Determine the antiderivative of y=sin x*cos^n x?

To determine the antiderivative of a function, we'll have
to calculate the indefinite integral of the function (cos
x)^n*sin x.

Int (cos x)^n*sin x
dx

We'll solve the indefinite integral using substitution
technique.

We'll put cos x = t
:

-sin x dx = dt

We'll raise
to n-th power cos x and the variable t:

(cos x)^n  =
t^n

We'll re-write the
integral:

-Int t^n dt = -t^(n+1)/(n+1) +
C

We'll substitute t by cos
x:

Int [(cos x)^n]*sin x dx = -(cos
x)^(n+1)/(n+1) + C

In chapter 4 in Of Mice and Men, why is the stable buck given his own room?

The above editor is correct:  the information you need is
in chapter four of the novel, rather than in chapter
two. 

If you need evidence for your answer, it begins on
page 75 of my edition.  The entire chapter takes place in Crooks' room, which is
adjacent to the barn and is entered through the barn.  When Lennie appears and explains
that he saw Crooks' light on, so he came in, Crooks
says:

"Well,
I got a right to have a light.  You go on get outta my room.  I ain't wanted in the bunk
house, and you ain't wanted in my room."

"Why ain't you
wanted?"  Lennie asked.

"'Cause I'm black.  They play cards
in there, but I can't play because I'm black.  They say I stink.  Well, I tell you, you
all of you stink to
me."

Crooks isn't allowed in
the bunk house, because of segregation.  The races are kept apart.  The reader assumes
that the idea of Crooks stinking is a stereotypical idea the whites project upon him due
to their prejudices.  They don't want him in the bunk house because he is
black. 

In Romeo and Juliet, what is the opposition mentioned in Friar Lawrence's speech when we first meet him?

There are two elements of opposition that we can identify
in this excellent speech that introduces us to Friar Lawrence in Act II scene 3 of this
excellent tragedy. His speech starts off by describing dawn in opposition to night. Note
how dawn is presented:

readability="12">

The grey-eyed morn smiles on the frowning
night,

Check'ring the eastern clouds with streaks of
light;

And flecked darkness like a drunkard
reels

From forth day's path and Titan's burning
wheels.

There is a clear
opposition between dawn and night. Dawn is personified as "smiling" with its grey eyes,
whereas night is "frowning" and "flecked," being compared to drunkard staggering out of
dawn's path and the sun.

However, note too the second, and
perhaps more profound and significant opposition that is created between how Friar
Lawrence characterises night negatively and Romeo in the preceeding scene characterises
it positively. Romeo says, in Act II scene 2, that night is
"blessed":

O
blessed, blessed night! I am afeard,

Being in night, all
this is but a dream,

Too flattering-sweet to be
substantial.

Thus there
exists a second, deeper and more significant opposition between the way that night is
viewed by these two characters, that could be argued to foreshadow the tragedy
ahead.

How did Heck Tate alter the evidence about Boo Radley killing Bob to fit his lie?

The other teacher is correct. In chapter 30, Heck Tate and
Atticus are discussing what happened and Atticus thinks at first that Jem was the one
that killed Bob Ewell. Heck insists on calling the death an accident, but Atticus, ever
the fair and impartial lawyer, doesn’t want Jem protected from the law. Heck insists
that Ewell fell on his knife and that Jem didn’t kill him. Heck knows that Boo is the
one who stabbed Ewell but he wants to keep the facts secret. He says that Boo, with his
"quiet ways", doesn’t need the entire town bothering him any more than they have in the
past. He reminds Atticus that Tom Robinson died for no reason and now the man
responsible for that miscarriage of justice (Bob Ewell) is dead. “Let the dead bury the
dead,” he tells Atticus.

Some of my students have taken
issue with this ending - the fact that Atticus agreed to keep things quiet. They said it
was out of character - that a man who was even willing to allow his own son to be
exposed to the workings of the law (when Atticus thought it was Jem who killed Ewell)
would not have so easily agreed to hush up Boo's deed. What do you think about this? I
think Atticus did act according to character because sometimes we
must listen to a higher power, and surely that power would not have wanted Boo to suffer
any further abuse.

How does narrative structure affect the interpretation of J.D. Salinger's Catcher in the Rye?

J.D. Salinger's novel, The Catcher in the
Rye, has a great appeal to some readers because of its
narrative structure. The novel is narrated by the protagonist, Holden Caulfield.
Salinger is masterful in capturing the disappointment, disillusionment, and even the
angst of the young Caulfield.

However, in one's
interpretation of the novel, it is important to remember that everything the reader
learns comes from Holden's viewpoint and is biased by his worries, paranoia, and
unhappiness. He is truly searching to find a place in the world where he fits, but we
cannot be certain that his perceptions are accurate: they are too "colored" by his own
personal interpretations. Basically, he is an unreliable narrator. For instance, when he
wakes to find Mr. Antolini brushing the hair off his forehead, Holden makes hurried
excuses and leaves, though his former teacher and his wife have allowed Holden to crash
at their apartment. Holden fears his teacher—his mentor and idol—has made a pass at him,
but there is nothing to substantiate this.

The thing that
probably most drives us to remember to take what Holden says with "a grain of salt" is
that he ends up in a mental hospital—he refers to the "psychoanalyst guy they have
here"—at the end, having had a nervous breakdown.

Are the events in Macbeth predestined (under the influence of Fate), or would you say that the witches manipulated Macbeth?

Concerning Shakespeare's Macbeth, the
answer depends largely on the beliefs you bring to the
play.

With a modern mindset, which you probably possess,
you probably, following a thorough reading and study of the drama, would insist that
Macbeth has free will and makes choices, then suffers the
consequences.

For an Elizabethan, or someone who believes
in predestination, however, plenty of evidence exists in the play that could convince
such a person that predestination, or fate, as you call it, is at
play.

For instance, if the witches know the future, do they
just know it or do they cause it?  Is there a line between knowing the future and
causing it?  Even if one finds rational explanations for the predictions concerning
Macbeth (he'll be Cawdor, king, Birnam Wood will move, a man born of a body instead of a
woman will kill him), one is still left with the prediction that Banquo's heirs will be
kings.  How do the witches know that?  And, again, if they know it, does a supernatural
force cause it?

And free will and predestination were
contemporary issues in Elizabethan England, brought into focus by the Protestant
Reformation.

In short, Shakespeare is often ambiguous, and
this issue, as it is presented in Macbeth, is no exception.  You
can make a case both ways.  My modern mind tells me that the witches are manipulative
and Macbeth obsessively ambitious, and he makes choices to get what he wants.  But I can
argue the opposite, as well. 

Many ancient cultures revered poets as seers who had a special relationship with the gods. How does the last stanza of "Kubla Khan" refer to this?

Note how in the last stanza we are presented with a figure
that appears to be all-powerful and given strange abilities. The people feel the need to
protect themselves from the poet using a ritual, weaving a circle around him three
times. They also regard him with intense fear, because of his physical
appearance:

readability="20">

And all should cry, Beware!
Beware!

His flashing eyes, his floating
hair!

Weave a circle round him
thrice,

And close your eyes with holy
dread,

For he on honeydew hath
fed,

And drunk the milk of
paradise.

Note how the
description of the poet confirms the other-wordly nature of him and reinforces his role
of seer or of one who is in communion with the Gods or spirits. He has "flashing eyes"
and "floating hair." He evokes fear in the people because of the way tha the has feasted
on "honeydew" and drunk "the milk of paradise." As such, we see the poet referred to in
the last stanza is a character who evokes both fear and
reverence.

As a discussion director, what broad theme thinking questions could be asked about the play "The Importance of Being Earnest."Consider...

You already have the basis of your request in your
posting.  The list of theme/topics you wrote is a great place to start this assignment.
Whenever you think about a piece of literature, you should be asking yourself, "what
point is the author trying to make?"  The answer(s) to that question are the statements
of theme.  The next thing to ask yourself is "how does the author
make the theme evident to the reader?"  The answers to that question will require you to
consider all of the literary techniques an author has at their disposal.  Start with the
essentials:  plot development/conflict and characterization.  Then consider other
literary devices such as language, tone, symbolism, structure,
etc.

For each of the above topics you could ask your group,
"What is Oscar Wilde saying about _______?"  What is he saying about marriage?  How is
that revealed through the differing attitudes about marriage as revealed by Jack as
opposed to Algernon? What does Lady Bracknell's behavior reveal about what is important
in a marriage and how married people should behave?

What is
Oscar Wilde saying about manners?  Who behaves rudely?  How is the behavior rude?  What
social mores are shown in the play?  What happens to the characters that break the rules
of society?

What is O. W. saying about gender?  What is
considered appropriate behavior for the women?  How are they treated? How are they
characterized?  Are they characterized as smarter or more foolish than the men?  What
are their ambitions? Are they taken seriously by the men?  What are their strengths and
weaknesses? What are some differences between Lady Bracknell and the younger generation
of women, Cecily and Gwendolyn?

What is O.W. saying about
artifice?  Who acts this way?  Why?  What do they gain for this behavior?  What are the
threats to the artifice?  How does the artifice showcase a level of creativity or
inventiveness?  Is the artifice admirable?  Necessary?  How? How does O.W. use
witticism here?

This is such a fun play, and there are so
many things to talk about, I can't imagine you will have trouble being a discussion
leader.

uprootedness, transplantation, and dual construction of ethnicity is the most aplicable to African Americans1. The pre-Civil War era with the...

During the pre-Civil War era, Africans could not even be
referred to as African-Americans, because they were considered property. They were
"uprooted" from their native homes (Africa, mostly) and "transplanted" into a foreign
country where everything was different - weather, customs, food, people. They were
removed from their families and thrown in together with other people that they did not
know - new family, new world. They were therefore removed from the cultural group from
which they obtained their "ethnicity." The first of the two concepts were the strongest
during this period because I don't believe they even thought about their eroding
"ethnicity" - they were in survival mode. Even when they had children, their families
were separated, so the cycle of uprootedness and transplantation continued, although
now, the transplantation was not as pronounced since they were not being moved to
another country, but to another place within the same
country.

During the Civil War and Reconstruction,
transplantation and uprootedness continued but again, it was inter-country, so maybe not
as pronounced as when they were torn away from their native countries. During this
period, they perhaps began to focus on their ethnicity more. Who were they really? They
were Africans, but by this time, most of them had not been born in Africa. They were
living in America, but they were not really like other Americans - they were
downtrodden, they were not treated equally. They were living in Jim Crow America, even
though they were emancipated. Most could not vote and persecution and prejudice were
rampant. This was when the KKK arose, after the Civil War and during Reconstruction. I
think that during post-Reconstruction, there was the strongest concentration on dual
construction of ethnicity because the people wanted to maintain their African culture,
but they also wanted to be accepted as free Americans --
African-Americans.

In some ways, African-Americans are
still struggling with a dual construction of ethnicity. For example, a personal friend
of mine recently chastised her daughter for wanting to name her child (my friend's
grandaughter) Abigail. My friend told her daughter that this name was "too Eurocentric"
and that she should pick something more along the lines of their ethnicity. So, the
little girl's middle name is Abigail.

Solve the equation cos5x+cos3x+cosx=0.

We'll notice the fact that we have a sum of 3 cosine
functions, so we can transform the sum of 2 of them into a
product.

We'll group the first term with the last and we'll
transform their sum into a product:

cos 5x + cos x = 2cos
[(5x+x)/2]cos[(5x-x)/2]

cos 5x + cos x =
2cos(6x/2)cos(4x/2)

cos 5x + cos x = 2 cos3x
cos2x

cos5x+cos3x+cosx = 2 cos3x cos2x +
cos3x

We'll notice the common factor
cos3x:

cos3x(2cos2x + 1) =
0

cos3x
=cos(2x+x)=cos2xcosx-sin2xsinx

cos2xcosx-sin2xsinx =
(2(cosx)^2 -1)cosx - 2cosx(sinx)^2

We'll transform (sinx)^2
= 1-(cosx)^2 and we'll open the
brackets:

2(cosx)^3-cosx-2cosx+2(cosx)^3=4(cosx)^3-3cosx

So,
cos3x(2cos2x + 1) = 0 will be written
as:

(4(cosx)^3-3cosx){2[2(cosx)^2 -1] +
1}=0

cosx(4(cosx)^2-3)(4(cosx)^2-1)=0

cos
x = 0, so x=pi/2 and
3pi/2

4(cosx)^2-3=0

4(cosx)^2=3

(cosx)^2=3/4

cosx=+/-sqrt3/2

x=pi/6,
11pi/6 and x=5pi/6,
7pi/6

4(cosx)^2-1=0

4(cosx)^2=1

cosx=+/-1/2

x=pi/3,5pi/3
and x=2pi/3, 4pi/3.

What is the "character monologue" of Scout in To Kill a Mockingbird?I'm supposed to write the character monologue for Scout but I cannot find it in...

There is not a "character monologue" of Scout presented in
the novel, other than in the form of her narration of the book itself.  If you've been
given the assignment to write a character monologue for Scout, this is more of a
creative writing assignment than something you can "find" in the
novel.

A "monologue" is a term used in drama to denote one
character speaking a particularly lengthy speech.  It is very often done alone on stage
and usually reveals the characters inner thoughts and emotions about an event in the
play.  If you are writing a character monologue for Scout, depending on the specifics of
the requirement, my advice would be two choose one particularly dramatic or humorous
scene in the book (such as the mob scene or Scout's first day of school) and have Scout
present what happened along with her reactions.  Remember, her narration of the book
comes from her adult point-of-view, but maintains her childhood memories of events,
including her innocence and ignorance of many things.  A creative monologue might choose
either a fully adult Scout's presentation, or the young Scout's interpretation without
the eyes (and voice) of wisdom behind them.

Prove that: sinA+cosB/sinA-cosB=secB+cscA/secB-cscA

Supposing that we have to prove that
(sinA+cosB)/(sinA-cosB) = (secB+cscA)/(secB-cscA), we'll cross multiply and we'll
get:

(sinA+cosB)(secB-cscA) =
(sinA-cosB)(secB+cscA)

We'll pu sec B = 1/cos B and  sec B
= 1/cos B

csc A = 1/sin A and sec A = 1/cos
A

We'll substitute secA,secB,cscA and cscB inside
brackets:

(sinA+cosB)(1/cos B - 1/sin A) =
(sinA-cosB)(1/cos B + 1/sin A)

We'll remove brackets using
FOIL method:

sinA/cosB - sinA/sinA + cosB/cosB - cosB/sinA
= sinA/cosB + sinA/sinA - cosB/cosB - cosB/sinA

sinA/cosB
-1 + 1- cosB/sinA = sinA/cosB + 1- 1 - cosB/sinA

We'll
eliminate like terms and we'll get LHS =
RHS:

sinA/cosB - cosB/sinA = sinA/cosB -
cosB/sinA

Where does Jonas show courage and integrity?

Jonas shows courage in a lot of ways in this book. For
example:

• He shows courage when he starts to
  learn about pain in the memories he is given.  He has to keep going back for more even
  when some of them (like the war) are very painful.


• He
  shows it even more when he decides to take Gabe and leave the community.  He surely
  knows that he will die if he is caught, but he does it
  anyway.

To me, this is also his biggest show of
integrity.  He believes that what his society is doing is not right.  So he decides that
he is not going to just allow it to keep happening, even though that would be the
easiest thing to do.  I think this shows integrity.

Is there any alliteration in the first six chapters, if there is provide the page numberTo Kill a Mockingbird by Harper Lee

It is interesting that students use alliteration so often
in their conversations, but yet seemed somewhat puzzled when called upon to identify it
in a work of literature.  Unlike assonance, which is the repetition of a particular
vowel sound, alliteration, the repetition of initial cosonant sounds, can be recognized
visually as well as phonetically. 

Here are some additional
examples with the letter's sound indicated:

CHAPTER
1

(the very first
sentence!)

readability="6">

When he was nearly thirteen, my brother Jem got
his arm badly broken at the elbow
/b/

As Scout relates the
family history, she describes her father's law office in the sixth
paragraph:

readability="9">

Atticus's office in the courthouse contained
litle more than a hat rack, a spittoon, a checkerboard, and an unsullied Code of
Alabama. /c/

In this same
chapter, the final paragraph contains another
example:

The
old house was the same, droopy and sick, but as we stared down the street we thought we
saw inside shutter move.
/s/

CHAPTER
2

In the thirty-first paragraph, Scout describes the action
of her teacher:

readability="8">

Miss Caroline walked up and down the rows peering
and poking into lunch containers, nodding if the contents pleased her, frowning a little
at others.  /p/

As Burris
Ewell leaves the schoolroom, he shouts back at Miss
Caroline,

readability="5">

'Aint' no snot-nosed slut of a schoolteacher ever
born c'n make me do nothin'!'   /s/  and
/m/

CHAPTER
3

Not far from the end of the chapter, Atticus explains the
history of the Ewells to the children:

readability="7">

'In certain circumstances, the common folk
judiciously allowed them certain privileges by the simple method of becoming blind to
some of the Ewells activites.' /c/ 
/b/

CHAPTER
4

In paragraph eighteen, Scout describes a change at
home:

For some
reason,...Calpurnia's tyranny unfairness, and meddling in my business had faded to
gentle grumblings of general
disapproval.

CHAPTER
5

Describing their childhood play, Scout narrates in the
fourth paragraph,

readability="8">

Our tacit treaty with Miss Maudie was that we
could play on lawn,...terms so generous we seldom spoke to her, so careful were we to
preserve the delicate balance of our relationship....  /t/ 
/m/

CHAPTER
6

As the children sit with Dill on his last night in
Maycomb, Scout notices,

readability="5">

There was a lady in the moon in Maycomb.
/m/

What are some of the strengths and shortcomings of Irvings methods of writing in the Devil and Tom Walker?Would the fact that his characters are...

This subjective question requires a subjective answer.
What this means is that the reader determines the strengths and weaknesses of the story
on a personal level.

I find the story "The Devil and Tom
Walker" to be a wonderful piece of American literature. Therefore, the weaknesses I
would find are nonexistent.

As for the strengths, I find
that the descriptions of the setting and characters are immaculate. The fact that the
Devil is described in many different ways adds to his
character:

readability="25">

"And pray, who are you, if I may be so bold?"
said Tom. "Oh, I go by various names. I am the Wild Huntsman in some countries; the
Black Miner in others. In this neighbourhood I am known by the name of the Black
Woodsman. I am he to whom the red men devoted this spot, and now and then roasted a
white man by way of sweet smelling sacrifice. Since the red men have been exterminated
by you white savages, I amuse myself by presiding at the persecutions of quakers and
anabaptists; I am the great patron and prompter of slave dealers, and the grand master
of the Salem witches."

"The upshot of all which is, that, if I mistake
not," said Tom, sturdily, "you are he commonly called Old
Scratch."

"The same at your service!" replied the black man, with a
half civil nod.

Here, Irving
is showing how is is trying to relate to the fact that many different people have
different descriptions of the Devil. Through this acknowledgement, Irving is able to
bring in, and engage, more a more deepened reading.

As for
the story itself, the story allows for the reader to assume what happened in many places
(for example, what actually happened to Tom's wife?).

For
me, given the subjective nature of the question, I find no weaknesses to exist in the
story. For me, the story only supports Irving's power as a writer and
storyteller.

What are diffrent reasons for the conspirators' desire to see Julius Ceasar dead?

Brutus believes Caesar has become to ambitious and his
excess power makes him a danger to Rome.  He bears no personal animosity for him but
feels he must die for the good of Rome

Cassius has a
personal dislike toward Caesar.  He too believes Caesar is too ambitious, but his main
reason for wanting him killed off is a personal one.  He feels Caesar has never given
him the respect he deserves and resents him for acting like a God when he's in reality a
man like everyone else.

Caius Ligarius dislikes Caesar
because Caesar repremanded him for paying tribute to
Pompey.

Metellus Cimber grudges Caeser for banishing his
brother Publius Cimber for a reason unspecified.

The play
doesn't give specific reasons for the others, but one can assume it's because they feel
he is too ambitious.  However, whether their motives are more for the good of Rome or
for personal advancement is unstated.

Give a character analysis of the mother in "The Rocking Horse Winner." How does she differ from stepmothers in fairy tales such as Cinderella,...

The story starts off with a very full description of the
mother, and it would be worth going through this again to pick out some of the answers
you are looking for. We are told that although she started out with "all the
advantages", she had "no luck". In particular, we are given key facts about her
relationship with her children, who, although are "bonny", she feels no love
for:

She had
bonny children, yet she felt they had been thrust upon her, and she could nto love them.
They looked at her coldly, as if they were finding fault with her... when her children
were present, she always felt the center of her heart go
hard.

So, she appears to be
incapable of loving and has a hardness deep within her. It is her sense of frustrated
expectations and "the grinding sense of the shortage of money" because style must be
kept up that seems to imbue the entire house with the eery
phrase:

readability="5">

There must be more money! There must be
more money!

This
hardness of the mother's combined with her greed causes Paul, in perhaps an attempt to
gain her affection, to try to become "lucky" and thereby gain money to please her.
However, when he wins and organises for some of the money to be given to her, note how
the mother reacts:

readability="8">

As his mother read it [the letter informing her
of the money], her face hardened and became more expressionless. Then a cold, determined
look came on her mouth.

Note
too how this affects the voices in the house:

readability="7">

Then something very curious happened. The voices
in the house suddenly went mad, like a chorus of frogs on a spring
evening.

It appears than
trying to satisy the mother's hunger for money only gives her more of a thirst for it -
she is literally consumed by her desire for more money, and how ever much she has it is
never enough. The words of her brother at the end of the story clearly state the dangers
of this. She has gained a big sum of money but has lost her son in the process. Thus the
mother clearly shows the dangers of unbridled greed.

In Faulkner's As I Lay Dying, what is the meaning of Darl's thinking about sleep and being and not being? How is this Faulkner-esque? What is...

Darl is the most perceptive and intuitive of the novel's
narrators, and the reader hears his voice more than any other character.  The other
characters are in some way limited in their narrations (Jewel is angry: Vardaman is
young; Dewey Dell is consumed with her pregnancy; Cash is overly regulated and
practical), so any sense of sensory perception most likely comes from
Darl.

Faulkner's stream of consciousness technique is
highly illustrated in Darl's sections as his mind wanders between his own internal
reality and the external reality in which he is forced to participate.  In many cases,
Darl is able to comment on more than one reality at a
time. 

In this particular scene, his notion of sleep  gives
the reader a true impression of his highly intuitive and perceptive nature.  Sleep to
Darl is not simply a rest from work, but an escape from a reality that he is seeing as
increasingly comical.  He is also exploring his own sense of being which is juxtaposed
to Vardaman's confusion of death, Jewel's status as a family outcast, and Dewey Dell's
new being growing inside of her.  To Darl, being alive is much more than farm duties. 
He senses nature and others. 

Oftentimes, as is common with
this narrative style, Darl is confusing.  His discussion about being emptied for sleep
ends with the line "And so if I am not emptied yet, I am is."  Here
Darl is struggling with two senses of selves:  Darl as a son and brother, and Darl as an
amorphous concept. In addition to dealing with the death of his mother in the moment,
 Darl is constantly searching for this concept, and it is this search that contributes
to his insanity. 

What prices did the country pay for Reagan's major achievements in office?

I would argue that Reagan's major achievement in office
for which the US had to pay a price was Reagan's policy of cutting
taxes.

When Ronald Reagan came to office, he wanted to cut
taxes.  He felt that taxes constituted a drag on the US economy and he believed that a
cut in taxes would spur economic growth.  Reagan was able to get a substantial tax cut
passed during his first year in office.  However, Reagan did not manage to combine the
tax cut with any budget cuts.  This meant that the government ran a large deficit during
Reagan's time in office.  One can argue, then, that Reagan's tax cuts were an
achievement, but one that was paid for by an increased level of government debt.  This
is a problem that still haunts us today.

Who is the main character in "Dry September"?

Miss Minnie Cooper, the supposed victim of William
Faulkner's short story, "Dry September," should probably be considered the main
character of this racially-charged tale of deceit and murder. There are three other
major characters: the actual victim, Will Mayes; the former war hero, John McLendon; and
the barber, Hawkshaw. All of them feature prominently, but most of the story revolves
around the spinster Cooper and her accusation of misconduct against the African-American
Mayes. Although Faulkner never specifically informs the reader whether Miss Minnie's
accusation is true, we are led to believe (and most of the town believes) that it is a
fabrication.

How is Caddy Compson ahead of her time in The Sound and the Fury?

Caddy is ahead of her times in a couple of ways.  The
first is that she rejects the long line of suffering that seems to be endemic to women
in literature.  Caddy is impregnated outside of marriage, and thrown out of marriage
when discovered that the child is not of the husband's.  This would make Caddy someone
that would become victimized by a patriarchal social order.  Yet, Caddy seizes her
freedom, leaves her child behind, and supports the child financially, but does not stay
with the child.  In the end, Caddy is a modern being because of the embrace of her
freedom and the pain that goes along with it.  Caddy demonstrates that women and men can
both be attributed with abandonment of loved ones. This is not something that is
connected only with men.  When Faulkner writes that Caddy was "doomed and knew it,
accepted the doom without either seeking it or fleeing it," it is a very modernist or
even post- modern perspective about the individual and their relationship to happiness
in consciousness.  It is this embrace that ends up being destructive in that the boys do
not fully understand why she did what she did.  She is shown to be a devoted sister,
making it more difficult to understand how this force of eros or construction can be
representative of thanatos, or the death instinct.  At the same time, Caddy's actions
impact the boys and the family on different levels.  Her actions are seen as a betrayal
of an ideal of honor from Quentin, who must wrestle with his own feeings for his
sister.  Caddy is seen in a spiteful manner by Jason, who sees his actions as thwarting
his own aspirations.  Benjy misses his sister, the only one who cared for him.  In this
light, Caddy's failure to avert her own pain caused further pain and anger in the
brothers in different ways, contributing to the dissolving of the Compson family
bonds.

Where can I find videos on the web of about an hour or more WEBINARs that are K-5 appropriate?Ex: Nasa, National Geographic, etc.

Video can be very effective in the classroom.  For
example, you can go to many science-oriented web sites for kids and select specific
topics to view.  These videos will be most effective as part of a well-designed unit
that includes standards-based objectives.  Hands-on activities are also useful.  For
example, after watching the NASA video, your students could design their own rockets
using household materials.

The first link below is a NASA
webinar that you will find extremely interesting.  The video is 2 hours and 25 minutes,
so you will want to preview it and select parts to show or possible show it in half hour
segments, depending on your use.

I have also had a lot of
luck with Discovery Channel for kids.  There are games and videos on almost every
topic.  National Geographic for kids also has great
content.

You can also simply go to YouTube and type in the
topic.  If your district does not block the video, you can find great videos there.  For
a more classroom friendly version, most districts don't block
TeacherTube.

href="http://www1.teachertube.com/">http://www1.teachertube.com/ 

Good
luck!  I am a big champion of video in the classroom.  It adds interest and also helps
your students explore all kinds of content in a more interactive
way.

Is The Cherry Orchard a comedy, in places even a farce, as Chekhov claimed?

You have asked a much debated question that has been
discussed since the first showing of this excellent play. It is interesting that Chekov
himself referred to this play as a "farce," whereas many other critics argue that the
element of tragedy in this play far outweigh the comical elements. Certainly, the
characters in the play are shown to be unable to act to help themselves and are unable
to embrace or accept the immense social changes experienced by Russia in the time of the
play. Although the play doesn't fit the traditional definition of a "tragedy," there is
definitely a tragic element to it, and the way in which the characters are depicted and
their utter helplessness leads some to argue that this is not a
farce.

On the other hand, there are undoubtedly farcical
elements to the play. Characters such as Leonid Gayev, and his constat reference to
imaginary billiard shots, and Simon Yepikhodov, with his many calamities and the love
triangle of which he is a part, undoubtedly bring a comic element to the play. And yet,
interestingly, in spite of these comic elements, it is still possible to regard each of
the characters and their situations as having elements of both comedy and tragedy. Thus
it is clear that it seems problematic to classify this play overall as either a tragedy
or a comedy. There are definite elements of both, and Chekov seems to have delibeately
robbed us of the ability to easily classify his work into a discrete category. Perhaps
this play represents his belief that it is possible to find humour even in bleak and
hopeless situations.

How does the monster feel about everything that has happened to him in Frankenstein by Mary Shelley?

As he stands over Victor Frankenstein's coffin, it is a
wretched and miserable creature who exclaims,

readability="9">

"That is also my victim! ...in his murder my
crimes are consummated; the miserable series of my being is wound to its close! Oh,
Frankestein!...what does it avail that I now ask thee to pardon me?  I, who
irretrievably destroyed thee by detroying all thou
lovedst....

The creature
continues to reproach himself for his deeds.  When Walton approaches him and accuses him
of "diabolical vengeannce," the creature tells Walton that he, too, has suffered great
agony and remorse for his deeds.  Like Victor, the creature has been consummed with "a
frightful selfishness,"  a selfishness which made him adhor
himself:

"I
knew I was preparing for myself a deadly torture, but I was the slave, not the master,
of an impulse which I detested, yet could not disobey....Evil thenceforth became my
good. Urged thus far, I had no choice but to adapt my nature to an element which I had
willingly chosen.  The completion of my demonicacal design became an insatiable
passion.  and now it is ended; there is my last
victim."

In this passage, the
reader perceives the parallels between Victor and his creature.  The lure of science and
its temptations for greatness have consummed all that is generous and benign in Victor. 
And, as a product of science, the creature represents this hubris
of science that dominates that which is human.  It is only after Victor dies, that the
creature's love reemerges.  He tells Walton,

readability="10">

"....Think ye that the groans of Clerval were
music to my ear? My heart was fashioned to be susceptible of love and sympathy; and,
when wrenched by misery to vice and hatred, it did not endure the violence of the change
without torture, such as you cannot even
imagine.”

In his terrible
alienation, the creature continues, he hoped to meet with beings who would love in him
the "excellent qualities which I was capable of unfolding."  But, now crime has degraded
him and he despairs of any hope of finding happiness,

readability="5">

" Yet even that enemy of God and man had friends
and associates in his deolation; I am
alone."

The creature, thus,
declares himself more wretched than Victor, his agony deeper than Vicytor's,
for his evil deeds will rankle in his soul until "death shall close them for ever." 
Unable to bear this agony of which he speaks, the creature vows to die by fire, "exult
in the agony of the torturing flames." The creature, more human than Victor, cannot bear
his crimes nor his terrible alienation.

In The Adventures of Huckleberry Finn what lessons does huck learn at the Phelps farm?

Huck learns a number lessons at the Phelps farm, two of
which connect to the larger themes of the novel. Huck learns that doing unnecessary harm
to others is wrong and he learns that if he strives to follow his own moral thinking he
will not hurt anyone. Each of these lessons relates to the other,
clearly. 

At the Phelps farm, Huck comes to regret the pain
he and Tom cause to Mrs. Phelps. With the snakes and stolen sheets, Mrs. Phelps is
essentially terrorized by the two boys set on helping Jim to escape. All these pains
are, however, completely unnecessary. 

Huck learned from
Jim earlier in the novel that playing jokes on people can hurt their feelings. In
recognizing the humanity of others, one must strive to refrain from inflicting harm
(especially for one's own amusement). 

Additionally, Huck
is willing to "go to hell" to save Jim, but is exculpated in the end because Jim is
already free. Mrs. Watson has signed his manumission papers and Jim is no longer a
slave. This means that Huck is not a thief. He was prepared to be condemned for his
actions because he felt that freeing Jim was the right thing to
do. 

In this lesson, Huck finds that following his
conscience can lead to positive outcomes without moral complications. He had been
worried about this notion. 

Who brought forth the end of the story?

This is a great question.  I think that one of Gaines'
primary motivations in detailing the end of the story in the way he did was to show how
social activism and seeking to create change is not in the hands of one person, but
rather in the hands of many.  For example, Jimmy goes off to college and becomes
inspired through the model of people such as Dr. King and Rosa Parks.  He then comes
back to Samson to try to initiate change there.  When he is killed, Jane picks up where
he leaves off and continues the fight.  In this, the end of the story is not in the
hands of one person to bring forth.  Rather, the demands of social change and the desire
to make what is into what should be is in the hands of multiple people.  This becomes
the essence of the narrative in that social change is not up to one person.  Dr. King
and Rosa Parks influence Jimmy, who tries to influence the rural community of Samson.
 Jane is influenced by Jimmy and takes up the cause even after he is gone.  In this, the
reader can walk away influenced by Jane and the story continues.  In this light, there
is not one person who brings forth the end of the story and one person does not end it.
 The fight goes on, the cause endures, and the dream shall never die so long as many
recognize its need.

Verify if 1/(k+1)

Since the function f(x) is continuously and it could be
differentiated, we'll apply Lagrange's rule, over a closed interval [k ;
k+1].

According to Lagrange's rule, we'll
have:

f(k+1) - f(k) = f'(c)(k+1 -
k)

c belongs to the interval [k ;
k+1].

f'(x) = 1/x => f'(c) =
1/c

We'll eliminate like terms inside brackets and we'll
have:

f(k+1) - f(k) = f'(c), where f'(c) =
1/c

f(k+1) - f(k) = 1/c

Since
c belongs to [k ; k+1], we'll write:

k < c <
k+1

1/k > 1/c >
1/(k+1)

But f(k+1) - f(k) =
1/c

1/k > f(k+1) - f(k) > 1/(k+1)
q.e.d.

According to Lagrange's rule 1/k
> f(k+1) - f(k) > 1/(k+1).

How did Atticus explain Bob Ewell's provocative behavior in To Kill a Mockingbird?(Chapters 23-25)Why do you think he told this to his children?

I think that the answer you are looking for in at the
start of Chapter 23.  There, Atticus says that the reason Bob Ewell is acting like this
is that his pride and credibility has been destroyed by the trial.  If he does not do
something to fight back, he will lose respect for himself and maybe people will look
down on him even more.

I think that Atticus says this for a
couple of reasons.  First, I think he wants the kids not to be afraid.  Second, I think
he wants them to see all people, even Ewell, as people who have valid and understandable
feelings.  He wants them to stand in the other person's shoes and understand their
outlook.

Please provide me with a plot summary of "An Unfinished Story" by O. Henry?i need it for my presentation,please help me out.i m totally confused...

Most of the plot of this story occurs in "the past."  The
speaker has died and is going to be judged by God -- judged for his actions.  While
there, he is asked by an angel if he belongs to a certain group of men waiting to be
judged.  At that point, we flash back to the life of someone named
Dulcie.

She is a poor girl who works for $6 per week (a
long time ago).  That is very little money and she is often hungry.  She has been asked
on a date by a fairly rich guy (Piggy).  It seems that he dates poor girls.  What is
implied is that he gives them food and such and expects them to sleep with
him

Dulcie refuses at the last minute to go out with him. 
But the narrator tells us that at some later time when she is hungrier, she does go out
with him.

Then we return to the afterlife.  The group of
men the angel had asked about were men who owned the places that girls like Dulcie
worked -- the men who paid them so little they had to sleep with men to get
food,

The speaker says he burned down orphanages and killed
a blind man -- but he was not as bad as the men who paid the girls so
little.

What are some of the ways that you can compare and contrast Whitman and Dickinson?

The previous post was quite thorough.  I would only like
to add that one particular point of convergence in both is how the notion of American
literary voice was rooted in self expression.  Both thinkers held true to the idea that
any notion of the universal comes from the subjective, and that from this only can truth
be fully understood.  However, within this form of expression might also be a point of
divergence.  Whitman is quite passionate about the democratic political form as being
the best political structure to express this subjective experience.  Whitman is able to
assert complete confidence in how the heterogeneous composition of American Democracy
helps to enhance individual voice.  Dickinson is not so sold on the idea of political
expressions of the good, in general.  Her writing does not explicitly articulate how
politics fits into the subjective expression of self.  This difference in perception on
the role and function of political orders might be one additional area of contrast
between both thinkers.

The number of bags potato crisps sold per day in a bar was recorded over a two week period. The results are shown below.(population...

This data is already in order from decending to the
ascending

5   10  11  13  15  17  20  20  25  30   31   33
  40   42

X1 X2  X3  X4  X5  X6  X7 X8  X9 X10 X11 X12 X13
X14

n= 14

(a) Mean=∑Xi/n
=[5+10+11+ ... + 42]/14 = 22.29

(b) Mode is the value that
occurs most frequently in a data set or a probability distribution. In this data set, 20
accurs twice => Mode=20

(c) Median is the middle
value of a set of numbers when the numbers are arranged in either ascending or
descending order. The median separates the data into two equal halves; 50% of the
numbers are below the median, 50% of the numbers are above the median.  If there is an
even number of values, the median is the mean of the two middle
values.

This data set n=14 (even). Thus the Median
is

(X7+X8)/2 = (20+20)/2 =
20

(d) First Quartile: the
value in which 25% of the numbers are below it, 75% of the numbers are above it when the
numbers are arranged in ascending (increasing) order.

5  
10  11  13 15  17  20  20  25  30   31
  33   40   42

________      
 ________________________________

25%                      
              75%

Q1 =
13

Third Quartile: the value
in which 75% of the numbers are below it, 25% of the numbers are above it when the
numbers are arranged in ascending (increasing) order.

5  
10  11  13  15  17  20  20  25  30  
31 33   40  
42

______________________________        
_________

75%    
                                25%

Q3=
31

(e)

We have to count the
(Xi-X)2

Go to this link to look at the help table for
counting (Xi-X)2: http://bit.ly/n43JMG

We know that the
(Xi-X)2 = 1714.86

Put in the
formula:

s =
sqr(1714.86/(14-1))

=
11.49

(f) Comment on the
distribution:

From day to day, the number of potatoes sold
on this bar is increasing. In the first quartile of the two weeks period the number of
selling is not as good as the last quartile of the period. The mean/average selling
cannot be used to predict this increasing, if we not really pay attention to the trend
of increasing in number of selling from day to day.

What are the major themes of the poem "Broken Dreams," by W. B Yeats, and what are the poem's meanings?

In his poem “Broken Dreams,” W. B. Yeats deals with such
standard poetic topics as desire, change, memories, the afterlife, the passing of time,
and a woman’s beauty. Yet of course, like all skillful poets, he manages to breathe real
life into these familiar themes.

In the opening lines, the
speaker addresses a woman bluntly:

There is grey in your
hair.

Young men no longer suddenly catch their
breath

When you are passing . .
.

By speaking so honestly about the passing of the woman’s
youthful beauty, the speaker makes his later descriptions of that earlier beauty seem
more convincing.  He also suggests that his own love for this woman goes beyond merely
physical motivations. He is still enough devoted to her (and to the ideal of beauty that
she represents) to write a poem about her, even though her physical loveliness has
diminished.

The next lines, meanwhile, imply a good deal
about the woman besides her physical attractiveness.  Apparently she is both religious
and generous and concerned about others (4-6). Her spiritual and moral beauty enhances
her appeal to the speaker. The woman has apparently suffered but has not been defeated
by suffering, and so her moral courage, another aspect of her beauty, is implied (7-8).
She is attractive, as well, because she helps bring “peace” to others by her mere
presence (12).

The now-faded perfect beauty of her youth
inspires memories in those who view her now, including the speaker (14-20). Indeed, the
whole poem is an exercise of just such memory; it exemplifies the very memory it
discusses.  Yet the speaker also becomes a kind of prophet about the future, not simply
a recorder of the past. He imagines that the woman, in the afterlife in heaven, will be
seen once more in her youthful beauty and indeed that his own vision of her will be
renewed after he himself dies (21-36). However, he is still so much in love with every
real detail about her that he hopes her unattractive hands will remain unchanged even in
heaven. (The fact that he is willing to concede that her “small hands were not
beautiful” [29] again implies his honesty.)

In the poem’s
final stanza, the speaker emphasizes once more the major themes of change and the
passing of time (“The last stroke of midnight dies” [37]), yet one purpose and effect of
the poem is paradoxically to stop time and make the beauty of the woman live forever in
Yeats’s verse.

How is the theme of love portrayed through the character Hero in Shakespeare's Much Ado About Nothing ?

Each character in the couples gives us a different
perspective concerning the theme of love. For example, the characterizations of Beatrice
and Benedick both relay the theme concerning love that the absence of excessive pride is
necessary in order for love to exist. However, the character Hero gives us a perspective
that is completely different from the other characters. Only Hero tells us that the
character traits of humility, consideration, and even forgiveness are necessary traits
in order for love to thrive.

We see Hero's trait of humility being
portrayed through her modesty. All characters who meet her agree that she is a very
virtuous and modest maiden. Even Claudio thinks her to be modest when he first meets
her, which we see when he asks Benedick if he agrees that she is modest and calls her
the "sweetest lady that ever [he] looked on" (I.i.140, 160). We even see Hero confirm
her own modesty when she is asked to participate in tricking Beatrice and Benedick into
falling in love and she replies, "I will do any modest office, my lord, to help my
cousin to a good husband" (II.i.329-330). We even see her humble, maidenly modesty shine
through the morning of her wedding day when she chastises Margaret for making a sexual
joke (III.iv.22-25).

Hero's love and consideration for others
especially shines though in her treatment of her cousin. When Hero is attempting to
ensnare her cousin Beatrice in the trap to fall in love with Benedick, Hero takes enough
precaution to speak only truthfully about Beatrice, honestly pointing out what she
perceives to be Beatrice's character flaws, such as excessive pride and a critical,
contemptuous spirit. Hero's motive in doing so is to give her cousin guidance that
Beatrice would otherwise have denied if Hero had attempted to ever say these things to
Beatrice's face. As Hero points out, had she ever tried to correct Beatrice face to
face, Beatrice would have merely made a joke of the matter and laughed Hero to death
(III.i.77-78). Hence, we see that Hero has agreed to try and ensnare her cousin in this
love trap because she loves her cousin and wants to see her character flaws improve for
Beatrice's own benefit, showing us that we see through Hero the theme that consideration
is an essential element in love.

We also see that forgiveness is an
essential element of love through the love theme portrayed with Hero's forgiving nature.
Even though Hero had very just reasons for never forgiving Claudio for his slander, she
forgives him enough to go through with the wedding a second time. We especially see
Hero's complete forgiveness when she declares herself to be born anew as his new wife
while the previous Hero "died defiled" (V.iv.65).

Hence, we see
through Hero's modest, virtuous, considerate, and forgiving nature that Hero not only
portrays the theme of love, she shows us what Shakespeare is trying to say with the
theme, that these attributes are essential for love to continue and
prosper.

What is the role of the string in Maupassant's story "The Piece of String"?

The piece of string has been mistaken for a wallet.
Although Maitre Hauchecome is innocent, his enemy saw him picking up something on the
ground. When the wallet is reported as lost, Maitre Malandain reports that Maitre
Hauchecome was seen picking up the wallet when in fact he was only picking up a piece of
string.

Although there is no truth in Maitre Malandain's
story, the whole town believes him. No one can imagine that Maitre Hauchecome would be
only picking up a piece of string.

The moral of the story
is that it does not pay to be to stingy. It is not wise to be too conservative. A piece
of string with no value becomes confused with a wallet containing 500 francs. If
only Maitre hauchecome had wlaked on by the piece of string, his reputation would not
have been ruined in one single day and all for the price of a piece of
string.

Who was the real mastermind of the crimes committed by Compeyson and Provis in Great Expectations?

It is in Chapter 42 that Magwitch narrates to Pip and to
Herbert the series of events that led to his deportation to Australia. He tells of how
he came to fall in with Compeyson, who was in all outward aspects a gentleman. He knew
how gentleman acted and could act as one of them. However, this exterior hid his true
evil nature and the way he made money buy swindling and blackmailing. Provis becomes his
sidekick in this business, but it is clear that at every stage Compeyson is the one in
charge. Note what Magwitch says to Herbert and Pip about the relationship between
them:

readability="13">

"...that man got me into such nets as made me
his black slave. I was always in debt to him, always under his thumb, always a working,
always a getting into danger. He was younger than me, but he'd got craft, and he'd got
learning, and he overmatched me five hundred times told and no
mercy."

Thus it is that the
true mastermind behind the crimes of Compeyson and Provis was definitely Compeyson. At
every stage of his narrative, Magwitch reveals the cold-hearted cunning that allowed him
to be exploited and used by Compeyson, which of course foreshadows the way in which
Compeyson betrays him when they are brought to justice.

Why is a death sentence decreed upon Frederick?

The answer to this can be found in Chapter 8.  Basically,
he is sentenced to death because he has cheated Napoleon and made him look like a fool. 
He will be boiled alive if captured, Napoleon says.

What
Frederick has done is to trick Napoleon when Napoleon sold him the wood pile left over
from Jones's time on the farm.  Napoleon insisted on being paid in cash rather than by a
check.  But it turned out that the cash that Frederick brought (and that Napoleon
proudly showed off the the animals) was fake.  Frederick had tricked
Napoleon.

What was the social background of 18th century society?

The society of Tom Jones's 18th century was one in which
classicism, elitism, new ways of community life, and social change was taking
place.

The aristocracy, particularly the nobility was held
on exaggerated high esteem, and they enjoy privileges that no typical citizen could ever
dream of. Those with money enjoyed VAST amounts of it, as well as land and properties.
This led to the often-witnessed fact that the upper classes were idle, ill-educated, and
snobbish to the core.

This, according to the Encyclopedia
Brittanica:

readability="16">

Nobility
The
major European monarchies had no standard of uniform law, money, or weights and
measures. Continental Europe had internal tolls that hampered the passage of goods.
Britain however, had no such tolls. In the 18th century, the nobility of that country
lived in the most magnificent luxury that the order had known. On the continent, the
nobility were wealthy. However, the noble was, to some extent, better off than a
prosperous peasant was. This is because the peasant tended to prosper with the
rest.

So basically Tom, the
foundling, was found by a clueless group of crass class and too much time to waste and
money to spend. This is where the mockery of the story is move
evident.

what are 3 forms of substances that can measured using moles

I am not sure what you mean by your question but I will
try to answer the best I can.

A mole is unit used for
counting lots and lots of things.  A "dozen" is a similar concept to a mole.  A dozen
donuts = 12 donuts.  We count many donuts using "dozens".  Similarly a mole represents a
large number of objects (usually atoms, ions, molecules or other
particles).

The value of one mole is 6.02 x 10^23 things.
 That is 602 plus 21 more zeros.  It is a huge
number.

Chemists use the mole because it is important that
we know NUMBERS of particles in chemical equations.  Because these numbers are so LARGE,
we use the mole to express them.

With regards to your
question, chemists use moles to measure the number of atoms/molecules/ions/particles
in

1. a solid sample of pure substance (like a block of
copper, or pile of salt)

2. the amount of substance in a
solution (like salt dissolved in water)

3. a container
filled with gas

more on the mole at  href="http://www.chemistryexplained.com/Ma-Na/Mole-Concept.html">http://www.chemistryexplained.com/Ma-Na/Mole-Concept.html

Verify if 2f(x)+f'(x)= f''(x) f(x)=2/e^-2x-3/e^x.

To prove the given identity, first we need to determine
the expressions of the functions f(x),f'(x),f"(x), that represent the terms in
identity.

We'll re-write f(x) = 2/(1/e^2x) -
3*e^-x

f(x) = 2e^2x -
3*e^-x

We'll differentiate the function to get the 1st
derivative, f'(x):

f'(x) =
(2e^2x-3e^-x)'

f'(x) = 4e^2x -
(-3e^-x)

f'(x) = 4e^2x +
3e^-x

We'll differentiate now the expresison of the 1st
derivative, to get the 2nd derivative:

f"(x) =
[f'(x)]'

f"(x) = (4e^2x +
3e^-x)'

f"(x) = 8e^2x -
3e^-x

Now, we'll substitute the expressions of f"(x)
andf'(x) into the identity that has to be verified:

2(2e^2x
- 3*e^-x) + 4e^2x + 3e^-x = 8e^2x - 3e^-x

We'll remove the
brackets and we'll combine like terms:

4e^2x - 6e^-x+ 4e^2x
+ 3e^-x = 8e^2x - 3e^-x

LHS = 8e^2x - 3e^-x = 8e^2x - 3e^-x
= RHS

Since the LHS = RHS, the
identity is verified: 2f(x)+f'(x)= f''(x).

In "The Gift of the Magi" what does the author mean when referring to "the wrong answer"? "Eight Dollars a week or a million a year- whats the...

O. Henry is using irony to make a point about the way in
which Jim and Della looked at their situation.

Their income
was in the range of eight dollars per week - an amount that most people would consider
far below poverty level, an amount that most readers would assume would lead to a level
of deep depression or frustration or sadness on the part of Jim and
Della.

However, the basis of their situation was love, not
money. Even if Jim made one million dollars a year and they lived in a fine home with
all the luxuries that money would have made possible, they could not have been in more
love than they were in the story.

The "wrong answer" that
would have been given by "a mathematician or a wit" would have said that the larger
income made for a happier existence. Jim and Della knew the "right answer" - that love
was the most important thing.

What does the play Medea seem to tell us about how the Greeks viewed life?

I think that Euripides's work reveals a few elements about
Greek society that is quite telling.  Overall, the work demonstrates how destructive the
Classical vision of passion can actually be.  The Greek society is one where praise is
heaped because of the authenticity of emotions felt and the intensity within which
individuals experienced such feelings.  Yet, after seeing Jason's emotions and Medea's
responses, there might be an argument that says Greek displays of emotions can be highly
destructive.  The lack of rights that women had in Greek society is also seen.  Medea's
condition is only enhanced because she has no recourse against Jason in any legal or
social realm.  Jason is able to pursue his relationship with Cruesa and there is no path
for Medea to follow in terms of achieving satisfaction.  The destructive nature of her
actions might be attributed to the fact that Greek society did not validate the rights
of women.  Had she possessed some other avenue that could be pursued maybe she would not
have felt the need to kill her own children to avenge her pain at Jason's
hands.

Why do Victor and Alphonse go to Paris?

In chapters 21 and 22 of Frankenstein,
by Mary Shelley, we are placed at the time of Victor's accusation and trial
after the death of Henry Clerval, his best friend, who was killed and dumped at the
beach by the monster.

Victor was the first suspect in the
death and was accused almost immediately until the local magistrate was able to prove
that Victor was nowhere near Clerval when the murder occurred. However, this still left
a lethal mark in Victor, who spent two months with a comatose nervous breakdown as a
result of the ordeal.

Because of that, Alphonse
Frankenstein, Victor's father, decides to take Victor with him to take care of some
personal businesses he had going on in Paris. However, this was also an opportunity for
Victor to confess to his father what he had done. He took sole responsibility of what
the monster did. However, Alphonse wouldn't hear of it and assumed that his son was just
overly exhausted due to the situation in
Ireland.

Concisely, Alphonse took his son with him to Paris
as a way to alleviate his son's delicate state of mind, and to be next to him while he
went to conduct businesses in Paris. He also wanted to take care of his son, for whom he
felt very sad and sorry.

What are some quotes of Atticus giving Scout and Jem freedom in To Kill a Mockingbird?

ATTENDING THE TRIAL.  After
Atticus discovers that Jem and Scout have witnessed nearly the entire trial, he escorts
them home. Surprisingly, the children manage to talk Atticus into allowing them to
return, against the wishes of Calpurnia and
Alexandra.

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"Well, you've heard it all, so you might as well
hear the rest... This is their home, sister," said Atticus. "We've made it this way for
them, they might as well learn to cope with it."  (Chapters
21-22)

MISS
CAROLINE & READING.  Miss Caroline directed Scout to get no more
teaching time from Atticus, since "your father does not know how to teach." Scout
decided she didn't want to go back, but Atticus came up with a
solution.

"Do
you know what a compromise is?... (It's) an agreement reached by mutual concessions. It
works this way... If you'll concede the necessity of going to school, we'll go on
reading every night just as we always have. Is it a bargain?"  (Chapter
3)

TRUST
IN ATTICUS.  While Atticus is discussing the trial with his brother,
Jack, Scout eavedrops on his conversation. However, Atticus realizes she is listening,
so he sends her a message of his own.

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"I just hope Jem and Scout come to me for their
answers instead of listening to the town. I hope they trust me enough... Jean Louise?...
Go to bed."  (Chapter
9)

What is psychoanalytic literary criticism?Can I only interprete the role's behavior?Do I have to connect to the author of the work?

Psychoanalytic literary criticism is the application of
one or more psychoanalytic theories to literature, for example, the theories of Freud or
Jung.  Lacan and Adler are two others whose theories are used for literary criticism. 
Certainly, an author can be the focus of this kind of criticism, as can the reading
audience.  In many instances, though, only the text is used. When one is assigned to
conduct psychoanalytic literary analysis, unless there is a specific requirement that
the author be part of that analysis, I am aware of no reason that it would be
necessary.

No matter what the focus is, the idea is that
the analysis is performed through the lens of one or more theories.  For example, if you
are analyzing a literary text, you might discuss Freud's stages of development in the
various characters or whether the characters are operating on their egos, ids, or
superegos.  From another perspective, you might inquire what Jungian archetypes
characters in a novel represent.  The works of Roberson Davies are frequently analyzed
using Jungian principles.  If you were analyzing the author of Peter
Pan, J.M. Barrie, you might be speculating as to whether Barrie exemplified
Freud's notion of arrested development.  If audience analysis is of interest to you, you
might want to consider the audience of the Twilight series, which
could be easily analyzed with Freudian or Jungian
concepts.

For a class assignment, it is always best to seek
clarification of what the expectations are, but there is no requirement to analyze all
three aspects, author, audience, and text, for this kind of
criticism.

I am writing a composition for my English class and I don't understand what it means when it says to have a reference to literary elements.

If you had no idea what the literary elements
are - you are probably wondering which ones would be the easiest to
write about.  I would suggest, like Missy, you identify three.  In fact, her prompt is
perfect and will get you started on the right track immediately.  If you are only going
to go for three, they need to be three biggies.

1. 
CONFLICT: no such thing as a story without a conflict. 
Write about the main conflict that the story centers around, internal or
external.

2.  SYMBOLISM: is
there any person or object in the story that obviously is meant to be symbolic of a
deeper meaning?  (My guess is probably.)  Go with it.

3. 
THEME: every major work of literature has more than one. 
This should be easy.  (Read the thread posted below.)  This makes a great ending too
because essentially it allows you to wrap up with the meaning of the
story.

Then you can spice up the rest of the paper by
referring to the main character as the protagonist and his
enemy as the antagonist.  Some others found in every great
book include the climax and
resolution (plot elements).  If you want to talk about a
major character and any great changes he/she goes through, this is the element of
characterization.

Why did the post-WWI fear of radicalism arise in the United States?

The fear of radicalism that happened after WWI is
typically known as the "red scare" or sometimes the "first red scare."  During this
time, Americans were worried about the growth in radical ideas, especially among
immigrants and workers.  There were three main causes of this
fear.

First, there was the fact that Russia had become
communist and was overtly talking about spreading its revolution abroad.  This made
Americans fear that their country would be a target for
communists.

Second, there was the large influx of
immigrants, some of whom were radical, in the late 1800s and early 1900s.  Americans
felt that there were large numbers of radicals among the immigrants and that American
ideals were in danger.

Finally, there were major strikes in
many US cities in 1919.  These strikes helped to convince many Americans that the labor
movement was filled with these radical immigrants who were going to topple the US
system.

For these reasons, a fear of radicalism arose in
the US after WWI.

Explain the literary device in this sentence: "The princess kissed the frog; he croaked."I believe my teacher said this was a pun. I also have to...

The literary device used in the sentence "the princess
kissed the frog; he croaked" is known
as anthropomorphism.

ANTHROPOMORPHISM
is the attribution of human characteristics to animals or
objects.

In the sentence "the
princess kissed the frog; he croaked,' the frog is an animal and the pronoun 'it' should
be used instead 'he,' the third person singular personal pronoun is used to refer to the
animal 'frog.'

The word 'croaked' could mean either 'to
make a low hoarse sound' or 'to die.' The pun results because it could either mean that
the frog 'made a low hoarse sound' as soon as the princess kissed it or it could mean
that the frog 'died' as soon as the princess kissed it.

A
semicolon is used to connect two independent clauses. Independent clauses are clauses
which make complete sense on their own. In this sentence the two independent clauses
'the princess kissed the frog' and 'he croaked' make complete sense on their own and are
connected  by a semicolon.

The humour results because of
the punning on the meaning of the word 'croaked' and also because of the use of the
semicolon. The semicolon unlike the comma creates a lot of anticipation. In the fairy
tale the frog turns into a handsome prince as soon as it is kissed by the princess. But
in this sentence just as the reader conventionally expects the frog to turn into a
prince, it does not turn into a prince but it either makes a hoarse sound or it dies.
 The humour results because just as the reader pauses at the semicolon and expects the
conventional result his expectations are not fulfilled.

Why did Sheila agree to go out with the boy even though she isn't interested in him in "The Bass, the River, and Sheila Mant?"Why did Sheila agree...

Sheila is essentially using the boy when she agrees to go
out with him. She is a self-absorbed young lady, as is evidenced by the way she talks
only about herself on the canoe ride to the dance, and, as she tells the boy straight
out,

"I'm
playing outfield...I don't like the responsibility of having a
base."

Although she is
talking about baseball, her words make the game a metaphor for the way she lives her
life. Sheila Mant is out to have a good time, and it really doesn't matter to her whom
she is with, as long as she gets what she wants at any given moment. When the boy asks
Sheila if she wants to go with him to the dance, she really doesn't "seem to see (him)
at all." Her only response is to ask if he has a car, and when she asks him this
question, she still does not even look up at him.

Sheila's
real motivation for wanting to go to the concert becomes evident when she nonchalantly
tells the boy that "Eric Caswell's going to be there" as he paddles the canoe towards
their destination. Sheila is interested in Eric, and she is basically using the boy as a
means to an end - to get her to the dance so that she can see this other guy. Totally
oblivious to the sacrifice the boy has made for her, she achieves her objective, and
gets Eric Caswell to take her home. It matters little to Sheila how the boy feels; other
than the short moment when she finally actually looks at him and tells him he's "a funny
kid," she gives him little consideration, so absorbed is she in her own
agenda.

Why is spring time so poignant a time for "The Widow's Lament in Springtime"?Please comment on my answer: In this poem, a widow is talking about...

You seem to have some very good ideas in your answer, but
you do need to go through it and check the English and phrasings that you use. In
particular, be careful about which person you use to refer to the poet (you use "she" at
one stage instead of "he").

Central to this poem is the way
that springtime, which, as the speaker in the poem clearly indicates, is a time of
rebirth and new life, contrasts harshy and discordantly with the speaker's own feelings
and experiences at having lost her husband. To her, the birth of nature almost mocks the
way that she has completely lost her husband. He, unlike nature, cannot be reborn or
find life again. This explains the poignancy of this poem and how grief and beauty
coexist from the very
beginning:

Sorrow is my own
yard

Where the new
grass

Flames as it has
flamed

Often
before...

Thus it is that the
"grief" in the "heart" of the speaker is "stronger" than the colours of the blossom, and
spring time this year only serves to make her want to die herself, sinking into the
marsh near the flowers that are mentioned at the end.

In "Taking Leave of a Friend" by Ezra Pound, explain what emotions are evoked.I must explain what emotions are evoked and how the nature images are...

Ezra Pound uses the classic technique of the evocative
power of sounds in his scheme (a kind of figure of speech) for evoking emotion in
"Taking Leave of a Friend." The image of "Blue mountain" and "White river" evoke a slow
contemplative feeling that is turned suddenly into a sad emotion when the next line
requires making "separation." The vowels of the first two lines enhance the imagery
evoked by the words describing nature because they are all round vowels of prolonged
duration.

These come into conflict with the sorrow evoking
third line with its more closed vowels and harsh sounding /t k h s
p/ consonants. The fourth line of the first quatrain (four lines) evokes a
sense of desolation by the inclusion of the word "dead." Change any of these elements,
and a different emotion altogether may be evoked. The second quatrain evokes a feeling
of anxiety partly because the vowels scattered between harsh consonants give an
unsettled feeling to the nature imagery of a "wide cloud" and the parting of the sun at
sunset.

How is each poet's expression unique (Langston Hughes,“The Negro Speaks of Rivers” and Claude McKay "If We Must Die")?

What makes Langston Hughes' expression unique in his poem,
"The Negro Speaks of Rivers," is his reliance on the metaphor comparing the black race
to rivers, which he is saying are both ancient, strong and enduring. In his poem, he
compares rivers that are exceptional by comparison to other rivers—including the
Euphrates, the Congo, the Nile, and the Mississippi. Each one has some distinctive
quality, with regard to depth, length, etc. Having written this poem at the age of
seventeen, it is...

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...perhaps the most profound...poems of heritage
and strength.

As Hughes
contemplates the river, he sees that it has a great deal in common with the black man.
They, too, are exceptional, and deeply rooted to the earth, from all corners of the
world. When Hughes looks at the sun shining on the Mississippi, one source
notes:

The
angle of the sun on the muddy water...turns mud into
gold.

If Langston
Hughes' poem concentrates on the history of the black man, a part of the earth itself,
Claude McKay's poem is unique because it does not call for reflection as Hughes' poem
does, but calls for action instead. In fact, it is a "call to arms," asking black men to
fight those who would kill them like they are animals. If death is to come, McKay
rallies blacks to die with honor: to fight back even if the chance of success is
slim. He wrote later that the poem "exploded out of
me."

These are very different approaches to the oppression
of the black race. Hughes seems to speak of hope born from a historic jointure with the
earth—almost as old as the earth itself: a message of connection and perseverance.
McKay's poem reflects a different and unique approach to the same issue: however his
message is to take action, meeting violence with violence if need
be.

Hughes looks to the past for grounding of the soul.
McKay looks to "fire and blood," rather than passive acceptance. Each poet's expression
is particularly unique.

Additional
Sources:

http://www.english.illinois.edu/maps/poets/g_l/hughes/rivers.htm

http://www.english.illinois.edu/maps/poets/m_r/mckay/mustdie.htm

http://www.poemhunter.com/poem/if-we-must-die/

Explain Noam Chomsky’s theory of human language acquisition.

Our brain is not a empty paper. All of us have in our DNA
what us makes human.

There are features like being able to
talk, which us differates from the other animals.

Noam
Chomsky postulates that there is in our brain an Universal Grammar, common for all the
languages.

During our childhood the U. G. is filled up by
the specialities of the mother tongue. And all Homo Sapiens is able to learn all
languages.

In all the languages you have categories of
words, like verbs, nouns, adjectives and so forth.

It is
indeed possible to imagine a language with only tones or velocity of the utturings which
could gave signification. ( see the dolphins ).

In addition
to this, recently I discovered a feature in English and in Indonesian ( very distant
languages .

In Indonesian the P, T and  K, are eleded after
a nasal sound. ( for the formation from a root to a verb
).

TUTUP ( closed ) becomes MENUTUP ( to close
)

The same P, T and K are in general in English « protected
» by an aspiration followed by a vowel. POT e.g becomes PhOT.

How does Lady Macbeth ignite her partner's thought process?Macbeth by William Shakespeare

One of Shakespeare's most frightening female characters,
Lady Macbeth is manipulative and heartless in her ambition.  She stirs her husband to
action and to confidence as she ignites his power of fantasy which leads to what Harold
Bloom terms "a tragedy of the imagination." Bloom goes on to say that Macbeth has a
"proleptic imagination" of which he is scarcely conscious of an ambition or desire
before he see himself as having already performed the crime.  It is Lady Macbeth who
precipitates this perception of Macbeth.

• In the
  first act, Lady Macbeth promises to help him with the fulfillment of the prophesies of
  the witches,

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...Hie thee
hither,

That I may pour my spirits in thine
ear,

And chastise with the valor of my
tongue

All that impedes thee from the golden
round

Which fate and metaphysical aid doth
seem

To have thee crowned withal.
(1.5.25-30)

• She
  challenges Macbeth's manhood in order to spur him to murdering King
  Duncan:

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                  What beast was 't
then

That made you break this enterprise to
Me?

When you durst do it, then you were a
man;

And to be more than what you were, you
would

Be so much more the man...
(1.7.54-58)

Later, in Act III
when Macbeth sees the ghost of Banquo, Lady Macbeth spurs his thoughts with her
challenge to him "Are you a man?" (3.4.59)

• She
  directs the time and method of Duncan's murder


• She
  assures him  that he has no cause for fear after the murder, telling Macbeth, "A little
  water clears us of this deed" (2.2.85) 


• When,
  ironically, Lady Macbeth herself becomes consumed with guilt over their acts, her
  psychic decline affects Macbeth


• After Lady Macbeth
  commits suicide, leaving Macbeth to feel that he is set in a "cosmological emptiness,"
  she ignites his thoughts so that instead of an elegy for Queen Macbeth, he speaks of a
  nihilistic death march, a strutting of fools in a universe of
  victims.

mmacbeth lacks will - she is pure
will

prove the following: (tan A + cot B) (cot A - tan B) = cot A cot B - tan A tan B

We have to prove that: (tan A + cot B) (cot A - tan B) =
cot A cot B - tan A tan B

(tan A + cot B) (cot A - tan
B)

open the brackets and multiply the
terms.

=> tan A * cot A - tan A * tan B + cot A *
cot B - cot B * tan B

Use the relation tan x * cot x =
1

=> 1 - tan A * tan B + cot A * cot B -
1

=> - tan A * tan B + cot A * cot
B

=> cot A * cot B - tan A * tan
B

This proves the identity (tan A + cot B)
(cot A - tan B) = cot A cot B - tan A tan B

In Huckleberry Finn, what do you feel the relationship of Huck and his cultural society is and how has it changed after his adventure is...

One of  the themes in Mark Twain's The
Adventures of Huckleberry Finn, is "conscience." In this, Twain presents
young Huck whose father is a no-good, abusive drunk. The women who have been trying to
"civilize" him uphold the morals and social standards of the South, which they have
tried to teach him—what most affects Huck the most about the social norms of the South,
of course, is Jim's quest for freedom, and Huck's part in
it.

Ironically, Huck believes that he is really bad—when he
was simply traveling with Jim in his bid for freedom, Huck believes he was acting
unethically because he knew that Jim was running away. Continuing
to help Jim is another blot on his soul, as far as Huck is concerned. And as much as he
likes Jim, he believes the only right thing to do is to turn him in to the
law.

Huck goes ashore one day with just such an intent.
However, when it comes right down to it, he just cannot give Jim up. Huck returns to the
raft feeling really low—he's once again broken society's laws, so there must just be no
hope for him. Since he cannot conform to the society of which he is a part, he expects
he will have to live with his evil ways.

If these tests of
conscience are not enough, when the Duke and the King turn Jim in, Huck must not only
turn his back on society's dictates, but must take a stand about what he is going to
do—if anything—regarding Jim's imprisonment. Huck cannot ignore his friend—he cannot
leave him to his own resources—so he becomes involved in a plan to free Jim,
believing that he is turning his back on what is right in God's sight and that he will
burn in hell for it—and well, so be it. However, it is clear in this part of the novel
that Huck is not listening to the voice that harps on what society demands, but on what
his fondness for his friend is telling him.

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Through Huck, Twain attacks that part of the
conscience that unquestioningly adheres to society's laws and mores, even when they are
wrong.

Huck begins the novel
helping Jim, which he believes is wrong because society has said so, but literally doing
what is morally right. He continues to chastise himself for the part he plays in
maintaining Jim's freedom from slavery; even when he tries to do what he thinks is right
by turning Jim in, he cannot do so. By the story's end, Huck even helps Jim escape
(using a harebrained scheme Tom Sawyer hatches), which is a very serious crime at
that time, in that place. However, Jim is more
important to Huck than his fear of the law or getting hurt. In doing this, Huck gives
himself up to his eventual trip to hell, for he will not turn his back on Jim, even
though he believes he is "low down" for doing so. He decides to turn his back on society
instead.

And the irony is that this backwoods,
"uncivilized" boy has more compassion and humanity than all the civilized adults that
surround him.

What are three prejudices found in both To Kill a Mockingbird and Flowers for Algernon?In the two books, To Kill a Mockingbird and Flowers for...

The first prejudice that I would say unites both novels is
that against those who are intellectually challenged. Charlie with his IQ  of 70 and Boo
Radley with his isolation and lack of communication are both figures of derision and
ridicule in society and are cruelly regarded by
others.

Another prejudice I would see is that regarding sex
drive and sexual activity. Tom Robinson is gauged in the novel ‘To Kill a Mockingbird’
as being responsible for ravaging Mayella Ewell. At the time it was considered that
black men had tremendous sexual urges. The possibility that Mayella may have been
attempting to initiate physical contact was almost impossible to conceive. Similarly,
Charlie was repressed by his mother who feared that as he was of subnormal intelligence
he may seek to abuse his ‘normal ‘sister.

A final prejudice
would be the suspicion towards change in others. When Boo Radley is trying to
communicate positively with th children through the gifts in the knot-hole, his family
are swift to prevent this dialogue.  When Charlie becomes increasingly more intelligent,
his co-workers are so uncomfortable that the petition for his
dismissal.

I need to find some quotes for understanding others theme. What should I be looking at to help me find more quotes?

I'll be happy to provide you with a
few.

"If you
can learn a simple trick, Scout, you'll get along a lot better with all kinds of folks.
You never really understand a person until you consider things from his point of
view--until you climb into his skin and walk around in it."  (Atticus' advice, Chapter
3)

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"People in their right minds never take pride in
their talents," said Miss Maudie.  (Concerning Atticus' marksmanship, Chapter
10)

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"Mockingbirds don't do one thing but make music
for us to enjoy. They don't eat up people's gardens, they don't nest in corncribs, they
don't do one thing but sing their hearts out for us. That's why it's a sin to kill a
mockingbird."  (Miss Maudie, Chapter
10)

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"Jem, see if you can stand in Bob Ewell's shoes
a minute. I destroyed his last shred of credibility at that trial, if he had any to
begin with. The man had to have some kind of a comeback, his kind always does. So if
spitting in my face and threatening me saved Mayella one extra beating, that's something
I'll gladly take. He had to take it out on somebody, and I'd rather it be me than that
household of children out there."  (Atticus explaining Bob's spitting in his face,
Chapter 23)