In what way is courage, in this case, something like a man with an empty gun?Atticus tells the children on the last page of Part 1 that he wants...

When Atticus shoots the mad dog, he is in complete control
of the situation. The dog has no chance against a marksman with a gun. Mrs. Dubose,
however, is like a person fighting her battle with an unloaded gun. She has no chance of
living a longer life, so she picks a slightly different battle that she can win:
overcoming her addiction to morphine before she dies. Atticus points out that real
courage is

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"when you know you're licked before you begin but
you begin anyway and you see it through no matter
what."

In Atticus' view, it
took no courage to kill a defenseless dog. However, Mrs. Dubose showed real courage by
taking seeing through her battle to the end.

Comment on the title of "An Occurrence at Owl Creek Bridge."

It is always worth considering the title of any work of
literature as it is always a carefully chosen element that the author will have put a
lot of work into selecting. Thinking about this title alone, the title suggests that
obviously the main action of the tale will occur at Owl Creek Bridge, and nowhere else.
Thus arguably the title already foreshadows that actually the physical action of the
tale will occur nowhere else apart from Owl Creek Bridge, thus suggesting that Peyton
Farquhar is actually hallucinating when he escapes from it. Likewise the word
"occurrence" is worth thinking about. It is very non-specific. This vagueness perhaps
suggests that what occurs at Owl Creek Bridge, the subject of the story, is too
mysterious or ambiguous to be able to be clarified or given a description. This again
foreshadows the way that Peyton Farquhar's final moments of life are explored and Bierce
examines how the human mind is shown to flee reality.

What is the angle that verifies identity tan^2x=6sec x-10?

We'll substitute (tan x)^2 = (sec x)^2 -
1

We'll re-write the equation moving all terms to the left
side:

(sec x)^2 - 1 - 6sec x + 10 =
0

We'll combine like
terms:

(sec x)^2  - 6sec x + 9 =
0

We notice that the expression is a perfect
square:

(sec x - 3)^2 =
0

We'll put sec x - 3 = 0

sec
x = 3

But sec x = 1/cos x => 1/cos x  =
3

cos x = 1/3

Since the value
of cosine is in the interval [-1 ; 1], that means that it doesexist an angle that
verifies the identity.

We'll determine the angle using
inverse trigonometric function.

x = +/- arccos (1/3) +
2kpi

All the angles x that verify the
equation are {+/- arccos (1/3) + 2kpi}.

What is the main point of Joseph Conrad's novel, Heart of Darkness?Does it have something to do with a secret within human beings? I am trying to...

When Joseph Conrad wrote his novel, Heart of
Darkness, he had personally traveled to many locations around the world.
Specifically, one trip made a special impression on
him:

In
1890 Joseph Conrad secured employment in the Congo as the captain of a river
steamboat.

Illness forced
Conrad to return home, but he had seen a great deal in the region that was
then called the Belgian Congo, run by King Leopold II of Belgium;
the river was called the Congo. Today, the river is called the Zaire, and the region,
free of Belgian control, is known as the Democratic Republic of the
Congo.

One of the themes of the novel is "moral
corruption." There are several others, but of all of the themes, the one that is at the
center of the story, for me, is the theme of moral corruption. So many of the other
themes are the result of the corruption that breeds within the Belgian Congo of that
time, at the hands of whites abusing the natives.

While the
alleged "philanthropic" mission of entering the Congo was to bring
civilization and Christianity to the natives, it was really about harvesting the natural
resources of the region. In this novel, ivory is the primary export, and there is a
great deal of money to be made by doing so, while the white men of the Company exploit
the natives. This was what Conrad
witnessed.

I believe that greed and moral corruption are
what drive the characters in the story to become so uncivilized. Marlow sees this first
hand, and it appalls him. When Marlow's character is shaken by what he witnesses, I
believe this is Conrad's description of his own
experiences.

If I were to identify Conrad's main point in
the story, it would be that besides the darkness we may find in our environment (a
jungle, the night, depression), the true danger lies in the darkness that lies within
each human being. The age-old battle of good vs evil is not always fought between
individuals, but is often times the conflict of man vs himself: when a person struggles
with who he chooses to be as a human being, allowing light to dominate or
darkness.

In Conrad's novel, Marlow, ironically, does not
perceive Kurtz as a wholly evil man: he believes the man is sane,
but his soul is not. Marlow can even, to an extent, identify with
Kurtz, and finds him a fascinating person. The difference between the two men, however,
is that Kurtz has given in to the darkness within him, and it has consumed him. Marlow,
on the other hand, resists: he is not unaffected by the horror he sees: horror driven by
the avarice of men. The experience changes him; however, when Marlow visits Kurtz's
fiancee at the end of the story, the light in his heart is still intact: to save her
pain, he lies, telling her that Kurtz's last words before dying were of
her.

Conrad's tale is one of warning:
every man must make certain to repress the heart of darkness within—the uncivilized man.
For if this is not done, chaos reigns, as seen with many of the leaders of the Company,
and certainly with the damaged, suffering soul of Kurtz. Conrad seems to write that "the
wages" of this kind of sin are death: physical
or emotional/psychological. Kurtz's
true last words summarize the depth of the damage he has suffered: "The horror! The
horror!" For how can man consort with evil and not be
damaged?

What is an example of backward intergration?

Backward integration is a type of vertical integration. 
In backward integration, a firm expands in such a way that it no longer has to buy
certain inputs.  Instead, it starts to produce those inputs
itself.

An example of this might be seen in a firm that
makes baked goods.  This firm might buy up farms that grow wheat or mills that grind
wheat into flour.  By doing this, they would be making these inputs for themselves
rather than buying them.

A firm might do this because it
wants more control over the quality of its inputs.  Alternatively, it might do this
because it wants more control over the supply of its inputs -- it might not want to risk
having its suppliers run out of the inputs or be late in providing them.  By pursuing a
strategy of backward integration, the firm can have more control over its supply
chain.

How to find all solutions of equation (2*cosx-square root3)(11sinx-9)=0?

We'll start from the fact that a product is zero if one of
it's factors is zero.

We'll set the first factor as
zero.

2*cosx-sqrt3 = 0

We'll
add sqrt3 both sides:

2cos x =
sqrt3

cos x = sqrt3/2

x =
+/-arccos(sqrt3/2) + 2kpi, k is an integer number

x =
+/-(pi/6) + 2kpi

Let's put the next factor equal to
zero.

11sinx-9 = 0

We'll add 9
both sides:

11sin x = 9

We'll
divide by 11:

sin x = 9/11

x =
(-1)^k*arcsin(9/11) + k*pi

The solutions of
the equation are: {+/-(pi/6) + 2kpi} U {(-1)^k*arcsin(9/11) +
k*pi}.

How can we apply Pasley v. Freeman to a situation in which someone is notified of someone else's death?

Pasley vs. Freeman was a case tried
in the Queen's Bench in 1789. The argument was about a man who purposely deceived a
creditor in order to defraud it. This is one of the earliest cases in court history that
dealt with fraud, deceit, and misrepresentation as the causes of the offence. This is
important because it set the precedent for future cases in which people accuse others of
giving them false information maliciously, or in order to obtain a
benefit.

Pasley vs. Freeman can be
applied to a scenario in which someone is falsely notified of a person's death of
injury, with premeditation. In the case of Wilkinson vs. Downtown,
for example, a woman was told that her husband was hurt, but he was not. It
was supposed to be a sick practical joke which caused her a shock that made her ill as
well. She sued for psychological damages among other things. Her case was also traced
back to Pasely vs. Freeman to determine the guilt of the
defendant.

Therefore, Pasley vs. Freeman
can be used as a benchmark in cases where fraud causes personal or
psychological injury.

In 1984 (part 3 - chapters 4-6), how must Winston change his feelings toward Big Brother before he can be released?

Winston tells O'Brien in the end of chapter four that he
hates Big Brother. O'Brien responds with the truth that Winston must face in order to be
released. That hate must transform into love. The love
cannot be a fake love. Winston cannot just say that he loves Big Brother because his
lies can be detected. Thus, this love must be real and meaningful. This authentic and
genuine love needs to not be coerced, although efforts in room 101 will help that
occur.

This becomes a central theme in the last several
chapters as the book closes with Winston finally allowing himself to love Big Brother.
In fact, the final words of the book demonstrate that this change is absolute and
complete when Orwell ends with the four
words:

He loved Big
Brother.

In To Kill a Mockingbrid, Scout acquires an important realization during Tom’s testimony. What is it?

In Harper Lee's To Kill a
Mockingbird, Scout realizes several things during Tom Robinson's
trial.

First of all, she realizes that Atticus was
appointed to be Tom's lawyer, and he had to do it whether he wanted to or not, though I
don't think it would have occurred to him not to. He observes later that every lawyer
has a case that has a profound effect on him, and he expected this was the one for
him.

When Atticus has Heck Tate testify to Mayella Ewell's
injuries, we find that they are all on the right side of her face. This would mean that
she was struck by someone left-handed. Scout understand this, and understands the
implications of this information when Atticus exposes to the jury at Bob Ewell is
left-handed, but Scout doesn't think this means anything because Tom Robinson could also
be left-handed.

Scout soon realizes that Tom could
not have done the damage to Miss Mayella as she and her father
claimed. Tom's left arm had been caught in a cotton gin, and he could not use it: it was
difficult to keep in on the Bible when he was sworn
in.

Scout also comes to a realization about
Mayella.

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'Would Miss Mayella talk to
you?'

'Yes, sir, she talked to
me.'

As Tom Robinson gave his testimony, it came to me that
Mayella Ewell must have been the loneliest person in the world. She was even lonelier
than Boo Radley, who had not been out of the house in twenty-five years. When Atticus
asked if she had any friends, she seemed not to know what he meant, then she thought he
was making fun of her. She was as sad, I thought, as what Jem called a mixed child:
white people wouldn't have anything to do with her because she lived among pigs; Negroes
wouldn't have anything to do with her because she was white...Tom Robinson was probably
the only person who was ever decent to her, and when she stood up she looked at him as
if he were dirt beneath her
feet.

So Scout realizes
several things during the trial. She realizes that Tom could not have attacked Mayella
because when he gets up to be sworn in, his arm is totally useless, falling limply at
his side so he cannot keep it on the Bible's cover.

After
Tom begins to provide his testimony, Scout also realizes what a sad and lonely person
Mayella is.

Finally, and ironically, Scout notes that Tom
has probably been nicer to Mayella than anyone else and yet she treated him like a
criminal: and he is not.

In Macbeth, what difference exists between Macbeth's army and Malcolm's army?

Macbeth's army consists of soldiers who stand in "forced
affection," meaning they do not support Macbeth willingly or serve him out of respect or
loyalty. In Act V, Angus describes Macbeth's army:

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Those he commands move only in
command,

Nothing in
love.

In contrast, Malcolm's
army is composed of men who fight passionately, united in their determination to destroy
Macbeth, the tyrant who has stolen the throne of Scotland and plunged the country into
misery. Furthermore, English soldiers have joined Malcolm in his fight, and citizens of
Scotland have risen to swell the ranks of his army, as well. Macbeth notes that
Malcolm's army is reinforced with "those that should be ours." The disloyalty of
Macbeth's army is pointed out by Malcolm during the
battle:

We have met with
foes

That strike beside
us.

Macbeth's army appears to
be fighting for Macbeth, but in battle they deliberately miss when striking Malcolm's
soldiers.

How have athletes fine-tuned the physics and biomechanics involved in their event? How have athlete's bodies been sculpted and specialized to...

If you were to take a specific event and a specific
athlete, you can get some idea of the things it takes to specialize a body to accomplish
one specific task.

Let's take Kenenisa Bekele and the 10k
as an example.  He will likely start with a long period of what they call "base"
building in which he goes on very long and relatively relaxed runs.  He might be running
anywhere from 80-130 or more miles per week in this phase without too many harder
efforts.  He might be doing it at altitude as well.  This is mostly to build up the
amount of red blood cells and the ability of the body to process the oxygen in them and
transport them to the muscles effectively.

Then he will
begin to add in faster efforts.  These will help him be able to withstand the incredible
stresses on the body during a fast 10k.  He will work on his body's ability to cyle
lactic acid and to handle the physical pounding of running sub 4:30 miles for a 6.2 mile
race.

Of course he will also be racing, probably worrying
about what he eats, making sure to get lots of sleep, getting massage to work out his
muscles and make sure he stays loose, perhaps adding in some weight training or
flexibility exercises, but almost everything is geared towards simply covering a lot of
ground very quickly.

Can a party involved in sexual intercourse suddenly withdraw consent?

The answer to this varies by state, but there are courts
in the United States that have ruled that a person who is engaged in a sexual encounter
with another person must stop if the second person withdraws consent.  If the one
partner withdraws consent and the other does not stop, these cases have held, the
partner who does not stop may be charged with rape.

The
links below refer to a case in Maryland and one in California.  In both cases, the
courts found that a person may withdraw consent and the partner must then stop. 
However, North Carolina law, for instance, has held just the opposite -- that a person
who has consented to start a sexual encounter cannot withdraw
consent.

http://www.charlotteobserver.com/2010/09/22/1708906/charges-dropped-against-butler.html

So,
the law varies from place to place on this issue.

Is Kidnapped by Stevenson fictional?

readability="12.271028037383">

"History is the study of change
over time. Historical fiction brings history to life by placing appealing characters in
accurately described historical settings. Historical fiction is realistic fiction set in
a time remote enough from the present to be considered history. Although the story is
imaginary, it is within the realm of possibility that such events could have occurred.
In these stories, historical facts blend with imaginary characters and plot
(Lynch-Brown, 1999)." (Barbara Pace, Ph.D., " href="http://faculty.education.ufl.edu/Pace/English_Ed/Genre%202/Historical.pdf">Historical
Fiction Genre
Study")

In part,
your question is the result of great fiction and in part the result of historical
fiction. As you can see from Barbara Pace's definition of historical fiction above, it
combines real settings and real occurrences with fictional characters and fictional
story action. In Kidnapped, Stevenson puts a fictional David
Balfour in a fictional situation in which his miserly fictional uncle has him kidnapped
by the mercenary fictional Captain Hoseason. It is this fictional action that allows
David to meet Stevenson's representation of the historical figure, Alan Breck Stewart,
whose name in Gaelic was Ailean Breac Stiùbhart. To summarize so far: David Balfour and
Uncle Ebenezer are fictional though though some suggest David's character was inspired
by Irishman James Annesley (1715–1760), a claimant to the title Earl of Anglesey. Alan
Breck Stewart is an historical person.

Stiùbhart (i.e.,
Stewart) was a fighter in the Jacobite Risings that occurred at various times from 1689
to 1745, when a failed rising put an end to the force of the Jacobite movement. What
were Jacobite Risings? [Jacobite is the Latin word relating to the
English name James.] King James II and VII of England and Scotland, a Catholic king, was
deposed from the throne in favor of his Protestant brother Charles. The Scots, for James
was a Scotsman, rose up in rebellion to have James and then his heirs reestablished on
the thrones of Scotland and England. Ailean Breac Stiùbhart played a memorable role in
the Rising of 1745. Enlisted in the English army of Charles II (who replaced James), he
seems to have deserted and defected to the Scottish Jacobite side, then fought against
Charles until fleeing to exile in France.

Stevenson's
Kidnapped takes up the adventure in 1751 when Alan comes back from
the safety of exile in France to the shores of England with a "price on" his head for
being a deserter and a rebel. Ailean Breac Stiùbhart was sent back to Scotland from
exile in France to collect the rents of the Jacobite clan chiefs hiding in safety in
France (he later is wrongly accused of murder in 1752). To put all of this together: The
setting is historical; the story actions are fictional; the premise of Alan returning to
England with a price on his head is historical.

Now we know
that the answer to your question is yes, Kidnapped is fictional in
storyline and most major characters. Yet, Kidnapped is historical
in times, events and issues, and some characters, including Alan and the Highland
chieftains, who are historical figures (not at all fictional). The summary is that
fictional David has fictional adventures with historical figures in historical times and
historical events; thus it is historical fiction. [It is interesting to note that when
Stevenson wrote Kidnapped, he was writing what he called a romance
full of exciting adventure.]

Camus shows the absurdity of watching films in Ch. 2 and 4. Explain the contradiction.

In The Stranger, Camus gives us an
absurd hero in Meursault who loves life,
hates death, and scorns the gods. He also loves swimming, sex, sleeping,
eating, smoking, and going to the movies--all life affirming
activities.  As such, Camus would rather his hero laugh at a movie rather
than cry at a funeral.  Movies celebrate life; funerals celebrate only
death.

Merusault's mother dies Wednesday or Thursday.  The
vigil is Friday, and Meursault meets Marie Saturday for a swim, movies, and sex (she
spends the night).  Together, they see a comedy starring Fernandel, a French actor.
 Marie notices Meursault's black tie, and she realizes that he is supposed to be in
"mourning."  She thinks it's a bit odd that he would want to swim, go to a comedy, and
have sex so soon after his mother's death.  Later, in Chapter 4, Meursault and Emmanuel
go to see two movies together during the work week
nights.

Movies are places where people come together to
view something as part of a cultural ritual.  Movies are not Camus' targets.
 Movies are used to juxtapose the other ritualistic places where people
gather to celebrate death: funerals, vigils, churches, courtrooms, and public executions
(all of the people in these places will judge and condemn Meursault later).
Movies are harmless compared to these institutions.  These places are
the "gods" that Camus says his absurd heroes should
scorn.

Camus is using the act of going to a film to show
that Meursault is not affected by his mother's death.  He can go to a funeral one day
and then see a comedy the next.  He does not reject casual relationships the week after
the funeral.  Is that so wrong?  Camus thinks not.

To laugh
when one should cry may look like a contradiction of emotions, and it may look like
Meursault is a cold, apathetic person.  Meursault rejects social expectations that limit
a person's freedom and love of life.  Society expects him to wear black, look sad, and
refuse entertainment and casual dates.  In effect, society expects Meursault to act like
he is dying.

Camus rejects this culture of death.  Why
can't he go to the movies and see comedy?  Why can't he go swimming?  Why can't he have
sex that night?  Who makes these silly cultural rules about the mourning
process?

At the end of the novel, Merusault, just before he
is to be executed, will say that no one has a right to cry over his mother's death.  
Merusault loves life: the water, the sun, girls in bathing suits, funny movies,
sleeping, eating, drinking.  All these acts are celebrations of life.  Wearing a black
tie and locking oneself in an apartment all week only celebrates the culture of death
that Camus' absurdism wants us to escape.

knowing that: sen(3π/2+x)=1/3 and x E ]π,2π[, calculate the exact value of cos (π+x) - 2cos (π/2+x)π-Pi

You need to use the following formulas to evaluate `cos
(pi+x` ) and `cos(pi/2+x) ` such that:

`cos(pi+x) = cos
pi*cos x - sin pi*sin x`

Using `cos pi = -1`  and `sin pi =
0 ` yields:

`cos(pi+x) = -cos
x`

`cos(pi/2+x) = cos (pi/2)*cos x - sin (pi/2)*sin
x`

Using `cos (pi/2) =0 ` and `sin (pi/2) =1` 
yields:

`cos(pi/2+x) = -sin
x`

Hence, `cos(pi+x) - 2cos(pi/2+x) = -cos x + 2
sinx`

The probem provides the information `sin(3pi/2 + x) =
1/3`  and `sin(3pi/2 + x) = sin 3pi/2*cos x + sin x*cos
3pi/2`

Using `cos 3pi/2 =0`  and `sin 3pi/2 =-1` 
yields:

`sin(3pi/2 + x) = -cos
x`

Hence, `-cos x = 1/3 =gt cos x = -1/3
`

Using Pythagorean's theorem
yields:

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

`sin x = +-sqrt(1 - 1/9) =gt sin x =
+-sqrt(8/9)`

`sin x =
+-2sqrt2/3`

The problem provides the information that `x in
[pi,2pi]` , hence, you need to use only the negative value for sin x, because the values
of sine function are negative in quadrants 3 and 4.

Hence,
`sin x = -2sqrt2/3.`

You need to substitute `-2sqrt2/3` 
for `sin x`  and `-1/3`  for `cos x`  in expression `cos(pi+x) - 2cos(pi/2+x) = -cos x +
2 sinx ` such that:

`cos(pi+x) - 2cos(pi/2+x) = -(-1/3) +
2*(-2sqrt2/3)`

`cos(pi+x) - 2cos(pi/2+x) = 1/3 -
4sqrt2/3`

Hence, evaluating the expression
`cos(pi+x) - 2cos(pi/2+x) ` under given conditions yields `cos(pi+x) - 2cos(pi/2+x) =
1/3 - 4sqrt2/3.`

How would you describe the conflict of "man vs society" in 1984?

The fundamental conflict in the novel resides in Winston
against Big Brother.  The society of Oceania being controlled by Big Brother helps to
establish this fundamental conflict.  Winston's desire to live a life contrary to the
desires of Big Brother would be where the conflict of individual vs. society is most
evident.  In sensing Winston's despising of Big Brother, seeking to live a life that is
not so controlled by the government, Winston attempts to fight a social order that is
larger than he is.  His repulsion towards the means of control that Big Brother exerts
is evident in his acts of resistance such as keeping the diary, engaging in sex that is
not for procreation, and his affair with Julia.  In each of these examples, he is
engaging in an action that has been banned by the social order.  His embrace of these
acts of resistance is evidence of his own interests being advocated over that of the
Oceanic society's.

Businesses often make use of conditioning techniques in their commercials. Think of 5 specific examples of such advertising. Describe how the...

One specific commercial that you can look at the use of
conditioning in is the intel commercial linked below.  This commercial doesn't even
advertise a specific product and is using conditioning specifically to link a feeling to
the brand name.  Two examples of conditioning are the inclusion of a diverse group of
workers all dressed in relatively hip clothes, suggesting an image of hip young people
working for Intel and the color themes of light blue and white creating an atmosphere of
modernity, again meant to connect that feeling with the Intel
brand.

Much Ado About Nothing: Is the book better, or movie? Why?

Much Ado about Nothing is meant to be
staged, not read or even seen as a movie.

Shakespeare wrote
his plays for the stage only.  He did not intend to collect the assigned roles and
publish them during his lifetime.  His actors did that
later.

Whereas the Kenneth Branagh movie is good, it is not
better than seeing a staged version of the play done by quality actors.  Shakespeare's
language is meant to be heard, and his actors give breadth and depth to the
words.

Not only this, but the movie version cuts up to 50%
of the original text.  So, a two-movie is about half the text of a two-hour play.  The
film substitutes image for word.  It focuses more on the Italian landscape than on the
words.  As such, it's distracting and too easy.

A play
keeps the verbal fireworks going better.  Benedick and Beatrice are funnier live than on
screen.  There's more audience participation, more
laugher.

Not only that, but the low comedy of dogberry and
his slapstick watchmen is funnier live too.  The visual schtick can only be appreciated
in the flesh.

So, the movie is not as good as reading it
because half of the lines are cut.  Better than both is the live version of the
full-length play.  The play's the thing.

How does Tennyson use imagery (examples) in the poem, "The Lady of Shalott" to present the story? Visual and auditory imagery?How does the audience...

The speaker of Tennyson's "The Lady of Shalott" switches
back and forth between visual and auditory imagery to reveal the
story.

The poem opens with visual imagery of nature,
freedom, and movement (which is touch, actually, but the visual does dominate).  Around
Shalott, the willows are white (visual), the aspens quiver (touch), the waves in the
river run forever (sight and touch), by the island in the river (sight) (lines
10-18).

But in lines 28-36 auditory images predominate: 
the reapers "Hear a song that echoes cheerly (auditory).  This is how the lady is
known:  no one has seen her wave her hand, stand at the window, or knows her at
all.

Another switch from visual to auditory occurs in the
shift from lines 73-81 to lines 82-90.  In the first stanza Lancelot is described
visually:  he rides like a bow-shot, rides between the barley, his image dazzles into
her mirror, his armor shines like flames, as does his
shield.

In the next stanza, the imagery changes to
auditory:  the bridle bells ring merrily, his equipment belt holds a bugle, and even his
armor rings.

All this fascinates the Lady, but what
inspires her to actually break the curse and look out the casement or window, is
Lancelot's song:

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He flashed into the crystal
mirror,

"Tirra lirra," by the
river

Sang Sir
Lancelot.

She left the web, she left the
loom,

She made three paces through the
room,

She saw the waterlily
bloom,

She saw the helmet and the
plume,

She looked down to Camelot. 
(106-113)

Imagery makes
abstract ideas more concrete.  With the visual and auditory imagery, Tennyson makes
concrete his ideas.  That helps the reader understand what he is revealing.  For one
example, the Lady first sees Lancelot blaze into her mirror, and then hears the ringing
of his bells and armor, followed by his song.  These images concretely reveal what makes
the Lady look out the window and break the curse.  The speaker could say that the Lady
sees Lancelot in her mirror, and hears him outside, and therefore goes to the window and
looks out.  But all that is abstract.  The images make it concrete. 
 

What is Gatsby's personality in chapter five of The Great Gatsby?

Concerning The Great Gatsby, chapter
five, and Gatsby's personality, I'll analyze him as he appears in the opening section of
the chapter for you.

Gatsby appears
anxious about making arrangements to meet Daisy at Nick's
house.  He may also feel a bit isolated or
lonely.  He approaches Nick the minute Nick arrives
(apparently he has been watching and waiting for him) and suggests going to Coney
Island.  When that doesn't work, he offers a swim in his pool.  He looks at Nick with
"suppressed eagerness."  In other words, he's trying not to show it, but he is eager to
talk to Nick about arranging for Daisy to come to Nick's for tea.  Gatsby is a bit like
a nervous adolescent with a crush on someone in this
scene. 

At the same time, Gatsby's terrible
social skills are exhibited here.  Gatsby is not very good with people. 
He is not comfortable with people.  He is somewhat inept with verbal communication.  He
asks Nick to go to Coney Island, etc., because he is afraid or unable to come straight
to the point.   

He is extremely unsure of
himself, but he is also extremely
courteous.  When Nick asks

readability="5">

"What day would suit
you?"

to have Daisy over,
Gatsby immediately replies

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"What day would suit
you?"

He
is so courteous, in fact, that he seems much more comfortable doing a favor for someone
than having someone do a favor for him.  He, apparently, had decided ahead of time to
offer Nick a "little business" to help him out financially, and in fact does so. 
 

Finally, when Gatsby tells Nick that he wants to get the
grass cut before Daisy comes (and Nick suspects Gatsby means Nick's grass, which
apparently is correct), he reveals his perfectionism, at
least when it comes to making a good impression on Daisy.  Later he will send a tea set
and flowers over to Nick's before Daisy's arrival.   

In Of Mice and Men, how and why does Lennie kill Curley's wife?

There are many references to an incident in the town of
Weed. George does not really know what happened because he was some distance away when
the girl started screaming. Then he and Lennie had to run for their lives, so the only
report he got was from Lennie. And Lennie is always lying to George. Lennie claims he
only wanted to feel the fabric of the girl's dress. This was bad enough, but George
realizes later that Lennie is developing an interest in sex and that his strong interest
in petting soft little animals has only been a budding interest in sex which Lennie was
too simple-minded to understand. Then when he begins petting Curley's wife's hair in the
barn, he evidently becomes sexually aroused and would have gone as far as raping the
girl if she hadn't started screaming and struggling. It is very significant that George
says the following words when he sees the dead girl lying in the hay in the
barn:

"I
should of knew," George said hopelessly. "I guess maybe way back in my head I
did."

The reader, too, should
know that Lennie is going to keep molesting young girls and that he is potentially a
serial killer. George can't be with him all the time. George wasn't with him when he
frightened the girl in Weed, and George wasn't with him when he killed Curley's wife in
the barn. (George doesn't really know, as the reader knows, what happened in the barn.
It looks very much like an accidental killing in connection with an attempted rape--and
that is actually very close to being the truth.) Lennie may be mentally retarded, but he
has a normal male sex drive which he doesn't understand and can't control. His enormous
physical strength makes him especially dangerous.

Can someone help me write a paragraph of commentary about the last line of the poem "Barbie Doll"? "To every woman a happy ending."

Marge Piercy's poem "Barbie Doll" is a social commentary
on the unreasonably high expectations for women as set by society. The poem makes it
clear this standard is impossible to achieve--at least not while one is alive--and
starts with something relatively careless at a young age. The first stanzas outline an
average girl's life up to the point where someone makes a random but hurtful comment
about the size of her nose and her weight. From then on, everything she thinks about
herself is shaped by that perceived insult until she finally commits suicide because
she succumbs to the pressures and can no longer cope. 

The
last stanza is a little different in tone, for it is the author's commentary on her
death, and it is riddled with satire.

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In the casket displayed on satin she
lay
with the undertaker's cosmetics painted on,
a turned-up putty
nose,
dressed in a pink and white nightie.
Doesn't she look pretty?
everyone said.
Consummation at last.
To every woman a happy
ending.

The visual Piercy
creates is eerily similar to a pink-clothed Barbie doll in her packaged box which one
might pull off the shelf in any toy store. The comments of the funeral-goers (all of
whom are undoubtedly showing much more interest in her now than when she was alive) may
be accurate, but they are satiric, as well. She was undoubtedly prettier alive than
dead, but they could not or did not tell her so. If they had, this young girl might
still be alive. The "consummation" line is satiric, in that this girl has finally
achieved her goal of looking pretty in others' eyes but is no longer alive to enjoy or
appreciate the adulation.

The last line, then, is probably
rather satiric as well and therefore open to some interpretation. There are no true
"happy endings" in the poem, and Piercy is commenting on the fact that this is not an
uncommon problem with women and society. The last line, if rewritten, might read
something like this: To all women who listen to what society tells you, this is the only
way you will ever make society happy.  It might also read like this: If being pretty by
society standards is your goal, women, this is how to achieve it. Or perhaps you have
another slant on this line. In any case, the satire is evident.

Explain the steps involved in performing a literture search, and why the literature search is called an iterative process?no

There is no set formula, look in the Cochrane Library
online they publsih guidlines for systamatic reviews (a hard nosed lit
search)

Set out a clear research
question

Decide on the databses you will
search

Design a search stratagy that will retrieve all the
target papers (use wild cards like Cult* to get cultural, culturally etc, use operators
like OR to connect synonyms , eg Trial OR
investigation.

Develop a set of screenig criteria to screen
out unwanted papers

Screen them out using title and
abstract

Read the remaining papers and screen out if
needed

manually search the reference sections and
bibliographys for more relavant papers

Analyse jiournal
title and all authors from the final papers for ones that publish the type of article
you want and target search them

Review the papers, this is
best done in catagories that address the research
question

Critically evaluate the
papers

The above steps are not strictly iterative ( doing
it over and over again) but not far off, as well as that if it goeas on for more than a
couple of weeks you need to  "Rinse and repeat" as new papers are added to databases all
the time

Silverstrummer

Why did Hassan name his son after one of the characters in The Kite Runner?

When Amir and Hassan, the main characters of Khaled
Hosseini's The Kite Runner, were young boys, they often dreamed of
being like the heroes of one of their favorite stories, the
Shahnammah. The main characters of that story were Rostan and
Sohrab, and Hassan never forgot the good times spent with his wealthy friend on the hill
under the pomegranate tree. It was an important time for him, and when it came time to
name his son, he named him Sohrab. In a letter to his long absent friend that is only
delivered after his death, Hassan tells Amir that he and his son still return to the
same tree to read the stories from the
Shahnammah.

How does George Orwell convey the horrors of living in a totalitarian society in 1984?Any suggestions?

1984 is a big set up.  Orwell writes
a comedy in the bleakest terms.  Comedy, as you know, focuses mainly on the flaws of the
society; a tragedy focuses on the individual.   Orwell wants to dispel any Romantic or
tragic notions that the individual has any chance of freedom or rebellion against the
modern totalitarian state.  In the end, the state will crush the individual through the
following:

torture: pain is
the last thing and individual will feel if it tries to rebel.  Pure, physical,
unadulterated pain.

police-state
surveillance: an individual's freedom is limited through profiling and
surveillance (both technological and
human)

propaganda: an
individual cannot rebel if an individual is uninformed, disorganized, and uneducated.
 The Ministry of Truth blurs the lines between truth and untruth, between persons and
unpersons, and between the past, present, and
future.

war: individual
rebellion is squashed because of state-wide war.  Nationalism is at its peak, and war
keeps the masses focused on the war effort instead of their own suffering and
poverty.

no core: individual
rebellion is hopeless when an individual has not core meaning in his life: family,
religion, or friendships.  The state keeps everyone alienated: physically, spiritually,
and emotionally.  There is no rebellion if there is no trust.

Please help me verify this identity? tan(x + pi/4) = (cosx + sinx)/(cosx - sinx)?

We have to prove that tan(x + pi/4) = (cos x + sin x)/(cos
x - sin x)

We know that tan (a + b) = [tan a + tan b]/(1 -
tan a * tan b)

tan(x +
pi/4)

=> (tan x + tan pi/4) / (1 - tan x * tan
pi/4)

tan pi/4 = 1

=>
(tan x + 1) / ( 1 - tan x)

=> [(sin x / cos x) +
1]/[1 - (sin x / cos x)]

=> [(sin x + cos x)/cos x]/
[(cos x - sin x)/cos x]

=> (sin x + cos x)/ (cos x -
sin x)

This proves that tan(x + pi/4)= (cos x
+ sin x)/(cos x - sin x)

At one point Bob Ewell comments that the "nest [of black families] down yonder" is "dangerous to live around 'sides devaluin' my property."What is...

This quote from Bob Ewell takes place in Chapter 17 during
his testimony in the Tom Robinson trial. His comments refer to the location of Maycomb's
primary African-American neighborhood, The Quarters, which are situated in close
proximity to Ewell's own property. The irony of the statement is that the Ewell
property, adjacent to the town dump, is the trashiest (and possibly least valuable)
property in the town. The house's

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... roof (was) shingled with tin cans hammered
flat... the cabin rested uneasily on four irregular lumps of limestone. Its windows were
merely open spaces in the walls... the plot of ground around the cabin look(ed) like the
playhouse of an insane
child.

The yard was covered
with discarded items mostly ravaged from the dump.

There is
probably nothing truthful about the statement. The peaceful people of The Quarters were
not dangerous, and the Ewell property was devalued more from the proximity to the dump
than the homes of The Quarters.

What surprising thing does Tony D. do in chapter 25?

Tony D., alias The Blade, is the knife-carrying punk who
constantly poses a threat to Kevin and Max in Rodman Philbrick's teen novel,
Freak the Mighty. In one memorable scene, Kevin and Max escape from
Tony by running headlong into the murky pond on the Fourth of July. When Kevin and Max
turn around, they find Tony's head barely above water, stuck in the mud
beneath.

But in the final chapter, Tony D. shows a bit of
humanity when he tells Max

readability="10">

... that it was a shame what happened, and I
could see he really meant it, and I just blew up and told him if he ever felt sorry for
me again, I'd put him headfirst in the millpond and pound him down into the mud like a
fence post.

This did nothing
to improve their relationship, and Max seemed perfectly content that the two "are
enemies again."

How is revelation an allusion in "Fahrenheit 451"?

"Revelation" is to uncover, display, or bring into the
open.  In the book, "Fahrenheit 451", Bradbury displays what might happen to a society
that no longer reads and thinks.  Through the action of the characters, he shows how the
people of this futuristic society are being manipulated by their government.  When Capt.
Beatty tells Guy Montag, in the first section, how their society came to be, he explains
that people wanted to be entertained more than they wanted to be enlightened.  He says
that people didn't want to have to think and to analyze on their own - they wanted to
have any pertinent information given to them in a quick, concise manner.  He tells
Montag that the government took over more and more until finally, books were outlawed
altogether because they made people think.  In the second section, revelation takes
place as Montag realizes that something must be done to stop the madness of his current
society and he struggles to find a way to stop it.  Revelation also takes place in the
final section of the book when Montag joins the book people and he uncovers the hope of
a better future as he watches his city and his society become incinerated by an atomic
bomb.  Revelation isn't as much an allusion as it is an outright
statement.

How would you start an essay titled "What do you want to be in in the future?"I want to be a doctor when I grow up... my teacher told me I just...

You should first give a brief introduction about yourself.
You could mention what kind of environment you grew up in, who influence you most in
your life or etc. Adding an anecdote on why you became to have a dream as doctor would
help. Then at the end, state what a doctor does that appeals to you the most. If you
link that with your personal life, then voila! You have your one paragraph. Remember,
it's more important to be honest than to be impressive; writing from your true feelings
will be more easier than creating a dramatic, unrealistic story.

What are solutions of the equation u(v(t))=0 if u(t)=t^2-16 and v(t)=t+2 ?

We'll substitute v(t) by it's
expression:

u(v(t)) =
u((t+2))

u((t+2)) = (t+2)^2 -
16

We'll notice that we have a difference of
squares:

u((t+2))
= (t+2-4)(t+2+4)

u((t+2))
= (t-2)(t+6)

We'll solve the
equation:

u((t+2)) = 0 <=> (t-2)(t+6) =
0

We'll set each factor as
zero:

t-2 = 0

t =
2

t+6=0

t=-6

The
solutions of the equation u(v(t)) = 0 are: {-6 ;
2}.

What was the importance of Hiroshima in WWII?and you can comment your view on it..

The importance of Hiroshima is that Hiroshima is a city in
southern Japan.  It was the city on which the United States dropped the first atomic
bomb that was dropped on Japan during World War II.  This bomb was dropped on August 6,
1945 from an airplane called Enola Gay that was piloted by Col. Paul
Tibbets.

The use of the atomic bomb on Hiroshima was meant
to convince the Japanese to surrender.  However, Japan did not surrender until after
another atomic bomb was dropped on the city of Nagasaki three days
later.

What is the correct kinetic energy in the following case?We dropped a golf ball from 50 cm above the ground into a sand pit. It took 0.046 seconds...

When a ball is falling under gravity, there is a force
acting on it due to the gravitational pull of the Earth. This force accelerates the ball
as it falls down.

In calculating the kinetic energy of the
ball when it hits the sand pit, you require the velocity(or speed) of the ball when it
has dropped down 50 cm. This cannot be calculated using the formula s = d/t as
that formula is valid only for a body moving at a constant speed, not if the body is
under acceleration.

If the kinetic energy has to
be calculated we need the mass of the ball in addition to its velocity. That also has
not been provided.

You can calculate the
final velocity of the ball as (2*0.5/0.46)
m/s

This velocity can get be
substituted into the expression for kinetic energy to calculate
it.

What are some specific examples in the book of moral ambiguity in A Passage to India?

One instance of moral ambiguity concerns the Caves and the
events that happened in them.  Forster gives little in way of clarity as to what
happened in the Caves between Azis and Quested.  Due to this fact, there is moral
ambiguity surrounding it because judgments are impossible to make.  The idea of the
Caves' ambiguity is fed by the aspect of "BOUM," the sound made inside the caves. 
Inside the cave is total darkness, where all individuals are reduced to nothing more
than "BOUM" and all sounds are reduced to no more than "BOUM."  In this reductive light,
ambiguity is present because in a setting that is strictly defined by cultural contexts
and specific social constructs, the result of the Caves reduces everything to a singular
element.  This is ambiguous because it is a very strong repudiation of social practice. 
When Mrs. Moore comments that there is little, if any, difference between love in a
church or love in a cave, she is revealing the level of moral ambiguity present in the
British experience in India.  The echo in the cave that results in "Everything exists,
nothing has value," only adds to this moral ambiguity present.

What is the significance of the lack of punctuation in "The Red Wheelbarrow"?What is the significance of the line breaks in the poem?

William Carlos William’s poem “The Red Wheelbarrow”
disobeys at least one rule of good writing: it uses a vague subject (“so much”) and
never tells us what that subject is. What, example, depends on this red wheelbarrow? The
success of this one farm? The order of the entire universe? Or what? It seems only
fitting to me that the poem should disregard other conventions, such as capitalizing the
first word to the sentence.

The line breaks may be
significant because they, at least twice, force a break in a word into two pieces when
that word would normally be written as one: “wheel / barrow” and “rain / water” instead
of “wheelbarrow” and “rainwater.” (The second break also allows for a clear rhyme
between “glazed” and “rain,” which might otherwise be overlooked.) Some critics have
commented famously on these breaks (see, for example, the Voices & Visions
series). To me, these breaks encourage use to the see the words that make up larger
words. We are thus encouraged to look at familiar items in a new way. Many of Williams’
other poems do much the same thing, for example, by turning a blossoming tree, a brief
note of apology, a glimpse of a housewife in a robe, or shards of broken glass in an
alley into poetry.

What is Victor’s reaction when he finds Walton recording his story?

Volume 3 of the novel Frankenstein
ends with Walton's final letters.

In this last part of the
story Victor finds out that Walton had been recording the events that he narrated. As he
found this out, he requested to see what Walton  had written down. Victor proceeded to
correct and enhance some of the notes.

What he enhanced was
the intense anger that he felt against the creature. He wanted to ensure that the story
explained how dangerous the creature was, and how much Victor hated
it.

At the end, Victor told
Walton

'Since you have preserved my narration,'
said he, 'I would not that a mutilated one should go down to
posterity.'

"Mutilated" means injured or
imperfect. This quote shows Victor's concern that the world to know exactly what he did
and that he wants to warn the world about it. He wanted to express clearly how wretched
the whole situation was, and how sadly the story ended.

Why do some theories speculate that the capacity of flashbulb memories is an adaptive characteristic?

A given trait is adaptive if it helps us (or helped our
ancestors) adapt to their environments and have a better chance of living long enough to
pass on their genes.  Therefore, what you are asking is why people who had flashbulb
memories would have a better chance of survival than those who did
not.

As you know, flashbulb memories are long-lasting and
are triggered by intense emotional events.  This sort of capacity could be adaptive
because many flashbulb memories might have been triggered by life-threatening
experiences.  Such experiences would surely trigger very strong emotions and, thereby,
flashbulb memories.

Imagine the difference between a person
with such memories and one without.  The person with such memories would remember what
sorts of situations almost got him or her killed and would avoid them.  The person
without such memories might forget these lethal situations and blunder into them again
and again.  This second person would be much more likely, over time, to get
killed.

It is in this way that such memories could have
been an adaptive characteristic as the human mind was evolving.

What opinions does George have about women, and why would American men wish to avoid women?Why do men seek the company of other men over that of...

In Of Mice and Men, men are depicted
as animals as part of Steinbeck's anthropomorphism, Social Darwinism, socialism, and
Pragmatism.  His biological view of mankind holds that men are uber-competetive in a
all-male capitalistic workplace with limited resources, as conditions were on ranches in
California during the Great Depression.  So, these males compete to be the Alpha male,
like Curley, and they hoard, pick fights with lower-class males, and flaunt their status
as part of some paranoid defense mechanism.  In short, they puff themselves up like some
little animal that wants to be seen as more threatening than it really
is.

The men in Of Mice and Men compete
over jobs but not women.  The two seem mutually exclusive.  George tells Lennie to stay
away from Curley's wife as soon as he sees her.  In terms of mythological and archetypal
criticism, women are all temptresses, like Sirens in The Odyssey.
 They are threats to a man's job.  As such, they are to be avoided.  George and Lennie
have already seen the affects of this: the woman in Weed cried rape, which sent George
and Lennie on the run, fired from their jobs, further from their American
dream.

George would rather go to a cathouse and get rid of
all his pent up emotions all at once rather than waste two words on a woman.  When jobs
and dreams are on the line in a patriarchal all-male society, a woman only prevents a
male from achievement.  Could George's fear of women be a backlash against the
pre-feminism movement?

In the end, the American Dream is as
much a temptress as a woman.  It is a red herring, an illusion, a false promise for the
little guys like George, Lennie, and Candy.  The Alpha males control is like their
women.  The only ones with any sense, who avoid both, are Crooks and Slim.  They are the
working class heroes who are tied to the land, their work, and the Marxist
dream.

Based on the short story "The Storm," what was Kate Chopin's view of relationships?

You might find it more interesting to ask what Chopin's
views on marriage were based on this excellent short story. Clearly what is notable
about this text is the way that Chopin presents sex outside of marriage, yet this is not
depicted in a negative fashion--quite the reverse. Indeed, Calixta is shown to be
liberated and fulfilled in a way that she has never been fulfilled by her marriage to
her husband:

readability="9">

When he touched her breasts they gave themselves
up in quivering ecstasy, inviting his lips. Her mouth was a fountain of delight. And
when he possessed her, they seemed to swoon together at the very borderland of life's
mystery.

Indeed, having had
this "storm" of passion, Calixta is shown to be able to welcome her husband and son with
great affection and warmth. Chopin seems to suggest that having her physical and sexual
needs met is actually a good think for her marriage.

You
might want to consider, too, the way in which this is paralleled by Alcee's marriage.
Clarisse is said to be "devoted" to her husband, and yet at the same time she is
enjoying having freedom once more:

readability="6">

And the first free breath since her marriage
seemed to restore the pleasant liberty of her maiden
days.

Chopin thus seems to be
commenting on the strictness of marriage and suggesting how it can actually damage
people. A freer, more liberated approach that recognises the needs and hungers of
individuals would actually be healthier for all concerned, she seems to be
suggesting.

Comment on the form of Oliver Twist.

One distinctive aspect about this novel is the way that
Dickens uses characterisation. One famous distinction that E. M. Forster noticed in the
work of Dickens, and which he explored in his work of theory, Aspects of the
Novel, is the way that the novels of Dickens literally teem with characters
who are, in Forster's words, "flat." He used this distinction to refer to characters who
are two dimensional, and have one or two characteristics, and who do not develop or
change throughout the novel. These "flat" characters are contrasted by "round"
characters who are three dimensional and whom we are given insight into their
motivations and actions. These characters change, mature and develop during the course
of the novel.

Thus when we explore Oliver
Twist, it becomes clear that almost every character is flat. Consider the
almost angelic goodness of Oliver and the way he remains uncorrupted by the evil
characters around him. Compare him with the devious and devil-like characteristics of
Fagin, who remains obsessed with greed and the accumulation of his wealth. Likewise
Fagin finds a true companion in Bill Sykes, whose evil nature is predominant, just as
Mr. Brownlow continually believes in Oliver. The only character who blurs the boundaries
of this good/evil divide is poor Nancy, who nevertheless shows herself to be a
predominantly good character but trapped in an evil situation from which she is unable
to escape.

Thus when we consider some of the aspects of
this novel, one of the features you can comment on is Dickens' use of characterisation
to create a morally unambiguous universe, where good characters remain good and bad
characters remain evil, with very little blurring of the boundaries between these two
states.

What are the major characteristics of E. E. Cummings's poems?

There are two aspects of the poetry of E.E. Cummings that
make him significant:

1. He was on the "cutting
   edge" of the Modernist, experimental movement.  His poetry is new in its typography, its
   syntax (he uses nouns for verbs and vice versa), grammar, and punctuation, introducing
   audiences to the innovations of verse and prose in the early parat of the twentieth
   century.


2. Cummings was an effective satirist and
   intense lyric poet.  His targets for satire are often hypocrisy and the submergence of
   the individual in the military and in society  because of the "mass mind of the mass
   market."  His lyric poems celebrate love and the truth of the moment, herald
   individuality, exalt a child-like love for nature.  In an age that was reserved in its
   feeling, Cummings was personal and unapologetic about his lustful feelings and
   individual desires.

Possessing a highly
personal and idiosyncratic style, Cummings appeals much to youth in his giving of new
life to the ideas that have always been.  His poetry exists in the present,  in the
aliveness and pure essence of the state of being without regard to the flow of time. 
His poetry is existential and romantic both:

readability="18">

Spring is like a perhaps
hand

(which comes
carefully

out of Nowhere)
arranging

a window, into which people look
(while

people stare

arranging
and changing placing

carefully there a
strange

thing an a known thing here)
and

changing everything
carefully....

In these lines
from the poem "Spring is like a perhaps hand," Cummings demonstrates the
existentialism--coming out of Nowhere--and romanticism--nature/Spring that is "like a
perhaps hand" that people watch appreciatively through a windo. The odd use of syntax in
"perhaps hand" is apparent as is "arranging and changing and placing
carefully." 

How did the dismissal of Bismarck change the fortunes of Europe?Studying AP European History Otto von Bismarck 1815-1898) and Kaiser Wilhem II...

Of course, we can never be sure about what
might have happened if things had been different.  However,
we might imagine that WWI would not have happened if Bismarck had not been dismissed and
Kaiser Wilhelm II had not taken more control over Germany's foreign
affairs.

The thinking here is that Bismarck could have
restrained the Kaiser's desire for Germany's "place in the sun."  Bismarck's policy had
been to try to avoid any actions that would really scare France or Britain.  He did not
want them to see Germany as a threat.  By contrast, the Kaiser wanted Germany to pursue
power vigorously.  When the Kaiser took over, he took actions that made Germany seem
like a threat.  Because of this, Britain and France (especially) got worried and started
to think about war.  This meant that war was much more likely to happen if anything came
about to set it off.

So, if Bismarck had been able to keep
Germany on a less aggressive path, WWI might not have happened, Hitler might not have
come to power after WWI, and WWII and the Holocaust might not have happened.  Of course,
there is no way to know for sure...

How is the element of suspense built in "The Signal-Man" by Charles Dickens and "How It Happened" by Sir Arthur Conan Doyle?

Dickens starts building
suspense in "The Signal-Man" by using imagery. repetition and punctuation. An example of
Dickens distinctive imagery is the description of the signal-man as being distorted:
"his figure was foreshortened and shadowed." "Foreshortened” is a term in art that means
to make certain parts shorter than in real life to create the correct allusion of
distance and angle to give the correct perspective. The narrator leaves the reader with
a very vivid image of the signal-man looking somehow wrong compared to how he should
look--he is somehow distorted. This builds suspense because it prompts questions in the
reader's mind about how and why and in what way.

Dickens also repeats
significant words to build a certain sensation and, with the sensation, a feeling of
suspense. For instance, in the first twelve paragraphs, "down is repeated twelve times:
 "down the Line"; "down in the deep"; "down and speak"; "down at him"; "down to him";
etc. He also uses punctuation to build suspense by creating a cadence that inspires a
feeling of tension and suspense, like in the following passage where punctuation and the
repetition of "and" create a feeling of reluctance and hesitance in the first-person
narrator and in the reader:

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I resumed my downward way, and stepping out upon
the level of the railroad, and drawing nearer to him, saw that he was a dark sallow man,
with a dark beard and rather heavy
eyebrows.

Doyle
and Dickens both start their stories in medias
res, in the middle, so we are without knowledge of circumstances or
characters at the out set of the story. He uses distinctive imagery, as Dickens does,
along with another technique. At the start of "How It Happened," Doyle builds a
compelling image through the narrator's description of his experience--a description
inexplicably coming to us through "She": "She was a writing medium. This is what she
wrote." This opening both builds suspense for all the unexplained things it suggests
(e.g., who is she, what is a writing medium) and foreshadows what will come thus adding
to the suspense. The narrator, framed by the "writing medium," imparts a distinctive
image when he says that some parts of his memory are "most distinct" and some vague,
"like some vague, broken dreams," making it hard to tell his whole story: "That is what
makes it so difficult to tell a connected story."

Doyle also uses
another technique when he starts focusing upon physical events--rather than upon
impressions and psychological experiences--that happen as they occur in chronological
order and through the experience of the first-person narrator. For example, Doyle puts
emphasis upon the brakes giving out; being unable to throw the car into reverse; Perkins
placing his hands upon the wheel; the wheels of the car being on the bank; and other
such physical details. The result is a build up of suspense as one physical event after
another impacts the narrator and Perkins--and the reader at the same time. The narrator
starts with "the big motor, with it's glaring headlights and glitter of polished brass,
[ominously] waiting for me outside," then moves to "I clapped on both brakes, and one
after the the other they gave way," and ends with "I whirled round my wheel with all the
strength of my wrists. ... my right front wheel struck full on the right-hand pillar,"
with many, many more suspenseful physical events in between.

What is the significance of using the past tense in "Porphyria's Lover"?

This poem has an element of the confessional about it, as
the narrator, the lover of Porphyria that features in the title, recounts to us what
happened that evening with Porphyria and looks back on his actions. Interestingly the
use of the present perfect tense in the final lines suggests that he is telling us this
actually at the scene, whilst he is still with
Porphyria:

And
thus we sit together now,
And all night long we have not
stirred,
And yet God has not said
aword!

Maybe we can imagine
that he is telling this to some officer or detective to explain the murder. Browning
excells in narrative poems that present us with unreliable narrators. By having the
narrator tell what has happened to him and his lover from his perspective we are able to
see the mind of a deranged murderer at work as he expresses that his act of killing
Porphyria was to gain her love eternally:

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That moment she was mine, mine,
fair,
Perfectly pure and good: I found
A thing to do, and all her
hair
In one long yellow string l wound
Three times her little
throat around,
And strangled
her.

The speaker above all
desires and craves possession of Porphyria for himself, and finds the way to gain this
by strangling her with her hair, that becomes a "long yellow string" and thus making
sure they are united now with no other forces or powers preventing their
unity.

Thus the significance of the past tense allows us to
analyse the unreliable narrator of this excellent poem and consider his motives and
reasons for his actions.

I don't understand why the psychological, the poetic, and the thematic make Macbeth great theatre.

Macbeth is the confluence of man's
worst fears, spoken with his most beautiful language, and arranged as a spectacle that
is "bloody, bold, and resolute."  It's a perfect recipe for
tragedy.

Language and
spectacle make the play great: words and
images.  What else is there?

Here are the
high points of
each:

• Language: He
  who controls language controls others, their fears, their
  fates...

•Language (argument) is used to attain
and maintain position and maintain power; Macbeth is won over by the words of women: the
equivocal language of the witches and the brute force simplicity of Lady
Macbeth

•Macbeth: thoughtful, poetic iambic
pentameter (elevates him above rest)

•Lady Macbeth: plain,
unimaginative iambic pentameter •Bleeding Captain: strong, harsh, war-like iambic
pentameter

Poetry (Rhyming Couplets): Witches: short,
choppy iambic tetrameter

Prose: •Porter (servant): dark,
bawdy common language, humor

• In terms of
  spectacle: Macbeth is visceral.  It's his bloodiest play.
   Blood imagery is key.

The witches are
psychological forces while on stage.  The audiences back then believed in their power to
control.

The swordfighting scenes are great; heads are cut
off; a soldier is gutted from belly to neck; horses eat each other; spells are cast;
people go crazy.  The blood flows early and often. It's a
horrorshow.

The dichotomy of beautiful words
and graphic imagery make for Shakespeare's most "wholly tragic"
play.

In To Kill a Mockingbird, why do Reverend Sykes and the African American specators stand for Atticus, even after Tom was found guilty?

In Harper Lee's To Kill a
Mockingbird, Atticus takes the case of defending Tom Robinson even though he
is aware that he will probably lose the case. He believes that justice is meant for all
people, not just whites.

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'Atticus, are we going to win
it?'

'No,honey.'

'They
why—'

'Simply because we were licked a hundred years before
we started is no reason for us not to try to win,' Atticus
said.

By agreeing to serve as
Tom's attorney, Atticus not only extends to Tom his rights guaranteed by law, but he
also takes a stand in the community for white and blacks to see. Atticus is a man of
impeccable character, who is ruled by his moral compass: that part of him that lets him
know what is right and what is wrong.

Atticus is also a man
who is not judgmental; he believes, too, that it is important to understand how others
feel. This is why he advises his children to walk in another person's skin to better
know that person. Atticus and his family take a good deal of ridicule, even from their
own family members, but Atticus acts based upon what he knows to be
correct.

And even though he loses Tom's trial, every member
of the black community know Atticus as a man of honor; they know he has proven Tom
innocent; and, they know that Atticus lost only because of the racism they all have been
facing for hundreds of years.

When Atticus leaves the
courtroom, the black community members in the balcony stand out of respect to
acknowledge all of this: Atticus treated Tom as a client, not as a black man. Atticus
did his very best and did not lose the argument: he simply could not turn aside
prejudicial beliefs still deeply ingrained within the society of Maycomb. Rev. Sykes and
the others not only stand out of respect and thanks, but they send food to the Finch
household to say thank you. And as is the character of Atticus Finch, he is humbled and
touched by their kind regard.

How do you think the world can avoid another Hitlerian experience?

To put it simply, if we could teach students to "not
believe the hype" and encourage the kind of open and honest debate that we've often
thought was part of our national discourse, it would be easier to avoid something like
that in the future.

One of the difficulties that will make
it easier for men like Hitler to grab power is the fact that we are pushing towards a
great deal of standardization in everything we do, particularly in schools.  We want to
train teachers the same way, we want to train kids the same way, we want to be able to
predict the way that people will react, something that will make it much easier for
someone to manipulate them.

When you look at the fact that
there are very few strongly dissenting groups of people, particularly groups that aren't
spouting some version of the main stream media's talking points, it is not hard to
believe that it will not be really difficult for someone to take advantage of that fact
and rise to power by pushing the right buttons.

Again, to
prevent that, we need to change the way we look at education and find ways to encourage
students to investigate things they are curious about instead of trying to craft a
standard curriculum that dictates what everyone will or should learn and when they ought
to learn it by.  Trusting people and in this case young students to make decisions for
themselves is not something that comes easily to us, but when you look at the
alternative and consider that it might end up being someone making the decisions for
them...  Perhaps it becomes more of an appealing option.

In To Kill a Mockingbird, what does Aunt Alexandra say to Jem about the case to make him feel better?Specifically, who does she talk about?

I'm not sure that Aunt Alexandra ever made any statement
in To Kill a Mockingbird that made Jem feel better. Alexandra was
not particularly welcomed into the household by Jem and Scout when she came to stay with
the family during the Tom Robinson trial. Immediately after the trial, Alexandra was
waiting up for Atticus and the children to return. In a rare moment of compassion, she
told Atticus, " 'I'm sorry, brother.' " Scout noted that it was the only time she had
heard her aunt call her father "brother," and she looked to Jem for a reaction, "but he
was not listening." After Jem and Scout were attacked by Bob Ewell, Alexandra was
genuinely distressed. She claimed that the attack was " 'my fault,' " and twice called
Scout "darling" before returning to Jem's room to keep an eye on
him.

How are Robert E. Lee and Ulysses S. Grant similar?

General Robert E. Lee and General Ulysses S. Grant had
many similarities and differences. The biggest similarity is that they were both great
civil war generals. They had a great deal of passion for what they were fighting for.
They both wanted to preserve the Union but it was inevitable that the North and South
would soon engage in war.

General Lee and General Grant
both fought in the Mexican War. They later questioned if it was right to invade and
because of the carnage they witnessed they were both opposed to war in 1861. Both also
participated in Scott's march from Vera Cruz to Mexico
City. 

In addition, they both went to school at West
Point.

True or false? Bob Ewell pestered Judge Taylor and Helen Robinson.

It is true that Bob Ewell pestered Tom Robinson's widow,
Helen, on more than one occasion. When her boss, Link Deas, noticed that Helen was
coming from the wrong direction to work each day, he got to the bottom of the situation.
Bob had been following her, making lewd remarks and threats. Link finally threatened to
get Sheriff Tate involved, and Bob ceased his
actions.

Whether Bob actually pestered the judge is another
story. When Judge Taylor got up to investigate a noise outside his house, he saw the
shadow of a man leaving in a hurry. More than likely it was Bob, but the judge didn't
seem particularly rattled.

How is the family changed by the guest's arrival in "The Ambitious Guest" by Nathaniel Hawthorne?

It is important to note the way that Hawthorne
deliberately presents the family in this excellent story as being very happy and
contented together, in spite of the storm outside and the threatening mountain that
looms over them. Consider the way Hawthorne presents the family to
us:

The faces
of the father and mother had a sober gladness; the children laughed; the eldest daughter
was the image of Happiness at seventeen; and the aged grandmother, who sat knitting in
the warmest place, was the image of Happiness grown old. They had found the "herb,
heartsease," in the bleakest spot of all New
England.

Note how all of the
family are presented as being perfectly contented with their lot. However, the arrival
of the guest with his wide and far-ranging ambitions changes of all of this. He causes
each of the family in turn to consider how they will be remembered and what acts will
commemorate their life. An important quote comes just before the landslide that kills
them all:

"Old
and young, we dream of graves and monuments," murmured the stranger
youth.

The arrival of the
guest therefore causes the family members to become unhappy with their lot in life and
to begin to consider what their life amounts to. The irony is of course that by leaving
their house, the place of their contentment, they actually all die. However, it is the
family that is remembered and the guest, with all of his ambitions, that is forgotten.
Hawthorne seems to be suggesting it is better to live a quiet and happy life than to
seek to leave your mark on the world.

What evidence indicates that Andrew Marvell`s poem "To His Coy Mistress" is a carpe diem poem?

If time lasted forever, the speaker and his mistress could
court and play games forever. Coyness is equated with flirtation. From lines 1-21, the
speaker discusses how he and his mistress would spend such a vast amount of time: from
before Noah’s flood until the end of time.

At line 21, he
is reminded of their mortality. When she is in the grave, his praises will no longer be
heard (lines 26-27), and she eventually will become food for worms and then dust. There
is a sexual connotation here with the worms “trying her virginity” as they take her
body, which she will not be able to defend. This disturbing image is meant to contrast
death with the appreciation of life. He concludes by saying the grave is a private place
but none “do there embrace.” We had better embrace now, because we can’t embrace when
we’re dead.

Starting with line 33, he begins his direct
plea to seize the day. “Now” is repeated to increase the urgency. He asks her to “tear
our pleasures with rough strife” “like amorous birds.” In other words, he asks her to
love (and make love) with an urgency that suggests they have little time left. He
prefers to “devour” time rather than let time slowly devour
them.

What does Iago say that finally makes Othello doubtful in Shakespeare's Othello?Act III, Sc. 3

Iago taunts Othello throughout this scene. Firstly he
implies through repeating his master's words that all is not as it seems with Cassio. He
then goes on to warn Othello, in an act of dramatic irony, to counsel his own
thoughts:

O,
beware, my lord, of jealousy! It is the green-eyed monster, which doth mock The meat it
feeds on. That cuckold lives in bliss Who, certain of his fate, loves not his wronger;
But O, what damned minutes tells he o'er Who dotes, yet doubts, suspects, yet strongly
loves!

We as an audience can
see that Othello is already unsettled by this idea. Iago then goes further, confessing
to Othello that he witnessed a dream of Cassio's which implicated him in a relationship
with Desdemona:

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In sleep I heard him say, “Sweet Desdemona,

Let us be wary, let us hide our
loves”;

Othello is wracked to
torment, and demands that Iago has real proof. As we know he has planted Desdemona's
handkerchief in Cassio's chamber, we see Iago use his ultimate weapon--a form of 'proof'
that will drive Othello to kill--

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I know not that; but such a handkerchief—

I am sure it was your wife's—did I today(485)
See Cassio wipe his
beard with.

The significance
of the handkerchief--ironically the most flimsy of evidence--is as Othello's first gift
to Desdemona.  Iago has, at this point, succeeded in convincing Othello of his wife's
infidelity.

What is hyperpluralism?

I generally agree with the first answer, but I would take
issue with a couple of the ideas in that answer.

First of
all, pluralism does not argue that you need groups working with goals that are common to
all of them.  Pluralism envisions many different groups
with different goals, all
competing to influence
policy.

Second, hyperpluralism (which I connect in my mind
with Theodore Lowi's idea of interest group liberalism) does not argue that too many
groups suppress the power of government.  Instead, they expand the scope of government
because government is trying to do more things so as to please more people.  It is very
much like the system we have now where the government has become huge and tends to work
for the interest groups and not the common good.

So
hyperpluralism says that too many interest groups mean that government is doing too much
for too many groups and so we have an excessively large
government.

What are the four factors that divide the oceans in different zones of life?

This looks like a specific textbook answer, so your
teacher is probably looking for those specific four factors.  Since I don't have your
textbook, here are the four variables I would use to classify the different
oceans:

1) Latitude - it's location from North to South on
the globe determines much about the ocean, including temperature, the location of
currents, and the type of species that can live in it.

2) 
Depth - Take a relatively shallow ocean like the Gulf of Mexico, and a deep ocean like
parts of the Atlantic and Pacific (with depths up to 30,000 feet) and they are vastly
different oceans in terms of the kinds of life they can
support

3)  Salinity - the salt content of that ocean, or
lack of it, is a prime determinant of the kinds of life that is sustainable
there

4) Temperature - closely related to depth and
latitude, but the shallow warmer seas, tropical ones, that is, support a different kind
of life than the colder deeper oceans.

Hope that
helps!

What is the Clausius inequality?

The Clausius Inequality is applicable to the operation of
all real engines. The ideal heat cycle does not result in a net change in entropy as the
increase in entropy during part of the cycle is compensated by an equal decrease during
the rest of the cycle.

In case of a real engine on the
other hand, there is a negative change in entropy over the entire heat cycle. This is
due to the fact that the temperature of the engine when heat is being added to it from
the source is less than the temperature of the source. As a result of this, the addition
of heat is an irreversible process and there is entropy created which here has to be
passed on to the cold reservoir.

Unlike an ideal engine, a
real engine cannot convert all the heat from the source into work and its efficiency is
less than one.

In A Modest Proposal, what is Swift's main point? What is the speaker's main point? How the speaker uses persuasion? How does Swift use irony?

A Modest Proposal is one of the
wittiest and well-written satirical texts ever. In this text, the speaker is arguing
that Ireland's impoverished citizens can better themselves financially by selling their
young children to the rich for food. The speaker persuades the reader by concretely
organizing his argument (ie: firstly, secondly....sixthly), stressing the benefits to
all involved (tavern industry, the poor, the rich, the government), and using favorable
statistics to back his argument (cost of raising a child vs. selling one as food for
profit. For example:

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Thirdly, Whereas the maintainance of an hundred
thousand children, from two years old, and upwards, cannot be computed at less than ten
shillings a piece per annum, the nation's stock will be thereby encreased fifty thousand
pounds per annum, besides the profit of a new dish, introduced to the tables of all
gentlemen of fortune in the kingdom, who have any refinement in taste. And the money
will circulate among our selves, the goods being entirely of our own growth and
manufacture.
Fourthly, The constant breeders, besides the gain of eight
shillings sterling per annum by the sale of their children, will be rid of the charge of
maintaining them after the first
year.

Swift's aims are
two-fold. First, he wants to mock government officials' and politicians' rhetorical
discourse. Swift is suggesting that politicians often lose sight of the actual people
involved in the issues they are discussing, so the solutions they put forward are widely
impractical (such as his proposal is). Secondly, Swift is able to put forward his own
actual argument, but having his speaker seemingly refute
it:

Therefore
let no man talk to me of other expedients: Of taxing our absentees at five shillings a
pound: Of using neither cloaths, nor houshold furniture, except what is of our own
growth and manufacture: Of utterly rejecting the materials and instruments that promote
foreign luxury: Of curing the expensiveness of pride, vanity, idleness, and gaming in
our women: Of introducing a vein of parsimony, prudence and temperance: Of learning to
love our country, wherein we differ even from Laplanders, and the inhabitants of
Topinamboo: Of quitting our animosities and factions, nor acting any longer like the
Jews, who were murdering one another at the very moment their city was taken: Of being a
little cautious not to sell our country and consciences for nothing: Of teaching
landlords to have at least one degree of mercy towards their tenants. Lastly, of putting
a spirit of honesty, industry, and skill into our shop-keepers, who, if a resolution
could now be taken to buy only our native goods, would immediately unite to cheat and
exact upon us in the price, the measure, and the goodness, nor could ever yet be brought
to make one fair proposal of just dealing, though often and earnestly invited to
it.

How does Abigail Adams exemplify the traits of Republican Motherhood?

Abigail Adams is seen as an example of the ideals of
Republican Motherhood because she tried to educate her children both morally and in
terms of political and societal concerns.  She also advocated for the idea that women
should be allowed to get more education.  She argued that this was important because
women were going to become (as the ideas of Republican Motherhood said they would) the
teachers of the next generation of youth.  She believed that women needed to be educated
in order to properly educate their offspring.

An example of
Adams advocating for women's education can be seen in the following quote from the
historytools.org link.  Here, she is saying that educated women are the ones best placed
to properly educate the young:

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If much depends as is allowed upon the
early
education of youth and the first principals which are instilled take the
deepest root, great benefit
must arise from literary accomplishments in
women.

In addition to
advocating for women's education, Adams educated her own children to be good people and
good citizens, just as the ideals of Republican Motherhood said she
should.