Needing fast assistance, if you can. I'm referencing quotes I have used in a novel, and cannot find this one in We's text. I hope you can lead me...

The quote you're looking for is at the top of page 151. It is located on the third page in Record 28 of We by Eugene (Yevgeny) Zamyatin. The edition this quote is from was published by E.P. Dutton in New York. The copyright page notes that the original copyright was obtained in 1924 by E.P. Dutton & Co., Inc.; it was renewed in 1952 by Gregory Zilboorg. 

The section reads:

"What, 'at any moment'?" (But immediately...

The quote you're looking for is at the top of page 151. It is located on the third page in Record 28 of We by Eugene (Yevgeny) Zamyatin. The edition this quote is from was published by E.P. Dutton in New York. The copyright page notes that the original copyright was obtained in 1924 by E.P. Dutton & Co., Inc.; it was renewed in 1952 by Gregory Zilboorg. 

The section reads:

"What, 'at any moment'?" (But immediately I understood what. The blood rushed to my ears and cheeks.) "Don't speak about that, you must never speak about that! The other I, my former self...but now..."

"How do I know? Man is like a novel: up to the last page one does not know what the end will be. It would not be worth reading otherwise." 

She was stroking my head. I could not see her face, but I could tell by her voice that she was looking somewhere far into the distance; she had hooked herself on to that cloud which was floating silently, slowly, no one know where to.

The conversation is between the narrator, D-503, and I-330. It occurs after he's ordered U- to leave the room. She seems to be saying that the ending is unpredictable -- and that it isn't a bad thing. It makes a person interesting when you can't predict what choices they'll make and how things will end. 

After the conversation, I-330 pushes the narrator away and tells him that all Auditoriums will be closed after that night. 

`G(x) = int_1^x(cos(sqrt(t)))dt` Use Part 1 of the Fundamental Theorem of Calculus to find the derivative of the function.

You need to use the Part 1 of the FTC to evaluate the derivative of the function. You need to notice that the function G(x) is the composite of two functions `f(x) = int_1^x cos t dt ` and `g(x) = sqrt x,` hence `G(x) = f(g(x)).`

Since, by FTC, part 1, `f'(x) = cos x` , then  `G'(x) = f'(g(x))*g'(x).`

`G'(x) = cos(sqrt x)*1/(2sqrt x)`

Hence, evaluating the derivative of the function, using the...

You need to use the Part 1 of the FTC to evaluate the derivative of the function. You need to notice that the function G(x) is the composite of two functions `f(x) = int_1^x cos t dt ` and `g(x) = sqrt x,` hence `G(x) = f(g(x)).`

Since, by FTC, part 1, `f'(x) = cos x` , then  `G'(x) = f'(g(x))*g'(x).`

`G'(x) = cos(sqrt x)*1/(2sqrt x)`

Hence, evaluating the derivative of the function, using the FTC, part 1, yields `G'(x) = cos(sqrt x)*1/(2sqrt x).`

What are some metaphors and similes in The Cay?

Metaphors are nonliteral comparisons used to describe something by comparing its qualities to something not normally comparable. They are among the most common tools in authors' toolboxes for adding poetry and variety to stories.

Similes are a specific type of metaphor that are constructed using "as" or "like." But many metaphors leave the comparison implicit.

Consider the following line, when Philip first sees Timothy on their liferaft:

He crawled over toward me. His face couldn't...

Metaphors are nonliteral comparisons used to describe something by comparing its qualities to something not normally comparable. They are among the most common tools in authors' toolboxes for adding poetry and variety to stories.

Similes are a specific type of metaphor that are constructed using "as" or "like." But many metaphors leave the comparison implicit.

Consider the following line, when Philip first sees Timothy on their liferaft:

He crawled over toward me. His face couldn't have been blacker, or his teeth whiter. They made an alabaster trench in his mouth, and his pink-purple lips peeled back over them like the meat of a conch shell.

The description of his teeth and mouth as an "alabaster trench" is an example of a metaphor. Alabaster is a very white mineral, and a trench refers to a long, narrow ditch. Neither of these literally apply to a wide smile, but they create a striking mental image of how wide and how white his smile was.

The description that his lips were "like" the meat of a conch, a type of sea snail, is a simile. Just as with the metaphor, the author is creating a vibrant visual image. But this one uses the word "like" to explicitly call out the comparison, so it counts as a simile.

Note that neither of these comparisons are nice. The choice of metaphor isn't purely visual; by having Phillip compare Timothy's face to a "trench" and his lips to a "conch," the author shows us some of the dehumanizing effects that racism have on Phillip—his first instinct upon being greeted by a helpful, friendly African is to think of him as being dirty and slimy.

A few paragraphs later, we see a similar pairing of metaphor and simile:

His voice was rich calypso, soft and musical, the words rubbing off like velvet.

The first half, stating his voice was calypso (a type of music), is a metaphor, and "like velvet" is a simile. And already we see Phillip warming up, using musical comparisons instead of unclean ones to describe his companion.

According to Profiling and Serial Crime, what are the concepts of M.O. and Signature? How are they used? Can they ever be the same? What is their...

The author of this book, Petherick, states that the signature of a crime is different from the M.O., or modus operandiof a crime. The M.O. refers to the behaviors needed to carry out the crime. On the other hand, Petherick defines the signature as "the expression of the underlying needs of the offender" (page 129). The signature can be a way to connect different crimes and to understand the psychology of the perpetrator. The...

The author of this book, Petherick, states that the signature of a crime is different from the M.O., or modus operandi of a crime. The M.O. refers to the behaviors needed to carry out the crime. On the other hand, Petherick defines the signature as "the expression of the underlying needs of the offender" (page 129). The signature can be a way to connect different crimes and to understand the psychology of the perpetrator. The M.O. can be a way to develop a profile of the offender. 

The M.O. and the signature can overlap at times. As the author states, quoting Turvey (1999), "signature and M.O. needs may be satisfied by the same behavior" (page 129). For example, the author gives the example of an offender wearing a mask. The wearing of the mask is both the M.O. and the signature for this crime, though which mask the offender wears may change for each crime. The author states that the signature remains constant, though signature behaviors may change over time, but that the M.O. changes for each crime.

The signature is used to connect perpetrators to different crimes. For example, the author provides the example of a cluster of M.O. behaviors that linked two crimes that might have been committed by the same person--one  crime in New Jersey and a later crime in Maine. In addition, the signature, or the ritualistic aspects of the two crimes were the same, including bites on the two victims in the same areas of their bodies. This evidence was ultimately not allowed in court, and the author states that this type of evidence can be useful in drawing connections between two cases in the investigative part of a crime but may not meet the threshold of being admissible evidence in a court of law (page 137).

In "The Totalitarian Movement," Hannah Arendt attempts to explain what makes totalitarianism different. Briefly discuss 4 points made in her essay...

Arendt contends that when totalitarianism takes over a country, it uses indoctrination and terror rather than propaganda to maintain control. Propaganda is then aimed at foreign governments and populations or at internal elite groups that have not yet been "reliably dominated." Propaganda is thus mainly a way totalitarian regimes deal with the non-totalitarian world. Arendt notes that rather than use propaganda, totalitarian regimes rely on terror over their own subdued masses. She writes this was particularly and strikingly standard in the Nazi concentration camps, where there was no "education" (propagandizing) of inmates, only "discipline" (terror).

Totalitarian governments, she says, differ sharply from other governments in being anti-utilitarian. For example, Hitler began murdering the mentally ill at the beginning of World War II not because of any necessity to do so, but as part of his long range vision of a purified Germany that would emerge in the distant future. Totalitarian governments are more concerned with realizing their own fictions of how the world should be than living in a practical, realistic universe, as other governments  do. 

According the Arendt, totalitarian leaders must be seen as infallible, even if this quest leads to strange distortions of truth, such as Stalin denying Trotsky's existence. 

Further, totalitarian regimes find consistency more important than visible experience.  Arendt calls totalitarian organization "completely new" because its aim is to turn the previous propaganda lies and fictions the party developed while seeking power into a "functioning reality" when it gains power. Totalitarians believe they can mold reality rather than be molded by it. They believe that if they have enough power they can turn their fictions into reality. 

What is Squeaky's full name in "Raymond's Run"?

Squeaky's full name is Hazel Elizabeth Deborah Parker. 

Readers are able to read her full name a total of three times during the story. The first time is when Squeaky is registering for her race. She speaks to Mr. Pearson, and he calls her "Squeaky" as he hands her the race number and pins. Squeaky is not happy about Mr. Pearson calling her that, so she corrects him by saying her full name.  

“Well, Squeaky,”...

Squeaky's full name is Hazel Elizabeth Deborah Parker. 

Readers are able to read her full name a total of three times during the story. The first time is when Squeaky is registering for her race. She speaks to Mr. Pearson, and he calls her "Squeaky" as he hands her the race number and pins. Squeaky is not happy about Mr. Pearson calling her that, so she corrects him by saying her full name.  

“Well, Squeaky,” he says, checking my name off the list and handing me number seven and two pins. And I’m thinking he’s got no right to call me Squeaky, if I can’t call him Beanstalk.

“Hazel Elizabeth Deborah Parker,” I correct him and tell him to write it down on his board.

Mr. Pearson quickly repeats her name and asks Squeaky a follow-up question.  

The final time readers see Squeaky's full name is after her race. The race between Squeaky and Gretchen is very close. The race officials have to take a few extra minutes to confirm who really won the race. After a bit of deliberation, the winner is announced. Squeaky won the race, and the announcer says her full name to the crowd.  

But of course everyone thinks I’m jumping up and down because the men on the loudspeaker have finally gotten themselves together and compared notes and are announcing “In first place — Miss Hazel Elizabeth Deborah Parker.”

What are the six big events that happen in Act two in the play Death of a Salesman, with page numbers. I will send the instruction paper.

The six big events in Act II of the play are as follows: 

1. Willy asks his younger boss, Howard, to take him off the road, so he doesn't have to travel anymore because he's "a little tired." (p. 56)

2. Howard fires Willy despite his 34 years with the company and need for a paycheck. "I think you need a good long rest," Howard says. (p. 59)

3. Charley offers Willy a job which...

The six big events in Act II of the play are as follows: 

1. Willy asks his younger boss, Howard, to take him off the road, so he doesn't have to travel anymore because he's "a little tired." (p. 56)

2. Howard fires Willy despite his 34 years with the company and need for a paycheck. "I think you need a good long rest," Howard says. (p. 59)

3. Charley offers Willy a job which he turns down, but he does take a loan. (Charley tries to get through to Willy: why does everybody have to like you? he asks. What difference does that make, he implies? ) (p. 70) 

4. Willy has dinner with his sons and Biff tries to tell him he didn't get the hoped-for interview with Bill Oliver and that it always was a fantasy to think he would, trying, like Howard and Charley, to get Willy to live in reality. "Let's hold on to the fact tonight, Pop." (p. 78)

5. A flashback to the summer the young Biff found Willy cheating on his wife (Biff's mother) in the hotel room, which ruined Biff's life: he stared "horrified" at "The Woman." (p. 87)

6. After a fight with Biff at home following the dinner in which he again tries to get his father to face reality, telling him to take his "phony dream" and burn it, Willy drives off to commit suicide. (p. 101)