What proof does Ishmael offer that others feel the same as he does about the sea?Moby Dick

In Chapter 1 of Moby Dick, the
narrator, Ishmael, tells us how much he loves the sea and confesses that whenever he is
depressed (has the "blues"), he goes to the sea and is instantly uplifted.  He argues
that others feel this way too by providing several examples of ways other people are
uplifted by the sea.  He says that on any given Sunday afternoon, you could go anywhere
in Manhattan and find "thousands upon thousands of mortal men fixed in ocean reveries."
 The implication is that those thousands of men are there by the ocean because they love
it and it uplifts their souls.

Ishmael feels that every
human hamlet, town, and city has been constructed with a love of the water in mind.
 Melville writes, in the country "Take almost any path you please, and ten to one it
carries you down in a dale, and leaves you there by a pool in the stream.  There is
magic in it."

In Chapter 1, Melville continues by arguing
that artists and their artwork offer further proof of humankind's universal love of
water.  In most landscape paintings, Ishmael says, you will find images of water.
 Without these aqueous elements, these paintings would be uninspiring and uninteresting.
 People only like landscapes with water.

Is the Reader-Response criticism of literary theory applied in the novel The French Lieutenant's woman? What are some examples?

The Reader-Response mode of literary criticism is
applicable to ANY piece of writing.  While reading a dense novel like The
French Luitenant's Woman your mind was in constant engagement.  When a reader
is thinking about a book, there are lots of things that are happening in the mind, and
paying attention to those responses and perhaps actively thinking about how the author
is writing in a way to make the readers react a particular way is reader-response
criticism.  Reader response criticism is just as the name implies -- a thoughtful
approach to noting how you as a reader are responding to a text.  As you read and take
note of your reactions to characters or events, or you ask yourself questions about the
text, you are engaging in reader-response criticism. Here are few specific examples of
responses:

• What does the title suggest the work
  will be about?


• What is the signficance of the opening
  chapter? Am I drawn in?


• What do I like or not like about
  the major and minor characters?


• What do I think of the
  writing style?  React to things like vocabulary, syntax, strucure of chapters, choice of
  narrator.


• How does the author want me
  to react to specific characters or situations?  How does the author
  manipulate me?


• What are my
  predictions?


• Do I notice any use of irony? symbolism?
  motif?  Do I like it?


• Am I satisfied with the
  ending?


• What makes the work memorable? important?
  meaningful?


• What did I like about the work?  What
  frustrated me?

As you can see, the questions
are all opinion questions based entirely on a person's individual reaction or response
to the work.  That is the essential issue of this type of
criticism.

Explain why globalization is increasing the gap in income, wealth and economic growth that already exists between developed and developing countries.

This is a questionable premise.  After all, it is
globalization that has allowed for the rise of China, which was very much a "developing
country" a decade or two ago and is now an economic power.  Globalization really has
helped many developing nations catch up to the more developed nations.  Globalization
does seem to contribute to increasing inequality within
nations, but it does not seem to contribute as much to increasing
inequality between
nations.

However, if you have to argue that it does, you
can argue that globalization allows developed countries to treat developing countries
like colonies.  The developed countries, you can argue, let the poorer countries do the
low-paid, low-skilled jobs that do not create much wealth.  The developed countries can
also buy raw materials from the poorer countries without really helping those countries
to develop.  You can say that globalization lets the rich countries exploit the poor
ones by buying cheap things from the poor countries without really helping those
countries progress to the point where they can compete against the developed countries
in producing things that are more profitable.

how to solve log v3 (x+3)+ log v3 (x-5)=2the "V" means it is a base

log3 ( x+ 3) + log3 ( x-5) =
2

First we will determine the
domain,

==> x+ 3 > 0   and x-5 >
0

==> x > -3   and   x >
5

==> x > 5 is the
domain.......(1)

We will use logarithm properties to solve
for x.

We know that log a + log b= = log
ab

==> log3 (x+3) + log 3 ( x-5) = log3 (x+3)*(x-5)
= 2

Now we will open the
brackets.

==> log3 ( x^2 - 2x - 15) =
2

Now we will rewrite using he exponent
form.

==>  x^2 -2x - 15 =
3^2

==> x^2 - 2x - 15 =
9

==> x^2 - 2x - 24 =
0

Now we will
factor.

==> (x -6)(x+4) =
0

==> x = 6 > 5  ( belongs to the
domain)

==> x = -4  < 5 ( does NOT belong to
the domain)

Then the only solution is x =
6.

Reduce to the lowest terms: 3/(x+3) + 2/(3-x) + (2x+24)/(x^2-9).

We notice that the denominator of the 3rd fraction is a
difference of squares that returns the product:

x^2 - 9 =
(x-3)(x+3)

We notice that we can factorize by -1 the
denominator of the 2nd fraction:

2/(3-x) =
-2/(x-3)

We'll re-write the  sum of
fractions:

3/(x+3) - 2/(x-3) + (2x+24)/
(x-3)(x+3)

We'll multiply each fraction by the missing
factor in order to get the LCD (x-3)(x+3)

3(x-3)/(x-3)(x+3)
- 2(x+3)/(x-3)(x+3) + (2x+24)/ (x-3)(x+3)

Since the
fractions have the same denominators, we can re-write the
sum:

[3(x-3) - 2(x+3) + (2x+24)]/
(x-3)(x+3)

(3x - 9 - 2x - 6 + 2x + 24)/
(x-3)(x+3)

We'll combine and eliminate like
terms:

(3x - 9 - 6 + 24)/
(x-3)(x+3)

(3x+9)/
(x-3)(x+3)

We'll factorize the numerator by
3:

3(x+3)/ (x-3)(x+3)

We'll
simplify and we'll
get:

3/(x-3)

The
result of the given sum, reduced to the lowest terms, is
3/(x-3).

Why is the Wedding Guest a sadder and wiser man after hearing the Mariner's story in "The Rime of the Ancient Mariner"?I need three points. Well...

The wedding guest is "sadder and wiser." Possibly, he is
sadder because he himself is in need of repentance. Perhaps, the wedding guest has
prejudices against some of God's creation that some consider lesser
than.

Although the mariner kills the albatross, he has now
learned his lesson and feels that all of God's creation should be respected. In fact,
that is what he tells the wedding guest before his
departure:

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Farewell, farewell! but this I tell
To
thee, thou Wedding-Guest!
He prayeth well, who loveth well
Both
man and bird and beast. (lines
611-614)

The wedding guest
has learned so much from the mariner. He realizes how much the mariner has suffered for
killing the albatross. Perhaps, the wedding guest is much wiser for hearing the story.
Perhaps, the wedding guest has a new appreciation for all of God's creation. An
albatross is a clumsy bird on its feet. Perhaps, it represents those who are
significantly different and viewed by some men as less graceful. Perhaps, the wedding
guest is sadder because the mariner has had to suffer so. Perhaps, the wedding guest has
hidden prejudices that are unresolved. However, since the wedding guest is wiser, he
will surely make the error of his ways right. There is a reason why the wedding guest
becomes engrossed in the mariner's story. Perhaps, he could associate with the mariner
in his prejudices of the albatross whom some have considered as a clumsy, lesser than
bird.

If dy/dx=(2+cosx)^-1 what is y ?

First, we'll re-write the expression of dy/dx, using the
negative power rule:

(2+cosx)^-1 =
1/(2+cosx)

dy/dx = 1/(2+cosx) => dy =
dx/(2+cosx)

To determine the primitive of the given
function dy, we'll have to calculate the indefinite integral of
dx/(2+cosx).

Int
dx/(2+cosx)

This is a trigonometric integral and we'll turn
it into an integral of a rational function. We'll replace tan (x/2) by the variable
t.

x/2 = arctan t

x = 2arctan
t

We'll differentiate both
sides:

dx = 2dt/(1 +
t^2)

We'll write cos x =
(1-t^2)/(1+t^2)

We'll re-write the integral in
t:

Int dx/(2 + cos x) = Int [2dt/(1 + t^2)]/[2 +
(1-t^2)/(1+t^2)]

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

We'll simplify by (1 +
t^2):

Int 2dt/(3 + t^2) = 2*Int dt/[(sqrt3)^2 +
t^2]

2*Int dt/[(sqrt3)^2 + t^2] = 2*sqrt3/3*arctan
(tsqrt3/3) + C

But the variable t is: t = tan
x/2,

The primitive of the given function is
f(x) = Int dx/(cosx + 2) = (2*sqrt3/3)*arctan [(tan x/2)*sqrt3/3] +
C

Solve for x the equation square root(x^2+x+1)=3-x

We notice that we don't have to determine the values of x
for the square root to exist, because the expression x^2+x+1 is positive for any value
of x.

We'll raise to square both
sides:

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

We'll expand the
square:

x^2 + x + 1 = 9 - 6x +
x^2

We'll shift all terms to one
side:

x^2 + x + 1 - 9 + 6x - x^2 =
0

We'll eliminate like
terms:

7x - 8 = 0

We'll
isoalte 7x to the left:

7x =
8

x = 8/7

The
solution of the equation is x = 8/7.

What do we know about the American Dream as understood in The Great Gatsby, and why is it important?

The "American Dream" as illustrated in The Great
Gatsby is the idea that many American's extrapolate from the part of the
Constitution which guarantees all citizens the rights of "...life, liberty, and the
pursuit of happiness." The document only promises that Amerians will have the right to
go after happiness. It doesn't promise that happiness will
come.

However, many are disappointed when they don't
achieve this happiness, because they operated under the premise that America was the
land of opportunity (which they interpreted as a promise of the prosperity and
success.)

It is this dream (that every American would have
a loving family, success, and material wealth) that is explored in the Great
Gatsby. Gatsby spends his life chasing after wealth so that he can get his
love and his happy home. So, in a sense, he comes to symbolize all those who place their
happiness on having these things.

When Gatsby is killed at
the end of the book, I believe it is Fitzgerald's commentary that the American Dream
also died. I think he meant to tell us that chasing after wealth and a finite definition
of happiness doesn't bring happiness at all...only disappointment and
heartache.

Can somebody please tell me what the role of the Nurse is in Euripides' Medea?

In Euripides' Medea, which was first
staged in 431 BCE in Athens, the play opens with a lamentation by Medea's nurse, who
wishes that Jason and the Argonauts had never come to Colchis, Medea's native
land.

Oh how
I wish that ship the Argo
had never sailed off to the land of
Colchis,
past the Symplegades, those dark dancing rocks
which smash
boats sailing through the Hellespont.

(Ian Johnston
translation)

Medea's nurse is
an elderly servant who would have nursed Medea when Medea was a baby. It seems to have
been common in some ancient societies for a woman other than the child's mother to nurse
the child. In addition to nursing the infant child, the nurse would have remained with
the child's servant as long as the nurse and the child remained alive. Compare Homer's
Odyssey, where Odysseus' nurse is still alive and well in his
palace after many years.

In plays like Euripides'
Hippolytus, the nurse serves as a confidant for her mistress
Phaedra, eventually persuading her to confess her love for her stepson Hippolytus and
make an indecent proposal to the young man.

In
Medea, however, the title character serves to help provide
background for the play and explain Medea's current mood. Medea's nurse does not have a
speaking role in the last four-fifths of the play.

A car uses 15 gallons of gaz to travel 300 miles. How many gallons are needed for this car to travel a distance of 430 miles?

To determine how many gallons are needed for the car to travel a
distance of 430 miles, we'll have to use the rule of three.

15
gallons...........................300 miles

x
gallons..............................430 miles

We'll cross
multiply:

x*300 = 15*430

x =
15*430/300

x = 15*43/30

x 
=43/2

x = 21.5 gallons

Therefore,
the car needs 21.5 gallons to travel 430 miles.

Do you consider Shelley's imagery to be "ethereal"? Discuss with special reference to "To a Skylark."

When we use the word ethereal we normally refer to an
other-worldly nature, that is not quite part of our realm of experience. In this poem we
can definitely see the way in which Shelley's descriptions of the skylark and the many
comparisons he uses to try and capture its beauty could be considered to be
other-worldly in their presentation. Consider some of the natural descriptions that are
given of the skylark:

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Like a cloud of
fire;

The blue deep thou
wingest...

The pale purple
even

Melts around thy
flight;

Like a star of
Heaven,

In the broad
daylight.

Note the way in
which both of these descriptions try to capture the beauty of the skylark by ethereal
descriptions. On the one hand, this tiny, diminutive bird is compared to a "cloud of
fire" as it wings its way through the "blue deep." Such vivid and dramatic imagery can
only be described as other-worldly in the way it gives the skylark almost mystical and
portentous significance. Likewise, its flight has the ability to melt the "pale purple
even" and it is described as a "star of Heaven" in "broad daylight." Note the way in
which this apparent paradox again is ethereal: how can there be a star of Heaven during
daylight? Yet this imagery captures the importance and majestic beauty of the
skylark.

In The Great Gatsby, how does F. Scott Fitzgerald portray women as shallow, immoral creatures?

Fitzgerald used Daisy Buchanan, Jordan Baker, and Myrtle
Wilson to show us three ways in which he thought the women of the 20's were shallow and
immoral.

Daisy was shallow in that all she really cared
about was money, status, and beautiful things. She used Gatsby to fulfill her need for
adventure and lust, but as evidenced by the fact that she went back to her "old money"
husband after her affair she was never serious about love. When Gatsby died at the end
of the novel, she was so shallow that she didn't even attend the funeral. Her immoral
nature was all about using people for her own selfish
gain.

In Jordan, we see the same inclination toward using
men for casual flings, but we also see her penchant for cheating to get ahead when she
moved her golf ball to get a better lie. Fitzgerald seems to tell us that she does this
often, and therefore is not a talented professional golfer at all...but a liar and a
cheat.

Finally, there is Myrtle. She married her husband
thinking that he had some money, or at least some potential. She was incensed that he
had to borrow a suit to get married in, and can't stand the fact that her husband is a
measly mechanic that lives above her shop. To feed her need for wealth, she has an
affair with Tom Buchanan and keeps an apartment in the city filled with lavish gifts
from her lover.

All three women paint a picture of women
who care only for themselves and who will do anything to get what they
want.

In The Great Gatsby, why does Gatsby think Daisy didn't enjoy the party?

It is at the end of Chapter Six, at the close of yet
another of Gatbsy's riotous parties, that Gatsby speaks to Nick and shares his
conviction that Daisy "did not like" his party. We are not told directly why he thinks
this, but we are left to infer that his belief that she did not like it is based on the
outcome of the party. Note the following paragraph that Nick tells
us:

He wanted
nothing less of Daisy than that she could go to Tom and say "I never loved you." After
she had obliterated four years with that sentence they could decide upon the more
practical measures to be
taken.

Because the party had
not culminated in this statement and happy ending for Gatsby, he therefore believes that
Daisy hadn't enjoyed it, which plunges him into the depths of depression as he begins to
feel distant from her. The fact that Gatsby says that Daisy did not like the party
perhaps says more about him, therefore, than it does about
Daisy.

Find the distance between the point (2,-5) and the line 3x-5y+13= 0

For the distance between a point and a line we use the
formula:

D = l ax1 + by1 + c l/
sqrt(a^2+b^2)

Such that: ax+by+c = 0 is the line and
(x1,y1) is the point.

In our example, we have the line
3x-5y + 13 = 0

==> a =3    b= -5    c =
13

and the point (2,-5) ==> x1= 2   y1=
-5

Let us
substitute:

==> D= l 3*2 + -5*-5 + 13 l /
sqrt(9+25)

           = l 6+25 + 13l /
sqrt(34)

          =
44/sqrt34

Then the distance between the point
and the line is 44/sqrt34.

How is our response to Bruno developed throughout the course of The Boy in the Striped Pajamas?

Boyne actually does a fairly neat trick with his
characterization of Bruno throughout the novel.  In general, the Holocaust is a subject
that reduces all  of us to the role of children.  The questions that are generated by
its study are some of the most elemental, questions that a child would ask:  "How could
this happen?"  "How could people do this to one another?"  "Is there any justice for
those who were victimized?"  "What were children like during the Holocaust?"  "Why
didn't anyone help?"  These questions are child- like in nature, but in the context of
the Holocaust, they occupy central importance and bring the profound nature of the
subject to light.  Since we, as children, are left with confusion and a great many
questions, Boyne puts us as a child, and we, in a sense, are Bruno.  We wonder, as he
does, about "Out- With" and "The Fury."  We recognize Nazis as bad, and so does he.  He
struggles with moral ascendancy in a moment of crisis, and while it  might be easy to
criticize him, we recognize that none of us can fully say what we would do in such a
situation.  We recognize that his friendship with Shmuel is something that we would try
to do, though, and the ending is something that we, reluctantly, recognize.  In
experiencing the Holocaust through Bruno's eyes, Boyne takes our own sensibilities as
children of the Holocaust and places us in Bruno's shoes with a remarkable convergence
in both experiences to fully experience one of the most difficult times in human
history.

What is the main thesis of Lies My Teacher Told Me?

The main thesis of Loewen's book is that American history
has been taught in a way that glosses over the bad parts of what Americans have done. 
Loewen argues that American history has been meant not to really teach us about what
happened but rather to instill in us the idea that our country is always
good.

To Loewen, typical history texts tend to try to
ignore the bad parts of US history.  They try to tell us that America has always done
the right thing.  As Loewen says in the illinois.edu link
below,

They
portray history as a simple-minded morality
play.

In that morality play,
the US is always on the side of good and we can admire essentially everything about our
history.

Loewen is also making a number of other points
about the way history is taught and the quality (or lack thereof) of history texts, but
his main thesis is that history is made into a simple tale that is meant to show how
great the US is.

What is x if 9^x −10*3^(x−1) +1= 0?

We'll create matching bases for all the exponential
terms.

9^x = 3^2x

3^(x-1) =
3^x/3

We'll re-write the
equation:

3^2x - 10*3^x/3 + 1 =
0

We'll replace 3^x by t;

t^2
- 10t/3 + 1 = 0

3t^2 - 10t + 3 =
0

We'll apply the quadratic
formula:

t1 = [10+sqrt(100 -
36)]/6

t1 = (10+8)/6

t1 =
3

t2 = 1/3

t1 = 3^x =>
3 = 3^x

Since the bases of exponentials are matching, we'll
apply one to one rule:

x =
1

t2 = 3^x => 1/3 = 3^x => 3^-1 =
3^x

x = -1

The
soutions of the equation are {-1 ; 1}.

Which of these points lies on the straight line joining the points (4,4) and (20,12)? A. (5,5) B. (6,6) C. (10,7) D.(14,8)Explain how you...

First, we'll determine the equation of the line that
passing through the given points (4,4) and (20,12).

(20 -
4)/(x - 4) = (12 - 4)/(y - 4)

16/(x - 4) = 8/(y -
4)

We'll divide by 8:

2/(x -
4) = 1/(y - 4)

We'll cross multiply and we'll
get:

x - 4 = 2y - 8

We'll keep
2y to the right side, moving -8 to the left:

x - 4 + 8 =
2y

2y = x + 4

y = x/2 +
2

Since we know now the equation of the line, we could tell
what other point lies on this line, replacing the coordinates x and y by the values of
the coordinates of the points.

We'll check if the point
(5,5) is on the line:

5 = 5/2 +
2

5 = (5+4)/2

5 = 9/2
impossible

Since LHS is different from RHS, the point is
not located on this line, y = x/2 + 2.

We'll verify the
point (6,6):

6 = 6/2 + 2

6 = 3
+ 2

6 = 5 impossible

As we can
see, (6,6) is not located on the line y = x/2 + 2.

We'll
check for (10,7):

7 = 10/2 +
2

7 = 5 + 2

7 =
7

The point (10,7) lies on the line y = x/2 +
2.

We'll check (14,8):

8 =
14/2 + 2

8 = 7 + 2

8 = 9
impossible

The point (14,8) is not on the line y = x/2 +
2.

We found the option C. (10 , 7) is
convenient in the given circumstances.

Prove the identity: (1/sin^2x)+(1/cos^2x)=(tanx+(1/tanx))^2

We'll manage the right side by raising to square the
binomial:

[tanx+(1/tanx)]^2 = (tan x)^2 + 2*tan x*(1/tan x)
+ 1/(tan x)^2

We'll simplify and we'll
get:

[tanx+(1/tanx)]^2 = (tan x)^2 + 2 + 1/(tan
x)^2

We'll write the middle terms
as:

2 = 1 + 1

RHS =
[tanx+(1/tanx)]^2 = [(tan x)^2 + 1] + [1 + 1/(tan x)^2]

RHS
= 1/(cos x)^2 + [(tan x)^2 + 1]/(tan x)^2

RHS = 1/(cos x)^2
+ 1/(cos x)^2*(tan x)^2

But (tan x)^2 = (sin x)^2/(cos
x)^2

We'll multiply both sides by (cos
x)^2:

(cos x)^2*(tan x)^2 = (sin
x)^2

RHS = 1/(cos x)^2 + 1/(sin
x)^2

We notice that RHS=LHS, therefore the
identity 1/(cos x)^2 + 1/(sin x)^2 = [tanx+(1/tanx)]^2 is
verified.

How does the author use snow in the book night as a symbol/motif?It would be apprecitated if you provided me with quotes along with explanations.

A motif is a recurring structure,
contrast, or literary device that is used to develop a theme in a book.  A
symbol is an object in the story that is meant to represent a
deeper meaning.  In this case, snow is more appropriately used as a symbol rather than a
motif, as it is not something that recurs throughout the story, but is basically
prominent in only one section of the book.

In Section 6 of
the story, Elie, his father, and the other prisoners, are forced to escape the camp on
foot, run many kilometers through a cold and snowy night, and finally seek rest in an
uncovered shelter where it is snowing heavily.  Many are dying all around him, from
severe exhaustion, starvation, and the cold.

readability="5">

Heavy snow continued to fall over the corpses
(90).

In this case, the snow
provides a peaceful contrast to the chaos of the run and now the death that is happening
all around.  Though the bitter cold is actually speeding up death for many, it is as if
the snow is providing these victims the ability to simply fall asleep and never wake
up.  As the snow covers the corpses, they are forgotten.  If you look at this
symbolically, think about the snow, a white blanket, covering forgotten men who died for
nothing.  Also, the white snow is a stark contrast to the red blood which would have
been the result of these same men being shot to death (many while running through the
night).  This cold induced, peaceful, sleep-death heightens the sheer physical and
emotional exhaustion Elie is feeling as he slumps down next to his father, each
promising to stay awake while the other sleeps.  The reader can sense the quiet, calm,
acceptance of death in this scene.

readability="5">

A thick layer of snow was accumulating on our
blankets (96).

Later, at the
end of this section, the prisoners who survive the selection are led out of the camp
with blankets on their backs.  They are not allowed to sit or bend over.  As the snow
accumulates on the shoulders of each prisoner, they eat it off each other with their
spoons to quench their thirst.  Here, the same symbol that brought a peaceful death to
many just pages earlier, is bringing a small amount of nourishment to those who still
live.  The soldiers laugh at the spectacle, but once again, the scene is viewed with a
sense of silent acceptance.

Snow, in this section, can be
symbolic in many ways.  It is cold, paralleling the cold hearts of the soldiers.  It is
clean/white, symbolizing the innocence of the prisoners.  It is silent, representing the
final acceptance of a fate brought on by so many months of fear and abuse.  And, it
covers everything equally, symbolizing both the lack of personal identity (especially in
death) of the prisoners, and the worldwide secrecy of what Hitler was accomplishing in
all of his death and concentration camps.

Simplify the expression x^2n+x^(2n+1)+x^(3n+2).

To simplify the given expression, we'll have to factorize
it.

First, we'll write the term x^(2n+1) as it
follows:

x^(2n+1) =
x^2n*x

We'll re-write the term
x^(3n+2);

x^(3n+2) = x^3n*x^2 = x^(2n+n)*x^2 =
x^2n*x^n*x^2

We'll re-write the given
expression:

x^2n + x^2n*x +
x^2n*x^n*x^2

We'll factorize by
x^2n:

x^2n*(1 + x +
x^n*x^2)

The simplified form of the given
expression is: x^2n*(1 + x + x^n*x^2).

What are examples of assonance in Andrew Lang's poem, "The Ballade of Worldly Wealth"?

Assonance is a sound device used in poetry in which the
vowel sounds of words that are in close proximity to each other are repeated.  Assonance
often results in contributing to the musicality of the lines.  An example in Andrew
Lang's poem "The Ballade of Worldly Wealth" occurs in line 4:  "While the tides shall
ebb and flow." In this line, you will see that the words "while" and "tide" have the
same "i" sound.  The words don't exactly rhyme, but a particular vowel sound occurs in
both words.  Another example is in line 6, "Like the Good, and Truth like lies."  The
last two words--"like" and "lies" repeat the same vowel sound--the long "i" sound.
 Assonance is also present in line 7 in the words "alone" and "bestow."  Here the long
"o" sound is repeated.  You can find other examples of assonance in lines 10, 14, and
18.  Remember, though, when you are trying to spot assonance in the poem that you are
looking at the vowel sounds and not the spellings.  Words such as "win" and "wine" do
not have assonance, while words such as "why" and "wine" do.

What can be a true thesis statement in writing an essay for "My Oedipus Complex" by Frank O'Connor?

Given the fact that O'Connor's "My Oedipus Complex"
depicts one of the Psycho-Sexual Stages of Development, the Phallic stage, one can see
where the title and the story emerge from.

Larry, the only
child of his parents (initially), receives complete and undivided attention from his
mother given his father is away fighting in WWI.

Upon his
father's return, Larry no longer obtains his mother's undivided attention. Instead, she
devotes all of her energy to his father. Larry becomes very jealous (notated by Freud's
Oedipus Complex) and wishes to take his father's place in the relationship with his
mother.

Later, the arrival of a new child, Sonny, places
Larry's father in the same shoes Larry was placed in when he returned from the
war.

There could be many different thesis statements which
would define the relevancy of both the text and the use of Freud's
theology.

1. Both Larry and his father possess
characteristics typical to one deemed "stuck" in Freud's Phallic Stage. (How are they
characteristically stuck in the Phallic Stage? Examination of both Freud and the
text.)

2. Larry's mother is responsible for his inability
to accept his father's place in their lives. (Paper will examine Larry's
mother.)

Comparing and contrasting portraits of artist LL Cool J and John Singer Sargent's portrait of John D. Rockefeller what is the similarities and...

Inspired by
Ron Chernow’s biography of John D. Rockefeller, LL Cool J wanted this portrait to have a
pose similar to John Singer Sargent’s painting of the philanthropist. ("Now On View: LL
Cool J by Kehinde Wiley," National Portrait
Gallery)

The portraits show
the differences between the two men while framing each in similar physical surroundings
and similar physical poses, which also illustrate the different dynamics of the times of
their lives and the cultures of their
lives.

Framing

The
chairs each sit in are rounded. The back in Rockefeller's is curved while the whole
chair in Cool J's is round, so the curve of the back is an extension of the structure of
the whole, symbolic perhaps for Cool J's work being an extension of his whole
being.

The background in each painting blends in a
surrealistic manner into the floor of each painting. In Rockefeller's, see the foot of
the rear left leg: it seems to be floating on the colors of the background. In Cool J's,
the feet of both the right and left legs are quite obviously floating on the green and
red background. Both backgrounds are swirls of alternating color: Rockefeller is backed
by unformed swirls of variously lighted and shadowed maroon (violet-purple) while Cool J
is backed by a structured swirl of red and green in a Victorian plush wallpaper design
in which a crest or coat of arms is embedded.

Their
personal differences are shown by Kehinde Wiley's variations on the themes, patterns,
shapes, and designs found in Sargent's work. The affinity between them--Cool J requested
a portrait similar to Sargent's Rockefeller work after having read a Rockefeller
biography, as indicated in the quotation above--is shown by the structure, composition,
subject matter, physical objects and directional elements shared by
each.

Physical
Poses

Both are seated in chairs that are the
only physical objects sharing the portrait space with the subject, and both are angled
physically to the subject's left, or the viewer's right. Both have one leg crossed over
the other at the knee (this is a style of leg crossing usually indicative of upper class
education and lifestyle; other classes of men in America as a rule prefer the less
sophisticated ankle-over-knee leg cross). Both have forearms and hands in contact with
their bodies as opposed to in contact with the chair arms. Both are positioned with
their left shoulder lower than their right
shoulder.

Variations within these similarities indicate
their different historical periods, their ages and their health, and their cultures.
Cool
J has left leg crossed over right while href="http://www.artble.com/imgs/e/f/a/713652/john_d_rockefeller_sr.jpg">Rockefeller
has right over left. Rockefeller's arms and hands are crisscrossed over his torso with
his coat (probably a silk smoking jacket no longer in our contemporary times) pulled
tightly around him. This combination of crisscrossed arms over a tightly closed jacket
gives him the appearance of frailty and ill health: He appears to be at the end of his
days and the end of his life. The colors covering and surrounding him are in keeping
with this impression: They are dark and muted, without light except in the varying
swirls of subdued light in the background and falling on his face and body from the
right.

Cool J's arms are angled inward toward the center of
his torso but, significantly, they don't meet in the center and certainly do not cross
over. His hands are resting on his thighs with his fingers posed in active positions,
one with fingers open, and the other with fingers curled in: one metaphorically ready to
work with musical notes, and the other ready to defend what he is rapping about. Cool
J's suit jacket is open and his vest bulging with vitality over a silk tie that seems
lighter than air. This combination of arms, hands and clothing gives him the appearance
of life, vigor, vitality and power. This is quite the opposite of Rockefeller's
impression. The colors covering and surrounding Cool J are in keeping with this
impression: They are light (white), bright, vibrant, and complements on the color
palette (red is complementary with green). Bright light falls across his whole body from
the left. Neither portrait shows the men's
feet.

Eyes

The
final detail is how and where their eyes are looking. Rockefeller's eyes are in full
light while Cool J's are under the shadow of his cap (Rockefeller is bareheaded).
Rockefeller looks to the right as does Cool J. Rockefeller looks up and to the distance,
seemingly to the source of the light. There is a seeming look of guilelessness to his
aging eyes. Cool J looks toward the painter but slightly up and over his head as though
caught musing on some private thought of weight and significance. He does not look into
the light as does Rockefeller. Their respective cultures are captured in these details.
Rockefeller was a beacon of the best of America in his day (whatever may be known about
him now) while Cool J is part of a--sometimes psychologically and physically
destructive--counterculture in America in our day.

What are the advantages and disadvantages of Viola's decision to disguise herself in Twelfth Night?

I think often we can forget the state that Viola finds
herself in at the start of the play as we move on to the comedy of Illyria and the love
sick nature of so many characters. However, many critics argue that successful comedies
can often be separated only by the finest of lines from being a tragedy, and Viola in
Act I scene 2 finds herself in a desperate situation, swept up on a foreign shore where
she is friendless, unknown and may have potentially lost her brother in the shipwreck
that exiled her to these shores. It is always dangerous for a woman to be by herself and
without connections, so it is probably a very shrewd move on her part to disguise
herself as a man. Note Viola's own words:

readability="8">

...And might not be delivered to the
world

Till I had made mine own occasion
mellow,

What my estate
is!

In this speech, Viola
expresses her desire to not be revealed to the world until it is convenient for her to
reveal her position into society until she knows what that position is. Given the
uncertainty of her position, this is a definite advantage. However, as we find out,
living as a man in man's company brings its distinct disadvantages, especially when
women fall in love with you and you are unable to express the love you have for your
Lord because of your supposed gender.

How does Romeo deal with conflict in Romeo and Juliet?

In the example given in the former answer, Romeo is trying
to avoid fighting Tybalt, simply because he is now related to him. However, that isn't
Romeo's usual way of dealing with conflict. When it comes to internal conflict, it's a
different story.

First of all, whenever he has an internal
conflict and he doesn't know how to handle it, he goes to his father-figure in the play,
Friar Laurence. Romeo never seeks advice from his father. The Friar is the gentle,
supportive, and calming influence in Romeo's
life.

Secondly, both Romeo and Juliet are young, impulsive,
and emotional. Every time a situation doesn't go their way, they immediately threaten to
kill themselves. After Romeo kills Tybalt and is banished from Verona, he seeks shelter
in the Friar's cell and and the Friar has to stop Romeo from taking his
life.

Who were the killer angels in Michael Shaara's Civil War novel The Killer Angels?I don't know who they were.

The term "Killer Angels" is actually attributed to one of
the central characters, Union Colonel Joshua Chamberlain. According to Chamberlain, he
had recited a Shakespearean piece that included the
quote,

"What a
piece of work is man... in action how like an angel!" (Hamlet, Act II, Scene
2)

When
Chamberlain's father heard it, he remarked,

readability="8">

"Well, boy, if he's an angel, he's sure a
murderin' angel."

The junior
Chamberlain later made an oration on the topic, entitling it "Man: The Killer Angel," of
which his father was very proud.

The recurring metaphor of
the title is seen early on when General Buford spots an angel with uplifted arms in the
Gettysburg cemetery. After the battle, it has disappeared, as if it has flown away after
being witness to so much human carnage. I believe the title is meant to show the
complexities of man: How man is created in God's image, and how man can serve and care
for others at one moment and become a murdering savage the next. Chamberlain relates how
the Union is fighting to free the slaves but they must kill others in order to do
it.

Many of the main characters are highly religious.
Chamberlain is obviously a devout Christian as are many of the enlisted men on both
North and South. Several of the Confederate leaders are as well, especially Robert E.
Lee and J. E. B. Stuart. (The late "Stonewall" Jackson, who was killed just weeks before
the Battle of Gettysburg, was an extremely pious Christian who often fought on Sundays
because he believed God favored him when he did so.)  

What is the importance of industrialization in India?

I think that you will get different variations on the same
tune.  Industrialization is vitally important for India.  The reasons for this are going
to vary.  For me, I would say that one of the most important reasons why
industrialization is needed is because of the opportunity provided through jobs.  Given
India's massive population, as well as its increasing condition, industry is one of the
few sectors that can provide jobs to many people.  The scale of industry and expansion
can meet the needs of a growing population.  At the same time, I think that industry is
important to India's place in the global economy.

While
information technology and other sector development is extremely important, industry
allows India to be a producer of goods, enabling it to compete with other nations and
develop a revenue stream that will be able to weather market contractions as they occur
in the global setting. India is already carving out a niche in the information
technology sector, but as already seeing, such a high demand can result in
oversaturation.  As global economies contract and fluctuate, it is important for India
to diversify its creation of economic staples in as many areas as possible, which is
where industrialization assists.

Industry can also forge
even more partnerships between itself and the West, which can prove useful in diplomatic
realms, enhancing the role of India on the world stage, and helping it effectively wage
its battles against terrorism. Such partnerships are present in the automotive industry
as an example.  Finally, I think that industry allows the chasm between urban and rural
to be reduced.  It is important for Indian modernization to not happen at the expense of
one and not the other.  In this, industrialization can be developed and wealth
generation can happen in both rural and urban settings, of vital importance to
India.

Why did President Lyndon Johnson's major domestic achievements come to be overshadowed?

The major reason for this was the Vietnam War.  When the
Vietnam War started going badly, it overshadowed all of Johnson's other actions and led
him to decide not to even run for reelection in 1968.

By
the time that the 1968 election came around, the war in Vietnam had become very
unpopular.  This came to a head in early 1968 when the Tet Offensive made it clear that
the government had not been completely open with the people as to how the war was
going.  At that point, it seemed clear to most Americans that the war was not on the
brink of being won.  This disillusioned many Americans about the war and about
Johnson.

The social strife caused by the war, along with
the economic and human costs of the war, overshadowed Johnson's domestic
achievements.

Can (-12x^2 + 33x - 6)/(x^3 - 4x) be presented as a sum of elementary fractions?

We have to write (-12x^2 + 33x - 6)/(x^3 - 4x) as the sum
of elementary fractions.

(-12x^2 + 33x - 6)/(x^3 -
4x)

=> (-12x^2 + 33x - 6)/x(x^2 -
4)

=> (-12x^2 + 33x - 6)/x(x - 2)(x +
2)

Let this be equal to A/x + B/(x - 2) + C/(x +
2)

=> [A(x^2 - 4) + B(x^2 + 2x) + C(x^2 - 2x)]/x(x^2
- 4) = (-12x^2 + 33x - 6)/(x^3 - 4x)

=> A(x^2 - 4) +
B(x^2 + 2x) + C(x^2 - 2x) = (-12x^2 + 33x - 6)

=>
Ax^2 - 4A + Bx^2 + 2Bx + Cx^2 - 2Cx = -12x^2 + 33x -
6

=> A + B + C = -12, 2B - 2C = 33 and -4A =
-6

=> A = 6/4 = 3/2

B +
C = -13.5 and B - C = 16.5

Add the two 2B =
3

B = 1.5

C =
-15

The given fraction can be written as
1.5/x + 1.5/(x - 2) - 15/(x + 2)

What are some examples of repetition in the novel White Teeth?

Repetition is a term that is used by the author to talk
about the struggles that migrants face coming into a new country and trying to process
their past and assimilate. This is shown most clearly in the characters of the Iqbal
family, who, Smith argues, are doomed to endlessly repeat their migration in their minds
and they struggle to adapt to their lives in a country that is so different from their
native Bangladesh:

readability="12">

A trauma is something one repeats and repeats,
after all, and this is the tragedy of the Iqbals--that they can't help but reenact the
dash they once made from one land to another, from one faith to another, from one brown
mother country into the pale, freckled arms of an imperial
sovereign.

For the Iqbals,
their migration meant a change of land, religion and ethnicity, and the resulting trauma
they suffer is something that is repeated again and again with each passing day as they
struggle to assimilate and to accept and to be accepted in their new "home." Note how
Smith refers to this repetition exclusively in the context of migration later on in the
text:

Because
immigrants have always been particularly prone to repetition--it's something to do with
that experience of moving from West to East or East to West or from island to island.
Even when you arrive, you're still going back and forth; your children are going round
and round. There's no proper term for it--original sin seems too harsh; maybe original
trauma would be better.

Even
though a migrant may be fixed geographically in their new country, they are endlessly
returning back to their old "home" in their minds as they mentally find themselves
struggling to adapt and thinking of their homeland. Repetition is a word therefore that
Smith uses to capture the experience of a migrant and the particular struggles they have
as they try to adapt and conform in a new, alien environment. The greatest tragedy,
Smith suggests, is that true assimilation is impossible. As a migrant, and even as a
second generation migrant, you still do not entirely "fit."

Describe the consumer behavior in uncertain situations?

Consumer behavior varies under any kinds of conditions,
including in uncertain situations. There is no one type of behavior that would cover all
behavior patterns at any time.

If consumers are uncertain
about the possible return they may receive from an investment due to conditions
surrounding the investment, they may be reluctant to make any investment at all. Some
might take a risk and invest some money, but possibly not as large an amount as they
would have invested if they had felt more confident about the situation. Shoppers may
reduce their purchases of new products during periods of financial uncertainty and may
spend much more time evaluating and comparison-shopping before
buying.

If stockholders are unsure of what the stock market
trends might mean for the future, they may be inclined to reevaluate their holdings but
will not all take the same steps as a result of the reassessment. Some may choose to
sell some or all of their stocks, hoping to reap a profit before the price of their
shares declines. Some might buy more stock, feeling that the cost per share is about to
increase greatly.

In "A Rose for Emily," what does this quote mean, and what is its significance? "When her father died, it got about that the house was all that...

The Grierson family had once been a prominent one in
Jefferson, and their house had been one of the finest in the town. But by the time of
Emily's father's death, there was no family money left--only the old, crumbling house.
Since the "Grierson's had always held themselves a little too high for what they really
were," the townspeople had never really felt any pity for them. But now that the town
knew that Emily was penniless, and that she was no longer bound by the iron hand of her
father, the people of Jefferson felt that they could now feel sorry for her. Now that
she had become "humanized," Emily was an equal to the rest of the townspeople: She, too,
was now poor, and she would have to live the rest of her life with the financial
uncertainties that other "paupers" endure.

Please discuss the poem "To His Coy Mistress" by Andrew Marvell.

This is perhaps one of the most famous invitations to love
in the English language. This poem is an excellent example of a carpe
diem poem, as it urges the speaker's beloved to "seize the day" and to not be
"coy" and to engage in a relationship with him. This poem is all about seduction and
time, and the way that these two concepts are linked by Marvell throughout the poem is
worthy of some serious attention. Practically, the poem is broken down into three parts,
with lines 1-20 featuring the use of hyperbole to describe how the speaker would court
his beloved if there were time, lines 21-32 focusing on the brevity of time and man's
mortality, and lastly lines 33-46 ending with a challenge to allow them, through their
embracing of love (and of each other) to rule time rather than be ruled by
it.

Every carpe diem poem is really
about seduction, but what is unique about this poem is the way that time is also a
constant them. In the first section, time is referenced with the slow passing of the
years that the speaker would like to express his love in the way he
wants:

My
vegetable love should grow

Vaster than empires and more
slow...

The second section
features time as the enemy of man, with the famous image of time as a "winged chariot
hurrying near." The focus is on how defering or delaying the consummation of love
actually will lead to regret and sadness at the wasted opportunity of not seizing the
moment. After all, the only thing that we as humans have to look forward to is "deserts
of vast eternity."

Lastly, there is a dramatic change of
tense in the final section as we move into the present (which after all is the focus of
the poem as the speaker wants his beloved to love him now) and the speaker urges his
beloved to live the moment and not regret her coyness. The ending of the poem is a
famous and masterful appeal to how they can master and dominate time through loving
deeply, richly and passionately:

readability="9">

Thus, though we cannot make our
sun

Stand still, yet we will make him
run.

Note how these lines
present the lovers as being in control of the sun in the way that their passion can make
the sun speed up and accelerate time.

What figurative language is used in ''The Fall Of the House of Usher''?

You might like to look at the ending for an excellent
example of figurative langauge that Poe employs to help convey the horror and terrror in
this excellent story. Let us remember that figurative language takes the form of
comparing one thing to something else, either through use of a simile, a metaphor, or
personification. As the narrator flees the house and turns back, note how a simile is
used to describe the sound of the House of Usher as it, like its owners, meets its
end:

...there
was a long tumultuous shouting sound like the voice of a thousand waters--and the deep
and dank tarn at my feet closed sullenly and silently over the fragments of the "House
of Usher."

Note how the
supernatural end of the mansion is stressed through the comparison of the sound it makes
in its final moments to the "voice of a thousand waters." Hopefully this example will
help you go back and spot and analyse other examples of figurative language in this
excellent short story. What, for example, is suggested by the windows of the house being
described as "eye-like" as the narrator first looks upon the House of
Usher?

What does the real exchange rate represent?

The real exchange rate represents a comparison of the
purchasing power of two countries' currencies.  This is different from the nominal
exchange rate, which simply tells how much of one country's currency you can get by
exchanging a unit of another country's currency.

With a
nominal exchange rate, you know how many Euros, for example, you can get for one US
dollar.  But that does not really tell you all you need to know.  What should be of
interest is how much you can actually buy with that dollar as compared to the Euros you
could get for it.  Real exchange rates measure this.

The
real exchange rate takes that dollar and measures how much you can buy with it in the
US.  It then takes the number of Euros that you can get for a dollar and sees how much
you could buy with that in the EU.  The comparison is the real exchange
rate.

So, you might have a case where the dollar is
nominally weaker than the Euro (where $1 gets you less than one Euro) but where you can
actually buy more in the US with the $1 than you could buy in the EU with the fraction
of a Euro.  In that case, you would know that the dollar really has more value that the
nominal exchange rate says it does.

Why was Charles Fourier important?

To the extent that Charles Fourier is important, it is
because he was a utopian socialist thinker in the late 1700s and early 1800s.  He was
responding to the changes in society that were brought about by industrialization and
capitalism.   Fourier's thinking did not really change the world in that it was not
adopted by any governments.  However, it did have a major influence on thinkers of his
time, people like Feodor Dostoevsky and the Transcendentalists of the United
States.

Fourier believed that industrialization was making
people bored and selfish.  He advocated changing this by creating communities that he
called "phalanxes."  In these communities, people would change jobs often and change
sexual partners as well so as to help themselves avoid becoming bored and selfish.  This
ideal community of his is described at much greater length in the link
below.

Fourier, then, was important as a thinker who had
ideas that would, he thought, take care of the problems brought on by the move towards
industrialization and capitalism.

In Things Fall Apart, how are important decisions made for the clan, and what are major themes?

In Things Fall Apart, decisions are
made for the clan by the elders. The elders consist of a type of male democracy. Of
course, these elders consult with the Oracle for advice. The Oracle of the hills is a
goddess named Agbala.

One theme that is dominant
in Things Fall Apart is the theme of cultural traditions and laws
that focus on justice and fairness. The Ibo people have many traditions and cultural
practices that keep life interesting and organized.

There
is the week of peace when everyone rests from his or her work. Of course, Okonkwo is a
workaholic and has trouble with this festivity. He has trouble relaxing and just having
fun in his life.

There is also a theme that is closely
associated with Okonkwo, the main character. This theme deals with his fear of being
termed lazy like his father was. For this reason, Okonkwo is obsessed with hard work and
authority. He is a strict disciplinarian and takes out his frustrations on his family of
three wives and nine children. Okonkwo is also a great warrior who has earned many
honors and titles from his battles. He is also a great wrestler. All of these manly
traits make Okonkwo a respected leader in the village. That is an important theme in the
Ibo tribe. Being respected, having honors, and working hard are themes that run
throughout the story.

How is the belief in the supernatural (such as the witches in Macbeth) different today from that of Elizabethan times?

In the Elizabethan Age, fear of the unknown led to a
belief that an unrelated object, action, or circumstance could influence the outcome of
events.  This fear of the unknown, then, led to many superstitions, many of which arose
as a fear of witchcraft.  In fact, during the Elizabethan Age, there were nearly 300
witchcraft trials as witches were thought to be responsible for such things as the
Bubonic Plague, unexplained fires, bad harvests, inexplicable deaths of animals and
children.  Thus, the fear of supernatural forces was subsumed in the lives of
Elizabethans whereas for people of the modern age the phantasmorphic bears little
relevance in their lives.

For the Elizabethans, the
manifestations of elements of the supernatural in plays such as
Macbeth and Richard III are not merely
dramatic devices, but genuine phenomena that lend objective reality to the plays. 
Macbeth's and Richard's characters are comprehensible as men who were profoundly
influenced by evil.  So, by investing his historical drams with supernatural elements,
Shakespeare appealed to his audiences' moral conceptions.  This contrasts greatly to an
audience's perception today whenever a ghost or supernatural forces are part of a
drama. 

Find the x and y intercept of the curve y=x/(2x-3)^2.

y= x/(2x-3)^2

We need to find
the intercepts.

First we will find the y-intercept. Then
the value of x is zero.

==> y= 0/(2*0 3)^2 =
0

Then the y-intercept is the point
(0,0).

Now we will find the x-intercept. Then the value of
y is 0.

==> 0 =
x/(2x-3)^2

==> x =
0

Then the x-intercept is also
(0,0)

Then we have one intercept for both
axes which is the origin point: x = (0,0) and y =
(0,0).

What is Black Beauty's message?

In the simplest of terms, I think that Sewell's work tries
to bring forth the point that animals are creatures that feel pain, love, and joy.  They
are not objects who lack the sensibilities of feeling creatures.  The idea that Black
Beauty responds to pain and suffering, affirms care and compassion help to deliver the
book's primary message that animals, in this case, horses need care.  At a point where
utilitarian values emphasized the "greatest good for the greatest number," Sewell's work
is a reminder that it is important to not abuse in this name.  The tendency to overwork
or abuse animals is something that has not gone away from modern society.  The desire to
use an animal as a means to an end and not as the end in its own right is something that
Sewell's work criticizes heavily and is something that is brought out as one of the
primary messages of the book.  Sewell intended her work to be a guide on how to tend to
and take care of horses.  In doing so, she makes the statement that animals need to be
treated with care, and not used and abused for the ends of others.  We have seen this,
whether it is with Michael Vick's treatment of dogs for sport, or for greyhounds raced
and treated in an abhorrent manner, or even horses in horse racing that are given drugs
that are contrary to a healthy life in order to gain more profits, the need to halt the
mistreatment of all animals is one of the primary messages of Sewell's
work.

What is sin x*cos x if sin x/cos x=1/5 and x is in the interval (0,pi)

The interval (0,pi) covers the first and the second
quadrant where the values of the sine function are positive and the values of cosine
function are both positive (1st quadrant) and negative (2nd
quadrant).

We'll start with the Pythagorean
identity:

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

We'll divide the formula by  (cos
x)^2:

(sin x)^2/ (cos x)^2 + (cos x)^2/(cos x)^2 = 1 / (cos
x)^2

But the ratio sin x /cos x= tan x =>(sin x)^2/
(cos x)^2 = (tan x)^2 = 1/25

The formula will
become:

(tan x)^2 + 1 = 1/(cos
x)^2

cos x = +1/sqrt[1+(tan x)^2] or cos x = -1/sqrt[1+(tan
x)^2]

cos x =
1/sqrt[1+(1/5)^2]

cos x=
1/sqrt(1+1/25)

cos x = 5/sqrt26 or cos x =
-5/sqrt26

But sin x/cos x =1/5 => sin x = cos x/5
=> sin x = 1/sqrt26

sin x*cos x = 5/26 or sin x*cos
x = -5/26

The requested values of the product
sin x*cos x, in the interval (0,pi), are : {-5/26 ;
5/26}.

Determine the magnitude and direction of the gravitational force exerted (a) on the moon by earth and (b) on earth by moon.Earth's mass: 5.98 x...

Any two bodies with a mass attract each other due to the
gravitational force. The force exerted by each body on the other is towards its center
of mass. In the case of spherical bodies the center of mass lies at the geometric
center.

The force by which each of them is attracted towards the other
is the same.

It is given by the Newton's law of universal gravitation
as F = G*M1*M2/r^2, where G is a constant equal to 6.674*10^-11 N m^2/kg^2, M1 and M2
are the mass of the two bodies and r is the distance between
them.

Here the mass of the Earth is 5.98*10^24 kg, the mass
of the Moon is 7.35*10^22 kg and the distance between the Earth and the Moon is 384,399
km.

The force of attraction is: 1.985*10^20
N.

The Earth attracts the moon by a force equal to
1.985*10^22 N towards its center and the Moon does the same in the opposite
direction.

Are there any good/important GOTHIC quotations in Frankenstein that you can think of?

There are many ways in which one could find Gothic
examples in the novel Frankenstein. (Some would argue that the
novel is one which best matches the work of a Romantic author and not one of a Gothic
author.)

First, many Gothic texts include an atmosphere
which breeds mystery or suspense. Many times throughout the text Victor becomes
suspenseful. The shutting of himself in his laboratory, the search for the monster on
his own, and waking to find himself in a foreign land accused of
murder.

Second, the Gothic text contains omens or
prophecies. Victor dreams about murders and the deaths of those around him. One could
look at these dreams as clues as to what is to come.

Third,
Gothic texts include (perhaps most famously) aspects of the supernatural. Here, giving
life to a long dead and decomposed pieced together man can be considered a supernatural
element.

Fourth, many characters in Gothic texts experience
heightened emotions- ones that boarder hysteria and terror. Victor experiences both of
these emotions. When he discovers that his monster lives, Victor rushes from his flat
terrified. It seems that every time Victor becomes suddenly emotionally charged, he gets
seriously ill.

Compare the relationship between Oliver and Orlando at the beginning and at the end of As You Like It.

It is clear that there is little love lost between Oliver
and Orlando at the beginning of the play and that they, like Duke Ferdinand and Duke
Senior, could aptly be described as feuding brothers. Orlando definitely feels that
Oliver has not obeyed his father's injunction in terms of bringing up Orlando to be a
nobleman. Note how he accuses his brother in Act I scene
1:

My father
charged you in his will to give me good education. You have trained me like a peasant,
obscuring and hiding from me all gentleman-like
qualities.

However, in spite
of the obvious animosity between them, it is clear that the magic of the Forest of Arden
works a transformation in the character of Oliver, who becomes reconciled with his
brother and what is more falls in love with Celia, pledging to marry her and deciding to
live and die in the Forest of Arden and live as a simple shepherd. Note how the
relations are completely reversed by the end in Act V scene 2 when Oliver asks for
Orlando to consent to his marriage to Celia:

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Consent with both that we may enjoy each other.
It shall be to your good, for my father's house and all the revenue that was old Sir
Rowland's will I estate upon you, and here live and die a
shepherd.

Oliver's change in
his relations with Orlando is symbolised by the willingness with which he relinquishes
his wealth, that he at the beginning of the play was so reluctant to share with his
brother.

Why did Wilson write the play Fences?

As with the construction of many literary works, there are
many reasons that inspire creations.  One reason would be to articulate the condition of
African- Americans in the early stages of integrated society.  It is often depicted that
once Brown v. Board of Education became law in the American landscape, that African-
Americans were able to experience full and total opportunities in American society.  The
fact that there was a difficult and grueling process of people of color, specifically
African- Americans, to experience opportunity and success is something that motivated
Wilson, providing the historical context to the drama.  Another rationale that
underscores much of Wilson's work is the depiction of real life for people of color. 
The reality of the condition that surrounds African- Americans and how to navigate the
social constructs of race, class, age, and gender.  These are some of the reasons why
Wilson decides to write Fences.