What are the different causes of the animals' rebellion in Animal Farm by George Orwell?

To a great extent, the animals who rebel do so out of
opposition to Napoleon's actions as leader.  There are some areas where there are
differences as to why they decide to rebel or openly question his actions, but most of
it boils down to dislike of Napoleon as leader.  For example, three hens consider it
murder that Napoleon demands that they surrender their eggs in order to fulfill the
arrangements he has made with Whymper.  In destroying their eggs, this represents an act
of rebellion.  When Napoleon wants to end Sunday meetings, some porkers disagree.  In
their dissent, another act of "rebellion" is construed.  When Boxer questions Snowball's
retelling of history in suggesting that Snowball was actually treasonous to the ends of
Animal Farm, it is seen as an act of rebellion.  This becomes broadened to any animal
that engages in a collaboration of any kind with Snowball.  The cause of these
associations are the belief that Snowball could be a better leader and possesses better
ideas than Napoleon.  In the end, the dissatisfaction with Napoleon in the fundamental
cause of rebellion, its perceived end and its actual result.  This is something that in
either form Napoleon strikes down with intensity and force, as seen in chapter seven
when Napoleon coordinates public confessions and demonstrates public execution in the
most brutal of fashion.

Ideas for Macbeth's defense lawyer's monologue?I have a monologue to write and perform for a part of assessment. I am the Defence Lawyer for...

If your audience is supposed to be an Elizabethan one;
that is, an audience that will be receptive to the powers of the preternatural
world, you may wish to take the approach that Lady Macbeth is the fourth witch and not
truly an earthly woman.  For evidence of this sisterhood with the three "weird
sisters," meaning destiny-serving witches, you can point to Banquo's remarking upon
their "beards" that prevents his believing them women.  For, like them, Lady Macbeth,
too, unsexes herself in Act I, Scene 5 after reading the letter from Macbeth.  And, it
is after her soliloquy at the beginning of the scene in which she fears Macbeth's nature
that is "too full o' th' milk of human kindness" that she transforms herself for her
evil purposes.  Indeed, these actions are witch-like, and Macbeth, who hesitates in the
evil intent to kill King Duncan. tells his
wife,

We will proceed no further in this business:

He hath honor'd me of late, and I have bought
Golden opinions from
all sorts of people,
Which would be worn now in their newest gloss,

Not cast aside so soon.
(1.5.34-38)

but, he is overpowered by
Lady Macbeth. Still, it is only under the influence of her ridicule of his masculinity
that Macbeth kills Duncan.  For, even Macbeth, who is a great warrior, is influenced by
her "undaunted mettle."

Macbeth's strong love for Lady
Macbeth affects him in another way, too.  When Lady Macbeth loses her mind and begins to
sleepwalk, trying to remove the blood spots from the stairs, Macbeth is greatly
disturbed by her behavior and absolutely devastated by her death, as displayed in
his words when he says that he is "sick at heart" (5.3_)  In his monologue of Act V,
Macbeth has lost his way completely,

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She should have died hereafter;
There
would have been a time for such a word.
Tomorrow, and tomorrow, and tomorrow

Creeps in this petty pace from day to day
To the last syllable of
recorded time;
And all our yesterdays have lighted fools
The way
to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor
player
That struts and frets his hour upon the stage
And then is
heard no more. It is a tale
Told by an idiot, full of sound and fury,

Signifying
nothing.(5.5.19-30)

With such
preternatural happenings in which "fair is foul and foul is fair," even within his own
chambers, Macbeth's defence may ride upon his being a victim of phantasmagoria as, not
only the three "weird sisters," but also his wife is a witch who has directed his life
against his
control.

What do "heart", "nerve" and "sinew" (line 21) individually symbolize?

Any interpretation of a poem, a line in a poem, or an
individual word in a poem revolves around a person's individual thoughts about it.
Poetry is often analyzed as a subjective text. What this means is that the meaning of a
poem may be derived through the reader's own feelings, stereotypes, emotions evoked, and
thoughts on the subject. Therefore, any one poem may bring about multiple
interpretations. Each interpretation is, therefore, justifiable based upon a reader's
support.

This being said, the words "heart", "nerve" and
"sinew" in the poem "If" represent deeper levels of "Will which says to them: 'Hold
on!'"

The heart represents the whole of love. The nerve
(transports signals from the brain and spinal cord to other parts of the body) and sinew
(tissue which holds bone to muscle or another bone) represent pieces which deepen the
"Will." What this provides, for the reader, is an understanding that will does not only
take place in a singular place in the body. Instead, it can be ruled by many parts of
the body. The use of heart, nerve, and sinew deepen the effect by which the reader can
come to understand the whole effect of will on even the smallest, but most functionally
relevant, parts of the body.

What kind of diction dominates the text of Of Mice and Men?I don't understand how one can describe the diction of a text. John Steinbeck's Of Mice...

In order to achieve realism in his portrayal of the
characters of his novella, Of Mice and Men, John Steinbeck uses the
vernacular of the bindle stiffs.  That is, when George and Lennie speak, their diction
is that of uneducated men, some of whom cannot even read.  The vocabulary of these men
is very simple, often including the use of slang; their syntax, or grammatical
structures, are substandard. For instance, when George talks with Lennie after the
pugnacious Curley has stepped into the bunkhouse and demanded that Lennie speak to
him:

"I hat
that kinda b--d....I seen plenty of 'em.  Like the old guy says, Curley don't take no
changes.  He always wins....If he tangles with you, Lennie, we're gonna get the can. 
Don't make no mistake about that.  He's the boss's son....You try to keep away from him,
will you?  Don't never speak to him.  If he comes in here you move clear to the other
side of the room.  Will you do that,
Lennie?"

At yet, by employing
this diction, Steinbeck implies a certain empathy for the men.  For instance, in the
final section, as Old Candy watches George go, he looks helplessly back at Curley's
wife, and Steinbeck writes,  "gradually his sorrow and his anger grew into
words,"

"You
--- ---tramp," he said viciously "You done it, didn't you?  I s'pose you're glad. 
Ever'body knowed you'd mess things up.  You wasn't no good.  You ain't no good now, you
lousy tart."  He sniveled, and his voice shook.  "I could of hoed in the garden and
washed dishes for them
guys."

With the diction of
Old Candy, there is a certain poignancy for the poor disabled man who is bereft of all
hope for his future. In the bindle stiffs' simple diction there is the expression of
the essential needs of the alienated men of Of Mice and Men for
whom tomorrow is only the next day.

what is the theme to the book Huckleberry Finn?I need to know 10 different quotes that develop the theme but in order to do that i need to aquire...

I think you would be hard pressed to name only one theme
in The Adventures of Huckleberry Finn. The novel is much too big
and interwoven with stories and substories and plots and characters to narrow its scope
to only one theme.

One theme of the book could certainly be
the joy of freedom - the ability to live according to one's own choice of time schedule,
in the location of one's choosing, free to move on if circumstances require. Huck's and
Jim's adventures exemplify the challenges and the rewards of such a
lifestyle.

Another theme to be considered would be the
relationship between races portrayed through Huck's eyes. Huck sees and describes a
variety of attitudes toward "niggers" in the people around him, and his own attitude
evolves as he gains insights into Jim's life that he hadn't considered
previously.

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Once I said to myself it would be a thousand
times better for Jim to be a slave at home where his family was, as long as he'd got to
be a slave,...but somehow I couldn't seem to strike no places to harden me against him,
but only the other kind....then says to myself: 'All right, then, I'll go to hell'...for
a starter, I would go to work and steal Jim out of
slavery

This relates to a
third possible theme, the issue of conscience and how it affects one's attitudes and
actions. Huck's conscience forced him to change his ways and act against what society in
that place and time considered the right course of action.

Judging from the conversation of the Puritan women, what are their conceptions about sin, morality, and punishment, The Scarlet Letter?

In the depiction of the women standing before the scaffold
in Chapter 2 of The Scarlet Letter, Hawthorne points to the irony
of a Puritan sect that has fled England because of religious persecution to be so
desirous of inflicting mental persecution because of religious reasons upon one of their
own community. Ironically, in this theocratic commonwealth, there is no tolerance for
sin of any kind; therefore, those who stand and wait for the punishment of Hester feel
compelled to proclaim their innocence by denouncing her, lest any of them become
suspect in  showing sympathy for her.

In their declamations
of Hester, a sanctimonious older woman suggests more violent torture, as aspect of the
early Puritans that Hawthorne found so reprehensible.  This "hard-featured dame of fity"
tells the other women,

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If this hussy stood up for judgment before us
five, that are now here in a knot together, would she come off with such a sentence as
the worshipful magistrates have awarded?  Marry, I trow
not!"

Another woman suggests
that a Hester Prynne should have been branded on the forehead because she believes that
Hester does not care about what she must wear on the bodice of her dress. Then, it is a
younger woman, a mother of a small child herself, who remarks that Hester will always
feel "the pang of it...in her heart."  To this show of sympathy, a woman cries out that
Hester has brought shame upon the entire community and should
die, 

"Is
there not a law for it?  Truly there is,....Then let the magistrates, who have made it
of no effect, thank themselves if their own wives and daughters go
astray!"

It is evident from
the statements of most of the women that sin should be punished severely else members of
the community "go astray." Clearly, they perceive punishment as the only deterrent to
sin, having embraced the Calvinistic precept of the depravity of man, a precept which
strongly influenced Puritanism.  Within this Puritan community in which the women
reside, there must be a close vigil kept upon the inner and outer events of their
lives.  Indeed, the Puritan village is like the people: clad in gray, severe,
"sad-colored" with a prison door always looming before them.  Hester Prynne has dared to
express her passion, and the women are dismayed by this now overt display of the
weakness of emotion, equating it all to the most grievous of sins that should be
severely punished.

Who is Miss Moore and why does she take an interest in the neighborhood children?

In Toni Cade Bambara's short story, "The Lesson," Miss
Moore is a self-appointed advocate to a group of inner-city children in an effort to
open their minds to the world and their potential in that world,
that may not at first seem as if it has a place for
them.

The story starts out with Sylvia explaining that
"once upon a time," she was growing up when something was wrong with everyone else but
she and Sugar were the "only ones just right."
Then...

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...this lady moved on our block with nappy hair
and proper speech and no
makeup.

The children
foolishly laughed at her as they laughed at everyone, thinking they had all the answers
and no one could teach them anything they didn't already know. How sure they were of
themselves! Sylvia recalled that they hated her: Miss Moore, who was the only woman in
the neighborhood that had only a "Miss" and a "Moore," but no first
name.

And she
was black as hell, cept for her feet, which
were

fish-white and
spooky.

If that wasn't
enough, Sylvia thought, Miss Moore was always coming up with crazy ideas of things she
could do with the kids. She was always dressed up. The parents talked about her behind
her back, but then she showed up with some kind of gift, and the children were turned
over—the parents too embarrassed for the way they had spoken about her to say no. What
the kids don't realize is that there are secrets of the world about
which they know nothing. When they complain that "she don't never let up," it's true:
for she knows how hard life is, and what the kids need to do in order to be ready for
life challenges, as adults, some day. The reader can sense that Miss Moore believes that
this will make all the
difference.

After their visit to the expensive F.A.O.
Schwarz toy store, a seed is planted in Sylvia's mind. She is too stubborn to let on, or
let Sugar "let on" either.

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Then Sugar surprises me by sayin, "You know, Miss
Moore, I don't think all of us here put together eat in a year what that sailboat
costs." And Miss Moore lights up like somebody goosed
her.

Miss Moore looks for
signs of "intelligent life" beneath Sylvia's stubborn and unfriendly exterior. Though
Miss Moore may suspect she has reached Sylvia this day, Sylvia will not give her the
satisfaction of letting on. Miss Moore has gotten an intelligent response from Sugar,
and Sylvia is not very happy for it. However, the lesson is wasted on Sugar who forgets
it in favor of buying some sweets, but Sylvia does not. Like a
treasure, she keeps it to herself, promising to take it out and study it
later.

Miss Moore is attempting to mentor the children in
her neighborhood, and while the children give a limited amount of satisfaction to her
during their "lessons," the reader knows that her words will make a
difference—even if she only reaches one child. By the end of the story, the reader may
be thinking that Sylvia is the one, regardless of her cantankerous
nature. At the end, Sylvia and Sugar start to race, but Sylvia really isn't interested,
preoccupied by Miss Moore's lesson today:

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She can run if she want to and even run faster.
But ain't nobody gonna beat me at
nuthin.

Discuss the meaning of the sonnet in Act I, sc. 5 of Romeo and Juliet.

I am going to presume that you are speaking of the moment
that Romeo sees Juliet and launches into how she looks.  If not, you might need to
repost the question.  I could only find this as the closest thing to a sonnet in this
scene.

The basic idea behind his speech/ sonnet to Juliet's
beauty is that Romeo's self- torturing and pining for Rosaline is now a thing of the
past.  The sight of Juliet now has become his focus.  He is naturally taken back by his
beauty and the opening lines of the sonnet reflect how he sees her from a physical point
of view.  The comparisons of a "jewel  in an Ethiop's ear" and "Beauty too rich for use"
should give some indication that he finds her physically beautiful.  It should also help
to reveal something about his character as being impulsive, as the previous four scenes
have revealed him to be miserable about Rosaline and then once he sees the attractive
Juliet, all pain disappears.  The ending of the sonnet speaks of how he has become a
pawn for this sense of "true beauty." The speech/ sonnet ends with the idea that Juliet
is beautiful and Romeo has fallen in love with her.

If the
reader is to take anything away from this, it would be that Juliet is naturally
beautiful.  The speech also reflects that Romeo sees "love" and "infatuation" as one in
the same.  The fact that he is able to immediately fall in love with Juliet is a
reflection of how he sees her as beautiful and then is attracted to this.  This
naturally begs the question of what would have happened had Juliet not been attractive? 
Would Romeo have fallen in love for her and been able to see this "torch that teaches
other torches to burn bright" in the same light?  One other implication that comes out
of this scene.  There is a heck of a lot of objectification that goes on in this
speech.  True love, it seems involves seeing someone and immediately relegating them
into the category of things.  The speech expresses this with moving Juliet into the
realm of torches, jewels, snowy doves, and the like.  There is little discussion of
Juliet's emotional sense of being as well as whether or not he will be found in the same
light by her as he finds her.  I think that this brings out a great deal about Romeo's
character and what passed for love in the context of the play.  This is not to say that
he did not love her.  He does die for her, or for some semblance of her.  Yet, I think
that it is important to note in the sonnet how Romeo initially conceives of his
affections for Juliet.

What are 3 examples of loyalty vs. treachery in Othello?In what acts and scenes are these examples found?

Act I scene 1 contains a great example of treachery
followed by loyalty on the part of Iago.  He tells Brabantio that his daughter is with
Othello, hoping to incite a rage against Othello who is not really approved to be with
this nobleman of Venice's daughter.  He then immediately returns to Othello trying to
show his loyalty as he warns him of the coming anger at he and Desdemona's
marriage.

Act II scene 3 contains the bit with Iago telling
Roderigo to just be patient, that he will still get him what he wants, namely
Desdemona.  Yet Iago is keeping Roderigo around simply as a piece of his plan, again a
very clear combination of loyalty and treachery at the same
time.

Another example of loyalty and treachery right
together is when Emilia is loyal to Iago in giving him the handkerchief which he asked
for, and unknowingly she is helping to serve his treachery upon her lady's master,
Othello.

Two solid metal blocks are placed in an insulated container. If there is a net flow of heat between the blocks, they must have different? 1) Heats...

Heat of fusion is a property of a material telling us how
much energy it will have to gain or release (per gram) to change state between being a
liquid and being a solid. It has nothing to do with the exchange of energy between two
materials when neither changes state, so we can eliminate choice 1 here. Much the same
can be said for choice 3, different melting points. Since there is no change of state in
the scenario, this is not a factor. It is worth noting that the energy required to
change state is often quite different from the energy required to simply change
temperature for a given substance.

Specific heat tells us
how much energy must be absorbed by a substance (again, usually calculated per gram of
material) to change temperature by one degree. While this is relevant to the question,
two blocks of metal with the same specific heat could still exchange energy, providing
they were at different temperatures to begin with. This means that the correct answer to
your question is choice 2, different initial temperatures.

How might the "Convention against Torture and Other Cruel, Inhuman or Degrading Treatment or Punishment" be applied to a contemporary conflict?

When you say "applied to" I assume you are not asking
about how it could be enforced.  Instead, I assume that you are asking how the
convention applies to or is relevant to a given
conflict.

One of the provisions of the convention is a
definition of torture.  One part of the definition is that torture includes any
action

...by
which severe pain or suffering, whether physical or mental, is intentionally inflicted
on a person for such purposes as ... intimidating or coercing him or a third
person...

One way in which
this aspect of the convention is violated is the use of rape as a weapon of war.  As the
economist.com link below shows us, rape has come to be used systematically to coerce and
intimidate opponents in the various conflicts in African countries today.  This is
surely a case in which the convention applies, even though it would be extremely
difficult to try to enforce it.

What are some comparisons and differences of Whitman's "Song of Myself" and Rousseau's Confessions.

I think that one of the strongest points of comparison
between both works is how the authors have little problem in using the subjective in
their description of reality.  Rousseau is unabashed in the use of the personal
understanding of truth.  He is one that uses his own life as the basis for his
"confessions."  In doing so, he seeks to broaden his own experience to everyone. 
Whitman "sings" in the personal, as well.  He simply does not limit himself to this
realm, as he wishes to explore his own identity with the reader and with the notion of
"America."  It is probably here where I think we see some differences.  Whitman is
insistent on the transformation of his "I" to be one of social embrace and a
universality in expression.  This is critical in his work.  He wishes to make sure that
individuals understand that his own conception of self is one that can be embraced and
merged into this vision of "America."  I think that this is where Rousseau simply does
not voyage.  He is not seeking to construct an articulate and universal view of national
identity based on his own subjective experience.  He simply wishes to divulge the
personal into the realm of the external, whereas Whitman sees a larger vision evident in
his disclosure.

How is prejudice shown in the scene between Curley's wife, Candy, and Crooks in Of Mice and Men?

This is a fairly powerful scene where the poison of
disenfranchisement and alienation comes out in the interactions between the three
characters.  On one hand, the men hold prejudice towards Curley's wife.  They see her as
primarily a sexual vamp, someone who is incapable of any reflection or rumination.  They
see her as someone who abuses her power because of her "womanly ways."  At the same
time, they are convinced that she uses her sexuality as a weapon.  The men do not really
seek to understand or to show her due respect in being a person capable of complexity. 
From her end, Curley's wife looks at the men as typical "losers," poor and destitute who
are incapable of deserving her respect.  She believes that Curley is old and worthless. 
Yet, most of her prejudicial venom is saved for Crooks.  She threatens lynching,
indicating that the men would believe her over him because of his skin color, a social
condition that would relegate his voice onto the margins.  The exchange between the
three of them is based on how each of them views the other with prejudice.  In
constructing their dialogue in this manner, Steinbeck raises significant question as to
how people act, calling attention for the need to change such interaction between
people.

Describe the primary characters in Paulo Coelho's The Alchemist and the part they play in the plot development.

Paulo Coelho artfully weaves the perfect mix of characters
to present his story of the teenage Santiago, searching for his Personal Legend—his
destiny—in the novel entitled The
Alchemist.

By far, the most important character
is that of Santiago himself. Often referred to as "the boy," the story's plot involves
his pursuit of an elusive treasure that he repeatedly dreams about. A wanderer and
traveler who herds sheep in order to see the world, Santiago becomes aware of something
greater than himself—the first inkling of which he notices with his connection to his
sheep...

It
was as if some mysterious energy bound his life to that of the
sheep...

It is any wonder,
then, that the time seems ripe for the appearance of another important character, the
King of Salem, also known as Melchizedek. His very name is chronicled in biblical and
other ancient texts: in some cases, his name is even synonymous with "God." However, in
this story, he is like a prophet: he reveals the concept of one's
"Personal Legend" to Santiago. His stories and advice urge the boy along when he thinks
to give up his quest to visit the Pyramids of Egypt. Melchizedek admits that he often
appears to others who are ready to give up, in the most unlike of guises. He
says:

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Sometimes I appear in the form of a solution, or
a good idea. At other times, at a crucial moment, I  make it easier for things to
happen.

This is what happens
in Melchizedek's story of the emerald miner, when he is ready to
give up.

The crystal merchant is the man who gives the boy
a job as he tries to earn money to return home; however, Santiago's time with the
merchant teaches him that he wants to pursue this opportunity to find
his Personal Legend—by observing that the merchant has failed to do
so and feels unfulfilled. Santiago learns a great deal about himself during this
time.

Another integral character is that of the Englishman:
he represents those who experience life only through knowledge,
having no interaction with the world. He is not able to read the omens and so he can
never find the guidance of the Universe (or speak the Universal Language) to achieve his
goals. And while he offers advice to Santiago, it is meaningless because the Englishman
is on the wrong path.

Fatima is a young woman Santiago
meets at the oasis. She has lived there her entire life. She understands her place in
the world: she knows what women do as their men leave the oasis—they wait for their
return. She understand the language of the desert: she understands Santiago and has
faith in him. They fall in love in an instant, and she is
supportive of his search for his Personal Legend.

Finally,
there is the alchemist himself. He is the ultimate teacher. He has the secrets that the
Englishman seeks, but he cannot share them with the scholar because the Englishman is
not open to the world around him: omens, the Universal Language and the oneness one must
feel with the physical world—and the spirit of that world. However,
Santiago becomes the alchemist's student. All that has happened to him (being robbed,
having to spend almost a year with the crystal merchant, etc.) has conspired to bring
Santiago to a place where the alchemist can further teach him, prepare him and then
place him in a situation where he is seriously tested. Santiago not only survives, but
ultimately realizes his Personal Legend and true happiness—finding greater treasure than
he ever expected.

Why did each one of Janie's marriages fail ?Please explain about each husband and why the marriage failed for each one.

Each of Janie's marriages fail for very different reasons.
However, what is far more important than understanding why they fail is understanding
the lessons Janie learns from each and how those lessons propel her toward her ultimate
goal of true love and self-actualization.

Janie's first
marriage to Logan Killicks has nothing to do with love and, therefore, is destined to
fail because it will never meet Janie expectations. Logan wants to marry Janie so that
he will have help maintaining his farm. Janie's grandmother wants her to marry Logan for
the "protection" he can offer her from the evils of an outside world that Janie's
grandmother chooses to see. Neither Janie nor Logan is happy in this marriage. Neither
lives up to the expectations of the other. From this marriage, Janie learns that love
and marriage are not the same thing.

From the experience of
her first marriage, then, it is relatively easy for Janie to fall in love with Joe
Starks. However, Joe's romantic wooing of Janie quickly fades and, as the year's pass,
Joe sees Janie as a symbol of his social standing and his power over others. Here again,
Janie's desires are not being met as her thoughts and desires "must be crowded out to
make room" for Joe's thoughts and desires. Despite her initial infatuation with Joe,
Janie realizes near the end of her many years of marriage to Joe that she will never be
allowed to be herself and pursue her dreams as his wife. From this marriage, Janie
learns that marriages and love must be equal partnerships between both parties
involved.

Finally, then, Janie marries Tea Cake. The
"failure" of this marriage is the direct result of Tea Cake's contraction of rabies
during the hurricane. Ironically enough, though Janie finally finds true love in this
last marriage, it is ended by her own hand when she must defend herself and shoot the
rabies-controlled Tea Cake. But from this marriage, Janie learns the true love is an
achievable thing and that despite it sudden and sad ending, her life is more full
because this marriage and that her memories of Tea Cake and the love that they shared
will always be with her.

Why does Myrtle behave with such hauteur, both toward her husband and in the city apartment?F. Scott Fitzgerald's The Great Gatsby

In his portrayal of the search for the American Dream in
The Great Gatsby, F. Scott Fitzgerald portrays a vital Myrtle
Wilson seeking a way to improve her situation.  Her husband, an anaemic, spiritless man,
lives in the Valley of Ashes, a desolate place; he does not satisfy any of the desires
of Myrtle, who aspires to live on a higher social level, a level which she perceives as
superior.

So, when she enters into an affair with the
wealthy Tom Buchanan, Myrtle feels that she has elevated herself socially.  With Tom in
the New York apartment, she feels alive, important, and elevated socially.  But, just as
Gatsby's dream is illusionary, so, too, is Myrtle's.  The magazines that rest on the
coffee table are not socialite magazines, but gossip sheets, copies of the "Town
Tattle."  The dress that she wears is one purchased by Tom in which she pretends that
she has many others. When Mrs. McKee remarks that the dress is pretty, Mrs. Wison
rejects the compliment "by raising her eyebrow in
disdain":

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"It's just a crazy old thing," she said. "I just
slip it on sometimes when I don't care what I look
like."

By putting on these
airs, by acting superior to the hotel help, Myrtle Wilson feels that she has elevated
herself socially, that she somehow is entitled to be superior and have a part of the
life of those who can afford anything that they want.  Acting in this manner is an
escape for Myrtle from the dismal life that she leads in the land of gray ashes. For a
brief time, she can pretend; however, sometimes she starts to believe in her American
Daydream and misunderstands her importance as, for instance, when she disparages Daisy
only to have her nose broken.

With his juxtaposition of
characters from different areas, Fitzgerald makes observations about the people who
inhabit West Egg and East Eggand the surrounding areas as well.  The East Egg and the
Valley of Ashes are moral wastelands, and the people who enter this area become
submerged in the moral wasteland themselves. This is true of Mrytle Wilson; rather than
elevating herself, she becomes entrenched in the wasteland of
amorality.

Why is Lockwood confused at first about the social positions of Hareton Earnshaw and Catherine?Wuthering Heights by Emily Bronte

After his rather odd first reception at Wuthering Heights,
Mr. Lockwood who perceives Heathcliff as a misanthrope like himself, returns for a
second visit from Thrushcross Grange having decided to leave his residence because a
servantstirs up ashes and clutters the room.  However, once he arrives at Wuthering
Heights, he again encounters antisocial conduct from its
inhabitants.

When no one answers the door, Lockwood
encouters the "vinegar-faced Joseph" and inquires why no one has responded.  Joseph
curtly tells him that the young miss will not answer the door.  At last, a young man
with a pitchfork appears and opens the door for Lockwood where he he observes the
'missis' whom Joseph has mentioned.  Although she has "a most exquisite little face,"
there is a look of desperation upon it.  Rudely, she refuses Lockwood any tea until
Heathcliff enters and "savagely" bids her pour the man some tea.  Then, in an effort to
be amiable, Mr. Lockwood says,

readability="13">

it is strange how custom can mould our tastes
and ideas: many could not imagine the existence of happiness in a life of such complete
exile from the world as you spend, Mr. Heathcliff; yet, I'll venture to say, that,
surrounded by your family, and with your amiable lady as the presiding genius over your
home and heart—”

To these
remarks, Heathcliff responds "almost diabolically," asking who is his "amiable lady." 
Mr. Lockwood has confused Catherine Linton as Mrs. Heathcliff.  But, upon closer
examination, he realizes his error as Catherine is very young, and Heathcliff around
forty,

a
period of mental vigour at which men seldom cherish the delusion of being married for
love, by girls:  that dream is reserved for the solace of our declining
years.

Then, he thinks that
Hareton, the young man may be the girl's husband when, in reality, they are cousins. 
Without explanation, Heathcliff identifies her as his daughter-in-law, but she was
married to his sickly son Linton by Isabelle Linton, who have both died.  Hareton is not
identified by Heathcliff, but he is the son of Hindley and Frances Earnshaw, who are
both deceased.  At Wuthering Heights, Hareton is treated by Heathcliff much as he was
treated as a boy himself.

Explain these lines in The Rape of the Lock: One speaks the Glory of the British Queen And one describes a charming Indian Screen.

These lines occur in Cant III of Pope's The Rape
of the Lock. In these lines, Pope is speaking satirically with significant
irony and something of mocking ridicule. The setting Pope is describing is where "the
Heroes and the Nymphs" gather to "taste awhile the Pleasures" of the Queen's court, a
court where she does "sometimes Counsel take--and sometimes Tea." Incidentally, this
last quote underscores the irony and slightly mocking ridicule as a Queen is said to
take either counsel on important matters of state or "Tea" to ease her
appetite.

Pope goes on to say that the gathered heroes and nymphs
talked about “instructive” things while in "Talk th' instructive Hours they past," such
as, for example, "Who gave a Ball, or paid the Visit last." This line is replete with
satirical irony: there is nothing instructive about gossip about who gave a ball or
about who was the last to visit the Queen. The next two lines, the quote of your
excerpt, tell what other "instructive" things the heroes and nymphs at court talked
about.

One
speaks the Glory of the British Queen,
And one describes a charming
Indian
Screen;

These
topics prove to be as empty and idle as the other "instructive" topics. One--probably
one of the heroes--talks about the "Glory" of their Queen, which is lovely and all, but
certainly not noteworthy. The other talks abut the features of a "charming
Indian Screen," an upright piece of wooden furniture made in India
with fabric panels and folding hinges used to separate parts of a room from other parts.
Pope is satirically ridiculing the ironic level of thought and insight that is revealed
by the speakers' conversation.

At the end of Act III, what does John Proctor's quote try to say to the audience?Proctor [laughs insanely, then]: A fire, a fire is burning! I...

Proctor's closing to Act III says a couple of things to
the audience. The first and most essential is that Proctor is reaching a point where his
statement of dissent cannot be quelled.  For a period of time, Proctor was quite content
with not saying anything and allowing what was going on to continue without spoken
opposition.  Given the hypocrisy he saw in the courtroom and the fact that innocent
people were being railroaded by a system that professes truth but actually operates in
opposite, Proctor cannot be silent.  Another element that is coming forth to the
audience is the idea that Proctor is now actively embracing self- destruction.  Proctor
tried for a period to try to keep some level of protection regarding his interests. 
However, as the net of inclusion in the accusations was widened, Proctor found it more
difficult to remain distinct.  He protests in the courtroom, stands against Parris,
confesses to lechery, nearly chokes the life out of Abigail, and then the declaration
that "God damns our kind."  There is a gradual progression of self- destruction,
uncontrollable in its timbre and reflective to the audience that Proctor is enduring
something awful, where death is going to be present itself.  Finally, I think that
Proctor's statement about religion cannot avoided.  Proctor has no problem indicting the
institution of religion that is being practiced in Salem.  In the implication that
hypocrisy will end up being punished, Proctor makes a statement that the nature of
organized religion and the legal system in Salem is one where there is hypocrisy,
something that Proctor is convinced will be brought up and will be proven in some form. 
Regardless of the damage it does to Proctor, it is going to be demonstrated and this is
something that the audience is told through his closing.

Can you give me some exampleso of diachronic and synchronic approaches of english teaching? Because I've been looking up them in many places, but I...

Diachronic (according to Merriam Webster)
means:

of,
relating to, or dealing with phenomena (as of language or culture) as they occur or
change over a period of
time.

Synchronic (also
according to Merriam Webster) means:

readability="5">

concerned with events existing in a limited time
period and ignoring historical
antecedents.

While the two
may seem, on the surface, very similar, there is one distinct difference: historical
consideration.

What this means is, synchronic looks at a
specific event in regards to the event alone. Nothing that has led up to the event, or
following the event, is taken into consideration. Diachronic, on the other hand, looks
at the entire picture: everything that has relation to why something changes over time.

For example, language can bee looked at either
diachronically or synchronically. If looked at diachronically, one would consider the
races of people, the nationalities, the education level, and the use of slang when
determining the phenomena regarding how language changed in the South over time.

If one were to look at language synchronically, they would
only look at one period of time, which they were interested in, and why the language
exists as it does based solely off of the time period
alone.

Basically, in simple terms, diachronic uses all
resources to examine something, whereas synchronic looks at a very limited aspect of the
information based upon a singular ideal.

As for teaching
examples, if teaching diachronically, the students would learn about the period, the
characteristics of the period, the history of the period, the influences of the period,
and so on. If teaching synchronically, the work would simply be examined as a text
alone; no consideration would be given to the period, the history, or any other events
which surrounded the author and time period which the writing took place.

Does Benedick and Beatrice have true love, or have they made themselves believe that they love each other in Much Ado About Nothing?

In Much Ado About Nothing, I believe
Benedick and Beatrice have made themselves believe that they have
hated each other, when really it was love all along.  Each
has taken on this spiteful persona regarding love as a form of denying their true
feelings for each other.  Through exaggerated language, Benedick plays the role of a
macho bachelor and, in response, Beatrice plays the role of the unquiet maid.  Both,
really, are impostors until the end, when they admit their true love through
words and actions.

Through
some trickery from their friends, Benedick and Beatrice reveal their love two ways:
privately and publicly.  Benedick drops his macho persona to become a defender of women,
as he openly challenges Claudio to a duel, at Beatrice's prompting.  Beatrice, too,
becomes a loving matriarch to Hero as she rests her reputation on Hero being slandered.
 Together, the two show their love for others, thereby weakening their defenses and
revealing their love for each other.  Love, after all, is
sacrifice.

Later, Benedick and Beatrice's love is expressed
inwardly through writing.
Observe:

CLAUDIO

And
I'll be sworn upon't that he loves her;
For here's a paper
written in his hand,
A halting sonnet of his own pure
brain,
Fashion'd to
Beatrice.

HERO

And
here's another
Writ in my cousin's hand, stolen from her
pocket,
Containing her affection unto
Benedick.

BENEDICK

A
miracle! here's our own hands against our hearts.
Come, I
will have thee; but, by this light, I take
thee for
pity.

BEATRICE

I
would not deny you; but, by this good day, I yield
upon
great persuasion; and partly to save your life,
for I was
told you were in a
consumption.

BENEDICK

Peace!
I will stop your mouth.

Kissing
her

Though their
sarcasm continues, they kiss to confirm inwardly and outwardly that they currently love
and have loved each other for some time.

Discuss the main themes in Chapter 10 of Narrative of the Life of Frederick Douglass when Douglass wages battle with Mr. Covey.

Chapter 10 is a difficult chapter.  It is difficult to
fully absorb in terms of the grasping the brutality of slavery.  As an experience,
Douglass shows it to be difficult.  Yet, with the introduction of Covey, Douglass
reveals how it is an exercise of power.   In demystifying it and reducing it to this
light, Douglass is able to present it as a dynamic that can and should be
rectified.

Covey is a sadistic human being.  The manner in
which he takes joy in trapping and beating the slaves that have the unfortunate
experience of encountering him helps to solidify this impression.  Douglass details how
his nickname of "the Negro breaker" suits him.  In incident after incident, Covey is
shown to enjoy the power that accompanies being a slave master. Whipping and beating
slaves for the smallest transgression, using slaves to substantiate his own paltry
economic state, as well as forcing slaves to breed in order to produce twins to double
his profit are but a few of the many examples of his cruelty, a theme that is vital to
Douglass' work.

Douglass endures what he can and takes the
abuse the Covey hurls and physically inflicts upon him.  Yet, there comes a point where
Douglass can no longer stand for the abuse and he fights with Covey for an excrutiating
two hours.  Filling out the idea that "a slave was made a man," Douglass removes the
power that Covey has by beating him at his own game.  The physical condition that Covey
used for so long to subjugate slaves and ensure his own power is one that Douglass is
able to wrestle away from Covey and demonstrate his own equality to the slaveowner.  In
this exchange, slavery is shown to be a construct of power.  Like all disproportionate
uses of power, once an individual is able to crack through this code of entitlement, the
aura is gone and a new threshold has been reached.  It is here where Covey no longer
abuses Douglass and maintains his distance.  This exchange between both men helps to
demonstrate another one of Douglass' main themes that slavery is a construction of
power.  Douglass understands enough of American History to understand that it is part of
the nation's historical DNA to recognize that disproportionate uses of power have to be
remedied at some point.  With regards to slavery and his own autobiography, Douglass
believes that point to be soon, something brought out through his life and
work.

Many assume that farming developed in fertile lands.How does Guns, Germs, and Steel challenge this misconception?

In Chapter 4, Diamond gives a number of factors that
influenced the move from hunting and gathering to food production.  By giving us this
list, Diamond challenges the idea that farming would only develop in fertile
lands.

One of the major reasons to switch to farming was
the decrease in availability of wild foods.  This would make it harder to make a living
gathering food (as opposed to growing it).  It stands to reason that wild foods would
remain widely available in fertile areas for a much longer time than in relatively
infertile areas.  Because the food would run out more quickly in relatively infertile
areas, farming would become attractive in those areas before it became attractive to
people living in fertile areas.

What are 3 types of social injustice in the novel Great Expectations by Charles Dickens?For each type of social injustice give an example from the...

Throughout his immensely popular novel Great
Expectations, Charles Dickens satirizes the hypocrisy of the Victorian Age
that had strict standards of social level, income, and
appearance. 

Social
level

The hypocrisy of the veneration of the
aristocracy by others is parodied in Uncle Pumblechook and Mrs. Joe's awe of the
eccentric Miss Havisham whose house decays along with her simply because she is of the
upper class. For, when they learn that Pip has been summoned to play with Estelle, who
later mocks Pip's coarse hands and boots, Mrs. Joe too vigorously scrubs Pip and Uncle
Pumblechook drills Pip with lessons in mathematics and attempts to slip through the gate
at Satis House himself.

Further parody is apparent in the
silly efforts of Sarah Pocket to find her connection to the aristocracy as she sits
assiduously reading a book of titles while her unattended children tumble over her feet
and into nutcrackers and other harmful items to the discomfiture of Mr. Matthew
Pocket.

The expedient Mr. Jaggers, after having saved Molly
from hanging, thinks nothing of exploiting her as a servant in his home.  A former jury
member, whom he has bribed in a former trial, now works as his cook as Jaggers thinks
nothing of manipulating these lower class people to suit his
needs.

Income

The
justice of money is most clearly demonstrated with the unscrupulous Mr. Jaggers, who
immediately asks any potential client if he/she has the wherewithal to pay him. When he
and Pip walk to little Britain, Jaggers immediately dismisses anyone without money. His
complete lack of concern about ethics in defending someone indicates that for him the
criminal justice system is merely something to be manipulated as Pip describes
him,

Which
side he was on, I couldn't make out, for he seemed to be grinding the whole place in a
mill.

Of course, the
importance of money as something that elevates people is apparent in the "basest of
swindlers," Uncle Pumblechook, who congratulates Pip on his "great expectations" and
wishes him "the joy of money."  Once Pip goes to London with an income from his
benefactor, Pumblechook addresses him as "sir" and boasts of his connections to Pip,
even crediting himself for Pip's fortune in Chapter 28, whereas he belittled or ignored
Pip as a child.

Even Pip himself treats Joe and Biddy
differently once he has money, ashamed of Joe when he comes to London and neglecting to
stay at the forge when he returns to the marshes.  He speaks in a haughty tone to Biddy
on one occasion, accusing her of being jealous of him.  Indeed, Pip's good fortune has
made him a snob.

Magwitch's life of crime evolves from his
poverty; because of the strict stratum of Victorian society, Magwitch, then, is
imprisoned in his poverty and can do no more than steal in order to
survive.

Appearances

The
most salient example of the importance of appearances in the realm of social injustice
comes in the story of Magwitch's life. Because he has always been so poor, he sold all
he had to be able to afford the services of Mr. Jaggers as his defender against the
charges of circulating stolen notes.  When he appeared in the dock, then, Magwitch can
only wear his old clothes. On the day of the trial, Compeyson's gentlemanly appearance
gave him a shorter sentence and the guilt was placed upon
Magwitch.

That society judges on appearances is also
evinced in the character of Wemmick who must hide his delightful personality with his
"post office mouth" and business-like demeanor. 

Explain how Robert Browning's "Childe Roland Ran to the Dark Tower" can be seen as a poem of optimism.

At the start, it seems at first difficult to find anything
optimistic in the reading of Robert Browning's poem, "Childe Roland to the Dark Tower
Came." (Some believe this is the story of Rolande, the knight, but others argue that it
is not—but simply anyone's journey in life.)

The mood of
the poem is set with the description of the man (or a demon? Death?) who gives the
narrator directions regarding which path he should
choose.

My
first thought was, he lied in every word,

That hoary
cripple, with malicious eye

Askance to watch the working of
his lie

On
mine...

The very appearance
of the old man throws the narrator off, and makes him suspect that the old man is moved
by malice to send the narrator on this particular path, dangerous though it may be. Even
so he continues, not sure what lies ahead—though it might even be
death.

As the narrator continues his journey (which may
actually take years), the scenery he passes is particularly depressing. There is no
color in the countryside; everything is grey and seemingly dead. The narrator comes to a
place where there is water, but here, too, death seems to
linger.

For a short moment, the narrator wants to remember
the past and the way things were: even to find beauty in the world around
him.

I shut
my eyes and turned them on my heart.

As a man calls for
wine before he fights,

I asked one draught of earlier,
happier sights...

However, he
is met with images of those he has known. Cuthbert, who one night did something
disgraceful, and their friendship ended. Then the narrator turns to Giles, "a brave and
honorable man," who sometime later is hanged as a traitor. In retrospect, the narrator
chooses to remain with the unpleasant present, rather than the heart-breaking
past.

And so he moves on to the Dark Tower: seen either as
a knight's challenge or that of "every man." This is where the poem
ends.

It is easy to see that this poem
might be allegorical for the passage of one's life, especially as
one may approach the latter years, when younger days seems so much more pleasant and
hopeful, but reality reveals that they had their pain as well. Or it could refer to the
hope that one loses when surrounded so long by things which seem to drive us to our
knees. However, Browning himself said this was not an allegory.
Though we can admit that what an author intends with his art and the life the art takes
on when separated from the artist may be two very different
things.

The optimism is found in the narrator's arrival at
the castle. We do not know what will happen, while we do know the
journey has been hard. However, we realize that through all of this, the narrator has
been steadfast, moving forward without losing sight of his goal. Having arrived, we are
also able to find optimism that anything is possible. Contrary to
the mood promoted throughout the poem, the speaker has achieved something amazing in
simply reaching his goal, and we can hope that he whatever he will face in the tower,
that his perseverance will reward him, as is often the case in tales of heroes and
knights—and dedicated people.

Additional
Source:

http://books.google.com/books?

id=G2NLAAAAMAAJ&pg=PA127&lpg=PA127&dq=

cuthbert,+disgrace,+browning&source=bl&ots=2bLLyrxx-

o&sig=oWDZ4w526gqMqPlMe-

JMJiI_wHc&hl=en&ei=OEVITtCjLojZgAf3j_zUBg&sa=

X&oi=book_result&ct=result&resnum=1&sqi=2&ved=

0CBkQ6AEwAA#v=onepage&q&f=false

how can one say whether a+ib is greater or c+id is greater ?"i" has its usual meaning, i.e. "iota"

Two complex numbers cannot be compared. We can compare its
absolute values, because they are real numbers, but there is not an order relation
between two complex number because the complex number field is not
ordered.

All we can say about two complex numbers is if
they are equal or not. We can do this by comparing the real parts and imaginary
parts.

For instance, the given complex numbers z1 = a+bi
and z2=c+di are equal if a=c and b=d. If not, z1`!=` z2, but we cannot say if
z1>z2 or z1<z2.

Since a complex number can be
viewed as a position vector, you can also say how far from origin a point is. But for
this reason, we'll have to calculate the distance from origin to that point and this
represents the absolute value of the complex number.

Give the meaning of "but one's imagination could not have pictured the wearer embarking on---------- ninepence on a carnation buttonhole"DUSK by...

These lines are descriptive of Gortsby's perception of the
elderly gentleman who sits alongside him on the park bench in the "gloaming hour." 
Taking a rather cynical point of view regarding the citizenry of the park at dusk,
Gortsby perceives the elderly man as having only the last vestiges of self-respect as he
no longer can command the esteem of others. While Gortsby sees the old gentleman's
clothers are not really shabby, he does not feel that they are at all
new:

...but
one's imagination could not have pictured the wearer embarking on the purchase of a
half-crown box [two shillings, sixpence/35-40 cents] of chocolates or laying out
ninepence [20 cents] on a carnation
buttonhole

Gortsby does not
imagine that the elderly gentleman is affluent enough (20 cents bought quite a bit in
the early 1900s) that he can waste money on chocolates or a flower for his coat's button
hole.  For, if he were, the gentleman should not be sitting in this
park. 

The reader, however, soon learns that Gortsby is not
quite the reader of people that he imagines himself.  In fact, the elderly gentleman
does return in search of the soap which he has purchased, placing Gortsby in the
position of having been taken advantage of by the young man who has come along and taken
the elderly gentleman's place and given Gortsby a very tall
tale.

How has Bilbo Baggins stayed the same by the end of The Hobbit?

This is a really interesting question, because most
discussions of the character of Bilbo refer to the extent to which he is a dynamic
character and discuss the many ways that he has changed throughout the novel. Certainly,
this differences between Bilbo at the beginning and Bilbo at the end are more apparent.
However, if I were you, I would respond to this question by talking about the
information we are given in Chapter One about the heritage of Bilbo and how he comes
from a long line of hobbits who do strange things like go and have adventures. Note what
we are told about his family background in this initial
chapter:

It
was often said (in other families) that long ago one of the Took ancestors must have
taken a fairy wife. That was, of course, absurd, but certainly there was still something
not entirely hobbitlike about them, and once in a while members of the Took-clan would
go and have adventures. They discreetly disappeared, and teh family hushed it up; but
the fact remained that the Tooks were not as respectable as the Bagginses, though they
were undoubtedly
richer.

Arguably, through the
course of the novel, Bilbo Baggins uncovers his true Took-like nature, and discovers
that he, like his ancestors, loves being unrespectable and having adventures. The way
that at the end of the novel Bilbo quickly tires with the mundane and monotonous
existence of his former life shows that he remains the same in this aspect. His Took
nature dominates him and will not be ignored.

What are the three groups of children in Lord of the Flies, what problem can you anticipate, and what is Ralph's assessment of the...

In terms of age, there are two specific groups of boys in
Lord of the Flies: the bigguns (the older boys) and the littluns
(the younger boys). Among the older boys, there is the choir, led by Jack; all of the
others not part of the choir initially become allied with Ralph. Jack's choirboys become
the hunters of the group, and they quickly become absorbed with killing the wild pigs
that roam the island. It is obvious from the start that Jack has a hunger for power, and
he is unhappy that he is not voted the leader instead of Ralph. This power struggle
between the two oldest boys appears to be a problem from the first, and it can be
anticipated to be a continuing form of conflict. Ralph recognizes that the boys are
without the leadership of grownups, and that in order to be rescued, some form of smoky
signal fire must be kept going for rescuers to see. Ralph claims that his father, a
naval officer, has told him that there are no uncharted islands in these waters, and
that eventually the boys will be rescued.

Who are the major and minor characters of John Green's Paper Towns?Who are the people in the story?

John Green's novel, Paper Town, is an
adolescent novel set in Orlando, Florida. The main characters
are:

QUENTIN JACOBSEN. The
protagonist of the novel, Quentin is a 17 year old boy who attends an Orlando high
school. He is in love with his next door neighbor,
Margo. 

MARGO SPIEGELMAN.  A
longtime friend of Quentin, she shows up one night and convinces Quentin to go on a
night of mischief around Orlando, which includes breaking into Sea World. Then she
disappears. 

MARCUS "RADAR"
LINCOLN.  One of Quentin's best
friends.

BEN STARLING.  A good
friend of Quentin, he is nicknamed "Bloody
Ben." 

LACEY PEMBERTON.  She
is Margo's best girl friend; Ben is her
boyfriend. 

QUENTIN'S
PARENTS.  They are both therapists.

In The Road, how would you describe the man and the boy's character?

There is an obvious difference between the man and the boy
in this excellent novel as they embark together on their journey. We can usefully
utilise opposites to describe them and shed light on their character. For example, we
can relate the state of innocence to the boy. He, throughout the novel, wants to help
the people that they come across and lacks the kind of cynicism and instinct for danger
that his father possesses. The father we could relate to the state of experience. He has
witnessed the kind of behaviour that has accompanied the apocalypse that has reduced the
world to its present state and is incredibly suspicious of everyone and thing in his
attempt to ensure the survival of his son. A classic example of these two differing
states of being comes when they encounter the old man, travelling by himself. The
father's automatic thought is that he is a decoy, whereas his son just wants to help
him. Note the conversation that occurs during their
dinnertime:

I
know what the question is, the man said. The answer is
no.

What's the question?

Can
we keep him. We cant.

I
know.

You
know.

The boy automatically
believes in people and in their innate goodness, whereas the father automatically
distrusts such instincts. Interestingly, at various points in the novel, the son almost
seems to perform the function of reminding his father of his humanity. This, I would
argue, is the crucial difference between these two characters.

Compare and contrast UNCED and WSSD.What do this organizations do to help the environment?

The United Nations Conference on Environment and
Development (UNCED), also known as the Earth Summit, was held in Rio de Janeiro, Brazil
in June, 1992 with 172 nations participating in discussions. Primary concerns were the
effects on the environment of continued economic development by industrialized nations.
The primary outcome from the conference was known as Agenda 21, a unified statement
outlining plans and proposals to structure use of resources, treatment of wastes, and
alternatives to develop more ecologically sound methods of sustaining economies without
destroying the environment.

The World Summit on Sustainable
Development (WSSD) took place in Johannesburg, South Africa in 2002, ten years after the
Earth Summit. In this gathering, the focus was upon the political, economic and
geographic realities that were complicating or preventing the adoption and
implementation of the plans created at the Earth Summit. It became an opportunity to
reaffirm the concerns and needs expressed ten years earlier, but also highlighted the
different priorities of varied nations and how those concerns affected
actions.

When
the World Summit ended, governments congratulated each other for the successful outcome
of the summit. Civil Society described the summit as a missed opportunity to come up
with a meaningful plan of concrete targets, timeframes and funding for implementation of
Agenda 21.

Both conferences
attempted to promote ecologically responsible methods of supporting economic development
while minimizing destruction of the environment. The Earth Summit created more
resolutions for action; the World Summit tried to address reasons why those actions were
not being carried out.

How does the context of the novel impact the theme of social inequality in To Kill A Mockingbird?

Given that the novel To Kill a
Mockingbird was written in the middle of the Civil Rights Movement (1960), it
showed the reality of where the South stood in regards to Black rights. The setting, the
Deep South, was a state that, at that time, practiced segregation. Given this fact, the
novel itself properly depicted reactions and relationships between whites and blacks of
the region.

Contextually, this is very important given that
Atticus must be a pioneer for Tom, his children, and the prejudice seen in the novel.
Atticus must try to teach his children, Scout and Jem, about the realities of prejudice
and the importance of human rights.

The theme of hatred is
defined through the hatred described by Bob Ewell. His prejudice lies so deeply within
himself that he concocts a lie about Tom believing the South will find him guilty based
solely on the color of his skin.