Who did not believe in entertainment in The Witch of Blackbird Pond?

Are you perhaps refering to the incident when, during her
class, Kit tries to get the children to act out the Parable of the Good Samaritan just
as Mr. Kimberley enters to check the progress of the students? This occurs in Chapter
Nine, and in this chapter Kit discovers another proof of how different life is in her
new home of New England compared to her former life in Barbados. Her attempt to bring
the Bible story to life for the children is shown to be a massive mistake, as is shown
by the response of Mr. Kimberley to Kit's explanations of what she had been trying to
achieve when he walked in:

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"Play-acting! And with the
Bible!"

Both
Mr. Kimberley and Reverend Woodbridge are shocked, as shown by the italics in the above
quote, that firstly education should involve entertainment, and secondly, that
entertainment could be linked with the Bible itself.

In "Tape" by Jose Rivera: how did the structure of the plot facilitate the conflict and resolution?

Jose Rivera wrote the very short, two-man play, "Tape." A
young man who read everything he could about Shakespeare, Ibsen and Moliere, Rivera
presents an unusual drama that might spring from The Twilight Zone
episodes that he loved to watch as a child.

The plot
structure of this play is very simple. There is a room with two men: one is called the
"person," who is very agitated; the other is called the "attendant." The dialogue is
vague to start. It is difficult to find a context that will shed some light upon the
plot developing before the audience. Because of this simplistic structure, the conflict,
when it is finally introduced, speedily drives the plot toward the
resolution.

It is fair to say that Aristotle would have
defined this play as a tragedy:

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...an imitation of an action that is serious,
complete, and of a certain
magnitude...

The play
is serious, and it imitates an imaginary action of enormous
magnitude...but the audience is unprepared for it. The context now becomes clear: the
play is based on a modern perception of hell. The person is dead, and the attendant is
there to assist him in his punishment: there are ten thousand boxes of tapes; he must
listen to each one.

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Listening, word by word, to every lie you ever
told while you were
alive.

Additional
Source:

http://en.wikipedia.org/wiki/José_Rivera_(playwright)

How does Chuck Close use the photograph?

Like other photorealists, Close uses the photograph as a
starting point for his creation of art.  Close is able to use the photograph to
represent the basic element of his creation.  From this, he is able to construct his own
interpretation of what is there.  Close uses the photograph in a Modernist way.  For
Close, the photograph does not represent the end point, the statement of totality. 
Rather, it represents a starting point, where the artist is able to take a statement of
supposed transcendent answer and construct a new vision that prompts more questions and
greater discussion.  For example, Close's work on Philip Glass was based off of a
picture and then an artwork created in different forms and mediums, allowing an entirely
new portrait or vision to emerge.  Close needs the photograph, but requires it not for a
statement of absolute authority, but rather as the starting point to undermine
it:

Chuck
Close often worked from photographic stills to create paintings that appeared to be
photographs. The everyday nature of the subject matter of the paintings likewise worked
to secure the painting as a realist
object.

In this idea, Close
is able to bring out the basic modernist notion that reality is a construct of multiple
shiftings in point of view, understanding, and perception.  The photograph is a part of
that process for Close and others like
him.

What were the main effects of the Marshall Plan?

There were two important and interconnected main effects
of the Marshall Plan.  First, the Marshall Plan helped the economies of Western Europe
recover from the war.  Second, the plan helped cement the friendship between the US and
those countries and helped to keep the European countries from moving closer to the
Soviet Union.

After the war, the economies of Europe were
devastated.  The US feared that extreme poverty in these countries would push them
towards communism.  Therefore, the US created the Marshall Plan in order to kill two
birds with one stone, so to speak.  The Marshall Plan simultaneously helped the
countries of Western Europe to recover from the war and made them more likely to ally
with the US against the Soviety Union out of gratitude for the
aid.

In Death of a Salesman, who is Dave Singleman and what impression did he have on Willy Loman?

As he grovels in the office of a distracted and
disinterested Howard Wagner, pleading for an in-town job, lowering his salary requests
again and again, Willy Loman desperately relates a histrionic story of the
eighty-four-year-old Dave Singleman who, without ever leaving his hotel room, conducted
a successful sales career. When he died the noble "death of salesman", hundreds of his
associates - out of love and respect - attended his funeral. In fact it was the manner
of Singleman's death, not his life, which drew Willy to embrace salesmanship and to turn
away from the pioneering, 'Horatio Alger' type of career offered by his brother, Ben. In
this decision, Willy rebuffs the rugged individualism and the indifference to social
relationships exemplified in Ben Loman. Rather, Willy chooses Singleman's way, a life of
loyalty and friendship, a life cocooned in a web of sustaining social relationships. But
when Willy's manner of death is juxtaposed with Singleman's, its irony and tragedy are
all the more poignant, for Willy dies alone.     

Identify the Radley place, in Harper Lee's To Kill a Mockingbird.

The Radley Place is located in Maycomb, in the Finches'
part of town. It is a scary, run-down old place, without screens on the doors; it used
to have flowers (cannas) growing out front when Mrs. Radley was alive. The only person
that ever enters or leaves within the sight of the neighbors is Nathan Radley, Boo's
brother and "prison guard."

The Radley home is close to the
Finches, just down the street—and can be seen from the Finch home, but best from the
street light post.

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The Radley Place jutted into a sharp curve beyond
our house.

The property line
of the school that Jem and Scout attend runs adjacent to one edge of the Radley's
property.

The
Maycomb school grounds adjoined the back of the Radley lot; from the Radley chickenyard
tall pecan trees shook their fruit into the schoolyard, but the nuts lay untouched by
the children: Radley pecans would kill you. A baseball hit into the Radley yard was a
lost ball and no questions
asked.

Mr. Avery is in this
area as well. He lives across the street from the Finches. Dill's Aunt Rachel lives next
door to the Finches, while Miss Stephanie's house is across from Miss Rachel's. Miss
Maudie's house is also across the street, next to Mr. Avery's—and down from the Radley
Place. Mrs. Dubose's house and the post offfice can be seen in the other direction—from
the Radley Place.

It is in this small part of the town of
Maycomb that Jem and Scout spend two-and-a-half memorable years, compressed into the
pages of To Kill a Mockingbird.

In John Donne's "Holy Sonnet 6," how do Donne's paradoxical statements depend on a contrast. Are they effective?

Donne's sonnet paints the scene of death and the
separation of body and soul. The central paradox in the poem occurs at the turn of the
sonnet:

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"Then, as my soul, to'heaven her first seat,
takes flight,
And earth-born body, in the earth shall dwell,
So,
fall my sins, that all may have their right,
To where they'are bred, and would
press me, to hell."

The soul
ascends towards bliss and the body remains behind in the earth -- that much is
clear.

The contrast exists between the soul purified and
the soul besmirched in sin. The paradox lies in how the soul becomes purified. A correct
reading of the quoted line is imperative to an accurate understanding of the
poem.

A good paraphrase goes thus: my soul makes her way to
heaven, leaving the body in the tomb, and as it does so, my sins fall off from her, and
this falling off happens so that they (the sins) may inherit that from which they came
(hell), which is place where they would take me if they
could.

The paradox, then, is how the soul is really
deserving of heaven. Wherefore comes the rightousness? It comes not through any
deserving action of the soul, since death has separated the soul from the part through
which it can act.

The paradox is not untangled by the
language of the sonnet. Instead, it is through the paradox that the poem acquires its
emotional power. Consider this last image:

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"But my ever-waking part shall see that
face,
Whose fear already shakes my every
joint."

The soul, rising to
its eternal home, is purified by gazing upon the "face" of (presumably) God. Thus, two
actions create a powerful contrast: looking and movement. The soul fixes its gaze on an
object that engenders fear, meanwhile it moves in a metaphorical "space" towards its
object while negative qualities (sin) fall, or "move", in the opposite direction on
account of the object upon which sight is fixed. The poem effectively communicates the
sensation of separation between body and soul through contrasting imagery, while
leveraging the paradox of undeserved justification to give the poem its emotional
resonance.