What are two instances of foreshadowing in the final four paragraphs of chapter 27 in To Kill a Mockingbird?

In the last four paragraphs of Chapter 27, Harper Lee foreshadows Bob Ewell's attack on Jem and Scout. The first instance of foreshadowing happens when Aunt Alexandra hesitates in the middle of explaining why she will not be attending Scout's pageant. Alexandra suddenly stops talking in the middle of her sentence and tells Scout that she feels as if someone has walked over her grave. Alexandra's comment is an old expression that people use when...

In the last four paragraphs of Chapter 27, Harper Lee foreshadows Bob Ewell's attack on Jem and Scout. The first instance of foreshadowing happens when Aunt Alexandra hesitates in the middle of explaining why she will not be attending Scout's pageant. Alexandra suddenly stops talking in the middle of her sentence and tells Scout that she feels as if someone has walked over her grave. Alexandra's comment is an old expression that people use when they experience a sudden, unexplained chill. Scout then mentions that Aunt Alexandra "put away from her whatever it was that gave her a pinprick of apprehension" (Lee, 155). Alexandra's sudden chill is a foreboding sign that something terrible is going to happen.

In the last two sentences of the chapter, Scout writes, "Jem said he would take me. Thus began our longest journey together" (Lee, 156). The audience knows that the walk to the Maycomb high school auditorium is not long, which indicates that Scout's hyperbole is significant. Long journeys are typically arduous and difficult. Scout's comment suggests that her journey will be dangerous, which again foreshadows Bob's attack.

`int (x^3+x+1)/(x^4+2x^2+1) dx` Find the indefinite integral

Indefinite integral are written in the form of `int f(x) dx = F(x) +C`

 where: `f(x)` as the integrand

          `F(x)` as the anti-derivative function of `f(x)`

          `C `  as the arbitrary constant known as constant of integration

To determine the indefinite integral of `int (x^3+x+1)/(x^4+2x^2+1) dx` , we apply partial fraction decomposition to expand the integrand: `f(x)=(x^3+x+1)/(x^4+2x^2+1)` .

The pattern on setting up partial fractions will depend on the factors  of the denominator. For the given problem,  the denominator is in a similar form of perfect squares trinomial:  `x^2+2xy+y^2= (x+y)^2`

Applying the special factoring on `(x^4+2x^2+1)` , we get: `(x^4+2x+1)= (x^2+1)^2` .

For the repeated quadratic factor `(x^2+1)^2` , we will have partial fraction: `(Ax+B)/(x^2+1) +(Cx+D)/(x^2+1)^2` .

The integrand becomes:

`(x^3+x+1)/(x^4+2x^2+1)=(Ax+B)/(x^2+1) +(Cx+D)/(x^2+1)^2`

Multiply both sides by the `LCD =(x^2+1)^2` :

`((x^3+x+1)/(x^4+2x^2+1)) *(x^2+1)^2=((Ax+B)/(x^2+1) +(Cx+D)/(x^2+1)^2)*(x^2+1)^2`

`x^3+x+1=(Ax+B)(x^2+1) +Cx+D`

`x^3+x+1=Ax^3 +Ax+Bx^2+B+Cx+D`

`x^3+0x^2 + x+1=Ax^3 +Ax+Bx^2+B+Cx+D`

Equate the coefficients of similar terms on both sides to list a system of equations:

Terms with `x^3` :  `1 = A`

Terms with `x^2` :  `0=B`

Terms with `x` :  `1 = A+C`

Plug-in `A =1` on `1 =A+C` , we get: 

`1 =1+C`

`C =1-1`

`C =0`

Constant terms: `1=B+D`

Plug-in `B =0` on `1 =B+D` , we get: 

`1 =0+D`

`D =1`

Plug-in the values of `A =1` , `B=0` , `C=0` , and `D=1` , we get the partial fraction decomposition:

`(x^3+x+1)/(x^4+2x^2+1)=(1x+0)/(x^2+1) +(0x+1)/(x^2+1)^2`

                      `=x/(x^2+1) +1/(x^2+1)^2`

Then the integral becomes:

`int (x^3+x+1)/(x^4+2x^2+1) dx = int [x/(x^2+1) +1/(x^2+1)^2] dx`

Apply the basic integration property: `int (u+v) dx = int (u) dx +int (v) dx.`

`int [x/(x^2+1) +1/(x^2+1)^2] dx=int x/(x^2+1)dx +int 1/(x^2+1)^2 dx`

For the first integral, we apply integration formula for rational function as:

`int u /(u^2+a^2) du = 1/2ln|u^2+a^2|+C`

Then, `int x/(x^2+1)dx=1/2ln|x^2+1|+C or (ln|x^2+1|)/2+C`

For the second integral,  we apply integration by trigonometric substitution.

We let `x = tan(u) `  then  `dx= sec^2(u) du`

Plug-in  the values, we get:

`int 1/(x^2+1)^2 dx = int 1 /(tan^2(u)+1)^2 * sec^2(u) du`

Apply the trigonometric identity: `tan^2(u) +1 = sec^2(u)` and trigonometric property:` 1/(sec^2(u)) =cos^2(u)`

 `int 1 /(tan^2(u)+1)^2 * sec^(u) du =int 1 /(sec^2(u))^2 * sec^2(u) du`

                                        `= int 1 /(sec^4(u)) * sec^2(u) du`

                                       `=int 1/(sec^2(u)) du`

                                       `= int cos^2(u) du`

Apply the integration formula for cosine function: `int cos(x) dx = 1/2[x+sin(x)cos(x)]+C`

`int cos^2(u) du= 1/2[u+sin(u)cos(u)]+C`

Based from `x= tan(u)` then :

`u =arctan(x)`

`sin(u) = x/sqrt(x^2+1)`

`cos(u) =1/sqrt(x^2+1)`

Then the integral becomes:

`int 1/(x^2+1)^2dx`

`= 1/2[arctan(x) + (x/sqrt(x^2+1))*(1/sqrt(x^2+1))] `             

`=arctan(x)/2+x/(2x^2+2)`

Combining the results, we get: 

`int (x^3+x+1)/(x^4+2x^2+1) dx =(ln|x^2+1|)/2+arctan(x)/2+x/(2x^2+2)+C` 

`sum_(n=0)^oo 2^n/(n!)` Use the Root Test to determine the convergence or divergence of the series.

It is usually easier to use ratio test on these types of series that contain factorials. However, we can also use root test if we rewrite factorial using exponentials. This can be accomplished using Stirling's approximation

`n! approx sqrt(2pi n)(n/e)^n`

The reason why we can use this approximation is because it becomes more precise for greater values of `n,` in fact the ratio of the left and right hand side of the approximation converges to 1...

It is usually easier to use ratio test on these types of series that contain factorials. However, we can also use root test if we rewrite factorial using exponentials. This can be accomplished using Stirling's approximation

`n! approx sqrt(2pi n)(n/e)^n`

The reason why we can use this approximation is because it becomes more precise for greater values of `n,` in fact the ratio of the left and right hand side of the approximation converges to 1 as `n` tends to infinity.

`lim_(n to infty)root(n)(2^n/n!) =lim_(n to infty) root(n)(2^n/(sqrt(2pi n)(n/e)^n))=lim_(n to infty)2/(root(n)(sqrt(2pi n))n/e)=`

In order to calculate `lim_(n to infty) root(n)(sqrt(2pi n))` we need to use the following two facts:

`lim_(n to infty) root(n)(c)=1,` `c in RR` and `lim_(n to infty)root(n)(n^p)=1,` `p in RR.`

                                                                                                                    Applying this to our limit yields

`lim_(n to infty)2/(root(n)(sqrt(2pi n))n/e)=lim_(n to infty)2/(n/e)=lim_(n to infty)(2e)/n=(2e)/infty=0`

Since the value of the limit is less than 1, the series is convergent. 

In Plath's "The Bell Jar," how do gender double standards in the areas of education/career and sex/marriage contribute to Esther's mental breakdown?

As we read the story, we come to realize that Esther is experiencing an adolescent crisis of identity, similar to what many teenagers of her age experience. Although gender double standards play a part in Esther's breakdown, it is mainly Esther's inability to reconcile these differences that fuel her descent into madness.

Esther's boyfriend, Buddy Willard, has asked her to marry him. For her part, Esther is non-committal; she believes that Buddy is a hypocrite...

As we read the story, we come to realize that Esther is experiencing an adolescent crisis of identity, similar to what many teenagers of her age experience. Although gender double standards play a part in Esther's breakdown, it is mainly Esther's inability to reconcile these differences that fuel her descent into madness.

Esther's boyfriend, Buddy Willard, has asked her to marry him. For her part, Esther is non-committal; she believes that Buddy is a hypocrite because he's had an affair with a waitress. It upsets her that a woman is expected to retain her virginity before marriage, while a man is free to satiate his sexual appetite. Buddy's mother is also obsessed with the topic of virginity; however, she expects all marriageable young adults to maintain their purity until marriage. Mrs. Willard also rejects the idea of sexual compatibility being an integral part of one's decision to marry. As a result, Buddy is husband material from a fiscal standpoint but a failure in the romance department. Esther is fascinated by Buddy's academic achievements but repelled by his lack of sexual experience.

Thus, Esther's descent into madness is fueled by her inability to reconcile divergent points of view about male and female sexuality. First, there is the larger societal expectation for young men to fulfill the dictates of their sexual appetites before marriage. Second, there is the orthodox belief that all young adults should maintain sexual purity until the marriage ceremony is performed. Third, there is the youthful feminine inclination to desire more than financial security from marriage. For her part, Esther is drawn towards poetry because her soul is starving for true affection and purpose. Her depression and anxiety are fueled by the conflicting gender double standards that vie for her attention.

Sadly, Buddy is powerless to provide Esther what she seeks because he has little understanding of the female psyche himself. His appreciation of the birth experience is clinical at best, and he nurses grave misconceptions about female sexuality. He sees Esther as a means to an end. Buddy knows that he has to marry in order to fulfill his masculine obligations to society, but he has little knowledge about what fuels a woman's admiration and respect for a man.

Buddy believes that he can give Esther financial security and is genuinely perplexed that Esther displays so little enthusiasm for his efforts. He tries to understand Esther's devotion to poetry and humors her. However, he is hardly supportive of it. Consider that Buddy isn't just being insensitive: he's as much at a loss as Esther is. The gender double standards that encompass their lives provide very little guidance about sexual attraction, compatibility, and devotion within a marital union.

For Esther, poetry is a lifeline. She is secretly terrified at the idea of marriage. With few domestic skills, Esther believes that she would fail miserably in any domestic role. She seeks personal fulfillment but has few emotional resources to determine the most important priorities in her life. 

From the tip of every branch, like a fat purple fig, a wonderful future beckoned and winked. One fig was a husband and a happy home and children, and another fig was a famous poet...another fig was Constantin and Socrates and Attila and a pack of other lovers with queer names and offbeat professions...and beyond and above these figs were many more figs I couldn't quite make out. I saw myself sitting in the crotch of this fig tree, starving to death, just because I couldn't make up my mind which of the figs I would choose. I wanted each and every one of them, but choosing one meant losing all the rest...

The above passage clearly explains how conflicting double standards fuel Esther's descent into madness. The standards provide a sterilized, monochromatic blueprint for life, but they fail to provide practical solutions for individual concerns. With little purpose in life, Esther finds personal fulfillment elusive. Tragically, she never learns that it is possible to combine the "figs" of her desires into a workable union of interests. 

How do I make my computer work faster?

The speed of your computer is dependent on the hardware it has. This includes the speed of the processor, number of processors, amount of RAM, type of operating system, etc. The newer processors have more processing power compared to older ones. The more the number of processors, higher is the speed, etc. One way to increase the speed of your computer is by disabling all the background processes that are not in use. In Windows-based...

The speed of your computer is dependent on the hardware it has. This includes the speed of the processor, number of processors, amount of RAM, type of operating system, etc. The newer processors have more processing power compared to older ones. The more the number of processors, higher is the speed, etc. One way to increase the speed of your computer is by disabling all the background processes that are not in use. In Windows-based systems, task manager can help you with that. Running older versions of software also helps. For example, Windows 10 requires much more hard drive space, processing capacity and RAM as compared to say, Windows XP. Many people also have multiple anti-virus packages installed. A number of times, when we download something or install a program, a number of other programs (such as a toolbar or anti virus scanner, etc.) also get installed. Try to find all such programs and uninstall them to save on the processing power of your computer. One can also try to upgrade the system hardware, an especially easy thing to do with desktops. One can also try Windows tools (or similar applications) such as 'disk cleanup' to remove extra files that are of no use and delete them.

Hope this helps. 

What happened to the community in Gathering Blue?

Gathering Blue depicts a post-apocalyptic society. The exact form the apocalypse took remains cryptic in the novel, but as the story begins, the "civilization of the ancestors" had ended long ago. The society is now primitive, operating without any technology to speak of, and most people in the society are illiterate. The method they have for retaining their history is oral: A Singer presents a Ruin Song annually to the entire community which tells the...

Gathering Blue depicts a post-apocalyptic society. The exact form the apocalypse took remains cryptic in the novel, but as the story begins, the "civilization of the ancestors" had ended long ago. The society is now primitive, operating without any technology to speak of, and most people in the society are illiterate. The method they have for retaining their history is oral: A Singer presents a Ruin Song annually to the entire community which tells the history of people. The part of the Ruin Song that refers to the apocalypse speaks of "smoky, poisonous fumes, of great fractures in the earth itself, of the way huge buildings toppled and were swept away by the seas." The Singer's robe depicts through embroidery the scenes mentioned in the Song. Kira repairs an area of the robe that shows "tall buildings ... against a background of fiery explosions." These were skyscrapers, destroyed in a war.

The words to accompany that section of the robe say, "Burn, scourged world / Furious furnace, / Inferno impure." That the destruction was widespread, even worldwide, is implied by the verse, "Ravaged all, / Bogo tabal / Timore toron / Totoo now gone." Destruction ranged from Bogata to Baltimore to Toronto, meaning that cities on both the North and South American continents were destroyed. The fact that many humans are physically deformed in the village where Christopher lives suggests either nuclear or chemical weapons were used that caused congenital defects for generations.

Though Lowry never specifically says so, one assumes that a World War, including nuclear weapons, wiped out civilization as we know it. Kira's community rebuilt, but without technology and without many of the markers that define our culture, such as religion, education, philosophy, and the arts.

What request does Sasha make of Ivan at the end of "A Problem"?

The request made at the end of Chekhov's "A Problem" is truly an upsetting ending to the story. Sasha asks (or a more proper word would be "forces") Ivan to give him the hundred rubles, proving that Sasha was a criminal all along. 

When Sasha originally cashes a false promissory note and is caught, the family (including Ivan, the uncle) are discussing whether to have Sasha take the punishment or simply clear his name by...

The request made at the end of Chekhov's "A Problem" is truly an upsetting ending to the story. Sasha asks (or a more proper word would be "forces") Ivan to give him the hundred rubles, proving that Sasha was a criminal all along. 

When Sasha originally cashes a false promissory note and is caught, the family (including Ivan, the uncle) are discussing whether to have Sasha take the punishment or simply clear his name by paying the money. Ivan convinces the family to simply pay it for Sasha, so he can begin again with a clean slate. It is when Ivan tells Sasha this good news that Sasha makes this "request," demanding the hundred rubles from Ivan. Sasha ends the story by saying, "Now I see that I am a criminal; yes, I am a criminal."

In Act 3, Scene 1 what resolution does Hamlet come to?

An Act Three, Scene One of Shakespeare's Hamlet, Hamlet delivers the iconic "To be or not to be" soliloquy. In this passage, he ponders whether he should continue to live when life is merely a matter of great suffering. Hamlet suggests that the only thing that is stopping us from shuffling off the mortal coil is a fear of the unknown and of what lays in wait for us in the afterlife, suggesting that...

An Act Three, Scene One of Shakespeare's Hamlet, Hamlet delivers the iconic "To be or not to be" soliloquy. In this passage, he ponders whether he should continue to live when life is merely a matter of great suffering. Hamlet suggests that the only thing that is stopping us from shuffling off the mortal coil is a fear of the unknown and of what lays in wait for us in the afterlife, suggesting that it is preferable to "bear those ills we have" rather than "fly to others that we know not of." The resolution that Hamlet ends up making in this scene is to live rather than commit suicide.

Hamlet also makes a decision around his relationship with Ophelia when she comes to him in the midst of his thoughts. Hamlet firmly rejects her, telling her to "get thee to a nunnery."

Having spied on Hamlet and watched his erratic behavior, Claudius ends the scene by stating, "Madness in great ones must not go unwatch'd." 

How does technology influence conformity in Fahrenheit 451?

The relationship between technology and conformity is an important one in Fahrenheit 451. The novel takes place in an imagined vision of the future where people are constantly surrounded by video screens blasting television shows as well as always hearing voices and news through their seashell ear pieces. All entertainment is sanctioned by the government, and writing and books forbidden.

The result is that all the information people consume comes from the systems of power that already exist. While our society has freedom of the press and you can pick up any number of books, documentaries, or other media from libraries that may contradict, critique, or enforce our society's beliefs, the same is not true of the world in Fahrenheit 451. By controlling the media that the people in that world consume, the power systems ensure that everybody will continue to conform.

All the media the characters of the book consume is concerned with distraction. The seashell ear pieces are loud and constantly on, rarely giving people time to think original thoughts. It's difficult to be an individual person when you don't have the ability to think outside what's being fed to you; at the end of the book, it's only the characters who have actively sought out forbidden literature that are able to break free of their society.

Similarly, the video screens function as entertainment and control. The citizens of this society engage with the films because they're entertaining, but they also encourage belonging. Characters like Mildred want to please the people in the films, which are interactive, making them even more appealing and important.

The society in Fahrenheit 451 prioritizes technology in their society as being the most important thing, with writing being forbidden. State-sanctioned entertainment means that characters aren't exposed to anything that might challenge their perspective, enforcing their emphasis on conformity. While it might not seem like entertainment could have that profound of an effect, when your access is restricted to alternative thoughts, especially with their thoughts being interrupted by the seashell ear pieces.

The way that technology influences conformity here is indirect--they're not using any kind of magical power or brainwashing techniques, but rather subtle technologies to keep people from thinking freely. When people can't think freely, they're less likely to question or challenge the dominant systems of power, making them docile, malleable citizens that conform to their society's wishes.

`int_0^pi (5e^x + 3sin(x))dx` Evaluate the integral

You need to evaluate the definite integral using the fundamental theorem of calculus, such that: `int_a^b f(x)dx = F(b) - F(a)`

`int_0^pi (5e^x+ 3sin x)dx = int_0^pi 5e^x dx + int_0^pi 3sin x dx`

`int_0^pi (5e^x+ 3sin x)dx = (5e^x - 3cos x)|_0^pi`

`int_0^pi (5e^x+ 3sin x)dx =5e^pi - 3cos pi - 5e^0 + 3cos 0`

`int_0^pi (5e^x+ 3sin x)dx = 5e^pi - 3*(-1) - 5 + 3`

`int_0^pi (5e^x+ 3sin x)dx = 5e^pi + 1`

Hence,...

You need to evaluate the definite integral using the fundamental theorem of calculus, such that: `int_a^b f(x)dx = F(b) - F(a)`

`int_0^pi (5e^x+ 3sin x)dx = int_0^pi 5e^x dx + int_0^pi 3sin x dx`

`int_0^pi (5e^x+ 3sin x)dx = (5e^x - 3cos x)|_0^pi`

`int_0^pi (5e^x+ 3sin x)dx =5e^pi - 3cos pi - 5e^0 + 3cos 0`

`int_0^pi (5e^x+ 3sin x)dx = 5e^pi - 3*(-1) - 5 + 3`

`int_0^pi (5e^x+ 3sin x)dx = 5e^pi + 1`

Hence, evaluating the definite integral yields

` int_0^pi (5e^x+ 3sin x)dx = 5e^pi + 1`

In "A World Where News Travelled Slowly," what is the poet implying about communication and how does she convey her feelings towards the changes...

In stanza one, the speaker expresses a nostalgic viewpoint, which is probably her favorite. This stanza is also the longest.

It is evident the speaker romanticizes the manner in which letters were sent and received. In the early days, letters took up to four days to arrive at their destinations, and they most definitely bore signs of the journey they had undertaken. They were stained by the sweat of those who carried them and were soiled by the leather pouches in which they had been carried. Furthermore, the letters smelt of the dust and rain, or whichever other weather conditions they traveled through.

Additionally, these letters could have undergone a transformation during their long journeys since the 'ink was unstable' and the writing could have faded or become smeared, if one considers the different conditions through which they had been carried by different riders.

Since the situations or conditions mentioned in the letter could have changed within the course of the journey, the addressee had to take at face value its content and could only hope things turned out differently— 

the head 
had to listen, the heart could wait.

Receiving such information, no matter its content, would be a dramatic and exciting experience for the receiver, just as much as it would have been for the sender when writing it. The letter not only contained information; it was much more than that. More often than not, it became a treasure—a link to another. It was not only a tool for communication but also a piece of history: its own and that of all those who had contact with it.  

Stanza two is much more straightforward. The speaker uses a factual approach and expresses the necessity of a speedier form of communication used by the French during the Revolution. It was a period of turmoil and strife, and it became imperative that information be exchanged at greater speed. Enemies of the new order had to be found quickly, citizens had to be informed of new developments, and military information had to be communicated quickly.

This resulted in the use of the semaphore, a system of towers from which signals were conveyed from one to the other. News could travel faster over long distances. There is a subtle suggestion by the speaker that its application may have caused the execution of many at the guillotine. 

The semaphore was replaced by the telegraph whereby messages were conveyed in code. This system, however, had its drawbacks since it was affected by weather conditions and required three men to receive, analyze, and convey messages.

The final stanza refers to modern methods of written communication. Words arrive quicker and are stylistically smaller or written in language which is difficult (harder) to comprehend. The speaker emphasizes the immediacy of our modern methods of communication and stresses that it is almost as if we are in each other's company when we write to one another. The speaker fears the lack of privacy in our modern methods and feels that there is too much being conveyed (squeezed) and rhetorically asks what guarantees we have that our communication has not been tampered with or compromised.

The line, 'Nets tighten across the sky and the sea bed' evokes a sense of being stifled and choked. The speaker is clearly anxious about our modern style of communication. The last three lines suggest an inherent danger in modern networking. Although we celebrate the ease with which we can now write to all, this, ironically, may also cause our destruction.

"Mr.Franz, I think careers are a 20th century invention, and I don't want one." What is the page number for that quote? What is the context of this...

I wish that I could give a really straightforward answer for this question, but it's not possible.  

The quote that is listed does not appear in Jon Krakauer's book Into the Wild.  The quote listed in this question is taken from the script of the 2007 film Into the Wild. The film was directed by Sean Penn, and the screenplay was also written by Sean Penn.  In the movie version, McCandless says the above...

I wish that I could give a really straightforward answer for this question, but it's not possible.  

The quote that is listed does not appear in Jon Krakauer's book Into the Wild.  The quote listed in this question is taken from the script of the 2007 film Into the Wild.  The film was directed by Sean Penn, and the screenplay was also written by Sean Penn.  In the movie version, McCandless says the above quote to Ron Franz.  There is a similar quote in the book.  

Early in his senior year at Woodson, Chris informed his parents that he had no intention of going to college. When Walt and Billie suggested that he needed a college degree to attain a fulfilling career, Chris answered that careers were demeaning “twentieth-century inventions,” more of a liability than an asset, and that he would do fine without one, thank you.

The above text can be found on page 71 of my version.  McCandless isn't talking to Franz though.  He's talking to his family about his desire to live life on the road and in the moment.  McCandless's decision is a big blow to his family because they see education and good careers as very important.

“That put us into kind of a tizzy,” Walt admits. 

In the book, Franz does attempt to get McCandless back on track for a "normal" life, but McCandless politely explains his attitude.  

When he returned to McCandless’s camp and launched into the self improvement pitch, though, McCandless cut him off abruptly. “Look, Mr. Franz,” he declared, “you don’t need to worry about me. I have a college education. I’m not destitute. I’m living like this by choice.”

Sean Penn's film combined the conversation between Franz and McCandless with the conversation between McCandless and his parents.  It makes sense that Penn did this because even Krakauer hints that Franz and McCandless shared a closeness that McCandless didn't have with his parents.  

What is the thesis of Jarhead?

There is not a single thesis for Jarhead.  That is because a thesis is an argumentative statement that another writer makes about the novel.  The thesis statement could be about characters in the novel or main themes present in the novel.  It is up to you.  

The novel is not exactly a glowing endorsement of the military or individual soldiers, so I would tailor your thesis in that direction.  Perhaps focus on Swoffie's disillusionment...

There is not a single thesis for Jarhead.  That is because a thesis is an argumentative statement that another writer makes about the novel.  The thesis statement could be about characters in the novel or main themes present in the novel.  It is up to you.  

The novel is not exactly a glowing endorsement of the military or individual soldiers, so I would tailor your thesis in that direction.  Perhaps focus on Swoffie's disillusionment that continues to grow throughout the novel.  He chose to be a Marine, but he struggles with knowing that the military has successfully turned him into that and nothing else.   

I hated being a marine because more than all of the things in the world I wanted to be—smart, famous, sexy, oversexed, drunk . . . — more than all of those things, I was a marine.

A thesis could be based on those feelings.  For example, "Although most readers might assume that many young soldiers are proud to call themselves marines, Jarhead shows readers that the title might actually be hated by many soldiers."  

The end of the book is a tough read, but the main message speaks out against thinking that American soldiers are all war heroes.  A thesis could be made with that thought in mind.  For example, "Many times war movies and novels portray the American soldier in a glorified, heroic light; however, Jarhead gives readers a much darker view of the American solider."

What is the conflict between the mother and narrator in "Two Kinds" by Amy Tan?

The conflict between Jing Mei and her mother stems from the latter's need to turn her daughter into a prodigy of sorts.

As the text tells us, Jing Mei's mother is focused on her mission to make Jing Mei a piano prodigy. This becomes a point of conflict between the two. While Jing Mei's mother thinks making her daughter into a star (on par with Shirley Temple) is the right thing to do, Jing Mei...

The conflict between Jing Mei and her mother stems from the latter's need to turn her daughter into a prodigy of sorts.

As the text tells us, Jing Mei's mother is focused on her mission to make Jing Mei a piano prodigy. This becomes a point of conflict between the two. While Jing Mei's mother thinks making her daughter into a star (on par with Shirley Temple) is the right thing to do, Jing Mei isn't so sure. She feels pressured by her mother and resents the need to put on an obedient front before relatives and the larger Chinese-American community.

Jing Mei just wants to be herself and be allowed to choose her own path in life. Thus, her mother's simultaneous need to keep up the family's reputation and to compel unquestioning obedience is seen as oppressing to her. In the end, Jing Mei rebels by playing horribly in a piano recital; in the aftermath of the disastrous performance, Jing Mei engages in an emotionally charged argument with her mother. She accuses her mother of not accepting her and expecting her to be something she's not.

Jing Mei's final words during the argument decide the result of the conflict, but it proves to be an unsatisfying victory. By cruelly referencing her mother's dead babies from her first marriage, Jing Mei manages to hurt her mother as well as to dispirit her. She reports the piano lessons stopped soon after, and she stopped playing the piano entirely. It is years before Jing Mei realizes the faith her mother had in her in that conflict-ridden period of her youth.

`y = 25arcsin(x/5) -xsqrt(25-x^2)` Find the derivative of the function

`y=25arcsin(x/5) - xsqrt(25-x^2)`

Before taking the derivative, express the radical in exponent form.

`y=25arcsin(x/5) - x(25-x^2)^(1/2)`

To get y', take the derivative of each term.

`y' = d/dx[25arcsin(x/5)] - d/dx[x(25-x^2)^(1/2)]`

`y' = 25d/dx[arcsin(x/5)] - d/dx[x(25-x^2)^(1/2)]`

Take note that the derivative formula of arcsine is `d/dx[arcsin(u)] = 1/sqrt(1-u^2)*(du)/dx` .

Applying that formula, y' will become:

`y'=25* 1/sqrt(1-(x/5)^2) *d/dx(x/5) - d/dx[x(25-x^2)^(1/2)]`

`y'=25* 1/sqrt(1-(x/5)^2) *1/5 - d/dx[x(25-x^2)^(1/2)]`

`y'=25* 1/sqrt(1- x^2/25)*1/5 - d/dx[x(25-x^2)^(1/2)]`

`y'=25* 1/((1/5)sqrt(25- x^2))*1/5 - d/dx[x(25-x^2)^(1/2)]`

`y'=25/sqrt(25-x^2)...

`y=25arcsin(x/5) - xsqrt(25-x^2)`

Before taking the derivative, express the radical in exponent form.

`y=25arcsin(x/5) - x(25-x^2)^(1/2)`

To get y', take the derivative of each term.

`y' = d/dx[25arcsin(x/5)] - d/dx[x(25-x^2)^(1/2)]`

`y' = 25d/dx[arcsin(x/5)] - d/dx[x(25-x^2)^(1/2)]`

Take note that the derivative formula of arcsine is `d/dx[arcsin(u)] = 1/sqrt(1-u^2)*(du)/dx` .

Applying that formula, y' will become:

`y'=25* 1/sqrt(1-(x/5)^2) *d/dx(x/5) - d/dx[x(25-x^2)^(1/2)]`

`y'=25* 1/sqrt(1-(x/5)^2) *1/5 - d/dx[x(25-x^2)^(1/2)]`

`y'=25* 1/sqrt(1- x^2/25)*1/5 - d/dx[x(25-x^2)^(1/2)]`

`y'=25* 1/((1/5)sqrt(25- x^2))*1/5 - d/dx[x(25-x^2)^(1/2)]`

`y'=25/sqrt(25-x^2) -d/dx[x(25-x^2)^(1/2)]`

To take the derivative of the second term, apply the product rule `d/dx(u*v) = u*(dv)/dx + v*(du)/dx` .

Applying this, the y' will be:

`y'=25/sqrt(25-x^2) - [x*d/dx((25-x^2)^(1/2)) + (25-x^2)^(1/2)*d/dx(x)]`

Also, use the derivative formula `d/dx(u^n) = n*u^(n-1)*(du)/dx` .

`y'=25/sqrt(25-x^2) - [x*1/2*(25-x^2)^(-1/2)*d/dx(25-x^2) + (25-x^2)^(1/2)*1]`

`y'=25/sqrt(25-x^2) - [x*1/2*(25-x^2)^(-1/2)*(-2x) + (25-x^2)^(1/2)*1]`

`y'=25/sqrt(25-x^2) - [-x^2(25-x^2)^(-1/2) + (25-x^2)^(1/2)]`

Then, express this with positive exponent only.

`y'=25/sqrt(25-x^2) - [-x^2/(25-x^2)^(1/2) + (25-x^2)^(1/2)]`

Also, convert the fractional exponent to radical form.

`y'=25/sqrt(25-x^2) - [-x^2/sqrt(25-x^2) + sqrt(25-x^2)]`

So the derivative of the function simplifies to:

`y'=25/sqrt(25-x^2) +x^2/sqrt(25-x^2) - sqrt(25-x^2)`

`y'= (x^2+25)/sqrt(25 - x^2) - sqrt(25-x^2)`

`y'= (x^2+25)/sqrt(25 - x^2) - sqrt(25-x^2)/1* sqrt(25-x^2)/sqrt(25-x^2)`

`y'= (x^2+25)/sqrt(25 - x^2)-(25-x^2)/sqrt(25-x^2)`

`y'= (x^2+25 - (25-x^2))/sqrt(25-x^2)`

`y'=(2x^2)/sqrt(25-x^2)`

Therefore, the derivative of the function is  `y'=(2x^2)/sqrt(25-x^2)` .

Atticus compares the mob to what?

Atticus compared the mob to "a gang of wild animals" (To Kill a Mockingbird, Chapter 16).  Scout and Jem expressed their concern about the mob the morning after the group confronted Atticus in front of the jail.  They were concerned that the mob members could have hurt or killed Atticus.  Atticus gently dismissed their fears.  He reminded his children that the mob was made up of friends and neighbors from in and around...

Atticus compared the mob to "a gang of wild animals" (To Kill a Mockingbird, Chapter 16).  Scout and Jem expressed their concern about the mob the morning after the group confronted Atticus in front of the jail.  They were concerned that the mob members could have hurt or killed Atticus.  Atticus gently dismissed their fears.  He reminded his children that the mob was made up of friends and neighbors from in and around Maycomb.  He told them that "a mob's always made up of people, no matter what."

Scout had a hard time grasping this concept.  She recalled that Mr. Cunningham had been considered a friend of the Finch family.  Despite this, he had at first behaved in a threatening way with the mob.  Atticus reminded Scout that even though Mr. Cunningham was part of the mob, he was still a human being.

Atticus also reminded his children that they had helped disperse the mob.  Scout had spoken to Mr. Cunningham with friendliness.  Atticus tied this in with his belief that mobs are made up of people:

"So it took an eight-year-old child to bring 'em to their senses, didn't it?" said Atticus.  "That proves something—that a gang of wild animals can be stopped, simply because they're still human."

`a_n = (1+(-1)^n)/n^2` Determine the convergence or divergence of the sequence with the given n'th term. If the sequence converges, find its...

` `

Method I

Break the `n`th term into two separate fractions

`lim_(n to infty)(1/n^2+(-1)^n/n^2)=`

`1/n^2` tends to infinity and `(-1)^n/n^2` is equal to `-1/n^2` for odd `n` and `1/n^2` for even `n` and both those expressions tent to infinity as `n` goes to infinity. Therefore we get

`0+0=0`

Sequence is convergent and its limit is equal to 0.

Method II  

`lim_(n to infty)a_n=lim_(n to infty)(1+(-1)^n)/n^2`

Let us break this into two cases (one for even and one for odd `n`). If both...

` `

Method I

Break the `n`th term into two separate fractions

`lim_(n to infty)(1/n^2+(-1)^n/n^2)=`

`1/n^2` tends to infinity and `(-1)^n/n^2` is equal to `-1/n^2` for odd `n` and `1/n^2` for even `n` and both those expressions tent to infinity as `n` goes to infinity. Therefore we get

`0+0=0`

Sequence is convergent and its limit is equal to 0.

Method II  

`lim_(n to infty)a_n=lim_(n to infty)(1+(-1)^n)/n^2`

Let us break this into two cases (one for even and one for odd `n`). If both cases give the same result then the sequence has a single accumulation point and is thus convergent.

`n=2k,` `k in NN` (n is even)

`lim_(n to infty)(1+(-1)^(2k))/n^2=lim_(n to infty)(1+1)/n^2=lim_(n to infty)2/n^2=0`

`n=2k-1,` `k in NN` (n is odd)

`lim_(n to infty)(1+(-1)^(2k-1))/n^2=lim_(n to infty)(1-1)/n^2=lim_(n to infty)0/n^2=0`

Both limits are equal to zero hence, the sequence is convergent and its limit is equal to zero.                                                                         

The image below shows the first 20 terms of the sequence. We can see that even-numbered terms converge to zero while odd-numbered terms forms a stationary subsequence (it is always equal to zero).

In Narrative of the Life of Frederick Douglass, did the mistress's initial kindness or her eventual cruelty have a greater effect on Frederick...

The eventual cruelty of Douglass's mistress, Mrs. Auld, had a greater effect on him than her initial kindness. At first, Mrs. Auld, who had never had a slave before, was "a woman of the kindest heart and finest feelings" (page 19). She did not realize that it was considered dangerous to teach a slave to read, thereby encouraging the slave's independence of thought, so she started to teach Frederick Douglass to read when he was...

The eventual cruelty of Douglass's mistress, Mrs. Auld, had a greater effect on him than her initial kindness. At first, Mrs. Auld, who had never had a slave before, was "a woman of the kindest heart and finest feelings" (page 19). She did not realize that it was considered dangerous to teach a slave to read, thereby encouraging the slave's independence of thought, so she started to teach Frederick Douglass to read when he was young. Upon discovering what his wife was doing, Mr. Auld told her "that is unlawful, as well as unsafe, to teach a slave to read" (page 20). Mr. Auld feared that teaching a slave to read might make the slave rebellious and more prone to escape. Frederick Douglass said at this moment that he understood how the white man kept the black person enslaved, and "I understood the pathway from slavery to freedom." (page 20). He realized that if reading was so dangerous for slaves, the key to freedom was learning how to read. Frederick Douglass's acquisition of the ability to read allowed him to have the psychological power and tactical means to escape northward. Therefore, his mistress' cruelty had a greater effect on him than her kindness. 

Did Martin Luther King and Malcolm X agree?

Of the many misfortunes caused by each leader's death is the fact that they were each moving closer to one another ideologically, but never had a chance to meet and discuss those shifting ideologies. Malcolm X was killed in Harlem at the Audubon Ballroom on February 21, 1965; Dr. Martin Luther King, Jr. was killed on April 4, 1968. 

Early in the Civil Rights Movement, King advocated civil disobedience, which meant, even if physically attacked, black protesters should not retaliate. Malcolm X, and the Nation of Islam, to which he belonged at the time, was sharply opposed to this. Malcolm X advocated for self-defense. In 1964, he advocated for justice "by any means necessary." He never supported non-violent protest. 

The non-violent approach, coupled with King's favor for integration, caused Malcolm and other more militant leaders to identify King as an "Uncle Tom"—that is, an obsequious figure more interested in putting whites at ease than in justice and dignity for his community. This, of course, was untrue. 

Malcolm X had been indoctrinated by the Nation of Islam with the notion of white people as "devils" while still in prison. Therefore, any thought of working with them or seeing them as allies was impossible to Malcolm. In 1963, after his brief ostracism from the Nation of Islam, due to his controversial comments about the assassination of John F. Kennedy, Malcolm made discoveries about Elijah Muhammad that disillusioned him.

In response, he left the United States and embarked on a world tour, which included a pilgrimage to Mecca. There, he saw men of all races united under Islam. This experience revealed the fallacy of the Nation of Islam's rhetoric, and brought him closer to understanding King's ideas about "brotherhood."

When he returned to the States, his set up the Organization for Afro-American Unity (OAAU). Malcolm still advocated for self-reliance, but he welcomed white allies. In its nascence, the organization accepted help from whites but would not allow white membership. He insisted that, first, black people had to determine for themselves what justice and equality should look like.

Because he was rooted in Harlem, Malcolm X was more associated with poor and working-class black people. The Nation of Islam also had a tendency to find its members among these classes, in addition to seeking out social rejects, such as ex-convicts—which Malcolm was. 

In contrast, Dr. King is more often associated with the black middle-class Civil Rights movement, rooted in Southern Christian churches. Some of this has to do with King's background, which was middle-class and highly educated, contrary to Malcolm's. However, toward the end of his life, King focused more on the needs of the working-class and became involved in labor organizing. He traveled to Memphis, Tennessee, where he was killed, to help organize sanitation workers.

All of this suggests that, had Malcolm X lived and had the two had another opportunity to meet, they might have merged in class consciousness. This would include the understanding that white people should be included in the struggle for civil rights, but should not be permitted to co-opt the movement.

Why do you think Odysseus chooses to sail toward Scylla rather than Charybdis?

This question is very clearly answered in book twelve of the Odyssey. Circe gives Odysseus advice about the perils he will face on his sea voyage as he returns home to Penelope. One of the major hazards she describes is a narrow strait he must traverse guarded by the two monsters Scylla and Charybdis. If Odysseus sails too close to Charybdis, he and his mariners will be sucked into a massive whirlpool, and they will...

This question is very clearly answered in book twelve of the Odyssey. Circe gives Odysseus advice about the perils he will face on his sea voyage as he returns home to Penelope. One of the major hazards she describes is a narrow strait he must traverse guarded by the two monsters Scylla and Charybdis. If Odysseus sails too close to Charybdis, he and his mariners will be sucked into a massive whirlpool, and they will all die. Obviously, that would be a very bad decision.

The other option is to sail on the side guarded by Scylla. Scylla is a monster with six heads. Each of the heads will grab and eat one sailor, meaning that steering toward Scylla will result in the deaths of six men rather than everyone. While this is not a good outcome, having six people die is better than losing his entire crew.

Odysseus refrains from telling the sailors about Scylla in advance in order to ensure that they do not become paralyzed by fear. Instead, they speed through the strait on the side guarded by Scylla. 

`xdy = (x + y + 2)dx , y(1) = 10` Find the particular solution of the differential equation that satisfies the initial condition

Given ` xdy = (x + y + 2)dx `

=> `xdy/dx = (x + y + 2)`

=> `y'=1+y/x+2/x`

=> `y'-y/x = 1+2/x`

=> `y'-y/x =(x+2)/x`

when the first order linear ordinary differential equation has the form of

`y'+p(x)y=q(x)`

then the general solution is ,

`y(x)=((int e^(int p(x) dx) *q(x)) dx +c)/e^(int p(x) dx)`

so,

`y'-y/x =(x+2)/x--------(1)`

`y'+p(x)y=q(x)---------(2)`

on comparing both we get,

`p(x) = -1/x and q(x)=(x+2)/x`

so on solving with the above...

Given ` xdy = (x + y + 2)dx `

=> `xdy/dx = (x + y + 2)`

=> `y'=1+y/x+2/x`

=> `y'-y/x = 1+2/x`

=> `y'-y/x =(x+2)/x`

when the first order linear ordinary differential equation has the form of

`y'+p(x)y=q(x)`

then the general solution is ,

`y(x)=((int e^(int p(x) dx) *q(x)) dx +c)/e^(int p(x) dx)`

so,

`y'-y/x =(x+2)/x--------(1)`

`y'+p(x)y=q(x)---------(2)`

on comparing both we get,

`p(x) = -1/x and q(x)=(x+2)/x`

so on solving with the above general solution we get:

y(x)=`((int e^(int p(x) dx) *q(x)) dx +c)/e^(int p(x) dx)`

=`((int e^(int (-1/x) dx) *((x+2)/x)) dx +c)/e^(int (-1/x) dx)`

first we shall solve

`e^(int (-1/x) dx)=e^(ln(1/x)) = (1/x)`     

so

proceeding further, we get

y(x) =`((int e^(int (-1/x) dx) *((x+2)/x)) dx +c)/e^(int (-1/x) dx)`

=`((int (1/x) *((x+2)/x)) dx +c)/(1/x)`

=`(int (1/x) *((1+(2)/x)) dx +c)/(1/x)`

=` x(ln(x)-2/x +c)`

so now let us find the particular solution of differential equation at y(1)=10

`y(1) = 1(ln(1)-2/1 +c)`

=> `10 = 0-2+c`

`c=12`

`y(x) =x(ln(x)-2/x +12)` is the solution

How can I write a story titled "An Unforgettable Journey"? (It must be a creative writing essay with 300 words.)

It's not clear from the assignment whether your task is to write a non-fiction or fiction piece. Either way, you can interpret the idea of a journey in many ways. For example, a journey can be a trip to a physical location, or it can also be a metaphorical journey. Examples of a metaphorical journey include finding out something new about yourself, or about a loved one, or seeing a place where you've been before...

It's not clear from the assignment whether your task is to write a non-fiction or fiction piece. Either way, you can interpret the idea of a journey in many ways. For example, a journey can be a trip to a physical location, or it can also be a metaphorical journey. Examples of a metaphorical journey include finding out something new about yourself, or about a loved one, or seeing a place where you've been before in a new way.

As you prepare for this assignment, perhaps go over old photographs and think about journeys, both physical and metaphorical, that you've made. You can think about trips you've taken, friends you've gotten to know, or ways you've gotten to know yourself better. When writing, think about starting with a hook that grabs the reader, and try to show the reader the changes you went through on your journey by writing dialogue and description rather than by simply telling the reader what you experienced. 

How does the narrator say that nature speaks to those who visit in their happier hours?

The answer to this question can be found in lines 3-5 of this poem. The first two lines of the poem introduce readers to a man that really enjoys nature. He enjoys it so much that he is able to hold "communion" with nature.  

To him who in the love of Nature holds   

Communion with her visible forms,

Notice that "Nature" is capitalized. This alerts readers to the idea that nature might be more than...

The answer to this question can be found in lines 3-5 of this poem. The first two lines of the poem introduce readers to a man that really enjoys nature. He enjoys it so much that he is able to hold "communion" with nature.  

To him who in the love of Nature holds   

Communion with her visible forms,

Notice that "Nature" is capitalized. This alerts readers to the idea that nature might be more than a thing. The narrator might be telling readers that nature is a person. That suspicion is confirmed at the end of line 2 when the narrator says that "she" (Nature) speaks to him during his times of communion with her.  

To him who in the love of Nature holds   

Communion with her visible forms, she speaks   

A various language

The narrator then goes on to explain how Nature speaks to him. He explains that Nature responds differently to him depending on his mood. The first mood he explains is what the question is asking about. In his happier, "gayer" moods, nature speaks to him with a smile and gladness. She is also beautiful and eloquent. 

for his gayer hours   

She has a voice of gladness, and a smile   

And eloquence of beauty,

Basically, when he is happy, nature is happy. He then goes on to say that when he is sad, Nature responds with sympathy and helps him feel better.  

and she glides   

Into his darker musings, with a mild   

And healing sympathy, that steals away   

Their sharpness, ere he is aware. 

How does Charles Dickens reveal the character of Scrooge in A Christmas Carol?

Like most good characterization, Dickens uses a combination of direct and indirect characterization to build Scrooge's character.  Direct characterization is when the author/narrator explicitly tells readers what a character is like.  Generally, physical descriptions are handled this way, but Dickens uses some direct characterization early on to tell readers that Scrooge is a hardened and miserly person. 

Oh! But he was a tight-fisted hand at the grindstone, Scrooge, a squeezing, wrenching, grasping, scraping, clutching, covetous,...

Like most good characterization, Dickens uses a combination of direct and indirect characterization to build Scrooge's character.  Direct characterization is when the author/narrator explicitly tells readers what a character is like.  Generally, physical descriptions are handled this way, but Dickens uses some direct characterization early on to tell readers that Scrooge is a hardened and miserly person. 

Oh! But he was a tight-fisted hand at the grindstone, Scrooge, a squeezing, wrenching, grasping, scraping, clutching, covetous, old sinner! Hard and sharp as flint, from which no steel had ever struck out generous fire; secret, and self-contained, and solitary as an oyster.

The above also tells readers that Scrooge is a man that is alone more often than not.  

What makes Scrooge such a fun character to read is that Dickens further deepens this direct characterization by lots of great indirect characterization.  Indirect characterization consists of the author showing readers what kind of person a character is through the character’s thoughts, words, and deeds.  Dickens doesn't really have to tell us that Scrooge is a hard, rude, miserly fellow that hates Christmas and is perfectly content voicing his opinion about it. Scrooge does that just fine on his own.   

What’s Christmas time to you but a time for paying bills without money; a time for finding yourself a year older, but not an hour richer; a time for balancing your books and having every item in ’em through a round dozen of months presented dead against you? If I could work my will,” said Scrooge indignantly, “every idiot who goes about with ‘Merry Christmas’ on his lips, should be boiled with his own pudding, and buried with a stake of holly through his heart. He should!”

Scrooge doesn't care about the needs of others, and readers can see this through his interaction with the men that are hoping to get a donation from Scrooge. 

“I wish to be left alone,” said Scrooge. “Since you ask me what I wish, gentlemen, that is my answer. I don’t make merry myself at Christmas and I can’t afford to make idle people merry. I help to support the establishments I have mentioned—they cost enough; and those who are badly off must go there.”

“Many can’t go there; and many would rather die.”

“If they would rather die,” said Scrooge, “they had better do it, and decrease the surplus population."

Why didn't Fortunato want the narrator to go to Luchesi?

Fortunato says that he does not want Montresor, the narrator, to go to the other wine expert in town, Luchesi, because "Luchesi cannot tell Amontillado from Sherry." In other words, then, Fortunato says that Luchesi's expertise in wine is not as good as his own. This is why he says he does not want Montresor to go and request help from Luchesi.  

However, Montresor knows that Fortunato will not be able to resist gloating over...

Fortunato says that he does not want Montresor, the narrator, to go to the other wine expert in town, Luchesi, because "Luchesi cannot tell Amontillado from Sherry." In other words, then, Fortunato says that Luchesi's expertise in wine is not as good as his own. This is why he says he does not want Montresor to go and request help from Luchesi.  

However, Montresor knows that Fortunato will not be able to resist gloating over Montresor's having been tricked into purchasing a great quantity of wine that cannot possibly be the rare amontillado. Even now, Fortunato says, "You have been imposed upon." Fortunato is sure that Montresor has been taken advantage of, and Montresor knows that Fortunato's pride in his connoisseurship in wine is his one "weak point." Fortunato's pride will compel him to follow Montresor into his niter-encrusted vaults, despite his bad cold and cough, so that he can revel in both his own discernment as well as Montresor's bad judgment.

Explain how to compare the view of the world in Lord of the Flies and To Kill a Mockingbird.

Lord of the Flies and To Kill a Mockingbird have contrasting worldviews, which are illustrated by the plot, characters, and tone of both novels. Throughout Lord of the Flies, William Golding reveals his negative worldviewby depicting how the boys gradually descend into savagery once they land on an uninhabited island. Golding's belief that human beings are inherently evil is portrayed through the actions of Jack and his hunters, as well as Simon's interaction...

Lord of the Flies and To Kill a Mockingbird have contrasting worldviews, which are illustrated by the plot, characters, and tone of both novels. Throughout Lord of the Flies, William Golding reveals his negative worldview by depicting how the boys gradually descend into savagery once they land on an uninhabited island. Golding's belief that human beings are inherently evil is portrayed through the actions of Jack and his hunters, as well as Simon's interaction with the Lord of the Flies. Overall, the boys revert to their primitive nature and engage in barbarism without the influence of society to suppress and control their natural instincts. Golding's negative worldview stems from his participation in WWII, where he fought for the Royal Navy. Of his WWII experiences, Golding has said,

I began to see what people were capable of doing. Anyone who moved through those years without understanding that man produces evil as a bee produces honey, must have been blind or wrong in the head.

In contrast, Harper Lee shares a relatively positive worldview through the perception of Scout and the actions of her father. Atticus Finch is a morally upright lawyer, who valiantly defends Tom Robinson in front of a prejudiced jury. Despite the overt prejudice throughout the community, Atticus has hope that all citizens will one day be perceived and treated as equals. He is also a tolerant man who sees the best in every person and gives them the benefit of the doubt. Atticus even believes that Bob Ewell has overcome his grudge after spitting in his face. Even mean individuals are portrayed as having positive character traits. Both Mrs. Dubose and Aunt Alexandra are portrayed as inherently good people with some positive characters traits. Atticus's perception of people and Scout's accepting, tolerant personality reflect Lee's worldview. Overall, Lee's story depicts how morally upright individuals with integrity positively impact people around them and influence them to change for the better.

In the story, "The Metamorphosis", Gregor has morphed from being human to an animal. But what makes him still humane? Please provide a quote with...

After his metamorphosis, Gregor demonstrates he is still humane because he is considerate enough to avoid visibility.

Although his back is slightly crushed and he cannot get in all the way, Gregor scuttles under the couch and remains there out of sight during the night. He feels that he should "lie low" and,

show[ing] his family every possible consideration, help them bear the inconvenience which he simply had to cause them in his present condition. (Ch.2)

...

After his metamorphosis, Gregor demonstrates he is still humane because he is considerate enough to avoid visibility.

Although his back is slightly crushed and he cannot get in all the way, Gregor scuttles under the couch and remains there out of sight during the night. He feels that he should "lie low" and,

show[ing] his family every possible consideration, help them bear the inconvenience which he simply had to cause them in his present condition. (Ch.2)

One day Gregor's sister, who has taken on the responsibility of feeding him and tending to his needs, enters his room earlier than usual. He is still looking out the window she has pulled a chair beside. At the sight of him, she springs back and locks the door. Consequently, he hides under the couch. When she comes into his room at noon, she still seems uneasy. This uneasiness causes Gregor to decide she is still repulsed by him. So, he puts a sheet over the couch that he can hide under and be completely out of sight:

the job took four hours—and [he] arranged it in such a way that he was now completely covered up and his sister could not see him even when she stooped. (Ch.2)

The length of a rectangular garden is modeled by the expression x+2 and the width is modeled by the expression 2x-3. Write an expression for both...

It may help you to begin by drawing a picture to model this problem, labeling one side of the rectangle x+2 and the other side 2x-3 (although this step is not necessary).

1) Perimeter: The perimeter of a shape is the distance around the outside.  Generally you just add up the side lengths.  In the case of a rectangle, since the two lengths are the same and the two widths are the same, it...

It may help you to begin by drawing a picture to model this problem, labeling one side of the rectangle x+2 and the other side 2x-3 (although this step is not necessary).

1) Perimeter: The perimeter of a shape is the distance around the outside.  Generally you just add up the side lengths.  In the case of a rectangle, since the two lengths are the same and the two widths are the same, it can be shortened to the following formula:

`P=2l+2w`

All that needs to be done is to substitute the expressions given for length and width into the formula above:

`P=2(x+2)+2(2x-3)`

Then you just need to simplify the expression on the right by distributing and combining like terms:

`P=2x+4+4x-6`

`P=6x-2`

So the expression for the perimeter of the garden is 6x-2.

2) Area: The area of a shape is the amount of space inside of it (for which the formulas vary widely depending on the shape).  The formula for the area of a rectangle is

`A=l*w`

Once again, you just need to substitute the given expressions for length and width:

`A=(x+2)*(2x-3)`

In order to simplify, you will need to distribute the binomials (often call the FOIL method) and combine like terms:

`A=2x^2-3x+4x-6`

`A=2x^2+x-6`

So this is the expression for the area of the garden.

Please summarize the first act of Arms and the Man by George Bernard Shaw.

Shaw's 1894 Arms and the Man is set near the end of the short war between Serbia and Bulgaria in 1885. As Raina, a rich young Bulgarian woman stands on her balcony, filled with romantic thoughts, her mother appears to tell her the Bulgarians have won a "great victory," led by Sergius, Raina's betrothed. Raina is delighted that Sergius is a hero and says it proves all her ideals about the war are right after...

Shaw's 1894 Arms and the Man is set near the end of the short war between Serbia and Bulgaria in 1885. As Raina, a rich young Bulgarian woman stands on her balcony, filled with romantic thoughts, her mother appears to tell her the Bulgarians have won a "great victory," led by Sergius, Raina's betrothed. Raina is delighted that Sergius is a hero and says it proves all her ideals about the war are right after all. She had been worrying that all her romantic war thoughts came from reading Byron and Pushkin, but this turn of events, she thinks, shows that her ideas are legitimate. 

After her mother leaves her and Raina has blown out her candle to go to bed, a young soldier from the Serbian side appears in the darkness, demanding her help. When she lights a match, she sees he looks "deplorable," and he tells her that he has deserted from the army. She thinks he is a coward and is further angered when he tells her that Sergius is not hero, but won his battle undeservedly and by accident. Captain Bluntschli, the deserting soldier, calls Sergius "Don Quixote," tilting at windmills, and says only the accident of the Serbians having ordered the wrong size cartridges for their guns saved his cavalry from being mowed down in what should have been a disaster.

Raina's sympathy for the soldier grows despite herself and despite the way he upsets her ideals. She tries to order him back down the water pipe he climbed to get into her room to escape the troops chasing him. However, he is so tired and the feat so dangerous that she leaves him in her room, where he quickly falls asleep. Raina gets her mother, but they cannot rouse him.

What is the crux of her argument in,"Eating the other" and a critical analysis of the passage: Microsoft Word - Assignment Description Midterm...

This essay from bell hooks' book Black Looks: Race and Representation goes into great depth on a number of points, but the main point she makes is that people that fall under the category of "the Other" are considered by white people as something to be consumed. White people want the foods, music, and words of the Other—and to have sex with the Other—but will not un-Other the Other. As bell hooks puts it herself, 

"The commodification of Otherness has been so successful because it is offered as a new delight, more intense, more satisfying than normal ways of doing and feeling. Within commodity culture, ethnicity becomes spice, seasoning that can liven up the dull dish that is mainstream white culture."

She is essentially stating that white people do not want to have real human interactions or relationships with people they deem the Other. Instead, they want to consume them, in order to add a sense of "spice," "exoticness," or "experience" to their lives. 

In the specific passage you mention, bell hooks writes about commodification of the Other. For a specific example, a film, TV show, piece of theatre, or some other work of art may be marketed to the world as being something wonderful and new because it was created by a minority/person of color, who has given the medium new "spice," new insight with their voice. However, with straight white people in charge (as they often are), that voice is often changed and made less radical or less specific to a cultural narrative in order to pander to more white people. Difference of race is often promoted in order to sell something, but the difference that has been promoted is often erased so that the white people who supposedly wanted said difference will enjoy and consume it. In this sense, the Other and their voice have become a commodity for white people to use as they please.

What is the #1 reason for homicides: the availability of weapons, the attraction to gangs, violent games, or violent movies?

Depending on who you talk to, all of these options are responsible for homicides. I would argue that guns, gangs, violent digital games, and violent movies make for a dangerous combination when it comes to homicidal crime. Let's discuss the options you present.

The availability of weapons is definitely a hot-button issue. Supporters of gun laws argue that it is too easy for potential criminals and terrorists to obtain weapons. Criminals often acquire these weapons...

Depending on who you talk to, all of these options are responsible for homicides. I would argue that guns, gangs, violent digital games, and violent movies make for a dangerous combination when it comes to homicidal crime. Let's discuss the options you present.

The availability of weapons is definitely a hot-button issue. Supporters of gun laws argue that it is too easy for potential criminals and terrorists to obtain weapons. Criminals often acquire these weapons on the black market, making it difficult for law-enforcement to track such exchanges. On the other hand, proponents of the Second Amendment argue that law-abiding citizens deserve the right to protect themselves against such criminals. According to the FBI, there were 15, 696 murders in 2015, and firearms were used in 71.5 percent of these murders. 

In 1994, President Bill Clinton signed an assault weapons ban into law, but it did little to prevent gun-related homicides. This is because most murders were committed by those who used handguns, weapons that many Americans associated with self-defense. According to the New York Times, ISIS terrorists have begun to exploit American gun laws to obtain weapons. The group simply sends proxies with no prior criminal records to purchase guns and weapons, making it difficult for law enforcement to distinguish between legitimate purchases and illegal activity. 

Meanwhile, other experts point to gang violence and the prevalence of violent games and movies for the high homicide rates in many of America's major cities (New York City, Los Angeles, Chicago). The National Gang Center reports that the majority of gang-related homicides between 2007 and 2012 occurred in those cities (nearly 67%). Similarly, the Los Angeles Times reports that homicides increased by 27.5% in 2016, and more than half of those homicides were believed to be gang-related. 

As for violent movies and digital games, Psychology Today reports that there are few statistics to back up the claim that violent media leads to higher rates of homicides. That said, some studies have found that criminals who are drawn to violent games and movies are already naturally predisposed towards aggression. In many cases, these criminals grew up in abusive households, where domestic violence was prevalent. Here's an article of interest from CBS that explores whether there is a direct link between violent media and homicidal acts: Questioning the role of media violence in violent acts.

From the above information, we can see that the key element linking all the options you provide is personal inclination. As for which of the options is the #1 reason for homicides, you may have to decide that based on your personal conclusions. 

Analyze the relationship between the setting and the conflict in Lessing's "Through the Tunnel."

The conflict in Lessing's "Through the Tunnel" is man vs. self and man vs. nature, and it is directly related to the conflict of the story. The boy is Jerry, who is eleven, and he is the only child of a single mother. While on vacation at a beach, Jerry notices there is a safe side and a "wild" side. He has been to this beach with his mother before. This year, he wants to...

The conflict in Lessing's "Through the Tunnel" is man vs. self and man vs. nature, and it is directly related to the conflict of the story. The boy is Jerry, who is eleven, and he is the only child of a single mother. While on vacation at a beach, Jerry notices there is a safe side and a "wild" side. He has been to this beach with his mother before. This year, he wants to explore the wild beach alone rather than stay next to his mom on the safe beach. His mother sees this is the case and asks if he wants to go to the other beach. The text reveals his inner conflict as follows:

"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."

Eventually, Jerry wins this internal conflict about whether to leave his mom for the wild bay or not. When he finally ventures alone to the wild bay, Jerry faces the next conflict, which is man vs. nature.

First, his manhood is challenged by a few native boys who can swim through a cave, or tunnel, under the water that leads to another side of the bay. Jerry decides he will learn to hold his breath for two minutes in order to accomplish the same task as the native boys. He buys goggles, practices holding his breath, and spends four days diving down to the bottom of the bay near the entrance of the tunnel. His nose bleeds tremendously, and he suffers exhaustion beyond belief, but he continues to practice for the day he will swim through the tunnel. When the day does come that Jerry swims through the tunnel, he meets with unforeseen complications inside and struggles to improvise and persevere in order to save his life. Fortunately, he succeeds and conquers the tunnel.

The setting, therefore, is directly associated with the conflict because it is Jerry vs. himself and nature. Without the wild bay or the tunnel, Jerry would not be able to claim his rite of passage by making an independent goal and achieving it. In fact, he never runs to his mother and complains about his bloody noses; nor does he completely tell her about his success. He only tells her that he can hold his breath for two minutes. He never discusses his personal conflict between himself and the tunnel. Without the wild bay or the tunnel, the opportunity to overcome this personal conflict or to find success never would have been available to him.

How does a central idea develop over the course of the two poems "The Passionate Shepherd to His Love " and "The Nymph's Reply to the Shepherd"?

Sir Walter Raleigh's "The Nymph's Reply to the Shepherd" was written as a satiric reply to Christopher Marlowe's "The Passionate Shepherd to His Love." This means that the two poems are by two different authors and although they address related themes, there is no central argument made by both poems.

Marlowe's poem is a typical exemplar of the pastoral genre, in particular of the "carpe diem" amorous poem which argues that since life is short...

Sir Walter Raleigh's "The Nymph's Reply to the Shepherd" was written as a satiric reply to Christopher Marlowe's "The Passionate Shepherd to His Love." This means that the two poems are by two different authors and although they address related themes, there is no central argument made by both poems.

Marlowe's poem is a typical exemplar of the pastoral genre, in particular of the "carpe diem" amorous poem which argues that since life is short and beauty and pleasures fleeting, the female beloved should yield to the sexual advances of the male lover. Within the Christian community of early modern England, of course, engaging in premarital sexual activity would have been considered "fornication", a sin in the eyes of the church that would lead to social ostracism for the woman who yielded her virginity and perhaps became pregnant outside of marriage.

Raleigh's nymph presents a counterargument to Marlowe's shepherd, arguing that the fleeting nature of sensual pleasure is not an argument for indulging in it but rather emphasizes that its very ephemeral nature makes it ultimately not worth the risk.

`int sin^4(6theta) d theta` Find the indefinite integral

Indefinite integrals are written in the form of `int f(x) dx = F(x) +C`

 where: `f(x)` as the integrand

          `F(x)` as the anti-derivative function 

           `C`  as the arbitrary constant known as constant of integration

To evaluate the given problem `int sin^4(6theta) d theta` , we may apply u-substitution by letting: `u = 6theta` then `du = 6 d theta` or `(du)/6 = d theta` .

The integral becomes:

`int sin^4(6theta) d theta=int sin^4(u) * (du)/6`

 Apply the basic properties of integration: `int c*f(x) dx= c int f(x) dx` .

`int sin^4(u) * (du)/6=1/6int sin^4(u)du` .

Apply the integration formula for sine function: `int sin^n(x) dx = -(cos(x)sin^(n-1)(x))/n+(n-1)/n int sin^(n-2)(x)dx` .

`1/6int sin^4(u)du=1/6[-(cos(u)sin^(4-1)(u))/4+(4-1)/4 int sin^(4-2)(u)du]` .

                    `=1/6[-(cos(u)sin^(3)(u))/4+3/4 int sin^(2)(u)du]`

For the integral `int sin^(2)(u)du` , we may apply trigonometric identity: `sin^2(x)= 1-cos(2x)/2 or 1/2 - cos(2x)/2.`

We get:

`int sin^(2)(u)du = int ( 1/2 - cos(2u)/2) du` .

Apply the basic integration property:`int (u-v) dx = int (u) dx - int (v) dx` .

`int ( 1/2 - cos(2u)/2) du=int ( 1/2) du - int cos(2u)/2 du`

                                   `= 1/2u - 1/4sin(2u)+C`

                                  or `u/2 - sin(2u)/4+C`

Note: From the table of integrals, we have `int cos(theta) d theta = sin(theta)+C.`

Let: `v = 2u` then `dv = 2du ` or` (dv)/2= du`

then`int cos(2x)/2 du =int cos(v)/2 * (dv)/2`

                             `= 1/4 sin(v)`

                             `= 1/4 sin(2u)`

Applying `int sin^(2)(u)du=u/2 - sin(2u)/4+C` , we get:

`1/6int sin^4(u)du=1/6[-(cos(u)sin^(3)(u))/4+3/4 int sin^(2)(u)du]`

                           `=1/6[-(cos(u)sin^(3)(u))/4+3/4 [u/2 - sin(2u)/4]]+C`

                           `=1/6[-(cos(u)sin^(3)(u))/4+(3u)/8 - (3sin(2u))/16]+C`

                           `=(-cos(u)sin^(3)(u))/24+(3u)/48 - (3sin(2u))/96+C`

Plug-in `u =6theta ` on `(-cos(u)sin^(3)(u))/24+(3u)/48 - (3sin(2u))/96+C`  to find the  indefinite integral as:

`int sin^4(6theta) d theta =(cos(6theta)sin^(3)(6theta))/24+(3*6theta)/48 - (3sin(2*6theta))/96+C`

                         `=(cos(6theta)sin^(3)(6theta))/24+(18theta)/48 - (3sin(12theta))/96+C`

                        `=(cos(6theta)sin^(3)(6theta))/24+(3theta)/8 - (sin(12theta))/32+C`

How is inequality portrayed in George Orwell’s allegorical fable?

Inequality is portrayed through the pigs' treatment of the other animals and the unfair privileges they give themselves. Following the Rebellion, the pigs begin to organize and essentially run the farm. Since they are more intelligent than the other animals, they consider themselves "brain-workers" and begin giving themselves special privileges. They begin by secretly mixing their mash with milk and apples, which is considered a delicacy on the farm. Fortunately for the pigs, the other...

Inequality is portrayed through the pigs' treatment of the other animals and the unfair privileges they give themselves. Following the Rebellion, the pigs begin to organize and essentially run the farm. Since they are more intelligent than the other animals, they consider themselves "brain-workers" and begin giving themselves special privileges. They begin by secretly mixing their mash with milk and apples, which is considered a delicacy on the farm. Fortunately for the pigs, the other animals accept Squealer's explanation. While the other animals toil, the pigs sit back and give orders.

After Snowball's expulsion, Napoleon begins to push the envelope as he gradually breaks each tenet of Animalism. While the other animals sleep outside or in the barn, Napoleon and the pigs begin living in the farmhouse. They sleep in Mr. Jones's bed, drink his alcohol, and eventually wear his clothes. By the end of the novella, the pigs resemble humans, and the other animals are treated like slaves. The younger pigs are the only ones educated, and they are forbidden from interacting with other animals. The other animals are even forced to move out of the pigs' way when they walk past them. The best example of inequality concerns the only "remaining" Commandment, which reads,

"ALL ANIMALS ARE EQUAL BUT SOME ANIMALS ARE MORE EQUAL THAN OTHERS" (Orwell, 40).

This Commandment illustrates the extent of inequality throughout the farm and allows the pigs to have unfair privileges.

How many states had to ratify the Constitution?

Article VII of the Constitution states that in order for the Constitution to become law, at least nine states needed to ratify it. The article is only one sentence long and states, “Article VII. The ratification of the conventions of nine states, shall be sufficient for the establishment of this Constitution between the states so ratifying the same.” Article VII is the last article of the United States Constitution. The states began to ratify the...

Article VII of the Constitution states that in order for the Constitution to become law, at least nine states needed to ratify it. The article is only one sentence long and states, “Article VII. The ratification of the conventions of nine states, shall be sufficient for the establishment of this Constitution between the states so ratifying the same.” Article VII is the last article of the United States Constitution. The states began to ratify the Constitution on December 7, 1787, and each state needed to hold a convention to debate the Constitution and either ratify or reject it. It took ten long and difficult months for the first nine states to approve the document. The ninth state, New Hampshire, ratified it on June 21, 1788, and the new Constitution went into effect on March 4, 1789. The first nine states to ratify the document were Delaware, Pennsylvania, New Jersey, Georgia, Connecticut, Massachusetts, Maryland, South Carolina, and New Hampshire.

How do you go about answering a "How Would The Audience Feel" question?

That's a little tough to answer since your subjective experience of the play will change the way how you think the audience would feel. However, I'll give you my opinion based on my own take on the play, and hopefully that will give you some inspiration to write your own answer. For my part, I would answer a "How Would the Audience Feel" question by saying that the audience would probably feel conflicted emotions in...

That's a little tough to answer since your subjective experience of the play will change the way how you think the audience would feel. However, I'll give you my opinion based on my own take on the play, and hopefully that will give you some inspiration to write your own answer. For my part, I would answer a "How Would the Audience Feel" question by saying that the audience would probably feel conflicted emotions in regards to the happy conclusion of Bassanio and Antonio's plot and the sad conclusion of Shylock's plot. 

Antonio and Bassanio are undeniably supposed to be the main characters in the play, as most of the main action revolves around their storylines. As such, we naturally want to see their stories end happily. However, though Antonio and Bassanio get what they want by the end of the play, their happy ending comes at the expense of Shylock the Jewish moneylender. Now, Shylock is usually seen as the villain of the play, as he basically wants to murder Antonio. However, Shylock also becomes a sympathetic character, as his anger is a result of the way his Christian neighbors, including Bassanio and Antonio, mistreat him. Thus, when Shylock is stripped of his dignity in court and essentially humiliated, it's hard to avoid empathizing with him. In that case, though the audience would probably feel a sense of happiness for Antonio and Bassanio, most members of the audience would also probably feel sorry for Shylock. This conflicted emotion that the play evokes is one of the many reasons the play has endured such lasting attention, both from scholars and audiences. 

In the poem "We Real Cool," what makes you who you are? How are the boys' identities constructed in the poem?

In the poem, what you do seems to define who you are; however, you are not necessarily who you think you are. For example, the speakers stay out late, enjoy committing sins, drink, and party. These are the things that seem to make them who they are. It isn't what they think or what they dream or who or how they love: they are what they actually do. The narrators think they are "real cool,"...

In the poem, what you do seems to define who you are; however, you are not necessarily who you think you are. For example, the speakers stay out late, enjoy committing sins, drink, and party. These are the things that seem to make them who they are. It isn't what they think or what they dream or who or how they love: they are what they actually do. The narrators think they are "real cool," but Brooks leads readers to the conclusion that they are not, because it is not good or romantic or fun to "Die soon." The narrators think they are cool, but we know this is untrue, and this creates dramatic irony in the poem. Dramatic irony is when the reader knows more than the character. The boys' identities are revealed in their list of the things they enjoy, leading up to their tragic fate.

Why does the man build an emergency fire?

In "To Build a Fire," the man builds an emergency fire after he steps into a small spring under the snow and gets wet halfway to his knees.

Jack London's short story exemplifies the theory of naturalism which holds that man is subject to natural forces beyond his control. Without the instincts of the dog that accompanies him, the somewhat inexperienced man looks for signs of a spring, but "at a place where there were no...

In "To Build a Fire," the man builds an emergency fire after he steps into a small spring under the snow and gets wet halfway to his knees.

Jack London's short story exemplifies the theory of naturalism which holds that man is subject to natural forces beyond his control. Without the instincts of the dog that accompanies him, the somewhat inexperienced man looks for signs of a spring, but "at a place where there were no signs," his foot breaks through the ice under the snow, and he is wet halfway to the knees.

he would have to build a fire and dry out his footgear. This was imperative at that low temperature—he knew that much, and he turned aside to the bank, which he climbed.

The man also knows that there can be no failure in starting a fire; he must have heat soon if he does not want to suffer frostbite or death.

When it is seventy-five below zero, a man must not fail in his first attempt to build a fire—that is, if his feet are wet. If his feet are dry and he fails, he can run along the trail for half a mile and restore his circulation. But the circulation of wet and freezing feet cannot be restored when it is seventy-five below. No matter how fast he runs, the wet feet will freeze the harder.

Keenly aware of this danger, the man works carefully to start his fire. As the flame strengthens, the man adds twigs to it by reaching nearby. However, he has not paid close enough attention to where he has started the fire: "He should not have built the fire under the spruce tree." Instead, he should have started the fire in the open because there no misfortune can occur. For as the man pulls the twigs from under the tree, he "communicated a slight agitation to the tree—an imperceptible agitation." But it is enough to eventually cause one bough of the tree to unload the snow that sits on its thick branches. This snow hits a bough beneath it and a chain reaction occurs. Without warning the man is struck by snow; then, his fire is smothered with a blanket of it. "It was as though he had just heard his own sentence of death."

What were the outcomes of the Berlin conference?

The Berlin Conference was aimed at assisting European powers to stay ahead of the emerging Russian, American, and Japanese powers. It also sought to regulate European activities in Africa, which provided them with an opportunity to expand with regards to their territory. The idea was to limit European conflicts in light of collective interest in Africa.

The conference fueled the "Scramble for Africa." The situation introduced colonialism to Africa and foreign territorial boundaries, which eventually...

The Berlin Conference was aimed at assisting European powers to stay ahead of the emerging Russian, American, and Japanese powers. It also sought to regulate European activities in Africa, which provided them with an opportunity to expand with regards to their territory. The idea was to limit European conflicts in light of collective interest in Africa.

The conference fueled the "Scramble for Africa." The situation introduced colonialism to Africa and foreign territorial boundaries, which eventually created nations after independence. The participating nations expedited their campaigns in Africa and coerced rulers into signing treaties that gave them access to their lands and resources. Many territories were conquered by the Europeans in their push for expansion and domination in Africa. In a few years after the conference, much of Africa fell under European rule and was divided among the different European powers.

In the Old English epic poem Beowulf, why did Hrothgar build Herot?

Beowulf, an Old English epic poem, was written somewhere around 600-900 A.D. It is the oldest known major work in Old English. It's author is unknown.

Much of the action takes place in a mead hall called Herot that was built by theDanish king, Hrothgar. The poem spends a great deal of time describing Herot and how it was central to the lives of the warriors. Hrothgar's motivation for building Herot is given in...

Beowulf, an Old English epic poem, was written somewhere around 600-900 A.D. It is the oldest known major work in Old English. It's author is unknown.

Much of the action takes place in a mead hall called Herot that was built by theDanish king, Hrothgar. The poem spends a great deal of time describing Herot and how it was central to the lives of the warriors. Hrothgar's motivation for building Herot is given in the first chapter (of the Burton Raffel version) of the poem:

Then Hrothgar . . . resolved

To build a hall that would hold his mighty

Band and reach higher toward Heaven than anything

That had ever been known to the sons of men.

Hrothgar wants Herot to serve several purposes. He wants to create an atmosphere of fellowship for his warriors. Kings in those days treated their key warriors respectfully, often rewarding them with gold for their efforts. Herot was actually made with some gold on the inside, so it helped foster a sense of loyalty in his men.

As the excerpt states, there is also a religious component at work here. Hrothgar wanted Herot to “reach higher toward Heaven.” Herot is a way for Hrothgar and his men to feel that they are more connected to God than they would be otherwise.

Does the NYPD (New York City Police Department) treat victims well? Explain why or why not. Would you change anything? If so, what? If not, why...

After 1994, crime in New York City declined precipitously, and—according to Eric Silverman, author of NYPD Battles Crime—the New York City Police (NYPD) has been credited with this double-digit crime reduction. In this sense, victims and potential victims may believe that the NYPD has helped improve their lives.

However, according to Silverman, changes in the 1990s also reconfigured the Street Crime Units (SCUs) that patrol neighborhoods. These units are made up of experienced police...

After 1994, crime in New York City declined precipitously, and—according to Eric Silverman, author of NYPD Battles Crime—the New York City Police (NYPD) has been credited with this double-digit crime reduction. In this sense, victims and potential victims may believe that the NYPD has helped improve their lives.

However, according to Silverman, changes in the 1990s also reconfigured the Street Crime Units (SCUs) that patrol neighborhoods. These units are made up of experienced police officers, and they do not always know the neighborhoods that they patrol in unmarked cars. As a result, they are not always responsive to the needs of the communities and to the crime victims in the neighborhoods where they are assigned. In addition, the NYPD developed a CPU Recanvass Unit (Silverman, page 216), through which police officers re-interview crime victims and others in the community. This process helps reassure victims that the police are concerned about their welfare.

However, many victims in New York might not feel that the police are responsive to them and their communities. In addition, some experts believe that after the police are accused of killing a black person without cause (as they were in New York City after Eric Garner's death in 2014), fewer black people will even call the police if they are needed.

Therefore, you should consider both sides of this question and ask yourself whether all victims are willing to rely on the police. Based on what you find, you might want to institute reforms, such as community policing in which officers know the neighborhoods they patrol very well so that victims feel comfortable reporting crimes to the police. Community policing is, however, expensive, as officers have to have a very small beat so that they can get to know their neighborhoods well. Therefore, many more officers have to be on patrol. 

What are the distinguishing qualities and characteristics of each important character?

There are four main characters in Edgar Allan Poe's story "The Gold-Bug."

Narrator: The nameless narrator is a friend of Legrand. He gives very few details about himself in the story, instead functioning as a sort of neutral background against which Legrand is foregrounded. His style of speech and actions make him appear amiable, relatively well-educated, and in comfortable financial circumstances. 

Mr. William Legrand: Legrand, the protagonist of the novel, is described as being from...

There are four main characters in Edgar Allan Poe's story "The Gold-Bug."

Narrator: The nameless narrator is a friend of Legrand. He gives very few details about himself in the story, instead functioning as a sort of neutral background against which Legrand is foregrounded. His style of speech and actions make him appear amiable, relatively well-educated, and in comfortable financial circumstances. 

Mr. William Legrand: Legrand, the protagonist of the novel, is described as being from wealthy "ancient Huguenot family" from New Orleans. Reduced to poverty by various undescribed "misfortunes," Legrand now lives in a hut on the rather remote and sparsely inhabited Sullivan's Island. He is portrayed as eccentric, intelligent, moody, and possessed of a certain sense of humor. 

Jupiter: Legrand's servant Jupiter is a freed slave, elderly and loyal, who speaks in dialect. He acts as a foil to Legrand, lacking his abstract intelligence, but possessing a degree of folk wisdom and common sense, and a cheerful and even temperament as opposed to Legrand's fits of enthusiasm and more erratic emotions. 

Lieutenant G.: Only mentioned briefly in the story, Lieutenant G. is an officer and amateur etymologist, as well as a friend to Legrand. 

How are heredity and evolution interlinked?

Heredity is the passing of traits from the parent organisms to offsprings. The traits thus acquired are known as inherited traits. These are different from the acquired traits, which are a result of the particular environment in which the organism exists. For example, the color of eyes is an inherited trait, whereas the language spoken by a person is an acquired trait (and can be different from his/her parents). 

Evolution is the change in these inheritable...

Heredity is the passing of traits from the parent organisms to offsprings. The traits thus acquired are known as inherited traits. These are different from the acquired traits, which are a result of the particular environment in which the organism exists. For example, the color of eyes is an inherited trait, whereas the language spoken by a person is an acquired trait (and can be different from his/her parents). 

Evolution is the change in these inheritable traits of species over successive generations. The traits that allow organisms to better survive and reproduce, if passed from generation to generation, will enable the particular species to survive over generations. Changes in these particular inherited traits over generations, allowing better survival and reproduction chances, will result in the evolution of species. 

In other words, evolution is linked to the heredity through inheritable traits. 

Hope this helps. 

How can we develop fears using classical conditioning?

Classical conditioning is a psychological phenomena where a person or animal develops subconscious associations due to pattern recognition. This can prompt a certain emotional or physical state in response to a particular stimulus. A famous example is Pavlov and his dogs. Physiologist Ivan Pavlov conducted an experiment where he would ring a bell and then feed his dogs. Over time, the dogs grew to associate the ringing of the bell with feeding and hunger. They...

Classical conditioning is a psychological phenomena where a person or animal develops subconscious associations due to pattern recognition. This can prompt a certain emotional or physical state in response to a particular stimulus. A famous example is Pavlov and his dogs. Physiologist Ivan Pavlov conducted an experiment where he would ring a bell and then feed his dogs. Over time, the dogs grew to associate the ringing of the bell with feeding and hunger. They became conditioned so that, regardless of the presence of food, the sound of the bell ringing made the dogs hungry. 

People can become classically conditioned into developing a fear if there is a pattern of stimulus and response in their lives. As an example, let's say someone has a series of bad experiences with closets—maybe they become trapped in one while playing hide-and-seek, then open a closet to find a spider, and again open a closet to have a number of boxes fall on them! This would be an unfortunate series of events, indeed, and this person may very well develop a fear of closets. 

`int dx/(x(sqrt(4x^2-1)))` Find the indefinite integral

We have to evaluate the integral : ```\int \frac{dx}{x\sqrt{4x^2-1}}`

Let `\sqrt{4x^2-1}=u`

So, `\frac{1}{2\sqrt{4x^2-1}}.8x dx=du`

      `\frac{4xdx}{\sqrt{4x^2-1}}=du`

       `\frac{dx}{\sqrt{4x^2-1}}=\frac{du}{4x}`

Hence we have,

`\int \frac{dx}{x\sqrt{4x^2-1}}=\int \frac{du}{4x^2}`

                 `=\int \frac{du}{u^2+1}`

                  `=tan^{-1}(u)+C`

                   `=tan^{-1}(\sqrt{4x^2-1})+C` where C is a constant

We have to evaluate the integral : ```\int \frac{dx}{x\sqrt{4x^2-1}}`

Let `\sqrt{4x^2-1}=u`

So, `\frac{1}{2\sqrt{4x^2-1}}.8x dx=du`

      `\frac{4xdx}{\sqrt{4x^2-1}}=du`

       `\frac{dx}{\sqrt{4x^2-1}}=\frac{du}{4x}`

Hence we have,

`\int \frac{dx}{x\sqrt{4x^2-1}}=\int \frac{du}{4x^2}`

                 `=\int \frac{du}{u^2+1}`

                  `=tan^{-1}(u)+C`

                   `=tan^{-1}(\sqrt{4x^2-1})+C` where C is a constant