Solve the simultaneous equations y=x^2-3x+1 and y=2x^2+x+4 .

The set of simultaneous equations to be solved
is:

y=x^2-3x+1
...(1)

y=2x^2+x+4
...(2)

Equate (1) and
(2)

=> x^2-3x+1 =
2x^2+x+4

=> x^2 + 4x + 3 =
0

=> x^2 + 3x + x + 3 =
0

=> x(x + 3) + 1(x + 3) =
0

=> (x + 1)(x + 3) =
0

We get x = -1 and x =
-3

Substitute in (1)

For x =
-1, y = 1 + 3 + 1 = 5

For x = -3, y = 2*9 - 3 + 4 = 18 + 1
= 19

The solution of the equations are (-1,
5) and (-3 , 19)

What is a matrix clause?

The source below says this about a clauses in
gneneral.

readability="9.113475177305">

"One clause may be
embedded within another, that is, it may be used as a
constituent part of another clause. Such a clause is called an embedded
clause (or a href="http://grammar.about.com/od/rs/g/subclterm.htm">subordinate clause)
and the clause within which it is embedded is called the href="http://grammar.about.com/od/mo/g/matrixclauseterm.htm">matrix
clause. The embedded clause is a constituent of the matrix clause.
A clause that could occur on its own as a href="http://grammar.about.com/od/rs/g/senterm.htm">sentence is called a
main clause.
In the following examples the embedded clauses are given in boldface; each of the matrix
clauses is also a main clause: The boy who came
is his cousin. I told him that I would
go.

To
explain this again, the matrix clause is an independent clause that could stand on its
own and make perfect sense.  It is called a matrix clause when there are subordinate
clauses in the sentence as well.  Subordinate clauses can appear anywhere in a sentence
so it is important to note the subordinating conjunction or relative pronoun that
usually introduces them if you are trying to identify the distinct clauses that make up
a complete sentence.  In the example sentences above, "who" is a relative
pronoun/subject of the verb "came."  That clause can't stand alone -- it is subordinate
to the rest of the sentence -- it is part of the idea, but not the whole idea.  In the
other example, "that" is is a subordinating conjunction introducing a subordinate
clause.  Again, that part of the sentence can't stand alone, but provides more
information and completes the thought of the independent (matrix) part of the
sentence.

In Shakespeare's Hamlet, Act 2, what is a point that causes confusion? Ask characters questions about the scenes.

In Shakespeare's Hamlet, the one
thing about Act Two, scene two, that confuses me is how Claudius can allow Polonius to
be his advisor when the man seems so pompous and full of himself, and actually provides
little valuable guidance and advice to the King. If Polonius were employed by someone
else at the castle, this would make sense, but it does not make sense that the King
would allow Polonius to work for him, or that he could be patient with the old man when
he begins to ramble and waste the King's time.

If I had the
opportunity, I would ask Claudius about this. I would ask if there wasn't someone else
who might have been more helpful, especially because Claudius has been King for only a
short time. Another man might have been able to give Claudius more advice about how to
deal with Hamlet, rather than spying on him. He might even have advised the King to
convince Gertrude to send Hamlet back to school, avoiding the "revenge" issue with the
ghost of Old Hamlet. (If Polonius were not his advisor, then he would not have been
where he didn't belong later in the play, and would not have been killed. In this way,
neither Laertes or Ophelia would have died.)

In "Master Harold". . .and the boys, who does Hally name first and second as his "man of magnitude?"

During his conversation with Sam about "men of magnitude,"
Hally cites Charles Darwin as his first choice.  Hally claims that Darwin's theory of
evolution had a profound impact on the human race because it explains where all people
have come from in the world.  Sam challenges Hally's choice--he says that Hally never
finished reading the book that he has on Darwin's theory.  It is also implicitly stated
that Darwin cannot be a man of magnitude because he did not benefit "all" of human
kind--his theory of natural selection has been warped over the years to justify unjust
social and political systems.  Sam offers a couple choices before Hally retorts with his
second choice--Leo Tolstoy.  Hally has chosen him because even though Tolstoy was an
intellectual, he was able to get out and work with peasants.  Hally claims that Tolstoy
freed his serfs of his own free will.  Sam accepts this choice as a man of
magnitude.

The product of two numbers is 24 find the numbers if one number is two more than twice the other.

Let the numbers be x and
y

Given that the product is
24.

==> x*y =
24.............(1)

Now we know that one number is 2 more
than twice the other number.

==> x = 2y+ 2
..............(2)

We will substitute (2) into
(1).

==> (2y+2)*y =
24

==> 2y^2 + 2y =
24

We will divide by
2.

==> y^2 + y=
12

==> y^2 +y - 12 =
0

==> (y+4)(y-3) =
0

==> y1= -4  ==>  x1= 2*-4+2 =
-6

==> y2= 3  ==> x2= 2*3+2 =
8

Then we have two sets of
solution.

==> The numbers are 3 and
8   OR   -4 and -6.

How did the pigs use Boxer's death to get to the animals in Animal Farm?

In the end, the animals realize the painful truth about
Boxer's death.  Essentially, given Boxer's strength, his loyalty to the pigs and all of
the animals, and his work ethic, the animals sadly realize that if the pigs could get
rid of him, they have no hope.  If Boxer is met with an end that represents how the pigs
use and discard animals, then they realize that their hopes of being saves or spared are
futile.  Given everything else they had experienced, Boxer's death represents the last
straw of hop,e and when that is gone, the animals forfeit any chance of rebellion or
seeking better treatment.  For their part, the pigs use Boxer's death as an example of
the extent of their power.  The story they tell is one whereby the animals learn of the
care Boxer received and then of his death.  Yet, the animals know that the pigs arranged
for his death and with this, the all encompassing power of the pigs becomes apparent and
evident.  In this, the pigs are able to gain a great deal of power and unquestioned
control over the animals.

In The Pickwick Papers, what is Mr. Pickwick's first name ?

We find the information about the main character in
Charles Dickens's series (first known as his first novel) The Pickwick Papers
at the very beginning of the tale, on chapter 1. This chapter, titled
The Pickwickians, introduces us to the high and mighty click of the
Pickwick Club: A club of self-important members with self-important
rules.

Samuel Pickwick, Esq., G.C.M.P.C. which stands for
General Chairman and Member of the Pickwick Club, is the founder of this club. In it,
researchers of many fields (he, himself is a researcher in the field of biology) travel
around the counties telling about their discoveries. Therefore, Samuel Pickwick is the
man for whom the series were named.

why did napoleon 3 suddenly change from being autocratic and despotic to being liberal?factors that led napoleon 3 to be a liberal after he had...

Napoleon III changed his policies in an attempt to
preserve the second French Empire when his foreign interventions and public expenditures
made him unpopular.

Napoleon III had participated in the
Crimean War against Russia, had assisted in the unification of Italy during the
Franco-Austrian War, and expanded French influence in China. He attempted to set up a
puppet empire in Mexico under the Hapsburg Maxilian I; but this attempt failed
miserably. These wars were expensive, however, and caused his popularity with the French
people to decline. He had complete control of the government's budget, and had handled
it poorly, resulting in a massive debt. To quiet the liberals who criticized him, he
allowed limited freedom of the press, appointed a liberal Prime Minister, and allowed
free and open debate in Parliament.  He agreed that he would not borrow money when
Parliament was out of session; but covered himself by retaining the right to change
sections of the budget. This and increasing failures in foreign policy (he was captured
by the Prussians in the Franco-Prussian War) led to his removal from office and the
proclamation of the Third Republic.

What were the books written by Mahatma Gandhi?

You are going to find much in way of Gandhi's writing and
his thinking.  It's a bit difficult to narrow down his authorship because so much of his
thought is present in writings, diary entries, essays, speeches, and other items.  There
are "books," but the thought that Gandhi featured was prevalent in so much more than one
genre of writing.  Like so many thinkers of the time period, he did not feel himself
limited to one domain of written expression.  The link below is a fairly comprehensive
list of his writings.  I would examine this extensively.  Of the works featured, there
are some very interesting ones in terms of what they reveal about Gandhi's philosophy
and value system.  "Hind Swaraj; or, Indian Home Rule" was one of the first
articulations where he was on his way to South Africa as a lawyer and is a reflection
about the nature of truth that he features in his own mind and in his own analysis.  It
is interesting to see this as a potential "starting point," in terms of where "it all
began."  Another interesting title on this list would be The Story of My
Experiments with Truth. It is widely considered to be known as his most known
book because it helped bring to the world stage the idea of Gandhi as both a freedom
fighter, but also as one with a moral grounding, as well.  At the time of writing,
Gandhi's campaign in South Africa had already been known and he was establishing himself
as a figure in the Indian independence movement.  This book is powerful in how it
provides a moral, ethical, intellectual, and spiritual grounding or justification to the
political framework he was advocating in India.

Is it better for a ruler to be feared or loved and why?

According to Machiavelli, it is better for a ruler to be
feared than to be loved.  This is the case, he says, because a ruler who is feared is
less likely to be overthrown.  In other words, Machiavelli is not saying that being
feared is good in itself, just that making people fear you is a better tactic than
making people love you.  Machiavelli argues that this is the case because people will be
relatively willing to hurt someone they love if they really have to.  By contrast, they
will not want to hurt someone they fear because that person might end up getting revenge
on them.

This advice is presumably most relevant to
autocrats, as opposed to the leaders of democracies.  The leaders of democracies need to
make themselves loved because there is no way that they can make people fear them enough
to keep reelecting them.  However, when they are playing "inside politics" it may be
useful for them to make others fear them.  That is, when a Congressional leader is, for
example, interacting with other members of Congress, it may be more useful to make the
other members fear him or her so that they will not cross the leader later
on.

QUADRATICS questions !!!please answer questions 1, 2, 3 http://www.geogebra.org/en/upload/files/MSP/EvonnePankowski/Multimedia1_EHP.html Thank you

You need to find how to relate the coefficients of
quadratic to the shape of parabola.

You should know that if
the coefficient a>0, then the parabola is concave up and if a<0, then the
parabola is concave down.

You also need to remember that
the x coordinate of vertex expresses the horizontal shift of parabola, while y
coordinate represents the vertical shift.

You need to solve
the equation   for x to find the horizontal shift, hence you should
complete the square such that:

0

0

c/a

You need to bring to a common denominator the terms
from the right side such that:

4ac)/(4a)

You need to take square root such
that:

4ac)/(4a))

4ac))/(2a)

Hence, if
-b/(2a)

The y coordinate of the vertex is
-Delta/(4a)
parabola.

Hence, the coefficient a indicates
if the parabola is concave up or down and the coordinatesof the vertex indicate the
horizontal and vertical shifts of parabola.

Please give a detailed explanation about the theme and style used in the poem "The Ballad Of Father Gilligan."

In "The Ballad Of Father Gilligan" by William Butler
Yeats, the style of a "Symbolist" poet with his use of "allusive imagery and symbolic
structures." In essence, Yeats wrote poems that suggested a superficial idea, but
selected words and sentence structure so carefully that a "subliminal" meaning was
forthcoming as well.

readability="6">

Yeats chose words and assembled them so that in
addition to a particular meaning they suggest other abstract
thoughts...

Yeats made great
use of "symbols"—in all, his poems were rather traditional, though many of his
contemporaries were experimenting with "free verse." As his writing continued throughout
his life, his style changed to a degree using language that was more rigid and
presenting his themes in a more direct manner.

Yeats poetry
as a younger writer concentrated more on "Irish myth and folklore;" his later writing
matured as did the poet, when he started to write about more current issues—at which
point his style changed dramatically.

Yeats writes "The
Ballad of Father Gilligan" in four-line stanzas, which are like paragraphs—in a poem.
The rhyme scheme of the poem is A-B-C-B. In other words,
the first and third lines of the stanza (e.g., "Gilligan" and "beds") do not rhyme, but
the second and fourth lines do (e.g., "day" and "lay."). This same
pattern is seen in the second stanza: "chair and "him" do not rhyme, but "eve" and
"grieve" do. The poem has twelve total stanzas. The title of Yeats' poem uses the word
"ballad" which generally means "song." The word "ballad" actually comes from the French
"balada," which means "to dance." One definition of "ballad," which best seems to
describe Yeats' poem is:

readability="6">

...a simple narrative poem of folk origin,
composed in short stanzas and adapted for
singing

This poem is not a
song in itself as far as we can see, but the sense of a song can
often come from the meter or rhythm of the poem. The lines move back and forth, between
four stressed syllables per line and three. (The emphasis lies on every other syllable.)
For example:

readability="13">

'I have no
rest, nor joy, nor
peace,

For
peo-ple die and
die';

And
af-ter cried he,
'God
for-give!

My
bo-dy spake, not
I!'

The
words or parts of words that are bolded indicate the rhythm of the poem. As you speak it
(poems are meant to be spoken aloud), placing stress or emphasis on those bolded
elements gives the poem a rocking motion, like a dance.

How to calculate the sum 1/[1+x/(y+z)]+1/[1+y/(z+x)]+1/[1+z/(x+y)]?

We'll calculate the denominator of the 1st
fraction:

1 + x/(y+z) =
(y+z+x)/(y+z)

The inverse of this fraction is
1/(y+z+x)/(y+z) = (y+z)/(x+y+z) (1)

We'll calculate the
denominator of the 2nd fraction:

1 + y/(z+x) =
(z+x+y)/(z+x)

The inverse of this fraction is
1/(z+x+y)/(z+x) = (z+x)/(x+y+z) (2)

We'll calculate the
denominator of the 3rd fraction:

1 + z/(x+y) =
(x+y+z)/(x+y)

The inverse of this fraction is
1/(x+y+z)/(x+y) = (x+y)/(x+y+z) (3)

We'll add (1) + (2) +
(3):

(y+z)/(x+y+z) + (z+x)/(x+y+z) +
(x+y)/(x+y+z)

Since the denominators of the fractions are
matching, we'll re-write the sum such
as:

(y+z+z+x+x+y)/(x+y+z)

We'll
combine like terms inside brackets:

(2x+2y+2z)/(x+y+z) =
2(x+y+z)/(x+y+z)

We'll simplify and we'll
get:

2(x+y+z)/(x+y+z) =
2

The result of the sum of the given
fractions is: 1/[1 + x/(y+z)] + 1/[1 + y/(z+x)] + 1/[1 + z/(x+y)] =
2.

What does the following quote from Mansfield's "The Garden Party" tell about Laura?"Little faint winds were playing chase, in at the tops of the...

The passage you have quoted reveals Laura to be sweet,
happy, light-hearted--perhaps a little frivolous--well-intentioned and in possession of
a general good will. Laura speaks of the wind by employing a pathetic
fallacy. A pathetic fallacy is a form of
personification that gives human traits to nature, animals, and
inanimate objects. It differs from personification in that personification also applies
to abstract ideas, like love and valor. She says the "winds were playing chase" and
going in and out of the open windows. Only someone very happy and simple of heart would
imagine the winds as being at play. She extends her fallacy to include the spots of
sunlight, seeing them as playing so prettily that the "warm little star" of a sunspot
deserved a kiss:

readability="6">

Darling little spots. Especially the one on the
inkpot lid. It was quite warm. A warm little silver star. She could have kissed
it.

Two things confirm this
understanding of Laura. The first is the vocabulary the narrator employs while
describing Laura's thoughts. The narrator uses words like darling, little,
and tiny. The second is the preceding context of the
quotation you've selected. Prior to noticing the playing winds and sunspots, Laura found
things friendly and daringly took big bites of her bread and
butter:

The
friendliness of it, the - the - Just to prove how happy she was, ... Laura took a big
bite of her bread-and-butter
....

Further, she "skimmed,
over the lawn," gasped, "I do love parties," heard the kitchen door "chuckling," and
hugged her brother. We also learn in the context of the quotation that she hasn't
noticed the world around her before today:

readability="6">

But the air! If you stopped to notice, was the
air always like this?

What is the solution of equation tan^2x-18tanx+72=0?

To solve the equation, we'll replace tan x by
t:

The equivalent equation
is:

t^2 - 18t + 72 = 0

We'll
apply quadratic formula to find the roots:

t1 =
[18+sqrt(324 - 288)]/2

t1 =
(18+6)/2

t1 = 24/2

t1 =
12

t2 = (18-6)/2

t2 =
6

But tan x = t1 => tan x = 12 => x1 = arctan
12 + k*pi

tan x = t2 => tan x = 6 => x2 =
arctan 6 + k*pi

The solutions of the equation
belong to the reunion of sets: {arctan 6 + k*pi}U{arctan 12 +
k*pi}.

What are the primary risk factors for hipertension?

There are many risk factors for hypertension, or high
blood pressure, these are the primary risk
factors:

Genetics – you are
more likely to have high blood pressure if your parents have
it.

Obesity – higher weight
produces more blood, which increases pressure on the
arteries.

Inactivity – in
addition to increasing the likelihood of obesity, it cause the heart to work
harder.

Stress – raises blood
pressure temporarily which weakens the artery
walls.

Age and sex – blood
pressure begins to rise in men at middle age and women after
menopause.

Smoking – raises
blood pressure temporarily but the prolonged effects is damaging to the
arteries.

Excessive salt –
salt makes the body retain water which increases blood pressure.

In Book 9 of The Odyssey, what are two points at which Odysseus mentions a desire to return home? Note: This question applies to what takes...

At the beginning of Book IX, Odysseus is talking to King
Alcinous and the rest of the Phaeacians at the feast.  At the start of the book, he
begins to tell the story of what has happened to him.  Almost as soon as he starts
talking, he mentions a desire to return home.  He tells the audience
that

...there
is nothing dearer to a man than his own country and his parents, and however splendid a
home he may have in a foreign country, if it be far from father or mother, he does not
care about it.

He says this
to explain why he left Calypso's island.  This implies a strong desire to return
home.

A second point in which he mentions the desire to
return home comes when he talks about the lotus eaters.  He mentions how three of his
men ate lotuses offered to them and no longer wanted to go home.  At that point, he
forced them back on the ship and

readability="7">

told the rest to go on board at once, lest any of
them should taste of the lotus and leave off wanting to get
home.

Again, this shows very
clearly that Odysseus is determined to return home.

What is the limit of the function (x^4-16)/(x-2), if x goes to 2?

We notice that the numerator is a difference of squares that
returns the product:

x^4-16 =
(x^2-4)(x^2+4)

We notice that the 1st factor is also
a difference of squares that returns the product:

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

We'll re-write the
function:

(x^4-16)/(x-2) =
(x-2)(x+2)(x^2+4)/(x-2)

We'll
simplify:

(x^4-16)/(x-2) =
(x+2)(x^2+4)

We'll evaluate the limit the
fraction:

lim (x^4-16)/(x-2) = lim
(x+2)(x^2+4)

We'll replace x by
2:

lim (x+2)(x^2+4) = (2+2)(4+4) = 4*8 =
32

The value of the limit, if x
approaches to 2, is lim (x^4-16)/(x-2) = 32.

How would you explain the motivation for Mrs. Sommers' shopping spree in "A Pair of Silk Stockings"?

In Kate Chopin's "A Pair of Silk Stockings," the
protagonist Mrs. Sommers finds $5 and initially plans to spend the money on clothing for
her children.  However, when she goes out shopping, Mrs. Sommers is torn between
fulfilling her assumed role as a good mother and her inner desires for freedom and
individuality.  Her family has little extra money, so Mrs. Sommers has always put her
children before herself.  But this time she cannot remain confined to the strict role of
motherhood into which she has been cast.  Mrs. Sommers is motivated to go on a shopping
spree by her inner desire to express her individuality--she is tired of thinking of
others before herself and never doing what is in her best interest alone.  The shopping
spree is a symbol for freedome and expression.

What are the slice of life characteristics in the short story ''A Day's Wait''?Give examples from the story of these characteristics.

"SLICE OF LIFE" EXAMPLES FROM "A DAY'S
WAIT"

• Schatz closes the windows
  because it had gotten cold in the house during the
  night.


• Schatz sits by the fireplace for
  warmth.


• The doctor arrives to diagnose Schatz. Although
  unusual today, doctors often made house calls during much of the 20th
  century.


• The father read pirate stories to his son while
  he was sick.


• The father took his dog for a walk and did
  some hunting along the way.


• Both the dog and the man had
  trouble walking on the slick ice, and both of them
  fell.


• The father took the boy's temperature and gave him
  a glass of water.


• Schatz misunderstands the temperature
  reading (confusing Fahrenheit with centigrade), and the father explains to him that his
  high temperature is actually normal for a bout with the
  flu.


• The next day, Schatz slowly began to relax, but "he
  cried very easily at little things that were of no
  importance."

Growing errors from a certain employee keep occuring. What are the responsibilities as an administrative medical professional in this situation?

The fact that one is dealing in a medical office makes the
error paramount. The standard applied in instances such as this is the so-called
"reasonable person" standard. What does a reasonable person do? Does one ignore the
error? Discipline the employee? Notify other parties? It boils down primarily to common
sense. The one thing that should NOT be done is to ignore the situation. To do so would
constitute actionable negligence. If the employee demonstrates a propensity to make
mistakes, then it is a reasonable assumption that it will occur again. Ones
responsibility then is to take the necessary steps to prevent the re-occurence of this
type situation by whatever means is necessary. Lawyers being lawyers, they will go for
the "deep pocket" if injury occurs. Do not allow the situation to
continue.

What are the differences between science and other types of knowledge?This is for an introductory Biology course.

I believe that your question asks for the contrast between
science, as an investigative field, versus other fields of study that also gather data
with the aim of finding enough evidence to prove a point. If I am wrong, I am sure
another editor will pick up after my answer and get to the gist of
it.

My answer is that science is aimed to follow a specific
process, namely the scientific method, in order to obtain information. This process is
outlined below in simple vocabulary:

1. Formulate your
question- What do you want to find out?

2. Gather the data-
Get all the info you need.

3. Stipulate a hypothesis- Give
yourself a "yay" or "nay" on whether you will prove yourself right or wrong. Either way
will be OK.

4. Conduct your experiment-Test it
out.

5. How did your hypothesis fare?- Is your "yay" or
"nay" right, or wrong?

6. Make a conclusion based on your
findings.

This being said, not every field that requires
investigation follows the scientific method. Hence, you could argue that the scientific
method at least allows you the benefit of using multiple steps to establish a
conclusion.

Although other fields may use quantitative
research to infuse the scientific process to it (this is true for any field that wants
to try a new intervention), in science you deal less with philosophy and more with raw,
attainable data.This is because this field often uses readily-available resources found
everywhere in nature. This is, of course assuming that you are referring to natural
sciences.

For example, establishing a correlation between
E.Coli and hemorrhagic diarrhea is easier than establishing a correlation between
teaching the ABC's in a native language to an ESL learner, than doing the
opposite.

As you can see, science is everywhere you look.
It is a field of life and nature which helps us understand our everyday lives with more
accuracy than other fields because the "tools of the trade" are right in front of our
eyes.

What is the geometric interpretation of the system of equations y=y^2-x+1 y=3-2x

The geometric interpretation of the system means to check
if the given line and parabola are intercepting in 2 points, one point or any point at
all.

We'll solve the system putting the 1st equation equal
to the 2nd one.

x^2 - x + 1 = 3 -
2x

We'll move all terms to the
left:

x^2 - x + 1 - 3 + 2x =
0

We'll combine like
terms:

x^2 + x - 2 = 0

We'll
apply quadratic formula:

x1 = [-1+sqrt(1 +
8)]/2

x1 = (-1+3)/2

x1 =
1

x2 = -2

The y va;ues
are:

y1 = 3 - 2x

y1 =  3 -
2

y1 = 1

y2 = 3 +
4

y2 = 7

The solutions of the
system are the pairs: (1 , 1) and (-2 ,
7).

Since the system has 2 solutions, that
means that there are 2 intercepting points of the line and parabola and they are:  (1 ,
1) and (-2 , 7).

What is the poem "The Eagle" by Lord Alfred Tennyson about?

This little gem of a poem packs quite a vivid description
of an eagle into a mere 6 lines!  The poem describes a lone eagle as it perches on a
stoney outcrop above water below.  In the last line of the poem, the eagle takes flight
and soars down to possibly catch some prey.  The poem is filled with alliteration in the
first line with all of the harsh "c" sounds:  He clasps the crag of crooked hands."  His
isolation is emphasized by the alliteration in line 2 "lonely lands."  There is a
wonderful description of how the water would look from above when it is described as a
"wrinkled sea" that "crawls."  The last line of the poem plays off of an allusion to the
might Zeus whose symbol/weapon is the lightning bolt.  The line says that the eagle
falls like a lightning bolt suggesting speed and power as he launches off his mountain
wall down towards to the water below.

Compare and contrast Willy Loman in Death of a Salesman with David Malter in The Chosen.

Willy Loman's character is summed up in the remark made by
author Arthur Miller:

readability="7">

the central situation of contemporary
civilization. ... is that we are struggling with forces that are far greater than we can
handle, with no equipment to make anything mean
anything.

On the other hand,
David Malter's character can be summed up when he says in Chapter 18 that he is glad
that he isn't a tzaddik with the responsibility and burden of raising a son to be the
next tzaddik.

Both Willy and David have incidents when their lives
approach their final ends, however there are contrasts within this similarity. Willy's
approach to the end of his life is by his own choice and at his own hand. David's is
health failure he is suddenly stricken with. Willy's attempt on his life is successful
and ends in his death. David recovers from his undesired brush with death. In addition,
the motivations compelling each man at the time of their death and near-death
experiences are quite different.

Willy is crushed within his soul
because he has failed in his desires, efforts and expectations: reality interfered with
the fulfillment of his image of financial and family success. On the other hand, David
has dedicated himself to a pursuit of a higher order, that of establishing a homeland
for Jews following World War II. One man sacrifices himself to atone for his failures by
leaving the payout of a life insurance policy worth $20,000  to his surviving family.
The other man sacrifices himself to contribute to the grand collective task of building
a homeland for persecuted Jews who had been exiled and exterminated all throughout their
history, with the ultimate assault being in World War II at Hitler's
hands.

In practical terms, Willy is a distanced and preoccupied
husband and father with unrealistic expectations, including his dreams for his boys,
though he envisions himself as something different and much better. He works hard and at
one time provided amply for his family though time and circumstance has changed that.
David is a generous and loving father and friend to his son and his son's best friend
while being a sound and steady success in life. He humbly values freedom of expression
and self-fulfillment above stringently enforced dedication to traditions (even important
ones), though he gives his all to what he ardently believes in.

In
sum, Willy and David are alike in some important life circumstances (e.g., encounters
with death) and in their devotion to working hard for what they value. They differ in
their overall circumstances (Willy is governed more strictly by externals) and in their
levels of success as well as in their ability to see realistically. Nonetheless, they
both have the courage and dedication to sacrifice themselves for what they see as a
higher value:

readability="7">

WILLY LOMAN: Does it take more guts to stand here
the rest of my life ringing up a zero? ... And twenty thousand—that is something one can
feel with the hand, ....

How do I analyze diction in a poem?Maybe you can help by using Sonnet 73 as an example.

When a reader analyzes diction in a poem they are paying
special attention to the word choices made by the poet.  The reader
should give thoughtful consideration to the denotation (dictionary definition)
and the connotation (thoughts, feelings, associations)
of specific words in the text. The reader is trying to discern why the poet
used the words that he did. Here are examples of diction -- one from each section of the
sonnet.

In Sonnet 73, Shakespeare has a speaker talking
about how he is aging.  Each of the three quatrains use a metaphor of aging to help make
his point.  In the first quatrain, the poet uses the metaphor of life being like a
calendar year -- with old age coming the fall and death coming in winter.  Within this
quatrain, he uses the word "choirs" to describe the now empty branches of a tree without
leaves and without birds.  The word evokes the beauty of a full choir singing and leaves
the reader to imagine how quiet and strange this is
now.

The second quatrain compares life to a single day,
with old age coming in the evening, and death coming at night.  Here he uses the word
"seals."  Seals suggests lots of ideas that relate to death and sleep: the seals are
sealed shut, the coffin is sealed closed, a will can be sealed and made official. 

In the third quatrain he compares life to a fire, with old
age being the last vestiges of the fire as it is being smothered by it own ashes. He
uses the word "consumed" to connotatively suggest that the fire eats the wood/fuel that
gives it life or "nourishes" it as the end of the line says. 

Write about "the rise of gangsters in America during the 1920's."

Although he did not come to absolute power until 1931,
Charles "Lucky"
Luciano was the leader of an up-and-coming group of
gangsters who would eventually rule New York City's organized crime families. Arriving
in NYC from Sicily as a 10 year old, Luciano was already making more than $12 million
per year by 1925, primarily in bootlegging and gambling. However, he had restrictions
put upon him by one of New York's two old-style Mafia dons (or "Mustache Petes")--Joe
"The Boss" Masseria. Masseria had long been battling his arch rival, Salvatore
Maranzano, and their bloody feud between 1928-1931 came to be known as the
Castallammarese War. After Luciano survived a "one-way ride" assassination attempt by
Maranzano hit men in 1929, Luciano cunningly cut a deal with his would-be killer:
"Lucky" would get rid of Masseria if Maranzano made Luciano his #2 man. Maranzano
agreed. As Luciano dined with Masseria one day, he suddenly excused himself to use the
restroom. Three future gangster legends--Bugsy Siegel, Joe Adonis and Vito
Genovese--entered the restaurant and shot Masseria to
death.

Maranzano was now the undisputed Mafia leader of New
York City, the Boss of Bosses--for all of five months. Believing that Luciano had become
too powerful, Maranzano ordered a hit on his second-in-command. But Luciano already had
plans to kill Maranzano, and he was able to beat his boss to the punch by a mere matter
of minutes. In September 1931, Luciano associate Meyer Lansky assembled a hit team who,
disguised as government agents, murdered Maranzano in his office. On their way out of
the building, they met Marazano's top hit man, "Mad Dog" Coll, coming up the stairs
intent on killing Luciano.

Though the popular Luciano was
now the true Boss of Bosses, he quickly eliminated the title, fearing it would cause
more warfare between the rival families. He determined to make organized crime a
true business, reorganizing the Five Families of New York, a group who would work
together (most of the time) to make their illegal activities more profitable than ever.
Luciano became the head of The Commission, a group of top family leaders who would make
decisions for all of the families.

Luciano's reign over The
Commission was relatively short; he was sentenced to 30+ years in prison for Federal
income tax evasion in 1936. He was succeeded by his underboss, Genovese, and then his
consigliere, Frank Costello, though Luciano still gave orders from his prison cell.
Luciano was released from prison in 1946 and deported to Sicily, but he still oversaw
many of his family's decisions and was given the honorary title Capo Di Tutti i Capi
("Boss of Bosses") in the 1950s. Luciano died of a heart attack in Naples International
Airport in 1962. His old friend, Carlo Gambino, spoke at his
funeral.

Which of the following lowered the voting age from 21 to 18?A) Thirteenth Amendment // B) Twenty-sixth Amendment // C) Twenty-eighth...

All you have to do to get this answer is to look in the
Constitution in the back of your history book.  All the amendments are listed and they
are not really all that long.  If you look there, you will see that the 26th Amendment
was the one that gave people 18 and over the right to
vote.

This amendment was ratified in 1971.  It is generally
believed that the amendment was able to pass because of the Vietnam War.  Most people
would say that public opinion came to favor allowing 18 year olds to vote because they
were being drafted and sent to fight in Vietnam.  If they were old enough to fight for
their country, the logic went, they were certainly old enough to be allowed to
vote.

For this reason, 18 year olds were given the right to
vote.  The correct answer is B.

What is the distance between the planes -6x+9y-9z=27 and 2x-3y+3z=12 ?

To calculate a distance between two planes, the planes
must be parallel. We'll verify if the given planes are
parallel.

We'll divide the first equation -6x+9y-9z=27 by
3:

-2x + 3y - 3z = 9

We'll
multiply by -!:

2x - 3y + 3z =
-9

We notice that the coefficients of the first equation of
the plane are the same with the coefficients of the second plane, therefore the planes
are parallel.

The distance between the given planes is the
distance from a point located in a plane to the other
plane.

Now, we'll choose a point located in the first
plane: M(0,0,2).

The distance formula
is:

d(M,P2) = |2*0 - 3*0 + 3*2 + 9|/sqrt(2^2 + (-3)^2 +
3^2)

d(M,P2) =
9/sqrt22

d(M,P2) =
9sqrt22/22

The requested distance between the
given planes is d(M,P2) = 9sqrt22/22.

In what time period does The Road take place?

We are never told precisely when the novel is set,
however, from the descriptions of the devastation that some kind of apocalypse has
caused, and from the flashbacks that the novel includes, we can infer that it is set in
the near future, as people lived their lives as they do today. Note the description of
the house that they enter where the father grew up:

readability="8">

They walked through the diningroom where the
firebrick in the hearth was as yellow as the day it was laid beause his mother could not
bear to see it blackened. The floor buckled from the rainwater. In the livingroom the
bones of  small animal dismembered and placed in a pile. Possibly a cat. A glass tumbler
by the door.

We can see that
houses in the novel, apart from the obvious destruction, are how we expect houses today,
which suggests that the novel is set in some kind of immediate future. Note how this
setting increases the shock impact of the novel. Again and again, the contents of the
novel, as horrific as they are, are not completely removed into the realm of fantasy.
This could happen and we would probably react in the same way, the setting of the novel
seems to stress. We too could descend into a complete anarchic state after the end of
civilisation thanks to some kind of dystopian disaster.

I would like some help in identifiying a theme that is beginning to emerge within the chapters 10-15 of The Kite Runner.

I just finished a semester of teaching Middle Eastern
translation literature, so this question is relevant and
of-the-moment.

Hosseini plays with quite a few themes
throughout his novel, some of which are to introduce us to Afghan history and
culture through a Western lens (meaning a history Westerners can
understand).

Starting in Chapter Ten, we've basically
sprinted forward in Amir's life--because those sixyears are inconsequential towards the
achievement of Amir's growth which he has yet to do.  You'll do the same thing in
Chapter 14, when Rahim Khan phones and reminds Amir that, "there is a way to be good
again."  It's the challenge to admit to past mistakes and essentially 'man
up.'

You'll find throughout the story that Hosseini plays
w/intertexuality (Sorah= part Oedipus, part
Iliad, part Achilles) and we certainly gain an
understanding of the Afghan people and their culture (pre/post Taliban) through the 
history and liberal sprinkling of Afghan words.  Take for example this quote from
Chapter Ten:

readability="10">

You couldn't trust anyone in Kabul...for a fee
or under threat, people told on each other, neighbor on neighbor, child on parent,
brother on brother.

Imagine
what life would be like if you couldn't trust anyone.  Anyone!  That said, even after
the move to America there is still an issue of trust,  Consider this example from Baba
trying to purchase items at a grocery store.

readability="5">

What kind of country is this?  No one trusts
anybody!

The theme of trust
continues, but more important, we see that Baba isn't adjusting to his new life, while
Amir embraces the chance to forget:

readability="7">

America was different.  America was a river,
roaring along, unmindful of the
past.

Amir can reinvent
himself and try to allay the memories of Hasaan that continue to haunt him.  More
American than Afghan, Amir tries to embrace his new American way of life, but finds that
at every turn he is reminded of tradition, culture and the Afghan
way.

We also learn that the Afghans have a long history of
war (Russian invasion predates the Taliban...and Americans) and that really, war is a
way of life and to escape it means fleeing.  To survive, the Afghan people forge a new
community, complete with the old traditions, in America.  So even though they're
"unhomed' (a post-colonial theory term), they are able to bond and salvage their
traditions and sense of community.

You see again that sense
of tradition in the interplay with Amir and Soraya.  Amir is unable to start up a direct
conversation with her because tradition matters, and even though Soraya is a 'fallen
woman,' duty, honor, pride, and tradition are huge factors. So, the underlying message
is to embrace culture, no matter where you end up.

An
equally prevalent and important theme is honor and pride--traits tantamount to an Afghan
man and, as you've already seen, Amir is not capable of honor...yet.  Baba, who seems to
be the most heroic character (at least to Amir) is tainted, too.  There is also the
recurring theme of Amir's search for Baba's love.

I
loveteaching this book because Hosseini is brilliant in how much
culture he injects.  In just these five short chapters go back and see how much you've
learned of Afghanistan and her people.

Even though I know
this book well, I recommend taking a look at the e-notes Study Guides and the
politics/culture link below for some different approaches.

What are Jane's feelings as she returns to Thornfield in Jane Eyre?

The answer to this question can be found in Chapter
Thirty-Six, when Jane leaves Moor House, which had been a sanctuary for her, to return
to Thornfield Hall and a very uncertain future, knowing nothing of what has transpired
with her former master and lover, Edward Rochester. It is clear however, that in spite
of this uncertainty, Jane is exultant to be returning. Note the simile that is used to
describe her feelings as she leaves Moor House:

readability="6">

Once more on the road to Thornfield, I felt like
the messenger-pigeon flying
home.

Clearly the way that
Jane identifies herself with a messenger-pigeon indicates her own sense of identifying
with Thornfield Hall, and, much more importantly, its owner. In addition, note how her
walk back to Thornfield Hall is described:

readability="15">

There was the stile before me--the very fields
through which I had hurried, blind, deaf, distracted, with a revengeful fury tracking
and scourging me, on the morning I fled from Thornfield: ere I knew what course I had
resolved to take, I was in the midst of them. How fast I walked! How I ran sometimes!
How I looked forward to catch the first view of the well-known woods! With what feelings
I welcomed single trees I knew, and familiar glimpes of meadow and hill between
them!

The sense of excitement
and aniticpation is obvious through the repeated exclamations that describe her joy of
returning, compared to the way in which she was forced to flee Thornfield so long
ago.

Solve: e^2x + 5e^x = 24

The equation e^2x + 5e^x = 24 has to be
solved.

Look at the terms e^(2x) and e^x, the former is the
second power of the latter. Let us write e^x = y. The equation now
becomes:

y^2 + 5y = 24

y^2 +
5y - 24 = 0

y^2 + 8y - 3y - 24 =
0

y(y + 8) - 3(y + 8) = 0

(y -
3)(y + 8) = 0

y = 3 and y =
-8

Now the power of a positive number is always positive.
As y = e^x and e is a positive number e^x cannot be equal to -8. This leaves e^x =
3

Taking the natural log of both the
sides

x = ln 3

The solution of
the given equation is x = ln 3

What is the antiderivative of the function given by y=(36-x^2)^1/2?

To determine the antiderivative, or the primitive of the
given function f(x) = y, we'll calculate the indefinite integral of
f(x).

Int f(x)dx = Int sqrt(36 -
x^2)dx

We'll factorize by
36:

Int sqrt[36(1 - x^2/36)]dx = 6Int sqrt[1 -
(x/6)^2]dx

We'll substitute x/6 =
t.

We'll differentiate both
sides:

dx/6 = dt

dx =
6dt

6Int sqrt[1 - (x/6)^2]dx = 36 Int sqrt(1 -
t^2)dt

We'll substitute t = sin
v.

We'll differentiate both
sides:

dt = cos v dv

36 Int
sqrt(1 - (sin v)^2)cos v dv

But 1 - (sin v)^2 = (cos v)^2
(trigonometry)

36 Int sqrt(1 - (sin v)^2)cos v dv = 36 Int
sqrt[(cos v)^2]cos v dv

36 Int sqrt[(cos v)^2]cos v dv = 36
Int [(cos v)^2] dv

But (cos v)^2 = (1 + cos
2v)/2

36 Int [(cos v)^2] dv = 36 Int (1 + cos 2v)/2
dv

36 Int (1 + cos 2v)/2 dv = (36/2) Int dv + 18 Int cos 2v
dv

36 Int (1 + cos 2v)/2 dv = 18v + 9 sin 2v +
C

Int f(x)dx = 18v + 9 sin 2v +
C

The antiderivative of the function is F(x)
= Int f(x)dx = 18*arcsin (x/6) + 9*sin [2arcsin (x/6)]+
C.

How is it true that where knowledge should be strength, it turns out to be a weakness in Doctor Faustus.

This is an abstract question that doesn't have any real
evidential substantiation in the text of Marlowe's Doctor Faustus,
yet it is a central thematic point. In fact, it is the point upon which the whole
premise of Doctor Faustus is built.

In most
contexts, knowledge is recognized as the greatest liberating factor in life. If one
knows one's worth and rights, one will no longer submit to being oppressed by a tyrant's
or bully’s hand. If one knows the facts and abstractions and the fine points of thought
that come from an extensive education in academia or in a craft, one no longer is bound
to limited opportunity and poverty. If one knows the workings of the essential makeup of
the universe, one can liberate oneself from dependence upon manual labor; more
importantly, if one knows the dangers of experimental technology, one can protect
oneself, family and planet from toxic poisoning.

In Faustus's case, he
had mastered knowledge from medicine to law to theology and everything else in between.
The Chorus in Act I explains his academic mastery by saying that he was "glutted now
with learning's golden gifts," meaning he had mastered all available knowledge in every
available field of study. The Chorus also describes how the strength of knowledge has
turned to weakness for Faustus by comparing him in a metaphor to Icarus who, despite
warnings against it, flew too near the sun with waxen wings. They say of
Faustus:

Till
swoln with cunning, of a self-conceit,
His waxen wings did mount above his
reach,
And, melting, heavens conspir'd his overthrow;
For, falling
to a devilish exercise,
And glutted now6 with learning's golden
gifts,
He surfeits upon cursed necromancy;
Nothing so sweet as magic
is to him,

The strength of
knowledge turns to weakness when it becomes the all-consuming importance in life; when
one "prefers [knowledge] before his chiefest bliss," which, according to Marlowe, is
spiritual knowledge that must accompany other fields of knowledge; when one is willing
to forfeit one's inner "chiefest bliss" for all-consuming
greatness.

What fact from the past brings August and Lily so lovingly together in The Secret Life of Bees?

I assume you are refering to the revelation of Chapter
Twelve, which is when Lily and August finally have a long-anticipated discussion about
Lily's past and in particular her relationship with her mother. It is in this chapter
that Lily discovers that August had known all along that she was Deborah's daughter, and
in fact that she had worked as the housekeeper for Deborah's family and had therefore
developed a very close friendship with Deborah. August tells Lily that she knew Lily's
mother incredibly well:

readability="7">

"I used to take care of her," August said. "I
ironed her dresses and packed her school lunch in a paper bag. She loved peanut butter.
That's all she wanted. Peanut butter Monday through
Friday."

This shared
relationship with Deborah, Lily's mother, is the fact that unites August and Lily
together and helps Lily to begin to process the whole gamut of feelings and emotions she
has about her mother. It is what August tells her about Deborah and the objects that
belonged to Deborah that she gives to Lily that help start this
process.

Make a list of characteristics of the Modern and Contemporary Periods.

This question is actually very hard to answer in regard to
one aspect...the Contemporary Period. Given that the Contemporary period is "now", the
characteristics are, basically, yet to be determined.

The
Contemporary Period, given it is a current movement, is happening now. Therefore, until
a new movement begins, it is very hard to actually define the typical characteristics of
Contemporary writers. That being said, one could begin to define what the typical themes
of this movement are.

Today's writers seem to be defined by
their ability to speak to the new generation of readers. The genre is filled by the
influence of today's media and trends. For example, the supernatural movement has
exploded in the last 10 years (think Harry Potter and
Twilight). Another typical theme of this period deals with the
struggles of today's youth (think The Hunger Games and
Crank).

The Contemporary movement is
then defined by all types of characterizations, themes, and (unfortunately) stereotypes
and generalizations. Fortunately, the Contemporary period has allowed new readers to
find material in which they can relate to- bullying, alienation, self-preservation, and
escape.

As for the Modern Literary Period, this movement is
much easier to define given it has already existed and been defined by critics and
readers alike.

Typical characteristics of the Modern Period
include the quest for the "American Dream" (which includes pride in Nationalism and
individualism) while embracing optimism in ones own future and dreams. Given this period
began with the onset of a new century (1900s), literature and arts focused on
technological advancement and class control because of the ever changing
population.

Compare Animal Farm to Romeo and Juliet on the issue of problem solving.

One similarity between both works is that they show that
characters are able to take action to solve problems.  The animals solve their
fundamental problem of Jones' mismanagement of the farm.  Romeo and Juliet set out to
solve the fundamental problem of their families preventing them from being together. 
Both sets of characters do not assume passivity in solving the problem in front of
them.  I think that from this, some divergence is present.  Both Romeo and Juliet seek
to solve a problem that only exists between them.  This is a problem that applies to
only themselves, as they do not seek to rectify the social or political system that
keeps them apart.  Their problem is not a political one, but a personal one.  It is here
where the animals on Animal Farm are different in that their problem is political.  Once
the pigs grasp the meaning of Old Major's message and learn how to read and write, they
solve their political problem by assuming the mantle of leadership.  It is here where
there is difference between both sets of characters in that the nature of their problems
are solved through individual action, though the type of problems are fundamentally
different.

What does the poet Walter Raleigh want to show us in the poem "A Farewell to False Love"?I would like an understandable analysis of this poem.

Sir Walter Raleigh's poem "A Farewell To False Love" is an
extended metaphor poem. Raleigh is simply comparing false love to many different things
he feels he can compare fraudulent love to.

IN the end,
Raleigh declares that any love which one deems false is "a dead root where all these
fancies grew."  By saying this, Raleigh is admitting that some, including himself, may
try to make love into something is can never be. If the root of the love is poisoned, it
cannot survive.

Basically, Raleigh is giving the reader
multiple images to which they can associate a false love to. I believe that he does this
so as to relate it to as many people as he possibly can. He wants to warn people about
the problems associated with love gone bad.

This being
said, the most important part of the poem would seem to be the title. Raleigh is
admitting that one must say goodbye to a love that is poisoned or wrong. The love will
never be able to change from what it is given the root of the love is dead. The love
will always be dead given a healthy root, or base, is absent.

Find real solutions for the quadratic function 2x^2 -5x -8 = 0

Given the quadratic equation 2x^2 -5x -8 =
0

We will use the quadratic formula to find the
roots.

==> x= (-b+-sqrt(b^2-4ac)/
2a

We will
substitute:

==> a = 2       b= -5      c=
-8

==> x1= ( 5+sqrt( 25-4*2*-8) /
2*2

           = (5+ sqrt(89) /
4

==> x2= (
5-sqrt(89)/4

Then the real solutions for the function
are:

x = { (5+sqrt89)/4  , (5-sqrt89)/4
}

In the story To Kill a Mockingbird, The law suggets that Atticus should be a bit flexible. How flexible should he be?

I'm not sure where "flexibility" is mentioned concerning
Atticus in To Kill a Mockingbird, but the attorney is forced to
tiptoe around Mayella during her testimony. Atticus knows that he must treat the subject
of Tom's rape delicately while questioning young Mayella, but she immediately has to be
cajoled by the judge to answer Atticus' questions since she believes he is "mockin' "
her. There is no doubt that Atticus would likely have been much tougher on her, but he
recognized that her animosity toward him would have to be lessened. Atticus addressed
her politely, but Mayella took his honest, gentlemanly manner as deliberate sarcasm.
Nevertheless, Atticus "rained questions" upon her, and Scout saw a look on his face that
indicated that his tactics made him sick to his stomach. Likewise, Atticus treated
Mayella's father politely and with the same respect he showed all people, though Atticus
detested Bob Ewell.

Why was so important religion in Prehistoric times?

Thomas Hobbes once said that man explains that which he
cannot explain in terms of God. Religion was important during pre-historic times as it
is now; it was a way in which people could explain that which they could not explain.
Figurines that have been found among Cro-Magnon artifacts often display pronounced
feminine features and often appear to be pregnant. Remains of early settlements in
Turkey such as Catal Huyuk have bull-like objects prominently displayed. The Bull was
later a symbol of strength and fertility in later civilizations--Baal, the Phoenician
god of the storm, was often portrayed with bull-like features. Obviously, early man drew
the connection between fertility and increases in both wildlife which he hunted and the
vegetable items which he gathered.

Interestingly, even
Neanderthal man seemed to have had some sense of religion. Many Neanderthal burial sites
indicate pollen from flowering plants--the dead were buried with ceremony, including
flowers. Neanderthal apparently had some sense of life after death. Here again, the age
old question of "what happens when we die" was explained by early people by adopting
religious beliefs.

How can a corporation be seen as responsible?

I assume that you are asking what a company can do to make
people feel that it is a socially responsible firm.  If so, the main thing it can do is
to act in ways that are beneficial to society as a whole even if (or especially if) they
are not in the immediate best interests of the company.

An
example of this might be Wal-Mart.  Wal-Mart has adopted a number of policies in recent
years that are meant to reduce the impact that it has on the environment.  It has, for
example, been pushing its suppliers to reduce the amount of packaging that they use.  It
has also been taking steps to reduce the amount of fuel that is used by its huge fleet
of trucks.

Actions like this make a company look much more
responsible because it makes the company look as if it cares about something over than
pure profit.  (Of course, this can end up helping the company if people buy more from it
due to its improved image.)

whats a persasive essay look likeno

There is a lot to agree with in the above
answer:

1.  Yes, the intro needs to have a opening sentence
that grabs the reader's attention followed by a strong thesis, generally written in one
sentence stating your three areas of support (For example:  The three principal reasons
that I support some candidate is that she has a proven track record of addressing her
constituents' concerns; she supports many of the concerns that I personally have; she
has never been reprimanded by her governing body in her entire professional career.).
 This is the then followed by a lead in sentence that makes the reader want to continue
to read!

2.  Yes, you need proof.  So for each body
paragraph (three total), you should take each area of support and well, support it!
 Prove that the candidate addresses her constituents' concerns in Body #1; prove that
she supports personal concerns in Body #2; and prove that she has never been reprimanded
in Body #3.

3.  Yes, use powerful and power-filled words.
 Don't use "25 cent" words when you can use something more meaningful  Don't said "said"
if you can use "declared."  Don't use "went" if you can use
"traveled."

4.  Now here is where I part ways with above
response.  I would NEVER show the other side's concern.  Next thing you know....you
proved their point!

5.  Yes, reiterate your thesis.  And
close with a nice "ribbon" on top your completed
package.

Also...remember to start each body paragraph and
the conclusion with a transitional phrase or word.

Good
practice - I know, practice is a dirty word - is to try to write from the opposing side.
 If you can prove a point that you are AGAINST, you are sure to be able to prove one you
FAVOR!

Good luck!

From Shakespeare's Hamlet, could someone give me an example of a semantic shift?

A "semantic shift" is the same as a "semantic change." In
terms of linguistics, it appears that it is simply a "shift" in the meaning of a word
relative to the time it is used. Some words in Hamlet, by William
Shakespeare, for example, may have been used one way in the past, but are used very
differently today, or not at all. E.g., in a more modern context, for example, "bad"
used to mean "awful," but with the advent of slang, and Michael Jackson's song of the
same name, "bad" came to mean "cool" or "tough." This is one of many reasons that the
English language is so difficult to understand and/or learn. What we say is not always
what we mean.

In terms of writing of the past, what was
said then is not always perceived today in the context of how it was used in days gone
by. It is often easier to understand a word when we can look at its etymological
development: the history, meaning and "shifts" a word has gone
through.

As an example, looking at etymologies, we can
understand from what language a word evolved, or how it was created in the first place.
Look at the word " href="http://www.etymonline.com/index.php?term=escape">escape." It comes
from the old French, around 1300.  This is its etymology or semantic
history:

readability="14">

c.1300, from O.N.Fr.
escaper, O.Fr. eschaper (12c., Mod.Fr.
échapper), from V.L. excappare, lit
[literally], "get out of one's cape, leave a pursuer with just one's cape,
...."

The idea was that if
two men were fighting, one might grab the other by his cape, whereby the man captured
needed only to release the clasp of his cape and he was free, while his attacker held
only a cape in his hands. Etymologies can be fascinating. The growth of and change in
words is also seen in "semantic shifts." In Hans Heinrich Hock's 1986
publication, Principles of historical linguistics (Berlin: Mouton
de Gruyter), he states:

readability="8">

historical linguistics cannot ignore semantic
change. For unless we can relate words such as Old English hlāf
‘bread’ and New English loaf not only phonetically but
also semantically, it is impossible to trace many historical
developments....

In looking
at Hamlet, we are faced also with "the historical development of
words." In the context of Shakespearean English, we often find it difficult to
understand unless we alter the order of the words, or look into meanings of words that
are considered archaic today.

As an
example, in Act Three, scene one, in Hamlet's famous "To be or not to be" speech, we
find a word that is used differently then than it is today. Hamlet
says,

...When
we have shuffled off this mortal coil...
(III.i.74)

This literally
means, "after we have cast away the ' href="http://dictionary.reference.com/browse/hurly+burly">hurly burly' or
confusion of our mortal lives." Coil is used in a much different manner in modern
speech. In Hamlet, "mortal coil" means "life," but when we speak of
coils today, there is no such connection. Today, href="http://dictionary.reference.com/browse/coil">coil used as a noun
means something tightly wound, like a Slinky:

readability="5">

"a connected series of spirals or rings into
which a rope or the like is
wound..."

Whereas an
Elizabethan audience would understand the language, so many years later, it is lost to a
modern audience. This is also why comic relief used in Shakespeare's plays is often not
as amusing to a modern audience, or why allusions made during that era are not timely or
effective today. It is because of the separation of time, and the semantic
shift, that the way in which words are used today is different than in the
past.

As another example, in the same speech, Hamlet refers
to "despised love" which we would believe to mean "hated" love, however in translation
today, it means "unrequited" or unreturned love. (79)

Is there any other evidence relating to Jem's maturation in To Kill a Mockingbird besides Jem urging Scout to stop antagonizing Aunt Alexandria?

Like sister Scout, Jem also matures during the time frame
that encompasses To Kill a Mockingbird. One of his first learning
experiences came when the children's secret knothole was cemented by Boo's brother. Mr.
Radley told Jem that he enclosed the knothole because the tree was dying; Atticus
explained that the tree was fine, and Jem realized for himself that Radley had lied. He
had closed off the hiding place so Boo could no longer communicate with his young
neighbors.

Jem grew up a bit more following the death of
Mrs. Dubose, and took another big leap when he recognized the injustice of the jury's
verdict against Tom Robinson, declaring that "they oughta do away with juries." He
became upset later when Scout mentioned Miss Gates' conversation at the courthouse,
telling Scout angrily that "I never wanta hear about that courthouse again, ever, ever,
you hear me?" But perhaps the most important sign of Jem's growing maturity came when he
first entered the seventh grade: Now a high schooler, he went out for the football team
(but he was so small that he was only used as a water boy).

Does Holden's description of how he would deal with the “glove thief” support his pacifism, or is he just “yellow” in The Catcher in the Rye?

I think that Holden might be "yellow" in this instance. 
There is much to indicate that Holden contradicts himself so much that he lacks the
moral certainty and fortitude to effectively embrace pacifism.  Yet, even if this is put
aside and we take a leap to presume that Holden is a pacifist, his analysis about how he
would not effectively confront the glove thief is not rooted in a set of pacifist
philosophical beliefs.  Rather, he simply accepts the fact that he is not able to follow
through on his desire for retribution.  He admits to being "yellow," but it might also
be reflective of the lack of direction and focus in Holden's value set and his life. 
There is much in way of misdirection in Holden and his inability to confront the glove
thief is a part of it.  This same inconsistency is evident in his accepting of the
prostitute, even though he has previously claimed that "sex should be in a
relationship."  It is also evident in his inability to follow through with being in the
prostitute.  The emotional impotence of action in Holden's state of being in the world
is what defines Holden and it is evident in this moment with the glove
thief.

Is the novel Lord of the Flies pessimistic about the human capacity of good?

Kind of. I think Golding was studying the capacity of
humans to function together or do good without the covering of
civilization.

We see in the beginning, when Ralph is
elected chief and Piggy (one of the symbols of civilization) is there to advise him that
there is relative peace on the island. While things are not perfect, on the whole the
boys get along and at times are even rather caring to each
other.

However, when civilization starts falling away (Jack
leaves, his tribe steals Piggy's glasses, they kill Piggy and Simon) humanity also falls
away and the boys revert to the pre-civilized era of the
'savage'.

Now, when civilization (which is what separates
us from the animals) is gone...the behaviors associated with civilization also
disappear. Kindness, sharing, looking out for the needy in society, and similar
characteristics of a "civilized" society leave and yes...the author definatly expresses
doubt that humans capacity for good can exist under these
conditions.

In short, I believe that Golding is saying that
government and societal order are essential for humans to be all they can be, but
without the protection of civilization humans do not know how to elevate the human
condition.

At what points is the curve y=x^1/3*(x+3)^(2/3) concave up and concave down.?

The function we have is
y=x^(1/3)*(x+3)^(2/3).

This function is concave up when it
stops decreasing and starts to increase instead. It is concave down in the opposite
scenario when the function is no longer increasing but starts to
decrease.

y=x^(1/3)*(x+3)^(2/3)

y'
= [x^(1/3)]'*(x+3)^(2/3) + x^(1/3)*[(x+3)^(2/3)]'

y' =
(1/3)*x^(-2/3)*(x+3)^(2/3) + x^(1/3)*(2/3)*(x+3)^(-1/3)

y'
= (1/3)*[(x+3)/x]^(2/3) + (2/3)*[x/(x + 3)]^(1/3)

y' =
[(1/3)*(x+3) + (2/3)*x]/x^(2/3)*(x + 3)^(1/3)

y' = (x +
1)/x^(2/3)*(x + 3)^(1/3)

We see that there is only one
point of inflection which is where the function stops increasing or
decreasing.

The point of inflection is at x =
-1.

Here, the function is increasing on the right till x =
0, where the slope becomes infinity and decreasing on the left from x =
-3.

The curve is concave up in the region (-3
, 0). It is not concave down anywhere.

Discuss how Della's thoughts, words and actions help reveal her personality to the reader in "The Gift of the Magi."

I would say the biggest aspect of Della's character that
emerges from her thoughts, words and actions in this tremendous story is the way in
which she loves Jim and is willing to do anything she can to get him a gift that she
feels is worthy of that love, even if it involves self-sacrifice. The very first
paragraph of the tale makes it abundantly clear how hard she has been trying to save
money to buy him a present:

readability="6">

Pennies saved one and two at a time by bulldozing
the grocer and the vegetable man and the butched until one's cheeks burned with the
silent imputation of parsiony that such close dealing
implied.

Thus it is revealed
to us that Della has faced shame and censure for Jim, and above all, her action in
sacrificing her hair for Jim reinforces her love for
him:

So now
Della's beautiful hair fell about her rippling and shining like a cascade of brown
waters. It reached below her knee and made itself almost a garment for her. And then she
did it up again nervously and quickly. Once she faltered for a minute and stood still
while a tear or two splashed on the worn red
carpet.

Della's willingness
to sell her hair, which is clearly her pride and joy, for Jim so that she can buy him a
present worthy of her love for him indicates, more than anything else how much she cares
for and loves her husband.

What literary device does Kipling use in the short story "Rikki-tikki-tavi"?

Literary devices include both
elements and
techniques. Literary
elements are things that must have a
place in all stories: form, structure, characters, setting, point of view, etc.
"Rikki-tikki-tavi" is a variation on the form of a fable. A
fable is a short story that teaches a lesson through the exploits of animals that talk,
have personalities, and have adventures in which good overcomes evil or in which some
other virtue is taught. Fables are not allegories because the animal does not represent
the virtue being taught (e.g., allegory: "Wisdom the mouse spoke to Sloppy the worm
...").

The structure begins with one of
Darzee's songs and ends with another that praises Rikki-tikki's victory. The
setting is a garden of a small home, or bungalow, in India,
where Kipling was born to parents who were in Christian ministry. The
characters include three humans, whom Rikki-tikki protects,
and various birds and animals living in the garden. The point of
view is that of an external third person narrator who tells the story
from a limited perspective that is restricted to what Rikki-tikki
experiences:

readability="13">

When he revived, he was lying in the hot sun on
the middle of a garden path, very draggled indeed, and a small boy was [speaking]
....

as Rikki-tikki stole in by the masonry curb where the
bath is put, he heard Nag and Nagaina whispering together outside in the
moonlight.

Literary
techniques are optional choices
author's can make about how to tell their story. These techniques may include things
like symbolism, simile, metaphor, personification, etc. One technique Kipling chose is
hyperbole, which
exaggerates statements or qualities to heighten the effect
of the narrative. An example of hyperbole (exaggeration) is when Rikki-tikki
says:

There
are more things to find out about in this house, ... than all my family could find out
in all their lives.

There is
also a grand example of the technique of
onomatopoeia, which is words that
represent sounds, like "the rocket went boom boom," or "the cat
went phfffft phffft." Kipling uses onomatopoeia in describing
Rikki-tikki-tavi, while, incidentally, revealing the source of his
name:

his
war-cry, as he scuttled through the long grass, was:
"Rikk-tikk-tikki-tikki-tchk!"

As
another example of literary techniques, even though the story is a variation of a fable
(fables don't always have human characters), Kipling also employs
personification, which gives human
characteristics and thoughts to animals. Personification is employed when the narrator
says Rikki-tikki "hopes," which is a human feeling:

readability="8">

[Rikki-tikki] sat on all their laps one after the
other, because every well-brought-up mongoose always hopes to be a house-mongoose some
day and have rooms to run about in,
....

What is the antiderivative of f(x)*cos x if f(x)=ln(1+sin^2x)?

To determine the antiderivative of the product f(x)*cos x,
we'll have to determine the indefinite integral of f(x)*cos
x.

Int f(x)*cos x dx = Int ln[1+(sin x)^2]*cos x
dx

We'll replace sin x by
t:

sin x = t

We'll
differentiate both sides:

cos x dx =
dt

We'll re-write the
integral:

Int
ln[1+(t)^2]dt

We'll integrate by parts using the
formula:

Int udv = u*v - Int
vdu

u = ln(1+t^2) => du = 2t
dt/(1+t^2)

dv = dt => v =
t

Int ln[1+(t)^2]dt = t*ln(1+t^2) - Int 2t^2
dt/(1+t^2)

Int 2t^2 dt/(1+t^2) = 2 Int dt - 2 Int
dt/(1+t^2)

Int 2t^2 dt/(1+t^2) = 2t - 2 arctan t +
C

The antiderivative of the given function
is:

Int ln[1+(t)^2]dt = t*ln(1+t^2) - 2t + 2 arctan t +
C

Int ln[1+(sin x)^2]*cos x dx =sin
x*ln[1+(sin x)^2] - 2sin x + 2*arctan (sin x) + C

What is it that women really want and why? Refer to the "Wife of Bath's Tale" from The Canterbury Tales.

"The Wife of Bath's Tale" complements what the Wife
reveals about her personal life in the prologue to her tale.  She makes it very clear in
her prologue that she was most happily married when she had the
control of the marriage, not the man.  She married several times, some happily, some
less so, so she certainly seems to have become her own expert on the subject of
marriage.

It is no surprise then when in her tale, the
theme of "what women want" comes into play.  The essential plot of the tale is that a
knight is sent on a quest to find out what women want.  The queen sends him on the
quest, and if he fails to get the answer, he will die.  This entire proposition comes
about as a punishment for the knight's rape of a young woman.  As the time nears its
end, the knight meets an old and unattractive women who says that she knows the answer
to the question.  She offers the knight the answer in return for his marrying her.  He
agrees and then she makes one more offer.  She is a witch and she can turn herself
into a beautiful woman who is unfaithful, or stay an ugly women who will be loyal.  The
knight wisely tells the lady that she should decide how she wants
to live her life--he will accept her decision either way.  Because the knight gives this
answer, she decides to give him the ultimate reward:  a beautiful and faithful wife. 
The knight knows that the answer to the question "What do women want?" is "to be the one
with the power in the relationship."  When the knight gives over this power, he saves
himself and is given the best of both of worlds.

In Homer's epic poem, The Odyssey, what simile is used to describe the souls of the dead suitors being taken to Hades?

In Section Twenty-four, of Homer's epic, The
Odyssey, which follows Ulysses' and Telemachus' killing of the unethical and
immoral suitors who overran Ulysses' home and showed such disrespect toward Penelope
(his wife) and his servants, there is a description of how the souls of these dead are
transported to Hades by Mercury of Cyllene, and how these souls act. There is nothing
noble of these men in life, and in death, the simile that describes them pay them no
compliments either.

The souls of the men are described as
"whining and gibbering," and are compared to bats hanging from the roof of a large cave.
With bats, when one falls from the roof, the other bats squeal. The speaker notes that
as the dead suitor's souls are prepared for the afterlife, they "whine and squeal" and
then are led down into Hades. The quote is as
follows:

Then
Mercury of Cyllene summoned the ghosts of the suitors, and in his hand he held the fair
golden wand with which he seals men's eyes in sleep or wakes them just as he pleases;
with this he roused the ghosts and led them, while they followed whining and gibbering
behind him. As bats fly squealing in the hollow of some great cave, when one of them has
fallen out of the cluster in which they hang, even so did the ghosts whine and squeal as
Mercury the healer of sorrow led them down into the dark abode of
death.

I need to know 3 similies in Things Not Seen by Andrew Clements.

A simile is a comparison between two different kinds of
objects that uses words such as like, as, or than. The simile frequently points out a
relationship that is not immediately apparent. Think about some of the similes you have
probably heard in class - "She was as fragrant as a rose" is saying that she smelled
good. "The light is brighter than a new penny" is saying that the light was clean and
shiny.

Good luck going through your book and finding some
similes for your assignment!

In Shakespeare's Macbeth, how is Lady Macbeth presented by Shakespeare from Act 1, Scene 5 to Act 5, Scene 1 where she dies?

Lady Macbeth is corrupted by the very idea of having power
and control over Scotland. She insists that her husband kill King Duncan and gain the
position of king of Scotland. She is the driving force behind Macbeth. She mentions that
Duncan shall never see tomorrow, indicating her plans to have Macbeth murder him. Then,
she exclaims that she and Macbeth will have kingly
power:

LADY
MACBETH:

O, the sun shall never See that
tomorrow! Your face, my baron, is like a book where men May read strange matters. To
divert attention from the time Look like the time; have welcome in your eyes, Your
hands, your tongue. Look like the innocent flower, Only be the serpent underneath it.
The king Must be provided for. And you shall put This night's great business into my
care, Which shall give kingly power and mastery alone To all our nights and days to
come.

Lady
Macbeth has it all figured out, but Macbeth is not so certain as to follow through with
the murder. In fact, Macbeth has decided to postpone murdering Duncan. At this decision,
Lady Macbeth challenges his manhood, using manipulation to get him to follow through
with their plans to murder
Duncan:

MACBETH:

We
will proceed no further in this business. He has recently honored me, and I now have
the Golden opinions from all sorts of people, Which I want to enjoy for a bit longer,
and Not cast them aside so
soon.

LADY
MACBETH:

Was the hope you dressed yourself
in Drunk? Did it go to sleep it off? And does it wake up now, hung over From what it so
freely committed to? I will calculate your love From this time forward. Are you
afraid To be the same man in reality As the one you wish to be? Would you have the
crown Which you believe to be the ornament of life, And yet live like a coward in your
own self-esteem, Letting "I shouldn’t" wait for "I would,"Like the poor cat in the
proverb?

Lady Macbeth is manipulating
and controlling. She is able to convince Macbeth to follow through with the murder of
King Duncan, claiming she would do it herself had Duncan not so resembled her father
sleeping.

LADY
MACBETH:

For shame! I am afraid they have
gotten up, And the deed’s not done. The attempt, and not the deed, Confuses us. Listen!
I laid their daggers ready. He couldn’t have missed them. If the King hadn’t
resembled My father as he slept, I would’ve done it. My
husband!

Again, Lady Macbeth is
manipulating her husband to convince him to kill Duncan, claiming she has the
courage.

Of course, Macbeth murders Duncan. Lady Macbeth
plants the daggers on the guards. She bloodies her own
hands.

Later, she begins suffering from guilt. She appears
to be losing her mind. She cannot wash the bloodstains from her hands. Ultimately, she
takes her own life, thus ending her madness.