What would be lost if there were only one point of view in the novel The Plague of Doves?And who do you think could tell the novel?

Actually, much of the story would be lost if there were
only one narrator in The Plague of Doves.  None of the characters
knows the full extent of the history of Pluto and the Ojibwe reservation, and it is only
through multiple narrative voices that the entire story comes together.  Cordelia ends
up as the town's historian, and she knows about and understands many of the scandals
that have happened in town, but even she is ignorant to the fact that it was Warren
Wolde who murdered her family so long ago and not one of the Native American men who
were accused of and killed for the crime. 

Erdrich writes
many of her novels in multiple narrative voices to try to capture Native American
traditions of storytelling in her work.  This would be lost if the story were told by
only one narrator.

If only one character told the story, it
would be a different story simply because of the characters' ignorance of events.  Only
an omniscient point of view would be able to render the totality of events in the
novel.

Solve the simultaneous equations x^3+y^3=-7 and x^2+y^2=5?

We'll apply the formula of the sum of the
cubes:

x^3 + y^3 = (x+y)(x^2 - xy +
y^2)

We'll replace the sum x+y by S and the product x*y by
P.

The system will become:

S(5
- P) = -7 (1)

S^2 - 2P = 5

S^2
= 5 + 2P (2)

We'll raise to square
(1):

S^2*(5-P)^2 = 49

(5 +
2P)(5-P)^2 = 49

We'll raise to square the
binomial:

(5 + 2P)(25-10P + P^2) =
49

125 - 50P + 5P^2 + 50P - 20P^2 + 2P^3 =
49

We'll eliminate like
terms:

-15P^2 + 2P^3 + 76 =
0

We notice that one root is P =
-2

-60 - 16 + 76 = 0

We'll
re-write 2P^3 - 15P^2 + 76 = (P+2)(2P^2 - 19P + 38)

We'll
cancel 2P^3 - 15P^2 + 76 = 0

(P+2)(2P^2 - 19P + 38) =
0

2P^2 - 19P + 38 = 0

P1 =
[19+sqrt(361 - 304)]/4

P1 = (19+sqrt
57)/4

P2 = (19 - sqrt
57)/4

Since S(5 - P) = -7 then we'll
have:

P = -2 => S(5+2)=-7 => S =
-1

P = (19+sqrt 57)/4 => S =
(1+sqrt57)/2

P = (19-sqrt 57)/4 => S =
(1-sqrt57)/2

Now, we'll solve the
systems:

1) x + y = -1 and xy =
-2

x^2 + x - 2 = 0

x = -2 and
y = 1 or x = 1 and y = -2

2) x + y = (1+sqrt57)/2 and x*y =
(19+sqrt 57)/4

x^2 - (1+sqrt57)*x/2 + (19+sqrt 57)/4 =
0

delta = (1+sqrt57)^2 - 4*19-4*sqrt
57

delta = 1 + 2sqrt 57 + 57 - 76 -
4*sqrt57

delta = -18 - 2sqrt 57 <
0

Since the discriminant is negative, this system has no
solutions.

Since the system is symmetrical,
the solutions of the system of equations are represented by the pairs: (1 , -2) and (-2
, 1).

What exactly is standard deviationand cumulative frequency curve?How are they link? Please explain interquartile range in cumulative frequency...

standard deviation is a measure of precision or how well
individual measurements agree with each other. The formula
is:

where x1, x2 and x3 are the induvidual
measurements; x(bar) is the mean and n is the nuimber of
measurements.

Cumulative frequency curve like the standard
deviation, is a good way to measure dispersion.

It is
obtained by adding up the frequencies as you go along, to give a 'running
total'.

Plot the cumulative frequency as the
y-axis and the interval or measurements in the x
axis.

When looking at a cumulative frequency curve, you
will need to know how to find its median, lower and upper quartiles, and the
interquartile range.

By drawing horizontal lines to
represent 1/4 of the total frequency, 1/2 of the total frequency and 3/4 of the total
frequency, we can read estimates of the lower quartile, median and upper quartile from
the horizontal axis.

The interquartile
range is the difference between the lower and upper
quartile.

The box and whisker plot on the other hand is
used to display information about the range, the median and the quartiles. It is usually
drawn alongside a number line. Below is an example

Does the following sentence differ at all with regard of ordering of events? "I had finished my homework before I practiced the piano."

In the sentence I had finished my homework
before I practiced the piano, there are two separate past tenses that are
employed:  the past perfect tense and the simple past tense.  Both of these tenses are
in the Basic form.

Indeed, the two forms of the past tense
do differ in their expression of time, or the ordering of events.  The past perfect
tense, for instance, indicates an action that occurred and was completed in the past
prior to another past action.  Thus, the verb had finished
is in the past perfect tense. [a compound tense, with the
Latin word perfect meaning
completed] 

On the other hand, the simple past tense
indicates an action completed by itself in the past, or an action completed in the past
after a prior action.  Thus, the verb practiced is in the
simple past tense [simple meaning
one verb].  So, the author of the above sentence practiced the
piano only after finishing the homework, the first action.

What is x if the function arcsin(3-2x) exists?

We'll impose the constraint for the arcsin(3-2x) to
exist:

-1 =< 3-2x =<
1

We'l solve the left side
inequality:

-1 =< 3 -
2x

-1 - 3 =< -2x

-4
=< -2x => 4 >= 2x => 4/2 >=
x

x =< 2

We'll solve
the right side inequality:

3-2x =<
1

-2x =< 1 - 3

-2x
=< -2

x >= 2/2

x
>= 1

The values of x, for the function
arcsin(3-2x) to exist, belong to the closed interval [1 ;
2].

Can you illustrate the "metaphysical" blend of passion and wit in John Donne's poem "The Good Morrow"?

John Donne’s poem “The Good Morrow” illustrates passion
and wit – two common features of “metaphysical” poetry – in various
ways.

“Wit,” for Donne and his contemporaries, meant not
simply intellectual or verbal cleverness but also the capacity to think seriously.
(“Wit” was often understood as a synonym for
“reason.”)

“The Good Morrow” illustrates all these meanings
of “wit” while also emphasizing passion, or deeply felt
emotion.

Several examples of wit or cleverness occur in the
first stanza of the poem. For instance, the speaker may be offering an erotic play on
words when he uses the term “country” pleasures (3). He is certainly being clever when
he compares the two lovers to the biblical “Seven Sleepers” (4), but he is also, by
using this biblical allusion, showing another kind of wit: intelligence and wide
reading, including familiarity with a very important
text.

Other examples of wit appear in stanza two,
particularly when the speaker declares that true love can make one “little room an
everywhere” (11). This phrase illustrates one of Donne’s favorite forms of wit: his use
of paradoxes (phrases which seem contradictory from one perspective but which seem true
from another).  Another example of a witty paradox appears in line 20, in which the
speaker suggests that two loves can somehow be “one”
love:

If our
two loves be one, or thou and I
Love so alike that none can
slacken

Passion – in the
sense of deep love, rather than uncontrolled emotion – is visible throughout the poem.
Thus, the speaker can be called passionate in his admiration of his beloved’s “beauty”
(6), but it is also clear that he values her for much more than mere physical
attractiveness.  This deeper love is implied when he exclaims “good morrow” to their
“waking souls” (8), not merely to their waking bodies.

The
poem’s tone might also be called passionate when the speaker breezily dismisses all the
other, implicitly unimportant activities in which he and his beloved might engage
(12-13).

However, perhaps the most tenderly passionate
moment in the poem occurs in lines 15-16, where the speaker says that “My face in thine
eye, thine in mine appears, / and true, plain hearts do in the faces rest.” These lines
suggest  physical, emotional, and even spiritual closeness between the speaker and the
woman he obviously loves.  By the end of the poem, the speaker has demonstrated both his
wit and his passion.

For an extremely well annotated
edition of Donne’s poetry, see
Robin Robbins, ed. The Complete Poems
of John Donne. New York: Pearson, 2010.

Describe the unique features of Egyptian art and literature.

The first answer is very
comprehensive.

I would add that the Egyptian design style
for wall paintings and paintings on papyrus illustrates their fear of the unknown. Every
space is filled and the surface is layered with "registers" or lines upon which the
images are standing, sitting or carefully arranged. This approach has been analyzed to
mean that their culture feared unknown spaces, unknown endings, and they had ways to
handle this fear for the citizens.

The Egyptian literature
is very entwined with the art work since much of both depend upon the symbols and the
hieroglyphics used. Few Egyptians could use or read the hieroglyphics so the symbols
were very important to convey meaning.

The materials used
and the colors applied were also full of meaning for these art forms. Gold, lapis
lazuli, and gems were to imply wealth and importance while the different colors used for
the skin indicated gender.