines.  These are a contrast - the
children playing gives the impression of happy, carefree life while the the other image
gives the impression of a life that has been lived and is now at the end (setting sun). 
The fourth stanza is a metaphor for a new grave.  The reader can infer that the grave is
the narrator's and that the previous stanzas were the narrator's progression to that
grave.  The last stanza indicates that much time has passed since the narrator died, but
that time has little meaning now.  Throughout the poem, the impression is one of
peacefulness and timelessness.  The title makes the implication that the narrator was
busy in life and that death came unexpectedly, but the rest of the poem says that once
dead, the narrator realizes that there was a great deal of life going on that she had
not noticed while alive and now, she has eternity to realize
that.

What is the ambiguity of the black veil?

The ambiguity of the black veil is that it covers the
minister's face from both good and evil. Although he is mourning the lost innocence and
kindness of the world overall, the reality is that he cannot be seen, and is not being
heard. Therefore, any kind of assumption could come up as far as the minister's thoughts
and feelings yet, they are impossible to be ascertained precisely due to the veil. The
veil also represents detachment from reality, and separation from the rest of the world.
The color is one and the same, it is solid, and it is meant to hide him. It is ambiguous
precisely because of its purpose of hiding the minister and make him inaccessible to the
rest of the congregation.

What is the difference between a plexus and a ganglion?

In humans a nerve plexus is network of intersection
nerves.  Essentially nerves in the spine whose destination is the same are grouped into
one large nerve (like many lanes on a highway instead of several isolated roads).  There
are six of these plexuses in the body: cervical (head, neck, and shoulders), brachial
(chest, shoulders, arms, and hands), lumbar (back, abdomen goring, thighs, knees, and
calves), sacral (pelvis, buttocks, genitals, thighs, calves, and feet), solar (internal
organs), and coccygeal (internal organs).

A ganglion is a
mass of nerve cell bodies.  A plexus is made up of ganglia.  They are essentially the
relay points of the entire nerve.

Who were the leaders of the political factions develping in the United States and what were their respective political agendas?

Assuming that the question is intended for the time period
after the ratification of the Constitution, the two political factions that developed
were the Federalists led by Treasury Secretary Alexander Hamilton and the
Democratic-Republicans led by Secretary of State Thomas Jefferson, whom both served in
President George Washington’s 1st Cabinet.   The foundation of their political
differences lingered from Federalist vs. Anti-Federalist debates which took place during
the ratification of the Constitution, but the major dividing line developed when
Hamilton presented his idea for a National Bank, which Jefferson, and his followers,
vehemently opposed.

The debate over the creation of the
national bank centers on the interpretation of the Constitution, in regards to the
“enumerated” powers of the federal government.  The Constitution does not explicitly
give the federal government the right to create a national banking institution, so is it
included in the elastic “necessary and proper” clause of those listed powers?  In this
debate, the Democratic-Republicans developed a “strict” interpretation of the
Constitution, which simply means, if the federal government is not given a specific
power, than those powers fall to others (people, state governments, local governments,
etc.),  The Federalists argued a “loose” interpretation of the Constitution and because
one of the powers given to the federal government was the ability to coin and borrow
money, then a national bank was necessary , in order to, successfully carry out that
power.  These interpretations would remain linked to these political factions as time
passed and the divisions grew larger.

As the Hamilton-led
Federalists grew, they typically included wealthy, East coast shippers, manufacturers,
and businessmen who benefitted from Hamilton’s national bank and other fiscal policies. 
The political agenda of the Federalists included: a belief in a strong, pro-business,
central government, a pro-British stance, a high/protective tariff, a national bank, and
a strong navy to protect their off-shore interests.  Again, the Federalist agenda was
designed to benefit the wealthy businessmen of the era, who then supported a strong
central government.

As the Jefferson-led
Democratic-Republicans grew, they typically included middle to lower class farmers,
laborers, and artisans, whom lived further inland from the coast.  The political agenda
of the Democratic-Republicans included: a belief in a weaker central government, with
more power going to state governments, including state banks, a pro-French stance, a
lowered tariff, and an extension of democracy to an “informed” masses.  Again, the
Democratic-Republican agenda was designed to strengthen state governments and benefit
the more “common” man.

How is the plot of Oedipus Rex uniquely a tragic one?

Oedipus Rex has all the important
elements of a complex tragedy and according to Aristotle, it was the most ideal play he
had ever seen.

The protagonist, Oedipus, is the perfect
tragic hero.  He is a good man and more importantly, a good king.  He fulfills the
requirement of noble birth.  His hubris aka tragic flaw is his
pride.

To be considered a complex tragedy, it must have
both a peripeteia (reversal) and an anagnorisis (recognition).  Oedipus has
both.

Finally, a great tragedy must result in a catharsis. 
This term been defined as purging or cleansing through the emotions of fear and pity. 
We fear what happens to the tragic hero because if it can happen to a person of such
high standing then what about the rest of us?  And pity because we do pity the fate of
the tragic hero.

What makes this plot unique is that what
happens to Oedipus is foretold.  The Oracle at Delphi had spoken Oedipus's fate upon his
birth and nothing anyone could do could change what was to be, not his parents sending
him out to be exposed or Oedipus's own decision to leave his "parents" once he heard his
fate.

Most tragic heroes, in a sense, have it coming
because of their actions during the fall from grace, but not Oedipus.  OK, so he killed
the old man on the narrow mountain road when he was very young and had just heard his
fate.  His pride would not let him yield and the pride of the old man would not let him
yield.  He was his father's son, alright.

Once he answered
the riddle and became king, he had proved to be a good and wise king who cared for his
subjects.  He cares so much that despite several warnings, he continues on in his quest
for the truth until it becomes obvious.  In the end, he, too, becomes a victim of
fate.

In Lord of the Flies, what does the reader know about Piggy's background?Do we know where or when he was born? His hobbies? Where he went to...

The lines mwestwood gave you are about the only certain
things we can know about Piggy.  The rest we have to
surmise.

His parents are not in the picture, which is why
he's living with an aunt.  That aunt is quite lenient, even overindulgent, and Piggy is
allowed--even encouraged--to eat all the candy he wants.  That makes the aunt culpable,
in part, for Piggy's size.  She may have been acting out of love, but she clearly did
him no favors.

He is asthmatic, oversize, and
bespectacled--all of which would cause him to be an outcast in any school, and
especially an all-boys' school.  His nickname--Piggy--was a source of pain for
him. 

"I don't
care what they call me...so long as they don[t call me what they used to call me at
school" (ch. 1). 

Clearly he
was picked on before he arrived on the island. 

In chapter
5, Piggy shows a bit of a scientific bent, mentioning space exploration (Mars,
specifically) and chiming in on the discussion about the giant squid as a mythical beast
rather than a real creature.

Piggy is the one who takes the
time to listen, and the littluns do seem to confide in him--indicating he has spent some
time with younger boys somewhere.  He bends down, on their level, to talk to them,
something no other boy on the island does for the youngest boys. It probably comes
from experience. 

In this symbolic novel, Piggy clearly
represents the intellect, and he's probably developed that skill because he hasn't had
the distractions of friends, sports, family or social activities to get in the way.  We
all love Piggy because he's what we all want to be (wise) but hope we aren't (overly
intellectual and socially inept).

From Guns, Germs, and Steel, explain why the exchange of diseases from the old world and the new world was so one-sided?Europe is the old world and...

The exchange of diseases was so one-sided because the
people of the Americas did not have many large, domesticated animals while the people of
the Old World had such things as pigs and horses and
cows.

This matters because of the fact that the diseases
that killed the natives of the Americas were generally ones like smallpox that had come
from the domesticated animals that were kept by people in the Old World.  The Old World
had been luckier so they had domesticated animals.  The domesticated animals gave them
the germs that killed off the people of the New World.

In the play Macbeth by William Shakespeare, how do the witches mislead Macbeth by the three apparitions shown to him?

Macbeth returns to the witches and demands to have answers
about his future.  Earlier in the play, the witches came to him and addressed him as
Thane of Cawdor and King.  He took these things to be predictions for his future and
killed King Duncan in order to be king. 

Now, he wants
answers from the witches, again.  They show him three apparitions.  The first tells him
to beware Macduff; he should listen to this one.  The second tells him that he will not
be defeated until Birnum Wood moves to Dunsinane Hill.  He determines that the woods
cannot move, so he will not be defeated. The third apparation tells him that no one of
woman born shall harm him.  He decides that all people are born of a woman, so he will
not be defeated.  Macbeth takes the second and third apparitions too literally and
repeats them constantly.  He never talks about the first warning him to beware Macduff,
except to point out that he was born of a woman. 

The
soldiers from England and Scotland do not want Macbeth to see how many of them are
coming to attack.  They are ordered by Malcolm to cut down tree branches and put them in
front of their faces and bodies in order to disguise themselves.  When they advance on
Macbeth's castle, the woods appear to be moving.  Thus, Birnam wood moves to
Dunsinane. 

When Macbeth is found by Macduff, he says he
does not want to fight Macduff because Macbeth lives a charmed life and has done enough
damage to Macduff's family.  He says that no one of woman born will be able to harm him,
so Macduff should just leave.  Macduff responds that he was "from his mother's womb,
untimely ripped"; he was born by c-section instead of the natural way.  So he was not of
woman born. 

The witches do not mislead him with the first
apparition; he was told to beware Macduff.  He chooses to ignore that one because
Macduff was born of a woman. 

He also chooses to ignore the
fourth and last one which shows Banquo's ghost leading a group of kings; this one
further reinforces the first prediction by the witches for Banquo.  Banquo would not be
a king, but his children would be kings at some point in the
future. 

Macbeth really misled himself by deciding what to
believe in all the information that he received by the witches. 

calculate |z| when 2+6i=4z+8z'

The expression of the module of a complex
number:

|z| = sqrt [(Re z)^2 + (Im
z)^2]

For the complex number z, written
algebraically:

z = a + b*i, we'll
have

the real part = Re(z) =
a

and

the imaginary part is
Im(z) = b.

|z| = sqrt(a^2 +
b^2)

The complex number z' is the conjugate of z and it's
expression is z' = a - b*i

Now, we'll re-write the given
expression:

2+6i=4z+8z'

We'll
factorize by 2, both sides:

2(1+3i) =
2(2z+4z')

We'll divide by 2 both
sides:

1+3i = 2z+4z'

We'll
substitute z and z' into the expression above:

1+3i =
2a+2b*i + 4a - 4b*i

We'll combine like terms from the right
side:

1+3i = 6a - 2b*i

The
real part from the left side has to be equal to the real part from the right
side.

6a = 1

We'll divide by
6:

a =
1/6

The imaginary part from the left side
has to be equal to the imaginary part from the right
side.

3*i=
-2b*i

3=-2b

We'll divide by
-2:

b =
-3/2

The module of the complex number z
is:

|z| = sqrt (1/36 +
9/4)

|z| = sqrt
(82/36)

|z| = [sqrt (82)] /
6

What is Proctor's response when Abigail speaks of her love for him?

I assume that you are talking about the part in Act I,
Scene 2 where Abigail tries to talk to John Proctor about the affair that they had
together.

The only time that she actually uses the word
"love" is at the end of this part of the scene.  She says that he loved her and still
does love her.  At that point, the stage directions say that he turns to go, but he
stops because Betty starts making noises.

In general,
though, Abigail is talking about what she and Proctor had together throughout the
scene.  During the whole conversation, Proctor consistently tells her that what they had
is over.  So I would say that his response to Abigails talk of love is to tell Abigail
that he does not love her -- that their affair is over and he loves his
wife.

Calculate the extreme values of x^2 + 6x - 6 .

Since the expression of the function is a quadratic, we'll
consider the vertex of the parable as the extreme
point.

Since the coefficient of x^2 is positive, the vertex
is a minimum point.

f(x) = x^2 + 6x -
6

The minimum value is V(-b/2a ,
-delta/4a)

We'll identify the coefficients
a,b,c:

a = 1

b =
6

c = -6

delta = b^2 -
4ac

delta = 36 + 24

delta =
60

The vertex V has the following
coordinates:

xV = -b/2a

xV
= -6 / 2*1

xV =
-3

yV =
-60/4*1

yV =
-15

The minimum point of the
function is V(-3 ,
-15).

Another method to
determine the extreme point of a function, is the first derivative
test.

We'll calculate the first derivative
of the function:

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

f'(x) = 2x + 6

Now, we'll
compute the roots of f'(x):

2x + 6 =
0

We'll subtract 6 both
sides:

2x = -6

x =
-3

The roots of the first derivative represent the extreme
points of the function.

We'll calculate the extreme point
by substituting x by -3 in the original function:

f(-3) =
(-3)^2 + 6(-3) - 6

f(-3) = 9 - 18 -
6

f(-3) =
-15

The extreme point has the coordinates:
(-3 , -15).

What is anatomy & physiology?

Human Anatomy and
Physiology

I took an Anatomy and Physiology class in
college. In lecture, we studied the systems of the body and how they operate together.
We also studied malfunctions of body systems and their causes. In lab, we actually had
cadavers to illustrate the organs of the body systems and to illustrate malfunctions.
For example, I saw plaque in a heart artery of one of the
cadavers.

Generally, anatomy is divided into microscopic
and gross. Microscopic anatomy is a study of morphology of the human body that can be
seen by microscope. Gross anatomy is the study of morphology of the human body with the
naked eye. Anatomy can also be learned regionally as well as systematically. Physiology
is the study of the functioning of living systems. It is how the organ systems, organs,
and cells carry out the chemical or physical function that is in the living
system.

Why did The Giver decide to stay behind to help the community in The Giver?

I think that you can find this answer at the very end of
Chapter 20.  The Giver does not want to come with Jonas because he wants to be with his
daughter once he has finished his work.  What this means is that he wants to
die.

Since I am not him, I cannot be sure if he made the
right decision.  He must surely have been quite sad about the way things have gone in
his life.  He loved his daughter, but the society that he lived in (and that he was very
important in) caused her to die.  In that situation, you can see where he might not want
to live any longer.  He might want to destroy/remake the society (by helping Jonas) and
then go to be with his daughter.

So I guess I think he's
made the right decision.  He is sad about the past and, I think, he feels too old to
start a new life.

Looking again at your question, I think I
should talk some about why he would want to help the community.  I think it is because
he feels like he is partly responsible for how the community is.  He has all these
memories and could, presumably, have helped to change the community.  Because he didn't,
he feels responsible.  I think this is an admirable attitude on his part -- he had a
hand in causing the problems and he wants to be a big part of fixing
them.

How does this essay illuminate imperialism?"On Shooting an Elephant" by George Orwell

George Orwell's essay, "On Shooting an Elephant,"
illuminates the paradox of imperialsim.  For, as he
writes,

When
the white man turns tyrant, it is his own freedom that he
destroys.

As Orwell relates
the incident involving an elephant about which he is called upon to shoot because it had
broken its chain and caused havoc.  The elephant now has settled down and is no longer
in proximity of the area.  But, it is witnessed that the elephant has killed a man, so
Orwell calls for an elephant rifle and cartridges.  As he prepares to deal with the
situation, Orwell realizes that he is not thinking

readability="11">

particularly of my own skin, only of the
watchful yellow faces behind...The sole thought in my mind was that if anything went
wrong those two thousand Burmans would see me pursued, caught, trampled on, and reduced
to a grinning corpse like that Indian up the hill....That would never
do.

With all the Burmese
watching him, Orwell feels that as a representative of the colonial government, he must
act as such and kill the elephant; that is, in his role as imperialist, he has forfeited
his own freedom and must act tyrannically. As the Burmese watch him, Orwell even grows
to disdain them for their presence which forces him to the action of killing the
elephant.  After he does shoot the elephant, Orwell wonders whether any of the others
"grasped that I had done it solely to avoid looking a fool." This is the paradox of
imperialism.

How can I illustrate the word "aberration"?I have to draw a picture that defines it, but I'm not sure how too...

Something "aberrant" is something disordered, distorted,
disoriented, and unsound. It often is inherent to human psychology, and
behavior.

If in pictures, anything chaotic and unnatural
such as a unnatural vice, extreme, hardcore violence, terrifying creatures, or the
picture of a person whose mind shows signs of horrid thoughts and unnatural, sick
desires, wants and needs is a good illustration for an
aberration.

An act committed against every accepted canon
of natural  human behavior is also an aberration, because it is meant to come from an
aberrant mind. For example a serial child molester or serial killer commits
aberrations.

Finally, placing a picture of Frankenstein,
Vlad the Impaler, Hitler, or other horrid face or personality would be good as an
illustration of an aberration.

What is suggested during the encounter between Pip and Drummle in Chapter 43 of Great Expectations by Charles Dickens?

It is fairly obvious in Chapter XLIII of Great
Expectations that Pip and Drummle are rivals for the affection of Estella. 
Much like two male animals, they eye one another briefly, then, when Pip espies Drummle
blocking the fire's warmth from him, he squares off against his rival by planting
himself shoulder to shoulder before the fire, and neither man gives way to the other
until Drummle finally departs.

After looking down at Pip's
boots and chuckling in, perhaps, a subtle innuendo about Estella's remark about Pip's
coarse boots as a boy (as she may have told him), Drummle derogates the remote
countryside from which Pip comes implying that it is so very
uncivilized:

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"...I mean to explore those marshes for
amusement.  Out-of-the-way-villages there, they tell me.  Curious little public
houses--and smithies--and
that!"

After Drummle tells
the waiter that he will not dine that evening because he is "going to dine at the
lady's," Pip, employing the imagery of a fierce
dog, states,

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Then, Drummle glanced at me with an insolent
triumph on his great jowled face that cut me to the heart, dull as he was, and so
exasperated me, that I felt to take him in my arms (as the robber in the story-book is
said to have taken the old lady) and seat him on the
fire.

When Drummle "rubs it
in" that he, not Pip,is going to be with Estella, Pip can hardly control himself; so, he
tells Drummle he never did wish to enter into any conversation with him, Drummle warns
him not to lose his temper as he has "lost enough without that."  With arrogance he
bites off the end of his cigar, goes out to mount his horse, leans down to have a man
light his cigar while glancing sneeringly through the window at Pip, who later leaves
"out of sorts."  Indeed, there is a deep antipathy between Pip and the dark
Drummle. 

Explain some of the metaphors that the poet uses to describe nature and also his daughter's feelings."Full moon and Little Frieda" by Ted Hughes

There are several metaphors in "Full Moon and Little
Frieda."

"A spider's web, tense for the dew's touch"
describes a spider's web that is seen at night (the setting of the poem) and how it
looks before the dawn. Over the course of the evening, dew droplets from condensation in
the air will gather on the veins of the web, to be seen sparkling in the early morning
sun.

"A dark river of blood, many boulders..." refers to
the movement of the water, which appears as blood in the
dark.

In terms of the metaphor, it may figuratively
describe how difficult it is to navigate, in general, through the dark (figuratively or
literally), and that water takes the "path of least resistance," not fighting boulders
or obstacles in the way, but moving around them. Perhaps the author suggests to the
reader that this is the best course to take in our daily trials and tribulations. (The
rest of the line, "balancing unspilled milk" may simply refer to staying focused on the
task at hand as you move through the darkness).

"The moon
has stepped back" is personification (which is a form of metaphor, comparing the moon to
a person). In this case, the moon moves a step backward to gain a better vantage point
as it gazes at the world below. In some ways, the description of the moon places
what is on the earth and what is above the
earth, on equal footing. (I am reminded of the poem "Desiderata," by Max
Ehrmann which states "You are a child of the universe / no less than the trees
and the stars...")

[The rest of the quote ("The
moon has stepped back like an artist gazing amazed at a work / That points at him
amazed") is a simile, which continues to lift up the idea of the heavens looking at us
while we look at the heavens.]

"A pail
lifted, still and brimming - mirror / To tempt a first star..." is a metaphor, comparing
the surface of the brimming pail to that of a mirror.  This image also reinforces the
beauty of what is on the Earth and what is beautiful in the heavens, and that
neither is more or less awe-inspiring. Hughes uses personification
(as said before, a kind of imagery/metaphor) to remind us of the majesty of the creation
of man (as seen in little Frieda), even as we admire the majesty of
that above us, i.e., moon, stars, etc.

Ted Hughes uses
imagery to describe, with substantive and lovely details, the scene of this particular
night when Frieda notices, with sheer delight and awe, the moon above
her.

The imagery also is "painted" in such a way that it
seems to reflect the sense of that simile noted above: "The moon has stepped
back like an artist gazing amazed at a work." The moon is compared
to an artist who stares amazed at the beauty it observes beneath it with its reflected
light—while that beauty (little Frieda), with equal amazement,
points back at the moon.

Hope this is
of some assistance to you.

In the the Use of Force, is it justified or unjustified for the doctor to use violence on the girl Mathilda? Why or Why not (3 reasons for each side)

This story is a classic case of the age-old question, "is
the end justified by the means?" The "ends" in this story is trying to determine if the
little girl has diphtheria, which is deadly at the time of the story and which we find
out at the end, the girl does indeed have. So, one would think that whatever means
necessary to save the girl's life would be justified,
right?

1. Force is justifiable because the doctor
   needs to find out if the girl has a deadly disease.


2. Force
   is justified because the little girl will not let the doctor examine her, so how can he
   find out if she has a deadly disease?


3. Force is justified
   because the little girl does not realize the severity of the disease she might have, and
   the doctor is older, wiser, and a trained professional, so of course he should use
   whatever means necessary to save the child from
   herself.

That said, this story can be
interpreted on a higher level as a metaphor for EVER using force. Is it justified to use
force to protect oneself? So, is it okay, then, to carry a concealed weapon? Is it okay
to protect one's country and therefore declare war when one's country is threatened? Is
it okay to drop an atomic bomb on a country to prevent thousands and thousands of deaths
because that country refuses to surrender?

These are all
hypothetical questions, but I think also part of why this short story was
written.

In Chapter 5 of Silas Marner Silas gave a "cry of desolation." What does this mean?

The quote that you refer to actually comes in Chapter 5 of
this great novel, so I have edited your question accordingly. It is in this chapter that
Silas Marner returns to his cottage to find that his beloved gold has been taken from
him. Because his gold was what he lived for and based his life around, its loss is an
incredible blow to Silas Marner, and one which he struggles to
accept:

Again
he put his trembling hands to his head, and gave a wild ringing scream, the cry of
desolation. For a few moments after, he stood motionless; the the cry had relived him
from the first maddening pressure of the
truth.

The word "desolation"
can be defined as "the state of being abandoned or forsaken" or "wretchedness," and so
we can see how Silas Marner felt having lost his gold. This has been his reason for
existence for so long since he came to Raveloe, running away from broken relations in
his past, and thus to have it taken from him so suddenly and unexpectedly would have
made him feel forsaken and wretched.

In "Of Plymouth Plantation", was Bradford’s aim to record history or to inspire spiritual fortitude? explain.

This is an interesting pair of choices. Bradford's
Of Plymouth Plantation is, at its core, a journal.  To that extent,
it's an attempt to document the literal movements and insights of these colonists, of
which he is a part.  That makes the case for history first.  Given that, he also records
the spiritual journey--its successes and failures--of these colonists.  What's
intriguing about the journal is that, while it does reflect his personal journey, it's
clearly written for others to read. When they do, the result is spiritual
inspiration. 

Here's a specific reason for the dilemma
represented by this writing--history or spiritual inspiration.  Chapter one is called
"History of Plymouth Plantation."  There's the case for history.  What follows is
several paragraphs about the spiritual history of England, including references to both
Foxe's Book of Martyrs and Queen Mary. There's a case for both
purposes, though the content is clearly more spiritual than historical.  Then Bradford
says this:

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But that I may come more near my intendmente;
...many became inlightened by the word of God, and had their ignorante and sins
discovered unto them, and begane by his grace to reforme their lives, and make
consciente of their wayes, the worke of God was no sooner manifest in them, but
presently they were both scoffed and scorned by the prophane multitude, and the
ministers urged with the yoak of subscription, or else must be silenced; and the poore
people were so vexed with apparators, and pursuants,and the comissarie courts, as truly
their affIiction was not smale; which, notwithstanding, they bore sundrie years with
much patience, till they were occasioned (by the continuance and encrease of these
troubls, and other means which the Lord raised up in those days) to see further into
things by the light of the word of
God.

His first phrase, "But
that I may come more near my intendmente [intention]," is a reminder that his point is
to tell the story--the history--of these particular pilgrims.  In order to do so, as
seen in the passage above, he must write about both their physical journey (their
trials, tribulations, and travels) and their spiritual journey (their transforming faith
and God's continual provision).  Because these were a people who were moved by God's
grace and then moved, literally, by God's provision, their story is inextricably linked
to God.

In short, then, Bradford's writing is a history of
people totally committed to God; in telling their complete history (both physical and
spiritual), his writing also serves as spiritual inspiration. 

What was the significance of the boys' ages?What might these ages represent in society today and what do these ages say about teenagers in general?

The boys are divided up into 3 groups with regard to age -
the "big'uns" the "middle 'uns" and the "litle 'uns". The "big' uns" are at the most
pre-teens. None of the exact ages are given, but the oldest boys are probably middle
school aged boys. They are still interested in pretend play and have bouts of
semi-maturity, but none of them are older teens. They are just too immature. This is
significant because Golding wanted to show that even young children have, at their core,
an evil nature and that it is man's evil nature, that is inherent, that can do him in,
not the corrupting effects of society. The young boys are innocent children at the
beginning of the novel and this is significant because they need to be as far removed
from civilization age-wise as possible to still be
"innocent".

I am not sure what you mean about what this
says about teenagers today, since the oldest boys are most likely not
teenagers (they are 12-ish). I don't think this novel would work if the boys
were teens - they need to be as far away from adulthood as possible, yet still be old
enough to have some semblance of rationale because it is the older ones that get things
organized and the younger ones, when they are not crying, just go along and hope the
older boys will take care of them.

What does Bhakti Yoga say about the nature of God in the Bhagavad Gita?

Bhagwad Gita has described several alternate ways or
practices for achieving the ultimate happiness or deliverance from the cycle of birth
and death. Each of this type of practice is named a different type of
yoga. Bhakti yoga, which means practice based
on devotion to the ultimate god, is one of these alternate practice. The details of
Bhakti yoga are covered primarily in the twelfth chapter of Gita.
However, this chapter describes the ways and characteristics of a devotee rather than
the nature of god. Thus Gita describes no particular view of God applicable exclusively
to Bhakti Yoga.

However, Gita does
describe he nature of ultimate god at many different places in many different ways. The
word limitation of eNoes, as well as complexity of the concepts, make it difficult for
me to give a comprehensive description of nature of God as per  Gita. However stated in
very simple words God has two different broad characteristics, which are apparently
mutually exclusive. Thus God is Described as formless (nirakar), At
the same time, God also takes on form as a sakar
incarnation.

The nirakar or formless
God is something that has no matter, occupies no space, has no form or any other
qualities - like colour, taste, mass and state - possessed by physical matters, has no
beginning and no end. It is interesting to note that having no beginning and no end,
makes the God of Geeta as something infinite, as well as  nothing. Thus Gita says that
when everything is eliminated, what remains is the God.

The
sakar God refers to incarnation of god in human or some other form.
The nirakar God takes on different sakar forms
from time to time for renovation or re-establishment
(sansthapanarthaya) of codes of good conduct
(dharma), for protection (paritranaya) of the
righteous people, and for elimination (vinashaya) of evil doers.
Bhakti Yoga generally is based on devotion to such sakar
God.

In chapter 2, what is accomplished by Hawthorne's allusion to the Madonna and child?The Scarlet Letter by Nathaniel Hawthorne

Hawthorne's allusion to the Madonna and child is
particularly interesting in the first chapter since it was against the Church of
England, a church which broke from the Roman Catholic Church but yet maintained its same
liturgy, that the Anabaptists of England broke.  In their attempt to purify religion
from corruption, the Anabaptists eliminated a hierarchy of clergymen and stripped the
churches of statues, stained glass windows, crucifixes, and anything that they felt was
superfluous or distracting to true worship.

But, in so
doing, the austerity of the Puritans stripped people of their aesthetic and passionate
needs; in so doing, they corrupted what is natural to humanity. With the image of Hester
as mother and child in a religious beauty in his first chapter entitled "The Prison
Door," Hawthorne points to the loss of such a stringent religion--one that would deny
true humanity and its beauty--and to the negative severity of a creed that denies the
basic needs of people. 

There are other such portrayals of
the defeating severity of Puritanism in The Scarlet Letter.  For
instance, when Hester brings Pearl in Chapter VIII to Governor Bellingham's mansion for
questioning, he and the Reverend Wilson remark that Pearl reminds them of the children
at holiday time in the court of James I.  And, in Chapter XXI, Hawthorne as narrator
recalls what the Puritans have lost:

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The persons now in the market-place of Boston
had not been born to an inheritance of Puritanic gloom....Had they followed their
hereditary taste, the New England settlers would have illustrated all events of public
importance by bonfires, banquets, apgeantries and processions.  Nor would it ahve been
impracticable...to combine mirthful recreation with solemnity....The dim reflection of a
remembered splendor....

In
Chapter I, Hester on the scaffold with her scarlet A, standing in her beauty with her
precious child, is "a dim reflection of a remembered splendor" a beauty of life that has
been denied to the Puritans.  Hester is not so much in contrast to the sinless Mary as
the "bitter-tempered" and envious grey-clad women believe.

In Chapter 2 of Love Medicine, what is the relationship between Marie and Sister Leopolda?

In Louise Erdrich's novel, Love
Medicine, Sister Leopolda and Marie have an unhealthy relationship: Sister
Leopolda sees Marie as a soul the Devil craves, and she is physically and
emotionally abusive toward Marie based on this assumption. Marie,
who also believes the Devil wants her, as Sister clearly tells her, believes the only
way to be victorious over Sister Leopolda is to beat her to
Heaven.

As the story begins, Marie is in Sister's class.
There is an incident there (Marie believes the Dark One is in the closet, and smiles);
somehow Sister knows, and Marie ends up locked in the closet. This
is when Marie decides how best to beat Sister. She and Sister have a discussion, and
literally, Sister tells Marie that she has two choices: she can marry an Indian, give
birth to his "brats" and "die like a dog," or she can "give herself to
God."

However, in a more subversive way (based upon how
Marie reacts to her words), Sister tells Marie she can have the Devil or
love.

'He
wants you,' she said. 'That's the difference. I give you
love.'

Marie thinks to
herself:

Love.
The black hook. The spear singing through the mind. I saw that she had traced the Dark
One to my heart and flushed him out into the open. So now my heart was an empty nest
where she could lurk...Well, I was
weak.

Marie stays at the
convent for a several years. The battle between Sister and Marie rages. Eventually,
however, Marie is able to place doubt in Sister's mind and heart. Sister is a crusader
against "the Dark One." She fights the battle everyday, though the other sisters have
long since doing so.

At one point, Sister pours  boiling
water from the stove top onto Marie's back to drive the Devil out of her. Marie does not
utter a sound, and strangely, when it is done, Marie tells Sister how hard she prayed,
and Sister responds, saying, "My dear one, I know." Sister, with a twisted sense of
"love," puts a salve on the girl's back, but Marie has finally had enough. She knows she
must leave before she is completely broken. She yells at
Sister,

'He
was always in you,' I said. 'Even more than in me. He wanted you even more. And now he's
got you. Get thee behind me!'

...[Sister Leopolda] was
pretending nothing happened. But for the first time I had gotten through some chink
she'd left in her darkness. Touched some
doubt.

It is in this way that
Marie plants a seed of doubt in Sister. Sister pushes Marie on, insisting that she help
while Sister takes bread out of the oven. Enraged, Marie tries to shove Sister into the
oven. Sister is saved at the last minute by the fork and poker she holds. With these,
she stabs Marie in the hand, and knocks her in the head, into
unconsciousness.

When Marie awakes, Sister has told the
other nuns that Marie has the sign of the stigmata (wound of Christ at his crucifixion)
on her, and all are surrounding Marie in prayer. Marie realizes that Sister has told the
story to protect herself.

Marie knows she has won. And she
is ready to make Sister pay. However, she looks at the beaten nun, aware of her personal
"wrongness," "kneeling within the shambles of her love." Marie knows that there will be
no girls abused by Sister Leopolda from this point on. Rather than collecting the debt
she had planned to acquire for years of abuse, Marie can only see Sister with pity in
her heart, and know now that she can leave.

How do find the first four terms of an arithmetic sequence when given the first term (A1), An, and Sn?example: Find the first four terms. A1=10...

The two formulas you need to
know:

Find any term in an arithmetic sequence: An = A1 +
(n-1)d

where A1 = is the first term, n is the number in the
sequence, and d is the common difference.

Find the sum of
an arithmetic sequence: Sn = 0.5n(A1+An).

To solve d, we
need to know n for the An=67.  To do this we can use the sum
equation:

Sn = 0.5n(A1+An)
680 =
0.5n(10+67)
n = (2*680)/(10+67) = 17.66

This
equation is not contingent on n being a whole number, and so it is irrelevant that it is
not a whole number in this case.  It is customary for it to be a whole number, but the
equation does not fail if is not.

It is my opinion that
rounding it makes your final answer less accruate.  It is possible to have a value in
between two values in an arthimetic series, and as such, insisting that the 3.2nd term
in a sequence cannot exist is just bad math; values exist between numbers.  If they did
not, interpolating, and extrapolating would be moot
concepts.

You can still use the data given to find the
terms in the sequence, regardless of whether the value 67 is an nth term or a between
nth term.

Now, to determine d we can use the first
equation:

An = A1 + (n-1)d
67 = 10 +
(17.66-1)d
d = (67-10)/(16.66) =
3.42

Now:

A1 = 10
A2
= 10 + (2-1)(3.42) = 13.42
A3 = 10 + (3-1)(3.42) = 16.84
A4 = 10 +
(4-1)(3.42) = 20.26

In Act I Scene 3, what does "give thy thoughts no tongue" mean?

Polonius' advice to his son, when considered on the whole,
seems to place a heavy emphasis on protecting one's reputation.  He starts his advice
with "And these few precepts in thy memory / Look thou character."  He wants Laertes to
be very aware of his actions and what others may know or say about him that could be
judged by his speech or actions.  In three separate places his tells Laertes to not
speak his mind.  First in the line you asked about, and later when he says, "Give every
man thine ear, but few thy voice" and lastly the next line says, "Take each man's
censure, but reserve thy judgement."

Polonius has an
important position in the court and doesn't want either of his children's actions to
reflect badly on the family name.  This speech and the one that follows to Ophelia show
Polonius' emphasis on ettiquette and appearances.

 What is happening in the natural world the night that Duncan is murdered in Macbeth? Elizabethan England believed...

On the night that King Duncan is murdered, there is a
terrible storm outside and many strange sounds are heard.  When Macduff and Lenox arrive
at Macbeth's home, Lenox tells of the night
happenings:

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"The night has been unruly:  where we lay, our
chimneys were blown down; and, as they say, lamentings heard i'th'air; strange screams
of death, and, prophesying with accents terrible of dire combustion, and confus'd
events, new hatch'd to th'woeful time, the obscure bird clamour'd the livelong night: 
some say, the earth was feverous, and did shake."
(II.iii.53-59)

The unsettled
nature of the environment suggests that something out of the natural order has
occurred.  Further, just before Macbeth reports to Lady Macbeth that he has gone through
with the murder, she mentions the shriek of the owl:

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"It was the owl that shriek'd, the fatal bellman,
which gives the stern'st good-night."
(II.ii.3-4)

The owl is also
an element of nature that suggests that something is amiss, particularly that
something/someone has died ("good-night").  Shakespeare has used these elements of
nature as symbols to represent the death of King Duncan and to foreshadow the disorder
that will be brought to Scotland under the rule of Macbeth.

If 1 TV wall costs 1/3 of a fireman's yearly pay, app. how much do you think it would cost now? (let's say a fireman makes about $40,000 yearly...

The cost of the TV is expressed as ratio of the yearly pay
of the  fire man in the problem.

It means whatever the
amount the fire man gets  , we have to multiplly that amount by 1/3  and the result is
the cost of the TV.

We can also arrive at the cost of the
TV by dividing the yearly pay of the fireman by
3.

Given yearly pay of the fireman =
$40000.

The give ratio of TV  as fireman's yearly pay =
1/3.

Therefore the cost of TV =  $40000*1/3 =
$13333*33.

Hope this helps.

Which Characters from the Great Gatsby can fit the description of Flat, round, static, foil, stock, dynamic, and confidante?****why is this...

I think the flat role would really fit Tom pretty well. 
He is basically in there to be a boorish, nasty, racist bastard with tons of money.  You
don't get a more thorough look at him.

As a confidante,
Nick certainly fits the role, he is telling the story, treating the reader as a
confidante.

I think you could make the argument that Daisy
is static.  She maintains the constant role as a manipulator, no matter who she is
around, no matter who she is manipulating, she never relents and never changes her
tune.  She's used her beauty her whole life and she doesn't stray from that
path.

What do you think Dickens is saying about death and resurrection in Carton's final vision of the future?Is it believable that Carton would have...

In A Tale of Two Cities, Sydney
Carton has an idealized, romantic love for Lucie Manette.  Since he cannot marry her as
she loves Charles Darnay and marries him, Carton settles for a platonic relationship
with Lucie; he pledges his loyalty and love to her, promising to do anything for her if
she needs him.

Having lived a dissolute life, Carton has
allowed Stryver to use him and take credit for his genius in solving cases.  When he
sees his double Charles Darnay, Carton becomes aware of the opportunities that he has
wasted in his dissipated life.  So, in Book the Third, when Carton learns that Darnay
has been imprisoned for the injustices of his father and his family, the Evremondes, he
decides to sacrifice what he perceives as his miserable life for the worthy life of
Darnay whom Lucie loves dearly.  In keeping his pledge to Lucie, Carton finds worth to
his life:

"It
is a far, far better thing that I do than I have ever done; it is a far, far better rest
that I go to, that I have ever
known."

In contemplating his
sacrifice for his double, Charles Darnay, Carton knows that Lucie will be eternally
grateful.  For this reason--and justifiably so--that Lucie will honor his name by giving
it to her child. In this way, Carton feels that he will attain some value as this child
grows and, with the noble characteristics of his parents, he will bring respectability
to Carton's name. Thus, by dying Carton will
live. 

Remembering the verse from his boyhood, Carton
recites the words of Jesus: 

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Iam the Resurrection and the Life, saith the
Lord; he that believeth in me, though he were dead yet shall he live; and whosoever
liveth and believeth in me, shall never
die.

By dying, Carton is
resurrected through his love and sacrifice.  He will live through Lucie's child who will
bear his name and become a worthy man.  Sydney Carton dies knowing that his name and
memory will resurrect him as a much worthier man.