Is the Wade Davis Bill negative or positive? Why?

Whether the Wade-Davis Bill was a positive or negative is, of course, a matter of opinion. In any case, President Lincoln killed the bill by pocket veto. One thing that can be said for certain is that the bill's provisions were good for African-American men in the South, as they would have been allowed to vote. This step, viewed as remarkably radical in 1864, would not be fully undertaken until the passage of the Fifteenth...

Whether the Wade-Davis Bill was a positive or negative is, of course, a matter of opinion. In any case, President Lincoln killed the bill by pocket veto. One thing that can be said for certain is that the bill's provisions were good for African-American men in the South, as they would have been allowed to vote. This step, viewed as remarkably radical in 1864, would not be fully undertaken until the passage of the Fifteenth Amendment over five years later. It would also have been a positive for the Republican Party, which would have benefited from the vote of newly-enfranchised freedmen. The group that would have certainly viewed it as a negative would have been Southern whites, fifty percent of whom in each state were required to take a loyalty oath to the Union before readmission of their state was possible. Lincoln ultimately refused to sign the bill because he favored a more conciliatory approach toward the readmitting the Southern states. The general spirit of the bill however, especially voting rights for freedmen, underlay the Reconstruction program of the so-called "radical" Republicans, who came to power in Congress at the end of the war. All in all, it would be my argument that the Wade-Davis Bill, because it placed African-American suffrage on the national political agenda, was a positive.

What is the meter, melodic contour, mode, and form of the song "What Makes You Beautiful" by One Direction?

One Direction's power pop hit "What Makes You Beautiful" (2011) was written by Savan Kotecha and producer Rami Yacoub.

Meter: The meter is 4/4, also known as common time.

Melodic contour: The melodic contour repeats an ascending and descending pattern in each part of the form. 

Mode: The song is in a major mode.

Form: The basic form is verse/chorus. 

• intro 1: four measures


• verse 1: (A 8 measures) (B 4 measures)


• chorus 1: (8...

One Direction's power pop hit "What Makes You Beautiful" (2011) was written by Savan Kotecha and producer Rami Yacoub.

Meter: The meter is 4/4, also known as common time.

Melodic contour: The melodic contour repeats an ascending and descending pattern in each part of the form. 

Mode: The song is in a major mode.

Form: The basic form is verse/chorus. 

• intro 1: four measures


• verse 1: (A 8 measures) (B 4 measures)


• chorus 1: (8 measures) x 2 + 2 measures (7 and 8 are repeated)


• intro 2: two measures


• verse 2: (A 8 measures) (B 4 measures)


• chorus 2: (8 measures ) x 2 + 2 measures (7 and 8 are repeated)


• intro 3: 4 measures repeated


• verse 3: The second half of A (4 measures) and B (four measures)


• chorus 3: (8 measures) x 2 (7 and 8 are repeated three times)

`y=ln(sinx) , [pi/4 , (3pi)/4]` Find the arc length of the graph of the function over the indicated interval.

The arc length of a function of x, f(x), over an interval is determined by the formula below:

`L=int_a^bsqrt(1+((dy)/(dx))^2)dx`

So using the function given, let us first find `(dy)/(dx):`

`d/(dx)(ln(sin(x)))=(1/(sin(x)))*(cos(x))=(cos(x))/(sin(x))=cot(x)`

We can now substitute this into our formula above:

`L=int_a^bsqrt(1+((dy)/(dx))^2)dx=int_(pi/4)^((3pi)/4)sqrt(1+(cot(x))^2)dx`

Which can then be simplified to:

`L=int_(pi/4)^((3pi)/4)sqrt(1+cot^2(x))dx=int_(pi/4)^((3pi)/4)sqrt(csc^2(x))dx=int_(pi/4)^((3pi)/4)csc(x)dx`

Then you find the definite integral as you normally would.  (Using the method shown on the link below, you can find the integral of csc(x).)

`L=int_(pi/4)^((3pi)/4)csc(x)dx=-ln|csc(x)+cot(x)|_(pi/4)^((3pi)/4)`

`L=-ln|csc((3pi)/4)+cot((3pi)/4)|-(-ln|csc(pi/4)+cot(pi/4)|)`

`L=-ln|sqrt(2)+(-1)|-(-ln(sqrt(2)+1|)=-ln|sqrt(2)-1|+ln|sqrt(2)+1|`

Here,...

The arc length of a function of x, f(x), over an interval is determined by the formula below:

`L=int_a^bsqrt(1+((dy)/(dx))^2)dx`

So using the function given, let us first find `(dy)/(dx):`

`d/(dx)(ln(sin(x)))=(1/(sin(x)))*(cos(x))=(cos(x))/(sin(x))=cot(x)`

We can now substitute this into our formula above:

`L=int_a^bsqrt(1+((dy)/(dx))^2)dx=int_(pi/4)^((3pi)/4)sqrt(1+(cot(x))^2)dx`

Which can then be simplified to:

`L=int_(pi/4)^((3pi)/4)sqrt(1+cot^2(x))dx=int_(pi/4)^((3pi)/4)sqrt(csc^2(x))dx=int_(pi/4)^((3pi)/4)csc(x)dx`

Then you find the definite integral as you normally would.  (Using the method shown on the link below, you can find the integral of csc(x).)

`L=int_(pi/4)^((3pi)/4)csc(x)dx=-ln|csc(x)+cot(x)|_(pi/4)^((3pi)/4)`

`L=-ln|csc((3pi)/4)+cot((3pi)/4)|-(-ln|csc(pi/4)+cot(pi/4)|)`

`L=-ln|sqrt(2)+(-1)|-(-ln(sqrt(2)+1|)=-ln|sqrt(2)-1|+ln|sqrt(2)+1|`

Here, we will switch the two natural logarithm terms and use the quotient property to combine them into a single log:

`L=ln|sqrt(2)+1|-ln|sqrt(2)-1|=ln|(sqrt(2)+1)/(sqrt(2)-1)|`

If you rationalize the denominator (by multiplying by the conjugate and simplifying) and use the power property of logs, you are left with:

`L=ln|(sqrt(2)+1)^2/1|=ln|(sqrt(2)+1)^2|=2ln|sqrt(2)+1|`

So the exact value of the arc length of the graph of the function over the given interval is `2ln|sqrt(2)+1|`

which is approximately equal to 1.76.

What are the rising action, the turning points, and the resolution in Pride and Prejudice?

The turning point in a story is officially called the climax. The climax occurs the moment a story's conflict reaches its point of greatest intensity and the story's resolution is in sight. All action that leads to the climax is called rising action; all action that leads to the resolution is called falling action.

In Jane Austen's Pride and Prejudice, the conflict begins reaching its greatest point of intensity the moment Lydia runs away with Wickham. It is at this moment when it looks like all hope for the Bennett family is lost because Lydia's actions will shame the rest of the family and ruin the other daughters' chances of marrying to obtain financial security. Yet, as a consequence of this moment, Darcy has his chance to display his abilities to show compassion, and Elizabeth truly recognizes the extent to which she has misjudged him.

Darcy first shows the extent of his genuine feeling and compassion when, seeing how upset Elizabeth was after receiving the letter from Jane describing Lydia's actions, declaring with passionate feeling, "Good God! what is the matter?," he offers to send a servant to find Mr. and Mrs. Gardiner (Ch. 46). He also listens to Elizabeth's news about Lydia with concerned compassion. However, at this point in the story, Elizabeth still misjudges him by thinking that he now for certain no longer loves her due to her sister's disgrace. Yet, later, we learn that Darcy went with all speed to London, found Wickham, and bribed him into marrying Lydia, all for the sake of saving Elizabeth. Hence, it is at the moment Elizabeth learns Darcy bribed Wickham that the story truly begins to turn, making it the moment of climax. All action that leads up to the climax, including Elizabeth's initial rejection of Darcy, her change in feelings, and Lydia's actions, count as the rising action. All action leading to Elizabeth and Darcy's marriage count as the falling action.

In Kaffir Boy, track the changes in the main character's attitude about the day's events. How does his attitude change?

If you're referring to the day's events in Chapters 2 and 3, I would argue that the character's attitude changes from fear to hatred as the day progresses.

The events of the day began one cold morning in 1965. On that morning, the Peri-Urban police descended upon Mark's neighborhood in search of "people whose passbooks were not in order, gangsters, prostitutes, black families living illegally in the township, shebeen owners, and those persons deemed "undesirables"...

If you're referring to the day's events in Chapters 2 and 3, I would argue that the character's attitude changes from fear to hatred as the day progresses.

The events of the day began one cold morning in 1965. On that morning, the Peri-Urban police descended upon Mark's neighborhood in search of "people whose passbooks were not in order, gangsters, prostitutes, black families living illegally in the township, shebeen owners, and those persons deemed "undesirables" under the Influx Control Law." During such raids, Mark's parents usually hid away from home or made themselves scarce. Mark relates that he and his siblings were usually left to fend for themselves during such raids. 

His description of his feelings of terror and helplessness at being left alone are palpable. As the oldest, he was the only thing standing between the police force and his defenseless younger siblings. Added to his feelings of sheer trepidation were feelings of betrayal; his mother often left during Peri-Urban raids, causing Mark to question her love for him and his siblings. On that particular day, Mark was left alone to comfort his hysterical siblings; at only five years old, he sorely felt his lack of life experience during the entire horrific episode. Eventually, overwhelmed beyond endurance, Mark remembers covering his screaming infant brother with a blanket, not realizing that he might have suffocated George in the process.

Mark also slapped his sister, Florah, when she whimpered and screamed for their mother. He remembers that he desperately wanted to prevent the police from detecting their presence that day. As it stood, the police weren't interested in the children at all; they wanted to arrest all adults who were guilty of infractions under Alexandra's draconian laws. Mark's mother eventually returned after three hours, but Mark remembers cowering together with his siblings until she did so.

A little after midnight, the police returned. This time, Mark's mother hid in a wardrobe, while his father hid under a bed. Unfortunately for Mark, the police were not in a forgiving mood; they brutalized him with kicks until he bled and emptied his bladder in sheer terror and pain. His sister, Florah, was subjected to physical intimidation until she screamed uncontrollably. Mark reports watching as the police patronized and terrorized his usually bombastic father into submission. Accordingly, Mark's father had failed to pay both his poll and tribal taxes.

Worse of all, Mark's mother was nowhere to be seen, which meant that Mark's father had failed to adhere to the precepts that were put in place by the Peri-Urban force. As the police continued to intimidate Mark's father, Mark reports feeling an intense rage that frightened him to his core. His anger only intensified as he watched his father being led away in cuffs. So, on that day, Mark's attitude changed from acute fear to intense anger, due to the atrocities his people had to endure under the apartheid system.

What is a quote from Lord of the Flies that depicts Jack's style of government?

As chief of his tribe, Jack protects his authority by any means. He instructs his savages to guard the entrance to Castle Rock and not allow anyone to enter unless given permission. When Roger approaches the gate, the savages tell him to stop. When Roger asks why, they say,

"The chief said we got to challenge everyone" (Golding 228).

Jack rules over his tribe as a tyrant who encourages violence and bloodlust. He refuses to...

As chief of his tribe, Jack protects his authority by any means. He instructs his savages to guard the entrance to Castle Rock and not allow anyone to enter unless given permission. When Roger approaches the gate, the savages tell him to stop. When Roger asks why, they say,

"The chief said we got to challenge everyone" (Golding 228).

Jack rules over his tribe as a tyrant who encourages violence and bloodlust. He refuses to be challenged by any of his subjects and gives commands without explanations. Jack also uses punishment to deter any dissenters in his tribe. In a conversation between two savages, Robert tells Roger,

"He's going to beat Wilfred" (Golding 229).

When Roger asks why, Robert tells him

"I don’t know. He didn’t say. He got angry and made us tie Wilfred up. He’s been...he’s been tied for hours, waiting—" (Golding 229).

Jack also propagates the belief in the beast in order to manipulate the boys' fears. Jack understands that as long as the boys fear the beast they will look to him for protection. After they kill Simon who they mistake as the beast, Jack tells his savages,

"He came—disguised. He may come again even though we gave him the head of our kill to eat. So watch; and be careful" (Golding 230).

Why is Mrs. Sappleton self-absorbed in Saki's story "The Open Window"?

It does not seem as though Mrs. Sappleton is necessarily self-absorbed so much as Mr. Nuttel catches her at an inopportune time. Mr. Nuttel has letters of introduction from his sister to give to people who live in the area where he will be staying during his relaxing retreat. Since he has never met the Sappletons before, and he bears with him a letter of introduction, it can be inferred that he has dropped in on...

It does not seem as though Mrs. Sappleton is necessarily self-absorbed so much as Mr. Nuttel catches her at an inopportune time. Mr. Nuttel has letters of introduction from his sister to give to people who live in the area where he will be staying during his relaxing retreat. Since he has never met the Sappletons before, and he bears with him a letter of introduction, it can be inferred that he has dropped in on the household without an appointment. Mrs. Sappleton is preparing for the return of her husband and brothers who have been hunting, and she is worried about the following:

"I hope you don't mind the open window . . . my husband and brothers will be home directly from shooting . . . they'll make a fine mess over my poor carpets. So like you menfolk, isn't is?"

From Mrs. Sappleton's concerns, it seems as though she feels she must be prepared for the men when they come home because of the mess they will make if she does not intervene. For example, she may want to help them with their muddy boots before they walk into the house. Furthermore, Framton notices that while he is speaking about his situation, Mrs. Sappleton's eyes do wander from him to the window often. However, calling Mrs. Sappleton self-absorbed might not be the right word because Framton has caught his hostess at a time when she is busy with preparing the house for her family members who are coming home soon. Therefore, Mrs. Sappleton seems more distracted than she is self-absorbed because she wants to keep her carpets from being soiled when the men come back. 

What is an analysis of Travesties by Tom Stoppard?

In Travesties, Tom Stoppard uses different styles of narrative and disagreements between characters as well as the protagonist's failing memory to make points about art, war, and love.

Henry Carr narrates the story as an elderly man in 1974, looking back at the events of 1917. He's the very definition of an unreliable narrator; at the end of the play, for example, his wife corrects him and reminds him that Bennett, not Carr, was the...

In Travesties, Tom Stoppard uses different styles of narrative and disagreements between characters as well as the protagonist's failing memory to make points about art, war, and love.

Henry Carr narrates the story as an elderly man in 1974, looking back at the events of 1917. He's the very definition of an unreliable narrator; at the end of the play, for example, his wife corrects him and reminds him that Bennett, not Carr, was the British consul in Zurich. Also, despite his familiarity with Lenin in the play, she says they were never close.

Knowing that Carr is an unreliable narrator forces a reader to question everything. For example, did Joyce really pull a rabbit out of his hat? Did Cecily climb onto a table to shout Marxist sayings before Carr and Cecily made love? It's impossible to know what's real and what's false—a situation which, in many ways, mirrors the discussions the characters have about themselves and the world around them during the play. 

People are also "false" in Travesties. Carr is spying on Lenin; Tzara pretends to be a man named Jack on his library card. Gwendolen and Cecily accidentally switch folders and cause an upheaval in their budding romantic relationships with Tzara and Carr because of it. Joyce wants Carr's help with the play he's producing, but ultimately they go to court over the proceeds.

The characters spend a great deal of time exploring the nature of art. Carr believes it should be beautiful. Tzara believes it should expose society's attempts to create order. Lenin thinks it should support the aims of the revolution. Joyce thinks art can make things immortal. The different views of art help explain the character's actions throughout the novel. Joyce is writing his classic work, Ulysses. Tzara is working to found the dada movement and create art. Lenin is attempting to get back to Russia and foster the aims of the revolution. Carr spends most of the novel reacting to the people around him: he feuds with Tzara over his interest in Carr's sister, fights with Joyce over the play proceeds, and intervenes, albeit unsuccessfully, to stop Lenin from reaching Russia.

The play itself is written in several forms, which bring to mind the types of art the characters produce and discuss. For example, Joyce at one point begins speaking many of his lines in limerick form. He says:

An impromptu poet of Hibernia
rhymed himself into a hernia.
He became quite adept
at the pratice except
for occasional anti-climaxes.

Another part of the play is performed as if it's a musical. Often the characters speak nonsense that is impossible to follow or repeat words, such as when Tzara repeats "dada" over and over more than ten times. 

This style of writing was undoubtedly used by Stoppard to highlight the various styles of art discussed in his play. They also add an element of comedy to a play that's very dialogue-heavy and doesn't have a lot of physical action. Ultimately, Travesties uses these devices, the discussions of the characters, and the failing memory of the elderly Carr to convey Stoppard's narrative and the exploration of several themes. 

What actions demonstrate Mrs. Jones's confidence in the short story "Thank You, M'am"?

You will find several examples of textual evidence demonstrating Mrs. Jones’s confidence in Langston Hughes's short story “Thank You, M’am.”

In the exposition, Roger is unsuccessful in his attempt to steal Mrs. Jones's rather cumbersome pocketbook. Instead of running away or screaming for help, the self-assured Mrs. Jones gives him a swift kick and lifts him up by his shirt collar so she can confront him. In no uncertain terms, Mrs. Jones tells Roger she...

You will find several examples of textual evidence demonstrating Mrs. Jones’s confidence in Langston Hughes's short story “Thank You, M’am.”

In the exposition, Roger is unsuccessful in his attempt to steal Mrs. Jones's rather cumbersome pocketbook. Instead of running away or screaming for help, the self-assured Mrs. Jones gives him a swift kick and lifts him up by his shirt collar so she can confront him. In no uncertain terms, Mrs. Jones tells Roger she is bothered by his actions; she questions him and informs him in a pretty unforgettable way.

But the boy’s weight and the weight of the purse combined caused him to lose his balance so, instead of taking off full blast as he had hoped, the boy fell on his back on the sidewalk, and his legs flew up. The large woman simply turned around and kicked him right square in his blue-jeaned sitter. Then she reached down, picked the boy up by his shirt front, and shook him until his teeth rattled.

Mrs. Jones's action of taking the errant boy into her home is another demonstration of confidence. Instead of calling the police after the initial confrontation, she drags him to her room, where she demonstrates respect for the boy’s situation by having him clean up, feeding him, and engaging him in conversation in which she alludes to details of her early life.

“I have done things, too, which I would not tell you, son—neither tell God, if he didn’t already know. So you set down while I fix us something to eat. You might run that comb through your hair so you will look presentable.”

She is so confident her treatment of Roger will influence his decisions that she leaves her pocketbook on the daybed while she turns away from him to cook dinner. At this point, Roger realizes he wants Mrs. Jones to trust him.

By being empathetic to Roger’s situation and showing him respect without demeaning him or his situation, Mrs. Jones demonstrates her self-confidence.

In Animal Farm, what does Old Major urge the animals to do?

During his speech in Chapter One of Animal Farm, Old Major urges the animals to rise up against their human master (Mr Jones) and take the farm for themselves:

"What then must we do? Why, work night and day, body and soul, for the overthrow of the human race! That is my message to you, comrades: Rebellion!"

This instruction is based on Old Major's belief that humans are responsible for the hard and short lives of animals. According to his observations, humans force the animals to work and give away their produce (like milk and eggs). Humans also prevent the animals from reaching their "natural span" through the cruel practice of slaughter.

Because of this exploitative relationship, Old Major is certain that rebellion is imminent, though he is not sure exactly when the animals will rise up against their human masters. His message, however, is one of hope and inspiration which leads directly to the overthrow of Mr Jones in Chapter Two. 

What is a summary of Coming of Age in Mississippi?

Anne Moody's Coming of Age follows the true story of Anne, who grew up during the civil rights movement. 

Part one, "Childhood," describes Anne's upbringing, the first four years of which occurred in a shack at a plantation where her sharecropper family worked the fields. Early on, Anne's father abandons the family after straying from his marriage and developing a gambling habit. This results in Anne's mother moving the family off the plantation and closer to the town of Centreville. This results in huge financial struggles for the family, who cannot afford to eat. 

Anne starts working when she enters the fourth grade in order to help support the family. The family moves into a house that is built by her mother's boyfriend, Raymond. Although Anne's mother and Raymond marry, Raymond cannot financially support the family either. Despite this, Anne does very well in school, picks up basketball, and is chosen to be the homecoming queen.

Part two, "High School," follows Anne as she begins to finally open her eyes to the racial strife and violence in her life. When she is fourteen years old, a local African American boy is killed for whistling at a white woman. Anne overhears a discussion about the NAACP shortly thereafter and learns that the organization is dedicated to helping African Americans living in the South. Anne begins to feel a growing sense of hatred for everyone—whites for their violence against her people, and African Americans for their (at least in Anne's eyes) apathy. Tensions continue to escalate, and one of Anne's classmates is beaten; later, an act of arson almost kills a family. 

Anne ends up spending the summer in New Orleans with her Uncle Ed; however, when she returns to Centreville, things are still bad. Her cousin has been chased out of town, and Raymond seems to hate her. Anne distracts herself with school and tutoring Wayne Burke and his white friends in math. A friendship develops between the two which is cut short when Wayne's mother accuses Anne or her brother of stealing. Anne continues to work hard, albeit elsewhere, and saves up money for college.

In her last year of high school, Anne realizes that Raymond sexually desires her. They fight, and she leaves home to go stay with her father and his new wife, Emma; however, also treats her poorly, and Anne leaves town after graduating.

Part three, "College," details Anne getting a basketball scholarship to a junior college in Mississippi, which she ends up finding suffocating. She starts dating a fellow basketball player and gets involved in activism by organizing a boycott of the school cafeteria. She later transfers with a scholarship to Tugaloo College and joins her local NAACP chapter. Her involvement causes her grades to suffer; however, Anne believes that her work, particularly in registering African American voters in the Mississippi Delta, is critical to changing the treatment of African Americans.

Part four, "The Movement," follows Anne's increasing involvement with the civil rights movement, including a sit-in at the Woolworth's lunch counter and many other demonstrations throughout Jackson. Anne is eventually arrested and jailed, and she begins to receive letters from her family that her behavior is causing issues for them back in Centreville. Anne pushes on despite this, organizing a march to protest the death of civil rights leader Medgar Evers. Anne is once again arrested. 

Anne starts working at the CORE offices in Canton, Mississippi, in order to continue to register voters despite the threats of violence she faces. She attends the March on Washington, DC, in 1963. Shortly thereafter, the Birmingham church bombing forces her to question the non-violence element of the civil rights movement. She is eventually placed on a KKK blacklist, which makes her fear for her and her family's safety. She takes a break from her work to go to New Orleans but winds up helping out with CORE activities there, as well. 

When Anne returns to Tugaloo for graduation, she learns tat a Freedom Day march has been organized; this event is marred by the brutal attack of a boy by police. Anne graduates, visits New Orleans again, and then goes back to Canton. From there, Anne ultimately decides to join a group of African Americans boarding a bus to Washington, DC, to testify at congressional hearings about racial discrimination in the South. The book ends on an uncertain note, with Anne wondering if her people will ever be able to achieve racial justice.

What actions by the Unites States (since WWII) in the international arena have generated the most controversy and why?

The triumph of the Allied Forces in World War II resulted in the United States rising to become a global economic superpower. Let's examine some of the more controversial foreign policies enacted by the United States in the last seventy years:

- The Bay of Pigs Invasion of 1961.

This failed military invasion involved a counter-revolutionary military of Cuban exiles trained by the Central Intelligence Agency being sent into Cuba with the objective of overthrowing Fidel Castro's communist government. With only half the forces projected as necessary for this operation present and JFK making the decision not to provide additional air cover, the forces were defeated and the opposite of intended happened: Fidel Castro became a national hero. This misstep also led directly to the Cuban Missile Crisis.

- The Somalia Intervention of 1992

President George H.W. Bush sent 28,000 American troops to East Africa to purportedly help resolve the issue of Somalian starvation, an effort expanded by President Bill Clinton. Tribesmen ambushed these troops, resulting in eighteen American deaths and many injuries. This move was controversial because there was no reasonable national interest present for the move—only the alleged "responsibility to protect."

- The Vietnam War

Out of fear of expansion of Communist empires, the US involved itself in this war between the Viet Cong and the South Vietnamese. The US interference here was largely viewed as meddling; the controversy was worsened by the fact that poor African American populations were dramatically impacted, the US employment of toxic chemicals (like Napalm and Agent Orange), and the grave toll on civilians.

- The carpet-bombing of North Korea during the Korean War.

Although President Truman's decision to enter the United States into the Korean War was overwhelmingly supported by both Congress and public opinion, controversy over this move eventually did arise much later, with accusations that the US had committed war crimes in North Korea. Because it was never covered expansively by the American press, what did ensue is sometimes referred to as "the most forgotten part of a forgotten war." The Atlantic expertly describes how the Air Force sent B-29s to bomb and napalm cities and villages across North Korea:

The bombing was long, leisurely and merciless, even by the assessment of America's own leaders. "Over a period of three years or so, we killed off—what—20 percent of the population," Air Force Gen. Curtis LeMay, head of the Strategic Air Command during the Korean War, told the Office of Air Force History in 1984. Dean Rusk, a supporter of the war and later secretary of state, said the United States bombed "everything that moved in North Korea, every brick standing on top of another." After running low on urban targets, U.S. bombers destroyed hydroelectric irrigation dams in the later stages of the war, flooding farmland and destroying crops.

This was largely considered—at least to the outside world—racist and unjustified violence against North Korean civilians. 

- The Invasion of Iraq

This move was predicated on the notion that the U.S. was fighting back against the terrorist forces responsible for 9/11, and yet Saddam Hussein did not possess weapons of mass destruction, nor was he majorly connections to the terrorists which perpetrated 9/11. The result of this invasion was chaos, from the beginning of the Arab Spring to the birth of the Islamic State.

Please give 3 examples (with quotes) that show how Shylock was being treated poorly in Venice.

Despite Shylock's portrayal as a heartless, greedy Jew, Shakespeare creates sympathy for the play's villain by depicting how Shylock is religiously persecuted, marginalized, and ridiculed because of his religion and ethnicity. In 16th century Venice, Jewish citizens were discriminated against because of their beliefs. Several characters throughout the play portray this common prejudice throughout Venetian society by directly ridiculing Shylock or making derogatory comments about his religion and ethnicity.

1. In Act One, Scene 3, Antonio petitions Shylock for a loan in order to fund Bassanio's trip to Belmont. Shylock recalls the many times Antonio has treated him with contempt and publicly ridiculed him. Shylock tells Antonio,

"You call me misbeliever, cutthroat dog, And spet upon my Jewish gaberdine—And all for use of that which is mine own. Well then, it now appears you need my help. Go to, then! You come to me and you say, “Shylock, we would have moneys.” You say so!—You, that did void your rheum upon my beard And foot me as you spurn a stranger cur Over your threshold! Moneys is your suit." (Shakespeare, 1.3.109-117)

Shylock's comments reveal how Antonio has physically and verbally abused him in public. Antonio's contempt for Shylock is evident and is the reason Shylock resents the merchant. His insults are particularly degrading and depict Shylock as a subhuman malevolent being.

2. In Act Two, Scene 4, Lorenzo reveals his prejudice—which reflects the majority of Venetian citizens' perception of Jewish citizens—by telling Gratiano,

"If e'er the Jew her father come to heaven, It will be for his gentle daughter’s sake. And never dare Misfortune cross her foot Unless she do it under this excuse: That she is issue to a faithless Jew." (Shakespeare, 2.4.35-39)

Lorenzo insinuates that Jews cannot go to heaven, which is a prejudiced, ignorant comment that reflects the religious animosity of the time period. Lorenzo's comments cast Shylock in a negative light and portray him as an unfaithful villain simply because he is Jewish.

3. In Act Three, Scene 1, Salarino asks Shylock if he will actually remove a pound of flesh from Antonio if he forfeits on his loan. Shylock says that he will indeed take Antonio's flesh and use it for fish bait. In one of the most famous passages of the play, Shylock exposes the hypocrisy of his Christian neighbors by saying,

"He hath disgraced me and hindered me half a million, laughed at my losses, mocked at my gains, scorned my nation, thwarted my bargains, cooled my friends, heated mine enemies—and what’s his reason? I am a Jew. Hath not a Jew eyes? Hath not a Jew hands, organs, dimensions, senses, affections, passions? Fed with the same food, hurt with the same weapons, subject to the same diseases, healed by the same means, warmed and cooled by the same winter and summer as a Christian is? If you prick us, do we not bleed? If you tickle us, do we not laugh? If you poison us, do we not die? And if you wrong us, shall we not revenge? If we are like you in the rest, we will resemble you in that. If a Jew wrong a Christian, what is his humility? Revenge. If a Christian wrong a Jew, what should his sufferance be by Christian example? Why, revenge." (Shakespeare, 3.1.53-72)

Shakespeare creates sympathy for Shylock as he laments at his terrible treatment by Venetian society. Shylock questions why he is unfairly persecuted and argues for his humanity. His passionate response reveals that he is an emotionally tortured man who is tired of Christians discriminating against him. In this scene, Shylock's humanity is depicted as he pleads to be treated with decency and respect. Shylock's complex personality is revealed during his response, and the audience empathizes with his unfortunate situation and condition.

What makes bones white? |

Strictly speaking, bones aren't white—not gleaming white, at any rate. Living bones inside the body contain a number of pigmented chemicals. They are essential for the body's health and give our bones a slightly yellowish color. But it's also minerals that give bones their relatively whitish hue. These minerals are called calcium phosphates and they're essential to the strength and health of bones. They are held together by collagen fibers which are themselves white as...

Strictly speaking, bones aren't white—not gleaming white, at any rate. Living bones inside the body contain a number of pigmented chemicals. They are essential for the body's health and give our bones a slightly yellowish color. But it's also minerals that give bones their relatively whitish hue. These minerals are called calcium phosphates and they're essential to the strength and health of bones. They are held together by collagen fibers which are themselves white as indeed are the mineral crystals themselves.

Over time, the body removes old and damaged bone. Unless there is a regular supply of calcium, bones will lose their density and weaken. This is why some people take supplements of calcium phosphates as their regular diet cannot provide what their bones need.

To Kill A Mockingbird What, if any, prejudices do African Americans face in today's world? Have the issues that Lee discusses in To...

One of the main reasons that Harper Lee's novel remains relevant in today's society stems from the ongoing race issues in America. The problem of disenfranchised African Americans suffering from racial discrimination still exists to this day. Although race relations have drastically improved since the Civil Rights Movement of the 1960s, a time when African Americans gained many of their previously denied rights, prejudice still exists throughout America. The Black Lives Matter activist movement, which...

One of the main reasons that Harper Lee's novel remains relevant in today's society stems from the ongoing race issues in America. The problem of disenfranchised African Americans suffering from racial discrimination still exists to this day. Although race relations have drastically improved since the Civil Rights Movement of the 1960s, a time when African Americans gained many of their previously denied rights, prejudice still exists throughout America. The Black Lives Matter activist movement, which started in 2013 after the controversial acquittal of George Zimmerman, continues to campaign against violence and systemic racism toward African Americans. Protests in Ferguson and New York City following the deaths of Michael Brown and Eric Garner continue to reveal some of the issues surrounding race relations in America. Issues concerning disproportionate numbers of incarcerated African Americans, displaced families due to gentrification, poverty, suppression of voting rights, and police brutality are associated with and often stem from ongoing prejudice toward African Americans. Harper Lee's story about the wrongful conviction of Tom Robinson still resonates to this day. The atmosphere surrounding the legal system and the mass incarceration of African Americans is still a present concern. To Kill a Mockingbird will remain relevant and significant as long as prejudice and discrimination exist.

What are the advantages of being a vagabond?

The speaker of Stevenson's poem gives the same main reason for being a vagabond that other famous vagabonds have given as well.  That reason is contentment.  Vagabonds, including the speaker of the poem, seem to be able to find happiness in peace through the solitary life of a man walking through nature.  They have few possessions, yet that is precisely what helps them be happy.  It's less to worry about.  

All I seek, the...

The speaker of Stevenson's poem gives the same main reason for being a vagabond that other famous vagabonds have given as well.  That reason is contentment.  Vagabonds, including the speaker of the poem, seem to be able to find happiness in peace through the solitary life of a man walking through nature.  They have few possessions, yet that is precisely what helps them be happy.  It's less to worry about.  

All I seek, the heaven above
And the road below me.

The solitary life of a vagabond has a sort of spiritual calling to it.  While Henry David Thoreau didn't travel around during his time at Walden Pond, he found peace in his isolation.  Chris McCandless, from Krakauer's book Into the Wild was very much a vagabond.  The book makes it clear that travelling on the road was the only place that Chris was truly happy.  The simplicity of his life was all that he wanted.  

In addition to a simpler life, another advantage of being a vagabond is the proximity to nature.  They are truly dependent on what nature gives them.  Because of that, vagabonds tend to have a deeper appreciation for nature than other people perhaps have. 

Bed in the bush with stars to see,
Bread I dip in the river—

 

I'm just wondering, but what are Macbeth's relationships in the play?

Macbeth has several relationships of various sorts, but he puts an end to almost all of them by the end of this tragedy. First, he is friends with Banquo; he and Banquo are generals who fight together (valiantly) to fend off the Norwegian forces in the very beginning, and King Duncan heaps praise and thanks upon them both. They are loyal subjects of the king in the beginning, until the witches foretell Macbeth's future. Macbeth's...

Macbeth has several relationships of various sorts, but he puts an end to almost all of them by the end of this tragedy. First, he is friends with Banquo; he and Banquo are generals who fight together (valiantly) to fend off the Norwegian forces in the very beginning, and King Duncan heaps praise and thanks upon them both. They are loyal subjects of the king in the beginning, until the witches foretell Macbeth's future. Macbeth's relationship with the witches is one of disgust and maybe some fear, then--when he returns to them--one of command (he is the king by then, after all). He is married to Lady Macbeth; their marriage seems to be a good one, except she is greedy enough to talk him into murdering Duncan. 

Macbeth is Thane of Cawdor then Thane of Glamis. This is a Scottish version of "lord," so even from the beginning, he has many people he must protect. In essence, Macbeth begins the play as a worthy thane and a great general, but as he becomes more and more wicked, murdering (in his paranoia) his friends and anyone who may threaten his position, everyone turns on him, even to the point that by the final battle, the men who presumably fight on his side "strike beside [the invaders]." That is, they aren't even trying to hit the men in Malcolm's army. 

Or maybe you were asking about the royal relationships and how they work:

Duncan is Macbeth's cousin, which--in the event Duncan has no sons, which he does--means Macbeth is next in line to the throne. Thus, when Duncan is murdered and his sons (Malcolm and Donalbain) run for their lives, Macbeth is crowned. 

What is Hamlet's fatal flaw?

Traditionally, the hero's fall in tragedy is attributed to what is called a "tragic flaw." This flaw is some fault of character such as inordinate ambition, jealousy, quickness to anger, or excessive pride. For Hamlet, it is mainly his inaction, rather than action or emotion, which contributes to his tragic flaw. Hamlet's tragic flaw is his indecisiveness and irrationality. 

When Hamlet first encounters his father's ghost and is told that he was murdered by his brother,...

Traditionally, the hero's fall in tragedy is attributed to what is called a "tragic flaw." This flaw is some fault of character such as inordinate ambition, jealousy, quickness to anger, or excessive pride. For Hamlet, it is mainly his inaction, rather than action or emotion, which contributes to his tragic flaw. Hamlet's tragic flaw is his indecisiveness and irrationality. 

When Hamlet first encounters his father's ghost and is told that he was murdered by his brother, Claudius, Hamlet is enraged. But rather than acting, Hamlet is determined to learn the truth before he acts against Claudius. So, when a troop of actors comes to Elsinore, Hamlet has the actors perform a scene that reenacts the murder of King Hamlet. At this point in the play, Hamlet and his friend Horatio observe Claudius leap up and leave the room. Since Horatio agrees that this proves Claudius's guilt, Hamlet goes to kill Claudius. However, he fails to act when he discovers that his uncle is praying because he does not want to make Claudius a martyr.

Now might I do it pat. Now he is a-praying.

And now I’ll do ’t. And so he goes to heaven.

And so am I revenged.—That would be scanned.

A villain kills my father, and, for that,

I, his sole son, do this same villain send

To heaven.

Oh, this is hire and salary, not revenge. (3.3.74-80)

Hamlet's indecisiveness causes him to procrastinate. He engages in much self-debate in his soliloquies and, after upbraiding himself in these soliloquies, Hamlet sometimes acts; however, his actions are often irrational. For instance, when he goes to his mother's chamber, he frightens her with his bizarre behavior, and then he impulsively assumes Claudius is hiding there and stabs Polonius to death behind the Arras without saying anything. 

In Act V, Hamlet tells his friend Horatio that he has a "war in my brain." When he is indecisive about dueling with Laertes, Hamlet yet engages in a debate:

I shall win at the odds...

We defy augury. There’s a special providence in the fall of a sparrow. If it be now, ’tis not to come. If it be not to come, it will be now. If it be not now, yet it will come—the readiness is all. Since no man of aught he leaves knows, what is ’t to leave betimes? Let be. (5.2.204-210)

Hamlet is a complex character who possesses a paralyzing intellect and a destructive irrationality.

Why were freedmen not able to enjoy the freedom that they received as a result of the 13 amendment

The 13th Amendment to the United States Constitution states as follows:

Section 1. Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.

Section 2. Congress shall have power to enforce this article by appropriate legislation.

By "freedmen," the generally understood meaning is former slaves who were under involuntary servitude (slavery) to...

The 13th Amendment to the United States Constitution states as follows:

Section 1. Neither slavery nor involuntary servitude, except as a punishment for crime whereof the party shall have been duly convicted, shall exist within the United States, or any place subject to their jurisdiction.

Section 2. Congress shall have power to enforce this article by appropriate legislation.

By "freedmen," the generally understood meaning is former slaves who were under involuntary servitude (slavery) to slave masters in southern states where slavery was legal prior to the ratification of the 13th Amendment. Perhaps the most significant reason why many freedmen were unable to enjoy fully the freedoms provided under the 13th Amendment was the substantial efforts many (if not all) Democrat-controlled states in the South (the Confederate States) immediately undertook in a deep-seated effort to preserve a culture of racism.

As a direct response to the passage and ratification of the 13th Amendment across southern states, state and local jurisdictions in southern states enacted a series of racially-restrictive statutes, ordinances, and rulings (commonly referred to as "Black Codes"). For example, without the ability for now-former slave masters to lawfully secure labor at low or no cost through the mechanism of slavery, the assumption was that Black Codes permitted a way around the intent of the 13th Amendment while in principle not directly violating the 13th Amendment. Black Codes went far beyond merely creating barriers to reasonable wages and fair labor laws but also affected the ability of blacks to obtain and enjoy such rights as equal access to housing, a fair and speedy trial, the right to bear arms, the ability to attend public schools, and a host of other rights provided to non-black citizens of the United States.

State and local laws viewed as Black Codes, in many cases, were painstakingly-crafted not to be outright racist against blacks on their face. However, the application of such laws created a net effect that such laws were in fact racist in a way that unfairly, unjustly, and unconstitutionally violated the rights of blacks to access and benefit from equal rights and liberties as enumerated under the United States Constitution.

That said, many of the state and local laws passed following the ratification of the 13th Amendment outright prohibited blacks from enjoying equal rights. Many of these Black Codes were quickly challenged at the state and federal level as unconstitutional and subsequently repealed. However, many of these laws remained in full force and effect for a number of years to follow. Southern states also worked around the invalidation of Black Codes by coming up with a more insidious plan to preserve de jure segregation in most sectors of society. State and local laws (commonly referred to as "Jim Crow laws") enforcing racial segregation for the remainder of the 19th century until 1965 continued to restrict the civil rights and civil liberties of blacks, particularly in southern states where the bulk of Jim Crow laws existed.

In Edgar Allan Poe's "The Pit And The Pendulum," where is the narrator taken by "tall figures"?

Remember that the narrator is relating this tale after it has happened. He recalls the "tall figures" taking him down into something. He adds that it is like an "interminableness of descent." The descent is completely silent and this adds to his horror and uncertainty. When his carriers reach the bottom, he struggles to regain his senses. He recalls his trial and sentencing (which happened prior to his descent). He then realizes he is lying...

Remember that the narrator is relating this tale after it has happened. He recalls the "tall figures" taking him down into something. He adds that it is like an "interminableness of descent." The descent is completely silent and this adds to his horror and uncertainty. When his carriers reach the bottom, he struggles to regain his senses. He recalls his trial and sentencing (which happened prior to his descent). He then realizes he is lying on his back. Then he finally opens his eyes, but is unable to see anything because he is in complete darkness. He can only guess if he is dead or in some dungeon, awaiting his eventual execution. He has been carried into a subterranean area with a pit in the middle of it. He lies on the perimeter of the pit in total darkness. Evidently, this first attempt at his execution will succeed if he falls into the pit. He spends what little energy he has trying to determine the dimensions of the room/cave he is in. He miraculously avoids the pit, only to be taken to the next attempt at his execution: the pendulum.

Describe and give an example for each: 1) Coordinate covalent bond 2) Dipole–dipole attraction 3) hydrogen bonding 4) molecule–ion...

1). Coordinate covalent bond: This is a type of covalent bond in which two atoms are sharing a pair of electrons, but both the electrons are coming from the same atom. This is as opposed to a simple covalent bond, in which each atom contributes an electron to the pair. 

An example of this kind of bonding is the reaction between ammonia and hydrogen chloride, in which the fourth hydrogen of the ammonium ion attaches...

1). Coordinate covalent bond: This is a type of covalent bond in which two atoms are sharing a pair of electrons, but both the electrons are coming from the same atom. This is as opposed to a simple covalent bond, in which each atom contributes an electron to the pair. 

An example of this kind of bonding is the reaction between ammonia and hydrogen chloride, in which the fourth hydrogen of the ammonium ion attaches through a coordinate covalent bond and the hydrogen leaves behind its electron on the chlorine, forming a negative chloride ion. 

2). Dipole-dipole interactions: These type of interactions occur due to the attraction between the partial positive charge of one molecule and the partial negative charge of a different molecule, resulting in an arrangement based upon increased attraction and reduced potential energy. 

An example of this is hydrogen chloride (HCl); the partial positive of one molecule of HCL will attract the partial negative of another HCl, creating attraction rather than a full bond.

3). Hydrogren bonding: Hydrogen bonds are a type of dipole force in which the hydrogen bond serve as the force of attraction between the hydrogen connected an electronegative atom and the electronegative atom of another molecule. 

Water is an example of this type of bond! 

4). Molecule-ion attraction: These are the attractive forces between the positive end of a polar molecule and the negative ion of an ionic compound, or the negative end of a polar molecule and the the positive ion of an ionic compound. 

An example of this is the dissolution of salt in water. 

5). London Dispersion forces: These are weak intermolecular forces which occur when electrons in two adjacent atoms create temporary dipoles via those atoms. This is the reason for the condensation of gases into liquids or the freezing of liquids into solids. 

An example of this would be Cl2 and Br2 cooling into solids. 

Please compare and contrast "The Yellow Wallpaper" and "The Shell of Sense."

The short stories "The Yellow Wallpaper" by Charlotte Perkins Gilman and "The Shell of Sense" by Olivia Howard Dumbar share the main theme of lacking control; in the stories, characters are unable to make circumstances work optimally by changing the variables of a situation. Parting from this theme, the topic of the limitations of the social roles of women toward the end of the nineteenth century is also notable. Aside from the themes, the two stories feature a female, first person narrator who is speaking about a personal situation. The settings are similar, as they are both set in the late nineteenth century inside of a home. Their situations unravel there. 

In "The Yellow Wallpaper," the main character is a woman suffering from a condition entirely unknown at the time: postpartum depression. Living in a male-dominated society, she would have had to adhere to whatever rule and regulation was bestowed upon her gender. As such, she ends up following the advice of male doctors, including her own husband. They prescribe to her a rest cure, with no intellectual stimulation. This lack of stimulus renders the woman even more desperate, making her cave in and implode in a meltdown.

During this meltdown, she attempts to tear down the yellow wallpaper that covers the walls of her room. The reason is because she feels that there is a woman trapped inside those walls. That woman is herself. She is transferring her psychological anguish onto an inanimate object because she has no other outlet for communication or release. She has no control over her circumstances, and her only solution is to fall apart mentally.

In "Shell of Sense," the main character is Frances, a married woman who has died young, leaving behind her husband and her sister, Theresa. Like the main character of “The Yellow Wallpaper,” Frances also lacks control of her life. First, this is because she is dead and only lives in spirit form.  Second, this is because she is witnessing the development of what could become a romantic relationship between her husband and Theresa. Frances does what she can to influence the relationship, even though it is impossible.

I watched her, poor, anguished girl, prepare to leave him. I saw each reluctant movement that she made. I saw her eyes, worn from self-searching; I heard her step grown timid from inexplicable fears; I entered her very heart and heard its pitiful, wild beating. And still I did not interfere.

She is heartbroken and hurt because she sees no other solution but to meddle, however she can, to stop them. She refuses to let go, and she even manages to appear to her sister who is, at first, terrified.

After a while, Frances begins to understand that, if anything, her sister should be allowed to be happy. She is aware that her sister had always abided by the rules of loyalty and decorum expected of the women of her time, and this is part of the reason why she never pursued Frances's husband. Frances knows now, as an omniscient spirit, that Theresa has always loved her (Frances’s) husband and that they perhaps always loved one another.

Still, both of them respected Frances enough to push aside their feelings. Now that Frances is gone, she sees no other solution but to let the living live and be happy. As such, the solution to her issue is to bless the relationship and bring them together by giving them the peace of mind that they need to move on.

In many ways, Frances and the unnamed narrator of “The Yellow Wallpaper” experience similar feelings:

1. They are lonely


2. They have a conflict: one wants to obey her husband, even if it hurts her mental condition. The other wants to interfere, as a ghost, in the world of the living.


3. Their conflicts have to do with the role of women: both women want to maintain their roles within their families.  Frances wants to remain her husband’s only love even beyond the grave, and the narrator in “Wallpaper” wants to fulfill her wifely and motherly duties, even with a debilitating condition.


4. Both women lack control: they both want to be in control of their circumstances, to no avail. Each has to either obey or comply with whatever situation they are going through.

Which Mongol ruler united nomadic tribes into one powerful military force?

Genghis Khan, born in 1162 as Temujin, unified the nomadic Mongol tribes and founded the Mongol Empire. Genghis Khan's father was once the head of the ruling Mongol clan, but his family lost this power when Khan's father was killed. As a young man, Khan showed a great inner fire and determination. Once, when captured by another clan and forced to wear a wooden collar like a dog, Khan took off the collar and used...

Genghis Khan, born in 1162 as Temujin, unified the nomadic Mongol tribes and founded the Mongol Empire. Genghis Khan's father was once the head of the ruling Mongol clan, but his family lost this power when Khan's father was killed. As a young man, Khan showed a great inner fire and determination. Once, when captured by another clan and forced to wear a wooden collar like a dog, Khan took off the collar and used it to knock out the man guarding him before escaping. Khan was charismatic and inspired loyalty from others; early in his military career, he formed alliances with a number of people from nomadic clans. This was a rather unique approach compared to other military strategies, where alliances with the aristocracy were favored. Befriending the "regular guys" benefited Khan in the long run. Anyone who violated the alliance or was not willing to form one was killed. Soon, Genghis Khan had built up a strong enough following that he was able to wipe out entire clans. By developing alliances and destroying the opposition, Genghis Khan was able to unite the nomads of the steppe with the inspiration of Mongolian nationalism. With the creation of the Mongol nation, he officially became the "universal ruler," or Genghis Khan.

What are Delia's characteristics in "A Service Of Love"?

In the story, Delia is loving, loyal, and caring. Delia marries Joe even though she knows that he is a struggling artist.

When they experience straitened circumstances, Delia takes a job at a laundry-shop. She doesn't complain but sets to work to earn enough for Joe's art lessons with Mr. Magister. Although Joe feels guilty that Delia is shouldering the financial load in their little family, he cheers up when he hears that Delia has...

In the story, Delia is loving, loyal, and caring. Delia marries Joe even though she knows that he is a struggling artist.

When they experience straitened circumstances, Delia takes a job at a laundry-shop. She doesn't complain but sets to work to earn enough for Joe's art lessons with Mr. Magister. Although Joe feels guilty that Delia is shouldering the financial load in their little family, he cheers up when he hears that Delia has found a paying piano student.

Delia tells Joe that her new student is a little girl named Clementina. Accordingly, she is the daughter of one General A. B. Pinkney, and the Pinkneys appear to be a wealthy family. Of course, none of what Delia tells Joe is true. She tells a white lie because she wants to spare Joe the humiliation of knowing that his wife is supporting him financially.

In the end, Joe discovers what Delia has really been doing when she accidentally injures her hand at the laundry-shop. Ironically, it is Joe who sends up the "cotton waste and oil from the engine–room...for a girl upstairs who had her hand burned with a smoothing–iron." So, in the story, Delia's loving and loyal nature is clearly demonstrated through her actions.

What is a summary of the documentary "Harold Shipman, Doctor Death" (Serial Killer Documentary)? What are the main points?

This video is about Dr. Harold "Fred" Shipman, dubbed "Doctor Death," who the video describes as "one of the world's most prolific serial killers." The video starts with an English investigator (named Stan Egerton) who starts looking into a forgery case in Hyde, England, regarding a will for an 81-year-old woman named Mrs. Grundy. The deceased's daughter, a solicitor, found out that Dr. Shipman had deceived her mother by telling her mother that she was...

This video is about Dr. Harold "Fred" Shipman, dubbed "Doctor Death," who the video describes as "one of the world's most prolific serial killers." The video starts with an English investigator (named Stan Egerton) who starts looking into a forgery case in Hyde, England, regarding a will for an 81-year-old woman named Mrs. Grundy. The deceased's daughter, a solicitor, found out that Dr. Shipman had deceived her mother by telling her mother that she was signing an authorization for a survey, not a will. Dr. Shipman had been the target of an earlier secret investigation about the large number of deaths he had certified, but the investigation was inconclusive. There were other people with suspicions in the community, including the local undertaker and a local taxi driver. 

The video goes back to Dr. Shipman's history at school, including his former rugby playing and the death of his mother to cancer when Fred was 17. Some believe this "early introduction to morphine and death had a lasting effect on Fred." His reaction to his mother's death was bizarre at the time, as he reported that he had gone for a run in the rain in response. He developed a dependence on a highly addictive pain killer in the 1970s and went to court for obtaining drugs by deception and was fined 600 pounds. He obtained the drug by forging prescriptions and oversubscribing, but he underwent treatment and kicked his dependence. He worked at a group medical practice and then took his 3,000 patients to his own practice so that he could "enjoy his secret indulgence--murder," as the video says. 

The investigation into Mrs. Grundy's death found that she was killed by an injection of morphine. Detectives began to uncover a pattern of many women dying at home, dressed in day clothes, shortly after seeing Dr. Shipman. The doctor's computer files showed that he had taken out records or added records to cover up his deadly acts. He had often recorded deaths before they actually happened. The community was in shock as the investigation proceeded and many bodies of the deceased were exhumed. Shipman killed many people for what was described as "paltry sums," but he killed one, Bianka Pomfret, to inherit a great deal of money. Her body, when exhumed, was found to contain a large quantity of morphine, and the police accused Dr. Shipman of the murders of many former patients. 

The video also describes the great lengths Dr. Shipman went to so that he could obtain morphine, including killing the father of one patient who questioned the doctor's treatment of his son. People posit that Dr. Shipman simply killed patients because he no longer wanted to care for them--for no other reason. 

How could the ending of "Where Are You Going, Where Have You Been?" been prevented?

The ending could have been prevented by better parenting. If Connie had received more guidance and support from her parents, she may have felt less inclined to test the limits of her emerging sexuality.

The dysfunction in Connie's family is evident in the way her parents treat her. While her father largely ignores her, Connie's mother is antagonistic and critical. She constantly denigrates Connie for her looks. The impression we get of Connie's mother is that she is unhappy with her own fading looks and jealous of Connie's fresh beauty.

Connie's mother constantly compares Connie to June, her older sister. June is twenty-four and works as a secretary at Connie's high school. She has plain looks, but she is a hard worker. When she is home, June is helpful, conscientious, and dutiful. She is constantly praised by her mother and her aunts for these traits. On the other hand, Connie is persistently belittled by the same group of family members.

Because she has such an unhappy home life, Connie often sneaks across the highway to a sleazy diner to meet boys. One day, she sees a strange man watching her as she walks across the restaurant's parking lot. The man drives a gold-colored convertible jalopy. The only words he says to her are "Gonna get you, baby." These words come back to haunt her later when he turns up at her house while she is alone.

The man tells her that his name is Arnold Friend and that he knows everything about Connie and her family. He also tells her that he knows what her parents and sister are doing and how long they will be away. Arnold maintains that Connie is the only girl for him and that he means to have her. He threatens to hurt her family if she calls the police. The story ends on an ambiguous but ominous note. The implication is that Connie leaves with Arnold, but her fate is undetermined.

It is noteworthy to recognize that Joyce Carol Oates received the inspiration for this story from the case of "The Pied Piper of Tucson," a serial killer who murdered young girls and dumped their bodies in the Arizona desert in the mid 1960s. By all indications, Connie may have escaped Arnold's attention if she had never frequented the diner. From the story, we know that Connie met with boys at the diner as an act of desperate rebellion.

To recap, Connie may have been less inclined to test her limits if she had had more support and love in her life.

Compare Charlie with Holden Caulfield.

Charlie is the protagonist of The Perks of Being a Wallflower (1999). Holden is the central character in The Catcher in the Rye (1951). 

What do these two characters have in common? Quite a lot, though there are also key differences (like the fact that Charlie lives in the suburbs of Pittsburgh, while Holden lives in New York City. These environments shape their lives and experiences: Charlie is more sheltered than Holden).

Let's go over some of the key similarities. 

They're both teenage boys.

Charlie is 15 when the story begins; Holden is 16 when his story begins.

They've both endured trauma.

There are several events we could mention here, but both characters have lost important figures in their lives. Holden's older brother, Allie, is dead, and Charlie's best friend committed suicide.

They're both navigating the border between childhood and adulthood.

Holden is anxious to grow up; in fact, he feels he already is grown up in certain ways. He's tall and already has a few gray hairs. He's interested in the adult world, including the idea of sex. Charlie isn't quite as advanced. He's a "wallflower," and he's the youngest in the family. But he was drawn to books that his aunt gave him, even though they were above his reading level at the time, and he has a good relationship with his older brother, which helps pave the way for his transition to adulthood.

They're both troubled by sexual encounters. And they both "crash." 

At the end of the book, after a sexual encounter with a girl he likes, an encounter that brings up repressed memories of sexual abuse he suffered through when he was a child, Charlie breaks down. His parents find him in a catatonic state, and he's taken to a mental hospital.

As for Holden: after a confusing encounter with Mr. Antolini, an English teacher that he admires, Holden spends the night in a state of despair in Grand Central Station. Later, in the epilogue of the book, he refers to having had a mental breakdown, though he also hints at his own recovery.

Bruno Bettleheim argued that fairy tales played an important role in children’s development. How far would you agree with Bettleheim, and are his...

In his book The Uses of Enchantment, Bettleheim argued that children should be exposed to the harsh realities revealed in fairy tales rather than kept away from them. Bettleheim argued that children have many fears and understand that life isn't perfect. They know bad events can occur. Fairy tales, by displacing fear and anxiety into the realm of fantasy, can help children to deal with the real fears they experience in their young lives.

I agree...

In his book The Uses of Enchantment, Bettleheim argued that children should be exposed to the harsh realities revealed in fairy tales rather than kept away from them. Bettleheim argued that children have many fears and understand that life isn't perfect. They know bad events can occur. Fairy tales, by displacing fear and anxiety into the realm of fantasy, can help children to deal with the real fears they experience in their young lives.

I agree with Bettleheim up to a point. I wouldn't expose children to a steady diet of, say, the fairy tales recorded by the Grimm brothers, but I also wouldn't surround children with a steady diet of saccharine stories that all have happy endings, as that would not be a realistic exposure to life. It's also important, I believe, to remember that life for most children now is not as harsh as it was when the fairy tales were being told, and so children today could be exposed to an unnecessary degree of anxiety if they read too many fairy tales. For example, far fewer children lose their parents to early death than in the old days. Hunger and abandonment are also both far less likely than they used to be in, say, the eighteenth century. Children may need to deal with these fears, but they don't need to be immersed in this kind of literature.

Many have criticized filmed versions of fairy tales, especially those produced by Disney, for softening  and putting happy endings on stories, such as "The Little Mermaid," that were harsher in the original version. That practice makes filmed fairy tales less relevant to Bettleheim's theories.

What is Steinbeck trying to convey in the novella Of Mice and Men when he compares Lennie to various animals?

Throughout the novella, Steinbeck compares Lennie to various animals. Lennie is compared to a bear dragging its paws, a horse drinking water, a disobedient terrier, a terrified sheep, and a dog seeking comfort. Lennie's mental and physical character traits are illuminated by Steinbeck's comparisons.Mentally, Lennie is depicted as subhuman and unintelligent like animals. Similar to animals, Lennie acts on his instincts and does not process situations or thoughts the same way a normal person...

Throughout the novella, Steinbeck compares Lennie to various animals. Lennie is compared to a bear dragging its paws, a horse drinking water, a disobedient terrier, a terrified sheep, and a dog seeking comfort. Lennie's mental and physical character traits are illuminated by Steinbeck's comparisons. Mentally, Lennie is depicted as subhuman and unintelligent like animals. Similar to animals, Lennie acts on his instincts and does not process situations or thoughts the same way a normal person would. Lennie follows and listens to George like a dog. George even tells Slim that Lennie would jump into a river if he were told to. Lennie's dog-like personality also demonstrates his loyalty to George.

Similar to an animal, Lennie is also physically imposing and hard to control. His animal-like strength, tireless work ethic, and massive physique provide the reader with a visual reference point. Also, Lennie's animal-like personality portrays his innocence, and the reader does not hold him accountable for his actions. Steinbeck's references essentially convey to the reader that Lennie is both mentally and physically comparable to an animal.

I have to write an essay referring to Michel Foucault's "The Subject and Power" and structuralism applied to Jane Austen's Pride and Prejudice. It...

First, as page numbers vary from edition to edition, and you do not specify which edition you are reading, an educator cannot give page numbers for the edition which you are assigned, but we can describe the episode in which a textual evidence is embedded. 

The nature of the essay you have been assigned to write is what is called a "theory/application" essay, in which you are asked to interpret a literary work in light...

First, as page numbers vary from edition to edition, and you do not specify which edition you are reading, an educator cannot give page numbers for the edition which you are assigned, but we can describe the episode in which a textual evidence is embedded. 

The nature of the essay you have been assigned to write is what is called a "theory/application" essay, in which you are asked to interpret a literary work in light of a specific theory. The point of this type of essay is for the instructor to see how well you have grasped both the theory and the text in a single assignment; applying a theory to a specific work requires you to understand the theory rather than just paraphrasing a summary of it.

There is a fairly standard way to approach this type of essay. The outline below should give you some idea of how to work through the essay.

1. Introduction: Foucault's analysis of power provides an interesting lens on Jane Austen because it allows readers to focus on the mechanisms of social control and power operating as the background to the novel. A structuralist reading foregrounds these implicit assumptions and relationships. You should then add a transition sentence talking about what elements of power you will discuss in the novel.

2. Binary Oppositions: A structuralist analysis reveals that the power structures in the novel are embedded in a series of binary oppositions. One of the most important is gentry/non-gentry. Others include rich/poor, male/female, parent/child, officer/subordinate, older/younger, attractive/unattractive. In each of these cases, the first of the paired qualities are associated with power and are more highly valued in the village. 

3. Control Mechanisms: For Foucault, informal control mechanisms function to enforce power structures. For example, village gossip and the way neighbors constantly watch each other and circulate information makes the village function almost as a panopticon. Note at the ball at Netherfield the way the villagers pay close attention to who dances with whom and how many times. It is also important to note that informal social control mechanisms are used to intimidate those who appear to be overstepping or challenging social norms, as when Lady Catherine tries to prevent Elizabeth from marrying Darcy. Foucault notes that we need to distinguish between violence and power. We can see that illustrated in the way that conformity is enforced by opinion rather than brute force. Lydia and Georgiana Darcy both face social ostracism, but their seductions by Wickham and rescues are not stories of rape or violence, but rather ones of seduction and persuasion and bribery. As you read through the book, you should look for examples of informal control mechanisms that regulate every aspect of behavior from food to dancing to clothing. 

4. Subversion: In many ways, Austen shows resistance to the operation of power in several moments of subversion. Her positive portraits of the Gardiners and the acceptance of them by Darcy and Elizabeth subverts the binary opposition between tradesmen and gentry, and suggests that noble character is not a matter of birth or profession but inner goodness. One can view Elizabeth's marriage to Darcy as ultimately an example of subversion or of assimilation.

What are two metaphors in A Christmas Carol by Charles Dickens?

Dickens uses lots of metaphors in this story. To find some examples, take a look at stave 1. First of all, Dickens uses a metaphor when describing Scrooge's character to the reader. Specifically, Dickens compares Scrooge's coldhearted miserliness to cold or frost, as shown in the following lines:

He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas.

This metaphor...

Dickens uses lots of metaphors in this story. To find some examples, take a look at stave 1. First of all, Dickens uses a metaphor when describing Scrooge's character to the reader. Specifically, Dickens compares Scrooge's coldhearted miserliness to cold or frost, as shown in the following lines:

He carried his own low temperature always about with him; he iced his office in the dog-days; and didn't thaw it one degree at Christmas.

This metaphor is effective in emphasizing the negative aspects of Scrooge's character. By portraying him as being so coldhearted that it affects his body temperature, Dickens really highlights this particular character trait.

For another example of a metaphor, take a look at the description of the London streets. Dickens compares the houses, for instance, to "phantoms." By doing this, he emphasizes the impact of the fog. The fog is so thick that it has transformed the appearance of the houses, making them look like ghosts. This metaphor also foreshadows the arrival of the three spirits later in the story.

What is Nestor’s opinion of telemachus

Nestor greets and treats Telemachus as a friend when he comes in search of news of his father, Odysseus. Nestor has heard of Penelope's plight and the abuses of the suitors, but he believes that Odysseus might yet return home, especially since he was always supported by the goddess, Athena.

Nestor seems to like Telemachus quite a bit, and he refuses to allow Telemachus to sleep on his ship, desiring the young man to sleep...

Nestor greets and treats Telemachus as a friend when he comes in search of news of his father, Odysseus. Nestor has heard of Penelope's plight and the abuses of the suitors, but he believes that Odysseus might yet return home, especially since he was always supported by the goddess, Athena.

Nestor seems to like Telemachus quite a bit, and he refuses to allow Telemachus to sleep on his ship, desiring the young man to sleep comfortably in Nestor's home. Nestor also has his youngest daughter bathe, anoint, and dress Telemachus. Further, Nestor gives Telemachus his swiftest horses, a chariot, and rich food to sustain him on his way to the palace of Menelaus, who may have additional information about Odysseus.

Nestor recognizes that Telemachus is a "loving son" of Odysseus, and he respects Orestes, another such loving son that killed his mother and her lover after they'd murdered his father, Agamemnon. He feels that Telemachus is a very loyal son, and this curries favor with him.

How does Squeaky feel about the May Day celebration?

Squeaky finds parts of the May Day celebration frivolous and inappropriate for her inner city neighborhood.

Perhaps because Squeaky has the responsibility of protecting her brother, she has lost some of the imaginative spirit of childhood and is more practical about things. For instance, she feels that the May Pole celebration has no serious value and is hardly worth the purchase of a frilly dress. She cannot understand why her mother is not glad that she...

Squeaky finds parts of the May Day celebration frivolous and inappropriate for her inner city neighborhood.

Perhaps because Squeaky has the responsibility of protecting her brother, she has lost some of the imaginative spirit of childhood and is more practical about things. For instance, she feels that the May Pole celebration has no serious value and is hardly worth the purchase of a frilly dress. She cannot understand why her mother is not glad that she is not

prancing around a May Pole getting the new clothes all dirty and sweaty and trying to act like a fairy or a flower or whatever you’re supposed to be when you should be trying to be yourself.

Unfortunately, Squeaky's protection of her brother seems to have caused her to become more skeptical of people's motives and to be concerned with practicalities rather than some of the frivolous, but delightful activities of childhood. She focuses her life on her success as a runner, a success which allows her to be proud of herself and allows some escape from the harsh realities of her life. Before a race, Squeaky allows her imagination the freedom that she does not give it otherwise.

I dream I’m flying over a sandy beach in the early morning sun, kissing the leaves of the trees as I fly by.

During the May Day race, Squeaky notices for the first time how quickly her brother Raymond is capable of running and what an exceptional runner he may become if she trains him. This idea helps to free Squeaky of some of her cynicism, so she smiles and laughs as she considers her new plans to train Raymond and develop other talents that she herself possesses.

In the story "The Management of Grief," what was revealed about the culture and customs of the characters involved in the story?

Bharati Mukherjee's "The Management of Grief" tells the story of Shaila Bhave, an Indian woman living in Canada who has just lost her husband and sons in a tragic plane crash. The story was written in response to the real crash of an Air India flight from Toronto to Bombay in 1985; it is thought that the crash was the result of a bomb planted by Sikh terrorists who wanted to regain the Sikh homeland in the area of Punjab in India. Mukherjee's story, told from Shaila's point of view, explores responses to grief; more specifically, it explores how an individual's culture, and cultural clashes in a cosmopolitan world, can impact the grieving process.

Early in the story, Shaila is recruited by Judith Templeton, an official appointed by the Canadian government, to reach out to families who lost loved ones in the crash. She is chosen because she has not been exhibiting any odd behavior and is considered by others in the community as "the strongest person of all" and "a pillar." She is also a good candidate to help Judith communicate with the Indian families because "complications of culture, language, and customs" may prevent Judith from being successful. This is the most explicit detail in the early part of the story indicating that cultural diversity will play a role in how the surviving characters will process their losses. 

We also hear some background on Shaila's family. However, most is reserved for the families of her friends; she is more reserved when talking about her own children and husband. We learn from this background, though, that the Indian families living in Canada incorporate influences from Indian and Western/Canadian culture. For example, Kusum, a neighbor of Shaila, has two daughters, one of whom is very Westernized (she likes the mall, McDonald's, and dating Canadian boys), while the other is more traditional ("she sang bhajans for Ethiopian relief"). The parents' generation is more traditional; they are the ones who have immigrated from India, so they grew up immersed in Indian culture. Kusum and Shaila, for example, both married men who were chosen for them (in arranged marriages) and do not outwardly express their feelings to their husbands. Shaila does not even feel comfortable calling her husband by his first name, Vikram. After he is killed in the plane crash, she writes a note expressing her feelings that she then "let fall into the calm, glassy waters." Her grieving process is much more internal than that of the other characters and that is partly a result of her cultural background. Since she stands out from others, though, it is clear that her behavior is also based on her personality.

Eventually, Shaila returns to India to lay her husband to rest in the traditional Indian manner. Men whose wives died in the crash are encouraged to remarry quickly, as is "the call of custom." Widows, on the other hand, are shunned, so Shaila does not remarry. While in India, Shaila has an interesting experience: "My husband descends to me." She later recounts feeling bliss at this mystical interaction with her husband from beyond the grave. This seems to be part of her grieving process, but she does not tell Judith. We can infer that Judith would see this as a red flag. When Shalia goes with Judith to talk to an elderly couple who cannot accept the deaths of their two sons in the crash, Judith shows no sympathy for their mother. She vents to Shaila that "their stubbornness and ignorance are driving [her] crazy." Shaila, however, feels more connected to the family. She asks Judith to let her out of the car; Judith does not understand the plight of the elderly woman nor that of Shaila herself. Shaila reflects, "In our culture, it is a parent's duty to hope." We even saw Shaila doing the same earlier in the story when she brought a suitcase full of clothes for her boys and told an officer that the boys are strong swimmers; she maintained hope that they had somehow survived.

The final role culture plays in Mukherjee's story is in the complex relationship between Shaila, other Indo-Canadians, and Sikhs. The elderly family that Shaila visits at the end of the story is Sikh. She thinks they will not relate to each other, especially considering they are in Canada. Shaila suggests that much of the population is prejudiced against Sikhs now. Ironically, she feels more connected to them than to Judith, and the common culture is part of what establishes that connections. In sum, Shaila's Indian culture influences her grieving process and informs how she connects to other survivors.

What does the beach symbolize in the story "Through the Tunnel"?

Doris Lessing's story "Through the Tunnel" can be understood as a coming-of-age story.  Jerry and his mother are on vacation together, and Jerry is a typical, young boy.  He loves his mother, but he also wants to gain some independence from her.  He wants to test himself and see what he is capable of doing without a parent hovering right over him.  Readers realize much of this about Jerry from the first paragraph.  Jerry sees a rugged looking beach off in the distance.  It has some some rocks and is free from the crowd of vacationers, and Jerry wants to go explore it. However, he also feels badly about leaving his mother.  

Contrition sent him running after her. And yet, as he ran, he looked back over his shoulder at the wild bay; and all morning, as he played on the safe beach, he was thinking of it.

The next day, Jerry gathers up the courage to go to the other beach.  He is proud of himself, yet he does feel a bit lonely and maybe even a bit guilty at leaving his mother alone. 

There she was, a speck of yellow under an umbrella that looked like a slice of orange peel. He swam back to the shore, relieved at being sure she was there, but all at once lonely.

Jerry puts his mother out of his mind when he sees some native boys swimming in the water and diving through a long underwater tunnel.  Being able to make that swim through the tunnel becomes Jerry's sole focus for almost the rest of the story, but in order to do it, he must practice.  He cannot do that with his mother.  This is where the symbolism of the beach begins to come into play.  The tourist beach, where his mother stays, is the safe beach.  It is the beach for kids.  It is not the beach for brave teenagers and young men.  Jerry fully embraces this concept, and he even begins thinking of the tourist beach as "her beach."  His beach is the wild and rugged beach where he goes to train for his underwater swim to adulthood.  

It was a torment to him to waste a day of his careful training, but he stayed with her on that other beach, which now seemed a place for small children, a place where his mother might lie safe in the sun. It was not his beach.

He did not ask for permission, on the following day, to go to his beach.

The one beach is symbolic of childhood, safety, comfort, and security, but the wild beach is symbolic of danger, growth, adventure, uncertainty, and manhood. 

What are the articulations of themes, technical devices, and structure in the poem "Malade" by David Herbet Lawrence?

The French word "malade" means sickness or malady, and the poem describes what it feels like to be sick and then uses contrast, in the final stanza, to show what it feels like to be well. The theme of the poem is the misery of illness contrasted with the joy of health.

The poet universalizes the malady: The first-person narrator doesn't tell us what illness he or she is suffering from, meaning we can apply the feelings described to any malady, be it mental or physical.

The poem relies heavily on imagery and metaphor to convey what it feels like to be ill and well. The main feeling conveyed in stanza one is emptiness, as the narrator both observes and projects his own feelings on to the objects in the room; he is sick, therefore the grapes by his bed seem to him to be "sick." Lawrence shows us rather than tells us of his narrator's boredom: we experience the sick person's bored state as he watches the breeze make the tassel of the blind tap against the windowpane, something a more active person would not be likely to notice. He feels emotionally hollow, using the metaphor of his room and hence of himself, as a gourd, "scooped out and dry." He likens himself to a spider lying on "dust," who sees nothing but "twilight and walls." These images convey to the reader the dreariness of being sick.

If the first stanza has a dry, emotionless feeling, conveying boredom and emptiness, the second rises to a crescendo of emotion. Here, the poet extends the metaphor of himself as a spider, describing the state in greater detail. He uses exclamation points twice to underscore his emotions, both of wishing to be "outside" of his room and of feeling like a spider, stuck in a cave. He ends the stanza saying he is choking on being confined to his sick room. He uses images of "creeping" and "gray," which are spider-like and dull, to convey how trapped he feels.

Finally, in stanza three, he contrasts his confined, spider-like state of illness with imagery of birds outside soaring free in the sunshine. Unlike him, the birds can fly in the "vast spread country." They symbolize good health and the expansive liberty that it offers. To the narrator, the birds are "ecstatic," (this reflects the narrator's own thoughts and desires, as we don't know if the birds are actually ecstatic). He uses the image of the birds to show how ecstatic he himself would be—as if soaring—were he healthy again. 

The poem is in three stanzas that are held together by imagery rather than rhyming words at the end of lines. In the first stanza, alliteration provides a sense of rhythm: "tassel" and "tapping," "scooped" and "spider," "watching" and "walls." In the second and third stanzas, repetition, such as of "wet," "spider" and "birds" is what adds a sense of rhythm.

What are some quotes from A Perfect Spy?

John le Carré's novel A Perfect Spy tell the story of a British intelligence officer (who is also a double agent for the Czechoslovak secret service) named Magnus Pym who is being pursued by his fellow intelligence officers. The novel non-linearly details both this manhunt and Pym's life leading up to this point, including his childhood with his con-man father Rick, his years as a student and lover, and his entry into the world of being a spy. While Pam had indeed managed to shape himself into the perfect spy over the course of his life's work, he has sacrificed his sense of identity in the process. As a result, he is an unreliable narrator who wrangles with his conscience and different selves. 

Ultimately, the novel tackles the themes of love and betrayal, the nature of personal identity, and the overlap between spies, conmen, artists, politicians, and the clergy. Pym is a traitor to his country within this novel, and this is largely an extension of a childhood that was filled with deception. His evolution as a double agent seems inevitable given the artifice on which the rest of his life was predicated. 

A few quotes from the novel which highlight these themes are:

“You could be the perfect spy. All you need is a cause.” 

“There were half a dozen reconstructed Pyms wandering the streets of Graz that night, Tom, and there isn’t one of them I need now feel ashamed of, or wouldn’t happily embrace as a long-lost son who had paid his debt to society and come home, if he knocked on Miss Dubber’s door at this moment and said, Father, it’s me.”

“Sometimes we have to do a thing in order to find out the reason for it. Sometimes our actions are questions, not answers.”

"Betrayal can only happen if you love."

In 1984, why is the state of paranoia so important to the Party's system of control?

In 1984, paranoia is fundamental to the Party's system of control because it acts as a deterrent against breaking rules. When Winston first encounters the "dark-haired girl" (Julia), for instance, his paranoia is immediately apparent: he thinks she is a spy and he fantasizes about hurting her. In reality, Julia likes him and wants to have a relationship, even though this is against Party rules. Winston's paranoia, therefore, stops him from realizing her...

In 1984, paranoia is fundamental to the Party's system of control because it acts as a deterrent against breaking rules. When Winston first encounters the "dark-haired girl" (Julia), for instance, his paranoia is immediately apparent: he thinks she is a spy and he fantasizes about hurting her. In reality, Julia likes him and wants to have a relationship, even though this is against Party rules. Winston's paranoia, therefore, stops him from realizing her true feelings and, by default, from breaking this rule about forming relationships (until Part Two of the book, anyway).

Similarly, the Party uses children to maintain control through paranoia. This is shown in Part One, Chapter Two, when Winston visits his neighbors, the Parsons. The Parsons children are zealous supporters of the Party and, like other children in Oceania, are keen to report anyone who commits thoughtcrime. As Winston comments, there are countless stories in the press of children who have reported their own parents, which has created a climate of domestic paranoia and fear which keeps such parents in check:

It was almost normal for people over thirty to be frightened of their own children.

What are hyperbolic trig functions, and how do you solve them? For example, `sinh(-1)`

We can compare/contrast areas of a semi-circular region (involving the arcsin function) to areas under a hyperbola. The hyperbolic functions arise from this second application. 

Other applications include: 

(1) The curve created by a chain hung from fixed points is called a catenary which is the graph of the hyperbolic cosine. The St. Louis Arch is based on an inverted catenary. Catenaries were studied when mathematicians tried to find the curve through which a falling...

We can compare/contrast areas of a semi-circular region (involving the arcsin function) to areas under a hyperbola. The hyperbolic functions arise from this second application. 

Other applications include: 

(1) The curve created by a chain hung from fixed points is called a catenary which is the graph of the hyperbolic cosine. The St. Louis Arch is based on an inverted catenary. Catenaries were studied when mathematicians tried to find the curve through which a falling body would move the fastest between two points separated both horizontally and vertically.

(2) Another common application is solving problems involving a curve known as the tractrix. This is the curve that would occur if you were to pull a boat in towards shore by walking down the shore. These curves can also arise when looking at chase curves -- as the prey runs away at an angle, the best path for the predator is the tractrix.

The definitions of the hyperbolic functions involve the exponential function. In particular,`sinh(x)=1/2(e^x-e^(-x))` and `cosh(x)=1/2(e^x+e^(-x))`

So,  `sinh(-1)=1/2(1/e-e)` which is approximately -1.1752

How does Coates combat racism?

Contemplating how Ta-Nehisi Coates in Between the World and Me combats racism is an intriguing exercise. Coates’s extended and thoughtful letter to his son, Samori, is an exceedingly bleak indictment of American history and culture, which the author describes as institutionally inseparable from racism. Whereas many examinations of the histories of slavery and segregation detail the advances made over the years in civil rights, Coates is pessimistic that the United States can or ever will change. Between the World and Me is not, therefore, an optimistic guide to how to achieve the goal of racial equality, which Coates states never has and never will be a part of the American culture. His book is a warning to a son on the verge of adulthood that the color of his skin will forever disadvantage him. As Coates has (now famously) advised his son regarding the nation in which he was born, “Here is what I would like for you to know: In America, it is traditional to destroy the black body—it is heritage.” [Emphasis in original]

To the extent Coates offers a strategy or thoughts on how to combat racism, it is in his exhortations to Samori, who was named for Samori Touré, an African who died in his struggle against French colonialism, to both interrogate and struggle. Early in his letter, the father urges his son to continuously question or challenge what he is told by a white-dominated society. As Coates writes in his opening pages,

“The greatest reward of this constant interrogation, of confrontation with the brutality of my country, is that it has freed me from ghosts and guided me against the sheer terror of disembodiment.”

Coates views the "American Experience" through the prism of oppression. He holds in disdain the notion of an "American Dream" and derisively references white Americans throughout his book as “Dreamers.” The United States, he argues, was built on the backs of slaves and the evolution of society reflects only that which was imposed by the nation’s white masters. American history and culture, therefore, reflect only what white Dreamers dictate. Combating racism, then, requires an unceasing commitment to challenging conventional notions of the "American Dream." Again, as the father writes to the son regarding the former’s own intellectual development: “An uncertain interrogation of the stories told to us by the schools now felt essential. It felt wrong not to ask why, and then to ask it again.”

A corollary of the imperative of interrogation is Coates’ emphasis on “the struggle.” He never really defines “struggle,” but it is clear, given the cynicism with which he regards the ability and/or willingness of Dreamers to evolve, that he intends for Samori to prepare for a lifetime of agitating for fundamental change in attitudes and practices towards racism. To Coates, “the struggle” is the most important lesson he can convey to his son: “The struggle is really all I have for you because it is the only portion of this world under your control.” It is no accident that Coates named his son for that late African revolutionary and martyr. Late in his letter to Samori, Coates writes:

“Struggle for the memory of your ancestors. Struggle for wisdom. Struggle for the warmth of The Mecca (Coates’ name for Howard University, the African American university in Washington, D.C. he attended) . . . But do not struggle for the Dreamers. Hope for them. Pray for them, if you are so moved. But do not pin your struggle on their conversion.”

As noted, Between the World and Me is a very pessimistic observation of U.S. history and culture. Coates holds out little hope for positive change. He believes the answer lies in a form of revolution that rejects those institutions that reflect white dominance. Interrogation and struggle form the basis of his strategy to combat racism. He knows that success requires the very conversion among Dreamers that he believes is highly unlikely, but he wants his son to be prepared to wage whatever battle circumstances allow.