In Jesus' Son by Denis Johnson, what message is the author trying to share?I know it talks a lot about this person who is an addict but is there...

In Denis Johnson's book entitled Jesus'
Son, it seems that the author is telling the story of a drifter and drug
addict, whose life is a "car wreck," but that in doing so, he is introducing us to other
lost souls who are running away from the "car wreck" that defines
their lives, searching for something of
value.

As you believe there is a deeper meaning in this
book, some of the people the narrator meets also believe there is more to life than
first meets the eye. While they search for a deeper meaning to
life, the narrator lacks focus or purpose.

Critics see
Johnson's work as a way for him to address issues surrounding Catholicism. The book is
presented as "a purgatory of sorts," where there is a chance to make things right, but
the narrator isn't interested—yet, while others around him are trying to find their
way.

Perhaps it is the need of a kind of salvation that
Johnson refers to—for example, this is the case with Georgie, the orderly in the
hospital. He speaks of wanting a church, worship and a chapel, but the narrator is
oblivious. As said, he isn't "there" yet. Johnson is non-judgmental, which is,
ironically, a Christ-like behavior. The story, then, may be about surviving, doing our
best, and finding the best life has to offer.

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The world of Jesus’ Son is
one in which the characters, especially the narrator, are nostalgic for a better life, a
life with a deeper spiritual
meaning...

What is the formula for compound interest? Amount=Principal*(1+(r/100))^n But please simplify it taking compoundinterest as the subject For...

The formula A=P(1+r/100)^n gives the amount of money in an
account given an initial investment of P dollars, invested at an interest rate of r% for
a period of n years, compounded yearly.

Year 0 you invest P
dollars.

After 1 year you earn P*r/100 dollars in interest,
and now have P+P*r/100 or P(1+r/100) dollars. ** Factor out the common
P

After year 2 you earn interest on your total
account:

P(1+r/100)(1+r/100)=P(1+r/100)^2

**This
is [P(1+r/100)]+[P(1+r/100)(1+r/100)]. The first term is the amount of money in your
account at the end of the year before interest, and the second term is the amount of
interest earned that year. Factor out the common P(1+r/100) to get the
result.

After year
three:

P(1+r/100)(1+r/100)(1+r/100)=P(1+r/100)^3

etc...

What is the start of Silas's preoccupation with gold in Silas Marner?

In the novel Silas Marner, by George
Elliot, we can describe the character of Silas as a immigrant that resides in the town
of Raveloe and who used to be a very well-liked man in his former hometown. As a result
of a mean and nasty set-up by one of his so-called friends, Silas not only loses his
friends, but his reputation and, what is worse, the woman whom he loves.For this reason,
he leaves his hometown and heads for Raveloe.

Turned into a
hermit, Silas enters the village of Raveloe an eccentric and isolated man. He wishes to
befriend nobody and it is his behavior, combined with his huge, odd, brown eyes, what
set him aside from everyone else.

As a talented weaver,
Silas demonstrates a creativity that earns him not only a mythical reputation, but a lot
of money in his new town. Silas simply sees for the first time that he is able to make a
living for himself. This gives him a bigger sense of self-sufficiency that distances him
further from the population.Yet, this success provides him with some closure and
consolation for all that he had lost before.

Therefore, the
need of hoarding gold is not proportional to a need to save money. His gold is a symbol
of his success. He was not successful in his former town, hence, being a successful man
in Raveloe is like starting over. He enjoys looking at the gold, feeling it, and even
analyzing the shape of the coins. It has nothing to do with economy: It is simply
another eccentricity developed as a way to prove himself a worthy person, after
all.

Describe the tone of The Wanderer.

The tone of the poem "The Wanderer" is typical of the
elegiac poems from the Anglo-Saxon literary period. The elegiac poem was written as a
remembrance where a happy past strongly contradicts unhappy present. The poems of this
type typically speak to the position one is in (one of desolation and solitude) and
their remembrance of a happier time.

The poem "The
Wanderer" is no different. The speaker's tone is one in which the reader can feel the
sadness of the speaker's voice. This being said, the tone of the poem changes throughout
the movement (the speaker's recollections).

In the
beginning, the speaker's tone is that of lament (a passion-filled expression of grief).
The speaker tells the reader that he is alone, with no one to converse with. The speaker
no longer has any ties to his homeland or his past friends. His life has moved in such a
way that he has been left solitude.

The speaker admits that
to come to a specific realization that true sorrow must be felt, and felt for a long
time. Only after sorrow if felt can one move on with the remainder of their
life.

Here is where the tone of the poem
changes.

When
he with wise mind this wall-stone
and this dark life deeply thinks
through,
the wise one in mind oft remembers afar
many a carnage, and
this word he speaks:

The
wanderer realizes that he must find faith in something greater than his own worries. The
wanderer then comes to a new realization:

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Good, he who keeps faith, nor too quickly his
grief
from his breast makes known, except he, noble, knows how
beforehand
to do cure with courage. Well will it be
to him who seeks
favor, refuge and comfort,
from the Father in heaven, where all fastness
stands.

It is only through
the "Father in heaven" that one can find comfort. With this knowledge, the tone of the
poem changes. The poem has moved from a tone of sorrow to that of hope in ones
faith.

How did the role of women change as farming became more routine?

With the development of agriculture and specialization,
most societies moved to a patriarchal social framework. Previously, when people were
basically hunters/gatherers, there was little gender distinction, as all participated,
although men were primarily hunters and women gatherers. With the development of
agriculture, humans became less mobile, and tended to live and work in designated areas.
With this development, men became primarily responsible for farming, marketing crops,
etc. and women became responsible for child rearing and chores which normally would be
performed near or in the household. Men became recognized as the heads of household and
had substantial authority over women and children, sometimes even the power of life and
death. Some societies remained matrilineal, with lineage traced from the mother; but
even these societies were strongly male oriented.

Compare the father in The Road by Cormac McCarthy to Katniss in The Hunger Games by Suzanne Collins.

This is an interesting question.  The most obvious way
that the two characters are alike is that both of them get put into harsh
conditions--against their will, and most likely caused by human weakness, cruelty and
war--in which they have to survive.  They did not choose to be in those situations, and
in their environments, they have to survive against nature and human brutality.  Katniss
must fight for her life as others try to kill her, and the father has to do the same,
with the added stress of caring for his son along the way.  It is a kill or be killed
environment that they have to survive in.

Another
similarity between these two characters is their fortitude in difficult situations.  The
father, probably not a brutal or aggressive man by nature, hauls a gun around and uses
it and other weapons when he needs to in order to survive.  Katniss is the same; it's
not like she goes around hunting people for fun on her own time, but when required to,
she steps up to the plate.  They both demonstrate the ability to survive, using
fortitude and strength of character.

They are also both
protecting people they care about.  The father protects his son, and Katniss protects
Rue, and eventually Peeta.  This drives them to survive even more; they aren't just
doing it for themselves, they are doing it for someone
else.

Lastly, they both manage to hold on to their humanity
throughout their brutal circumstances.  The father could have easily turned to barbarism
to provide more meat and protection for himself and his son, but he refused, and even
taught his son about "the light" that he should carry within him at all times
(humanity).  Katniss manages to bring humor, love, compassion and selflessness to the
games, something that is rarely seen.  Despite her circumstances, she remains human,
exemplifying the positive traits rather than the
negative.

I hope that those thoughts help a bit; good
luck!

Is Pride and Prejudice by Jane Austen an example of literary fiction or commercial fiction?

You seem to be asking if this great classic novel was
written primarily as a form of literature to be read or whether it was written by Jane
Austen for commercial reasons as a source of income. Well, it is an interesting fact
that in spite of the fame of Jane Austen in today's world and the way that her books are
widely read and studied now, actually Jane Austen received little fame or money for her
books during her lifetime. Although her family and close friends knew that she published
books, success and fame remained elusive for Jane Austen. This strongly points towards
the way in which she wrote not primarily for financial motives but for the simple
pleasure of writing and depicting the domestic scenes that occupy so much of her
fiction. It is interesting to note that Austen herself compared her style to that of a
miniaturist painter in the way that she produced detailed sketches of the foibles and
follies of her society in her satirical writings. Financial success was definitely not
the prime reason for writing her fiction. Therefore we cannot call this a commercial
novel.

What is the significance of the three truths that God wishes the angel to learn in Tolstoy's "What Men Live By," and how were they revealed?

The logic in Tolstoy’s beloved and inspirational story
“What Men Live By” seems a bit convoluted at times but gets sorted out if the subtle
shades of meaning are attended to. The three truths that the displaced angel learns
answer the questions:

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What dwells in man, What is not given to man, and
What men live by.

The answers
were revealed through daily living experiences in the shoemaker's cottage. One meaning
of "significance" is the import or consequence of a thing. If this meaning is used, then
the significance is that the truths released the angel Michael from his punishment and
allowed him to return to heaven. His punishment to live like a mortal man was given
because he allowed a dying mother to convince him that humans live by fulfilling the
needs they perceive as she thought of her new born infant daughters. Living on earth
with the shoemaker, Michael learned what humans truly live by, along with what dwells
within humans and what is not known by humans.

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I have been punished, but now God has pardoned
me. And I smiled three times, because God sent me to learn three truths, and I have
learnt them.

"Significance"
also means simply meaning. By this definition, the meaning of the three truths learned
by Michael are these. The first truth is that what "dwells
in" humans is love. The shoemaker's wife was bound up in fear for the winter and
adequately meeting their needs, then, when spoken to of God by her husband, she
remembers the admonitions to love and help those who are suffering. In so remembering
and doing, she showed Michael pity and that love dwells
within. Later, the second truth was revealed when the man
ordered boots to last a year, Michael could see by the presence of the angel of death
that the man's life would go no longer than that night. From this he learned the truth
that humans do not know their own needs; this is further significant because Tolstoy
makes the point that humans are meant to live in unity instead of in
solitude.

The significance of the third
truth is that what humans live by is love. Love, then, has
double significance: it is what dwells within and is shown as pity
and kindness, and it is what humans live by as others meet our needs. The significance
is compounded when the two are considered in relation to the second
truth: humans don't know their own needs.

Tolstoy is emphasizing his philosophy that humans are meant to live in
unity on a foundation of love that gives (as the shoemaker's wife gave) what is needed
to humans who do not know what they need (such as the man did not know his needs for
soft slippers) because what humans live by is love freely given (as the woman gave to
the twin girls). Tolstoy creates a closed circle of life that both begins
and ends with love: love is the motivating power
within a person and love is the saving gift that is received by
another person in a life in which one cannot know one's own true
needs.

The
orphans remained alive not because of their mother's care, but because there was love in
the heart of a woman, a stranger to them, who pitied and loved them. And all men live
not by the thought they spend on their own welfare, but because love exists in
man.

explain itMake me thy lyre, ev'n as the forest is: What if my leaves are falling like its own! The tumult of thy mighty harmonies Will take...

‘Ode to west wind’ is one of the most popular odes written
by P.B. Shelley. In the poem he shows his love to liberty and freedom through the west
wind.

In these lines “scarce seems….sore need” the poet is
telling about his days of boyhood, when he used to run with the wind. He says that such
an act never seemed to him as a mere vision. He says that he could became as he were in
his boyhood, he would never thus cringe (cower)to it(west wind) for
help.

“O left me…thorns of life”- in these line he request
the west wind to lift him as a wave, a leaf, a cloud, because he has fallen upon the
thorns of life. Means he is in a state of distress.

“I
bleed”- means he is suffering a lot because of his
distress.

“a heavy…bow’d”- a heavy Weight of years or as
the time has passed he is chained, bowed and humbled.

“One
to…. And proud”- because of his this situation he requests west wind  to be tameless
(uncontrollable), swift (quick) and proud like west
wind.

.

Ode to the west wind
is one of the most famous and powerful odes in English literature. It is written by P.B.
Shelley. In the poem the poet has personifies the west
wind.

In these lines the poet has shown his deep love for
freedom and liberty.

Make me….. Forest is: - in these lines
the poet asks west wind to make him its lyre as it makes the forest. Coz when the west
wind blows in the forest it produces a sad music.

What if
…..a deep- so what my leaves are shattered, your powerful music tones would fetch a deep
sound or music from the both and will produce a melancholic but sweet
music.

Be thou…. Impetuous One- you powerful spirit!! Be my
spirit. Make me as impetuous (swift) as u.

Drive my… new
birth!- drive the dead leaves of my thoughts in the universe as you drive the dead
leaves, so that a new life may arouse from
them..

In the short the poets wants west wind to
make him its lyre so that he can produce a sweet and melancholic symphonies. The poet
requests west wind to derive his thoughts into the universe. So that it may quickens the
birth of new ones.

Disscus some of the primary themes in The Cellist of Sarajevo by Steven Galloway.

In Steven Galloway's novel, The Cellist of
Sarajevo, several themes run through the story, delivered through the hope,
dreams and fears of the four main characters.

The first
character is the cellist: he is playing "Albinoni's Adagio." While he plays, people
stand in line nearby waiting for bread. In the blink of an eye, a shell explodes where
once a group of people stood hungry—now there is only a crater surrounded by the
wreckage of buildings and human beings. It is in that crater, a full day later, that the
cellist stands and begins to play the Adagio again—for twenty-two days he plays, one day
for each lost soul. The cellist is our first character.

The
second character is Arrow (not her real name), a sniper with a personal code of honor:
while other snipers kill indiscriminately, she will only kill soldiers, for they attack
"unarmed civilians." Arrow shoots and the cellist plays—two people from the same area,
but living very different lives. (Ultimately, she will be asked to protect the
cellist.)

The third character is Kenan. He has traveled
alone to the brewery in attempt to collect water for his family and a neighbor. He must
travel in this solitary way so that no one in the family is placed in danger—Kenan fears
the snipers. He feels a heavy responsibility—for he does not know how his family would
survive if he were shot and killed.

The final character we
meet is Dragan, the baker. He has sent his family from the city. He trades bread for
shelter. But the fighting has taken its toll on him and he struggles, unable to
differentiate between what Sarajevo was and what it has become. He seems to think that
if he isolates himself, he will be safe. However, putting one's head in the sand does
not work. In his "waking dream," his mind turns away from the reality that
is his home, to a time when...

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...people were happy, treated each other well,
lived without conflict.

The
Sarajevo of the past has been replaced with a worn-torn city, where people act in ways
that are foreign to Dragan, and perhaps foreign even to those people committing those
same "acts."

One theme is the desire to hold onto one's
homeland, whatever its condition—a common response among all four characters. There is
also the desire to protect those around them who they love: the community of family,
friends and the less fortunate is important to our
characters.

An important themes that allows all of these
characters to move forward is the hope that comes to them from the cellist's music:
perhaps this is something for them to hold on to, to hope for—a return to the way things
used to be. The theme here may be that music transcends even
war.

However, maybe the most human element thematically is
that good people are often called to move out of their comfort zones, challenged to
decide who they are and how they want to have the world see
them—who they want see when they face themselves in the mirror. The
search for self and personal meaning in a world torn by war is a
theme that lies beneath the rest. War does not have to define the man (or woman). The
desire of these people to hold onto their humanity is a central to this theme. In the
strength of these characters may lie the future of Sarajevo, and the music is the thread
of hope moving between their lives, connecting them all.

'Elizabeth in Pride and Prejudice develops critical awareness not only about herself but also regarding other members of her family.' Discuss.

You will find it helpful to read Chapters 35-37 to help
you answer this question. These chapters include the letter that Mr. Darcy gives to
Lizzie after hearing her reasons for refusing him, and also trace her famous
volte-face, or change of heart, that make her see things very
differently and also help her to discover how prejudiced she had
been.

In particular, Lizzie's self-revelation about her own
failings is based on what she discovers about Mr. Wickham and his true background, which
of course changes everything and helps her to see events in a new light. Consider how
she responds to this news after having thought about
it:

"How
despicably I have acted!" she cried. "I, who have prided myself on my discernment!--I,
who have valued myself on my abilities! who have often disdained the generous candour of
my sister, and gratified my vanity in useless of blameable distrust... Had I been in
love, I could nto have been more wretchedly blind. But vanity, not love, has been my
folly."

Seeing herself in a
different way also leads her to reconsider the charges that Mr. Darcy made about her
family.  Dwelling over the letter and re-reading it again and again causes her to see
the justice in Mr. Darcy's remarks about her family:

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They were hopeless of remedy. Her father,
contented with laughing at them, would never exert himself to restrain the wild
giddiness of his youngest daughters; and her mother, with manners so far from right
herself, was entiely insensible of the
evil.

Lizzie thus comes to
see in these three chapters her own pride and prejudice and how greatly it has blinded
her, but also the truth about her family is presented and viewed by
others.

According to the Epilogue of Guns, Germs, and Steel, what are the important factors in the development of civilization?This can be found in the...

Beginning on the second page of the Epilogue (page 406 in
the paperback edition), Diamond gives a list of four kinds of factors that determine
which continents will develop the most complex civilizations.  These factors are all
environmental or geographical.  They are:

• The
  number of species of plants and animals that can be domesticated in any given area.  The
  more species, the better for civilization.


• The chances
  for diffusion and migration within a continent.  If a continent has a long east-west
  axis, the chances of diffusion and migration are higher.  This makes the development of
  civilization more likely to occur.


• The ease of diffusion
  between continents.  The easier diffusion is, the more likely civilization is to
  arise.


• Total population size.  The more people there are,
  the more potential inventors of technologies that will lead to more
  civilization.

These are the factors cited by
Diamond in the Epilogue.

According to Guns, Germs, and Steel, which continent had a head start in 11,000 BCE?

In Chapter 1, Diamond is essentially saying that no
continent truly had a head start in 11,000 BCE.  11,000 BCE is just before the time when
agriculture is discovered.  Before this, no continent had any real sort of an advantage
in Diamond's mind.

Diamond says that all the continents
could have been said to have advantages at this time before agriculture began.  He says,
for example, that you could predict that Africa was the best off because it had been
populated by human beings for longer than any other continent had.  However, he says,
you could make just about as good a case for any of the other inhabited
continents.

The point of this is that all the continents
were essentially equal in 11,000 BCE.  It was only the development of agriculture that
caused them to diverge in the years following that date.

What is the theme in "The Giant's House"?

There are several themes in The Giant's House.
They include:

• The burden of being a
  social outcast or person with disabilities living among
  conformists.


• Learning forgiveness and acceptance when
  people treat you poorly or differently.


• Realizing that
  love can transform people suffering from
  tragedy.

James Sweatt, a boy doomed to grown
until he dies, and librarian Peggy Cort are outcasts in their small town. However, their
love anchors them and helps them rise above the derision and isolation they face in
their community. James is isolated by the disease that will kill him. Peggy is a social
pariah misunderstood by people around her. Her deep love and commitment to James,
however, helps her overcome the negative feelings about her neighbors. She dedicates her
life to James, demonstrating true love, even when she knows their relationship cannot
endure. Through James, Peggy is transformed by the power of love. She learns forgiveness
and acceptance. Her love for him sustains her even after his death when she bears a
child that she claims is his. Peggy is committed to keeping the giant's suffering, love,
and compassion alive.

Who discovers Duncan’s body in Macbeth?

In Macbeth, Macbeth and Lady Macbeth
conspire to murder Duncan so that they can satisfy their "vaulting ambition,"
(I.vii.27). Macbeth is so influenced by the prophesies of the witches who have assured
him that he "shalt be King hereafter," (I.iii.50), that he is both excited and disgusted
by his own, as he calls it, "earnest of success,"(132). Macbeth's determination wanes,
however, and it is up to Lady Macbeth to  persuade him; which she does by suggesting
that, if he does not murder Duncan and further his own aims, then he is a "coward in
thine own esteem," (I.vii.43), and is less of a man for it. Lady Macbeth goes on to
explain to Macbeth how they will kill Duncan and blame "his spongy officers," (71) for
the murder which Lady Macbeth calls "our great quell," (71). She is confident that, by
using the guards' own daggers, the guards will be found guilty. Macbeth is also
sufficiently persuaded.

Having prepared everything for
Macbeth and remarking that she would have killed Duncan herself, "had he not resembled
my father," (II.ii.12), Lady Macbeth is shocked at Macbeth's apparent confusion after
killing Duncan, especially as he has brought the daggers with him and so threatens their
plan to blame, "the sleepy grooms," (49) and she has to return them herself and hope
that their plan has not been
compromised. 

Macduff comes to
wake Duncan and after a brief exchange with Macbeth, he goes to wake Duncan. Macbeth,
trying to remain normal, chats with Lennox who remarks how the wind, during the "rough"
night, has caused chimneys to blow down and even how there were strange "lamentings,"
and even "screams of death," (II.iii.54) that made it a terrible night. When Macduff
returns to Macbeth and Lennox, he can barely contain his horror at having seen Duncan
dead and "the life of the building" (67) apparently "stole(n)." Having discovered the
body, Macduff wants to awaken the others and even tries to, ironically, protect "gentle"
Lady Macbeth from the horror.  Macbeth then tries to cover his tracks by admitting to
having killed the guards but, he claims, he did so when he saw what they had done to
Duncan. There are concerns about "treasonous malice," (131), and Macbeth will continue
scheming in an effort to ensure his place as king, at any cost.
 

Simplify : a) -6 square root (80) + 2 square root (75) - 8 suqare root (245) -14 square root (108)Perform the indicated operation.

We need to simplify the numbers inside the radical by
factoring out any perfect squares.

= -6 sqrt(16*5) + 2
sqrt(25*3) - 8 sqrt(49*5) - 14 sqrt(36*3)

= -6*4*sqrt(5) +
2*5*sqrt(3) - 8*7*sqrt(5) - 14*6*sqrt(3)

= -24 sqrt(5) + 10
sqrt(3) - 56 sqrt(5) - 84 * sqrt(3)

Now we simplify by
combining like terms, in this case terms with the same numbers inside the
radical.

= (-24 - 56) sqrt(5) + (10 - 84)
sqrt(3)

and we get the final answer
of

= -80 sqrt(5) - 74 sqrt(3)

In Chapter One of The Scarlet Letter, what legend accounts for the existence of the rose bush by the prison door?

The rose bush in this novel is another example of a
symbol, just like the character of Hester Prynne, that defies easy interpretation and
eschews classification. The narrator remains deliberately vague about how this important
symbol can be interpreted, but what I think your question refers to is one possible
legend that is cited as a potential explanation for the existence of the rose bush at
the prison door, which is a rather incongruous place for a such a beautiful flower to
grow. Note what the text tells us about this:

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This rosebush, by a strange chance, has been
kept alive in history; but whether it had merely survived out of the stern old
wilderness, so long after the fall of the gigantic pines and oaks that orgiinally
overshadowed it--or whether, as there is fair authority for believing, it had sprung up
under the footsteps of the sainted Ann Hutchinson, as she entered the prison door--we
shall not take upon us to
determine.

Thus we can see
that one potential story that explains the existence of the rose bush is that it sprang
up beneath the saint Ann Hutchinson as she entered the prison door, but the truth of
this rumour is never given.

What is the sum of roots of polynomial x^3-3x^2+2x?

The sum of the three roots of the given polynomial could
be found using Viete's relation:

x1 + x2 + x3 = -b/a, where
x1,x2,x3 are the roots of the polynomial and a,b are the coefficients of the polynomial
ax^3 + bx^2 + cx + d.

We'll identify the value of the
leading coefficient as a = 1 and the value of b = -3.

The
sum of the roots will yields:

x1 + x2 + x3 =
-(-3)/1

x1 + x2 + x3 = 3

We
could solve this problem, finding the roots of the polynomial first, then calculating
their sum.

x^3 - 3x^2 + 2x =
0

We'll factorize by x:

x(x^2
- 3x + 2) = 0

We'll cancel each
factor:

x1 = 0

Since the sum
of the roots of quadratic within brackets is 3 and the product is 2, the roots will be
x2 = 1 and x3 = 2.

The usm will be x1 + x2 + x3 = 0 + 1 + 2
= 3.

Therefore, the sum of the roots of the
given polynomial is x1 + x2 + x3 = 3.

How and why is sequencing important in a piece of literature, using "Contents of a Dead Man's Pocket" as an example?

Sequencing is a very important part of plot, conflict and
theme development in literature. Thus it is also important to character development
since much character development comes from plot complications and resolution.
"Sequence" is defined as "an arrangement of two or more things in a successive order"
(Collins Dictionary). Sequencing is how events in the plot complications, conflicts and
resolutions are arranged in successive order.

Some works
are not sequenced in chronological order. This is because some sequencing is interrupted
by flashbacks and flash-forwards. Flashbacks provide "backstory," or what happened
before we meet the characters. Flash-forwards give a glimmer of future potentialities,
in other words, of what might happen. These flash-forwards can be good or bad. They
often help build suspense and a feeling of dread or, conversely, complacency (watch out
for the plot twist after complacency!). Modernists violate chronological sequencing
intentionally. They do this to create a sense of fragmentation in time, perception of
reality and characterization.  

Using "Contents of a Dead
Man's Pocket" as an illustration, sequencing is important in chronology and in
flash-forwards. The sequential description of his actions and thoughts at the beginning
of the story build interest and a sense of impending trouble. The sequential detailing
of every minute action Tom takes builds suspense. The flash-forwards to the potentiality
of falling to his death adds further suspense and horror while building deep sympathy
with him.

He
saw himself falling with a terrible speed as his body revolved in the air, knees
clutched tight to his chest, eyes squeezed shut, moaning
softly.

If (sin^4 X)/a + (cos^4 X)/b = 1Prove that 1/(a+b)^3 = (sin^8 X)/a^3 + (cos^8 Y)/b^3

Since `(sin^4 X)/a + (cos^4 Y)/b = 1`  and `1 =
((a+b)^3*(sin^8 X))/(a^3) + ((a+b)^3*(cos^8 Y))/(b^3), ` we'll equate them and we'll
check if the expression represents an identity.

`(sin^4
X)/a + (cos^4 Y)/b = ((a+b)^3*(sin^8 X))/(a^3) + ((a+b)^3*(cos^8
Y))/(b^3)`

We'll multiply the 1st fraction from the left
side by `a^2*b^3`  and the second fraction by `a^3*b^2`
.

`[a^2*b^3*(sin^4 X) + a^3*b^2*(cos^4 Y)]/(a^3*b^3) =
[b^3*(a+b)^3*(sin^8 X) + a^3*(a+b)^3*(cos^8
Y)]/(a^3*b^3)`

Since the denominators are equal, we'll have
to prove that the numerators are the same:

`[a^2*b^3*(sin^4
X) + a^3*b^2*(cos^4 Y)] = [b^3*(a+b)^3*(sin^8 X) + a^3*(a+b)^3*(cos^8
Y)]`

`` `[a^2*b^3*(sin^4 X) + a^3*b^2*(cos^4 Y)]/(a+b)^3=
b^3*(sin^8 X) + a^3*(cos^8 Y)` `{a^2*b^2*[b*(sin^4 X) + a*(cos^4 Y)]}/(a+b)^3=
b^3*(sin^8 X) + a^3*(cos^8 Y)`

Since we
cannot use the Pythagorean identity `sin^2 a + cos^2 a = 1` , because the angles x and y
are not the same, the expression above does not represent an
identity. 

What should I say in an essay on the idea that the law of marriage in Australia should be amended to allow homosexual couples to marry?

There are many points that you could bring up in an essay
on this subject.  Among them are:

• Equal rights. 
  You could argue that people should not be discriminated against simply because they want
  to marry someone of their same sex.  Gay marriage, you could say, is nothing more than a
  part of giving people equal rights.


• Law should not be
  driven by religion.  This is a point you could make to refute one of the major arguments
  against gay marriage.  You could argue here that the main reason to ban such marriages
  is that they are against traditional Christian morals.  You could say that it is not
  right for the government to enforce the moral beliefs of a particular
  religion.


• Gay marriage is actually good for society. 
  Here, you could argue that society benefits when people remain in committed
  relationships.  If family is the basis for society, shouldn't we want more people to be
  in stable families?  Allowing gay marriage would be a way to promote
  this.

If I were writing a 5 paragraph essay on
this issue, these would be my three main arguments.

I must write something about carpal tunnel syndrome and I have no idea what it is. Pls,help me!

You have carpal tunnel in each of your wrists. It is
formed by the carpal bones and the ligament that connects them with each other to form
your wrist. A nerve that runs from your brain to your fingers passes through the carpal
tunnel along with tendons that connect muscles of your fingers and hands to the
bones.

When you make the same type of motion with your hand
or wrist repeatedly, the tendons being used to make that motion may become swollen due
to being overworked. If they become too inflamed, they press on the nerve passing
through the carpal tunnel, which can cause pain, numbness or weakness in the affected
hand.

The easiest way to prevent carpal tunnel syndrome is
to be aware of the types of movements you make with your hands and be careful about how
you make them. Variations in movements help when possible. Braces to prevent your wrists
from bending may be needed. In some cases, surgery is needed to relieve the pressure on
the nerve.

What does Reverend Parris' trying to say in the below quote from The Crucible?"There is either obedience or the church will burn like Hell is...

Much about Parris' character is revealed in the quote
featured.  The idea of a world where only binary oppositions exist is something that
lies at the root of Parris' character.  Either there is complete love for Parris or he
is convinced that his "flock" is driving to subvert him.  Either someone is in total
accord with each and every single thing that he does or he is convinced that the
individual is a witch and an agent of Satan.  Either Parris is in total control or he
views himself as being discarded.  Parris sees the world in strict binary oppositions,
like much of Salem.  There is no complexity, no nuanced state of being, and
consciousness is not intricate.  This is why the fundamental idea in the quote is
relevant to Parris.  Either Parris will have total devotion from his followers, or
obedience, or he believes that the church will suffer.  In this, Parris draws a
distinct, a line in the sand, where he either gets total submission from members of the
community or those who dissent are cast into hell.

To a
large extent, Parris' statement is a direct attack on Proctor.  This is why Proctor's
line in response is whether or not Parris can actually stop talking about Hell and
damnation.  Parris' quote is meant to silence expression and dissent and "fall in line"
with the church's demands.  Proctor has represented an opposite approach to this in that
he is not an advocate of the organized religion of the church because he is not an
advocate of Parris.  In this, Parris recognizes Proctor to be a threat and develops the
argument that in its most base form is "Either you are with me or against me."  Parris
figures that motivation by fear is the best way to ensure allegiance and loyalty. 
Proctor does not see reality in such a mnner.

In the end,
Parris quote is meant to convey the sense of fear of "the other" that gripped Salem. 
Miller is wise enough to make the argument that Parris and those in the position of
power helped to create this fear, one that after being properly stoked, such individuals
could simply say that they are "following the will of the people."  Statements like
Parris in which individuals remain silent and follow church orders or are condemned to
Hell is a reflection of such a condition in Salem.

What four accounts does the Prince hear in Romeo and Juliet?Act 5 scene 3

The first account is given by the First Watchman who
reveals to the Prince that Romeo and Paris are dead and Juliet, who was already thought
to be dead, had apparently come back to life and died again.  He also brings him Friar
Lawrence who is in possession of a crow bar capable of opening a
tomb.

The second account is the most in depth and was given
by Friar Lawrence, who knew more than anyone else about the events that led up to the
evening.  He explained how Romeo and Juliet fell in love and he married them secretly in
hopes it would end the feud between the Capulets and Montegues.  He said he was planning
on revealing the truth, but then Romeo killed Tybalt and the Prince banned Romeo from
Verona complicating the situation.  He said the problems only magnified when Lord
Capulet forced Juliet to marry Paris, a request she couldn't follow through with under
God.  The Friar then confesses to offering Juliet a potion that would make her appear
dead, knowing she would be taken to the Capulet vault.  Romeo would then sneak back into
the Verona, meet up with her at the vault, and they would live together happily ever
after.  This plan fell through, though, when the Friar’s assistant could not send the
message due to the quarantine enacted at the border.  Knowing the plan would fail, the
Friar said he rushed to the vault to reach Juliet just as she was waking up.  He said he
feared she would harm herself, so he offered to take her to a convent, but she declined
so he left.

The third account is by Balthazar who explains
how Romeo learned of Juliet’s death when he traveled to Mantua to tell him of the
tragedy.  The two then traveled to the tomb, where Romeo gave him a letter to give to
his father.  Balthazar then said he left the scene because Romeo threatened him if he
did otherwise.

The fourth account is given by the Page who
testifies Paris came to the vault to bring flowers to Juliet, but a man with a torch
opened the tomb and the two began to fight.  The Page said he ran to get the Watchman as
soon as the fighting started.

What is the meaning of "school friends?"

I think that some more clarity would help here. When I
hear of the idea of "school friends," I consider them to be "acquaintances."  They are
the type of people with whom you are able to freely engage at school over school related
matters.  A particular class, a specific homework assignment, or even the general timbre
of your respective studies are the topics upon which your association is based.  The
differentiating point between "school" and "real" friendship is that the relationship is
predicated only upon school.  The association you have is only because of the shared
experience in schooling.  Outside this realm, there is little, if anything, upon which
to base an attachment of emotional investment.  It is for this reason I would consider
the concept of "school friends" to be akin to professional "acquaintances."  I think
that school friends are important because they represent one of the first steps to this
professional setting.  There will be many people in the workplace with whom interaction
is based solely on work, and that is part of the dynamics of being in the workplace.  In
my mind, the idea of "school friends" is a part of this process.

Consider "Telephone Conversation" by Wole Soyinka as a fine example of dramatic monologue.

This is a truly excellent poem about racial differences
during a time of Britain's history when racial lines were clearly drawn between whites
and other ethnic backgrounds, and respectability was based on how "white" you actually
were. However, if we examine this poem as a dramatic monologue, there are several
aspects that point towards the way that this poem does not fit this description. Let us
remind ourselves of the definition of a dramatic monologue. A dramatic monologue is a
poem in which a speaker who is not the poet addresses a listener who does not speak.
Normally, dramatic monologues do not contain any authorial intervention. We are left to
draw our own conclusions about the speaker from what they say and how they say it. An
excellent example of a dramatic monologue is "My Last Duchess" by Robert
Browning.

Considering this definition and applying it to
"Telephone Conversation" shows that there are lots of ways in which we cannot consider
this poem to be a dramatic monologue. Firstly, the main speaker is also the narrator of
the poem. Secondly, he is not the only speaker, as we can hear some of the words of the
woman he is calling. Thirdly, the speaker does not just leave us to draw our own
conclusions about the scene, and intervenes to point us in the right direction. Consider
the following example of this:

readability="12">

"Madam," I warned,
"I hate a wasted
journey—I am African."
Silence. Silenced transmission of
Pressurized
good-breeding. Voice, when it came,
Lipstick coated, long gold
rolled
Cigarette-holder pipped. Caught I was
foully.

We are not left to
draw our own conclusions about the lady and her racial presumptions. The speaker even
goes as far as to imagine the woman by the kind of voice she has. His comment "Caught I
was foully" transmits the irony of the poem. Thus, for these three reasons, I don't
think we can consider "Telephone Conversation" to be a dramatic monologue. It certainly
has elements of this poetic form, but apart from these it is not a dramatic
monolgue.

Discuss the symbolism of the nightmare sequence in The Night Thoreau Spent in Jail.

The nightmare sequence that happens in Act II of the play
is symbolic of Thoreau's fear of not being socially active.  It is symbolic because he
realizes that while he is demonstrating a commitment to his ideals by being imprisoned,
doing so prevents him from taking an active role in stopping bloodshed and what he
perceives as injustice.  The symbolic nature of the President, Waldo Emerson, being
silent when he speaks and not able to take action is something that haunts at Thoreau. 
His idol and leader has gone silent at a critical time.  While this does cause
disillusionment, Thoreau also understands that there is a need for him to be active, for
him to speak out and be more aggressive in articulating his dissent.  The symbolism of
many characters that Thoreau encountered having active roles in the machinery of war
horrifies him.  He realizes that his own personal desire to stand by his principles
translates into no one speaking out against the war.  He realizes this through the
nightmare, symbolizing Thoreau's need and passion to stand against
injustice.

How do Plato and Aristotle define the good?

Both philosophers make the argument that "the good" is
something that must be pursued as part of one's nature as a human being.  At the same
time, both of them understand this pursuit as something that must take commitment and a
sense of courage in order to embrace and, eventually accomplish.  Yet, both thinkers
define "the good" in different ways.  For Aristotle, this is an internal quest. 
Aristotle believes that every human being has a "good" end within them and they must
recognizes this.  Ethical conduct comes out of this understanding.  It is here where
Aristotle defines this pursuit as the "golden mean" where individuals recognize good as
the balance between two ends.  For example, ambition is good, but too much can be bad. 
Ethical conduct for "the good life" is found by the individual in this moderation. 
Plato differs in his notion of "the good."  Plato defines "the good" as the embrace of
"the form," the ultimate good.  This is an external reality that Plato readily admits
not everyone can achieve.  The "form" is an ultimate good that defines "the good."  In
this, Plato's conception of the good is something that is divergent from
Aristotle's.

There are several contractions of words that I cannot figure out in Twain's writing: "That last fight of his'n, and the way it turned out." ...

"His'n" is a slang contracted version of the words "his
one," meaning something that belongs to him. It derives from the dialect of the
19th-century American South. Similar contractions appearing around the same time are
"your'n" and "her'n." The contraction would seem to refer to a singular possession, but
as its usage became more common, it came to be used in reference to singular or plural
possessions.

Usage of the word tends to be by rural populations and
appears to transcend racial boundaries.

I found the word used in the
1853 book "Weren't no good times: personal accounts of slavery in Alabama," edited by
Randall Williams. And Sojourner Truth is quoted as using the word in 1858 in the book "A
scholar's conscience: selected writings of J. Saunders Redding, 1942-1977" by Jay
Saunders Redding and Faith Berry.

In more current day usage, former
Houston Oilers head coach O.A. "Bum" Phillips was quoted in numerous sources in November
1992 as praising legendary Miami Dolphins head coach Don Shula in this way: "He could
take his'n and beat your'n; or take your'n and beat
his'n."

It's no surprise you found the word in a work by
Mark Twain. He was a master of the American Southern
dialect.

Hope this helps. Good
luck!

In what ways does "The Negro Speaks of Rivers" reflect quite well the statement that poetic images are evocative.

In "The Negro Speaks of Rivers," Langston Hughes writes of
rivers. Rivers are a life source and have existed throughout history. So shall the black
man or woman exist throughout history.

The first person
voice is a "collective voice of black people from ancient times (3000 b.c.e.) to the
present." When the speaker states that his "soul has grown deep like the rivers," he is
linking "the movement and endurance and power of the great rivers to black
history."

Just as the rivers have endured throughout
history, so has the black man endured. Just as the rivers have been a source of life for
centuries, so shall the black man exist right beside these great rivers. The black man
is an permanent image just as the rivers are permanent images. As long as there are
rivers, the black man shall survive. No doubt, the "purpose of the poem seems to evoke
feelings of cultural connectedness."

The poem is "perhaps
the most profound of [Hughes] poems of heritage and strength." The speaker of the poem
recognizes a connection to Africa and African culture as he speaks of
rivers.

No doubt, the black man shall exist and endure and
grow deep as the rivers. Just as the rivers run and cut through obstacles of earth and
rock, so shall the black man or woman persevere through trials and
tribulations.

The poem evokes feelings of pride and
strength. It is a celebration of the black
experience:

I
bathed in the Euphrates when dawns were young.         I built my hut near the Congo and
it lulled me to sleep.

I looked upon the Nile and raised
the pyramids above it.   I heard the singing of the Mississippi when Abe Lincoln went
down to New Orleans, and I've seen its muddy bosom turn all golden in the
sunset.

For a summer reading project, I have to summarize the internal conflict between Walter vs. Himself. SO, what is one conflict of Walter vs....

Walter is in conflict with himself. He is dissatisfied
with his occupation as a chauffeur. He desires to have his own business. He struggles
with low self esteem. He is unhappy in his life. He is thirty-five and his ten-year-old
son still sleeps on the couch.

Indeed, Walter feels as if
he is a poor provider for his family. He cannot afford to get his own family a house.
Walter is tired of the struggle to make ends meet. He is tired of feeling like less of a
man. He is ashamed of the fact that his occupation is
subservient:

readability="7">

He works as a chauffeur, a job he finds
unsatisfying on a number of levels but most particularly because he does not desire to
be anyone's servant.

He
desires to be his own boss and have his own business. Walter is a bitter black man who
feels black men have it harder than white men. No doubt, Walter is in conflict with
himself. He feels defeated. He is at war with himself. He desires to be a better
provider for his family.

What was the Importance/significance of Theatre in Ancient Greek society?

Theatre in Ancient Greece was popularized in Athens around
550 B.C Theater was an important part of the cultural festival of Dionysian. Dionysus
was the Greek god of grape harvest, and wine, and served as a symbol of pleasure and
ecstasy within Greek culture. Theater was an important part of this festival, and
represented its climax.

Greek theater served as an
important tool by which cultural exchange could take place. Plays commonly referenced
important, political, social, cultural and religious themes. They offered new views and
asked thought provoking questions, and helped to form what we have come to know as the
philosophical and moral base of Greek culture.

Doing so
with the use of what were at the time novel theatric devices such as, costumes, masks,
staging, acting, singing, and sarcasm.

In M. Scott Momaday's work The Way to Rainy Mountain, where does Momaday's journey begin and end?

This is an interesting question, as the text itself is
rather nebulous and unclear when it comes to trying to work out where it begins and
ends. The use of flashbacks and the omission of transitional passages makes it very
difficult to determine. However, the two main views about this text are as
follows.

Firstly, some critics argue that after the death
of his grandmother, the narrator first goes to her home in Oklahoma, which is near Rainy
Mountain, a site of vital importance in the history of his Kiowa ancestors. From there,
having evoked the birth of his grandmother, he retraces an earlier journey his ancestors
made from northern lands to Oklahoma, where the narrator ends up at the end of this
piece for the second time.

Other critics believe that the
narrative is actually based on one single pilgrimage by the narrator, and that he does
not reach his grandmother's home until he has retraced the footsteps of his
ancestors.

The uncertainty surrounding this issue actually
leads us to believe that specific questions regarding why and where are not the focus of
this tremendous narrative. Momaday's reflections on natural wonders and his memories of
his grandmother are the focus of this piece, and we understand that this is not a
precise narrative of a geographical journey, but rather a journey back into the mists of
time.

in the short story "Growing Up" by "Joyce Cary" , what instances make Robert feel that his relation with his daughters is changing because of their...

The first instance where Quick feels a change in his
daughters is the lack of enthusiasm for his return. The girls had been in tears when
they missed him, but this time they are unmoved: Jenny lies reading a book, and Kate
sits thoughtfully on the swing. As he realises their actions are not as he expected,
Quick muses on the change in his daughters-

readability="7">

Jenny… was growing up more quickly than Kate, and
she was going to be an exciting
woman,

He realises that the
fault is his: his expectations of his children have not
altered-

readability="5">

 Quick was amused at his own
disappointment.

He is more
disturbed by their cruel treatment of the family dog. The girls throw anything they can
at the poor creature to get it to leave, yet Quick sees it is in “acute
misery”

The story becomes more sinister as the girls extend
their red Indian game by attacking their father. He is shocked and hurt by their wild
behaviour-

It
seemed to him that something new had broken in to his old simple and happy relation with
his daughters;

Quick then
seeks to retreat to his club and be in the company of men, planning to return when the
children are in bed.

Critically comment on "The Nonne's Preestes Tale" by Chaucer.

Many of the most famous Canterbury Tales by Geoffrey
Chaucer deal with the dynamics of marriage, and here we have a hen-pecked husband.  When
he tells his beloved Pertelote that he dreamed he was attacked by a "yelow and reed"
beast (a fox), his wife questions his manhood (should I say roosterhood?) much as Lady
Macbeth questions Macbeth's in order to prod him into killing King Duncan.  "Now han ye
lost myn herte and al my love, I kan nat love a coward, by my feith!  For certes, what
so any womman seith, we alle desiren, if it myghte bee, to han housbondes hardy, wise,
and free, and secree, and no nyugard, ne no fool. . . .How dorste ye seyn, for shame,
unto youre love that any thyng myghte make yow
aferd?"

Pertelote not only questions the idea of her
husband being afraid of anything, she is particularly put off that
he should be afraid of a dream.  "Allas! and konne ye been agast of swevenys [dreams or
visions]?  Nothyng, god woot, but vanitee in sweven is." And here is where it begins to
get fun: first she quotes an ancient authority, Cato, as saying dreams have no meaning.
 Chaucer is mocking the medieval penchant for basing most arguments upon the precedents
set by ancient authors or authorities. (Note: the Wife of Bath begins her story by
comparing her personal experience against the dictums of the authorities.)  Pertelote
next puts forward a rational, scientific explanation for the source of dreams, complete
with illustrations.  Dreams come from overeating, she asserts, which throw the body's
"humours" out of balance.  Thus the dream of a red beast comes from an overabundance of
Chanticleer's "reed colera" which causes people to have nightmares of arrows, of fire
with red flames, and of red beasts that bite.  She continues to describe imbalances of
another humour, melancholy, the black humour that leads to dreams of black bears or
bulls or black devils.  

Now, having a physical cause for
his dream, Pertelote prescribes a physical cure: eating the proper herbs will fix him
right up!  For convenience, I will use David Wright's translation from the 3 volume
Folio Society Dual Language edition (1985).

readability="11">

Now sir...take...some laxative...purge yourself
of the red choler and black melancholy.  To save time, as there's no apothecary here to
be had, I'll be your guide myself and show you herbs to benefit your health; and in our
own yard I shall find hose herbs which have a natural property to purge from top to
bottom, above and beneath...
(197)

Chanticleer's response
is the first to challenge Pertelote's reference to Cato by citing a greater authority,
Cicero, who he says tells a story of two friends who set out on a pilgrimage, only to
have one of them murdered while the two are separated.  It's worth noting that we now
have a story in a story in a story, for the Nun's Priest's Tale began with a tale of a
poor widow, shifted to the story of her rooster's bad dream, and now the rooster is
telling his mate a third story, which will be followed by a fourth with other examples
before the rooster's own adventures continue.  But in essence, the Cicero story tells of
how one friend was visited by his missing friend in a dream, who warned him to come
quickly, for he was about to be murdered.  This repeats a few times until the forlorn
ghost appears in the dream to say too late!  But he tells where his body can be found.
 And of course, it all turns out to be true; the dream vision was not meaningless
nonsense, but a true warning of what was about to happen.  I also must point out that
the tale contains the expression, "Mordre wol out"--or Murder will out, which most
people attribute to Shakespeare's Macbeth, but appears here in
Chaucer two centuries earlier!  In any case, the tale presents this conflict: dreams are
nonsensical responses to physical disorders in the body and can be cured with the proper
medicines or foods versus dreams are important visions from the
spiritual realm that can warn us of what is to come.  It's interesting to note that the
stereotypical roles are reversed—some might expect the male to be the voice of science
and reason and the woman to represent more spiritual, mysterious thinking.
 

Well, the rooster listens to his wife and ignores his
dreams warnings.  Therefore he is nabbed by the fox, who as noted in the previous
answer, uses flattery to seduce Chanticleer into closing his eyes long enough for the
fox to nab him, only to be tricked in turn by the poor rooster, who fools the fox into
opening his mouth to taunt the widow and her family who are pursuing them--giving
Chanticleer a chance to fly up into a tree.  The fox tries flattery again, trying to
coax the rooster down, but the rooster will not be fooled twice.  Thus, the latter
portion of the tale does reflect a moral about not trusting flatterers, but there is
also this moral, provided in Latin by Chanticleer himself: "In principio Mulier est
hominis confusio," which the rooster wrongly translates to mean woman is man's joy and
all his bliss.  The astute reader, however, need not know much Latin to discern that the
true meaning is: principally, woman is man's confusion (ruin). Thus a second moral
emphasized in the tale is don't let women lead you astray.

Compare and contrast what is considered " the Rise of Consumer Society" in both the Upper and Middle classes.

I do not think there is a perceptible rise in "conpicuous
consumerism" in the upper classes, they don't need to show how rich they are; in the
middle classes the rise in consumerism, (hence the consumer society) is related to the
advent of the media, from periodicals and journals in the 19th century to the techno
media we have today.

This works in 2 ways: by absorbing
advertising telling us what we "need", then by not only purchasing the article "needed"
but also diplaying you have that article.

Why spend
£120,000 on a car which does more or less the same thing as a £500 second hand
banger?

One can rationalise -better safety, improved
performance, and other supposedly sound reasons for not spending £119,500 on you family.
but how valid are these arguments?

Owt else you need to
know?

Is Creon in Antigone a tragic hero in Aristotle's definition: The definition of tragic hero by Aristotle: 1) Elevated & essentially good 2) must...

If we used Aristotle's definition of the Tragic Hero, I
think that there are some fundamental truths revealed about Creon's character. 
Certainly, he fulfills some of the characteristics that Aristotle outline. His
"hamartia" of pride and excessive faith in his own rule causes his downfall.  He refuses
to yield and chooses his confrontation with Antigone to be his "line in the sand."  This
ends up proving to be disastrous.  He does accept some level of needing to relent, and
in this, there is responsibility accepted, but it comes too little too late as he is
unable to avert the suicides that result on the count of his own intensity.  Yet, the
ending does reflect his own sense of awareness at his pathetic nature, and brings about
an understanding of recognition at what he has done:

readability="16">

Let this rash man be led out of the
way,
who, my child, unwillingly slew you,
and this woman, you,
too—alas! I have
no where to turn to, nothing to lean on,(1345)
for
everything goes cross in my hands,
and a difficult fate falls on my
head.

Preceding this, Creon
referred to himself in the following manner:

readability="5">

I don't exist any more; I'm no
one.

I think that both of
these reflect Creon's understanding that what he has done is wrong and that his actions
are responsible for what has happened.

We really don't
know if Creon is a "better person" for what has happened.  He does not commit himself to
the betterment of others, as Oedipus did after his fall from grace in his commitment to
his children.  Creon simply blames himself, still seeing himself in the self- indulgent
manner that caused the tragedy in the first place.  We don't see Creon assert a better
understanding of his place in the world as a result of what happened, and for this, we
don't know if he becomes a better person.  This links us back to the first standard
identified in whether or not we can say that Creon is a good person from the most
initial of standpoints.  Unlike Oedipus, who discovered his own sin out of the basic
element of wanting to help his people, Creon's goal is self serving, seeking to only
enhance his own power and control over rebellion and insurrection.  There is little in
his character that indicates goodness or something that allows us to cling to in
recognizing his goodness.  It is here where I am uncertain if he fulfills this
characteristic of Aristotle's tragic hero.  In this light, I believe that we have some
traits being represented and some attributes absent.

What is a 19th Century Roman Gothic structure in the Washington National Cathedral?

Washington National Cathedral has a sculpture of Darth
Vader on the northwest side of the Cathedral. The villain from the Star Wars franchise
was placed high on the northwest tower of the Cathedral, fulfilling the role of a
traditional grotesque. The creation was added in the 1980’s after the architects decided
to have a contest for children to create the grotesque for the tower. The sculpture of
Darth Vader can be found at
http://www.nationalcathedral.org/about/darthVader.shtml

A
grotesque is a decorative figure that originated in the style of Ancient Rome. It then
spread to Italy and Europe and since the 18th century a grotesque has been used to
describe a strange, ugly, unpleasant, shape or form. Grotesque forms are seen on most
Gothic-style buildings.

How did Herbert Hoover respond to the demands of the Bonus Army?

In essence, Hoover responded to these demands by rejecting
them.

The "Bonus Army" was a group of WWI veterans.  In
1924, Congress had voted to give WWI veterans a monetary bonus of about $1,000 each that
would be fully payable in 1945.  The Bonus Army wanted to get that money in 1932 because
of the problems that they were having due to the Depression.  Congress considered a bill
to do this, but it was rejected by the Senate.

Hoover did
not want the bonus paid out in 1932.  He opposed payments because he felt taxes would
have to be raised to fund them.  After the bill was rejected, Hoover ordered the army to
move against the Bonus Army and evict them violently from the camps that they had
erected while they waited to see what would happen with the bill.  It is for these
reasons that I say Hoover rejected the demands of the Bonus
Army.

What is the Socio-economic background of 'The Sniper' ?

It would be difficult to determine the socio-economic
class of the sniper himself since this story takes place during the Irish Civil War and
soldiers came from many economic classes. He is a Republican, which means he was
fighting for the government, but there are not enough hints in the story to tell the
reader what the sniper's socio-economic class was.
 

However, it is possible to give the socio-economic
background of the place in which they are fighting. First of all, it is in the city of
Dublin, the capital of Ireland and seat of its government.  At the end of the story, the
sniper "peers around the corner into O'Connell Street".  O'Connell street is the main
street of Dublin. In the first paragraph it says that "Around the beleaguered Four
Courts the heavy guns roared."  The Four Courts building housed the four courts of
Ireland: the Chancery (Circuit Court, handling licensing,taxation, and any of the King's
affairs), Exchequer (a superior court that dealt mostly with revenue), King's Bench (the
Supreme Court), and Common Pleas ( subject vs. subject).  The building was designed by
James Gandon, who was the architect of the Customs House, although it was heavily
damaged in this civil war. At one time this building was considered one of the finest
buildings in Dublin.

Then at the beginning of the second
paragraph it says "On the rooftop near  O'Connell Bridge, a Republican sniper was
watching."  The O'Connell Bridge was also designed by James Gandon.  It flows over the
River Liffey, which is also named in paragraph one.

Based
on the buildings and streets surrounding this story, it appears to be an upper class
neighborhood. The buildings have designers, government officials did business here, and
it is the center of the capital.  You will note that it says "Everywhere around was
quiet.  There was not much danger in going through the streets".  All the important
people had fled to safety, and the ones left were the soldiers.

What is an incident that supports the secondary theme, "Oh, what fools these mortals be," in Shakespeare's A Midsummer Night's Dream ?

Puck say this in the play " Lord, what fools these mortals
be!"

Some examples of foolishness are Bottom, who mixes up
his words. He is also made a fool of, when he is given the head of an
ass.

Demetrius shuns the woman who loves him (Hermia) and
chases the woman who does not love him (Hermia).

Hermia
disobeys her father and the Duke even though she knows that the result could lead to her
death / life in a nunnery.

The foolish behaviour of the
lovers is due to Puck and Oberon's interferance (magic eye drops) and not of their own
making.  It is easy for Puck to blame them for the foolishness but he fails to see he is
the cause.

Duke Theseus also implies foolishness/madness
when he compares lovers to madmen.  He says, "lovers, like madmen and poets, are
fantasists, "of imagination all compact " (Act 5, scene 1, 8).

Compare and contrast Mama in "Everyday Use" with Lucinda Matlock in the dramtic monologue in "Lucinda Matlock" by Edgar Lee Masters?

Mrs. Johnson ("Mama") from Alice Walker's "Everyday Use"
and "Lucinda Matlock" from Edgar Lee Masters' poem of the same name feature two
self-sufficient, small town, domestic matriarchs who have a no-nonsense attitude toward
the "spoiled" generation who have taken them for
granted.

Specifically, Mama chides her daughter Dee for
forsaking her backwoods culture by pretending to be a Black Nationalist college rebel.
 She give Maggie the heirlooms (quilts) because her younger daughter is humble and
hardworking like her.  This corresponds to the last part of "Lucinda
Matlock":

What is this I hear of sorrow and
weariness,

Anger, discontent and drooping
hopes?

Degenerate sons and
daughters,
20
Life is too
strong for you—

Dee is a "degenerate" daughter, not because of her
"sorrow and weariness" necessarily, but because of her fickle identity and shame of her
native culture.  Instead of using the quilts for everyday use, Dee will hang them on her
college dorm wall as a sign of "culture."  In other words, Dee does not live life: she
borrows from it.  Maggie, on the other hand, knows how to generate life: she can quilt,
sew, clean, cook, and eventually raise kids.  Maggie, it seems, will live long, like
Mama and Lucinda.

Some differences: Mama is single,
unmarried, or divorced.  She's had to go it alone for a long time.  There's no mention
of a "Mr. Johnson" at all.  Obviously, Lucinda Matlock has had a husband for a long
time:

And then I found Davis.

5
We were married and lived together for seventy
years,

Enjoying, working, raising the twelve
children,

Lucinda has had many more children than Mama as a result.
 She seems not have issues with her own children, like Mama has with Dee, but she has
issues with the next generation of "sons and daughters," so her denunciation of them is
not literal, but metaphorical.

Also of note are differences
in tone/style.  Obviously, Mama's narration is in the form of a short story, while
Lucinda uses a poetic and dramatic monologue.  But, Mama's voice is much more
regional/vernacular: she uses slang, intimate language.  Lucinda's voice is more
metaphorical: she's speaking more abstractly from the grave.  As such, Mama's narration
is grounded more in realism, while Lucinda's is more supernatural, not as
naturalistic.

What are the 16 personalities that Sybil had?

Ever since I saw the television movie in which Sally Field
starred in the 1970s, I have been fascinated with the story of the woman called Sybil
Dorset. The story is about a patient of psychiatrist Cornelia Wilbur whom Wilbur
diagnosed as having 16 distinct personalities inside her mind. In recent years, that
patient has been identified as Shirley Ardell Mason, who died in 1998 after divulging
her secret to a friend. There is some question as to whether "Sybil" really had multiple
personalities or whether she was performing to please Dr. Wilbur. Since both Wilbur and
"Sybil" are dead, we'll probably never know for sure.

Here
is a list of the personalities:

• Sybil, the main
  personality


• Vicky--the personality who knew all the
  others and represented Sybil's confidence; spoke with a French
  accent


• Ruthie--a baby who never grew beyond
  infancy


• Helen--depressed and fearful, yet ambitious and
  determined to achieve fulfillment


• Marjorie--happy and
  carefree; enjoyed intellectual pursuits


• Peggy
  Louisiana--angry, violent, aggressive


• Clara--very
  religious; disliked Sybil and saw her as
  hopeless


• Marcia--similar to Vicky but spoke with an
  English accent; was an artist and a
  writer


• Mary--represents Sybil during menstruation; very
  religious


• Vanessa--the musician who loves to play piano;
  friendly and outgoing


• Sybil Ann--listless and depressed;
  represents the time Sybil's mother was ill with a catatonic mental
  illness


• Nancy--very religious and interested in politics;
  very fearful of and angry at Sybil's mother


• Peggy Ann and
  Peggy Lou--formed out of Peggy Louisiana; both were hostile and aggressive and deny that
  Sybil's mother was their mother; Peggy Lou would break glass, such as windows, when she
  felt trapped or angry


• Mike and Sid--males who represented
  Sybil's father and grandfather; couldn't understand that they wouldn't grow up and make
  babies.

I hope this helps you. Click on the
links for more information.

What are some similarities between Clarisee McClellean and Mildred in Fahrenheit 451?

Although there are a tremendous amount of differences
between the two characters, there are some similarities
also.

1. They are both females who live in the same
neighborhood and live under the same rules, regulations, and
government.

2. They both have a distant attachment to
Montag.  Clarisse has just met him, having just moved into the neighborhood. (pg 6) 
Even though Mildred and Montag have only been married ten years, Mildred can't tell him
where they met or when.  (pg 43). He can't remember either.  It is important to him, and
she says, "It doesn't matter". Bradbury tells us "And he remembered thinking then that
if she died, he was certain he wouldn't cry.  For it would be the dying of an unknown."
(pg 44)

3. Both Clarisse and Mildred do not think they have
anything to fear from the government.  Clarisse sees the government people as a game. 
They make her go to a psychiatrist and she "makes up things to say". (pg 22) She says
that "they" (the government) want to know what she does with her time. She tells them
she sits and thinks, but she won't tell them what she thinks about.  "I've got them
running".  Mildred has been brainwashed by the government and spends her days mesmerized
by the three walls and the characters on it she considers "family".  She turns in
Montag, who will be arrested, for the books he has in the house and flees even as her
house burns. She thinks if she turns him in, she is safe.  She has done what the
government and her peers have told her to do.

4. They are
both killed by the government.  Beatty tells Montag that they have been watching
Clarisse's family and that "she was a time bomb." (pg 60)  Her problem was that she
"didn't want to know how something was done, but
why. .....She is better off dead."(pg 60) Then he adds, "Luckily,
queer ones like her don't happen often.  We know how to nip most of them in the bud
early." (pg 60) Mildred told him that Clarisse was run over by a car. (pg 47) They never
come out and directly say that the government killed her, but it is heavily inferred. 
Mildred is killed at the end of the book by the atom bomb that is dropped during the one
day war. (pg 159) Montag imagines  "that at last she recognized it (her face) as her own
and looked quickly up at the ceiling as it and the entire structure of the hotel blasted
down upon her, carrying her with a million pounds of brick, metal, plaster, and
wood...where an explosion rid itself of them in its own unreasonable way"  (pg
160)

In Summer of My German Soldier, summarize how the town is insensitive to groups of people who are different than the cultural majority.

I think that this becomes one of Patty's central
recognitions in the story.  Patty understands that the town is insensitive to those who
are different in a variety of contexts.  The first one is her own experience through her
father.  Being the only Jewish family in the largely Protestant town, Patty's father
demands that his heritage be put aside and that the family "blend in."  From this, Patty
recognizes that the town has fundamental problems accepting those who are different.
Those who dissent face social ostracizing, and conformity becomes the only reality for
those who wish to not make waves and bury their own identity.  Patty sees from her
mother that the poor in the town are only useful when they can spend for the rich. 
Patty's mother specializes in getting poor people to spend beyond their means so that
she can become more wealthy.  At the same time, the constant use of the term "poor white
trash" and other expressions that demean on the grounds of class reflect the economic
disparity between "the haves" and the "have nots" in the town.  Finally, Patty
recognizes that her town struggles with difference in the way she is silenced and
marginalized for her feelings.  It is here where Patty's development makes the largest
jump, something that she recognizes in full force in the town.  It is also here where
maturation for Patty will continue.

What is the masked visitor?

As an allegory, Poe's "The Masque of the Red Death" can be
interpreted as a tale of the folly of humans when faced with their own
inevitable deaths.  For, death is the one guest that cannot be banned; no bars will keep
him out. 

Poe writes that there is "an assembly of
phantasms," so death could easily have slipped into any of the rooms.  In fact, the
guests have heard his step before--"with the same solemn and measured step wich had
distinguished him from the first" the narrator comments on the appearance of death
for Prospero. When a "tall and gaunt figure shrouded from head to foot in the
habiliments of the grave" materializes, his mask resembles that of a stiffened corpse (a
death mask like those made for famous men afterwards); he shudders as in a death throe
as the Prince, who stands in the blue chamber (death), demands "hoarsely," "Who
dares?....Seize him and unmask him...." as he dies. 

Now,
since the narrative continues after the Prince has died, the Red Death must be the
narrator, whom the guests realize has been present all along. For, he has not come as a
masked visitor; rather, he has been in all the rooms as a "phantasm"; waiting for
the Prince, the Red Death sends Prospero's death to him, wearing the shroud and  death
mask of the prince who stands in the blue room of death. Thus, the masked visitor is no
visitor at all; he is merely the dead Prince Prospero who wears the death masque of the
red death on his visage.

How is the anthropological concept of culture distinct from the Western concept of race?

The best way to answer this question is to emphasize the
word "Western." In other words, a Western concept of race has all the blind spots,
cultural biases, and commonsense thought patterns of the West. So, it is not objective
truth, but a Western understanding of a topic - in this case,
race.

Anthropology is the study of people and culture. If
it is done well, then it is self-critical and honest about its own presuppositions and
assumptions. Moreover, it seeks to be neutral as possible. If this is done, then the
anthropology will be much more objective.

With that
background, we can say that race and culture are two different concepts in their own
right. To make a general statement, race in the West is usually based on external
features; in a word, how a person looks. Culture from an anthropological point of view
has very little to do with race. It seeks to understand how society
works.

What are the weather conditions like in Fahrenheit 451?I need this for the setting of the story.

The only time weather is even mentioned is during the time
Montag and Clarisse walk to the corner.  On page 28 --- my edition -- you may need to
look in the general area in your edition --- it says
that:

"One
day it was raining, the next day it was clear,  the day after that the wind blew strong,
and the following day the wind would be mild and calm, and the day after that calm day
was a day like the furnace of
summer..."

None of these
become an issue in the plot.  However, if you need it for the exposition, it seems that
all kinds of weather would be appropriate.  Weather isn't really a part of the
exposition as much as place and time.  The place would be a large city serviced by a
subway (New York is inferred since it has the largest subway system in the United States
)  that travels to the suburbs. The time is sometime in the far future. No definite
dates are given. Remember, this book was written in 1953.

use integration by parts to find integral of (sinx)^6 NB: (sinx)^6=(sinx)^5sinx so let u=(sinx)^5 and dv=sinxdx

so `du = 5sin^4(x)cos(x)dx` and `v =
-cos(x)`

sou

`int sin^6(x) dx
= sin^5(x) (-cos(x)) - int (-cos(x)) 5 sin^4(x)cos(x)
dx`

`int sin^6(x) dx = sin^5(x) (-cos(x)) + 5 int cos^2(x)
sin^4(x) dx`

Now we are going to use the fact that
`cos^2(x) = 1 - sin^2(x)` to get

`int sin^6(x) dx = -
sin^5(x) cos(x) + 5 int sin^4(x) dx - 5 int sin^6(x)
dx`

Now we add `5 int sin^6(x)` dx to both sides to
get

`6 int sin^6(x) dx = -sin^5(x) cos(x) + 5 int sin^4(x)
dx`

Divide both sides by 6 to
get

`int sin^6(x) dx = (-sin^5(x) cos(x))/6 + 5/6 int
sin^4(x) dx`

We do the same thing with `int sin^4(x)`
dx

Let `u = sin^3(x)` and `dv = sin(x) dx` so

`du = 3 sin^2(x) cos(x)` and `v = -cos(x)` now we
have

`int sin^4(x) dx = sin^3(x)(-cos(x)) - int (-cos(x))(3
sin^2(x) cos(x) dx` to get

`int sin^4(x) dx = -sin^3(x)
cos(x) + 3 int sin^2(x) cos^2(x) dx`

`int sin^4(x)dx =
-sin^3(x)cos(x) + 3 int sin^2(x) (1-cos^2(x))dx` so

`int
sin^4(x)dx = -sin^3(x)cos(x) + 3 int sin^2(x) dx - 3 int sin^4(x))`
dx

Now adding `3 int sin^4(x) dx` to both
sides

`4 int sin^4(x)dx = -sin^3(x)cos(x) + 3 int sin^2(x)
dx`

Divide both sides by 4 to
get

`int sin^4(x)dx = (-sin^3(x)cos(x))/4 + 3/4 int
sin^2(x) dx`

We can do the same thing with `int sin^2(x)
dx`

to get

`int sin^2(x) dx =
-sin(x)cos(x) + int 1 dx - int sin^2(x) dx`

Add `int
sin^2(x) dx` and solving to get

` int sin^2(x) dx =
(-sin(x)cos(x) + x)/2 + C`

Now we substitute
back into the `int sin^4(x) dx` to get

`int sin^4(x)dx =
-(sin^3(x)cos(x))/4 + 3/4(-sin(x)cos(x) + x)/2 + C`

and
substitute back into int sin^6(x) dx and simplifying we
get

`int sin^6(x) dx = (-sin^5(x) cos(x))/6 + 5/6
(-(sin^3(x)cos(x))/4 + 3/4(-sin(x)cos(x)+x)/2) +
C'`

Simplifying we get the final
answer:

`int sin^6(x)dx = -((cos
xsin⁵x)/6)-(5/(24))cos xsin³x`

-(5/(16))cos xsin
x-(5/(16))x + C`

Does "Sonnet 30" by William Shakespeare suggest that after a certain amount of sorrow, the human mind no longer reacts?"Sonnet 30" by William...

No, it seems to suggest just the opposite. The speaker can
summon up remembrance of things past and relive them even long after he suffered from
them emotionally, including "love's long-since cancell'd woe" and "precious friends" who
have been dead for some time. The poem deals with the fact that Shakespeare, like
ourselves, relives old events and has to suffer the pains they caused him in the distant
past as if he had not already suffered them ("Which I new pay as if not paid before").
If an experience was important enough, and painful enough, we will all remember it for
the rest of our lives. This is why Shakespeare's sonnet is so touching. In the
concluding couplet he says that with thoughts of his "dear friend, / All losses are
restor'd, and sorrows end." But this does not mean that the losses are premanently
restored or that the sorrows are permanently ended, only for "the
while."

"Remembrance of Things Past" was used as the title
of the best English translation of Marcel Proust's A la recherche du
temps perdu by C. K. Scott Moncrieff. In that great work
the past remains accessible in its entirety and can actually be completely
relived.

What is the main idea of Cannery Row by John Steinbeck?

 I agree with the view that Steinbeck is painting the
picture of a partial Utopia.  The characters around the group with Mack in the Palace
Flophouse have repudiated in an  inchoate way the norms of US society - getting on and
possessing.  At times it is implied that they live like this at the margins because of
inadequacy, alcohol addiction or mental health issues.  Mack and the boys discuss on P34
earning money at the Cannery and Mack makes a little speech about the groups approach to
employment.  'S'pose we take a job for a day or so- we'll lose our reputation for
sticking.  Then if we needed a job there wouldn't have us.'  Here he seems to be
enunciating the policy of the group in relation to work - a deliberate casual approach
to taking work only when required by necessity, but at the same time being aware of
their reputation as workers and there future employability.  A second example is the way
 that Gay is described as a brilliant mechanic, almost miraculously so.  His approach to
rehabbing the Model T is systematic, organised and knowledgeable, yet he does not wish
it seems to work consistently at this trade which he clearly
loves.

One has to respect Steinbeck's approach
to work.  It is an  essential feature of his approach as a writer that he is interested
and close to workers in all sorts of trades.  He had wide experience of basic labouring
and hard jobs as a young man and studied agricultural labour closely in his research for
'The Grapes of Wrath'.  He is very sensitive to social class issues as for instance in
the early sections of the book he describes the workings of the cannery and emphasizes
the divisions between factory workers and the accountants and managers who worked in the
office.  Is he though sentimentalising these homeless men and their approach and
philosophy of life?  

i thinks the answer has to be yes,
but perhaps not to the extent of caricature.  Cannery Row acts really as a fable about
life in California and like a good dramatist Steinbeck imbues his characters with
colour, humour and emotion.  Some traits are exaggerated and therefore not documentary
or realistic.  In many ways this is a 'soap opera' and the portrayal of a down-and-out
community as bursting with hidden talent and cohesiveness community is a message of hope
and some kind of critique of the normal capitalist or middle class lifestyle in the US.
It is very noticeable that there is no swearing in the dialogue and violence between men
is presented as inevitable and often comical.  The lack of swearing is mainly due to the
time the book was written (imagine a similar book written in the 21st C, every other
word would have to be f**k).  There is cruelty and oppression, but never does Cannery
Row ever really stray into bleak alienation as in e.g. Last Exit to
Brooklyn is a 1964 href="http://en.wikipedia.org/wiki/Last_Exit_to_Brooklyn#cite_note-1">[1]  title="Novel" href="http://en.wikipedia.org/wiki/Novel">novel by  title="United States"
href="http://en.wikipedia.org/wiki/United_States">American author  title="Hubert Selby, Jr."
href="http://en.wikipedia.org/wiki/Hubert_Selby,_Jr.">Hubert Selby, Jr. 
Published only 20 years after Cannery Row, Selby's novel became a by word for the more
futile and hopeless kind of degradation - Cannery Row with the hope violently
excised.

The accusation of sentimentality comes to mind
again where Steinbeck deals with sex workers.  Prostitution is presented as a fact of
life and is even glorified.  P108, recounts the onslaught of the 'high-minded' ladies of
the town who insist on closing down the brothel.  S describes how this leads to economic
losses to the community as various conventions move to other locations, implying that
the supply of commercial sex was an essential feature of US business life at the time.
 Of course the realities of prostitution for the sex worker even in the apparently
benevolent brothel in Cannery Row is harsh and Stenbeck avoids this by not documenting
at all the lives of the 'girls', but instead focusses on the doorman and the Madam.