An easy way to remember is to change the sign of the
numbers h and k as described in the previous response. If they are negative, make them
positive, if they are positive, make them negative. Remember to write this as a
coordinate.
So, the center would be (-3,
1)
Also, to find the radius find the square root of the
number the equation is set equal to.
So, the radius would
be 4.
The snow is connected to open spaces and, by extension,
freedom in the story. Gabriel yearns to walk in the snow, to be outside, and to be free
of the oppressive social situation he faces at the party. He is repeatedly beset by
obligation, by pressure, and by a sense of oppression. The snow stands in opposition to
this.
"How
much more pleasant it would be there than at the supper
table!''
Gabriel imagines a
dome covered in snow and is pleased by the image. For him, the image is one of simple
beauty and even joy.
As the story closes, Gabriel finds
that he can engage with the idea of the snow, finally, without being outside. He can
commune with the dead - or a sense of the dead - also without ceasing actually to live.
Empathy, in his sudden epiphany, frees Gabriel from the constraints of his ego-centric
fears.
...he
has a sudden realization about his relationship with his wife as well as a realization
about himself and the human
condition.
In Oleanna, David Mamet presents
power in the teacher/student relationship in a couple of ways. At first, it seems as
though the professor, John, has all of the power in the situation. He admits that he
enjoys "strutting" in front of the classroom, and that it makes him feel powerful. This
power is patriarchal in that he feels fatherly toward his students, and in many ways he
also condescends to them. The power shifts in the play, however, when Carol complains
about John's behavior to the tenure committee. Whether all her claims are legitimate or
not, she represents the power of her feminist "group" that will no longer stand for the
sexist power plays that John exhibits in the classroom.
For Buddhists, Dhamek Stupa at Sarnath holds tremendous
meaning. It is said that the Stupa marks the location where the Lord Buddha gave his
first sermon to his disciples after achieving enlightenment. It is considered to be a
site where all followers of the Lord Buddha should visit. It is quite significant
because it is the first point where the Lord Buddha's enlightenment translated into
discussion with his disciples. From this point, the Lord Buddha was able to answer the
fundamental questions of what shall be done and how human beings shall live. This
message included the discussion of the path to Nirvana. His first disciples sat and
heard his message at Dhamek Stupa. For Buddhists, this has to be considered holy
because it marks the first steps on the voyage that the Lord Buddha set out for all
disciples in seeking to better understand this world and their place in it. The stupa
itself is stone monument built on a pedestal, seeking to use architecture to enhance the
idea that the Lord Buddha was on a spiritual plane that demonstrated enlightenment,
something that all his followers would seek to emulate, if only in a small
manner.
I think that one of the most profound elements of the
story is how Mrs. Jones achieves a quality of transcendence. She is clearly of this
world, as is Roger. Yet, she speaks with an authority and a stature that is almost
omnipresent, part of the reason why Roger cowers in her presence. She speaks from a
position of experience and almost with an unquestioned authority from a moral and social
point of view. When Mrs. Jones speaks about "shoes got by the devil" it is a statement
about how Roger can seize this moment to change his ways and refrain from engaging in
behavior that is spiritually destructive and not socially redeeming. Mrs. Jones
furthers this with the idea of how she, herself, has "done things" that reflect a
succumbing to temptation. Hughes leaves it at that, not engaging in any more, but
developing in both Roger and the reader the idea that Mrs. Jones' experience should not
be questioned, but rather respected and understood. Her warning to Roger and then her
giving him the money that he so coveted is a spiritual warning to Roger, an instant
where epiphany presents itself for the hope of profound and lasting personal
change.
Although all of the people mentioned in these options were
famous in the 1970s, the only ones who were reporters involved in the Watergate scandal
were Woodward and Bernstein. For this reason, A is the only possible
answer.
Answers B and C are meant to confuse you because
the people mentioned in those answers were also involved in the Watergate scandal.
However, all of those people were part of the Nixon Administration, not part of the
effort to reveal Watergate. Frank Wills was also involved in the Watergate scandal
since he was the security guard who discovered the original burglary. However, he was
not a reporter.
So, the only possible answer is
A.
Many Americans in the 1930s supported a policy of
isolationism because they did not want the US to be pulled into another war in the way
that the country had (they felt) been pulled into World War
I.
Many Americans felt that WWI had really not been any of
America's business. They felt that the country had been pulled into the war because of
the demands of businesses that had trade ties with the Allied Powers in Europe. Because
of this, they wanted policies that would avoid this sort of problem happening again.
They got their wish when Congress passed the Neutrality Acts of the
'30s.
Overall, then, Americans during this time supported
isolationism because they did not want to be drawn into more destructive wars that were
not really any of the US's business.
We have to find the smallest value of x for which y =
sin(3x + pi/2) has the maximum value.
The sine function can
have a maximum value of 1.
We know that y = sin (3x + pi/2)
= 1. The least value of x for which the sine function has a value of 1 is
pi/2.
This gives 3x + pi/2 =
pi/2
=> 3x =
0
=> x =
0
The function y = sin(3x + pi/2) has the
maximum value when x = 0
Balanced equation:
CuCl2 +
Fe --> FeCl2 + Cu + Fe
For every mole of Fe
used, one mole of CuCl2 is also used.
1. Since
from #3 there were 0.014 moles of Fe used, then there were 0.014 moles of CuCl2 * 134.45
g/mol = 1.88 g of CuCl2 used.
2. mass of iron. 3.82 g -
3.04 g = .78 g of Fe used.
3. Moles of iron used:
.78/55.85 = 0.014 moles of Fe
4. Mass of Cu produced:
106.41-105.52 = 0.89 g of Cu
5. moles of Cu: 0.89/63.55 =
0.014 moles of Cu
6. mole ratio: 0.014: 0.014 = 1:1 ratio
as expected from the balanced chemical equation.
7.# of
atoms of Fe &Cu. 0.014 moles * 6.023x10^23 atoms/mole = 8.43 x 10^21 atoms of
each.
8. Blue color fades because the CuCl2 concentration
is decreasing.
9. Balanced equation is at
top.
10. moles, mass, atoms if use 100 g of Fe. 100/55.85
= 1.79 moles of Fe used. So produce 1.79 moles of Cu, which is 1.79*63.55 = 113.75 g of
Cu. 1.79 * 6.023x 10^23 = 1.078 x 10^24 atoms of Cu.
The setting for
this novel is extremely important to the story, as it is not just that the rural 1940s
American Southwest, its rugged beauty or desert climate that add to the story in ways
that make it utterly authentic, but the colorful and interesting mix of Spanish, Native,
and Mestizo cultures that has blended in this setting for centuries and has produced a
beautiful culture that few Americans know about or appreciate.
Even
today, New Mexico is still isolated, and few Americans have ever gone there aside from
Albuquerque or to ski, so the setting as used by Rudolfo Anaya helps to educate the
reader about this culture and the lands they have lived on for generations. There is
also no way to understand Ultima, and her role as a curandera (medicine woman) when
using herbs and those things found in nature to help and to cure her people.
It seems that all of the characters of this excellent play
are engaged in some form of escape, one way or another. However, undoubtedly, the
character who is most detached from reality and most wishes to escape it completely is
Laura. She is shown to be unable to have normal interactions with other humans without
physically being sick, as her mother discovers when she discovers the truth about her
typing classes. The focus of all of her energy is an inanimate collection of glass
animals, which of course do not have any reality. Note how this is emphasised by her
special affection for her favourite, the unicorn, which is a mythological creature that
has no basis in reality whatsoever. She has constructed a world for herself in which she
can exist the real world.
However, ironically, what should
have resulted in her return to the real world, the breaking of the unicorn's horn, only
seems to remove her further into her realms of fantasy. Note what Laura says when she
realises that the unicorn's horn has been broken off:
Now it is just like all the other
horses.
However, if we take
the unicorn to symbolically refer to Laura, what could have made her just the same as
other humans, her relation with Jim, is taken away from her, and she is left to retreat
into her escape world once more, but only this time she seems to retreat into it even
further and more deeply.
Junior is committed to justice in several specific moments
that reflect a larger element of his character that is bound to the precepts of social
solidarity and compassion. Consider his email to Rowdy after Reardan beats Wellpnit by
40 points. Both his email and his overall feelings about how the kids from the White
school will experience a fundamental different trajectory in their lives than the ones
from the Native American school reflects how Junior believes in social justice. At the
same time, his acceptance of his father's love as limited, but present also reflects a
sense of the juridical in Junior, as he recognizes that the ends of justice and fairness
are not always perfect, but rather are merely existent. His refusal to attend mourning
services for his sister, who died of alcohol consumption, that will be heavily dominated
by alcoholic consumption also reflects a passion of being committed to justice and what
is right. In the early phase of the novel, Junior' anger about learning from textbooks
that were "old" and his defiant resistance against this represents justice and a sense
of equality present. The ending of the novel is another point where Junior's passion
for justice is evident. He asks Rowdy if the two of them will still know one another
when they are old men, reflecting a sense and hope for permanence in a world that is
transitory, at best. This is something that helps to crystallize Junior's commitment to
justice and fairness in a world that often denies such elements.
Let the small circumference be C1 and the larger
circumference be C2.
Given that C2 = 3*C1
........(1)
Given the area of the larger circle is
486
==> A2 = 486
We
need to find the area of the smaller circle.
==> A2
= 486 = r2^2 * pi
==> r2^2 = 486/pi =
154.7
==> r2=
12.44
==> C2 = 2*pi*r =
78.15
But C2 = 3C1
==>
C1 = 78.15/3 = 26.05
==> C1 = 2*pi * r1 =
26.05
==> r1 = 26.05/2pi =
4.15
==> A1 = r^2 * pi = 4.15^2 * pi =
54
Then the area of the smaller circle is 54
in^2.
THE MAYCOMB JAIL. The
Maycomb jail is located near the northwest corner of the town square in the most
distinctive looking building in the town. It is a narrow, two-story structure that must
have looked something like a tiny castle, "a miniature Gothic joke one cell wide and two
cells high." It looked "hideous," according to Scout. The
jail
was
wedged between Tyndal's Hardware Store and The Maycomb Tribune
office.
THE
EWELL HOUSE. Bob Ewell, the present head of the family that has "been
the disgrace of Maycomb for three generations," lives with his children in a house
located near the Quarters, where most of the town's African-Americans
live.
Maycomb's Ewell's lived behind the town garbage
dump in what was once a Negro
cabin.
The house had four
tiny rooms which opened into a "shotgun hall." The Ewells "gleaned" through the dump
each day, and apparently left many of their retrieved items in their dirty yard. On one
side of the yard, however, daughter Mayella proudly displayed
her
brilliant
red geraniums, cared for as tenderly as if they belonged to Miss Maudie
Atkinson...
In Othello, there are many moments of
chance that help Iago set up Othello in making him
jealous.
In Cyprus, there is only a chance that Cassio will
fight and lose his position as lieutenant. Through this chance, Iago used this to
further his plan. He suggests that Cassio ask Desdemona for help in being reinstated.
This is the chance that Iago needed to make it appear that Desdemona and Cassio are
having an affair.
There is only a chance that Desdemona
will actually agree to plead to Othello for Cassio's reinstatement. When she does, this
is the chance Iago has been waiting for.
Also, there is
only a chance that Iago will get his hands on the handkerchief. When Iago gets the
handerchief, he plants it on Cassio.
There is only a chance
that Iago can get Cassio to talk about Bianca. Of course, Othello has been set up to
believe they are discussing
Desdemona.
Othello is a play involving
many moments of chance. The moments of chance help Iago accomplish his plan to make
Othello jealous.
This excellent poem by Emily Dickinson represents another
of her poems focusing on the topic of death. However, in this poem, unlike others that
present death in a momentous or terrifying way, death is presented ironically, as the
speaker describes her own death as others wait for death to come to her. She is giving
away her last possessions when a fly moves itself to block her sight, and death claims
her.
There is an intense irony between the expectations of
those with the speaker, awaiting her death, and the way that death actually arrives.
Note how the second stanza presents the expectation of those
around:
The
Eyes around--had wrung them dry--And Breaths were
gathering firmFor that last Onset--when the
KingBe witnessed--in the
Room--
Death is imagined to
be this wonderful revelation of God, the "King" in the room itself as he comes to claim
the soul of the speaker. Note the way that expectations are raised with the "Breaths" of
the audience being described as "gathering firm" in eager anticipation for what is
described as the "Onset." How ironic, then, that instead of a miraculous divine
appearance, the last sight of the speaker is a fly--an insect that is associated with
decomposing flesh--that blocks the light from the window. The move from the solemn tone
that is created in the first two stanzas to the rather ironic mood of the final stanza
reflects the way that Dickinson is poking fun at the supposed portentousness of death.
The sheer ordinary nature of the speaker's death stands in contrast to the way that so
many people expect the deathbed scene to be fraught with horror or divine
revelation.
You might want to examine how nature is used to reflect
the emotional and psychological desolation of the knight as he is left "Alone and palely
loitering." Note the way that the action of the poem is placed in a specific context
that indicates a certain season:
"The sedge has withered from the
lake,
And no birds
sing."
And then again in the
second stanza:
"The squirrel's granary is
full,
And the harvest's
done."
Note how we are at the
very end of Fall and Winter is beginning. The squirrel has done all of its work to
prepare for the cold, dark months ahead, and likewise the harvest is all over. All the
sedge has "withdered" from the lake, and the birds are silent. This of course reflects
the winter that is in the knight's soul after his experience with the strange woman that
has bewitched him. Note in particular the detail of the sedge "withering" and how this
is repeated at the beginning and the end of the poem, indicating how the man himself has
"withered" thanks to the enchantment of this woman. Thus nature is used to reflect the
desolation of the knight.
Whether or not the Misfit seeks justice is questionable.
He kills because he figures that he was unjustly punished, so he may as well be mean
since he has already served time in prison for the crimes. Things are in this disorder
because of Jesus. He explains that Jesus threw everything "off balance" when He died and
was raised from the dead:
If He did what He said then it's nothing for you
to do but throw away everything and follow him, and if He didn't, then it's nothing for
you to do but enjoy the few minutes you got left the best way you can--by killing
somebody or burning down his house or doing some other meanness to him. No pleasure but
meanness, ...
The Misfit is
the grotesque of this Southern Gothic story by Flannery O'Connor. It is his depravity
that effects the grandmother's salvation as he realizes that he is one of her "own
children." By recognizing that she, too, is a sinner, the grandmother is saved when
she, like Christ, becomes the sacrificial victim as she dies with her legs crossed,
dying for evil as Christ died for the sins of mankind. In a grosteque fashion, the
Misfit is the agent of grace, not one who seeks justice.
In Act V, Brutus and Cassius quarrel; Cassius thinks that
their troops should rest and wait for their enemy to march upon them while Brutus
insists that they engage the enemy at Philippi. However, this taking battle early with
the troops of Octavius, Lepidus, and Marc Antony, the triumvirate, proves to be a
tactical error, and the troops of Brutus and Cassius are defeated. Brutus calls
together the few survivors, and tells them to rest; he then asks Clitus to kill him, but
his servant replies, "Iill rather kill myself." As Brutus speaks to himself, Dardanius
and Clitus overhear him say,
Why, this, Volumnius:
The ghost of
Caesar hath appear'd to me(20)
Two several times by night; at Sardis once,
And this last night here in Philippi fields.
I know my hour is
come.
Brutus is defeated and
bids farewell to the others and expresses his great regret that his final hour is so.
Finally, Brutus retains Strato to assist him in his suicide, for he would rather die
than be put in bondage or surrender.
When Brutus is
defeated and dies, Antony and Octavius arrive to eulogize him. Marc Antony calls him
"the noblest Roman of them all while Octavius Caesar issues the order to give Caesar the
"respect and rites of burial."
Griswold v. Connecticut was a major
Supreme Court case from 1965. In this case, the Supreme Court held for the first time
that the Constitution creates a right of privacy that all Americans enjoy. The Court
ruled that this right to privacy made it illegal for states to have laws banning the use
of contraceptives.
There is no right to privacy that is
explicitly stated in the Constitution. However, in Griswold, the
Court found that various parts of the Constitution imply that there is a right to
privacy. The Court held that the First, Third, Fourth, and Ninth Amendments, taken
together, imply that there is a right to privacy that is protected by the
Constitution.
This ruling became even more important and
controversial 8 years later when it became the basis for the Court's decision in
Roe v. Wade.
Although Calpurnia is well-educated--she taught Scout how
to write cursive--and speaks very proper English in the Finch household, Scout notices
that her language changes when she's at church among her fellow African-Americans. Scout
suddenly realized that Calpurnia led "a modest double life," existing as the Finch
housekeeper but going home each night into her own black
world.
"Cal,"
I asked, "why do you talk nigger-talk to the--to your folks when you know it's
not right?"
Cal explained
that the way she spoke in the Finch house would be out of place among her black friends,
just as it would if Jem and Scout "talked colored-folks' talk at home." She said it
would be unladylike because it would sound to others like she knew more than they
did.
"They'd think I was puttin' on airs to beat
Moses."
To a great extent, there was much in the time period that
allowed the Civil Rights Movement to gain force and become something that would end up
shaping modern America. Initially, I would suggest that the conformity and the desire
for "the norm" that was such a part of the 1950s had a tremendous consequence. The idea
of "keeping up with the Joneses" and a condition whereby more people were "the
outsiders" because they could not be see as "the insiders" helped to create an
understanding in which "the other" was more prevalent. The fight for Civil Rights was a
part of this landscape. At the same time, the judicial activism that was embodied by
Justices like Earl Warren helped to set the stage for the social activism that hosted
the Civil Rights Movement. Warren's decisions largely spoke for these "outsiders" and
ensured that issues such as equal protection under the law or equal application of the
law was tantamount to the fulfillment of the goals in the Constitution. Decisions like
Brown v. Board Education went very far in ensuring that Civil
Rights was something that became embedded in the minds of every American. The
desegregation of public facilities ending and their integration "with all deliberate
speed" helped to create the legal basis for the Civli Rights Movement, something that
moved socially. Just the mere words, "with all deliberate speed," would help to inspire
the calls of Civil Rights Leaders who demanded that "all deliberate speed" translated to
"the fierce urgency of now."
The Great Lakes (Huron, Ontario, Michigan, Erie, and
Superior) comprise the largest unfrozen freshwater system on Earth, and have a surface
area greater than the United Kingdom. The surface area and average depth of each of the
lakes is as follows:
H - 59,596 km^2 59
m
O - 19,477 19
M - 58,016
84
E - 25,719 19
S - 82,413
397
The volume of water (in cubic kilometers, or km^3) for
each lake is the surface area times the average depth:
H -
59,596 km^2 (.059 m) = 3516 km^3
O - 19,477 (.019) =
370
M - 58,016 (.084) = 4873
E
- 25,719 (.019) = 489
S - 82,413 (.397) =
32718
The total cubic volume of the Great Lakes (in cubic
kilometers, of course) is the sum of the last column, or 41966
km^3.
Now 1 cubic kilometer is equal to 33,814,022,701,000
US fluid ounces. That means 41966 cubic kilometers of water is equal to
141,903,927,670,000,000 fl oz., or 1.419 x 10^17 fl oz, or about 142 quadrillion fluid
ounces. Splish splash!!
Obesity, a topic that is getting much attention these
days, is obviously caused by overeating; in its simplest form, obesity is the
accumulation of many more calories taken in than expended by a person. That being said,
what causes a person to overeat in such a way that he or she doesn't just gain a few
pounds here and there, but becomes much heavier than is appropriate? Many experts have
identified unhealthy eating patterns as related to emotional eating; one expert, Bob
Greene, a frequent contributor to Oprah's talk show, has often said that very often,
obese people are quite literally wearing their pain. Eating to camoflauge unpleasant
feelings, such as those related to abuse, seems to be common among many obese people, as
well as eating to deal with stress.
Clearly one of the key aspects of this excellent short
story is the way in which the point of view adopted by the author creates a specific
tone and flavour to the language. The story is told from the point of view of Sammy, and
thus he communicates to us what happens from his perspective using the kind of language
that he is used to using. This of course results in the story being told in
grammatically incorrect but colloquially correct English. You can also find lots of
examples of slang and idioms in his account. Consider the following humorous
example:
I
rang it up again and the customer starts giving me hell. She's one of these
cash-register-watchers, a witch about fifty with rouge on her cheekbones and no
eyebrows, and I know it made her day to trip me up. she'd been watching cash registers
for fifty years and probably never seen a mistake
before.
Note how Sammy
describes how the "witch" of the customer gave him "hell" and was a
"cash-register-watcher." Later on, Sammy refers to housewives doing their shopping as
"houseslaves" which indicates his contempt and distaste for normal, conventional life,
which perhaps points towards the fascination that he finds in the girls and the way that
they defy social norms through their act of coming into the supermarket in their bathing
suits.
Thus the use of colloquial English that is not
necessarily grammaticaly correct helps to create an image and impression of the
narrator, Sammy, and also allows us to see his job and customers through his eyes, which
is often quite amusing.
For Rousseau, social stratification is based on a
fundamental perception issue. Rousseau believed that individuals possess two types of
love of self. One type is called amour de soi and the other one is amour propre. The
former represents a love of oneself that is affirmative of one's state of being in the
world. This love of self is one where individuals do not seek to compete with others,
and is one that reflects a "man in state of nature" element. Rousseau contrasts this
with amour propre. This type of love is predicated upon self love, but it is a love of
self that is contingent on how others see oneself. Amour propre is never ending because
individuals no longer understand their own sense of self, but rather see themselves as
how others see them. This helps to breed competition and rivalry within society and is
responsible for the stratification that exists between people. For Rousseau, displays
of wealth and the sense of vulgarity that results from it does so because individuals
view themselves as how others view them, distorting their reality, preventing
solidarity, and creating stratification. Individuals thereby need social stratification
as it is a reflection of status and privilege, key elements in amour propre. For
Rousseau, social stratification and division can only be overcome when amour de soi is
evident in both politics and social order, eliminating the presence of amour
propre.
First, you need to express the absolute value
|x|:
|x| = x, if
x>=0
|x| = -x, if x <
0
Therefore, you'll have to solve quadratic equation in
both cases.
We'll start with the first case,
x>=0.
x^2 - 9x + 20 =
0
We'll apply quadratic
formula:
x1 =
[9+sqrt(81-80)]/2
x1 =
(9+1)/2
x1 = 5
x2 =
(9-1)/2
x2 = 4
Since both
values of x are positive, they represents the soutions of
equation.
We'll solve the quadratic for the second case,
x< 0:
x^2 + 9x + 20 =
0
x1 = [-9+sqrt(81-80)]/2
x1 =
(-9+1)/2
x1 = -4
x2 =
(-9-1)/2
x2 = -5
Since both
values are negative, they are also solutions of the
equation.
Therefore, all real solutions of
the quadratic module equation are {-5 ; -4 ; 4 ;
5}.
Wow! Do you ever have a tough assignment! Bob Ewell is
actually the antithesis of the mockingbird. Mockingbirds are described as doing just one
thing, according to Miss Maudie:
... make music for us to enjoy... (and) sing
their hearts out for us."
In
fact, he is more like the would-be killer of mockingbirds that Atticus warns Jem
about.
"...
remember, it's a sin to kill a
mockingbird."
Bob attempted
to harm or kill Jem and Scout--the youthful human mockingbirds of the story--before the
intervention of Boo Radley. Bob much more closely fits the subject of the newspaper
editorial of B. B. Underwood, who compared Tom Robinson's death to the "senseless
slaughter of songbirds."
With that said, you might be able
to argue that Bob inherited his bad ways from his father. (Remember, Atticus once said
that the Ewells had been the "disgrace of Maycomb for three generations.") Bob had
little chance to improve his own life, or his family's, since he probably lived under
similar conditions himself as a boy. In much the same way that Tom was born black, with
no chance for an improved life in segregationist Alabama, Bob was born a Ewell--a
disgrace to the town. He, also, had little chance to improve his family's conditions due
to his inherited family ties. He had few or no friends--even the Cunningham clan had
nothing to do with him--and his lack of education prevented him from getting a good job.
I suppose you could also argue that several of the crimes of which Bob is accused--such
as beating Mayella and lurking around Judge Taylor's house--were only hearsay. This
argument is similar to the unproved accusations against Boo, who was thought to kill
animals, poison pecans and peep in windows--all without basis in
fact.
You have a real chore in proving Bob a mockingbird,
but if you are successful, you should definitely consider a future career in debate or
law school. Good luck!
For me, I would want to turn to Sonnet 30, which is also
called "Fire and Ice." In a sense, all of Spenser's sonnets present us with a treatment
of conventional themes in terms of the love between the speaker and the object of his
affection and how this love is often unrequited. What I like about this sonnet is the
way in which Spenser treats this conventional themes unconventionally, creating an
analogy that points towards a central paradox of love. Let us note how this analogy is
created:
My
love is like to ice, and I to fire:
how comes it then that this her cold so
great
is not dissolv'd through my so hot desire,
but harder grows,
the more I her
entreat?
Likening his beloved
to a block of ice, and the speaker to a raging fire thus presents us and the speaker
himself with an interesting conundrum. Why is it that ice is not melted by the ardent
fire of the lover, but only grows hader? As the poem continues, we see the reverse is
also true. Ice does not put out the smouldering passion of the lover, but only serves to
increase its intensity, making its flames burn all the harder. The poem concludes in its
final couplet with the truth that this points
towards:
Such
is the pow'r of love in gentle mind
that it can alter all the course of
kind.
Thus this poem takes
the conventional theme of unrequited love and presents it in such a novel way that helps
explore the way that love, in the way it overrules us, also can "alter" the normal rules
of nature through presenting us with this paradox.
The answer to this question depends on the assumptions
that you are making.
To a Keynesian, the impact of this
action would be to increase GDP without increasing the price level. This analysis
depends on the idea that the aggregate supply curve is flat, which allows aggregate
demand to rise without causing inflation.
A more
conservative economist, however, would not agree with this analysis. They would argue,
for example, that the impact of the increase in taxes would be to depress the economy.
They would argue that a great increase in taxes would erode the confidence of consumers
and business people. This would reduce both aggregate demand (because consumers would
lose confidence) and aggregate supply (because businesses would not invest as much).
This would lead to a decrease in GDP and (depending on the magniude of the declines in
AS and AD) potentially to an increase in price levels.
I think that both characters are constructed with a
definite tinge of self- destruction. Oedipus' relentless pursuit of the truth and the
discarding of those who speak otherwise to him in his best interests would be
representative of how his destruction is wrought by his own hands. Medea's willingness
to destroy Jason is one that knows no boundaries, even towards herself. While both
forms of destruction are evident, I see them a bit different. On one hand, I think that
Oedipus' self- destruction is less deliberate. His pursuit of truth and his need to
alleviate the pain of his citizens guides him, and while he dismisses Tiresias and his
wife's insight, for example, I don't think that Oedipus expects that he is going to be
so destroyed by the truth. Medea has no illusions about her own vengeance. As she
carries on with her plan and as both Jason and the Chorus tell her that her path is
going to bring her as much pain as anything else, she does not seem to care. Medea
seems to willingly embrace what is going to happen and her own destruction seems to be
secondary to the hurt inflicted on Jason.
One theme that cannot be ignored in this lengthy novel is
the idea of isolation, shown most prominently in the character of the protagonist,
Edgar. First, he is mute, but not Deaf. His isolation is defined by his ability to
hear and fully understand the dialogue of those around him, but not necessarily to
express himself in return. As a result, he is closest to his own parents, with whom he
shares a sign language that he has largely created, and the
dogs.
This theme is further developed when Edgar's father
dies. As the only person around at the time to save him, Edgar cannot shake the fact
that his father's death was in large part, his fault, because he cannot call someone on
the phone for help. His isolation increases with his inability to express this fact to
his mother and others.
Then, his father's ghost appears to
Edgar one night in the barn, and reveals a secret so deep (and so personal) that Edgar
isn't even sure if the experience actually took place. He burns with the assumption of
knowledge that his own uncle killed his father, but retreats inward with this secret
because he does not know what to do with it.
Finally, when
Edgar accidentally causes Dr. Papineau's death, he runs away and ends up living in the
forest with three of his dogs. Though he is able to communicate and mostly understand
the dogs (and they, him), this is the peak of his isolation. The physical isolation of
his hiding and often going days without seeing nor hearing anything other than the
sounds of nature seems to match his internal and psychological
isolation.
I had to pare down the question a bit from its original
form. I think that Tagore does a very strong job of bringing out a balance of
vulnerability and strength in Ratan. Indeed, there is a quest for love and security
present in Ratan. The fact that the reader's introduction to Ratan is in the form of an
"orphaned village- girl" who does "housework... in return for little food" brings out
the fact that Ratan is alone and probably lonely. She does yearn for the belonging and
the hope of solidarity that is present with the Postmaster. This is evidenced in how
she appropriates his family into her own through the use of personalized
pronouns:
She
[Ratan] even formed affectionate imaginary pictures of them [the postmaster's family] in
her mind.
The greatest
evidence of her quest for belonging and her primary motivation to simply be included is
most present in the asking of the postmaster to take her with him when he leaves. It is
this moment that reflects both her greatest investment in her quest. Simultaneously, it
is at this point where her quest suffers the greatest damage when the postmaster laughs
with the dismissive, "How could I do that?" Her quest is left unfulfilled with this
statement. While she experiences a type of defeat, she does not become passive and
sacrifice her dignity. She draws a bath for the postmaster on his last day and then
denies his money when he offers it to her as a parting gift. While she does weep for
him and the loss of her quest, the embrace of her own lonely condition representative of
someone "the world had abandoned," Ratan's quest is still intact in how she refuses to
let him see her in an emotionally disheveled state. In the end, the reader can see that
the quest for security and love was one that is not dependent on another, in a strange
way. For Ratan, it was about what she loved and not necessarily what loved her back.
It is here where there is some redemption present in a story where there is little to be
found.
Some would argue that this excellent tragedy is a Five Act
drama of Othello's struggle to be accepted, and that the true tragedy is his own moment
of self-knowledge and awareness, when he realises that he can never be accepted into the
society that he has called "home." Of course, there are other major themes that must not
be ignored, but it is interesting to consider this theme of outsider in the play and, in
particular, to look at the moment where it is perhaps referenced most directly. Consider
Othello's dying words, before he plunges a dagger into his own chest, and how the the
theme of outsider is developed:
Then must you speak
Of one that loved
not wisely but too well,
Of one not easily jealous but, being
wrought,
Perplexed in the extreme; of one whose hand,
Like the base
Indian, threw a pearl away
Richer than all his tribe; of one whose subdued
eyes,
Albeit unused to the melting mood,
Drop tears as fast as the
Arabian trees
Their medicinable gum. Set you down this,
And say
besides that in Aleppo once,
Where a malignant and a turbaned
Turk
Beat a Venetian and traduced the state,
I took by th’ throat
the circumcised dog
And smote him thus.
(V.ii.341-354)
Note the way
that this farewell speech includes Othello's self-identification as a paradoxical
figure, one who is excluded from yet a part of Venetian society. The reference to his
war-like qualities remind us of his value to Venice, whilst at the same time he
describes himself through the description of the killing of the "malignant" Turk,
classifying himself as a danger to the state. Thus the way in which he is an "outsider"
is something that he dies fully knowing. He seems to recognise in himself that he is
something of an excluded outsider, a threat, and thus paradoxically ends his life whilst
simultaneously vanquishing the last enemy he has to face, which is, of course, himself.
His final words therefore remind us of the strange in-between position that Othello has
occupied throughout the entire play, accepted on the one hand, yet not accepted on the
other, and we reflect that at least in death he will finally find peace with regard to
this tension.
It is clear that Brom Bones, the rival of Ichabod Crane
for the love of Katrina Van Tassel, is a humorous, strong but mischevious man. He
threatens to physically harm Ichabod, but when he is not given any opportunity to
"double the schoomaster up, and lay him on a shelf of his own schoolhouse," he emabrks
on a campaign of psychological warfare, drawing upon "the funds of rustic waggery in his
disposition." He is left to play silly jokes on his rival that do not physically harm
him but besiege him with a whole host of worries and cares. Ichabod thus becomes the
object of "whimsical persecution" to Brom and his gang, and suffers various torments,
including smoking out his singing school, stopping up the chimney and deliberately
re-organising his schoool room. This makes Ichabod think that this house is bewitched
and he is the focus of some kind of supernatural
attention:
...
so that the poor schoolmaster began to think all the witches in the country held their
meetings there.
Brom Bones is
therefore a rather cunning, brash and intelligent individual, who seems to be able to
recognise his opponent's weakness and knows how to attack it, which of course
foreshadows his masterstroke of impersonating the headless
horseman.
In Chapter 2 of Hemingway's A Moveable Feast,
he recounts Gertrude Stein's telling him that one of his stories was
inaccrochable and then using a simile: "That means it
is like a picture that a painter paints and then he cannot hang it when he has a show
and nobody will buy it because they cannot hang it either." (p.25, Restored
Edition)
Now, what is the meaning of the simile? Whether
or not the work is good, no one wants to see it. Ms. Stein actually told Hemingway that
she thought the story, "Up in Michigan," was a good one. However, it was not something
she enjoyed reading and believed that others would not want to read
it.
These two plays are alike in that strong women speak up in
an attempt to control the outcomes of unpleasant situations. In Antigone's case, she is
unhappy with the decree that her loved one will not be given an acceptable burial.
Against the law, she buries him and faces death and the title of
"traitor".
The women in Lysistrata are unhappy that their
men are wrapped up in a war that seems to never end. Therefore, they get together (the
women from both sides of the fray) and decide to withhold sexual pleasure from their men
until the men declare an end to the fighting.
Both plays
are written in a time when women were not given many rights and were expected to be "arm
candy" only--lovely to look upon, silent, and obedient. It is unusual that these women
would all take such strong stands in the man's world which they
live.
They are unalike in the way that they flex their
womanly muscles. Antigone never hinted at sex as a way to solve the problem she
faced--it was more logic and character appeals that she uses to convince Creon to change
his mind.
There is no date given in "The Gift of the Magi," so the
exact time period in which the story is set is uncertain. The story was published in
1906.
Since Jim and Della live in an upstairs flat, we can
assume they live in an urban location, although not in one of the wealthier areas.
Della hopes Jim doesn't compare her to a "Coney Island chorus girl" when he sees her
short hair, so they live in or close to New York City. Jim is employed, but has had a
reduction in pay from $30 to $20 per week. It would appear Della is not
employed.
Jim and Della live in a time when housing is
difficult to obtain, food is purchased fresh from specialized markets, gas stoves are in
use for cooking, and wages are low. Jim probably works long hours and has few benefits
from his employment.
I think that this is what makes Ezekiel's poem so
powerful. He is wrestling with a couple of major issues that are difficult to answer,
if not downright impossible. The issue of death, the viewing of death through a child's
eyes, and the battle between Western empiricism and indigenous approaches to
consciousness are all powerfully compelling, but also impossible to really broach in any
authentic manner. Ezekiel needs a vehicle that will bring all three concepts into full
view. Something has to allow each item to emerge, being brought out to the surface and
assessed through application and thought. No answers could be definitively derived
because these topics are larger than one specific or arbitrary answer. Yet, the vehicle
that allows each to emerge is critical. Ezekiel uses the sting of the scorpion and its
impact on the woman for the 20 hours after the initial sting as the vehicle where all of
these issues can be brought out. The helplessness felt by the husband and his beliefs
in Western medicine are contrasted to the fatalistic view of the villagers in the face
of death. All of this plays out the inevitable condition of death that makes everyone a
bystander, most of all children. It is through the sting of the scorpion where all of
this is possible.
The player clearly makes the point that a play can be more
convincing that real life when he relates the story of the time when he
actually executed a man on stage. As he relates it, the man was
sentenced to death so they made the punishment part of the play, but the man acted like
a human being who was actually going to die and was therefore unconvincing because he
started to cry and snivle and beg for his life--completely out of the character he was
playing. Audiences accept the "reality" of the story they are watching because they
give themselves over to the suspension of disbelief and commit themselves to the story.
When the line is blurred, the audience doesn't know how to
feel.
The point is proved when at the end of the play we
see Guildenstern "kill" the player. We are initially SHOCKED! We are thinking--OH MY!
But we absolutely believe he just died--it is part of the fiction written by the
playwright. We are relieved when the Player stands up and shows the fake knife trick,
but we are also feeling a bit tricked ourselves. In a couple of places in the play the
characters claim that "death is just a failure to reappear." That is kind of a comfort
to the audience and it is a part of the suspension of disbelief mentioned earlier. In
our intellectual processes we know that fiction is just that, but in the experience of
good fiction we buy into it!
Sulfur in crude oil is an impurity. It can give off the
smell of rotten eggs when found as hydrogen sulfide. It can also be found as elemental
sulfur. Sulfur can go on to become a secondary air pollutant when the sulfur combines
with water in the atmosphere producing sulfuric acid. This is a compound that is found
in acid rain and is very corrosive. In order to process crude oil into gasoline, sulfur
is removed first. Sulfur in fuels can lead to respiratory problems, asthma, chronic
fatigue syndrome and can affect the sense of smell. As pollution laws have become
stricter in the United States, the gasoline products have become much
cleaner.
The main purpose of Shakespeare's Sonnet 18 is embodied in
the end couplet:
So long as men can breathe or eyes can
see,
So long lives this and this gives life to
thee.
The sonneteer's purpose
is to make his love's beauty and, by implication, his love for her, eternal. In doing
so, he takes a rather circuitous pathway by beginning with a comparison that does not
describe her.
In the first two quatrains, he is essentially saying,
"No, I cannot compare you to a summer's day, and here's why." The last two lines of the
first quatrain,
Rough winds do shake the darling buds of
May,
And summer's lease hath all too short a
date:
along with the whole
second quatrain (four lines of poetry with alternating rhyme) explain why she can
not be compared to a summer's day. For
instance, "rough winds" do not shake her beauty and her
beauty is not sometimes dimmed as even the mighty sun's
glory is sometimes dimmed:
[that] too hot the eye of heaven
shines,
And often is his gold ...
dimm'd;
The third quatrain,
beginning with the contradictory conjunction "but," begins
the explanation that leads up to the main purpose expressed in the ending couplet (two
rhyming lines of poetry). In this final quatrain, the sonneteer says "But ..." your
beauty shall be an "eternal summer" and shall not fade nor be dimmed so that even Death
shall not rob your beauty.
Then comes the implied "because" of the
couplet that explains that as long as Sonnet 18 can be read, then she will have beauty
and she will have life eternal.
The integral of the function returns the primitive
function F(x), such as dF/dx = f(x).
We'll evaluate the
primitive function F(x), integrating the given function
f(x):
Int f(x)dx = F(x) +
C
Int sqrtx dx/(x-1)
We'll
consider the denominator of the function as a difference of two squares that returns the
product:
x - 1 = (sqrtx - 1)(sqrtx +
1)
We'll re-write the
integral:
Int sqrtx dx/(sqrtx - 1)(sqrtx +
1)
We'll add and subtract 1 to the
numerator:
Int (sqrtx + 1 - 1 )dx/(sqrtx - 1)(sqrtx +
1)
We'll re-group the terms of integrand using the property
of integral of being additive:
Int (sqrtx + 1 -
1 )dx/(sqrtx - 1)(sqrtx + 1) = Int(sqrtx + 1)dx/(sqrtx - 1)(sqrtx + 1) - Int dx/(sqrtx -
1)(sqrtx + 1)
We'll simplify and we'll
get:
Int (sqrtx + 1 - 1 )dx/(sqrtx - 1)(sqrtx + 1) = Int dx
- Int dx/(x-1)
Int f(x)dx = x - ln|x-1| +
C
The indefinite integral of the function is:
F(x) = x - ln|x-1| + C.
In Martin Luther King, Jr.'s "I Have a Dream" speech,
section one begins by referring to theEmancipation Proclamation, signed fifty years
before by a "great American" (President Abraham Lincoln), a symbol of hope for "millions
of Negro slaves."
However, King points out, a century
later, the document's promise has not been fulfilled, and blacks still suffer in the
face of "discrimination" and "segregation," often relegated to places of poverty while
those around them prosper; the Negro is an "exile in his own
land."
King uses a metaphor, that blacks have joined in
Washington, D.C., to "cash a check," which draws its "funds" from the promises made by
the founding fathers when they signed the Declaration of Independence and the
Constitution, granting all men the rights promised therein. King continues the metaphor
saying that the check received is "bad," but...
We refused to believe that the bank of justice is
bankrupt.
King says it is not
the time to wait, but to rise up and demand "payment." To wait would be disastrous, and
America's blacks must seize this moment to change their world forever, in gaining their
rights of "citizenship." Until this happens, the "whirlwind of revolt" will continue,
but he cautions that "wrongful deeds" and "bitterness and hatred" must be
avoided.
In the second section, King outlines the "rules"
of this "revolt," which requires "dignity and discipline," and the need to forgo a
descent to the use of violence.
Again and again we must rise to the majestic
heights of meeting physical force with soul
force.
He reminds the crowd
not to distrust all white people, for many stand beside the blacks in their battle for
equality. The destiny of both races is joined. He cautions: "We cannot walk alone." King
reminds listeners that the movement should always go forward, never in reverse. Some
people are asking civil rights "devotees" when they will be satisfied. King
declares:
We
can never be satisfied as long as the Negro is the victim of the unspeakable
horrors...
These include
police brutality, segregation in businesses open only to whites, and laws that keep
blacks living in poverty. There can be no "For Whites Only" if they are to be free; this
includes the right to vote throughout the nation. Using a simile, King
states:
...we
will not be satisfied until justice rolls down like waters and righteousness like a
mighty stream.
King
acknowledges the trials many there have faced, calling them "veterans of creative
suffering," and that they should return home knowing things will
change.
The third section leads into the memorable "mantra"
that rings still today, long after Dr. King's death: "I have a dream." Through
repetition, King makes a list of the hopes he has for all blacks in America, rousing the
hearts of those present and around the world, with his powerful words and images. He
speaks of the Declaration of Independence again, that "all men are created equal." He
hopes that sons of slaves and slave owners can find peace between them; that hotbeds of
injustice will become havens of freedom and justice. He dreams that one day his children
might live in a country :
...where they will not be judged by the color of
their skin but by the content of their
character.
Dr. King alludes
to Alabama's racist governor, George Wallace, hoping that state
will one day see children of all colors united. King leaves with a hope of brotherhood,
freedom and equality, for all, "from sea to shining sea."
The problem requires the double angle
identity:
cos 2x = 2 (cos x)^2 -
1
We'll determine cos x, applying the Pythagorean
identity:
(cos x)^2 + (sin x)^2 =
1
(cos x)^2 = 1 - (sin
x)^2
(cos x)^2 = 1 - 1/9
(cos
x)^2 = (9-1)/9
(cos x)^2 =
8/9
We'll replace the value of (cos x)^2 into the double
angle identity:
cos 2x = 2*8/9 -
1
cos 2x = (16-9)/9
cos 2x =
7/9
The value of cos 2x, if sin x = 1/3, is:
cos 2x = 7/9.
This is very clearly a vitally important moment in the
ongoing fued between Jack and Ralph. Jack has shown his own abilities in terms of
successfully hunting pigs and managing the hunting group of the boys, but now the
sightings of the "beast" have given him the excuse he needs to challenge Ralph's
leadership publicly and try to gain the position of leader himself. However, having
publicly challenged Ralph in such a way, there is clearly no going back, and Jack
realises this as the shame and embarrassment of receiving no votes for his proposition
hits him. Note his reaction to the deafening silence that follows his
proposition:
The silence continued, breathless and heavy and
full of shame. Slowly the red drained from Jack's cheeks, then came back with a painful
rush. He licked his lips and turned his head at an angle, so that his gaze avoided the
embarrassment of linking with another's
eye.
His final response of
"I'm not going to play any longer," symbolises a irrevocable split between the boys,
that Ralph knows can only harm them as they try to co-exist and struggle for survival on
this island. Jack recognises that he does not have the support of the boys, and this is
a blow from which his pride cannot recover.
In my opinion,A Midsummer Night's Dream
definitely reinforces a patriarchal society. There are several examples
starting with Theseus, the Duke of Athens (and the Athenian law he rules
with).
First of all, Theseus took Hippolyata (Queen of the
Amazons) by force as spoils of war, and forced her to marry him. There is some evidence
that she came to love him, but she had no choice in the arrangement at the
beginning.
Hermia's father, Egeus, is a prime example of
the male-dominated society, as he treats his daughter as property and tries to force his
marriage choice (Demetrius) on Hermia when she would rather have
Lysander.
The law backs Egeus up, as we see when Theseus
tells Hermia that according to Athenian law, she must bend to her father's will, be
executed, banished, or forced to join a convent and remain a virgin the rest of her
life.
Even in the spirit world, we see male domination.
Oberon and Titania fight over a changeling child she has been given...but Oberon plays
dirty to get his way. He gets Puck to put the juice from the love-in-idleness flower
into Titania's eyes so she will be humiliated and fall in love with an ass (donkey).
When she is distracted, then, he takes the child and wins the
game.
Just as Mrs. Joe realizes that the meat pie that Pip has
stolen is gone, a file of soldiers arrive at the Gargery door. The sergeant asks for
the blacksmith because he has leg-irons that need repair. So, after a couple of hours,
Joe has them repaired and the soldiers with their loaded muskets set out for the escaped
convicts that they are hunting. Into the "dismal wilderness" of wind and rain and
coarse rushes and banks and marshes the soldiers search for the man who has filed the
leg-irons. They know that the convicts will wait for dusk before they try to escape
from the cover of the marshes for fear of being shot by the
soldiers.
As the soldiers traverse this wetland where the
footing is bad with the wind and sleet persecuting them, some of them hear water
splashing and curses being uttered. The sergeant runs in, followed by other soldiers
with their muskets cocked. "Here are both men!" the sergeant calls to the others
ordering the convicts to surrender. As they stop, Pip's convict tells the
sergeant,
Lookee here!”.... “Single-handed I got clear of
the prison-ship; I made a dash and I done it. I could ha' got clear of these death-cold
flats likewise—look at my leg: you won't find much iron on it—if I hadn't made the
discovery that he was here. Let him go free?
Let him profit by the means as I found out? Let
him make a tool of me afresh and again? Once more? No, no, no. If I
had died at the bottom there;” and he made an emphatic swing at the ditch with his
manacled hands; “I'd have held to him with that grip, that you should have been safe to
find him in my hold."
Then,
the convict explains that he could have escaped, but he was not about to let the second
convict get away, too, just so that he could implicate Pip's convict if he got
caught. He tells the soldiers that the second convict is a villain whom he has refused
to let go. Clearly, there is great hatred for this convict on the part of Pip's
convict.
The image of the function is the set of elements f(x),
where the values of x belong to the domain of the
function.
Let y =
2(x+1)/(x^2+2x+5)
y*(x^2+2x+5) = 2x +
2
y*x^2 + 2y*x + 5y - 2x - 2 =
0
We'll consider y as a coefficients and we'll combine like
terms in x:
y*x^2 + x*(2y - 2) + 5y - 2 = 0
(1)
Since the values of x are considered as being real
numbers, we'll impose the constraint that the discriminant of the equation (1) to be
positive or, at least, zero.
delta = (2y-2)^2 -
4y*(5y-2)>=0
delta = 4y^2 - 8y + 4 - 20y^2 +
8y
We'll combine and eliminate like
terms:
delta = -16y^2 + 4 >=
0
We'll divide by -16:
y^2 -
4/16 =< 0
We'll recognize the difference of 2
squares:
(y - 2/4)(y+2/4) =<
0
(y - 1/2)(y + 1/2) =<
0
Since the expression y^2 - 4/16 is negative
over the range [-1/2 ; 1/2], then the image of the function f(x) is the set [-1/2 ;
1/2].
This incident occurs in the very first chapter of this
excellent book, as Gallien gives Chris a ride in his car to where Chris leaves him to
walk off into the wilds of Alaska by himself. Gallien never knew this at the time, but
he was the last person to see Chris McCandless alive before his self-imposed isolation
and then death in the Alaskan wilderness. However, when Gallien and Chris talk during
the ride that he gives him, it is clear that Gallien does not think that Chris is some
naive youngster who has no idea of how to survive by himself. Note what we are told
about their conversation:
It was a two-hour drive from Fairbanks to the
edge of Denali Park. The more they talked, the less Alex struck Gallien as a nutcase. He
was congenial and seemed well educated. He peppered Gallien with thoughtful questions
about the kind of small game that live in teh country, the kinds of berries he could
eat--"that kind of
thing."
The importance of
this quote then helps to set up the dilemma that dominates this book. Chris McCandless,
in so many ways, appears to be just another wacko wanting to live out his Jack London
fantasies. Yet at the same time, such intelligence and knowledge about local berries and
wildlife means that we can't just dismiss him as such, which leads to the quest of the
novel to try and work out why he did what he did.
It is clear that in this novel there are two sides or a
conflict between two groups of people and what is important to them. The novel itself
gives us a helpful division to understand the central conflict by nominating these two
sides as fact and fancy. It is evidently obvious that the forces of fact are marshalled
by Mr. Gradgrind and Mr. Bounderby. The forces of fancy are represented by Sissy Jupe
and the Circus folk, who are, to all intents and purposes, her "family." The conflict
between the two sides comes clear in Chapter Two when Sissy Jupe is asked to define a
horse. Note Mr. Gradgrind's reaction of Sissy's failure to define a
horse:
"Girl
number twenty unable to define a horse!" said Mr. Gradgrind, for the general behoof of
all the little pitchers. "Girl number twenty possessed of no facts, in reference to one
of the commonest of
animals!"
The irony of course
is highlighted by the fact that Sissy has spent all her childhood growing up around
horses, and probably helping to look after them, so although she is unable to "define" a
horse, she probably knows more about horses than anyone else. This irony is heightened
when, in Chapter Six, we are introduced to the Pegasus's Arms, which is of course a
fanciful representation of a horse that is based on myth and legend, and nothing to do
with the facts that Mr. Gradgrind holds so dear.
The equation of the circle given is x^2 + y^2 – 4x + 8y -
5 = 0
x^2 + y^2 – 4x + 8y - 5 =
0
completing the squares
x^2 -
4x + 4 + y^2 + 8y + 16 = 5 + 4 + 16
=> (x - 2)^2 +
(y + 4)^2 = 5^2
This is in the standard form with center
(2, -4) and radius 5.
Consider a function that includes the
circle and the points that lie within it: (y + 4)^2 = 5^2 - (x -
2)^2
The domain of the function is all the values that x
can take for y to have a real value. The domain is the set of values [-3,
7]
The range of the function is the values that y takes for
values of x lying in the domain. The range is the set of values [-9,
1]
As the title suggests, the primary
theme of Sense and Sensibility is the use of
sense vs. sensibility. In protest against the
romantic literature of her day that praised extreme emotionalism and
focused on the needs and wants of self above the common good or community, Jane Austen
used Sense and Sensibility as a warning to show just how
dangerous violent, uncontrolled emotions, or sensibilities,
really are. Hence, Austen juxtaposes two sisters with two different philosophies.
The eldest sister, Elinor, governs all
of her choices and actions with sense and even believes in
controlling her emotions. Her sensibleness and her ability
to think calmly and coolly make her an indispensable counselor for their mother. In
contrast, while Marianne also has sense and cleverness, she
prefers to be governed by her passionate emotions. As
Austen describes, Marianne is "eager in everything: her sorrows, her joys, could have no
moderation" (Ch. 1). Even Mrs. Dashwood has a tendency to think and act like Marianne,
and both encourage each other to be passionate about their emotions. Hence, when during
the course of the story, both sisters become equally brokenhearted due to love,
Elinor makes the conscious decision to govern
her emotions while Marianne violently gives in to
them, leading to a dangerous fever that nearly takes her
life.
Elinor argues that it was her duty to keep her emotions in
control. For one thing, she made a promise to Lucy to continue to keep her engagement to
Edward a secret. Not only that, Elinor knew just how much hearing of Edward's engagement
would upset Marianne and her mother; therefore, she was eager to protect them by keeping
them from finding out. Marianne, on the other hand, feels it's her right to express her
grief, even at the cost of hurting other people. However, she soon understands that her
philosophy about unguarded emotion was wrong. She even understands that her behavior had
been selfish and had nearly cost her her life, as we see in her
lines:
I saw
that my own feelings had almost led me to the grave. My illness, I well knew, had been
entirely brought on by myself by such negligence of my own health, as I had felt even at
the time to be wrong. (Ch.
46)
Hence, we see that Austen
is showing us that all things must be governed by sense, even one's sensibilities, or
emotions, making sense vs. sensibility the main theme.
Nick's reflections at the end of Chapter Nine of
The Great Gatsby bring the motif of geography to a conclusion as
Nick philosophizes that the story of Gatsby is conclusively a story of the West. As he
sprawls upon the beach, Nick reflects upon the old Dutch sailors who came to the "fresh,
green breast of the new world...for a transitory enchanted moment" in which they, like
Gatsby--who beheld Daisy's green light--believed in a dream that became that same
American dream for Gatsby.
However, Nick concludes,
unbeknowst to Gatsby, his dream was already behind him. For, he had endeavored to
recapture the past--the "West"--and had traded his youthful goals--written in a book
entitled Hopalong Cassidy (the name of a cowboy hero of the West)
in which he had set the admirable goals of achieving the cardinal virtues--for the
mundane, criminal, and hedonistic lifestyle exemplified by the East Egg residents.
Contemplating the significance of the past to the dreams of the future as symbolized by
the green light, Nick reflects,
Gatsby believed in the green light, the orgastic
future that year by year recedes before us. It eluded us then, but that's no
matter--tomorrow we will run faster, stretch out our arms farther...And one fine
morning---
So, after having
made his satiric comment in a previous chapter that Gatsby has been the best that
America can produce, Nick concludes on a rather melancholy note, observing that in the
pursuit of the American dream, people are unable to transcend or to recreate the past,
but, instead, they inevitably return to the past. Thus, Gatsby's and others' histories
are stories of the West. This conclusion underscores the theme of the significance of
the past to dreams of the future (the green light and the "green breast of the new
world" that the Dutch perceived).
In George Orwell's classic novel of a futuristic dystopian
society, 1984, the "telescreen" is an ubiquitous symbol of the
government's omniscient presence in the lives of its citizens. Orwell foresaw (perhaps
presciently) a future in which government would never trust its subjects and the
implementation of a totalitarian political system would serve to supplant any prospects
of insurrection against those who ruled. As Orwell noted early in his first
chapter, "[t]he instrument (the telescreen, it was called) could be dimmed, but there
was no way of shutting it off completely." The telescreen's presence, as the novel's
narrator would observe, was designed not just to project a constant stream of images and
words intended to manipulate and control the population but to actively monitor the
population, as is evident in the following passage, also from Chapter
One:
"The
telescreen received and transmitted simultaneously. Any sound that Winston made, above
the level of a very low whisper, would be picked up by it, moreover, so long as he
remained within the field of vision which the metal plaque commanded, he could be seen
as well as heard. There was of course no way of knowing whether you were being watched
at any given moment. How often, or on what system, the Thought Police plugged in on any
individual wire was
guesswork."
Orwell's
description of the telescreen and its role in monitoring and brainwashing the population
on behalf of the "Thought Police" provided his novel's most enduring image of an
autocratic regime determined to prevent the free expression of thought and the exercise
of any activity that could potentially be construed as threatening to the ruling
regime's hold on power. The telescreen has continued, as suggested, to serve as a
metaphor for a ubiquitous government that increasingly acts without the consent of those
it purports to represent while slowly but surely manipulating emotions to its
benefit.
The Compromise of 1850, yet another ill fated attempt to
avoid a Civil War between the Northern and Southern sections of the United States,
contained five main provisions. The first four were fairly innocuous when considered
side by side with the fifth provision, a new Fugitive Slave Act which (it was claimed)
would be enforced this time. If the first four provisions appeased hostilities and
cooled off tempers, it didn't last long, because item number 5 below sent the most
fervent abolitionists and slavery proponents "off the deep
end".
1. California was brought into the United States
with a stipulation that it would be a "free" state.
2.
Utah and New Mexico could enter the United States as "slave" or "free", which would be
determined by popular sovereignty.
3. Texas would drop its
claims to land in what is now New Mexico, in exchange for $10 million to pay its debt to
Mexico.
4. The slave trade was outlawed in Washington,
DC.
5. The Fugitive Slave Act made it illegal to not
return a fugitive slave to its owner.
Both of these men feel trapped by society and the rules
put upon them only because they are black men. The title of Troy's play, "Fences" gives
this away...Troy is trapped and blocked on all sides by what he wants (his dream of
baseball). Walter is also depicted by the title of his play--he is the raisin--dried up
by the sun of society rather than allowing him to remain a fully intact and juicy grape,
full of life and freedom. Walter's problem is coupled by his poor choices and trust in
people who are not worthy of his trust. He is betrayed not only by society, but also by
friends and family.
The most explicit indicator of Scout's increasing maturity
is after Tom Robinson's trial at one of Aunt Alexandra's mission society teas. Since
coming to stay with her brother, niece, and nephew, Alexandra has been at cross purposes
with Scout, embroiled as she is in a desperate and largely unsuccessful effort to turn
Scout into a lady worthy of the Finch name. However, as the novel draws closer to the
end, Atticus comes into the kitchen to ask Calpurnia to accompany him to tell Tom
Robinson's wife that he has died, and Scout, observing her aunt composing herself to
return to the ladies, determines that she will compose herself as well. In the
tradition of Southern womanhood, she eschews any sort of dramatic reaction, and
calmly returns to the guests, offering them refreshments, a much different young lady
than the overall-clad girl the reader meets at the novel's
beginning.
The idea of a "threat" is interesting. I do not think
that each specific thinker would use the term, but the idea in each is present. For
Hughes, the closing image of "Or does it explode," causes a unsettling moment for the
reader. It brings to light that constant deferral of dreams cannot carry socially or
personally positive consequences The implications of this on a larger scale is a call
for White America to view the manner in which it defers the dreams of people of color,
specifically Black Americans. At the same time, it is an exploration as to how people's
cruelty to one another can carry profound implications. This is part of the same idea
that Dr. King holds in his speech. The need to call out for a change is the fundamental
premise of the work. Within this, Dr. King suggests that American History and its
promises and its fundamental construction all demonstrate a need to bring out equality
for people of color, specifically Black Americans. The threat that might be present
here is that if White America does not acknowledge its own history and its own
theoretical condition of freedom and justice for all, then its treatment of Black
Americans serves as a reminder of its fraudulent condition. The idea of a "promissory
note" needing to have been made good is something that Dr. King brings out in his
speech, and at the same time, is a veiled threat to the most hallowed of historical
consciousness in American thought. Both works do not outwardly threaten because they
don't need to do so. Merely suggesting the results of deferral of dreams and not
heeding the calls to transform reality become unsettling visions of the
future.
href="http://www.poets.org/viewmedia.php/prmMID/5650">Lowell (Sylvia
Plath's teacher) is noted as the innovator of confessional poetry that has--for good or
bad--had such a profound influence upon contemporary poetry. "Skunk Hour" is one of
Lowell's confessional poems in which he reveals the "I" of personal feeling and
experience within the context of the poem:
I hear
my ill-spirit sob in each blood
cell,
as if my hand were at its throat. . . .
I myself am
hell;
nobody's here--
However, Sylvia Plath's
"Daddy" is viewed by many critics to the best example of early confessional poetry, thus
making Plath the most confessional of the confessional poets. In some ways, it may be
taken as a metaphor though it was written to her father who died when she was age 8,
even though in the poem she says, "I was ten when they buried you." Since his death
occurred in 1940 while he was a professor at Harvard, Otto Plath was never a
Nazi.
Sylvia feels that his early death--which came through his choice
for medical neglect--had such a profound psychological hold upon her (she felt that his
death was tantamount to suicide since it may have been prevented with medical care) that
it was like a Nazi grip upon a Jew, hence the German-Nazi-Jew metaphor and imagery.
Not God but a
swastika
So black no sky could squeak
through.
Sylivia Plath's
suicide four months after penning "Daddy" raises the question for some critics of the
effect of confessional poetry upon poet as well as upon
reader.
The expression given is (1/2)log(25) +
log(20)
To simplify this, use the property: a*log b = log
b^a and log a + log b = log a*b. Also, log is usually used for logarithm to the base
10.
(1/2)log(25) +
log(20)
=> log 25^(1/2) + log
20
=> log 5 + log
20
=> log
5*20
=> log
100
=> log
10^2
=> 2* log 10
log
10 = 1
=>
2
The value of (1/2)log(25) + log(20) =
2
The reality is that language and cultural
barriers and misunderstandings can get in the way of effective communication and create
complications in the workplace, including problems withsafety. Language barriers often
go hand-in hand with cultural differences, posing additional problemsand
misunderstandings in the workplace.systemic barriers such as employment policies,
practices and systems can have an adverse affect on certain
groups.
· Roles and Status: In
some cultures, a social hierarchy often exists that can create“bumps” in communication
in the workplace.
Personal Space:
Americans typically prefer to stand about five feet a part
whenconversing. However, people from different cultural backgrounds may have
different“comfort zones”.
·
Body Language: Body language says a lot, but it can be
interpreted differently in theworld. For example, most Americans typically signal “no”
in shaking their heads, butpeople from some countries raise their
chins.
· Religion: In many
cultures, religion dominates life in a way that is often difficult for Americans to
understand.
· Personal Appearance:
Hygiene and grooming, eating habits and attire can vary fromcountry to
country and culture to culture.
.
In India the secondary market for shares is governed by an
organization called the Securities and Exchange Board of India or
SEBI.
The Indian Stock market was largely unregulated prior
to the creation of the SEBI. In 1990, a trader named Harshad Mehta started to misuse
loopholes in the banking system as well in the delivery mechanism of stocks bought and
sold on the Bombay Stock Exchange. The result was one the fastest bull runs in the
history of the Indian stock market. Almost INR 40 billion were siphoned from the banking
system to manipulate stock prices to extraordinarily high levels. In 1992, when the scam
was finally discovered, millions had lost their lives' fortunes and the incident had
adversely affected the reputation of the Indian stock
markets.
To bring investors back into the stock market and
attract foreign fund houses, the stock markets had to be made safe and well-regulated.
The Securities and Exchange Board of India Act, 1992 was passed and under its provisions
SEBI was set up.
The regulatory body closely monitors all
transactions that go on in the stock markets and any cases of price rigging or
manipulation are immediately dealt with.
