What are the outcomes of the main characters in Of Mice and Men?

The fundamental outcome of the main characters in
Steinbeck's work is directly tied to their notion of dreams and realities.  Characters
who live for dreams, or are animated by a notion of consciousness that is different from
what is presented find a pain- ridden end, while those who do not seek to envision
anything beyond what is the Status Quo are left alone and do not experience much in way
of pain.  In this Steinbeck is making a statement about how dreams might involve pain,
but they are still superior to the alternative, which is an existence that is not
redemptive and filled with despair, either knowing or unknowing.  Lennie and George
suffer greatly and are individuals who see themselves as agents of their own dreams. 
Lennie ends up dying, and George is the one who takes his life.  Curley's wife dies, as
well, with the last words on her lips about how she wished for something more in her
life, while Candy recognizes that he should have advocated for his dead dog more as his
dream slips past his reach with the death of Curley's wife.  For each of these people,
the outcome of their existence tied to dreams was one of frustration and pain.  Their
foils would be characters like Crooks, Curley, and Carlson, individuals who live their
lives either without want of something more or recognizing the pain in wishing for it. 
Their outcomes are not ones of pain or extended suffering, but rather a banal that numbs
them to their reality.  It is this outcome that leaves Crooks knowing that he must
embrace this life, for there will not be any other redemption for him and leave Carlson
wondering at the end, "What got into those guys," lacking any sort of moral
imagination.  While the outcome for those who dream is painful and pain ridden,
Steinbeck might be suggesting that it is a better end for those who refuse to see what
should be out of a reality of what is.

Where is dramatic irony used in Riders to the Sea?

Let us remember that dramatic irony is when one or more
characters and the audience know something that a principal character does not. Perhaps
the most famous literary example of this is of course in Romeo and
Juliet, when we know that Juliet is not dead but are forced to watch Romeo
kill himself just before his true love awakes. Thus when we think of this definition of
dramatic irony and apply it to this play, we can see the biggest dramatic irony comes as
the two sisters, Cathleen and Nora, look through the bundle of clothes that was
recovered from a drowned corpse whilst their mother is away and find that they belong to
their brother, who has obviously drowned like his other brothers. However, because of
Maurya's fear about her last remaining son going on the sea, they decide to keep this
knowledge from her until Bartley's safe return:

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Put these things away before she'll come in.
Maybe it's easier she'll be after giving her blessing to Bartley, and we won't let on
we've heard anything the time he's on the
sea.

Of course, the irony
heightens the tragedy, as Maurya is still plagued with the premonition that her last
remaining son will die by the sea too, and we as the audience know that her other son
has definitely been drowned the same way that she fears Bartey will
die.

In "Sonny's Blues," what did Sonny and his brother suffer?

In "Sonny's Blues," Sonny and his brother, the narrator,
both suffer from the disconnect in their relationship.  While growing up, Sonny and the
narrator have limited options, and both end up taking very different paths to realize
their dreams.  Sonny has always loved music, but many barriers have stood in the way of
his becoming a musician.  Sonny ends up in jail and addicted to drugs.  The narrator, on
the other hand, eventually becomes a teacher.  But the two brothers are not connected
and the narrator cannot understand why Sonny has chosen to live his life the way he
has.  The two suffer because of this disconnect until the end of the story when the
narrator finally starts to understand Sonny's love of music.

What is your opinion about the admissibility of such evidence in this case?Assume that the prosecution in the murder trial of a mother offered as...

Assuming the pictures have some bearing on the manner and
cause of death of the child, they would be admissible. If they were offered for no other
reason than to show that the child was dead, an objection might possibly be sustained as
other evidence (testimony, death certificate, etc.) could be offered to that effect, and
the photographs would be irrelevant and unfairly prejudicial to the defendant. So it is
important to know if the pictures showed injuries, malnutrition, or otherwise provided
visual evidence of the cause of death as neglect.

The
sadomasochistic acts of the mother are another issue. If evidence shows she did so while
she neglected the child, the evidence might very well be admitted. If however it is
simply used to show that she is kinky with no direct relation to the child's death, the
video would not be admissible. The fact that a person engages in unusual sexual acts, or
even commits adultery, does not per se mean the person is an unfit parent or neglects
his/her child. So the admission of this evidence would be quite
problematic.

Please i need help in this question thank you.A cube of cooper 2.00cm on a side is suspended by a string. The cube is heated with a burner from...

The volume of the cube is

`V
= d^3 =0.02^3 =8*10^-6 m^3`

The coefficient of volumetric
expansion for copper is `gamma=5.1*10^-6 K^-1`

The
increase in temperature is `Delta(T) =90-20 =70 K =70 @C`

The law of volume variation with temperature
is

`Delta(V) =gamma*V*Delta(T) =5.1*10^-6*8*10^-6*70
=2.856*10^-9 m^3`

`Delta(V) =2.856*10^-3 cm^3`

b)

The mechanical work done
by the cube to increase its volume against the  atmospheric pressure
is

`W =P*Delta(V) =1.01*10^5*2.856*10^-9 =2.885*10^-4 J`

c)

The mass of the cube
is

`m = rho*V = 8900*8*10^-6 =7.12*10^-2 kg =71.2 grams`

The heat necessary to increase the temperature of the cube
is

`Q =m*Cp*Delta(T) =7.12*10^-2*390*70=1943.76 J`

d) If `U` is the internal energy of the cube then the
first principle of thermodynamics says:

`Q =Delta(U) +W`

`Delta(U) =Q-W =1943.76-2.885*10^-4 =1943.7597 J`

Using l'Hopital' Rule, find the limit of x^x^2 as x approaches 0 from the right.

We have to find the value of lim x-->0+
[(x^x)^2)]

lim x-->0+
[(x^x)^2)]

=> lim x-->0+ [e^(ln
((x^x)^2))]

=> lim x-->0+ [e^(ln
((x^2x))]

=> lim x-->0+ [e^(2x*ln
x)]

As the exponential function is continuous we can write
this as

=> e^[lim x-->0+ (2x*ln
x)]

As 2x*ln is of the indeterminate form we can use
l'Hopital's rule

lim x-->0+ (2x*ln
x)

=> lim x-->0+ (2*ln
x/(1/x))

=> lim x-->0+
(2*(1/x)/(-1/x^2)

=> lim x-->0+
(-2*x^2/x)

=> lim x-->0+
(-2*x)

substitute x =
0

=> 0

Now we have e^0
= 1

This gives the value of lim x-->0+
[(x^x)^2)] = 1

What are the names of the tragicomiedies or problem plays written by William Shakespeare?

All's Well and Measure for
Measure are considered tragicomedies, or problem plays, but also included
would be The Merchant of Venice. Plus the four late plays,
Cymbeline, Pericles, The Winter's Tale, and The
Tempest are often included under the term problem
plays.

Actually the four late plays all fall under the
Romantic tradition and thematically share the loss of a daughter.  The first three deal
with the loss of and gain of a daughter at the end.  In The
Tempest, Propero is willing to "lose" his daughter because in the end, he
will gain.

The problem plays are called problem plays
because they deal with problem issues.  They are usually classified as comedies because
they follow the rule of comedy.  They begin with a "bad" situation which gets better at
the end.  In other words, the situation goes from bad to
good.

Since Shakespeare tried various things in his writing
and didn't conform to the "rules", it is often difficult to classify his plays. For
example, Troilus and Cressida can classified as one of the
Greek/Roman plays or plays influenced by Plutarch's
Lives.