How is the federal government able to be involved in education when the Constitution reserves that right to the states?

New York v. US, 488 U.S. 1041 (1992) basically provides
that where the federal government is willing to pay for an inititave it wishes to
impliment, it can financially incentivize cooperation of state
legislatures.

I assume that you are determining that
education is a power reserved to the states because it isn't explicitly mentioned in the
constitution and you are literally reading the 10th ammendment. The Tenth ammendment is
a bit more nuanced than it appears on its face though:

"It
is in this sense that the tenth ammendment "states but a truism that all is retained
which has not been surrendered." United States
v. Darby,  href="http://www.law.cornell.edu/supct-cgi/get-us-cite?312+100">312 U.S.
100, 124 (1941). As Justice Story put it, "[t]his amendment is a mere
affirmation of what, upon any just reasoning, is a necessary rule of interpreting the
constitution. Being an instrument of limited and enumerated powers, it follows
irresistibly, that what is not conferred, is withheld, and belongs to the state
authorities." 3 J. Story, Commentaries on the Constitution of the United States 752
(1833). This has been the Court's consistent understanding: "The States unquestionably
do retai[n] a significant measure of sovereign authority . . . to the extent that the
Constitution has not divested them of their original powers and transferred those powers
to the Federal Government." Garcia v. San Antonio
Metropolitan Transit Authority, supra, at 549 (internal
quotation marks omitted)." quoting New York v. US 488 U.S. 1041 (1992),
at http://www.law.cornell.edu/supct/html/91-543.ZO.html.

In
reality, the only power that was explicitly understood by the framers to be reserved to
the states is police power (the authoriy to protect the health, safety, and morality of
individuals). That isn't an absoloute authority, but generally police power is what the
tenth ammendment refers to.

In Things Fall Apart, in what ways do you think Okonkwo's second wife respects and disrespects her husband?

Ekwefi, Okonkwo's second wife, fell in love with Okonkwo
years ago at a wrestling match. Ekwefi was considered the village beauty. She was
impressed by Okonkwo's great wrestling abilities. She left her husband to be Okonkwo's
wife. She respected Okonkwo more than her husband at the time. She so desired to be
Okonkwo's wife. Because of Okonkwo's great strength and masculine features, she admired
him. She was overcome with love for him.

After becoming
Okonkwo's wife, Ekwefi suffered from losing children. She had only Ezinma to survive.
Along with her sorrow of losing children, Ekwefi has to deal with Okonkwo's anger
issues. He loses his temper quite often, especially during religious ceremonies when he
cannot work. During the Yam Festival, Okonkwo beats Ekwefi, accusing her of killing a
banana tree.

readability="10">

Okonkwo is edgy as his family prepares for the
feast because he would rather be working in the farm. He accuses Ekwefi, his second
wife, of killing a banana tree. He beats Ekwefi and leaves her crying with Ezinma, her
only daughter. The beating serves as an outlet for Okonkwo’s
anger.

She loses respect for
Okonkwo as she cries. Ekwefi also becomes angry at Okonkwo for beating her. She mutters
something about his gun not working. She is trying to insult his hunting. Oknokwo fires
his gun at Ekwefi and misses. In moments like these, Ekwefi has no respect for Okonkwo.
She retaliates when he beats her:

readability="7">

Okonkwo picks up his rusty gun, and Ekwefi
mutters something about guns that never shoot. Okonkwo hears the remark and pulls the
trigger. His shot misses
Ekwefi.

No doubt, Ekwefi has
disrespect for Okonkwo when he beats her. She is not impressed with his anger. Although
she was once attracted to Okonkwo's strength, she is not in awe of him as she once was.
Okonkwo's anger causes his family to fear him. This fear, however, is not
respect.

Ekwefi has overcome much heartache, losing nine
children. She has learned to stand strong:

readability="7">

The years have been hard on her. She has become a
courageous and strong-willed woman, overcoming disappointment and bitterness in her
life.

No doubt, Ekwefi has
mixed emotions now that she is Okonkwo's wife. The strength that she was so attracted to
years ago is frightening when Okonkwo uses it against his wives and
children.

Can anyone describe the positive relationship of Leonato and Hero in Much Ado About Nothing?

This is a great question to think about, because Leonato
seems to present two paradoxical impressions in terms of his relationship with his one
and only child, Hero. In the infamous marriage scene of Act IV scene 1, for example, he
openly states that he wishes his daughter were dead, even going as far to say that he
hopes she is dead when she faints in shock and terror. Certainly the harshness of his
words and the way that he responds to her public shaming severely limits our impressions
of him as a good father to Hero. However, I would point you towards Act V scene 1, where
we see a very different side of Leonato. As he is talking to his brother, he expresses
his grief and his sadness at what has happened to his daughter. He
says:

My
griefs cry louder than
advertisement.

In addition he
states that in his "soul" he knows that Hero was "belied," and in response to his
brother's insistence that he lay aside his grief, points out the futile nature of
counsel at such times:

readability="19">

For, brother,
men

Can counsel and speak comfort to that
grief

Which they themselves not feel. But tasting
it,

Their counsel turns to passion, which
before

Would give preceptial medicine to
rage,

Fetter strong madness in a silken
thread,

Charm ache with air and agony with
words.

The Leonato that we
see in this scene, therefore, is very different from the Leonato that we saw in Act IV
scene 1. Perhaps the difference can be explained by the passing of time and the way that
has helped Leonato look upon the situation with mature reflection. Either way, he is
presented in this scene as a loving father who is overwhelmed with grief at the wrong
that has been done to his daughter and willing to fight for her
honour.

In The Invisible Man, why does Dr. Bledsoe expel the narrator from college?

Dr. Bledsoe, as the principal of the narrator's college,
of course has the power to expel the narrator. However, what triggers this expulsion is
when the narrator takes Mr. Norton, an important guest of the college, to the slave
quarters and to the Golden Day, even though the narrator was asked by Mr. Norton himself
to take him there. In rather a shocking speech, Dr. Bledsoe calls the narrator an
insulting word used to denigrate blacks, and then expells him, simultaneously slamming
down a shackle on his desk to emphasise his words. For Dr. Bledsoe, a black man himself,
to act in this way reinforces the way that racism and oppression does not only occur
between different ethnic groupings but also within ethnic groupings. In spite of the
obvious unfairness and injustice of this action, forgetting the insulting nature of it
for one moment, the narrator is told very clearly that he has no other option but to
accept his expulsion and leave.

What is C.J Stryver's physical description?A Tale of Two Cities by Charles Dickens

Although there is no detailed physical description of the
obtrusive C. J. Stryver in A Tale of Two Cities, Dickens often
suggests that he is big and overbearing. There are often suggestions of his being rather
large and bullying in his manner, as often the phrase "shouldered himself" is used. For
example in Chapter 12 of Book the Second, "The Fellow of Delicacy," Mr. Stryver
shoulders his way from the Temple

readability="14">

bursting his full-blown way along the pavement,
to the jostlement of all weaker people, might have seen how safe and strong he
was....

So, he pushed open the door...stumbled down the two
steps, got past the two ancient cashiers, and shouldered himself into the musty back
closet where Mr. Lorry
sat....

In discussing his
chances of marrying Lucie, the usually discreet Mr. Lorry finally must tell Stryver,
"you know, there really is so much, too much of you!"  Angered by Mr. Lorry's suggestion
that Lucie would reject his proposal, Stryver turns
and

"burst
out of the Bank, causing such a concussion of air on his passage through, that to stand
up against it bowing behind the two counters, required the utmost remaining strength of
the two ancient
clerks.

Further in the
narrative, in Chapter 21 of Book the Second, Dickens writes that Mr.
Stryver

readability="6">

shouldered his way through the law, like some
engine focing itself through turbid
water...

He marries a florid
widow who has property and three boys.  Towards these "three lumps of bread-and-cheese,"
Mr. Stryver exudes "patronage of the most offensive quality from every
pore."

So, rather than his being large, the
characterization of C. J. Stryver focuses more upon his overbearing nature and
manners.

Can any regulation of speech that is not viewpoint-neutral be legitimate? How does this link to permissibility of campus hate speech regulations?

There are some legal consequences to certain kinds of
speech under various state and federal anti-discrimination laws, and this has passed
muster under the United States Constitution and state constitutions.  Also, some states
now have enhanced sentencing for hate crimes, which means that it is likely some speech
is involved.  I don't know if any of those has been challenged under the First
Amendment.

For the most part, anti-discrimination statutes
do not have criminal consequences and usually involve what is called a "make whole"
remedy, meaning the law is meant to put the victim in the position he or she would have
been in had the unlawful discrimination not happened.  Using the "n" word to a co-worker
would be one example of a violation of such a statute.  Consequences in a case like this
could very well be losing one's job.

Most campus policies
are pretty much in line with anti-discrimination statutes, so are not likely to be
challenged.  Also bear in mind that the First Amendment is meant to stop the government
from repressing speech.  So a private university is not subject to the First Amendment
at all.  Similarly a non-governmental workplace is not subject to the First Amendment,
and a company is perfectly within its rights to tell its employees what they can and
cannot say.

What are Mendel’s laws of inheritance and Mendelian dominance? Define the terms dominant and recessive and explain the two inheritance laws.

Mendel's law of
inheritance describes what happens when the male and female genotypes
combine and form a gamete.  The alleles of a given trait pair up and separate from other
traits.  One allele from each member combine and form a pair.  The phenotype of the
trait is determined by the type of allele combination.

An
allele can either be dominant or recessive.  A dominant
allele will express itself.  A recessive allele will be
suppressed by a dominant allele.

An allelic pair can be
homozygotic or heterozygotic.  A homozygotic allelic pair is made up of either 2
dominant alleles or 2 recessive alleles.  A heterozygotic allelic pair is made up of 1
dominant allele and 1 recessive allele.

For example,
suppose F represents a given trait.  Each gamate provides a genotype of trait F. 
Capital letters stand for dominant alleles and lower case letters stand for recessive
alleles.  Therefore, according to Mendel's law of inheritance, the possible
genotype combinations for this trait are:

FF - both
dominant, trait is expressed

Ff - one dominant, one
recessive, trait is expressed

fF - one dominant, one
recessive, trait is expressed

ff - both recessive, trait is
suppressed

According to this pattern, a dominant trait will
be expressed 3 times as often as a recessive trait.  The combination of genotypes is
random.

I have attached a link to a website on
Mendelian Genetics.

Compare how Macbeth behaves in Act Two scene two with his behavior in the previous scene, and how does his change in attitude foreshadow his...

In Shakespeare's Macbeth, the man we
see at the start of the play as he plans to kill Duncan is different than the man he is
in Act Two, scene two. The struggle he goes through to come to terms with his actions
will define how easily he is able to commit murder at the end of the
play.

Up until this point, Macbeth has expressed some
misgivings about the plan that he and his wife are "hatching" to kill Duncan while the
King is staying with them. However, while Macbeth's concerns are more based upon how
these actions now come at an awkward time (as things are going so well), Macbeth resigns
himself to carrying out the task at his wife's insistence without much resistance
overall. In scene one of the second act, the dagger scene might make the audience
believe that Macbeth would be fearful in seeing the apparition of the dagger that
directs his path—even while showing him the blood and gore on its blade that will soon
appear after Macbeth completes the task.

By the time
Macbeth is finished killing the King, this soldier and honored warrior is coming apart
at the seams. He is hysterical and struggling to deal with what he has done. The cool
mind that was in charge in the previous scene is gone, and is replaced with someone who
is falling apart—as if he has never seen death before; perhaps this is true in the sense
that he has never seen the murder of a King, especially at his hands,
before.

This parallels the way Macbeth changes as he moves
through the play. At first, he is hesitant, but then he throws himself into his new plan
to become King. We can identify this as foreshadowing Macbeth's future actions: when he
will finally do anything to protect his place on the throne. As he comes to terms with
what he has done, killing becomes much easier. He admits that he only needs "practice"
to get better at it. By the end of the play, Macbeth's sense of honor has completely
dissolved. What we see at the beginning of the play is a clear indicator that while a
young murderer he is frightened, time does make the act much easier
for him.

Discuss Macbeth's character to show the truth of the statement below:"In Macbeth, Shakespeare shows the essentially self- defeating character of...

The statement has much in way of relevance to Macbeth's
character.  Try as he might to consolidate his power, Macbeth cannot surrender the basic
sense of character he has.  He does a good job in trying to rid himself of it. Yet, the
resignation he comes to in Act V, reflects this.  Macbeth understands through his own
epiphanies that the witches meant something else, that he is not immortal, does not
possess a power that can repel all forces.  This is brought out in his response to Lady
Macbeth's death, a statement that rings of existential hollowness and a condition where
redemption is impossible.  However, acknowledgement is still entirely evident.  Macbeth
might continue the fight at this point, but he knows that his death is inevitable and
the coveting that he so desired is something that has ended up spelling his own doom. 
It is here where the quote is highly applicable.  The "unnatural" condition of evil is
what compelled Macbeth to embrace what he did and to force a level of rejection of his
own sense of dignity and character that in the end is acknowledged.  In doing so,
Macbeth demonstrates that such an "unnatural striving" has choked the life of the "roots
of its own existence." 

Compare Colonel Gadaffi with Macbeth in Shakespeare's Macbeth; discuss the prevalence of themes like ambition and guilt in both narratives.

The term "prevalence" is important.  I am not sure that
you are going to find that much in terms of these emotions in Gadaffi.  For example, I
think that it will be a challenge to find a great deal of guilt in Gadaffi.  Where does
it lie?  It doesn't seem like he has reached that point, or he would have left office by
now.  He seems quite comfortable in terms of being able to settle in for the long haul,
despite what the international community feels.  In this way, I don't see him in the
same way as Macbeth, who experienced revelation about his own true state.  Gadaffi is
"not there" yet.

Ambition might be a more likely theme that
connects both figures.  I think you need toanalyze Gadaffi's actions and his quotes. 
You can find much in his quotes that reflect a sense of ambition and desire for power. 
He is a figure who covets power and his need to gain more of it is reflective of his
ambition.  I think that this might be an interesting point of view to take in terms of
assessing Gaddafi and Macbeth.  Focusing on how both view the appropriation of the world
in accordance to their own subjectivity as a means of being in the world could be
something that might reap some strong connections between both.  I think that I have a
fundamental challenge, though, because I see Macbeth as a heck of a lot more intricate
and self- reflective than Gadaffi.  However, that does not mean you cannot bring this
dimension out of the Colonel.  It might be a really powerful work sample if you were
able to do so in a comparison or parallel with Macbeth.

Fill in the blank. The___of an element is the total number of protons and neutrons in the____of the atom.

The atomic mass of an element is the total number of
protons and neutrons in the nucleus of the
atom.

Almost.

Now, here's the
rest of the story. The atomic mass of an atom, as given on the periodic table of the
elements, is an average. If you had a way to weigh individual atoms
one by one, you would find that most of the atoms of a substance had a weight equal to
the (rounded) atomic mass, but every now and then you'd have one that was different. The
different atoms are called isotopes. They occur naturally, and have an abnormal number
of neutrons in the nucleus.

For example, carbon has an
atomic mass of 12.0107. In reality, you will never find an atom of carbon that weights
12.0107 amu's. You'll find a lot of carbon atoms that weight exactly 12.000, and a very
few that weigh 14.000. For the common size atoms, which we call carbon-12, the weight
tells us that there are 6 protons and 6 neutrons in the nucleus. A carbon-14 still has 6
protons (the number of protons is really what determines the identity of the atom), but
it has 14-6= 8 neutrons.

How do you memorise the reactivity series?

The easiest way to memorize he reactivity series is to use
mnemonic. Form a logic sentence or a list of names of relatives or friends where the
first letter of the element of the series falls in with the first leter of the words in
sentence or the names from the list.

Another way to
memorize this series is to keep in mind hydrogen, included in this list though is not a
metal, splits this list in two.

If the list is written
vertically, keep in mind that all the metals located above hydrogen react with acids,
while those found below hydrogen do not react with acids. In fact, if a metal is more
reactive than another metal found within a compund, the less reactive metal will be
removed from compound, the more reactive metal taking it's
place.

Explain the following lines from The Rape of the Lock: "How vain are all these Glories, all our Pains, Unless good Sense preserve what Beauty gains:"

The following lines appear in "The Rape of the Lock",
Canto Five, lines 15-16:

readability="7">

How vain are all these Glories, all our
Pains,
Unless good Sense preserve what Beauty
gains:

The lines refer to the
fact that beauty is questioned in regards to its being honored by the "wise Man's
passion" and the "vain Man's Toast." This is compounded on when the questions arises
about women being compared to angels in regards to their beauty alone- men do not
compare women to angels because of their minds or
morality.

The lines above refer to the fact that vanity,
above all else, seems to be on the minds of men. The women find it unsensible that
beauty alone holds men and that good sense does not factor into the equation at
all.

What comments about racism in the American South in the 1930s does Harper Lee make in To Kill a Mockingbird?I'd just like to get a more in-depth...

I think that author Harper Lee shows that racism was a
common fact of life in Alabama during the 1930s. Segregation was the norm: Whites and
blacks lived on different sides of town; they attended separate churches and schools;
and blacks were restricted from congregating at many other stores and public events.
Racism wasn't restricted to adults. Scout uses the "N" word regularly until Atticus
cautions her about it, calling it "common." We can assume that most white citizens of
the town use the "N" word, too; Atticus, Miss Maudie and some of their friends seem to
be the acception, not the rule. Nor was racism restricted to white people: Lula shows
her contempt of white folks when Calpurnia brings Jem and Scout to her all-black church.
The verdict in the Tom Robinson trial becomes the greatest example of how black people
are truly second (or third) class citizens: The word of Bob Ewell, the "disgrace of
Maycomb," is taken over that of Tom, and the jury disregards factual evidence to convict
the black man. Jem's description of Maycomb's social pecking order is accurate: There
are people like the Finches, the Cunninghams, the Ewells and, last, the
Negroes.

What is theme of the poem "Sympathy"?

Paul Laurence Dunbar was the son of former slaves. His
father had escaped enslavement by running away. By his mother, the oral tradition of
African-Americans was passed on to him. So, when he says “I know what the caged bird
feels," he actually knows it.

The agony of
the oppressed African-Americans is the most prominent theme of Dunbar's poem
“Sympathy.” It’s been expressed through the sufferings of a "caged bird."
"The caged bird" has got wings like a free bird, but it can’t use them to fly. Instead,
it uses its soft wings to strike against the iron bars hoping to break open the cage.
This leaves the poor bird bleeding with sore wings.

readability="5">

…the caged bird beats his wing
Till its
blood is red on the cruel
bars; 

In this way, in a very
somber tone, the poet expresses the ordeal of African-Americans. Down the ages, they
have been oppressed and enslaved by the whites. The iron bars of racism have prevented
them to live a normal life.

Besides, longing
for freedom is another important theme running through the poem. The
nature in its beautiful forms makes the bird all the more desirous to come out of its
cage and fly boundlessly. But, imprisoned and helpless, it can feel the nature only
through its sound, sight and smell:  

readability="9">

    When the sun is bright on the upland slopes;
  
When the wind stirs soft through the springing grass,   
And the
river flows like a stream of glass;
    When the first bird sings and the
first bud opes,   
And the faint perfume from its chalice
steals—

With the hope that
“he would be free,” it beats the iron bars endlessly and prays to the Heaven to end its
suffering and liberate it.

Another important
theme that cannot be overlooked is that of hope against all odds. Instead
of merely waiting for its prayers to be answered or any help to arrive, it continuously
strikes against the iron bars with its wings. It stops only when its wings begin to
bleed, and, after some time, it restarts again. It never gives up.
 

And a pain
still throbs in the old, old scars    
And they pulse again with a keener
sting—
I know why he beats his
wing!

The blacks, too, have
continued their struggle for freedom with this same indomitable spirit through
centuries. They won’t stop until they find it.

So, we see
that “Sympathy” is about the anguish and pain of the downtrodden African-Americans; it’s
about the evil of racism; it’s also about hope and faith, and, about the invincible
spirit of the oppressed to persist and carry on.

What are some meaningful quotes from chapters chapters 16 and 17 of The Red Badge of Courage by Stephen Crane?

In the third section of Stephen Crane's The Red
Badge of Courage,while Henry Fleming becomes an experienced soldier and is
respected by his fellow soldiers, he has learned that many of the obligations of a life
can be easily avoided.  Henry has clearly also experienced a transformation. believing
that "a stout heart" often escapes harm.  He imagines how he will return home and
provide people with glowing stories of the war.

In contrast
to this glorified vision, Chapter XVI points to the senseless of the battles in which
the men are engaged. Henry's regiment is marched to an area where they are to relieve
another.  As the men wait for battle, Wison lies down to sleep, and Henry cannot talk
over the din of the guns:

readability="11">

But at last the guns stopped, and among the men
in the rifle pits rumors again flew, like birds, but they were now for the most part
black creatures who flapped their wings drearily near to the ground and refused to rise
on any wings of hope. The men's faces grew doleful from the interpreting of
omens.

This passage is an
example of Crane's skillful use of simile, imagery, metaphor, and naturalism. The men
mistakenly interpret "omens" from what is really an indifferent universe.  For, shortly
thereafter, the sun comes out as though things are bright and cheerful:  "Before the
grey mists had been totally obliterated by the sun's
rays....."

Later in this chapter, Henry rails against the
way in which his regiment fights, saying,

readability="12">

"Nobody seems to know where we go or why we
go....  We just get fired around from pillar to post and get licked here and get licked
there, and nobody knows what it's done for. It makes a man feel like a damn' kitten in a
bag. Now, I'd like to know what the eternal thunders we was marched into these woods for
anyhow, unless it was to give the rebs a regular pot shot at us. We came in here and got
our legs all tangled up in these cussed briers, and then we begin to fight and the rebs
had an easy time of it. Don't tell me it's just luck! I know better. It's this derned
old—”

But, the lieutenant
savagely interrupts him, ordering the regiment to quick their haggling.  The worn men
quiet down and the battle roar "settled to a rolling thunder" as the soldiers "stood as
men tied to stakes," again mere pawns in a futile
battle.

In Chapter XVII,  Henry undergoes a transformation,
but it is not one that the army has effected.  Instead, he becomes enraged. losing his
former terror; it is his selfishness rather than his loyalty to the Union that
precipitates his "bravery." For, rather than truly displaying uncommon valor, Henry's
fury is directed at himself for having behaved like a coward, and at the universe for
its indifference, and at the enemy.  Nevertheless, when he returns to his comrades and
"sprawled like a man who had been thrashed.  His flesh seemed strangely on fire..." 
Yet, the lieutenant praises him.

readability="7">

By this struggle he had overcome obstacles which
he had admitted to be mountains. They had fallen like paper peaks, and he was now what
he called a hero. And he had not been aware of the
process.

These chapters of
Crane's novel certainly underscore the futility of war and the indifference of the
universe to the activities of man.

What is tick and her parents' relationship like throughout the book?

Richard Russo's novel Empire Falls
explores many family relationships. We learn about Tick's father's beautiful
mother Grace and her relationship to C. B. Whiting.  We learn about Miles Roby's father
Max who is a drifter and a freeloader.  And we learn about Janine, Tick's
mother.

When the story opens Janine and Miles are
divorcing.  Tick is enrolling in a new school, and as a troubled teenager from a broken
home, she is sullen and depressed.  Miles, though, loves his daughter very much.  In
fact, the two of them are much alike.  Both are honest and compassionate individuals,
and try very hard to do what they think is right.  Tick takes up for the outcast John
Voss at school, doing her best to protect him against Zack's torment, and Miles
volunteers to rebuild the steeple of the Catholic
church.

But like most parents and teenagers, the
relationship between Tick and her parents is somewhat distant.  Each has his own worries
and issues, and true communication is rare.  Tick does not reveal her problems at school
to her father, but neither does her father confide in Tick about the problems at the
diner or with others in the town.  Tick's mother Janine is working on her second
marriage with a fitness guru who lied about his age.  She is much too busy to be a true
presence in her daughter's life.

When Tick is wounded at
school by the explosive John Voss, the family pulls together once again.  They have
always loved each other, but because each has been so involved in his or her own issues,
they have rarely communicated.  One of the major themes of the novel is the harm that
suppressed feelings cause.  By the story's end,  the members of the family learn to open
up a bit more about their fears, guilt, and past.

Why did President Lyndon Johnson suffer a credibility gap over Vietnam?

President Lyndon Johnson suffered a credibility gap over
Vietnam because the American people came to disbelieve what his administration said
about the way the war was going.  The public came to believe that Johnson was
overstating the progress that was being made towards winning the war.  This credibility
gap became a real crisis after the Tet Offensive in 1968, becoming big enough that
Johnson chose not to run for reelection.

As president,
Johnson had to try to convince the people the war was going well so they would support
it.  However, this involved giving highly slanted accounts of how things were going. 
When events (particularly the Tet Offensive) made clear that things were not going as
well as Johnson claimed, the credibility gap came into
existence.

Why is AR (average revenue) = to MR(marginal revenue) for a firm in perfect competition?

The reason for this is that the firm in perfect
competition is a price taker whose marginal revenue will always be equal to the price of
the good or service.

In perfect competition, the price of a
good or service is completely unrelated to the number or units of the product that are
produced and sold.  The firm can sell any quantity of the product that it wants at the
same price.  Because of this, the marginal revenue for each unit sold is always the
same.  Since the marginal revenue is always the same as the price, and since both
numbers are always the same, the marginal revenue will also be equal to the average
revenue for all units sold.

In perfect competition, there
is only one market price no matter how many units are sold.  For this reason, the MR
will always equal the AR.

How would I go about constructing a comparative essay on the two films on Romeo and Juliet?

Thankyou so much, this really helps! I don't do too well
in English, haha. But I am still struggling abit, I am unsure of what to use for a
introduction, because I know we need to state a few things, like the play name, who by,
and then introduce that we are doing a comparision on the two films, but because it is
an analytical essay, I don't know how to put that into a paragraph
:(

In chapter 3 of Lord of the Flies, why does Ralph insist on building the huts, and what do they represent?

Ralph desires shelters for protection from the sun and the
rain. The shelters are a form of civilization. Ralph desperately tries to create some
form of civilization and order. Only Simon seems to be helping Ralph. Jack and the
hunters are preoccupied with hunting meat. Ralph is becoming discouraged, but he and
Simon continue to put together shaky shelters.

Ralph needs
shelters to protect them from the harshness of nature. Also, he desires to help the
littluns feel more protected, especially since they are so afraid of the beast. Ralph
reminds Jack that the littluns scream in the middle of the night. The shelters will
offer the littluns a sense of protection from their fear of the
beast.

Ralph and Jack are divided in their ideas for
survival. No matter how much Ralph preaches to Jack about a need for shelters, Jack is
only concerned with the hunt:

readability="9">

By the end of this chapter, Jack and Ralph seem
to be moving in different directions. Ralph struggles to retain what is civilized, as
Jack slips further into savagery. It is Golding’s point that the latter is easier
because it is what humans are attuned
to.

Ralph will continue to
build shelters and a fire to attract a ship for possble rescue. He will maintain some
type of order while stranded on the island. He sees the need to create a civilized
atmosphere.

What is Grendel's attitude toward language? How does it change throughout Grendel?

Concerning Grendel's attitude toward language in the
novel, Grendel, remember that according to the world of this novel,
according to the conventions used in the novel, the narrator, Grendel, writes after the
events of the novel have been experienced, at least most of them.  The present of the
novel is the 12th year of his battle with humans, even though most of the novel is
history or background.  Thus, Grendel relates the history of his encounters/experiences
with humans and their/his language.  The narrator's attitude itself doesn't change
throughout the novel, though the novel is in part a record of how his attitude toward
language changed in the past.  The novel is a construct written by the narrator to
relate whatever it is he wants to relate, and part of that includes his changing use of
language. 

Remember, too, that Grendel is an unreliable
narrator.  He writes explaining and arguing for specific philosophies.  (The novel is
kept from being didactic or preachy by numerous means, however--one of the most
important being that Grendel loses.)

All that said, the
most important element of Grendel's attitude toward language is the love-hate
relationship he has with it. 

The Shaper recreates reality
with lies, according to Grendel, and lies involve the use of language, of course.  Truth
means nothing to the Shaper.  He turns losses into wins.  He gives hope where there is
none.  He slants and turns the truth to form his lies.  Unferth, too, spouts untruths
with his bold words, and the humans as a whole sing at funerals, turning what should be
sad, hopeless occassions into celebrations.

The reader
isn't told how it is that Grendel can understand the humans and can himself speak and
use language, and humans are surprised when they hear him actually speak.  This
highlights the subject of language in the novel, brings attention to it.  As mentioned,
Grendel thinks little of the human uses of
language.

Simultaneously, however, Grendel also relates his
own attempts at becoming an artist.  In fact, the novel itself is his crowning artistic
achievement.  It is the "monster" as artist.  It is his imitation, or in his view, his
improvement on what the Shaper and other humans
do. 

Specifically, in addition to writing the novel as a
whole, Grendel first shows the reader his early attempt at poetry.  He then demonstrates
his improvement as a poet, revealing later in the novel poetry of a much higher
quality.  He writes one chapter as a screenplay.  He is an emerging
artist.

Grendel draws attention to his language and his art
throughout the novel.  He is witty, and he is proud of it.  He, the supposedly stupid
monster, is clever, humorous, creative, and highly intelligent, as he demonstrates with
his use of language.

The novel, at its center, is of course
about reality vs. art.  Grendel's philosophy comes down on the side of reality, and
humans on the side of art.  Yet, echoing his philosophical beliefs, Grendel uses art to
entertain himself and somehow survive the tediousness of
existence.   

What does the First Academy Building symbolize?

The First Academy Building in A Separate Peace
contains the marble stairs that Gene revisits at the beginning of the novel
and the stairs that Finny fell down at the end of the novel.  The building suggests the
conservative, New England nature of Devgon School.  It also is a place of significance
for Gene, as his life (and Finny's) were forever changed in this
building.

What does Heathcliff's rejection of a minister signify?Emily Bronte's Wuthering Heights

In Chapter 34 of Emily Bronte's Wuthering
Heights, it is with a strange, excited expression that Heathcliff moves
restlessly around after he has been out all night on the moors.  Clearly, he seems
possessed with some image or thought as he cannot eat, but clenches his hands and seem
enraptured of something that is nearby. 

readability="10">

The fancied object was not fixed, either; his
eyes pursued it with unwearied vigilance, and, even in speaking to [Nellie], were never
weaned away.

 Disturbed by
his behavior, Nellie reminds Heathcliff that he has not eaten, but when he reaches for
food, his arm stops before the food reaches his mouth as he so transfixed by his
visions.  Later, in the night, Nellie hears Heathcliff pacing in his room, calling the
name of Catherine.  Since he remains awake all night, Nellie knocks upon his
door, asking if he wants a candle in the darkness.  Heathcliff rejects her offer and
tells her strangely that his "soul's bliss kills my body, but does not satisfy
itself." 

At this point Nellie entreats him to let her send
for a minister so that he can make amends for his heathen life.  But, Heathcliff rejects
this idea, insisting that he is not interested in going to
Heaven,

" I
have nearly attained my heaven; and that of others is altogether unvalued and uncoveted
by me!"

Here Heathcliff
alludes to his vision, which must be of Catherine.  For, when Catherine has died in
Chapter 16, Heathcliff has begged her to haunt him:

readability="8">

"Catherine Earnshaw, may you not rest as long as
I am living!  You said I killed you--haunt me, then!....I cannot
live without my soul!"

That
same night, Heathcliff is enraptured as he again sees Catherine; she comes through the
window for him, and he dies with a "life-like gaze of exultation" upon his
face.

Explain the following couplet Alexander Pope's "Rape of the Lock?" Part I: This to disclose is all thy Guardian can.Beware of all, but most...

The Rape of the Lock is a mock-epic piece. It aims to put
a light hearted spin on the early epic classics from the likes of Homer. Pope sets the
stage of a dreaming girl, Belinda, who is guided and protected by spirits. Her guardian
spirit, Ariel, sends her a dream of a handsome youth and discloses her protection by the
army of spirits. Belinda embodies the superficial and frivilous ways of young women and
is fancied by young men. Pope explains in the first canto that it's not a young woman's
fault if she is vain and frivilous - the sprites make her this way. The spirits do
encourage young ladies to be proud and resist the offers of men. Towards the end of the
first section, Ariel tells Belinda "This to disclose is all thy guardian can. Beware of
all, but most beware of man!" He's letting her know that something dreadful will soon
happen, but he knows not the details of what, when, and where. He simply warns Belinda
to be on the look out.

Pope makes it pretty clear that
young women like Belinda are not guided by a strict moral code, but more by an obsession
with worldly things and status. However, he also wants the reader to know that these
young women are trained to think and behave this way. Belinda is intrigued by things and
men, and although she's directly warned by Ariel to beware of men (perhaps a potential
suitor or someone wishing to do her wrong - we don't know at this point) she wakes from
her dream and seems to forget about the warning right away.

Critically analyse "The Pride of Youth" by Sir Walter Scott.

This short poem by Sir Walter Scott seems to capture the
haughtiness of youth through the way in which the response "Proud Maisie" receives to
her question to the Robin tricks her into anticipating some kind of grand wedding to a
handsome and rich man, only to discover that the event the Robin is talking about is her
own death, which appears to be the only repayment for her pride and vanity. Note the way
that that Robin's first response to Maisie cleverly disguises the true meaning and
implication behind his words. When asked when Maisie shall marry, the Robin
responds: "When six braw gentlemen / Kirkward shall carry ye."It is only when Maisie
asks the Robin "Who makes the bridal bed," that the true nature of the Robin's response
is made clear as the sexton is the man who will make Maisie's bridal death. Note how the
final stanza brings Maisie's folly full circle with reference to the way that the owl
shall sing to her "Welcome, proud lady." Thus the "proud" Maisie of the first stanza is
welcomed to her death through her pride, it is suggested, in the final stanza. The title
thus refers to the way that we can be so proud of ourselves in our youth and so blind to
the way that this can actually endanger us.