Thursday, January 31, 2013

Please identify the climax of Bridge to Terabithia by Katherine Paterson.

Let us remember that the climax is defined as the most
emotionally intense section of a work of literature. For me, the climax comes in Chapter
Twelve of this great novel. You might think it a little strange that the climax should
come after the death of Leslie has been reported, but actually, if you think about it,
it is only in Chapter Twelve that Jess begins to actually let the truth of his friend's
death sink in and he begins to process his feelings of betrayal, anger, hatred and
sadness. We see this particularly when he hits his little sister and then goes and
throws his pictures and paints in the stream, destroying them. It is only when his
father comes and cradles him as if he were a small child, but at the same time speaks to
him as an adult, that Jess begins to feel better and can begin to cope with his feelings
and move on with his life.

Tuesday, January 29, 2013

What does "love looks not with the eyes, but with the mind" mean and could you give me examples of that quote in A Midsummer Night's Dream?

This is actually a crucial quote for the entire play, as
Helena here in Act I scene 1 explains the complete irrational nature of love that had
already been displayed by the central lovers and will continue to be displayed by the
lovers themselves in the woods. The entire quote runs as
follows:



Love
looks not with the eyes, but with the mind,


And therefore
is winged Cupid painted blind.


Nor hath Love's mind of any
judgement taste;


Wings, and no eyes, figure unheedy
haste.



This quote means that
love does not look with reason (with the "eyes") but with the imagination ("the mind").
This is why Cupid, the god of love, is painted blind, because he does not use reason.
Aslo, love is not affected or impacted by any kind of judgement or reason, as the wings
of Cupid and his blindness indicate that love is incredibly hasty in terms of its impact
on us and our actions.


We need look no further than just a
few scenes away, when Puck administers the magic lotion and puts the lovers into a riot
as first Lysander starts to love Helena and then Demetrius loves her too. Likewise, when
Titania falls in love with Bottom we see little reason or judgement. The whole play
explores how love overpowers our judgement and reason and makes us do stupid things when
we are dominated by it.

During the American Revolution, was the American standard of living considered the highest in the world? Explain.

Determining who has the highest standard of living even
today is difficult given how hard it is to define "quality of life."  This problem is
made much worse when we try to look at standards of living over 200 years ago.  In those
days, there were very few records kept, which makes it very difficult to make any
objective comparisons.


Those who say that the American
standard of living was highest generally point to things like the physical size of
American people.  Americans were (it is believed from things like military records)
quite a bit larger on average than Europeans were.  This implies that Americans had more
and better food and were generally healthier than their European counterparts.  If we
define "standard of living" in this way, then Americans had the highest standard in the
"European" (Europe and other places peopled by Europeans) world, at
least.

Monday, January 28, 2013

What difficulties throughout the novel reveal the true nature of the characters in To Kill a Mockingbird?

It would be possible to answer this question from the
perspective of several characters. I will use Atticus to illustrate your
idea.


Atticus is an ageing single parent. He does have
Calpurnia to help him with domestic chores, but he has the complex task of bringing up a
son and a daughter with the beliefs and values he feels will make them good citizens.
Scout is impulsive and curious. He teaches her to empathise in chapter
3-



"You never
really understand a person until you consider things from his point of
view—“


“Sir?”


“—until you
climb into his skin and walk around in
it.”



Atticus shows his
children in chapter 10 that he is capable of deadly force but uses it only when
necessary. He has the strength and skill to defeat others, but only employs his skills
fairly. This is when he explains to the children


readability="5">

"it's a sin to kill a
mockingbird"



Atticus'
greatest action in the novel is of course acting as defence fot Tom Robinson. He is
aware that the trial will never produce a fair verdict, and that in some ways his
efforts could be seen as futile. However, Atticus produces a fair, detailed and
respectful defence, maintaining the dignity of himself, Tom Robinson and Mayella Ewell.
It is fitting at the end of teh trial in chapter 21 that the courtroom stands to
acknowledge Atticus' efforts to bring about unity, peace and dignity for
all.


Atticus was never going to win the trial, but he was
able to present the evidence as clearly as possible that Tom's conviction was about
race, not deed. He manages to retain the dignity and respect the community have for him,
whilst teaching an important lesson for all.

Given the vectors u=a*i+2*j and v=3*i+(a-5)*j, |u+v|=5square root2, find the real number a.

First, we'll add the vectors u and
v:


u + v =
a*i+2*j+3*i+(a-5)*j


We'll factorize by i and by
j:


u + v = (a+3)*i + (2 + a -
5)*j


u + v = (a+3)*i + (a -
3)*j


The absolute value of the resultant vector
is:


|u+v| = sqrt[(a+3)^2 +
(a-3)^2]


We'll expand the
binomials:


|u+v| = sqrt(a^2 + 6a + 9 + a^2 - 6a +
9)


We'll eliminate like terms inside
brackets:


|u+v| = sqrt(2a^2 +
18)


But, from enunciation, we'll have |u+v| =
5sqrt2


5sqrt2 = sqrt(2a^2 +
18)


We'll raise to square both
sides:


50 = 2a^2 + 18


We'll
use symmetrical property:


2a^2 + 18 =
50


2a^2 = 50 - 18


2a^2 =
32


a^2 = 16


a1 =
+sqrt16


a1 = 4 and a2 =
-4


The requested real values of "a" are: {-4
; 4}.

Sunday, January 27, 2013

In Romeo and Juliet, can you please tell me if this quote is a dramatic irony and why? 'Tut, I have lost myself, I am not here, this is not Romeo,...

Dramatic irony is when the audience knows something the
character doesn't (the classic example of this occurs in Oedipus
Rex
when the audience is aware the Oedipus has killed his father and married
his mother, but he has no idea that that is the case and vows to root out Laius'
murderer and exile him).  Dramatic irony helps the audience appreciate and understand
misunderstandings and dramatic situations in the plot of a
play.


Technically, the quote you provide is "dramatic"
irony, since it is an ironic statement and occurs in a drama; however, it is not a
classic example of dramatic irony.  Clearly, Romeo has not lost
himself--he is himself.  And he is there, the audience can see him standing there.  But
the audience and Romeo are both aware that he is not behaving or feeling as he usually
does, and therefore Romeo is "not himself." Shakespeare is playing on an idiomatic
expression, so this is not dramatic irony though it is verbal
irony.

What is meant by academic writing?

In a broad sense, academic writing is that writing which
fulfills a purpose of education, such as writing by students in fulfillment of an
assignment, or writing by educators for professional publications.  However, within this
arena, there are different approaches by various professors in their own classroom. 
Nevertheless, there are yet some standards that hold in most
cases:


1.  The avoidance of the first-person and the second
person.  Unless the writer is composing a process paper in which he/she directs someone
how to do something, the objective third person should be
employed.


2.  An objective point of view that does not
admit emotional perspective or response by the writer.


3. 
In the writer's analysis, the writer strives for the reader's intellectual response,
rather than emotional.  The writer must present the reader with an informed
argument.


4.  The use of Standard English that avoids the
informal or colloquial.  This includes the avoidance of contractions, cliches, and
triteness.


5.  The writer's topic must be of interest to
other academics.

Determine how many critical values does have the function h(x)=definite integral of f(x) if f(x)=e^x*x^4 x>=0.limits of integration x=0 and x=x

We'll recall that the critical points of a function are
the zeroes of the first derivative of the
function.


Therefore, to determine the critical points of
h(x), we'll have to find out the first derivative of
h(x).


But h(x) = Int f(x)dx => h'(x) =
f(x)


Since h(x) is the definite integral of the function
f(x), we'll apply Leibniz Newton formula, to determine
h'(x).


h'(x) = f(x) - f(0)


But
h'(x) = 0 => f(x) - f(0) = 0 => f(x) =
f(0)


We'll calculate f(0) = (e^0)*(0) =
0


f(x) = 0


(e^x)*(x^4) =
0


Since e^x cannot be zero for any value of x => x^4
= 0


x = 0


Since
the derivative of the function h(x) has only one root, therefore the function has only
one critical value, x = 0.

Friday, January 25, 2013

In Fahrenheit 451, why doesn't Montag take the book but his hands do?

Bradbury is speaking figuratively in this statement.
Montag isn't completely aware of his actions. He finds himself taking the book without
thinking. In his mind, he knows that what he is doing will get him in trouble. Yet,
there is the growing and insatiable desire in Montag to gain more knowledge through the
books.


This scene helps support one of the main ideas that
Bradbury is developing through the novel. By Montag taking the book without thinking
about it, Bradbury is emphasizing that in man's core he wants to pursue knowledge and
think for himself. Its an innate desire. That desire is often stifled, however, by a
competing sense of obligation to society, specifically to not offend anyone at any
time.

Solve the system of equations:3x-y= 5 5x-2y = 3

3x - y   = 5
5x - 2y =
3


First, multiply everything in the first equation by
2


By multiplying, your equation should look
like


6x - 2y =
10


5x - 2y =
3   
subtract the -2y with -2y ( which means subtract 6x with 5x and 10
with 3)


By subtracting, your equation should look
like


x = 7 which is your
answer for " x "


Now, plug 7 into one of the
equation


3 ( 7 ) - y = 5 now
multiply 7 with 3


By multiplying, your equation should look
like


21 - y = 5 now subtract
both sides by 21


By subtracting your equation should look
like


-y  = -16 now divide both
sides by -1


By dividing, your equation should look
like


y =
16


So your answer is x = 7  
;    y = 16

Give a detailed analysis of "The Solitary Reaper" by Wordsworth.

This poem is typical of the work of Wordsworth in the way
that it focuses on an enounter that Wordsworth had in the countryside with a woman who
works in a field, harvesting the grain. This encounter impacts Wordsworth so strongly
because of the way that the sight of this woman working and the sound of her song
dominates the scene. The "melancholy strain" she sings "overflowers" the "vale profound"
in its beauty. Having introduced the woman in the first stanza, the speaker then goes on
to compare the song of the woman in the second stanza to that of the nightingale and the
cuckoo and in each case finding the song of the woman more
attractive:


readability="19">

No nightingale did ever
chaunt


More welcome notes to weary
bands


Of travellers in some shady
haunt,


Among Arabian sands:


A
voice so thrilling ne'er was heard


In spring-time from the
cuckoo-bird,


Breaking the silence of the
seas


Among the farthest
Hebrides.



Note how Wordsworth
chooses deliberately Romantic settings, imagining exotic "Arabian sands" and the distant
"farthest Hebrides." Compared to the song of these two birds, the woman's tune is far
superior, yet the third stanza specifies that Wordsworth is not able to discern what it
is she actually is singing. He speculates that perhaps the tune echoes "old, unhappy,
far-off things" or "battles long ago," or does her tune capture "some natural sorrow,
loss, or pain, / That has been, and may be again!" The way that the tune resonates with
Wordsworth is undoubtedly part of its appeal, as in it he seems to find immortalised
something about the perennial human experience of
suffering.


The final stanza talks of how Wordsworth reacted
to seeing and hearing the woman,and how he stood there entranced, "motionless and
still," listening to her song and watching her as she worked. The final three lines
reinforce the massive impact this chance encounter has had on
him:



And, as
I mounted up the hill,


The music in my heart I
bore


Long after it was heard no
more.



The song and sight of
the solitary reaper is something that he takes away with him and is not able to forget.
Somehow, the tune echoes on in his soul as he leaves the woman, reflecting the massive
impact that this woman and her song had on the poet.

Thursday, January 24, 2013

Give an example of a function, g(x), that has a local maximumat (-3, 3) and a local minimum at (3,-3).Give an example of a function, g(x), that has...

Since the function cannot be a quadratic (a quadratic has
one local extreme), then the function is of 3rd order, at
least.


We'll consider a function of 3rd
order.


g(x) = ax^3 + bx^2 + cx +
d


We'll impose the constraint that the function has a local
maximum at (-3,3).


That means that the x coordinate of the
local maximum represents the critical value of function. That means that x = -3 is the
root of the first derivative of the function.


g'(x) = 3ax^2
+ 2bx + c


g'(-3) = 27a - 6b +
c


But g'(-3)=0 => 27a - 6b + c = 0
(1)


We'll calculate
g(-3)=3.


g(-3) = -27a + 9b - 3c +
d


-27a + 9b - 3c + d = 3
(2)


g'(3) = 0 <=> 27a + 6b + c = 0
(3)


g(3) = -3 <=> 27a + 9b + 3c + d = -3
(4)


We'll equate (1)=(3):


27a
- 6b + c = 27a + 6b + c


We'll eliminate like
terms:


-12b = 0 => b =
0


We'll add (2) + (4):


-27a +
9b - 3c + d + 27a + 9b + 3c + d = 3 - 3


We'll substitute b
by 0 and we'll eliminate like terms:


2d =
0


d = 0


We'll substitute b and
d by 0 in 27a + 9b + 3c + d = -3


27a + 3c =
-3


We'll divide by 3:


9a + c =
-1 (5)


Since 27a + 6b + c = 0 and b = 0 => 27a = -c
=> 9a = -c/3 (6)


We'll replace 9a by
(6):


-c/3 + c = -1


-c + 3c =
-3


2c = -3


c =
-3/2


9a = 3/2*3


9a =
1/2


a = 1/18


The
requested function, whose local maximum is at (-3 , 3) and local minimum is at (3 , -3),
is: g(x) = x^3/18 - 3x/2.

What does the poem Genius Child by Langston Hughes mean?

Of course, any work of poetry opens itself up to a number
of different meanings, and it is very hard to pin down any one definitive explanation of
such a diverse medium. However, here is my "take" on this excellent
poem.


In this poem, Hughes seems to be talking about the
way that society treats the "genius child" with suspicion and fear. The way that the
genius child is related and compared to an eagle or a monster suggests that there is
something in the intelligence and capacity of a genius to change society that threatens
society. This of course results in a real fear of the "genius child" and the way in
which he is unloved. A genius child, through his talent and intelligence, threatens the
status quo by offering the potential for change. The song of the genius child is "wild"
and unpredictable, because change always involves a venture into the unknown. That is
why the song must be sung gently, so that it does not "get out of
hand":



This is
a song for the genius child. 
Sing it softly, for the song is
wild. 
Sing it softly as ever you can - 
Lest the song get out of
hand.



The series of
rhetorical questions seem to argue the danger that is implicit in a genius child,
ultimately comparing such a child to a "monster / Of frightening name." The final,
shocking line seems to present the attitude of society towards such genius children who
offer so much hope and potential for meaningful
change:


readability="5">

Kill him - and let his soul
run wild.



Far better to
extinguish such children and let the status quo remain, so that we can maintain control
and predictability in an uncertain world. Obviously, Hughes does not believe this,
rather he uses the poem to capture the attitude of society towards innovation and those
that try to usher such changes in. Many, through their suspicion against new ideas,
would commit violence to maintain stability.

According to Ms. Ryan in First Confession, what did it mean to make a bad confession?

In the early stages of the story, Mrs. Ryan tells the
narrator a tale of a man who made a "bad confession." In the story, the man arrives at a
priest's bedside late at night, asking for the chance to confess; the priest
uncomfortably asks him to return in the morning, but the man explains that "last time he
went to confession, there was one sin he kept back, being ashamed to mention it, and now
it was always on his mind." The priest is said to have gotten up and dressed
immediately, now aware that the man had made a "bad confession." This is then defined as
a mortal sin. In other words, Mrs. Ryan is suggesting that a bad confession is one which
is incomplete, and therefore a lie by omission in a sacred process. Had the gentleman
fully confessed, it would not have been tarnished; however, in lying while allegedly
confessing, he essentially spits in the face of the priest, the doctrine, and God
himself, according to most Catholics. The woman obviously considers this omission a
greater sin than any he might have needed to confess in the first place, simply because
he refused to spout it and it preyed upon his mind.

Explain what the archaic word "trow" means ?

The word "trow" meant something like "think" or "believe."
You can find this word used in old literature fairly often.  Shakespeare used the word
on a few occasions.  For example, see this passage from The Taming of the
Shrew.
(This is from the start of Act I, Scene
2.)


readability="10">

My best beloved and approved friend,

Hortensio; and I trow this is his house.
Here, sirrah Grumio,
knock, I say.



What Petruchio
is saying here is that he thinks or believes that this house belongs to his friend. 
This would make sense if you put one of those words in there.  Petruchio would be saying
"I believe this is his house."


So, "trow" simply means to
believe or to think that something is the case.

What would be a universal thesis about "status" that would allow for an insightful examination of King Lear?

The term "status" is very broad, but when considered
within the context of the play, the ideas of social status and political status come to
mind. Numerous characters, especially Lear and Cordelia, experience profound changes in
social and political status during the drama; how these changes affect them and
determine their courses of action develop the main plot and contribute greatly to the
themes of the play. Other characters, as well, are developed in relation to their status
in society and their political power, or lack of it. One universal thesis you might
consider, based on the characters' actions, would be
this:



Social
and political status do not determine moral integrity or the value of a human
being.



This thesis could be
supported by examining the characters in King Lear in terms of
their thoughts and behaviors. Holding high social status and wielding political power do
not guarantee moral behavior, but they do not always exclude it, either; genuine
humanity exists apart from one's status.

Tuesday, January 22, 2013

In The Red Badge of Courage, what were Henry's reasons for becoming a soldier?

It is key to note the youthful and naive enthusiasm
displayed by Henry in Chapter One as he is enraptured by his Homeric ideas of war,
heroism and battle. We are introduced to a very vain, narcissistic and innocent boy
indeed, who, over the course of the novel, matures greatly as he faces and has to
confront both the realities of war and the reality of his own successes and failures.
Note the way the narrator talks to us about this youthful Henry and his desire to
enlist:



He
had burned several times to enlist. Tales of great movements shook the land. They might
not be distinctly Homeric, but there seemd to be much glory in them. He had read of
marches, sieges, conflicts, and he had longed to see it all. His budy mind had drawn for
him large pictures extravagant in colour, lurid with breathless
details.



We can see here the
impression of war that Henry has. War for him is "extavagant in colour" and "lurid with
breathless details," which is sharp contrast from the actual mud and dirt reality of war
that he encounters. We see that for Henry, he enlists because of his dreams of honour
and glory, that he gets a taste of when he says goodbye to his schoolmates and they
"throng about him with wonder and admiration." The "gulf" he senses between them makes
him "swell with pride." Enlisting for Henry is an action that is done for selfish
reasons, for the glory and status that he feels he will gain through being a soldier and
engaging in such romantic exploits as war. He has a lot to
learn.

What is the exposition of "The Lottery?"

I think that the exposition of Jackson's short story is
what adds to its horror.  The day is described as a beautiful June day.  The sun is
shining and there is a perceptible feeling of joy in the air.  Children run and scamper
around, excited at the freedom experienced with school over.  The boys are, innocently
it seems, collecting stones and stacking them, while the girls are off chatting.  The
fathers are gathered in one area, commiserating, talking to one another about crops and
such, while watching over their children.  All in all, the day is a wonderful one and
the reader has little idea as to why they are all gathered.  The exposition is spent
detailing names like "Dickie Delacroix" and the like.  Adding to this is the seemingly
harmless arrival of both Mr. Summers, who is struggling a bit with the weight of the box
and pedestal, and the tardiness of Tessie Hutchinson, along with her conversations with
her best fried, Mrs. Delacroix. The serene tranquility of the exposition belies the
horror that is to play itself out.

In As You Like It, why does Orlando resent the way he has been treated by his brother Oliver?

The answer you are looking for is given to us in Act I
scene 1. In this scene, we see Orlando confronting his brother over the alleged abuses
that he has suffered at his brother's hands during his childhood. We see Orlando's keen
resentment at the way he has been treated by Oliver when he wrestles with Oliver and,
when he has Oliver in a hold from which he cannot break free, accuses him of the
following behaviour:


readability="11">

You shall hear me. 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. The spirit of my father grows strong in me, and I
will no longer endure it! Therefore allow me such exercises as may become a gentleman,
or give me the poor allottery my father left me by testament; with that I will go buy my
fortunes.



Thus we can see
that Orlando thus resents the way that his brother has deliberately ignored their
father's will, which instructed Oliver to ensure that Orlando received a good education
that was appropriate to his social standing. Oliver, however, brought him up as a
"peasant" without allowing him to develop the "gentleman-like qualities" that were
Orlando's birthright. This is the cause of the resentment that he feels towards his
older brother.

Sunday, January 20, 2013

How does the Edmonson Case give a privilige to African Americans in jury selection?

I think that your question is asserting that the ruling in
Edmonson sets up a special privilege for African Americans.  I have
edited your question to show this.


I do not agree with this
statement.  The Edmonson ruling does not set up a special privilege
for anyone and it does not apply solely to African
Americans.


What the decision in this case said is that
attorneys in a civil case may not use their peremptory challenges solely on the basis of
race.  In other words, attorneys may not throw people off of juries simply because they
do not like the race of the potential juror.  This decision does not say that only
African Americans are protected from this practice.  Instead, it says that no one may be
excluded from a jury in a civil trial (there is the same rule in criminal trials that
existed before Edmonson) simply because of their
race.


This ruling also does not set up any quota with
regard to juries.  There is no need to make sure that you find some number of people of
various races.  Instead, it simply says that potential jurors cannot be excluded based
on race.


Therefore, this ruling is neutral with regard to
race and it is not right to say that it privileges African
Americans.

Saturday, January 19, 2013

In Act 4, scene 3, of Shakespeare's Julius Caesar, how do Brutus and Cassius resolve their dispute?

In Shakespeare's Julius Caesar, it
seems that Brutus and Cassius resolve their dispute in Act Four, scene three, by
talking. These men have been together as friends for a long time. Their conversation
becomes particularly heated, and they throw insults at each other. Brutus is angry, for
one thing, that Cassius would not give him money to pay his army. Brutus accuses Cassius
of acting unkindly to Brutus where he would never have done so with
Caesar.


Cassius wonders that a friend (Brutus) could find
fault with his friend (Cassius). However, Brutus is critical of the
way Cassius acts—of his faults. Cassius thinks that a friend would overlook another
friend's faults, but Brutus says he will not sink to
"flattery."


When Cassius calls on Ocatvius and Antony to
kill him as Cassius and the others killed Caesar, Brutus relents. He buries his anger,
pledging his friendship once again to Cassius. Then Brutus explains that with everything
else that has happened since the assassination, that he has also received word that his
wife Portia has killed herself. Brutus is devastated.


The
two men agree that they will not allow anger to come between them
again.

Friday, January 18, 2013

How can we describe the structure of the short story "The Cop and the Anthem?"

There is nothing particularly unusual about the structure
of the story "The Cop and the Anthem."  Indeed, its structure is fairly
straight-forward.  The tale is told in linear, chronological fashion; that is, events in
the story happen in the order in which they actually happen to the character involved
(no real flashbacks, just him remembering things on occasion.)  It's fairly
standard...if you look, you'll see that the name "Soapy" is within the first few words
of each paragraph.


That said, it is also slightly episodic
in that each of Soapy's encounters is kind of neatly contained as its own little event
in the story.  Little time is spent on the development of each of these into
full-fledged elements and each exists only long enough to demonstrate how Soapy's goal
of being arrested is thwarted.


It is a fairly
strait-forward piece of writing, no less effective for it.

Find the number of the solutions of equation 99sin^2x-101=-sin^2x.

The equation given is 99sin^2x-101=-sin^2x. The number of
roots of the equation have to be determined.


99(sin x)^2 -
101 = -(sin x)^2


=> 100(sin x)^2 =
101


=> (sin x)^2 =
101/100


=> sin x = sqrt (101/
100)


As sqrt (101/100) is greater than 1, and sin x can
only take values in [ -1 , 1], there are no
solutions.


99(sin x)^2 - 101 = -(sin x)^2
does not have any solutions

calculate the solution of the equation log(x+3)=3-log(x-3)

We'll impose the constraints of existence of
logarithms:


x+3
>0


x>-3


x-3>0


x>3


The
interval of admissible solutions for the given equation is: (3 ;
+infinite).


Now, we'll sove the equation, adding log(x-3)
both sides:


log(x+3) + log(x-3) =
3


We'll apply the product
rule:


log (x+3)(x-3) = 3


We'll
recognize the difference of squares:


log (x^2 - 9) =
3


We'll take
antilogarithm:


x^2 - 9 =
10^3


x^2 - 9 = 1000


We'll add
9 both sides:


x^2 = 1009


x1 =
sqrt 1009


x1 = 31.764


x2 =
-31.764


Since the 2nd value of the root doesn't belong to
the range of admissible values, we'll reject
it.


The only valid solution of the equation
is:x = 31.764 (approx.)

Please discuss the tone (or tones) of Ernest Hemingway's novel A Farewell to Arms.

The tones of Ernest Hemingway’s novel A Farewell
to Arms
are various, and they tend to change as one moves through the book.
Often the tones of the early chapters are light-hearted, as in the episodes involving
Rinaldi, one of the most vividly comic characters Hemingway ever created.  Thus, at one
point Rinaldi mentions that he plans to court Catherine Barkley, the woman with whom
Frederic Henry (the book’s main character) becomes involved. Rinaldi asks Henry for a
loan by saying,


readability="9">

“I must make on Miss Barkley the impression of a
man of great wealth. You are my great and good friend and financial
protector.”


“Go the hell,” I
said.



Henry’s reply catches
us by comic surprise. His pretended rebuff suggests that the men are actually very good
friends who feel entirely comfortable bantering with one another and pretending to
provoke one another. The scenes involving Rinaldi are often quite comical. As I have
written in a discussion of this novel in volume 3 of the Student’s
Encyclopedia of Great American Writers
, Rinaldi is one
of



the most
lively, funny, and memorable people Hemingway ever created, [and] he adds wit, good
humor, vitality, and a spirit of affectionate friendship to the
novel.



The humor of some
sections of the first part of the book, moreover, helps intensify the dark, tragic tone
with which the book concludes. For example, the often funny and charming depictions of
the courtship between Frederic and Catherine help make the tragedies they eventually
suffer all the more powerful.



Hemingway also
creates an effective tone of suspense near the end of the book, where we wonder whether
Frederic and Catherine will make their escape into Switzerland and where we also wonder
what the outcome will be of Catherine’s attempt to deliver a baby. At the very end of
the book, of course, we discover that both Catherine and the baby have died. The tone
here is dark and devastating, partly because Frederic now seems utterly isolated. Part
of the power of Hemingway’s novel, then, depends upon the ways the tones of the book
alter, deepen, and darken as the book progresses.

Wednesday, January 16, 2013

Streams do most of their erosion, transportation of sediments, and deposition of sediments during?

The faster the flow of water, the more sediment will be
stirred up from the bottom of the stream.  When more sediment is stirred up more of it
is transported and deposited downstream.  The greater the volume of water the more
sediment from the banks of the stream breaks free and is transported down stream. 
Erosion also exerts its force faster when the speed of the water flowing down stream
increases.  That said, any conditions which increase the volume or velocity of the water
in the stream will increase the predominance of erosion and sediment transportation. 
Ideal conditions for this are rain and melting snow; so during any rainy season or in
the spring when the snow melts into the stream erosion and sediment transportation will
be at its peak.

Tuesday, January 15, 2013

What does the following quote from King Lear mean?If yet beseech your majesty- If for I want that glib and oily art, To speak and purpose...

It is hard not to hear these words from Cordelia, said to
her beloved father, Lear, and not to scream silently at Lear in the hope of making him
realise just how stupid he is being! Cordelia, having refused to verbally flatter her
father with words, as her sisters Regan and Goneril have so insincerely done, now faces
her father's full wrath and punishment. It is interesting how the King of France
reflects on what he has seen just before Cordelia makes this speech in Act I scene
1:



This is
most strange,


That she whom even but now was your best
objhect,


The argument of your praise, balm of your
age,


The best, the dearest, should in this trice of
time


Commit a thing so monstrous to
dismantle


So many folds of
favour.



Having enjoyed the
position of favourite daughter, her unwillingness to flatter her father's vanity now
makes her the least favourite daughter. In the speech that Cordelia makes, she draws a
clear comparison between herself and her sisters, and their "glib and oily art/To speak
and purpose not" (to speak but not to do it) and her own actions that come before her
speech. She asks her father to make it known that she has lost her favour not through
any sin or crime, such as "murder" or "unchaste action" so that her name may remain
clear. She remains defiant in being glad that she does not have a "Still-soliciting eye"
and a flattering tongue, even though that means she lost her father's
favour.


One can't help but be impressed by Cordelia's
character. She remains true to herself and what she believes is right, and her speech
shows the danger of trusting in words alone and not in actions--a danger that Lear
himself will realise later on.

What details of the story are especially significant?Kate Chopin's "The Story of an Hour"

In this compact narrative, Kate Chopin skillfully and
meaningfully makes use of many pregnant details. For instance, it is interesting how the
initial reference to Mrs. Mallard changes to "she" after the woman is informed of the
death of Mr. Bentley Mallard.  Thus, the focus of characterization switches to the
feminine aspect in contrast to the Victorian setting of femme covert
in which a woman/wife called "Mrs. Mallard" is subservient to her husband. 
And, as "she" looks out her window, realizing that Spring approaches, a season that
parallels her own burgeoning feelings of independence, the emergence of "Louise," the
individual occurs in contrast to the former "Mrs. Mallard" as her sister Josephine calls
to her outside the bedroom door.


Also, while "she" is in
the bedroom emerging as an independent individual, there are such adjectives used as
"acquiver," "delicious" "twittering," "approaching"; these details suggest the spiritual
awakening, the "monstrous joy," of the main character as she realizes her new-found
freedom.   However, as the detail of "monstrous" suggests, the dream of freedom is
short-lived for Louise as her "feverish triumph" turns to a fatal defeat with the return
of Brentley Drummle and "she" changes to "his wife" in the third-to-the-last line.
Certainly, Kate Chopin's "A Story of an Hour" utilizes details most
significantly.

Monday, January 14, 2013

Is Meursault an antihero in the novel The Stranger by Albert Camus?

The qualities expressed by an antihero are opposite of
those expressed by a true hero. Where a true hero is brave and resourceful, an antihero
(also spelled anti-hero) is weak and limited. Where a hero is personable and honest, an
antihero may be annoying and manipulative. A hero succeeds in his quest through virtue
and valor and the help of friends. An antihero may succeed or he may fail. He is often
alone but, when he has friends, his friends are of the ignoble sort. The list of
qualities and antithetical qualities goes on, but this gives a foundation for examining
Meursault.

Meursault annoys people: "I had an idea [my employer]
looked annoyed.". Meursault is not personable: "But maybe that’s why one day I’ll come
to hate you." Meursault is weak, which is part of why he comes to be condemned on trial,
and has no resources--he killed a man "because of the sun." He has no virtue: he agreed
to write Raymond's letter knowing the purport and intent of it. He has no valor: "but I
spoke too quickly and ran my words into each other. I was ... nonsensical,
...."

In one sense, he fails at his task in that he is convicted of
the crime he commits. It may be argued that in another very different sense he succeeds
in his task because he proves with his life that the world that he sees is senseless and
without meaning--that the only things that matter, either for good or for ill, are
physical sensations: "I explained that my physical condition at any given moment often
influenced my feelings." Yes, Meursault fits the definition of an
antihero
.

Sunday, January 13, 2013

Find the angles of a right triangle if the difference of the acute angles is 24 degrees.

We are asked to find the angles of a right triangle given
that the difference of the acute angles is 24
degrees.


There are 180 degrees in a right
triangle.


A right triangle contains one 90 degree
angle.


Let x = one acute
angle


Let x + 24 = second acute
angle


=> x + x + 24 + 90 =
180


=> 2x + 114 =
180


=> 2x = 
66


=> x = 33
degrees


=> x + 24 = 57
degrees


The angles of the right triangle are
90 degrees, 57 degrees, and 33 degrees.

Which features of modernism and realism are found in "The Old Man and the Sea" by Ernest Hemingway? modernism and realism in "the old man and the...

Modernism: Although it is a
far cry from the "lost generation" of Hemingway's earlier novels, The Old Man
and the Sea
does show how a man is alienated from society, the problems of
existential identity and inevitable suffering, and the intense subjectivity of a
character who reveals himself through interior
monologue.


Santiago indeed is like an existential
Christ-figure, cut off from family, other fishermen, his disciple Manolin, and his
ability to redeem his former greatness.  The sharks seem to be the inevitable critics of
society's cruel ambivalence toward the
artist.


Realism: the novel is
simply told a plain style: simple diction, simple sentences, few adjectives, no
hyperbole.  Its protagonist is a humble fisherman who has many weaknesses.  The novel
seems to distrust passion, irrationality, and emotionalism in its style and
characterization.  It is a simple, straight-forward allegory and morality tale, devoid
of authorial intrusion or grandiose depictions of nature.

How does Candide satirizes the idea of philosophical optimism?

This is a complicated question ... I'll try a simple
answer and hope it's adequate.  Candide is a response to Gottfried Leibniz's assertion
that we live in "the best of all possible worlds."  Simply put, his reason was that an
all powerful and all good God could not create a less than perfect world because this
would make God less that perfect."


Candide is presented as
a sheltered young man who, accompanied by his tutor Pangloss, whose mantra is "all is
for the best in the best of all possible worlds," comes to experience a world that is
quite different from this mantra. There are historical events mentioned in the book that
would make one wonder how this could possibly be the best of any world, never mind the
best of all possible worlds --- the brutal Seven Years War and the Lisbon earthquake are
often cited as examples.


All this is motivated by
Voltaire's endless attacks on organized religion and repressive governments.  To believe
that this was the best of all possible worlds would have meant two things, the first
being that you weren't observing what was really going on, and the second that if you
thought this was the best, you might not be willing to put forward the effort to change
it.

Why has the rule against warrantless arrests in a person's home (outside of emergencies) survived to the present day?Where law enforcement agents...

The whole point of the 4th Amendment is to prevent the
government from arresting or searching people without having a good reason to do so.  We
do not want a government that is allowed to arrest or search people whenever a police
officer feels like it.  This is why the rule that you have mentioned has survived to the
present day.


The basic rule for arrests is that a police
officer must either have a warrant or there must be some sort of emergency that makes it
important that the officer make the arrest right then, without taking the time to get a
warrant.  If warrantless arrests were legal outside of emergency situations, the 4th
Amendment would be meaningless with regard to arrests.  Warrantless arrests within a
person's own home would be even more offensive because a person generally has a
reasonable expectation of privacy while inside his or her own
home.


So, this rule has survived to the present because A)
the requirement that police have a warrant is the basis of the 4th Amendment and B)
because a person's home is his/her "castle;" the place in which he or she has the
greatest reason to expect privacy.

Saturday, January 12, 2013

I need a full translation (into Modern English) of John Donne's famous poem "Death be not Proud."

Interesting task to try and achieve. Here goes my
effort:


Don't be conceited Death, even though many think
you are


Mighty and dreadful, for actually you are
not,


For those that you think you triumph
over


Don't actually die, poor little Death, just as you
can't kill me.


Death actually only gives rest and
sleep,


Which is very pleasurable, because death is only a
temporary state that will end,


And as soon as great people
die and go to you,


You only give the body rest and deliver
the soul from the bondage of the body.


You are a slave to
fate, luck, kings and desperate men,


And you live with
poison, war and sickness,


And after all, drugs and magic
can make us sleep too,


And better than you can, so what
makes you think you are so great?


After we have a short
nap, we will awake to eternity


And in this place death will
not exist; Death, you are going to die.

Friday, January 11, 2013

What are some instances of irony in Hemingway's "The Snows of Kilimanjaro"?

There are several ironic developments in Hemingway's "The
Snows of Kilimanjaro."  Perhaps the most obvious is the situational irony involving
Henry's purpose for going on the safari--to become inspired, more alive as a writer. The
mountain represents for Harry inspiration, purity, renewal as an artist. Instead, he
meets his death through gangrene--a rotten leg--an ignoble end to a lofty
goal.


Also ironic is his marriage, which should perpetuate
life through procreation, but instead stifles Henry's life and creativity.  He feels as
if he has sold out by marrying a rich woman.  Instead of bringing Harry love and
fulfillment, his marriage has resulted in a stifled career and a sense of waste and
emptiness.  In many ways, Harry is spiritually dead before he physically dies.  Harry
wanted to write poetry and stories; now because of his gangrene, he has become the story
he might have written. Just as Harry fails to climb the mountain on the safari, he has
failed as a writer.


Another source of irony might be in the
interpretation of the animal symbolism, a topic explored by Jerianne Wright, in a short
but interesting essay whose link I have posted below.  Harry would have preferred to be
more like the leopard who ascends the mountain independently, but his life has been more
like the hyenas who settle for what can be scavenged.

Why corporations are moral agents?

The reason why corporations are considered moral agents is
the fact that all corporations are supposed to have ethics and values with which they
are to operate. In most institutions, work ethics are there to determine how customers
should be treated and how an employee is to conduct him or herself at work. But
invariably, as workers, especially social workers of corporations adhere to the basic
working and customer ethics, their overall attitude, character and morality become
transformed. In such situations, the ethics they put up at work becomes reflected in
their everyday life.

To this effect "Ethics are considered to be of
utmost importance because they assist in promoting significant moral
values."

Thursday, January 10, 2013

Explain why Bokanovsky's Process is one of the major instruments of social stability in Brave New World?

The Bokanovsky process in Brave New World is basically
cloning. With one egg dipped in the sperm solution at the hatchery building, fertilizers
can create up to 96 identical human beings.


Being able to
control the population of the world like this contributes to social stability because
the controllers can always make sure they have enough gammas, deltas and epsilons
available to do the work that has to be done at each caste level of
society.


Without the ability to control the numbers of
people in each caste, world leaders would be at the mercy of fate, disease, or conflict
when it comes to world population.  For example, let's say it takes 20,000 epsilons to
man the waste stations. However, a deadly disease one year wiped out 1/2 of them. This
would leave the socity unstable, because there wouldn't be enough workers to complete
the tasks necessary to keep the society running.


With
Bokanovsky, however, if disease wiped out a good segment of a class, they could pop out
batches of 96 clones in a relatively short period of time, restoring social order and
making enough people to complete the jobs that need to be done.

In The Glass Menagerie, what ideas or themes are introduced by the opening stage directions?

It is clear that the stage directions as the play opens
present us with the way in which society oppresses humans and acts as a conformist
power, making it very hard to hold onto dreams and to break free from its grasp. Note
the way that Williams introduces the overall scene:


readability="9">

The Wingfield apparment is in the rear
of the building, one of those vast hive-like conglomerations of cellular living-units
that flower at warty growths in overcrowded urban centres of lower middle-class
population and are symptomatic of the impulse of this largest and fundamentally enslaved
section of American society to avoid fluidity and differentiation and to exist and
function as one inerfused mass of
automatism.



The
setting is shown to deliberately inhibit individuality, preventing "fluidity and
differentation," and to promote conformism in the "enslaved" people that live in this
section of American society. In addition, let us add to this description the author's
comment on the fire escape, whose name has a "touch of accidental poetic truth" in the
way that all of the buildings like the one that the Wingfield's live in burn "with the
slow and implacable fires of human desperation." It is clear, therefore, that issues
such as individuality, dreams and the struggles that humans face to try and achieve them
and the barriers that try and prevent them from bucking the trend and escaping the
enforced conformity of this world are going to be big themes as the play opens and we
are presented with a desperate world with desperate characters inhabiting
it.

How did the Allies use their air power against the German civilian population?

The Allies used their air power against German civilian
populations through what was known as "strategic bombing."  Strategic bombing is when
the military attacks things like factories so as to prevent them from producing the
things the enemy needs to fight.  This is contrasted with more "tactical" bombing, in
which the military targets the other side's military.


The
Allies (the Germans did this to the British as well) were trying to destroy the German
industrial capacity.  Therefore, they had to bomb the cities where the factories and
railyards and refineries and such were.  In those days, bombing was extremely inaccurate
and so many civilians ended up getting killed or made homeless by bombs that did not hit
their targets.


It must be said, though, that the Allies did
also simply target residential areas.  They felt that it would be a good idea to do this
to destroy the morale of the German civilians.  As the link below
says



In
February 14, 1942, Bomber Command, the RAF branch in charge of strategic bombing, issued
a directive that the "primary object" of the campaign was to destroy "the morale
[spirit] of the enemy civilian population and in particular of industrial workers." The
head of the RAF explained that the target was residential areas, "not, for instance, the
dockyards or aircraft factories." The aim was to kill the people who worked in the
factories, along with their families, and to destroy their
homes.



So, the Allies used
their air power against German civilians both accidentally (when they missed their
industrial targets) and intentionally (as in the quote above).

What is the following statement saying about leftist economic beliefs?The political left was built on a view of human life that was partly true,...

The term "left" in politics can mean anything from people
who (in US terms) are moderate Democrats to people who are communists.  Therefore, the
left has many different parts.  One thing that does unite most of the left is the idea
that the government should help to improve society because society, on its own, will end
up setting up institutions and systems that hurt the people.  You can see this idea in
the statement you have given us.  The statement lists all these ways in which the
government is supposed to step in so as to improve society and improve people's
lives.


So, which of the four statements reflects this?  It
is clearly C.  B is clearly not right because the left advocates more government
intervention.  A is clearly not right because government intervention reduces individual
responsibility.  D could be true, but redistributing income and changing society to make
up for human nature does not sound very "cautious," does it?  For these reasons, C is
the best answer.

What are an audiences preconceptions, either as anticipated from the text or by general preconceptions in Waiting for Godot?

This play certainly challenges the reader's preconceived
notions about drama and how plays traditionally work.  Generally, readers assume that
the play will have several characters who will face at least one significant conflict;
there will be some significant setting and probably multiple sets/settings; there will
be some action; the characters will do things; the
resolution of the play will provide satisfaction to the reader at the end of the
conflict(s).


This play barely addresses ANY of the above
features.  There are only two characters, Vladimir and Estragon, for the majority of the
play and only two other characters, Pozzo and Lucky, drift in and out of the scene
having absolutely NO effect on the main characters.  The setting is incredibly sparse --
a tree and a rock -- and it only ever changes in that the tree seem to grow leaves
overnight between Act 1 and Act 2.  The characters don't ever do anything but talk and
attempt to alleviate their ill-fitting hat and boot.  Their sole purpose is to wait for
a man(?) named Godot to come and tell them what to do.


The
meaning of the play comes from the existential state of the two men.  They are not
taking control of their lives -- they are condemned to be free.  Instead of doing
anything to understand, or even better, change their situation, they merely wait around
for Godot to come.  Estragon can barely even remember that they are waiting.  They
talk about leaving, about killing themselves, about their dreams
and nightmares, their want of better food, their memories of the previous day and the
characters of Pozzo and Lucky, but they do nothing.  Nothing comes of anything.  They
are existentially dead.  By Beckett's stripping away all of the expectations and leaving
only the most absolute essentials of a story, he leaves the audience with a stark
picture of these two men and the tragically unending circumstances of their lives.  The
ending provides no resolution, just as their lives have no
resolution.

Prove that cosa*cosb

We'll consider the constraint a - b = pi => a = pi
+ b


We'll calculate the cosine function of the angle
a:


cos a = cos (pi + b)


We'll
use the following identity:


cos (x+y) = cosx*cosy -
sinx*siny


Comparing, we'll
get:


cos (pi + b) = cos pi*cos b - sin pi*sin
b


But cos pi = - 1 and sin pi =
0


cos (pi + b) = -cos
b


Therefore cos a = - cos
b.


If we'll multiply a negative number by a
positive number, the result is a negative number, therefore cos a*cos b = - (cos b)^2
=<0.

Wednesday, January 9, 2013

In Cry, the Beloved Country, why is the government more afraid of Dubula than Tomlinson or John Kumalo?

The answer to this question can be found in Chapter Eight
of this excellent novel. Msimangu and Kumalo have been just been persuaded to observe
the boycott of transport, in spite of the distance that Kumalo must walk and his age.
The man who is responsible is Dubula, of whom Kumalo says he has "a silver tongue."
Msimangu then explains who Dubula is and why it is that the government fears him more
than other political agitators arguing for equality:


readability="12">

But they say... that Tomlinson has the brains,
and your brother the voice, but that this man has the heart. He is the one the
Government is afraid of, because he himself is not afraid. He seeks nothing for himself.
They say he has given up his own work to do this picketing of the buses, and his wife
pickets the other bus rank at
Alexandra.



Thus Dubula is the
man the government is most afraid of because, unlike John Kumalo, he protests with no
thought of benefit for himself or fear for his own personal safety. He is driven by
higher and purer ideals of morality and justice, which makes him more
dangerous.

Compare the choices of Romeo or Juliet with a Tennyson poem.

I would take the commitment that Juliet feels at the end
of Act III the protagonist in Tennyson's poem, "Ulysses."  Both feel that their current
living conditions, the area they both call "home," has outlasted its usefulness.  In
Tennyson's poem, Ulysses feels that his life at home in Ithaca has lost its sheen and
that he has to go back out into the world, away from his home, to find his own notion of
self.  Juliet experiences the same rift between her and her own home, finding herself
absolutely committed to leaving her home after the exchange with her parents.  For both,
their identity is constrained with their presence in their homes. They have tied their
subjective notions of self to something outside where they live.  For Juliet, this is
living with her Romeo.  For Ulysses, this is the warfighting life and all the adventures
that accompany it.  Finally, both characters experience a sense of determination and
commitment to make their subjective become reality.  Juliet leaves Act III with a
driving force to make her life with Romeo a reality or die trying, while Tennyson's
conception of Ulysses is one where he commits himself "to seek, to strive, to find, and
not to yield."

What is the cost of building a 1m wide path that is 10cm thick around a pool 7mx4m if the concrete used costs $129 per m^3.

Length of pool = 7m


Breadth
of pool = 4m


Since we need a path of width 1m around the
pool, the  outer borders of the path should extend 1m more on all sides of the
pool


so we have path which looks like being made of 4
rectangles


-- the upper and lower ones which are of length
9m and width 1m


--the side ones with length 4m and width
1.


So the total area will
be


2* (9*1) +2*(4*1) = 18+ 8
=26m2


T find the perimeter, consider the out ward edges of
the path.


The length of the outward edges will be 9m, 4m
,9m and 4m respectively


So the perimeter =9*2+4*2 = 26
m


To find the cost of concrete of depth 10 cm = 0.1 m, we
have to find the volume


The longer sides of the path will
have volume = 9(length)*1(width)*0.1(depth) = 0.9m3


The
shorter sides will have volume = 4*1*0.1 = 0.4m3


so the
total volume =0.9*2 +0.4*2 = 1.8 +0.8 = 2.6m3


Cost is $129
per m3


So the total cost is 129 *2.6 =
$258

Tuesday, January 8, 2013

What is the significance of the Emancipation Proclamation?

Abraham Lincoln's Emancipation Proclamation was issued on
January 1, 1863. Originally, Lincoln was slow to make slavery an issue in the Civil War,
knowing that if he did so, states that supported the Union, but also supported slavery,
would join with the Confederacy (the South). In this case, Lincoln knew they would lose
the war, which would not serve the abolition of slavery. Slavery was something that
Lincoln could find no way to reconcile in his own mind: he detested the practice.
Slavery was:


readability="5">

...a moral and constitutional paradox that lay at
the heart of the American national
experience.



In 1860, there
were more than four million slaves in the United States, representing approximately one
seventh of the total population. Change was in the
wings;



Slavery
was 'the sleeping serpent' waiting to be
awakened.



Ultimately, the
slaves of the South made the decision for the Union, and so, too, for President Lincoln.
The slaves realized that as the Union army advanced southward, the opportunity presented
itself for their escape. Approximately 600,000, or fifteen percent of the total number
of slaves, escaped from their plantations and traveled North. Many sought out the Union
camps. Union leaders did not know what to do: return the escaped slaves to their owners
or allow them to stay? Most decided to allow the slaves to remain, eventually
identifying them as "contraband" (or property) seized during a military encounter. Under
this premise, "seizing" slaves supported the "military effort," not the emancipation of
slaves.


There was criticism of the proclamation because it
only freed slaves in Confederate states that were captured by the Union's military. It
did not free slaves that were in areas already captured, or with
states that were supportive of the Union in the war. A president's power was limited by
the Constitution, and the only real power Lincoln had was as "commander-in-chief" from a
military
standpoint.


Eventually, the
Emancipation Proclamation liberated two-thirds of the slaves in this country as part of
the war effort. States that were supportive of the Union's cause freed their slaves, and
finally, the 13th Amendment, passed in 1865, outlawed the keeping of slaves in the
United States.

Sunday, January 6, 2013

In The White Tiger, what resolutions are made of the major conflict(s) that were faced by the main characters?

In The White Tiger, the resolutions
made by the main characters are heavily influenced by the corruption of the city and the
conflicts in moral values.  For example, when Pinky Madam kills the young boy on the
street during her joy ride, Mr. Ashok must find a way to cover up his wife's crime. 
Instead of trying to be morally upright, Mr. Ashok allows corruption to guide his hand
and he and his wife pay Balram to remain silent.  They then blame the death on Balram
and the police accuse Balram of the murder.  Continuing to live under unjust men then
becomes a major conflict for Balram, and he solves his problem by gaining his economic
freedom the only way he knows how--he murders Ashok and takes a large sum of money from
him to run away and start a new life.  Balram knows that what he has done is morally
wrong; however, he feels that he took an opportunity that was handed to him as part of
the system. 

Saturday, January 5, 2013

In ACT III, Brutus and Antony make their speeches at Caesar's funeral - what are some of the specific parts of Antony's speech that wins the...

Antony makes a funeral speech that moves the crowd to a
murderous frenzy against the conspirators. He mentions that Caesar had left all the
people in his will. Marc Antony points out that Caesar loved the people. He keeps
mentioning the will.


Also, Antony mentions that Caesar
loved Brutus. He states that Brutus was Caesar's angel. This moves the people against
Brutus:



For
Brutus, as you know, was Caesar's angel. Judge, O you gods, how dearly Caesar loved him!
This was the most unkindest cut of all; For when the noble Caesar saw him stab,
Ingratitude, more strong than traitors' arms,(195) Quite vanquish'd him. Then burst his
mighty heart,



Antony begins
listing all of Caesar's attributes. He mentions that Caesar did weep when the poor
cried. With this statement, Antony adds that ambition should be made of sterner stuff.
Act 3, Scene 2 gives the details of Antony's speech. He mentions that Caesar refused to
be crowned three times. In this, Antony is trying to disprove the conspirator's theory
that Caesar was ambitious. His speech is quite
effective:


readability="16">

Come I to speak in Caesar's funeral. He was my
friend, faithful and just to me; But Brutus says he was ambitious, And Brutus is an
honorable man.(95) He hath brought many captives home to Rome, Whose ransoms did the
general coffers fill. Did this in Caesar seem ambitious? When that the poor have cried,
Caesar hath wept; Ambition should be made of sterner stuff.(100) Yet Brutus says he was
ambitious, And Brutus is an honorable man. You all did see that, on the Lupercal,  I
thrice presented him a kingly crown, Which he did thrice refuse. Was this
ambition?(105)



Antony uses
strong rhetoric to convince the people that Caesar was not ambitious. His rhetoric moves
the crowd. A civil war breaks out as Antony leads a force against Brutus and the
conspirators.

Determine the energy stored in a spring if it is stretched by 20 cm and the spring constant is 500N/m?

To either increase or decrease the length of a spring from
its equilibrium length work has to be done on the spring. The work done is stored as
potential energy in the spring and when the spring is let free it regains its
equilibrium length.


The force that has to be applied to
change the length of a spring is dependent on the change in length. It is equal to F =
-k*x, where x is the change in length. The negative sign indicates a restoring
force.


Work is force*distance. If the spring has been
extended by x, the work to be done to intend the length further by an infinitesimal
length dx is dW = k*x dx


Here the spring constant is 500
N/m and the spring is extended by 20 cm. The work done is the definite integral
Int[500*x dx], x= 0 to x = 0.20


=> 500*x^2/2, x = 0
to x = 0.2


=>
500*0.2^2/2


=>
250*0.04


=> 10 J


The
energy stored in the spring when it is stretched 20 cm is 10 J

Discuss the quote below. " When the sins of our fathers visit us we do not have to play host. We can banish them with forgiveness. As God, in His...

I think that the quote plays a significant role in both
works.  In Fences, I think that Cory's reaction to his father at
the funeral might be one specific instant where Wilson's quote is most evident.  "Not
having to play host" to the anger and bitterness that his father is where Cory is when
he joins Raynell in singing Troy's favorite songs.  The emotional "fences" that
prevented Troy from appreciating consciousness were caused by sins that his father
passed down to him.  These very same transgressions were offered to Cory, who seems to
be at a point where the same poison will not effect him as it did his father.  Cory
seems to embody the idea that individuals can actively change their own social and
emotional climates to appropriate a vision of the world that is more psychologically
healthy.  In Fitzgerald's work, I think that Gatsby is in a similar predicament.  Gatsby
does not have to "host" the sins of the social setting where individuals are driven to
use people as means to ends and one where phoniness and in-authenticity dominate. 
Fitzgerald is able to draw a very strong portrait of Gatsby whereby Gatsby understands,
to an extent, the sins of his social setting and seeks to not play host to it.  However,
Gatsby has little choice but to "play host," as he places more value in his pursuit of
Daisy.  Both writers seem to be indicating that individuals have to take active and
defiant roles to "not host" the sins that surround individuals in both society and
family.  The act of "banishing" these transgressions require a sacrifice and discipline
that Troy lacks, but which Cory possesses, and a sensibility that exists in Gatsby,
though he is unable to fully act upon it.

How is conflict shown in chapters 5-8 of Bless Me, Ultima?

You might want to focus on the beginning of chapter six,
and the perennial conflict that exists between Antonio's parents. As Antonio gets ready
for his first day of school, his father says that this is just "another expense," which
results in an argument between his parents about his father's dream of going to
California, and his attachment to wandering around on the moors, whereas of course
Antonio's mother wants him to study so that he can become the priest of her people, the
Luna family, who are successful farmers in the valley. Note how the mother responds to
the father's reference to California as a land "flowing with milk and
honey":



"Any
land will flow with milk and honey if it is worked with honest hands!" my mother
retorted. "Look at what my brothers have done with the bottomland of El
Puerto--"



We can see that
this is a central conflict in the whole book, and results in the internal conflict that
Antonio suffers as he believes he has to choose between the two mutually exclusive paths
his parents want him to follow.


I suppose you could reflect
a lot on the parental pressure that children face as they grow up. Sometimes this can
carry on even into adulthood as parents have very fixed ideas and hopes of what they
want their children to be. However, the novel's overwhelming message seems to focus on
the way that we must find our own path, and if necessary not fulfill the dreams and
goals that our parents have for us in our own quest to discover ourselves and establish
our own identity.

Friday, January 4, 2013

How is tension created and then relieved in Chapters 16-19 of To Kill a Mockingbird?

These four chapters detail most of the trial of Tom
Robinson, the primary plot during the second half of To Kill a
Mockingbird
. It is an exciting few hours for the three children, who have
sneaked into the courtroom and remain partially hidden in the balcony among Tom's
supporters. The suspense builds slowly, beginning with the relatively bland testimony
given by Sheriff Tate. But then the fireworks begin. Bob Ewell accuses Tom of
being "that black nigger yonder ruttin' on my Mayella!" It took Judge Taylor five
minutes to silence the commotion in his courtroom, and Reverend Sykes suggested that the
children leave. Mayella's following testimony becomes even more emotional and
descriptive; she cries repeatedly and eventually storms from the stand calling everyone
"yellow stinkin' cowards." 


When Tom takes the stand next,
he tells his story in a calm, believable manner; but when the prosecutor, Mr.
Gilmer, cross-examines him, he belittles Tom, calling him "boy" over and over. It is all
too much for Dill, whose "sobs were heard by several people in the balcony." Scout takes
him out for a breather, where they meet up with Dolphus Raymond at the end of Chapter
19. The next chapter begins with some comic relief, a welcome change after the serious
events that preceded. But Dolphus soon becomes emotional as well, and Scout recognizes
that the courtroom may be the best place for them after all. It is a roller-coaster
series of emotions for the young children, who are eventually discovered when Calpurnia
comes to the courtroom to give Atticus the news that they are
missing.

In The Revolt of 'Mother,' how does Freeman reveal Mother's character through description and figurative language?

The author uses rather concise language to create in the
character of Mother a strong woman, who has been taught to honor and obey her husband. 
She does not hesitate to ask for the things she wants or inquire about things the family
needs.  However, regardless of his answer, she goes back to work in a dutiful and quiet
manner.


It is obvious from her body language and the
description of Mother's reactions to her husband's answers about the digging and the
plans for a new barn in the exact place which had been promised for their new house,
that Mother is not pleased with her husband's
decision.


Only after her daughter's angry suggestion that
they have her wedding in the new barn, however, is it clear what Mother plans to do. 
From her reaction to the arrival of her brother's letter inviting Adoniram to come look
at a horse he might be interesting in buying, the reader can suppose she had something
to do with that letter.  However, in the hours immediately following her husband's
departure, she and the family are busy moving into the barn and moving the new hay order
and the new livestock into both the old barn and the old
house.


Of course, her husband and the neighbors act
appropriately shocked and put out with Mother's action, but the understatement of her
actions speak loudly through her meek but not weak character.  She has never raised her
voice, she has never openly defied her husband, there has never been an ugly outbreak of
confrontation.  However, her actions speak loudly enough for everyone.  She is serious
about providing properly for her family, and the cows don't need a better housing
provision.

What is the limit of (a^2-x^2)/(sqrt(x)-sqrt(a)) for x tending to a.

The value of lim x-->a [ (a^2 – x^2)/(sqrt x – sqrt
a)] has to be determined.


Subsituting x = a, gives us 0/0
which cannot be determined.


Notice that x^2 – a^2 = (x –
a)(x + a) = (sqrt x – sqrt a)(sqrt x + sqrt a)(x + a)


lim
x-->a [ (a^2 – x^2)/(sqrt x – sqrt a)]


=> lim
x-->a [-(sqrt x – sqrt a)(sqrt x + sqrt a)(x + a)/(sqrt x – sqrt
a)]


=> lim x-->a [-(sqrt x + sqrt a)(x +
a)]


substitute x = a


=>
-(sqrt a + sqrt a)(a + a)


=> -2*sqrt
a*2*a


=> -4*a*sqrt
a


The limit we have to determine is equal to
-4*a*sqrt a

Thursday, January 3, 2013

critical appreciation of no men are foreign by james kirkup

James Kirkup's poem, No Men Are Foreign
aims to preach the message of universal fatherhood of God and brotherhood of
man. All men are children of God, sharing the same earth as brothers. This is an example
of the poetry of instruction and moral inspiration which echoes the message of many
philosophers and prophets of the olden times.


Irrespective
of the geographical, religious. cultural, linguistic and other differences, all men are
natives of this planet, the unity in diversities that the title of the poem refers to.
All men walk about on this earth and all are buried under this earth's surface. All men
work with their hands; all men prosper in peace-time and suffer during wars. All men
bask in the same sun, and breathe the same air. So no men are foreign to any country,
and no country is strange to any men. we should shun hatred and live in universal
brotherhood.

Wednesday, January 2, 2013

If I were in Orlando's place in As You Like It, what would I have done to solve my problem regarding my low social status?

This is an interesting question to consider. Personally, I
don't think I would have handled it in the same way that Orlando did. His open challenge
of his brother and then the way that he deliberately humiliates Oliver by showing his
physical superiority over his brother by wrestling him only serves to antagonise Oliver
and to make his hatred of Orlando more profound. It was not a very wise mood, however
happy it would have made Orlando feel to finally express his frustrations and anger at
his brother. However, we need to remember that Orlando is presented as an honest and
simple character, so these actions suit who he is.


I
personally would have tried to adopt a softly, softly approach, staying quiet and
appearing to be content with my lot whilst at the same time working to gain support for
my position with other nobles, perhaps friends of my deceased father, in court, and even
appealing to the Duke. If it was decreed in the will that Oliver should look to his
brother, that would give his case weight in front of the court.

Find the first 5 terms of the geometric progression if the common ratio is -4 and the 4th term is 16.

Let a1, a2, a3, a4, a5 are terms of G.P such that r= -4 is
the common difference and a4 = 16


Then we know
that:


a4 = a1*r^3


==>
16 = a1* -4*3


==> 16 =
a1*-64


==> a1= -16/64 =
-1/4


==> a2= a1* r= -1/4 * -4=
1


==> a3= a1*r^2= -1/4* 16 =
-4


==> a4= a1*r^3 = -1/4* -64 =
16


==> a5= a1* r^4 = -1/4* 256 =
-64


==> Then the first 5 terms
are:


-1/4....1.....-4......16......-64

What were the new materials and tools used in the Bronze Age?

The Bronze Age was the first age in which human beings
learned to use metal.  Before the Bronze Age came the Neolithic, which is the more
"modern" part of the Stone Age.  During those times, people only knew how to make tools
of materials such as stone, wood, and bone.  With the Bronze Age, people learned how to
extract metals from ores and work those metals.


The first
new material created during this time was copper.  This was not very useful because
copper is too brittle to really use for tools.  But people soon discovered that bronze
could be made by adding tin to the copper.  Bronze was much stronger than copper and
could be made (using molds) into all sorts of
implements.


The Bronze Age, then, was the first age in
which people learned to use metals to make various sorts of tools and other implements
that would be easier to make and more durable than stone
implements.

What type of sequence is the sequence represented by the sum of the terms that has the resul 2^n - 1 ?

First, we need to determine the general term of the
sequence, bn, and then, we'll utter any other term of the
progression.


From
enunciation:


Sn=b1+b2+b3+...+bn


(2^n)-1=b1+b2+b3+...+bn


bn=(2^n)-1-[b1+b2+b3+...+b(n-1)]


But
[b1+b2+b3+...+b(n-1)]=S(n-1)=[2^(n-1)]-1


bn = Sn -
S(n-1)


bn = (2^n) - 1 - 2^(n-1) +
1


We'll eliminate like terms and we'll factorize by
2^n:


bn=2^n(1-1/2)=2^n*1/2=2^(n-1)


Since
we know the general term bn, we'll compute the first 3 consecutive terms,
b1,b2,b3.


b1=2^(1-1) = 2^0 =
1


b2=2^(2-1) = 2 =
2*b1


b3=2^(3-1) =
2^2=2*b2


Sn = 2^n - 1 is the sum of the terms
of a geometric sequence, whose common ratio is q =
2.

Tuesday, January 1, 2013

Why do Huck and Jim run away together in The Adventures of Huckleberry Finn?

Actually, Huck and Jim don't decide to run away together.
Both run away separately, and then they meet up by chance on the same island, Jackson
Island, when Huck discovers that somebody else is camping out on the island as well.
This occurs in Chapter Eight, as Jim tells Huck that he ran away from Miss Watson
because she was going to sell him. Huck of course ran away, faking his own death, so
that he could escape from his father, who was abusing him and locked him up. It is only
when Huck disguises himself as a girl to find out news of what is going on that he
discovers that the fire they lit had been seen from the mainland and that men are
planning to visit Jackson Island to hunt for Jim and collect the reward money for a
runaway slave. It is then that Jim and Huck run away together.

How could I find the coefficient of the term with the variable b^5w^4 in the polynomial:(1/7)(b+w)^9 - (1/3)*(b+w)*(b^2-w^2)^4 + (b+w)^5*(b^4-w^4)

The expression we have is (1/7)*(b+w)^9 -
(1/3)*(b+w)(b^2-w^2)^4 + (b+w)^5(b^4-w^4)


Simplify the
expression:


(1/7)*(b+w)^9


This
involves the use of the binomial theorem for a large value of 9. I have only given the
final result.


=>(w^9 + 9*b*w^8 + 36*b^2*w^7 +
84*b^3*w^6 + 126*b^4*w^5  + 126*b^5*w^4 +84*b^6*w^3 + 36*b^7*w^2 +
9*b^8*w+b^9)/7


Similarly -
(1/3)*(b+w)(b^2-w^2)^4


=> -(w^9 + b*w^8 - 4*b^2*w^7
- 4*b^3*w^6 + 6*b^4*w^5 + 6*b^5*w^4 - 4*b^6*w^3 - 4*b^7*w^2 +
b^8*w+b^9)/3


(b+w)^5(b^4-w^4)


=>
-w^9 - 5*b*w^8 - 10*b^2*w^7 - 10*b^3*w^6 - 4*b^4*w^5 + 4*b^5*w^4 + 10*b^6*w^3 +
10*b^7*w^2 + 5*b^8*w + b^9


Adding up the three expansions
and equating the denominator we get:


-(25*w^9 + 85*b*w^8 +
74*b^2*w^7 - 70*b^3*w^6 - 252*b^4*w^5 -
420*b^5*w^4
- 490*b^6*w^3 - 346*b^7*w^2 - 125*b^8*w -
17*b^9)/21


The coefficient of b^5*w^4 is
20

What is the significance of Sojourner Truth?

Sojourner Truth is significant because of her work against
slavery.  Truth was born a slave around 1797 in New York state.  Her birth name was
Isabella Baumfree.  She chose the name "Sojourner Truth" for herself later on in her
life.


Truth became free because she was living in New York
when the state outlawed slavery.  After she became free, she became a lecturer, giving
speeches about what it was like to be a slave.  She gave lectures in 21 states and in
the District of Columbia.  Her most famous speech is now known as "Ain't I a Woman." 
This speech was given in 1851 at a women's rights meeting in
Ohio.


Overall, then, Sojourner Truth is significant as an
advocate of abolition.  She is the most famous black female abolitionist
speaker.

What accomplishments did Bill Clinton have as president?

Of course, Bill Clinton's presidency will be most clearly remembered for the fact that he was only the second president ever...