Can someone give me 3 lines from the poem 'Thanatopsis' by William Cullen Bryant and explain what they mean? Thanks.It's this project where we...

As a Romantic poet, William Cullen Bryant felt a closeness with nature.  One of the ever-present lessons of nature is the organic cycle of birth, growth, death, and rebirth.  It is interesting that, while Bryant composed the first version when he was only sixteen, he later revised it as an adult who had survived a close call with death. Because of his experience and his wiser perspective as an adult, there is great depth of feeling as well as insight in his poem.  Bryant's poem reminds the reader of his theme oneness with nature in lines 17 through 72:

To Nature's teachings, while from all around--/Earth and her waters, and the depths of air--Comes a still voice,--

Another motif that is in Bryant's poem is that Death equalizes us all, for we are all equally children of Nature:

...Thou shalt lie down/With patriarchs of the infant world--with kings,/The powerful of the earth--the wise, the good,/Fair forms and hoary seers of ages past,/All in one mgihty sepulcher. (ll.33-37)

Thus, because a person becomes one with Nature and the equal of kings, he/she should

By an unfaltering trust, approach thy grave,/Like one who wraps the drapery of his couch/About him, and lies down to pleasant dreams.  (ll.79-81)

These last three lines, indeed, can certainly provide a consolation to the dying as well as to the bereaved family of one who has died.

How many degrees separate Tropic of Cancer from Tropic of Capricorn?

The Tropic of Cancer is the latitude 23° 26′ 22″ degrees North of the Equator and the Tropic of Capricorn is the latitude 23° 26′ 22″ South of the Equator. So, totally 46° 52' 44" separate the Tropic of Cancer from the Tropic of Capricorn.

However, to be very precise and accurate the position of both these latitudes is not fixed and varies in a very complicated manner over a period of time.

In the Tropics the sun reaches a point directly overhead and a point  directly underneath at least once during  every solar year.

What are the two sides of Macbeth in Scene 2?There's one side where he desperately wants to kill the king. and then what is the other side? is he...

In Act I.ii or Act II.ii, or perhaps Act II.i ?

In Act I, scene II Macbeth does not appear.  The Bleeding Captain describes his battle in a monologue.  He does not entertain thoughts of murdering Duncan, as he has not encountered the witches yet

For brave Macbeth--well he deserves that name--
Disdaining fortune, with his brandish'd steel,
Which smoked with bloody execution,
Like valour's minion carved out his passage
Till he faced the slave;
Which ne'er shook hands, nor bade farewell to him,
Till he unseam'd him from the nave to the chaps,
And fix'd his head upon our battlements.

In Act II, scene II Macbeth has already killed Duncan.

I have done the deed.

In Act II, scene I Macbeth sees the imaginary dagger:

Is this a dagger which I see before me,
The handle toward my hand? Come, let me clutch thee.
I have thee not, and yet I see thee still.
Art thou not, fatal vision, sensible
To feeling as to sight? or art thou but
A dagger of the mind, a false creation,
Proceeding from the heat-oppressed brain?

Here, He is battling between thought (imaginary dagger) and action (real dagger), the real act of murder and the thought of murder.  He is battling between the id (actual dagger) and the superego (imaginary dagger).  He is battling between the supernatural (imaginary dagger) and the unnatural (real dagger).  Later, after he sees Banquo's ghost, Lady Macbeth will say the ghost is:

This is the very painting of your fear:
This is the air-drawn dagger

So, the imaginary dagger is one of fear, while the real dagger is one  of--in her eyes--courage (i.e., "screw your courage to the sticking place")

What are output processes in learning and teaching?

If we define Output as the "end product", then the Output of teaching is the knowledge passed on to the student and the output of learning is knowledge gained. In both cases, models of education often require objectives to be known and Output to be measured.

Typically, Output for learning is measured by course grades and can be supplemented by standardized test scores, such as the SAT and ACT, or by mandated state-wide tests.

Output for teaching, however, could be considered subjective and varies amongst the different types of schools: primary, secondary (high school), and post-secondary (college). Many teachers are required to be evaluated annually by faculty and staff. And some schools track the test scores of teacher's students as an appropriate Output measure.

Why did Angus Tuck say that they are "like rocks beside the road"?

The Tucks are "stuck", forever watching life go on around them, but never changing. They are like rocks beside a road in that they are unchanging, like rocks, and they are beside the road of life. They are not traveling down the path like everyone else, but they are beside it, not going anywhere, never aging or changing. Just like rocks beside a road, the Tucks can watch people's lives go by and the world change around them, but rocks never change, they just sit there. Angus Tuck uses some great metaphoric imagery in describing what it is like for the Tucks, who are frozen as they were when they drank from the spring, never growing old, never dying, never changing, while the world goes on around them in its natural cycle. It is a painful thing for the Tucks, who wish that they could have lived a normal life. 

Why has Miss Havisham ordered Herbert's father out of her house?

It is Miss Havisham's birthday and  Pip visits Miss Havisham for the second time and Estella leads him "into a gloomy room with a low ceiling, on the ground floor at the back" [Ch.11]. She asks him to wait there till he is called by Miss Havisham.

While doing so he realizes that he is being closely observed by "three ladies and one gentleman."  Pip straightaway guesses correctly that they are "toadies and humbugs." They are: Camilla, Sarah Pocket, Georgiana and Cousin Raymond. They are the ageing relatives of Miss Havisham who are waiting for Miss Havisham to die and they are here on her birthday to flatter her hoping that she would bequeath a lot of money and property to them. They are very suspicious of Pip because they mistakenly believe that he might inherit Miss Havisham's money and property.

In Ch.22 Herbert Pocket tells Pip why his father Matthew Pocket refuses to flatter Miss Havisham:

"Her relations were poor and scheming, with the exception of my father; he was poor enough, but not time-serving or jealous. The only independent one among them."

Herbert's father was not a hypocrite or a sycophant like the other relatives and was not interested in Miss Havisham's wealth or property and hence did not visit her on her birthday, thus incurring Miss Havisham's displeasure:

"There's Mattew ! said Camilla. "Never mixing with any natural ties, never coming here to see how Miss Havisham is!" Ch.11

Strangely, Miss Havisham's birthday was also the very same day on which Compeyson cheated her and she hopes that she will also die on that same day. She specifies to all her four hypocritical  relatives where each of them must stand around her body after it is placed on the table:

"Matthew will come and see me at last," said Miss Havisham sternly, "when I am laid on that table. That will be his place-there, striking the table with her stick, "at my head!" Ch.11

From this we learn that Miss Havisham is able to see through the hypocrisy of her relatives and assigns the most important and privileged  position - "at my head" - at her funeral to Matthew Pocket. This is because in Ch. 22 we learn from Herbert that it was his father who advised her not to marry Compeyson:

"The only independent one among them, he warned her that she was doing too much for this man, and was placing herself too unreservedly in his power. She took the first opportunity of angrily ordering my father out of the house in his presence and my father has never seen her since."

Miss Havisham foolishly and arrogantly has banished Matthew Pocket from her house because he was the only one of her relatives who was bold and independent enough to object to her relationship with Compeyson. In Ch.11 it is implicit that Miss Havisham regrets not having taken Matthew Pocket's advice.

What are the types of economic systems?

Economists generally recognize three distinct types of economic system.  These are 1) command economies; 2) market economies and 3) traditional economies.  Each of these kinds of economies answers the three basic economic questions (What to produce, how to produce it, for whom to produce it) in different ways.

In a command economy, the government decides the answers to the three basic questions.  It decides what will be made, how they will be made, and who will get them.  Recently, pure command economies have usually been communist countries.  Good examples today would be North Korea and China.

In a market economy, consumers decide the answers to the three questions.  They do this by their choices of what to buy.  No one tells companies what to make -- they make whatever they think will sell.  If they choose wrong, they go out of business.  Most developed economies today are predominantly market economies.  The US, Japan and Germany are all market economies.

In a traditional economy, the three questions get answered by referring to tradition -- you make what has always been made, in the way it has always been made, etc.  There aren't really any countries whose whole economies are traditional.  The closest you could get to this would be Afghanistan or Bhutan -- places where there is little connection to the global economy.

A friend pays for your lunch. Is this an example of a free lunch (according to an economist)? Why or why not?

According to economists, there is no such thing as a free lunch.  So no matter what situation you cite, it can't be a free lunch.

Here's why it's not a free lunch, even for you:

Even though you are not paying for the lunch, you are giving something up.  In your case, what you're giving up is the chance to do or eat something other than what you did/ate.

When you went with your friend, you didn't go with some other friend.  Or you didn't study.  Or you didn't do more work.  In other words, there were other things you could have done.

When you had whatever your friend bought you, you gave up the chance to have some other kind of meal for your lunch.

So the whole point of the saying that there's no such thing as a free lunch is that everything has an opportunity cost.  And your opportunity costs were the things you might have done if you hadn't gone with your friend.

In Chapter 17 of To Kill a Mockingbird, what two major points did Atticus score in his favor during Heck Tate's testimony?

Atticus begins his defense of Tom Robinson by questioning Sheriff Heck Tate before going to work on Bob Ewell. The prosecutor from Abbottsville, Mr. Gilmer, determines that Sheriff Tate was first informed of the rape of Mayella Ewell by her father. On cross examination, Atticus finds that the sheriff never requested a doctor to examine Mayella. Then, he questions Tate about which eye was "bunged up." After first answering that it was "her left," Atticus interrupts.

    "Wait a minute, Sheriff," said Atticus. "Was it her left facing you, or her left looking the same way you were?"
    Mr. Tate said, "Oh, yes, that'd make it her right. It was her right eye, Mr. Finch. I remember now, she was bunged up on that side of her face..."

Then, Atticus asked Sheriff Tate about Mayella's other injuries, discovering that

"There were definite finger marks on her gullet."|
    "All around her throat? At the back of her neck?"
    I'd say they were all around, Mr. Finch."

With that, Atticus ceased his questioning of Heck Tate. He had discovered that no doctor was called (so rape could not be varified); that she was bruised under her right eye; and that there were finger marks around her neck. Atticus would later insist that Tom Robinson could not have caused the bruising, since his left arm was disabled from a farm accident. 

How does "La Belle Dame Sans Merci" by John Keats reflect or differ from what he believed about beauty?

To simplify a complex question and using "A Thing of Beauty" (from Endymion) as a starting point, Keats expresses the idea that beauty is that in life which brushes "away the pall / From our dark spirits" (a pall is a shroud). Our spirits are darkened ("our dark spirits"), according to the poem, by despondence, lack of nobility in people's human natures, gloominess, unhealthfulness, and general "o'er-darkn'd ways."

Keats writes that the sources of this pall-removing beauty are such things as "the sun, the moon," trees, a "shady boon" (which is blessing or benefit), daffodils, green world, "clear rills" (brooks or rivulets), "cooling covert" (a hiding place), a bushy overgrowth in the midst of a forest sprinkled with "musk-rose blooms." He goes so far as to say that the after-life fate we conceive for the mighty who have died, which is to be "An endless fountain... / Pouring unto us...", is part of the beauty that "moves away" our pall.

In "La Belle Dame Sans Merci," we see accord with the above discussion. In one opinion, the poem is a lesson against the deceptive power of feminine beauty and, in that regard, can be compared to Tennyson's similar warning against masculine beauty in "The Lady of Shalott." Another view sees the poem as Keats' lament at the love-betrayal of life since he knew his life was soon to end in tuberculosis.

In the first view, while the lady, representing feminine beauty, is the betrayer, it is nature that is all around giving great gifts to the couple while they idle in the meadow or amble on their horse ride to her "grot" (a grotto, which is a cave). Even after the knight's death, it is a lily on his forehead that is the parting tribute from beauty to his lost life. In the second view, life is the betrayer and is cast as a faery lady while nature is still that which gives joyous moments and comfort, as through the lily on his brow.

In addition, the poem accords with the above because, in the first view, it is the lady's lack of nobility in her nature and "o'er darkn'd ways" that cause the knight's morbid death. In the second view, it is life's despondence and unhealthfulness that cause the knight's death. Again, in both views it is the lily that gives the parting, lingering kiss of benediction to the departed knight.

What is the climax of this play and how can Blanche, Stanley, and Stella be described with only few words? Who can give me a brief, but...

In Tennessee Williams "A Streetcar Named Desire," the major conflicts of the play revolve around Stanley Kowalski.  First, he is displeased that Blanche DuBois, sister of Stella, has come uninvited to live with her sister.  Next, he perceives that she has set up a screen between the reality of her leaving Belle Reve and what she purports.  Then, he becomes somewhat possessive of Blanche as a member of his home and resents his friend's, Mitch's, attentions towards Blanche.  These conflicts, which also represent the conflicts between the industrial Northern culture and the aristocratic Old South, come to a climax when Stanley's anger turns to physical violence and he rapes Blanche.

With the theme of class conflicts, Stanley represents the unrefined, uneducated, somewhat brutish immigrant who is part of industrial America.  Blanche and Stella, on the other hand, represent the female aristocratic tradition of the Old South challenged by increasing demands for man-power in the industrial cities.  Representative of this theme of class conflicts are Stanley's references to his courtship of Stella:

When we first met, you and me, you thought I was common.  How right you was, baby.  I was common as dirt.  You showed me the snapshot of the place with the columns [Belle Reve*].  I pulled you down off them columns and how you loved it.

Thus, the characters of Stanley, Stella, and Blanche, rather than being well-drawn characters are representative of types.

* Belle Reve (French) significantly means beautiful dream. Blanche resides in a dream world as she cannot deal with her personal conflicts.  On the other hand, Stella returns to Stanley at the end of the play to "go on living" as Tennessee Williams wrote.  She faces life and deals with it, rejecting her sister's delusions of living in the past.

"Thus conscience does make cowards of us all" (3.1). Can you explain the context in which the passage occurs and what it reveals?

In the "to be, or not to be..." soliloquy, Hamlet is not feeling suicidal. He is merely pondering his own EXISTANCE. Killing one's self, and choosing to no longer exist are two entirely separate subjects. Hamlet, here, is merely second guessing himslef. He is not a man of action, and his over analysis of nearly every situation is his downfall. The "conscience" he speaks of here is, obviously, his own. His over thinking is making him cowardly in the act avenging his father, and murdering Claudius. While the opportunity has presented itself on a few occasions (one where Hamlet thinks Claudius is praying, and decides to wait to kill him while he is sinning), his conscience has overtaken his ability to act in a rash way. In his "turning pale", he displays his lack of courage, a characteristic which is father had plenty of.

"To be, or not to be..." refers to his thoughts of existance, where the "conscience does make cowards of us all..." part of the soliloquy moves away from pondering the afterlife, and more towards his own actions (or lack there of) and his own mental process. His conscience is preventing him from killing Claudius, not himself.

What is the main conflict in the short story "Leiningen versus the Ants"?

Well, I have to say the main conflict can quite easily be gleaned from the title if you look hard enough at it. It is an external conflict that pits man against nature in one of the scariest encounters between the two that I have ever read about. Leiningen is a farmer in Brazil with a plantation. He is facing a massive ant stampede that eats everything in its path and destroys all crops. Note how the Brazilian official describes the ant stampede in his efforts to try and get Leiningen to leave his farm to safety:

"They're not creatures you can fight - they're an elemental - an 'act of God'! Ten miles long, two miles wide - ants, nothing but ants! And every single one of them a fiend from hell; before you can pit three times they'll eat a full-grown buffalo to the bones."

The ants, then, are a very terrifying and powerful force of nature to content with and this story pits the intelligence and quick-thinking of one man against a natural opponent for survival.

What is the long run equilibrium for a perfectly competitive firm?

A perfectly competitive firm is a firm operating in a perfectly competitive market. A perfectly competitive market has the following three essential characteristics.

1. There are many firms producing and selling identical product. None of these firms is large or dominant enough to influence the market price.


2. Firms desiring to enter or exit the market for the product can do so easily without incurring any additional cost for such entry or exit.


3. Buyers and sellers have sufficient market knowledge and the analytical ability to make the best decision in their interest.

Each firm in a perfectly competitive marked faces a completely horizontal curve. This means that a firm can sell any quantity of its product a the market price, but not even one unit at a price higher than the market price. Because of this, each firm can increase it profit by increasing its production up to a point when the marginal cost of production is equal to the market price, and increasing production further will take the marginal cost of production above the market price.

In the short run it is possible that average cost of the company at this equilibrium point is lower than the market price. In this situation the company will be making loss rather than a profit. However, in short-run it will still be worthwhile for the company to produce if the marginal variable cost and average variable cost are both lower than the market price, as this will enable the company to recover at least a part of its fixed costs. If the lowest possible average variable cost is higher than the market price than it is best to close down production and exit the business immediately.

In the long run in a perfectly competitive market only those firms will continue who are able to produce at average cost equal to the market price.

In "Cathedral" what is the narrator's problem with connecting?

Until the end of the story, the narrator has a hard time connecting with anyone, including his wife.  He spends most of the story complaining about his wife, and her supposedly irrational obsession and friendship with Robert, the blind man.  And that isn't all that he complains about in regards to her--he throws in sarcastic comments about her ex-husband (he states of him, "Her officer—why should he have a name?"), about her poems, and much else.  So, he doesn't really, at this point, feel much of a connection with his wife.  Her friendship with Robert baffles him, as does a lot of things about her.

It isn't just his wife that he has a hard time connecting with; at one point his wife tells him "You don't have any friends...Period."  This reveals that he really doesn't have any significant connections with other people; he goes through life, it seems, alienated and a bit bitter and sarcastic about it.  He has a hard time getting past his cynical nature to feel sympathy or compassion for everyone.  He mocks the death of Robert's wife, he is distant and indifferent to his wife's previous suicide attempt, and expresses disdain any time any sort of details or stories are brought up about other people, in an attempt to help him to understand them.  He seems very uncomfortable with forming close ties, possibly because it forces him out of his comfort zone, and forces him to confront his own insecurities.

At the end, there is hope; hopefully, the narrator will take the profound cathedral-drawing experience and apply it to all areas of his life.  Hopefully, it helps to open him up to new experiences that will encourage him to make more personal connections.  I hope that those thoughts helped; good luck! 

The Kite Runner is a novel about betrayal and redemption. Use three characters to show this to be true.Please explain how they betrayed and...

Throughout the majority of this novel and all of Amir's adult life, he is plagued by the memory of Hassan's rape.  The immense guilt he feels for tending to his own self interests rather than helping Hassan has hindered his ability to live freely and maintain a sense of self-respect.  Amir betrayed Hassan several times in this novel; however, the two most important instances were when he did not help Hassan during the rape and when he framed Hassan for stealing the watch.  In order to redeem himself, he travels to Afghanistan to rescue Hassan's son after Hassan has been murdered by the Taliban.  By adopting Sohrab and bringing him back to America, it allowed Amir to do right by Hassan and make peace with himself.

Another example of betrayal is witnessed in Baba's relationship with his son, Amir.  Baba is unable to accept Amir for who he is during his childhood.  He is always comparing him to other boys and criticizing him for his shortcomings.  Amir spends most of his childhood trying to please his father which is one of the reasons he did not help Hassan after winning the kite flying competition. He was too concerned with making sure his father was proud of him.  Baba redeems himself by making a new life for him and Amir in America.  He is proud of his son after he graduates from college and helps him gain the favor of his future father in law just prior to his own death.

A final example of betrayal is when Zaman, the man who runs the orphanage in Afghanistan, hands over children to the Taliban.  He delivers them to these men, knowing full well that they will become the victims of physical, emotional, and sexual assault; however, he justifies it by saying that handing over one child is better than denying the Taliban and causing the death of many.  He never truly redeems himself, but he shows traces of humility and hope for redemption when he tells Amir where he can find the man who has Sohrab.  Although Zaman endangers the lives of some of the children, he protects many more by running the orphanage.

What do Lupito, Narciso and Florence all have in common in Bless Me, Ultima?

I guess the crude answer would be "They die." In fact, they all suffer some kind fo violent death. Lupito is gunned down by a mob, Narciso is killed by Tenorio, & Florence drowns after hitting his head when diving into the lake. So that's "what happens" to all of them.

A better answer though would be that each teaches Tony something about life, the human condition, and his place in the world. Throughout the novel, Tony struggles with his destiny: What is he meant to become? Is he more Luna or Marez? Does God exist? Each of these characters helps Tony uncover the truths behind these questions.

Lupito is Tony's first experience with death. Watching the men gun him down changes his perspective on his father and the men of the town. It also leads him to question God and his plan: How could he leave a man clearly sick and hurt like that? It is this incident that sparks Ultima's return to his life, and it is she in whom he confides.

Narciso becomes Tony's confidant in a way as well. He shows Tony his garden, and explains a little more fo Lupito's pain. He also tries to fight Tenorio, & holds Ultima in the highest regard. Tony suspects that he knows of the golden carp as well, & he turns to Narciso for advice several times.

Finally, Florence leads Tony to challenge his ideas about god and religion. Tony admires Florence's resilience and strength, but is frightened by his defiance and open questioning. He wants to show Florence the golden carp, & is in fact on his way to do that when news of Florence's death reaches him. Tony is worried for Florence's eternal soul, & again wonders how God can be kind and vengeful at the same time.

In "The Monkey's Paw," the White family's initial response to Sergeant Major Morris's claims about the monkey's paw is mainly what?

The initial response that the White family has about the monkey's paw (from W.W. Jacobs' short story "The Monkey's Paw") is one of curiosity. All three members of the family ask questions and listen with interest to Sergeant-Major Morris's tale.

Soon after, it seems that Mrs. White loses interest in the paw, even questions its powers given the suggestion she makes for a wish. Rising to finish dinner, Mrs. White asks her husband to wish for something quite obnoxious (and funny):

Sounds like the 'Arabian Nights'", said Mrs. White, as she rose and began to set the supper. "Don't you think you might wish for four pairs of hands for me."

Actually, after this comment, the entire family burst into laughter as if the monkey's paw was as ridiculous as the hopeful wish.

Her husband drew the talisman from his pocket, and all three burst into laughter as the Sergeant-Major, with a look of alarm on his face, caught him by the arm.

Obviously, the Sergeant-Major has far more respect for the monkey's paw than do the Whites.

What minimum power must the motor deliver to lift the fully loaded elevator at a constant speed 3.25 m/s? Answer in units of kW.A 2.3 x 10 to the...

Given:

Weight of elevator = 2.3 x 10^3 kg = 2300 kg

Load carried by elevator = 832.4 kg

Acceleration of gravity = g = 9.81 m/s^2

Frictional force acting on lift = f2 = 3.6 x 10^3 N = 3600 N

Speed of lift = v = 3.25 m/s

As the lift is moving at constant speed the force required to move it up is force require to overcome gravitational pull on the lift with load plus the frictional force.

Total Load of Elevator plus load carried = m = 2300 + 832.4 = 3132.4 kg

Force required to over come gravitational pull = f1 = m*g

= 3132.4*9.81 = 30728.844

Total force required to move the lift = f = f1 +f2 =

30728.844 + 3600 = 34328.844 N

Power of motor required to operate fully loaded lift = f*v

= 34328.844*3.25 = 111568.743 J

The Power of motor required is 111568.743 J

It can also be converted in units of horse power as 111568.743/746 = 149.55 or approximately 150 hp

Does the book "Boy in the Striped Pajamas" work well as a historical document?

Whether the book "Boy in the Striped Pajamas" works well as a historical document depends on your definition of "works well."  In the sense that it calls attention to the Holocaust, and portrays the horror of the concentration camp, it works well.   Does it work well as a "historically accurate history?"  Not as much, but it is not that far away.

First, there was indeed a real concentration camp called Auschwitz.  That part is true.  It was surrounded by a fence.  That part was true.  And horrible things happened inside.  That much was true as well.

Critics take issue with the things that are stretching history.  First, take Schmuel.  In the real Auschwitz little children like that didn't last long.  They were too young and weak to accomplish any work and were therefore killed quickly.  That pretty much knocks the premise of the book on its head.

Secondly, the fence ouside of Aushwitz was electrified.  Bruno would have been zapped had he tried to get under it.

Third, the fence was frequently checked for the type of "escape route" that Bruno used to get in...a hole to crawl under.  The guards would not have overlooked something like that.  It would not have been as simple to get into, or back out of, the camp.

Fourth, Bruno himself.  He is impossibly naive in the book.  He is depicted as an eight year old yet he has no understanding of what the camp is.  He thinks its a farm.  I know that 8 year-olds are  not exactly geniuses (well, most of them,) but most critics feel that Bruno would have had some inkling of what the nature of the camp was and that the condition of the people there would have provided him with ample clues to be wary of the place.

Critics also complain about the supposed ignorance of everyone in the book.  Even when the fires are burning and the smoke is rising from the stacks the people still won't accept that anything is going on at the camp and think that they are just burning old clothes.  Most people feel that anyone within a certain radius of the place would have had to have been blind in order to not have an idea of what was going on there.

Lastly, Schmuel.  Why does he never articulate his situation to his friend?  You would think that the boy would attempt to use Bruno in some way to help him (and others) escape.

So, there you have it.  Which side wins the argument?  Are the inaccuracies worth the exposure of a new generation to the horrors of the Holocaust?  How accurate must something be in order to be called a "historically accurate book?"  Isn't fiction, by definition, more or less made up?  That's for the reader (and the critics) to decide, so I'll leave that up to you!

How are the Salem witch trials different from a modern day court?How do the Salem witch trials differ from contemporary court trials ?

The Salem witch trials were mostly based on hearsay and public hysteria. In a modern day courtroom, the lawyers must present evidence, that is, facts that can be proven. In addition, motive must be explored not only by the prosecution side but also by the defense side. In other words, a so called witness for the prosecution might be motivated to tell a lie against an alleged perpetrator on trial for his or her own personal motives. These motives are researched by modern day lawyers and presented in court. During the witch trials, the person's social position served as proof alone that their testimony was truthful.

The witch trials were fueled by hysteria. In most cases in modern day court trials, the alleged perpetrators are given  a bias free trial. If the media causes a frenzy they move the trial to another area where the defendants can get a fair trial.

Of course history has revealed that the McCarthy Era was a time where a bias free trial was in question because of the overriding powers of the federal government, in terms of interviewing and covert recording of alleged perpetrators' conversations.

In addition, modern day courtrooms have jury members selected in such a way as to be satisfactory to both the defense lawyer and the prosecuting lawyer. Therefore, a jury full of members with similar views of the alleged perpetrators seldom occurs. Juries are usually selected with a variety of people of differing races, religions and attitudes.

During the Salem witch trials, only a few people had the power to choose the fate of an individual. In addition, they usually knew each other and believed in the same religion, attended the same congregation and socialised among the same people. Therefore, there was a lot of pressure for them to act in a way in accordance with their peers.

What are the major themes of the poem "Morning in the Burned House" by Margaret Atwood?

Another,very unpleasant, way of reading and interpreting the poem 'Morning In The Burned House' by Margaret Attwood would be to see her,the narrrator, as the ghost of the child who died in the fire. Some readers may identify with the last two lines of the poem where she refers to the body that was once hers no longer being inside the clothes,but cindered into nothingness. There could be  themes of guilt, culpability and regret that may leap out at some readers - every reader is different, some will be parnets, some will be kids. Try asking some questions:

Did the parents leave the child alone to eat breakfast to go walk on the beach?

Why the attention to the stove - did something catch alight while they were out?

What about the oilcloth and the glass? Did they catch on fire,or did an unattended child tip them over?

Remember the constant emphasis on no-one else being around - what do you think happened?

So the themes could be haunting and death - compare with 'Death By Landscape:'

Can you help me interpret "Blame not my Lute" by Sir Thomas Wyatt?Just the general meaning of the poem. Different allegories or references.

Nothing much complicated here. The speaker tells his lady love not to blame the instrument he uses (a lute in this case) for the song of complaint he is singing about her:

My Lute and strings may not deny
But as I strike they must obey

He tells her she is to blame for the things he sings. She deserves it all:

Spite asketh spite, and changing change,
And falsèd faith must needs be known ;
The fault so great, the case so strange ;
Of right it must abroad be blown :
Then since that by thine own desart
My songs do tell how true thou art,

She has been unfaithful to a fault, and he has a right to proclaim it so. Indeed, he tells her not to blame his lute, but rather to blame herself for what she has done:

Blame but thyself that hast misdone,
And well deservèd to have blame ;

At last he tells her that even if she breaks his instrument, it doesn't matter, for he will fix it again and continue to make his music, and sing what he sings, true and fair. And it's just too bad if she doesn't like it:

for though thou break
My strings in spite with great disdain,
Yet have I found out for thy sake,
Strings for to string my Lute again :
And if, perchance, this sely rhyme
Do make thee blush, at any time,
Blame not my Lute !

How does Dickens create an atmosphere of fear and tension as well as empathy for Pip in chapter 1 and 8 of Great Expectations?Talk about chapter 1...

The answer to this question lies in the gothic setting of both the graveyard scene (a typical gothic ingredient) and also Satis House.

In Chapter 1, sympathy is evoked with the poignant picture of Pip weeping over the graves of his dead family, clearly endearing him to the reader. Also, the landscape is described as the "dark flat wilderness beyond the churchyard". Suddenly, a stranger pops up from behind a tombstone, as we can only imagine what a young Pip would have made of this event - the rise of the dead, perhaps? Surely, when Magwitch goes, in Pip's imagination there is something clearly horrific in his leaving:

As I saw him go, picking his way among the nettles, and among the brambles that bound the green mounds, he looked in my young eyes as if he was eluding the hands of the dead people, stretching up cautiously out of their graves, to get a twist upon his ankle and pull him in.

Lastly, the inclusion of the gibbets at the end of the chapter all combine to create a gothic, brooding and menacing atmosphere, with the possibility of death never to far away. Important to note as this is the first Chapter of the novel, and therefore sets the scene for everything that is to follow.

In Chapter 8, the description of Satis house is very similar, with its darkened rooms with "no glimpse of daylight." The appearance of the faded and yellowed Miss Havisham in her faded and yellowed wedding dress only excites curiosity and anticipation, and again we see here a deliberate gothic overtone with Pip's first impressions of her:

Once, I had been taken to see some ghastly waxwork at the Fair, representing I know not what impossible personage lying in state. Once, I had been taken to one of our old marsh churches to see a skeleton in the ashes of a rich dress, that had been dug out of a vault under the church pavement. Now, waxwork and skeleton seemed to have dark eyes that moved and looked at me.

In the person of Miss Havisham therefore, the border line between dead and alive seems truly blurred: a central preoccupation of the Gothic.

To examine how sympathy is evoked for Pip, you need look no further than the condescending treatment he receives at the hands of Estella, and the way that she rejoices in her discomfort and the ability she has to embarrass him:

I was so humiliated, hurt, spurned, offended, angry, sorry - I cannot hit upon the right name for the smart - God knows what its name was - that tears started to my eyes. The moment they sprang there, the girl looked at me with quick delight in having been the cause of them.

Estella's character is thus established in her first appearance as a character that rejoices in hurting and causing pain in others, and we as readers are made to sympathise with Pip in his position.

On the book The Color Purple -- when and where was this book banned or challenged, and why was it banned or challenged?

The Color Purple, by Alice Walker, is one of the books that most often faces banning, or attempts at banning.

The most common reasons for wanting to ban this book sexual content (including the rape scene on the very first page of the book and lesbian scenes) and its graphic violence.  There are also concerns about the discussions of racism in the book.  Please see the second link for quotes from the scenes that have been found offensive.

I do not know of any comprehensive list of places and times when this book has been challenged, but one of the links provided below refers to a few challenges.

What does "Romance at short notice was her specialty" from "The Open Window" mean?

One might say that Vera is bright and imaginative, but one might also say that she is a confirmed liar. The author of the story does not explain that "romance at short notice was her speciality" until after she spontaneously invents a truly wild story to explain why Framton Nuttel fled from the house when he saw the three men approaching with their dog. She tells her story in a single sentence:

"He was once hunted into a cemetery somewhere on the banks of the Ganges by a pack of pariah dogs, and had to spend the night in a newly dug grave with the creatures snarling and grinning and foaming just above him."

She pins the blame on the innocent spaniel and rather perceptively implies uses the Freudian concept that their visitor could have developed a phobia against dogs in general from the encounter with the wild dogs in India. This girl is a very interesting and unusual character who must like to play what are now called  "mind games" with people.

Who is Candy, a character created by John Steinbeck?

Candy is one of the men who live in the ranch house in Soledad in John Steinbeck's "Of Mice and Men."  Older and disabled, he is referred to as "the old swamper"; he no longer goes out with the others.  Instead, he sweeps and cleans the ranch house while the men work in the field. Knowing that, like his dog, he will be banished when he is no longer useful, Candy asks George and Lennie if they will let him contribute to their dream of owning a place of their own as he has saved $350.00 from the payment given him after his accident.  With Lennie and George, Candy has found new hope in his isolation, but, of course, it is short-lived as with Lennie's death, so, too, does the dream of their own place die:  '

Then--it's all off?'  Candy asked sulkily.

As the men rush out in search of Lennie after the death of Curley's wife, Candy lies down hpelessly in the hay of the barn, covering his eyes with his arm in the same manner as when his dog was shot.  For, Curley knows that Lennie will meet the same fate as his old dog.  And, he will soon follow, powerless to change anything.

What is Huck and Jim's destination in Mark Twain's The Adventures of Huckleberry Finn?

    After Huck's father returns to St. Petersburg in Mark Twain's novel, The Adventures of Huckleberry Finn, he realizes his life will be made miserable once again. His Pap wants to get his hands on Huck's money, so Huck stages his own death and takes off for nearby Jackson Island. After a few days, he realizes that Miss Watson's slave, Jim, has escaped and is also on the island. Huck slips away, dressed in girl's clothing to cover his identity, and discovers that although everyone believes he is dead, people are searching for Jim in order to collect a reward. He sets off to warn Jim, and the two plan to head to Cairo, Illinois and then catch a boat northward, where Jim will be safe.

Compare Browning's poems "My Last Duchess" and "Laboratory."

In the poem, "My Last Duchess," Browning creates a narrator who conveys the distinct displeasure he feels at the perceived infidelities of his wife. There is some question as to the sanity of the narrator as he can calmly talk about the beautiful picture of his wife, then transition into tales of her betrayal, and then calmly explain that he was not willing to compromise so he gave the words to have her killed, all the while keeping the next duchess waiting downstairs. 

With the poem, "The Laboratory," there is little doubt that the narrator is crazy. We, as readers, can almost see his hunched shoulders and intense concentration as he ponders what poison will be best to use when killing his wife. As readers, we still don't know if the indiscretions were real, but we have absolutely no doubt how the wife was killed--by his own hand.

Both husbands are angry and bitter, but we get the feeling that the husband in "The Laboratory" is hurt more by the emotional betrayal. While the husband in "Last Duchess" is more angry at the insult of the betrayal.

Based on the narrator, what traits would you give the mother in "Everyday Use"?What characteristics define the mother throughout the story.

Her physical traits are provided directly by the mother. She  describes herself as being built for labor. She is a larger African American woman, who admittedly is more built like a man than a woman. She has done physical labor her whole life, and it has had clear physical effects. She also describes herself as not being very educated. She chews tobacco as well.

As for personality traits, she is clearly old-fashioned and traditional. She takes great pride in Dee and tends to overlook Maggie, though Maggie is the one she is closest to. She dreams for success and riches, but knows that it is not she that will be able to achieve them (which is why she dreams of Dee being on a talk show). She is skeptical and new and different things, and can quickly spot the superficial. Overall she is caring and hard-working, and unlikely to change.

In "Hamlet" why does Hamlet wait to avenge his father's death?

Ah, this is a much debated question in the literary world, one with many possible answers, all depending on one's personal opinion of the matter.

Here are some possibilities:  he's a coward, he's indecisive, he's morally scrupulous, he's depressed, or he thinks too much.  Those are just a few possibilities, and, it could also be a combination of several of them all at once.  I'll go throughe each one, so that you can ponder each and decide which one jives the most with your own thoughts on the play.

He's a coward.  It's not an easy thing to kill someone--it takes a lot of courage.  And, so, he's afraid to do it. He's a young guy, not used to going around killing people, and so takes quite a bit of time to get up the courage to do it.  He also wants more definite proof of Claudius's guilt before he murders him.  So he uses that as an excuse to cover his fear.  Take for example, how he didn't kill him when he had a chance, while Claudius was praying--that could point to cowardice.

He's indecisive.  Take a look at his monologue "To be or not to be."  In this monologue, he goes back and forth, back and forth, weighing the pros and cons of dying.  Other monologues reflect his indecision--he switches between having courage or just talking about having courage, he bemoans his lack of action, but then states reasons for not acting.  He just can't make up his mind what to do about the situation--how to kill him, when to kill him, IF he should kill him.

He's morally scrupulous.  This means that his morals keep him from murdering Claudius. Murder is wrong, and Hamlet's uncomfortable with it.  He ponders, several times, the consequences of such an action, and the afterlife and what comes with it.  He doesn't want to kill a potentiall innocent man, so wants proof.  He also doesn't want to kill Claudius while he is praying, for fear his soul will go to heaven; instead, he wants to kill him when he is doing something evil, to send his sould to hell.  So, his morals keep him from action.

He's depressed.  Anyone who has been depressed knows how debilitating it is; it makes one mope about and not want to do anything at all.  It makes one questions one's own thoughts and worth.  At the beginning of the play, we see a horribly depressed Hamlet, who feels like the entire earth is "rank".  His family and friends try to cheer him up, to no avail.  Even his girlfriend, Ophelia can't cheer him up.  This melancholy carries him about, keeps him down, keeps him overanalyzing his thoughts, and keeps him from acting.

He thinks too much.  Every single little action he takes, he analyzes it to death.  He spends all of his time debating and analyzing, and no time action.  By the time he 's done debating in his mind, the time for action has passed.

Any of those possible reasons might work; think about it, and come up with one that works for you.  I hope that those thoughts helped; good luck!

How can sociology be useful within this topic? "Why people cheat".

Yet another way to look at this issue from a sociological perspective is to frame it in terms of individual motivations and deterrents, and how they affect a person's actions in society.

For example, a person who is motivated by socialization that teaches us good grades are important may be motivated to cheat on an exam because society will reward him/her for it as long as they are not caught.  The motivation to cheat increases if the chance of being caught decreases, and vice versa.  A person may not think twice about cheating on a worksheet, but wouldn't dare cheat on a bar exam, thus the deterrents set in place by society work directly against the motivations we may have to cheat, especially the more serious the penalty gets.

This is simply evidence that many in society are more afraid of performing poorly than they are of being caught cheating, and that the deterrent level has to be set quite high in order to overcome that fear of poor performance.

A sociologist might also do a study on the limitations conscience places on our actions in situations where being caught cheating is unlikely.

I am looking for lesson plans for Deadline by Chris Crutcher using the idea of carpe diem and any media that collaborates.

It might be a challenge to find direct lesson plans for the book because of some of the topics raised in it.  School districts might not be completely comfortable with some of the mild sexual innuendo as well as the character of the priest who struggles with his compulsion to harm another child.  I think that the best way to progress with a plan of teaching the work might be hone in on the idea of carpe diem and bring this out in multiple ways with the students.  Possible ideas could be writing prompts about what students would do, knowing their time on the planet was coming to an end.  Perhaps, another topic of discussion or elaboration through debate would be if Ben has an ethical duty to fight through his disease and not decide to end his life.  If one is bold, discussing the themes of regret and cruelty brought out by the priest might be another topic, but I would have to think that this should be broached with extreme caution and with some level of administrative clearance as it is bound to evoke feelings and sentiments in both students and parents that might be difficult to fully grasp.

Please summarize "By the Waters of Babylon."

Stephen Vincent Benet's "By the Waters of Babylon" tells the story of the Forest People and the Hill People and the reawakening that occurs when the narrator of the story visits a land far from his own. The superstitious people are forbidden from traveling east across the great river, but the narrator undertakes a great journey to find the true meaning of the "Dead Place." After traveling for eight days, he crosses the great river and enters the "Place of the Gods." Here he finds an ancient city in ruins, bordered by crumbling bridges and towers, where wild animals roam and birds fly above. He discovers a "dead god" overlooking the city, but he finally realizes the god is but a statue, and the city is the remains of New York. His discovery of the origins of the city and the realization that it was destroyed through a great fire from the skies will allow him to teach his people the true story of the "Dead Place." It will mark a new beginning for both this great new priest and his people. 

In "A Rose for Emily" illustrate that Miss Emily is one of the persons for whom the distinction between reality and illusion has blurred out.

There are several instances of Miss Emily's delusions about reality.  One is her refusal to pay taxes, because no one in her family has ever paid.  And she insists on this, even though the aldermen send repeated notes and letters to her home, and make a personal visit.  Reality--a group of men, telling her to her face--was evident, but Miss Emily clung to her preconceived notions and insisted on casting her perspective of the world on other people.  The original reason her family didn't have to pay taxes was even a made up tale that no one really believed:

"Colonel Sartoris invented an involved tale to the effect that Miss Emily's father had loaned money to the town, which the town, as a matter of business, preferred this way of repaying.  Only a man of Colonel Sartoris' generation and thought could have invented it, and only a woman could have believed it."

So, Colonel Sartoris invents a fictional tale about her taxes, and Faulkner himself writes that "only a woman" would believe such a falsity.  But, Emily does, even when the elders tell her it's wrong.

Another example of her blurring the lines between reality and fiction is after her father dies.  She keeps the body in the house for three days, refusing to even admit that he had died.  In fact, when people come to help her out, she answers the door and told them "that her father was not dead."  She finally breaks down and lets them take the body away, but it took a while.

And finally, the last and most horrific example is that of Homer Barron's body in her bed upstairs.  She obviously blurred the lines of reality there; he probably told her that he didn't want to be with her.  She didn't accept that.  She made an alternate reality for herself where he could be with her, forever.  She ignored the fact that he wasn't alive or real, and that his "love" for her wasn't there, and forced the situation to meet her deluded visions.

I hope that those thoughts help; good luck!

What is the difference between job analysis and job description?Also, please explain job design?

Job analysis is one of the preliminary activity necessary for preparing a proper job description. However job analysis may be used for other purposes also.

A job description is defined by BS 32207 as a written outline of the main tasks of a job. It is a written statement covering the essential features of a job, including its purpose, duties, skill requirements and a set of duties and responsibilities that indicate the content of the job in detail. One obvious use of job description is for clarifying duties and responsibilities. Other uses of job description include job evaluation and merit rating, and preparation of job specifications.

Job analysis is a systematic process of analyzing a job for identifying job contents, leading to job description, job specification, and job evaluation.It involves determination of the requirements of the job through detailed observation and evaluation of work performed, facilities required, conditions of work, and the qualifications required of the worker. BS defines job analysis as the determination of essential characteristics of a job in order to produce a job specification.

Job evaluation helps in design of jobs that enable achievement of organizational goals and objectives effectively and efficiently. It is also used to design jobs that lead to better involvement and job satisfaction for people who perform the jobs.

Compare and contrast the book and movie versions of Animal Farm.

I'm going to assume you mean the cartoon-like version rather than the real-animal version which is not particularly well known.

I always think the book is better than the movie, and Animal Farmi s no exception.  One reason is that I form pictures in my mind as I read, and I imagine what each of the characters must look like and where they live as they live out their stories.  That's especially true in a novel in which the primary characters are animals. Seeing it come to life in a cartoonish movie was rather difficult, though I did enjoy several characterizations.

That being said, the movie follows the novel fairly closely.  Rather than the animals talking, as in the book, a narrator generally tells the story in the movie.  Old Major dies while giving a speech in the movie, while much time passes between his speech and his death in the novel.  The windmill doesn't blow up and get built again as often in the movie, and any scenes with humans do not quite match with the text. But generally, the movie is accurate.

Two major things set the movie apart from the novel, though.  The first is the obviousness of Squealer's duplicity as he persuades the animals that any changes are for their own good.  His facial expressions and body language, if you will, are clearly deceitful and conniving.  Those things are much more subtle in the text.

Second, the ending of the movie is a major departure from the novel.  In both, the animals look through the window and see a "blending" of animals and humans--as if they had become one in the same.  The movie depicts this quite well,  and then it steps too far.  Once the animals see this distortion of animals and humans, they stampede the farmhouse and we are to presume they retake their rightful place as owners of the land.  That is a significant departure from the novel--and from history, frankly.  We want them to assume power, but they don't.

The movie is fun to watch for 30 minutes; however, it is not a completely accurate depiction of Orwell's novel.

Explain what Tobe, the manservant, represents and why he is important in the William Faulkner short story, "A Rose for Emily."

Miss Emily's manservant, Tobe, symbolizes several aspects of the ante-bellum life of the Old South in William Faulkner's short story, "A Rose for Emily." Tobe never speaks throughout the story, serving his mistress faithfully without apparent question. He is in part blamed for the decline of the Grierson house, of which he is the lone caretaker. When Emily dies, he leaves, never to be seen again by the residents of Jefferson. It is an act of independence he never was able to show before. He represents the slavery days of the Deep South, when black men were bought and sold like cattle. His freedom comes upon Emily's demise, and his disappearance symbolizes the end of many of the Old South's slowly, fading memories of their glory days before the Civil War.

What is the negro problem? Why does Du Bois say he can't or won't answer when he is asked about the problem?

The negro problem, as it was called, was the issue of what the place of African Americans in society should be.  They were no longer slaves, but the vast majority of white people did not consider them to be equal.  So what place was there for them between slaves and equals?  As James Baldwin once said:

At the root of the American Negro problem is the necessity of the American white man to find a way of living with the Negro...

I'm assuming that you're talking about the very beginning of the book where he says "How does it feel to be a problem.  I answer seldom a word."

I believe he says this because he resents being seen as a problem and not as a person.  He resents the way that people try to pretend that they accept black people ("I know an excellent colored man in town.") even when they really see him as a problem.

Why does this Coleridge passage appear in Frankenstein ? Like one who, on a lonely road, Doth walk in fear and dread, And, having once turned...

When Mary Shelley was 8 years old, she heard Samuel Coleridge recite "The Rime of the Ancient Mariner" in her parent's home. Mary Shelley was heavily influenced by the poetry of Coleridge, and Frankenstein is rich with allusions to "Rime of the Ancient Mariner." This excerpt from the poem parallels Victor's mood and actions. At this point, Victor is wandering the streets alone, contemplating the deaths of William and Justine, and his implicit guilt.  Of course, the shadow of his creation in constantly haunting him, and may well be following him down the road in this moment.

In the Gothic sense, Victor relates to the Mariner’s isolation and fear. In the Romantic sense, both the Mariner and Victor want the knowledge; however, unlike the Mariner, Victor’s new knowledge brings a curse along with it. Like the Mariner, Victor will live in isolation and fear. He seeks to tell his story to anyone who will listen, which turns out to be Walton. Walton is a mirror of the listeners of the Mariner's story in the poem. Thus Victor fulfills the comparison to the Mariner, haunted by his knowledge and his actions, tormented by his past.

What is "that divine idea which each of us represents" in Emerson's "Self-Reliance"?

Ralph Waldo Emerson's essay "Self-Reliance" is a major statement of the beliefs of the Transcendentalist movement.  One of these beliefs is that God is present in all things and that all things are connected together by the fact that they are all parts of what we tend to think of as God.

Therefore, in the quote you cite, the divine idea is God.  Each of us represents that divine idea because each of us is a part of God.

Because of this belief, Transcendentalists were often early advocates of women's rights and the abolition of slavery.

How do I analyze an extract from a novel?Should i know the novel before start analyzing.what are the main steps to do the analysis.thankx

Yes, if you have the time, you'll definitely want to read the entire novel before you analyze an extract from that novel.

To me, there are at least two main steps when it comes to analyzing an extract from a novel:

1. Read the extract closely, as you would a short story, and pay close attention to the language, ideas, and patterns in the extract.

2. Develop an understanding of how the extract relates to the novel as a whole. Does this selected passage focus on characterization or foreshadowing or a particular theme or one of the high points in the plot, for example?

This strategy is often a very good way to write a paper about a novel. Rather than try to talk about five or more extracts, focus on just one extract, analyzing it closely and making clear statements about how this extract relates to the novel as a whole.

What is the name of the emperor whose Arjun was sarthi in mahabharat?

It appears you have mixed up some names and facts in the question.

In the great battle of Mahabharata, which was fought between Pandavas and Kauravas, Lord Krishna was Sarathi or Chariot driver of Arjuna.

Neither Arjuna nor Lord Krishna qualify to be called emperors. Arjuna was one of the five bothers, who formed the Pandavas side of the two warring groups in the war of Mahabharata. As Arjuna was not the eldest of the brother, he never became an independent king, let alone an emperor. Udhishthir,the Eldest of Pandavas brothers, was a king, but I am not sure if he ever adopted the title of emperor.

Krishna, a friend of Pandavas, and particularly Arjuna, was King of Dwaraka. To my knowledge, he made no attempts ever to expand his kingdom or to adopt the status of an emperor.

What would be a good ending sentence for an autobiography? Please help!

When you write about yourself (autobiography) you want to focus on a snapshot of your life; a very pivotal moment or moments that would make a great story. I often tell my students who write personal essays to not give me a play by play of one event after another from birth till present, but give me a few significant events (a snapshot) and tell it with great description.

If I were writing an autobiography I would start in the middle of a scene of something really exciting that had happened to me; the time I caught a shark or hit the home run to win a game. I would talk about how it impacted me--helped me learn determination and battling against the odds. I would then talk about similar challenges in my life that I have had to overcome. Then my final sentences would be a toss back to those big moments in the early days of my life (the shark and the home run).

To summarize: I would begin by telling an exciting moment; grasp the reader's attention. Tell all about it and its impact on your present life. I would tell about the lessons you've learned from those moments and conclude with a sentence referring to the exciting moment you began the story with.

A 1.98 kg ball is attached to a ceiling by a 2.1 m long string. The height of the room is 5.95 m. The acceleration of gravity is 9.8 m/s^2.a) What...

The gravitational potential energy (PE) is an energy relative to the position. Normally we say the ground isthe reference point where the PE taken tobe zero. A body of mass mass of m, at aheight h from the reference point has a PE equal to mgh joules,g being the gravitational attraction and is 9.8m/s^2.

a

Here mass m of the ball is 1.98 kg, g = 9.81. Height of the ceiling is 5.95m. height of the ball is 5.95=2.1m = 3.85m

Therefore, the gravtational PE of the ball with respect floor is

PE of ball at celing wrt floor = (1.98 kg )*9.8 m/s^2)*(5.95m) = 115.4538 J

a)

PE of ball wrt ceiling:

PE of ball at ceiling at the end of rope wrt floor =1.98*9.8*3.85J = 74.7054 J = -40.7484J implies the PE of the ball is less by 40.7484J than that at Ceiling. Or a work of 40.7484J has to be bone to raise the ball to the height of ceil

b)

PE of ball wrt floor =74.7054J

c)

PE of ball wrt a point at its own level.

The PE of ball at h1 and h2 from the ground is mgh1 and mgh2 and therefore, the PE of the ball at h2 wrt a point at h1 height = mgh2-mgh1 =mg(h2-h1). Therefore, h1=h2  equal to h, the PE of the ball at h1 wrt h2 is mg(H2-h1)=mg(h-h) = 0. So, the ball has zero gravitational PE wrt apoint at its own level.

In "The Cask of Amontillado" can you find any evidence of humor in the story?

Although a very disturbing tale of revenge gone too far, there are elements of humor to "The Cask of Amontillado."   First of all, Poe puts the bumbling Fortunado in a jester's outfit.  Court jesters were paid comedians to entertain kings at at all times; typically, they dressed in very bright, absurd outfits in order to be amusing and entertaining.  And, they wore hats that had little jingling bells all over them--so, they jingled as they walked about.  Fortunado's particular hat was "conical," so, shaped like a big cone on his head--very comical.  It is hard not to be amused, in a sad sort of way, picturing Fortunado in this absurd outfit, jingling around in the catacombs.  Poe writes,

"The gait of [Fortunado] was unsteady, and the bells upon his cap jingled as he strode."

So, there is Fortunado's outfit that is a bit funny.  Also, Montresor, though not trying to be, is a bit funny at times.  He leads Fortunado through the house, which is empty.  Normally, the house would have been full of servants, and hence witnesses to the fact that he was leading Fortunado down to the catacombs.  How did he get them to leave?  He knew their natures well.  He states,

"I had told them that I should not return until the morning, and had given them explicit orders not to stir from the house. These orders were sufficient, I well knew, to insure their immediate disappearance, one and all, as soon as my back was turned."

This is a rather amusing commentary on the situation at hand.  Tell the servants they'd better not leave, which ensured their departure.  In addition to little quips like this, Montresor's very intensity is a bit funny, also in a sad satirical sort of way.  He can't have revenge, he must "punish with impunity."  And, how DARE Fortunado "insult" him!!  The audacity!  Of course the ONLY conclusion to draw is that Fortunado must die a slow, painful, terrifying death.  Yes, that's what a sane human being would conclude....Montresor is so extreme in his hatred and avowal of revenge that it is almost ridiculous.

Those are just a few moments of potential humor in the tale; I am sure that there are many more, but that should get you started.  Good luck!

How Philip Larkin, the poet, is different from the other contemporary poets of the 20th century (modern age)?Philip Larkin vs other contemporary...

Part II

It so happens that Larkin's personal emotions were on the dark and negative side. He disliked most people, particularly children and youths, and never married though he and Monica Jones, a professor of English, cohabitated most of his life. His recurring poetic themes included solitude, mortality and love, which were addressed from a bitter, dark point of view. Larkin didn't qualify physically to be a soldier in World War II, his eyesight was inadequate, so his darkness can't be attributed to having been at war the way fellow Modernist Robert Graves's gloom can be attributed to "shell shock" from World War I. However, anyone living through either, or both, of those wars, had a profound reason for gloom and darkness, which did , in fact, permeate post-world war era societies. W. H. Auden explores reasons for Larkin's dark negativity, for further information.

Larkin's poetry uses everyday language of simple and unpresuming words, rhythms and tones in its structure, in accord with the precepts of Modernism. It is notable that he was a great American jazz fan, which fit so well with the Modernist poetry movement since it emphasized rhythm so intently. Another one of his themes was, quite naturally, post-war England and England's prospects for the future along with England's ideas about the future. For Larkin, his negative poems are paradoxically a positive expression as he believes that every expression of poetry is positive. It can be surmised, then, that he also believed that the reader's experience of a negative sentiment and mentality in a negative poem would be equally positive. It is easy to suspect, when looking at the condition of the post-modernist 21st century, that Larkin was mistaken as to the positive virtue of negative sentiments, mentality and poetry.

What are three features of a lyric poem?

The term lyric poetry encompasses a broad range of different styles and formats, which makes it difficult to isolate overarching characteristics. (Sonnets, odes, and elegies are all examples of lyric poetry). That being said, lyric poems are always expressive: they are written from a first person perspective, and are revelatory of the feelings and thoughts of the speaker. Lyric poetry is therefore highly subjective in content. These poems are also characteristically short, though odes tend to break this general rule. This brevity leads to intense imagery and strength of language, for much must be said in a small space. Most of the works typically studied in school are lyric poems—poets such as Emily Dickinson, Edgar Allan Poe, William Wordsworth, Shakespeare, and Robert Frost all write lyric poetry. As you can see, the range and times that the genre spans are great.

So, we can safely generalize and say that lyric poems are usually short, subjective in their expression of thoughts and feelings, and from a first-person point of view.

Often lyric poetry dwells on brief moments and less substantial elements of life, whether as an event unfolding as the poem unfolds, or as a memory or recollection.

What is the basic idea of "A Very Old Man with Enormous Wings"? "A very Old Man with Enormous Wings" by Gabriel Garcia Marquez

The central theme of "A Very Old Man with Enormous Wings" seems to be one of how people handle doubt and ambiguity.  When the angel arrives, Pelayo and his wife are frightened and do not know what to think.  They call the priest and a neighbor to explain the presence of this angel, for they lack the necessary imagination.  In their obtuse misunderstanding, they turn the presence of this angel into a sideshow, with "the angel [being] the only one who took no part in his own act."  Marquez writes that the

majority understood that his passivity was not that of a hero taking his ease but that of a cataclysm in repose.

This creature of "so much human truth"  with such a "fearful lesson" is not nearly as interesting as the Spider Woman who is still part human and understandable.  To her the people can assign an "answer," so they are satisfied.  But, with the angel, there is mystery and neither the characters nor the reader can arrive at an absolute meaning.

Perhaps, then, the "human truth" that Marquez writes of is the propensity of people to assign meanings to what they cannot truly interpret.  Yet, there are events that cannot be interpreted, solutions cannot be found.  And, when one insists upon assigning a "logic" to these events, he/she runs the risk of being as foolish and credulous as the villagers.

What is the product of the slopes of perpendicular lines and why is this product always negative?

Let the equation of the two lines be:

y=m1*x+c1 and

y=m2*x+c2, where m1 and m2 are the slopes of the lines and c1 and c2 are their  intercepts on the Y axis.

The angles A and B by the above two the lines with X axis is given by:

tanA = m1 and tan B = m2.

Therefore, the angle between the two lines, B-A is given by:

Tan(A-B) = (tanA-tanB)/{1+tanA*tanB}.............(1)

When A-B is a right angle  or 90 degrees, Tan(A-B) is tan 90 degrees , which should be infinite. Or the denominator on the right side of equation at (1)  is zero  or 1+tanA*tan B =0  or tanA*tan B=-1 or m1*m2=-1 or the product of the slope must be equal to minus one.

So,the  product of the slopes of the lines is mimus one, when they are at right angles or perpendicular to each other.

To be effective, a literary symbol should be:a) something everyone recognizes b) both itself and something more c) a poetic image from nature d) an...

I do not think that you need to choose among the four choices. An effective literary symbol can be anyone of those in addition to a few more. Let me go through your choices.

1. if people recognize the literary symbol, then it is effective to some degree. Also a recognizable symbol does not need to be commonplace. For the idea of redemption has been done so much, but if it is done well, it is powerful.,

2. A literary symbol should have multiple levels of meaning. This makes it multi-perspectival and applicable to different types of people.

3. Nature has always been a great way to create a literary symbol, but we should not limit it to this, especially in the modern world. So, I would say that this is the weakest.

4. The main character should be, in my opinion, some sort of symbol,  and other symbols could point to the main character, but it does not  have to.

What did ''The Giver'' make you think about?

It certainly helps us, as Americans, to appreciate our way of life. In a world like that of The Giver, there are no basic freedoms, no free will, no opportunity, no chance to excel, and no possibility to bring out the best of you. You are one of many more, and that is all that matters. In the Giver, you are a breathing and obeying mechanism.

As much as people may want to criticize the American way of life, you have to admit that if we changed anything about it, we would lose ourselves and end up in a radically extreme and controlling world such as the fictional world of the story.

In summary, the story certainly allowed me to look around and realize that there is nothing more valuable than freedom.

What is the conflict in "My Mistress' Eyes Are Nothing like the Sun" by Shakespeare?What is being dramatized?

I’m not sure what you mean by conflict. There are no characters to have conflict, so I’m assuming that the conflict is with readers and expectations. In his sonnet, (13) "My Mistresses Eyes are Nothing Like the Sun," appears to be a poem that is insulting. The narrator notes all of these beautiful things like sun, snow, roses, perfume, music, and etc. As he is noting them, he compares them to his mistress whom we are clearly told does not measure up to any of these things. Even though he appears to speaking badly of his mistress he ends the poem by telling us, in a sense, "It doesn’t matter if she doesn’t meet your expectations of what is beautiful, I see who she is inside and out, and she is beautiful to me." As relationships grow and mature, the initial superficial aspects such become deeper and more meaningful. Clearly the speaker has realized his love for the mistress is based on deeper and more meaningful things. She’s not attractive maybe by societal standards, but it can be compared to the idea in Pope’s "The Rape of the Lock" that when beauty fades there better be intelligence, good character, and etc.

Explain the Poem " The Vagabond " by Robert Louis Stevenson.

Robert Louis Stevenson's (1850-1894)  poem "The Vagabond" celebrates the glorious freedom and independence of a tramp's life. All the four stanzas of "The Vagabond" repeatedly emphasize the unrestrained joys of an independent life in the outdoors free from all its hassles.

All that the vagabond is interested in is a life of unlimited travel. He wants to completely avoid all human associations - "nor a friend to know me." All that he wants to do is travel and travel from one place to another without any restraint whatsoever, not concerned about the weather or material wealth or possessions or anything else around him:

"Give the face of earth around,
And the road before me.
Wealth I ask not, hope nor love,
Nor a friend to know me;
All I ask, the heaven above
And the road below me."

He would like to spend his entire life in the outdoors even in the cold autumn and winter months with the sky as his roof:

Not to autumn will I yield,
Not to winter even!

Most importantly, he wishes for a completely carefree life and is not bothered or frightened about death at all:

Let the blow fall soon or late,
Let what will be o'er me.

Does eye color affect peripheral vision?

Yes.  The two types of light sensitive cells in the retina, rods and cones, determine what you see.   The rods are about 6 million in number, are color sensitive, are at the center of the retina in an area of the eye called the fovea and are employed when looking directly at an object.  The cones, on the other hand, number about 120 million, and are scattered throughout the retina.  Although they are not color sensitive, they are motion sensitive, and this would have had great adaptive value during the early days of humans, as the cones' color response would to help determine the ripeness of fruit.

Those with dark eyes tend to have pupils that widely dilate, allowing in more light to the retina, stimulating the rods, so peripheral vision is greater.  Those with light eyes tend to have pupils that don't dilate as much, restricting the amount of light to the retina, so the rods aren't as stimulated, so peripheral vision is lesser.

How does Edgar Allan Poe create a tone of horror and terror in "The Tell-Tale Heart"?

Edgar Allan Poe uses great characterization, and descriptive word choices in his short story "The Tell-Tale Heart," both of which contribute to the tone of horror and terror.  The narrator of the tale is clearly obsessed and slightly deranged; through using such a creepy and evil narrator, who is so frank about his insidious plans, the entire story is cast with a feeling of horror.  He admits openly that he had nothing against the old man except for his eye.  He finds joy in in the pursuit.  For example, consider this passage:

"To think that there I was, opening the door, little by little, and he not even to dream of my secret deeds or thoughts. I fairly chuckled at the idea"

He gloats in his plans, which casts a tone of horror over the story.  The way that he claims that he isn't mad, and then describes his awful deed in such minute detail is also very terrifying.  His patience, his glee at not being discovered, his manipulation of his poor victim--all of these things add to a really great character that aids in making the tone horrifying.

Poe also uses such great word choices and descriptions in order to create a feeling of horror.  For example, the old man's eye was "a pale blue eye with a film over it," which is a creepy image.  He uses great punctuation and repetition to describe how the narrator basically stalks the old man.  He says things like, "patiently, oh how patiently," and "--very, very slowly," "oh cautiously--oh so cautiously" and "--oh so gently."  All of these things increase the suspense.  The description of the old man's heart fading, the brutal description of how he got rid of the body--all of Poe's descriptions and word choices aid in creating a tone of horror.

I hope that those thoughts helped; good luck!

Where and what is the climax of "The Garden Party" by Katherine Mansfield?

A narrative climax can be an action-packed dramatic event, a quietly decisive event, a heightened emotional event, or a subtle psychological event. In addition, in short stories, the climax is often very close to the falling action and resolution, as is particularly noticeable in stories with surprise endings. Since all this is so, the climax of a story can sometimes be difficult to pinpoint. It is useful to think of the climax as the moment at which the resolution is predicted, the moment at which choices are restricted to the one remaining course of developments.

In "The Garden Party," the emotional and psychological climax to Laura's journey through her entrance into the realities of life beyond the garden occurs when she has been examining the young man's body and marveling over how peaceful and restful his lifeless body seems. During this experience, Laura has an awakening of understanding that leads her to exclaim "Forgive my hat." It is during this moment of awakening, this epiphany, this moment that leads her to be ashamed of frivolity and vanity in the face of life and death, that the climax occurs.

It is both an emotive and a psychological climax. Her narrated awakening and exclamation show that the ambiguity is gone, she has made her decisions about reality and other options for the course of developments are closed. she has been changed. The falling action and resolution occur as she leaves, meets her brother on the lane and tries to articulate her experience. She only articulates enough to say, "isn't life--," but he understands enough to agree, which is the resolution.

In "The Crucible" why does Parris try to stop Mary Warren's testimony in court?Act III.

Mary Warren is about to reveal information about Betty and Abigail that might shed a negative light on him and his role as a minister of God in the town.  Mary is going to tell the judges that they were caught dancing in the woods, and in order to not get in trouble for that act, lied about being prompted to do it by "witches."  Her continued testimony will assert that this entire time, Abby, Betty and all of the other girls have been lying, and that the accused women are not witches at all, just victims of scheming and evil girls who didn't want to get in trouble.

Here are the problems that Parris has with that testimony.  First of all, Betty is his daughter, and Abigail is his niece, who he's been caring for for years now.  If it gets out that they wer liars, and have been knowingly condemning people to their deaths, that will look REALLY bad for him.  First of all, it will be known that they were dancing in the woods and casting spells (all forbidden), and then it will be known that they were basically killing people in order to get out of trouble for it.  So far, the fancy judges know nothing about the dancing, and Parris holds an upstanding reputation with them.  If the judges discover the dancing, the judges, and the entire town, will turn against Parris and throw him out.

Secondly, Parris has been a key figure in all of the court proceedings that have occurred so far.  He has almost been like another judge, being helpful and questioning people, and giving the judges necessary background information on all of the people.  He has been instrumental in the accusation of many women.  So, if it is discovered that the women are innocent, and that the testifiers have been lying, it will mean that Parris too is guilty by association.  It will mean that he has been condemning innocent women to death also--not a good position to be in, for him.

I hope that those thoughts help to clarify Parris's position a bit; he wants to protect his reputation as a man of god who raises good children, and as a member of a court that has ousted witchcraft.  Mary's testimony will undermine all of that for him.  Good luck!

Is it correct to say that no force acts on a body at rest?Multiple Choice A.) No force acts on a body at rest; if at least one force acted on it...

The correct answer here is B.  To understand why, think about anything that's stationary right now, for example the screen on your computer.  You know that it cannot be true that no force is acting on it.  After all, every object on Earth is being acted on by gravity at every moment.

So how come some objects don't move if gravity is acting on them?  It's because there are other forces that cancel out the force of gravity.  In this case, it's something called the "normal force" which is the term for the force that opposes gravity.

What role did the northern capital play in the development of the New South?How did the rise of industry affect the lives of rural Southerners?...

I'm assuming that you're talking about the time after Reconstruction here.

During this time, the great majority of money invested in Southern industry came from the North.  This is not surprising given how much more industrial the North had been and how it had not been devastated by the war.

In a lot of ways, the attempt to industrialized didn't change the lives of rural people.  In 1900, two-thirds of all Southerners lived by farming, just as they had in 1870 (Henretta 2000, p. 555).

For the most part, African-Americans were (when employed in industry) kept to the more menial and low-paying jobs.  Industrialization wouldn't really help them until they moved North during and after WWI.

Message me if you have more questions about what I've said here.

A person is standing on a scale in a elevator accelerating downward. compare the reading on the scale to the person's true weight.Multiple Choice:...

The safe answer is C. See below why it could also be D:

The best way to think of weight is this: weight is the measurement of resistance of a given mass to falling.

On the earth, everything that has mass wants to fall. We call that gravity. When you stand on the ground, the ground prevents you from falling. If you stand on a scale that is on the ground, the gound stops the scale from falling, and the scale stops you from falling. It also measures how much it stops you from falling, and that is called your weight.

Now stand on a scale in an elevator. If the elevator is stationary, then the scale is prevented from falling by the floor of the elevator and the scale prevents you from falling and measures your "true" (at rest) weight. But, if the elevator begins to fall (accelerates downward) and you continue to stand on the scale, you will weigh less and less (as the elevator floor, you and the scale are falling at the same rate) until the whole system is in free fall at which point you, the elevator and the scale will weigh nothing at all.

Of course, if you should hit the ground at some point, you will all weigh a great deal more than you did when you started.

Why does the older waiter understand so well the old man's need for a cafe and what does the cafe represent for the two of them in Hemingway's "A...

Hemingway is presenting in "A Clean, Well-Lighted Place" a picture of existential nihilism and arguing against nihilism while acknowledging the truth of existentialism. The older waiter is the character who draws the picture for us, as a result, Hemingway has given him depth of understanding of life's experience with existentialist and nihilistic feelings.

Existentialism essentially says that life is meaningless and without order and each person has the necessity to create order and meaning on their own for their own lives in order to fend off ultimate hopelessness and despair that comes from being a thinking being in a senseless world. Nihilism goes further and essentially says that the end of everything is death and destruction therefore every attempt to create order and meaning is itself meaningless.

The older waiter understands the old man's need for the clean, well-lighted cafe because he (1) understands the old man's despair. The old man no longer has order and meaning in his life because his wife has already died, and we are to suppose that it was union with her that gave life order and meaning for the old man. The waiter understands that (2) now the only order the man can find is the order of externalities and the only meaning, that of some sort of activity and human exchange. These substitutes for meaningfulness don't work well for the old man as we at the start of the story.

The waiter understands these things so well because, as we learn in the latter portion of the story, he is having his own existential battle against nihilism. He feels life is meaningless and "nada." He feels the only order in life is that imposed by externalities, like cleanliness and good lighting in cafes. He finds his only meaning in (a) the human exchange that is possible because of keeping a clean well-lighted place open for others who are in need and in (b) the human exchange of thinking that others also suffer his form of "insomnia," thus he doesn't suffer alone.

The cafe represents to both of them an accessible option to fight against nihilism, against that final hopeless despair of non-meaning for a reasoning being: we can reason, yet we can find no meaning through our reasoning while we watch as all comes to death and destruction. 

"It is not only a question of youth and confidence although those things are very beautiful. Each night I am reluctant to close up because there may be some one who needs the cafe."

Why has the field of world history been growing?

The term "World History" is a bit of a misnomer.  Certainly, as other posts have indicated, its important to consider the history of other cultures and countries; doing so can only help our international situation today, but this consideration must be done in relation to one's own. Done properly, a profounder understanding of different cultures through time can occur. It is not to imply that one particular history is "true;" what it suggests is the ability of the student or scholar to appreciate all aspects of the time, place, and culture when events occurred. "World History" then, would be the understanding of events, or causes and effects, from multiple viewpoints.  But to have a viewpoint, one must start with one's own.

Studying the "History of the World" may be tacitly suggesting the abandonment of one's own cultural perspective in favor of another; however, to understand fully why we are where we are, inquiry must be made into causes and effects with a minimum of political correctness. The study of any history should concern itself with facts.  It should seek to establish what was true.

Why does Goldstein's influence never seem to decline? Why doesn't the government ever capture him?

Goldstein's influence never declines and the government never captures him because his existence is vital if the government is to survive.  In fact, it is not clear that Goldstein really exists.  He may, in fact, have been made up by the government.

So why does the government need him?  One of the main ways the government keeps society together is by having something for them all to hate.  This is Goldstein's function and it is one reason why Ingsoc is always at war.

Without a bad guy on whom to focus, the people might not be so united and they might start to think about how their lives aren't that great.  So the government needs Goldstein to keep the people from being discontented.

Discuss two characteristics of Romanticism in the Poetry of John Keats.

In this response to your question, I would like to comment on two characteristics of Romanticism in Keats's poetry:

1) Preponderance of imagination and feeling over intellect and

reason;

2) Sensuousness and pictorial quality.

I have chosen Keats's Ode to a Nightingale as the primary text for this dicussion.

The poem begins with an acute sensation of pain, paradoxically born of an excess of happiness induced by the song of the nightingale:

"My heart aches and a drowsy numbness

Pains my sense........."

As the feeling of pain subsides, the poet senses like gradually dissolving into forgetfulness:' one minute past, and Lethe-wards had sunk '.

What follows from stanza 2 is the poet's desire to migrate to the beautiful world of the nightingale: the typically romantic desire to escape into an ideal world away from the agonies of the lived existence. It's an imaginative excursion for which neither the cool wine long-preserved underground, nor the fresh & hot wine of the South of France would be an appropriate/adequate mode of transportation. Hence the poet at last opts for 'the viewless wings of Poesy', i.e. the visionary flight of imagination to be identified with the bird, and 'fade far' into the dim dark forest.

The nightingale symbolises a remote world of beauty, and only imagination and feeling can lead the poet to that world. However, the word 'forlorn' tolls like a bell in line 70 to make the poet conscious of the limits of imagination and the pendulating return to the lived reality.

Keats is unique for his sensuousness and pictorial quality. His desire for a life full of sensations is wonderfully verbalised in his imagery and phrasing. Consider, for example, the graphically detailed out drinking vessel that he desires to be filled with 'warm South'. Colourful visual details seem to mythologise the 'beaker': ' full of the true, the blushful Hippocrene', 'the beaded bubbles winking at the brim' and 'the purple-stained mouth'. Further on, as the poet enters the deep dark forest with the bird, the fragrant interior full of the odours of the musk-rose, the violets, the white hawthorns, and the eglantines is imagined as an 'embalmed darkness'.

You can also look for similar romantic motif of a journey from the real to the imaginative, as well as romantic sensuous images in such poems as Ode to Autumn, Ode on a Grecian Urn, Bright Star and so on.

In "The Crucible" what have the Puritans failed to learn from the persecution of their ancestors?

The Puritans fled to the new continent in order to escape the persecution that they were suffering in regards to how they wanted to practice their religion.  They felt that the Church of England was corrupt, and wanted a more pure and clean religion; they broke off and attempted to form their own church.  They were persecuted; they were treated as heretics, they were the victims of figurative "witchhunts."  They bemoaned the lack of tolerance, acceptance, and rationality shown by those who persecuted them.

Despite the fact that they were the victims of vicious prejudices and irrational fears, despite the fact that they were persecuted and attacked, they did not hesitate to turn and do the same thing to members of their own community.  They hunted people down, called them out, accused them of absurd and illogical claims, and even killed them for these paranoid beliefs.  They themselves did not take their own advice--they did not purify their intents, they did not treat people with respect, kindness and calm rationality.  Unfortunately, the sad instances that occurred in the Salem witch trials showed how human nature is indeed fallible, and subject to the power of greed, hatred, jealousy and envy.   I hope that those thoughts helped a bit; good luck!

Why does Europe deny that Muslims were behind the start of civilization in Europe and in all the west?

Shoot... I answered this before but I guess the computer ate my answer.

First, I completely agree with the second answer in that it emphasizes that European civilization started long before Islam arose.  For that reason, you can't say Muslims started European civilization.

Second, it is not clear to me that Europe (if there really is such a thing as all European opinion) denies that Muslims kept the learning of the Greeks and Romans alive during the Dark Ages.  Because they did this, Europeans were able to relearn what previous Europeans had known.

Third, I think one reason you wouldn't say Muslims are behind European civilization is the fact that European civilization and Muslim civilization (again, to the extent that these are monolithic things) have diverged so much in the years since the Muslims were expelled from Spain in 1492.  Therefore, European culture is so different now from most Islamic cultures that the connection is no longer very obvious.

Why did Jurgis and Ona decide upon chicago for their home?

Jurgis and Ona have to leave Lithuania because Ona's father has gone broke and the family is losing their farm.  So they decide to go to America.

Historically, many immigrants who come to America come to a place where they already know some people who have immigrated before them.  This phenomenon is called "chain migration."  It was for this reason that Jurgis and Ona chose Chicago.

Ona's stepmother had a brother named Jonas and Jonas had a friend who had moved to Chicago.  And for that reason, Jurgis and Ona went to Chicago too.

What does Greg Mortenson mean when he says the war on terrorism is a battle of "hearts and minds"?

When Greg Mortenson says the war on terrorism is a battle of "hearts and minds" he means we need to use both to stop terrorism. He has gone out to ask children, "How many of you have talked in great detail to your elders about depression or the civil war?" He said about 10% of hands went up, but when he asked in Afghanistan about 90% of hands went up. If we are not educated about our history we will keep making the same mistakes (mind).

Greg Mortenson started "Pennies for Peace" targeting women and children in Afghanistan. The pennies help fund schools in Afghanistan (heart). By educating people they can care for themselves and help each other. There are less deaths and people are much happier. The villagers are truly grateful for the school in Korphe. They even take their shoes off and walk 2 hours to get to school.

By helping others and becoming educated about issues affecting other countries, we can help eliminate terrorism. Those being educated will have the same advantages as we have. Greg Mortenson's has a great philosophy regarding having tea with strangers from other countries. He says,

"When you first arrive in a village you are a stranger, but once you share a meal and a cup of tea you have the chance to know more about them. By the time you have a second cup of tea with them you become friends, but if you really take the time to learn about their lives and you take the time to have a third cup of tea, then you are family and they will do anything for their family."

"Build a bridge; join us to them." Greg Mortenson

Describe Lady Macbeth's composure in scene 2 Act 2.

Right from the onset of Act II Scene 2 Lady macbeth is the perfect picture of composure and observation.Line 1:

That which has made them drunk has made me bold.             What  hath quenched them hath given me fire.

A composed mind is observant as well as analytical. Lady mMacbeth indicates both in lines 4-8:

The doors are open, and the surfeited grooms                      Do mock their charge with snores. I have drugged their          possets,

The poor display of work ethics of the grooms does not escape Lady Macbeth as she notes 'mock their charge with their snores'.                                                                  Composure causes Lady Macbeth to note  how like her own father Duncan looks as he sleeps.

Line 12:                             Had he not resembled                        My father as he slept, I had done't.

While Macbeth himself is wishy-washy in his observation that  'This is a sorry sight', Lady Macbeth is composed and quick to point out to him the foolishness of that kind of thinking in Line 25: 'A foolish thought to say a sorry sight'.

While Macbeth is lost in the mental agony of replaying the Murder scene, Lady macbeth is down to earth and observes just the barest physical facts in Line 29:                                 'There are two lodged together'.

Throughout the rest of the scene she is the voice of composure as she counses, comforts and even, at times, commands her husband.                                                   Line 33:  Consider it not so deeply                                     Line 36:  These deeds must not be thought after these ways;              so it will make us mad.                                         She even chastices her husband and ultimately takes direct control and command:                                                     Line 48:  You do unbend your noble strength to think                        So  brainsickly of things. Go get the water...          Her composure seems to increase in intensity even as his decreases until, almost in sheer disgust, she seems to take total control and has to get down to doing what needs to be done herself:                                                                Line 56:                                             Infirm of purpose!                 Give me the daggers. The sleeping and the dead                   are but pictures. 'Tis the eye of childhood                           that fears a painted devil.

Throughout the rest of the scene, due to her composure, the Lady Macbeth is indeed seen as the commander in chief as she issues direct orders and commands:                              Line 69:                           Retire we to our chambers          Line 73:  Get on your night gown                                       Line 74:                                            Be not lost                           So poorly in your thoughts.