Where the respiratory center is located?

The respiratory center is an area located in the pons and
the medulla oblongata, the lowest portion of the brain
stem.

There are actually four separate areas that together
comprise the respiratory center. In the medulla there is the ventral respiratory group,
which controls the force of exhalation. The dorsal group controls timing of inspiration.
In the pons the apneustic center controls the length if inhalations and helps coordinate
the turnover from inhaling to exhaling. It is assisted in this by the pneumotaxic
center.

Interestingly, the medulla oblongata does not sense
oxygen levels in the blood as you might expect, but instead it contains chemoreceptors
which monitor the levels of carbon dioxide  and the blood pH. When carbon dioxide
dissolves in the blood it becomes carbonic acid, which lowers the blood
pH.

Prove that there are no positive integers x and y such that: 1/x^2 + 1/xy + 1/y^2 = 1

We know, from enunciation, that the integer numbers x, y
are positive.

To perform the addition of the fractions from
the left side, we'll calculate the least common
denominator:

LCD =
x^2*y^2

Now, we'll multiply each fraction by the needed
value, in order to get x^2*y^2 at denominator.

y^2/x^2*y^2
+ x*y/x^2*y^2 + x^2/x^2*y^2 = 1

(y^2 + xy + x^2)/x^2*y^2 =
1

We'll cross multiply and we'll
get:

y^2 + xy + x^2 =
x^2*y^2

We'll multiply (x-y) both
sides:

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

We'll get to the left a difference of
cubes:

x^3 - y^3 = x^3*y^2 -
x^2*y^3

Assuming that x=y=1 =>
1-1=1-1=0

Assuming that x=y=2 => 8-8 = 8*4 - 4*8 =
0

Assuming that x`!=` y, such as x = 2 and y =
3.

x^3 - y^3 = 8-27 =
-19

x^3*y^2 - x^2*y^3 = 8*9 - 4*27 =
-36

For any x y>0, x,y Z, the given
expression is not an identity, while for integer positive values of x and y, the given
expression does represent an identity.

In Lies My Teacher Told Me, what is James Loewen's opinion of the book The American Pageant?Im having trouble finding an opinion from reading his...

Overall, Loewen's opinion on Bailey, et. al.'s book is the
same as his opinion of most American history textbooks.  That is, he thinks that it is
full of facts, some of them wrong, instead of giving us ideas and analysis.  He thinks
that it tends to make American history look good instead of looking at things
critically.  It is, in other words, like all other history books he looks
at.

For a more detailed look at his opinion, you would need
to look in the index and then at each mention of The American
Pageant. You would find that he sees some good things and some bad things in
this book as compared to other books.  For example, on pages 45 and 46, he says that
this book is the only history book he looked at that still claims that Columbus's
sailors thought the world was flat.  On pages 213 and 214, he says the book's discussion
of American intervention in Haiti is more "naive" than that of other texts.  On the
other hand, pages 215 and 216 tell us that The American Pageant has
the most accurate account of American intervention in Iran in the
1950s.

So, Loewen thinks that this book is just as bad as
the other texts, but he also discusses more specific positives and negatives of the book
at various points in his work.

Does Ellis effectively convince readers that the founding of America was accomplished by a handful of extraordinary individuals?In recent years...

I certainly think that Ellis hopes he makes this claim. 
His basic argument is that the Founding Fathers were uniquely qualified to guide the
nation through the turbulence of the Revolution and the struggles of the early years
because of the fundamental trust as people they had for one another.  Even with severe
ideological differences, the Framers never lost sight of the fact that the basic respect
they had for one another would enable them to work through any problems.  Consider the
interest when Madison and Hamilton held different viewpoints towards solving the
nation's financial crisis. Jefferson invited them for dinner in one of the first "beer
summits," and asked them to do their best to work out their differences.  They were able
to do so.  This small story reflects what Ellis believes made the founding fathers so
much like brothers:  There was a mutual trust and respect that did not allow the
discourse to delve into self- destruction.  It is here where Ellis feels they were
amazing.

This week, after the U.S. Senate passed the bill
to avert the debt crisis that dominated the last two months of American politics,
President Obama said something that is haunting, when considering the question and
Ellis' work:

readability="6">

Voters may have chosen divided government, but
they sure didn't vote for dysfunctional
government.

Ellis' argument
is that the framers were exceptional because they understood that divided government
does not mean dysfunctional government.  Intense problems of their day were resolved not
through political wrangling, but through a fundamental respect and trust that allowed
their differences to be seen like familial differences of thought and not intense
partisanship that threatens the basic sensibilities of a great democracy.  In this,
Ellis find them extraordinary.

What is odd about the girl child?Pearl S. Buck's The Good Earth

In the Chinese culture of the setting of Pearl S. Buck's
The Good Earth, there is more value placed upon boy children as
they can help with the land, carry on the family name, and be valuable to the family. 
But, the birth of a girl child was considered bad fortune since they were only raised to
belong to another family. 

When Wang Lung enters the room
where he sleeps with his wife, he observes that her "time" has come.  O-lan speaks
feebly to him,

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"It is over once more.  It is only a slave this
time--not worth
mentioning."

The announcement
that they have a girl bodes badly for Wang Lung as he superstitiously feels that a girl
has caused the trouble between him and his uncle. 

Then, in
Chapter 9, the reader learns that the little girl does not develop normally. For, she
does not sit up as she should, lying uncompaining hour after hour wrapped in an old
quilt.  Also, she in now quiet, sucking feebly at whatever is in her mouth, and never
using her voice:

readability="8">

Her little hollowed face peered out at them all,
little sunken blue lips like a toothless old woman's lips, and hollow black eyes
peeering.

Her father Wang
Lung calls her his "poor little fool" and he feels such pity for her that he thrusts her
inside his coat to warm her little cold body.  When he does this, a faint smile crosses
the little girl's face and it "broke his heart."  And as the years pass, Wang Lung has a
tender affection for his mentally handicapped daughter.

How does One Flew Over the Cuckoo's Nest position the reader to reconsider what is sane?

The vast majority of Kesey's novel takes place in a mental
institution, of course, and for some characters, that seems an appropriate place for
them, as many have serious mental issues.  But mental health care in general and in
Nurse Ratched's ward in particular, electroshock therapy, heavy sedation, lobotomies and
control through fear and humiliation are the order of the day, and it doesn't take long
before the reader sides with McMurphy and company.  Such was typical of institutions in
the 1950s when the story takes place.

So ask yourself the
question, how does society define what is sane and insane?  And was it sane to treat the
patients to such harsh and demeaning conditions?  What if McMurphy is sane (OK, and a
little eccentric, but sane)?

At the end of the story we
find that Chief has been sane all along, perhaps the most sane observer in the entire
place, and so Kesey perfectly positions us to question our thinking about
sanity.

How is narrative perspective shown in construction (introduction, main part, ending) so readers recognize narrative perspective of 1st or 3rd person?

This is a complex and interesting question because,
indeed, narrative perspective can change throughout a narrative. A contemporary popular
example of this is John le Carre's novels that change omniscient third person
perspective with virtually each chapter. What elements indicate the narrative
perspective in the introduction, the main part of the novel, and the
ending?

In the introduction the basic narrative perspective is set up.
The most common tools are tense and pronouns. For third person (omniscient and limited,
obtrusive and unobtrusive), the verb tenses are likely to be in some form of past tense,
either simple, past perfect or past progressive. An example of this is the introduction
of the story (Chapter II) to Tom Jones by Henry
Fielding:

In
that part ... called Somersetshire, there lately lived, and perhaps lives still, a
gentleman whose name was Allworthy, and who might well be called the favourite of both
nature and fortune;

The past
constructions here are called, lately lived, might be called. This
sets the narrative in the past and away from present time. A past tense narrative may
also be told from first person, so what marks them out as different narrative
perspectives? The use of pronouns will be different in the two. Later in the same
chapter of Tom Jones, indicative third person pronouns are
employed; you'll note his, he,
her:

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had in his youth married a ... woman, of whom he
had been extremely fond: by her he had three children,
....

Compare this to the
first person narrative perspective of the introduction to David
Copperfield by Charles Dickens and note the presence of the first pronoun
I and the possessive
my:

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Whether I shall turn out to be the hero of my
own life, or whether that station will be held by anybody else, these pages must show.
To begin my life with the beginning of my life, I record that I was
born...

If we jump to the
ending and examine a story set in a frame, like Conrad’s Heart of
Darkness, we'll see elements indicative of perspective in the ending. Note
the quotation marks used for the speaker who is telling the story within the story that
is being narrated by the frist person narrator ("I raised my
head"):

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"Hadn't he said he wanted only justice? But I
couldn't. ... It would have been too dark ...."

Marlow ceased, and sat
apart, .... Nobody moved for a time. "We have lost the first of the ebb," said the
Director, suddenly. I raised my
head.

So an element that
indicates perspective in the ending in the case of a frame story is quotation marks of
direct dialogue (in this example the dialogue happens to be the entire story and
contains its own internal dialogue). You'll also note tense and pronouns are continuing
elements.

In the main part of a narrative, there is more opportunity
for complexity but the elements of tense, pronouns and quotation marks of direct
dialogue remain constant indicative elements. At times, a narrative may change from
third to first person if the narrator relates a portion of the story through the words
of a first person participant. In that case, the embedded first person narrative would
be set off by an extended quotation as in Heart of Darkness or by a
narratorial indicator something like: “Then she said to me …” or “As he said in his own
words ….” A first person narrator can do the same by saying something like: “I'll let
her tell it in her own words.” These are some elements that indicate narrative
perspective throughout a narrative.

What are some of Katniss' personality traits in The Hunger Games?

Katniss has strong personality
traits.  

1. Responsible:She
takes care of her family and friends.This is shown when she finds food for her village,
she protects her family since her father died, and when she takes Prim's place in the
Hunger Games. 

2. Loyal: to
the people around her that she can trust: Gale, Peeta, her mother,Haymitch (even though
he is drunk a lot), Cinna, and
others.   

3. Leader and very
intelligent: taking control of situations that need to be resolved
and figuring out many complex situations in the games such as that the games rotate and
how to beat each challenge she is
given.

4.Athletic: and can
run, jump, and shoot a bow and arrow with the best of the
contestants. 

 5.Moral: She
knows right from wrong and recognizes that what she is doing is wrong,but it is being
forced upon her and the society by the government.

 6.
Survivor:  Many times she overcomes wounds and exhaustion
to continue fighting.

7.
Compassionate: mourning Rue's death and yet remembering her
song ---that song will continue through the third
book.

8. Independent: no one
can tell her what to think or how to behave. From the very beginning of the book, she is
breaking the law by going out and hunting food.

9.
Unpredictable: At no time does anyone really know what she
is going to do.

10. Angry: She
is angry about the games; about the fact that young people have to die; about the fact
that the goverment puts them in this situation; and about the fact that people allow
this to happen.

Choose three of these characteristics, find
three examples of each in the book (which should be easy) and you should have a very
good characterization paper, if that is where you are headed.

what are the surprise ending of the story 'Dusk' by Saki?

Gortsby believes the young man is lying and is trying to
con him out of money.  He believes himself a good judge of people, and, after listening
to the young man's story, confronts him with the fact that he didn't have the bar of
soap he says he bought.  The young man, pretending to be surprised that he didn't have
the soap, runs off --- supposedly in search of it.  Then Gortsby finds the soap
underneath the bench.  He feels bad for having misjudged the young man and goes in
search of him.  He finds him, apologizes, and gives him some money.  However, he expects
the money to be returned and gives the young man his card.  When he returns to his
bench, the old man who had been sitting there before the young man came was searching
all over the ground.  Gortsby asks if he has lost something, and the old man replies
that he lost a bar of soap.  The surprise ending is that the young man really was
conning him, and the very bar of soap that he thought proved the young man was a con man
was the reason he ended up giving the young man some money.  Gortsby still got
conned.

How does Great Expectations explore themes of justice and crime and punishment when focusing on Magwitch's character?

Magwitch meets Pip at the beginning of the novel in the
graveyard when Magwitch is in dire straits and sorely in need of help. Pip generously
gives him the help he needs--partly out of terror, partly out of compassion. The parts
combined so that Magwitch's life is changed by his encounter with Pip. Then he chooses a
more noble path in life than that of crime after which he becomes Pip's secret
benefactor as a way to repay his gratitude.

The themes of
crime and punishment and justice naturally arise around Magwitch since he is an escaped
criminal when Pip first encounters him in the opening of the novel and is called to
account for his crimes in the end of the novel.

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"You have a returned Transport there," said the
man who held the lines. "That's the man, wrapped in the cloak. His name is Abel
Magwitch, otherwise Provis. I apprehend that man, and call upon him to surrender, and
you to assist."

Pip sees how
crime and punishment works in what Dickens portrays as a corrupt justice system. Pip
also sees the injustice one person can express toward another when he comes to value
Magwitch differently than he did before.

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"I will never stir from your side," said I, "when
I am suffered to be near you. Please God, I will be as true to you as you have been to
me!"

Estella really speaks
for Magwitch's transformation, Pip's revelation, and her own transformation when she
says, "I am greatly changed. I wonder you know me."

What was the the first town ever in America?

Although St. Augustine, Florida, San Juan, Puerto Rico and
Jamestown, Virginia are usually thought of as the oldest established towns in America,
there were many others that were settled before them. According to one source, the town
of Ticul (in Mexico's Yucatan province) was first established in 700 B.C. It was
inhabited by the Mayan Indians. The first established settlement in what is now the
United States was Cahokia (present day Illinois). Cahokia was settled around 650 A.D.
(or C.E.) by an indigenous population during the Emergent Mississippian cultural period.
The settlements of Acoma Pueblo and Taos Pueblo (present day New Mexico) are considered
the two oldest continuously occupied communities in the U. S., first established in
1000. Acoma Pueblo is now known as Sky City.

What are some of the similes in That was Then, This is Now?

You might find it helpful to think of one of the main
threads of figurative language that runs through the entire novel, which concerns the
description we are given of Mark and the way that he is compared in various places to a
lion. Of course, similes are part of this description, but also metaphors are used to
point out the areas of comparison between Mark and the dangerous feline that he is
compared with. In the first chapter, for example, Bryon describes himself as being like
a Saint Bernard Puppy, which is in marked contrast to
Mark:

Mark was
small and compact, with strange golden eyes and hair to match and a grin like a friendly
lion.

Note the way that it is
not only the grin that makes us think of a lion when we look at Mark, but also his
"strange golden eyes" and the way that his hair corresponds with his eyes. The way that
his grin is described as being "like a friendly lion" seems to capture the danger and
strength that is in Mark, as well as his compelling
charisma.

This is just one example of this imagery, but you
might want to trace it through the novel and find other areas where Mark is compared to
a lion through the use of figurative language and see what this reveals about his
character. Good luck!

Discuss the conventional images that Sonnet 130 ridicules, and in doing so, identify what sort of poems Shakespeare is mocking?

In Shakespeare's Sonnet 130, he is listing the attributes
of the woman he loves, but not in a necessarily positive light. He speaks of her looks
(her eyes, her lips, etc.) and points out what they are
not.

My
mistress' eyes are nothing like the sun;

Coral is far more
red than her lips' red...

The
speaker goes on to note that her hair is like wire, her cheeks are not lovely and her
breath "reeks." Though he loves to hear her talk, music is much more appealing than the
sound of her voice:

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If hairs be wires, black wires grow on her
head.

...no such roses see I in her
cheeks;

And in some perfumes is there more
delight

Than in the breath that from my mistress
reeks.

I love to hear her speak, yet well I
know

That music hath a far more pleasing
sound...

In listening to
these first two and a half quatrains, we might think that the speaker's "mistress" will
not be pleased with his poetic efforts: his relationship may be
over before she reaches the end of her sonnet. However, the last two lines of the third
quatrain introduce an observation that puts all of what he has written before, into its
proper context: how can he or anyone else compare his love to a "goddess," when no one
has ever seen one? In essence, he might well be saying that she is
a goddess as far as anyone else truly knows.

This brings us
to the second part of your question—the kind of poem Shakespeare is ridiculing: he is
making fun of love poems that make impossible comparisons with creatures they know
nothing about. If goddesses do exist, a woman cannot logically be
compared to one because no man has ever seen one in order to make a fair and valid
comparison in the first
place.

Shakespeare ends his sonnet by praising
his lover on his own terms, not based on false
allusions:

readability="8">

This is what Shakespeare means by “false
compare”—unjust comparisons that not only ignore the possibility that the woman may be
beautiful in her own right, but also miss the value of the beloved in the eyes of her
lover...

Shakespeare finds
that everything about his mistress is lovely to him and "rare." Rather than using empty
praise to describe this woman, he uses logic instead which is objective rather than
subjective. His descriptions are in no way meant to discredit her, but simply to put the
process of praise in perspective. Comparing a woman to an unknown
quantity is as effective and "honest" as comparing her hair to wire or saying
her breath "reeks." An unsubstantiated comparison is meaningless to the
speaker.

In Dubliners, what is the underlying idea behind 'A Mother'?i.e. what does Joyce want to tell the reader with this story?

"The Mother" is a short story in James Joyce's
Dubliners that comes in the section he called "Public Life."  Here
we see characters interacting somewhat on a broader scale than in many of the domestic
scenes of the previous stories.  In this story, Mrs. Kearney publicly challenges Mr.
Holohan for the money that she believes is due her daughter for her commitment in a
musical program.  Although the daughter agreed to perform four nights, the program has
been cut to three because of lack of attendance and ticket sales.  Mrs. Kearney wants
her daughter paid for all four performances since this was the initial
agreement.

On the final night Mrs. Kearney creates quite a
scene by not allowing her daughter to go on stage until she receives the money that she
is owed.  Although Mr. Holohan and his partner come up with some of the money, Mrs.
Kearney feels cheated and refuses to let her daughter
perform.

This story fits in with the rest of
Dubliners showing the lack of trust that the characters have in
each other.  As in "The Two Gallants," suspicion and distrust seems to characterize the
relationships, and in "The Mother" this distrust causes all of the characters to lose.
 The mother's insistence on her daughter's being paid results in her daughter not
performing on a night when the attendance is particularly high, possibly ruining the
daughter's chances of ever being hired again.  Mr. Holohan loses a good performer and
possibly his credibility with other performers (although the performers seem to support
Holohan).

And, it seems that both Mr. Holohan (and his
partner) and the mother are to blame for this stalemate.  Mr. Holohan is lax about
payment, tries to give the mother the runaround, while the mother is so concerned with
money and pride that she literally upstages her daughter.   Thus, we have another
example of paralysis that is pervasive in the lives of the ordinary characters of
Joyce's work.

What makes Oedipus the King of Tragedy?

It is a fairly lofty claim to argue that Oedipus is a
"King" of tragedy.  He has to be up there by any standard of what defines tragedy.  I am
not sure he is the only "king" of tragedy, but he is a king of a tragic predicament on
many levels.

In my mind, the most fundamental level on
which Oedipus is a "king" of tragedy is that his tragic collision is caused by a genuine
sense of goodness.  While he might display some bad habits in the treatment of those who
disagree with him, he operates as a fundamentally "decent" human being. He seeks to find
out why his subjects suffer.  That is the reason for all that plagues him.  In order to
alleviate the burden that is placed upon their shoulders, Oedipus demands to find out
the truth, as horrific and awful as that is.  If Oedipus did not care about his
subjects, he would have simply concealed his own past or simply discarded it in the face
of their suffering.  He suffers because he feels that their suffering must end.  He
becomes a high figure in tragic proportions because of his having to "take the hit" in
order for his people to live lives of
happiness.

Additionally, Oedipus has to be seen as
fundamentally human.  His beliefs in his own sense of superiority and hubris are
uniquely human.  He fails to see himself as inferior to fate and the gods.  Literature
has proven that this is not something that only he experiences.  He is not the first nor
certainly the last to believe that he can outrun his fate.  For being human he suffers
tragic dimensions and would represent a high level of tragic
collision.

Finally, I would propose that the horrible
condition of Oedipus' sin is something that would make him a valued member of the Tragic
Hall of Fame.  Whether it was self made or something that is simply outside the realm of
his control, it's a fairly awful fate to have killed one's father, marry one's mother,
and have children through her.  Merely writing it is pretty horrific.  The fact that his
mother/ wife kills herself, and he blinds himself, dedicating himself to the betterment
of his children all help to contribute to Oedipus as a definite king of tragedy.  I am
not sure there is much else.  Even if one concedes everything was his fault, something
that I am not ready to fully do, it is a high point of tragedy to see Oedipus at his
lowest point at the end of the drama.

How might American Ideology affect teenagers?

This is an interesting question.  When I first read it, I
was taken back to those Cold War debates about "American, capitalist ideology" filled
with "decadent attitudes for the youth."

Humor aside, there
are some significant issues of clarification needed in the question.  The first would be
to offer up what exactly is "American ideology."  It seems to me that with the modern
setting, there is less of an expression of American ideology now more than ever.  The
emergence of information technology, social networking, and the emergence of a world
that has become "flat" has helped break down national ideologies in favor of a more
global view.  What used to define "American ideologies" is a worldwide embrace.  The old
ideological debates are being put aside for a more practical view of how to corner a
piece of the global market.  China, a perceived bastion of Communist ideology, has more
capitalist ventures opening up than ever before.  The emergence of global business
ventures is one where there is more sharing of ideas that are blurring the lines as to
what is "American."  Students all over the Arab world are protesting for liberal
democratic and economically empowering reforms, while the fear of terrorism that exists
in so many parts of the world has currently held grip over Norway right now.  It seems
to me that what might have passed off as "American" forms of ideological reality has
become appropriated by so many.  It is global.

The second
issue is more concrete.  With the proliferation of technology, this global view is more
geared towards young people.  There is a definite understanding that younger people have
all over the world, more in line with this global mentality than one that is culturally
limiting.  Children all over the world, through the delivery of the YUM! brands of food,
yearn for pizza and tacos.  This is something that has become global, embrace by young
people.  The ideas of this global paradigm are more in line with young people's views of
individuality, expressionism, and a sense of intrigue and interest regarding the
blending of cultural lines.  The more seasoned of us have to adapt because as the young
become older and more young take their place, it does not seem as if this is a passing
trend.  When Zakaria talks about the "Rise of the Rest," he idenifies China, India, and
Brazil as three markets of the world that will play a formative role in this new global
paradigm.  These are young countries. Whether or not this is "American" is moot.  It is
youthful and this is highly evident.

With this debate, I am
reminded of the words of Vaclav Havel in his description of
postmodernism:

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This state of mind or of the human world is
called postmodernism. For me, a symbol of that state is a Bedouin mounted on a camel and
clad in traditional robes under which he is wearing jeans, with a transistor radio in
his hands and an ad for Coca-Cola on the camel’s
back.

If we replace the
transistor radio with a cell phone or an iPod, it's a perfect representation of how this
new setting is a young one, designed for teens and young people.  Whether it is
American, we certainly can see roots of it.   In this particular context though, borders
are developed to be crossed, and cultural identities merge so freely that I think the
only constant can be the appeal to youth and all else becomes present in different
forms, but not as dominant.

In Their Eyes Were Watching God, how does the image of the black woman as "the mule of the world" become a symbol for the roles Janie chooses or...

In responding to this question it seems to be that you
need to analyse the various relationships that Janie has with her three husbands, and
the kind of roles that are forced upon her or that she forms for herself as a result of
her marriage to them. Although the undoubted focus of the story is on Janie's search for
self, other characters, and particularly her three husbands, become an incredibly
important aspect of that journey. I would argue that the image of a black woman as "the
mule of the world" can only be used to describe the roles that Janie either has to adopt
or are rejected by her, as clearly, by the end of the story, she returns from her
experiences a woman who is finally secure in her own identity and knows who she is and
the kind of roles she is willing to adopt.

Both Logan
Killicks and Jody Starks thus seem to try and force conventional gender roles upon
Janie. Although these two figures are very different, both only seem to stifle Janie and
her desire to discover her own identity. Even the ambitions and success of Jody serves
to stifle Janie and her identity, trappping her in a role of submissive wife that is
symbolised by the way that Jody forces her to cover her hair. Consider the tirade that
she launches at Jody as he is dying in Chapter Eight:

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You wouldn't listen. You done lived wid me for
twenty years and you don't half know me atall. And you could have but you was so busy
worshippin' de works of yo' own hands, and cuffin' folks around in their minds till you
didn't see uh whole heap uh things yuh could
have.

The harshness of
Janie's words to her dying husband perhaps reflects the way that her marriage to Jody
resulted in her becoming "the mule of the world" that your question refers
to.

However, we can definitely identify the way that in her
relationship with Tea Cake, Janie actually flourishes thanks to the equality that she is
given and the respect with which he pays her. Even though Janie experiences considerable
hardship during her time with Tea Cake, and has to suffer the terrible loss of her third
husband, even being suspected of his death, she rises above these trials and the peace
which she attains as she gathers in her "shawl" at the end of the story testifies to the
way that even if others treat the black woman like "the mule of the world," the black
woman has the resources within her to reject and spurn such objectification and live for
themselves.

What types of things in letters/postcards did the army censor during WWI?

The main thing that censors were looking for in letters
and postcards was information that would compromise what was called "operational
secrecy."  In other words, the censors did not want soldiers telling anything that would
allow the enemy to get any information about what units were stationed where or what
they might be planning to do.

As you can see in href="http://www.u.arizona.edu/~rstaley/wwlettr1.htm">this link, soldiers
were aware that their letters would be censored and they would not be able to tell such
basic things as where they were stationed.  If they enemy found out such information,
they might be able to piece together what units were in what places and, thereby, what
areas had strong defenses and which did not.  If a soldier wrote "we are in (place X)
and are about to move out" the enemy might be able to infer that an attack was planned
somewhere near Place X.

Basically, the censors were just
looking to delete anything that might be able to give a clue to the enemy about troop
locations and movements.

who was the first Mount Everest climber?

Mount Everest, also known to Tibetans as Chomolungma, is
the world's tallest mountain at 8,848 meters (29,029 feet). Until 1885 it was generally
believed to be unclimbable, due to its extreme climate, remote location, and the lower
atmospheric oxygen levels at the summit. The British mounted several attempts in the
early 1920's, including the 1924 expeditions by George Mallory. Mallory and Andrew
Irvine never returned from their attempt at the summit, and Mallory's body was not found
until 1999. It is not known whether these men reached the
summit.

On May 29, 1953, New Zealander Edmund Hillary and
Nepali Tenzing Norgay officially reached the summit and returned safely. For some years
the pair shared credit and refused to say who had reached the summit first, but in his
later years Norgay revealed that it was Hillary.

What is the solution of the system? x+8y=17 x+y=3

x + 8y = 17

x + y   = 
3

First subtract " x " with " x " ( which means subtract 8y
with " y " and 17 with 3 )

By subtracting, you should
et

7y = 14 now divide both
sides by 7

By dividing, you should
get

y = 2 which is your answer
for " y "

Now plug 2 into one of the
equatino

x + 2 = 3 subtract 2
on both sides

By subtracting, you should
get

x = 1 which is your answer
for " x " 

So your answer is x = 1 ; y =
2

What new game do Dill, Scout, and Jem play in To Kill a Mockingbird?

In chapter four, Dill, Jem and Scout begin playing the new
game that involves a drama of acting out the family life of the Radleys. Jem becomes Boo
Radley. Dill is old Mr. Radley, and Scout becomes Mrs. Radley. The three of them reenact
all the gossip about the Radleys that had been passed down through the
years:

It was
a melancholy little drama, woven from bits and scraps of gossip and neighborhood legend:
Mrs. Radley had been beautiful until she married Mr. Radley and lost all her money. She
also lost most of her teeth, her hair, and her right forefinger (Dill's contribution.
Boo bit it off one night when he couldn't find any cats and squirrels to eat.); she sat
in the living room and cried most of the time, while Boo slowly whittled away all the
furniture in the house.

Dill,
Jem, and Scout play this game over the summer. The new game involves not only the
community gossip, but it involves the children's additions to the legends. The children
are so involved in their drama until they pass many hours playing this new game. They do
not really think that their new game could be interpreted as disrespectful to the
Radleys. They have begun to think of the Radleys as fictional
characters:

readability="7">

This shows that they regard the family as almost
fictional. They give little thought to the fact that their game may be hurtful to
thinking, feeling humans behind the Radley
windows.

When Atticus asks if
their drama has anything to do with the Radleys, "Jem denies that it does and Atticus
goes inside." At least, this indicates to the children that Atticus would not be pleased
with their new game. Still, they play their new game because they are fascinated with
the beings who live in the Radley house.

How is Joshua's religion like that of the Pharisees?

The Pharisees were proud of themselves and they thought
that they were the only holy people. The Scriptures told them to love all people, but
they despised the underprivileged, looking down on them as sinners. Joshua is like them
in that he hates his own tribe instead of trying to help them change their ways. He also
believes that because the people of Kameno still followed the traditional way of life,
they were sinners.

In the novel Their Eyes Were Watching God, what does the horizon mean for Janie symbolically?

In Their Eyes Were Watching God, Zora
Neale Hurston uses the image of the horizon to symbolically
represent Janie’s aspirations for equality within marriage. Early in the novel, Hurston
employs the symbol to represent Janie’s hope that she might find love in the wake of her
marriage with Logan. Janie abandons this unsuccessful marriage in favor of a union with
Joe Starks. Having made the decision to leave Logan, Janie experiences a “feeling of
sudden newness and change.” Hurston writes, “The morning air was like a new dress. That
made her feel the apron tied around her waist. She untied it and flung it on a low bush
beside the road and walked on.” Janie leaves Logan in search of equality within
marriage. The apron symbolizes Janie’s domestic oppression, which she attempts to leave
behind on the side of the road. Janie hopes Joe Starks embodies the newness and change
she searches for, and she measures him against the perfect image of the pear tree: “he
did not represent the sun-up and pollen and blooming trees, but he spoke for far
horizon.” She marries Joe believing that he offers change
and relief from Logan’s domestic oppression. However, she fails to realize that she
merely trades one type of prison for another.

 Joe proves
to dominate Janie with his “big voice.” He fails to represent the horizon
and it is only in the shadow of Joe’s death that Janie can reflect on
herself. She lifts the burden as she tears “off the kerchief from her head and let[s]
down her plentiful hair. The weight, the glory was there” (87). Janie’s hair symbolizes
her confinement. Once tied up underneath a kerchief, her hair can now flow freely. Joe
attempts to dominate Janie, but with his death she is liberated from burden and finally
has time to consider her
horizons:

readability="11">

 She had been getting ready for her great
journey to the horizons in search of
people; it was important to all the world that she should find them
and they find her. But she had been whipped like a cur dog, and run off down a back road
after things. It was all according to the way you see things. Some
people could look at a mudpuddle and see an ocean with ships. But Nanny belonged to that
other kind that loved to deal in scraps. Here, Nanny had taken the biggest thing God
ever made, the horizon – for no matter how far a person can
go the horizon is still way beyond you – and pinched it in
to such a little bit of a thing that she could tie it about her granddaughter’s neck
tight enough to choke her.

In
other words, Janie views the horizon as endless, boundless,
and eternal. Janie derives her definition of the horizon
from the pear tree, a symbol of the voice of nature, which teaches Janie
of equality aside from social burden. In contrast, Nanny fit the horizon
into the social construction of marriage, where it pinches and suffocates
Janie. Following Nanny’s guidance, Janie blindly journeys after “things;” instead of
equality Janie discovers the “scraps” others in her position endure, such as abuse and
oppression. Those who “deal in scraps,” such as Nanny, fail to question the limit of
their horizon. Nanny, Logan, and Joe all reinforce social
limitations. In the light of Joe’s death, Janie decides to widen her
horizon through violating societal expectations by entering
a union with Tea Cake, a man regarded as her social inferior. Critic Dolan Hubbard
expands on Janie’s attempt to enlarge her horizon. He
contends that Janie must turn her world “upside down in order to make it right side
up…Janie, in her quest, unknowingly sets out to smash a fiction that has outlived its
usefulness – black women as mules of the world.”

How do I write a creative piece based on "The Listeners" by De la Mare in the form of a letter, diary entry on atmosphere or motivations?

Since the poem is so driven by a mood or a feeling and not
so much by a specific purpose or storyline, writing this is going to be both very
creatively based and subjective.  This is going to mean that you are going to have to
summon some imaginative storylines that could simulate why the traveller is there, what
was promised in the past, and what conditions brings the traveller to the
castle.

Another approach would be to take the poem at its
title and compose a piece based on the phantoms that await the traveller.  It would be
really interesting to hear what promise compelled the traveller to return and why the
calls go unanswered.  In a world of constant change and mutability, being able to
deliver this from the point of view of the phantoms or spirits where the traveller
arrives could be interesting.

I think that the construction
of this might involve some type of promise made when the traveller was young, and the
fulfilment of this promise was his return.  Perhaps, there was some type of estrangement
between the traveller as a child and the castle in which his family lived. A death in
the family, a promise that was exacted out of an elder family member towards whom the
traveller held some fledgling notion of loyalty could be where his need to return was
evident.  I think the idea of something incomplete, some aspect of psychological
totality missing in the traveller's makeup is critically important to establish in your
narrative.  The story is one way to develop this, but I like the idea of the diary entry
and a series of diary entries from either or both of the traveller and the home to which
he returns could be really interesting.  The poem gives you so much from which to work
that I think that this can be really something great to develop.

In The Crucible, what are all of the things Abigail Williams has done that she knows to be wrong by the end of Act I.

Let us remember the large number of things that Abigail
Williams has done that she knows to be wrong, as judged by her society. First of all,
she has committed the sin of fornication by having an affair with John Proctor.
Secondly, she has then practised witchcraft, asking Tituba to cast a charm to kill Goody
Proctor so she can marry John Proctor, drinking blood as part of this charm. Thirdly,
she has threatened and manipulated the other girls who practised withcraft with her.
Lastly, at the end of the chapter, she lies to save herself, accusing Tituba and then
others of being witches and being in league with the devil. Clearly, Abigail Williams is
a young lady with few moral compunctions and somebody who tries to manipulate situations
for her own ends and purposes.