Single Variable Calculus, Chapter 5, 5.4, Section 5.4, Problem 10

Determine the general indefinite integral $\displaystyle \int v\left( v^2 + 2 \right)^2 dv$

$
\begin{equation}
\begin{aligned}
\int v\left( v^2 + 2 \right)^2 dv &= \int v \left( v^4 + 4v^2 + 4 \right) dv\\
\\
\int v\left( v^2 + 2 \right)^2 dv &= \int \left( v^5 + 4v^3 + 4v \right) dv\\
\\
\int v\left( v^2 + 2 \right)^2 dv &= \int v^5 dv + 4 \int v^3 dv + 4 \int vdv\\
\\
\int v\left( v^2 + 2 \right)^2 dv &= \frac{v^{5 + 1}}{5+1} + 4 \left( \frac{v^{3+1}}{3+1} \right) + 4 \left( \frac{v^{1+1}}{1+1} \right) + C\\
\\
\int v\left( v^2 + 2 \right)^2 dv &= \frac{v^6}{6} + \cancel{4} \left( \frac{v^4}{\cancel{4}} \right) + 4 \left( \frac{v^2}{2} \right) + C \\
\\
\int v\left( v^2 + 2 \right)^2 dv &= \frac{v^6}{6} + v^4 + 2v^2 + C
\end{aligned}
\end{equation}
$

Summarize what Lenin believed and hoped to gain using the following primary source. https://www.marxists.org/archive/lenin/works/1901/witbd/i.htm

The text What Is To Be Done? captures the essential tension between the conservative and cooperative social democrats and the more radical, militantly hard-line Marxists. Lenin, largely responsible for spearheading the Russian Revolution in 1917, was squarely in the latter camp.
This text challenges the social democratic position and their claims of a "freedom of criticism" of the dogmas of Marxist ideology. For Lenin, this was deeply problematic, and he excoriated the social democrats for their denial of several points: a) the scientific basis of the inevitability of a materialist conception of history, b) the deep divisions between socialism and liberalism, and c) the inevitability of the theory of class struggle and the necessity for revolutionary action.
Much of what the social democrats believed existed within a framework of reform and the "evolution" of capitalism toward a more just and equitable system. Marx and his revolutionary descendants, Lenin foremost among them, felt that there was no place for compromise with the capitalists and that the only way forward was through revolutionary action. We also see the expression of this idea in the primary source, as Lenin openly mocks the "French socialists" for being co-opted into the capitalist system. In the last lines of the first section on the "freedom of criticism," Lenin asks that these so-called critics to not drag those committed to the purity of revolutionary struggle down into the "marsh" with them.
At the time of the publication of this text, Lenin was a member of the Russian Social-Democratic Labor Party, which was closely committed to Marxists revolutionary principles. In the last section of the text, Lenin highlights the importance of what he calls "theoretical struggle." He quotes a piece written in the 1870s by Engels directed at the German worker, emphasizing the importance of remaining theoretically vigilant in the face of co-optation by the forces of capitalism and liberal democracy. Part of this theoretical vigilance again involved the necessity to see Marxism in scientific terms—and to see the class struggle as a kind of historical inevitability destined to eventually end in communist revolution and the triumph of the proletariat. He ends by saying that the Russian proletariat faces a monumental struggle against a deeply entrenched and conservative government. Nonetheless, he believes that they would triumph.
Soon after publishing this text, Lenin's Bolshevik wing of the socialist movement separated from the Mensheviks over differences that on the surface appeared minor but which reflected deep divisions about Marx's ideas of historical materialism. What Is To Be Done? reflects Lenin's devoted and fanatical position on these ideas.
https://www.marxists.org/

What is a critical appreciation of The Portrait of a Lady by Henry James?

This novel by Henry James is an outstanding achievement for the way it focuses on a central character and locates her within a tightly structured narrative that does not seem contrived. Although James is a meticulous wordsmith, he uses language in service of the novel as a whole rather than to show off his talent. It is Isabel Archer who sustains the reader’s attention, not Henry James. Isabel is believable and memorable because James shows that her dilemma is consistent with her personality: it is Isabel’s innate goodness, not an innocence or naïveté that can be altered by experience, that makes her trust those who do not always have her best interests at heart. Similarly, the character of Gilbert Osmond seems irredeemably corrupt, but he is not a cartoon villain. Isabel does grow and develop through her experiences, but her shock upon learning how dreadfully she has been manipulated confirms the quality of her character.
While the novel is primarily a study of the characters’ interactions, it also stands out as a social commentary entirely suited to its time. The complicated relationships between Americans and Europeans, including the clash between materialism and culture, factor into Isabel’s opportunities and her decisions. James deftly handles the various plot lines an apparently promotes faith in the power of love; by not forcing an incongruous happy ending, he makes the novel’s resolution believable as Isabel confronts the extent of her loss.

The Portrait of a Lady by American author Henry James, published in 1881, is a highly regarded novel that explores the interactions between Americans and Europeans at the end of the nineteenth century.  Its protagonist, Isabel Archer, becomes an heiress and is victimized by a series of unscrupulous men and women on both sides of the Atlantic.  She yearns for independence but nonetheless chooses a traditional role that ultimately does not bring her much happiness.  
Critics laud Henry's work generally and this novel in particular because it captures the tensions between social classes in the new world and the old and because of the psychological depth of its characters.  Isabel's characterization is realistic; she is entirely human and embodies the contradictions present in all of us. She makes life-altering mistakes and ruinous decisions, yet lives out her life with dignity and insists on finding her own way through life, imperfectly as that is. 

How does Waythorn portray himself in terms of his temperament and personality in Edith Wharton's short story "The Other Two"?

In Edith Wharton's short story "The Other Two," the protagonist Waythorn describes himself as having a rather stormy temperament, which means he is easily upset. Early in the story, he also refers to his sensibilities as "unstable" and later, after he begins feeling upset by the presence of Alice's ex-husbands, calls his sensibilities "womanly." The word sensibilities refers to the ways in which our emotions respond to the things that go on around us; people with heightened sensibilities feel hurt very easily (Random House Dictionary). We particularly learn about Waythorn's stormy temperament and heightened sensibilities when he compares himself to his new bride, saying that her calmness and happy disposition were such a stark contrast to his own emotions that he found her attitude attractive:

His own life had been a gray one, from temperament rather than circumstance, and he had been drawn to [Alice] by the unperturbed gayety which kept her fresh and elastic.

Waythorn is also a very trusting and self-sacrificial man. We see his trusting nature when he agrees to let Alice's first husband, Haskett, visit their ill daughter at Waythorn's home. We see his self-sacrificial nature when he agrees to assist her second ex-husband, Varick, with a business matter. The problem is, the more he exposes himself to her ex-husbands, the more he sees that they aren't at all the men she had described them to be, which makes him begin to question her trustworthiness. The more he has these worries, the more he regrets having what he calls the "womanish sensibility which made him suffer so acutely from the grotesque chances of life."

What is the relationship between religion, spirituality, and theater from the early Egyptian culture through the Greek and Roman cultures? What is the relationship between religion, spirituality, and theater from the trope through the variety of secular forms of theater in the Middle Ages?

Historians recognize the ancient Egyptians as the first known society to develop drama according to our definition of drama: a performance that has "plot, characters, [and] stage directions" ("Theatre History—Beginning through Renaissance," Southeastern Louisiana University). In the city of Edfu, archeologists have found texts depicting a religious performance for the festival of Horus, god of war, law, and rulers. The drama includes the carrying of the statue of Hathor from the temple in the town of Dendera to the festival in Edfu. The drama also has roles for numerous performers, additional props, backdrops, and dances depicting holy ceremonies. One aspect of the play included the ceremonial conquering of the god Seth, god of violence, disorder, storms, and other troubles. The god Seth was symbolized by a hippopotamus killed by a priest or by the king enacting the role of Horus, who conquers Seth with law and order.
Archeologists are also aware Egyptians performed morality plays and reenactments of creation myths. One example of a morality play concerns the story of Isis and the seven scorpions a story in which seven scorpions charged with protecting Isis poisoned the child of a rich woman who refused to give Isis, disguised as a beggar woman, shelter, whereas a poor fisherwoman gladly did; feeling the revenge her scorpions took was unjust, however, Isis commanded the poison to leave the child, leaving the rich woman to feel remorseful and donate all of her possessions to the poor fisherwoman. Hence, as we can see, the Egyptians used drama to capture their religious and moral beliefs.Similarly, ancient Greek dramas were performed during the festivals of Dionysus, god of spring time, rejuvenation, and wine. He symbolized mankind "being impelled onwards by a joy within him that he cannot explain" (Mills, D., Ch. XIV, The Book of the Ancient Greeks). Ancient Greek drama started as recounting stories of Dionysus to pay him honor, but performances of stories about other gods soon evolved. Greek drama also evolved from being performed as stories relayed in songs sung only by a chorus to being sung by a dominant speaker, with the chorus having a smaller role. Drama continued to evolve to being stories acted out by performers, with the chorus having an even smaller role. Though the chorus's role shrank, the chorus's words remained a reminder of the power of the gods. Ancient Greek drama also evolved to depict Greek legends, such as the Fall of Troy, and to include moral lessons ("Ancient Greek Theatre," Northern Virginia Community College). Moral lessons were captured in the portrayal of the gods, whom Greeks viewed as having human characteristics of bearing grudges, being jealous, and fighting with each other ("Ancient Greek Theatre"). Moral lessons were additionally portrayed in mankind's battles against humanity's flawed nature and destinies laid out by the gods. Yet, no matter how much ancient Greek drama evolved, it was still always performed during the festivals of Dionysus, in the theater of Dionysus, and in worship of Dionysus. All performances were also followed by a sacrifice to Dionysus (Mills). Hence, like the ancient Egyptians, the dramas performed by the ancient Greeks were also directly linked to their religious and moral beliefs.
https://www2.southeastern.edu/Academics/Faculty/cfrederic/TheatreHistoryThruRenaissance.htm

What is Virgil's advice to Dante at the Gate of Hell?

Virgil tells Dante that he has to stop being scared and put aside any lack of belief. He has to accept that what he sees inside Hell is what is meant to happen by the will of God.
Dante is frightened when he sees the sign on the gates of Hell that ends with, "Abandon All Hope Ye Who Enter Here." The sign indicates that Hell was created by God; the people suffering inside are getting their earned reward for their behavior. Dante tells Virgil that he has difficulty understanding it.
Virgil says:

Here all suspicion needs must be abandoned,All cowardice must needs be here extinct.
We to the place have come, where I have told theeThou shalt behold the people dolorousWho have foregone the good of intellect.

He is explaining to Dante that he must be brave and accept what he sees within. The people will be miserable and suffering, but that is what is supposed to happen. Virgil then takes Dante's hand and comforts him as they go in. 

Calculus of a Single Variable, Chapter 9, 9.7, Section 9.7, Problem 15

Maclaurin series is a special case of Taylor series that is centered at a=0. The expansion of the function about 0 follows the formula:
f(x)=sum_(n=0)^oo (f^n(0))/(n!) x^n
or
f(x)= f(0)+(f'(0)x)/(1!)+(f^2(0))/(2!)x^2+(f^3(0))/(3!)x^3+(f^4(0))/(4!)x^4 +...
To determine the Maclaurin polynomial of degree n=4 for the given function f(x)=e^(-x/2) , we may apply the formula for Maclaurin series..
To list f^n(x) , we may apply derivative formula for exponential function: d/(dx) e^u = e^u * (du)/(dx) .
Let u =-x/2 then (du)/(dx)= -1/2
Applying the values on the derivative formula for exponential function, we get:
d/(dx) e^(-x/2) = e^(-x/2) *(-1/2)
= -e^(-x/2)/2 or -1/2e^(-x/2)
Applying d/(dx) e^(-x/2)= -e^(-x/2)/2 for each f^n(x) , we get:
f'(x) = d/(dx) e^(-x/2)
=-1/2e^(-x/2)
f^2(x) = d/(dx) (-1/2e^(-x/2))
=-1/2 *d/(dx) e^(-x/2)
=-1/2 *(-1/2e^(-x/2))
=1/4e^(-x/2)
f^3(x) = d/(dx) (1/4e^(-x/2))
=1/4 *d/(dx) e^(-x/2)
=1/4 *(-1/2e^(-x/2))
=-1/8e^(-x/2)
f^4(x) = d/(dx) (-1/8e^(-x/2))
=-1/8 *d/(dx) e^(-x/2)
=-1/8 *(-1/2e^(-x/2))
=1/16e^(-x/2)
Plug-in x=0 on each f^n(x) , we get:
f(0)=e^(-0/2) = 1
f'(0)=-1/2e^(-0/2) = -1/2
f^2(0)=1/4e^(-0/2)=1/4
f^3(0)=-1/8e^(-0/2)=-1/8
f^4(0)=1/16e^(-0/2)=1/16
Note: e ^(-0/2) = e^0 =1 .
Plug-in the values on the formula for Maclaurin series, we get:
f(x)=sum_(n=0)^4 (f^n(0))/(n!) x^n
= 1+(-1/2)/(1!)x+(1/4)/(2!)x^2+(-1/8)/(3!)x^3+(1/16)/(4!)x^4
=1-1/2x+1/8x^2-1/48x^3+1/384x^4
The Maclaurin polynomial of degree n=4 for the given function f(x)=e^(-x/2) will be:
P_4(x)=1-1/2x+1/8x^2-1/48x^3+1/384x^4

Single Variable Calculus, Chapter 7, 7.2-2, Section 7.2-2, Problem 24

Differentiate $\displaystyle f(x) = \frac{1 + \ln x}{1 - \ln x}$


$
\begin{equation}
\begin{aligned}

\text{if } f(x) =& \frac{1 + \ln x}{1 - \ln x}, \text{ then by using Quotient Rule}
\\
\\
f'(x) =& \frac{\displaystyle (1 - \ln x) \cdot \frac{d}{dx} (1 + \ln x) - (1 + \ln x) \cdot \frac{d}{dx} (1 - \ln x) }{(1 - \ln x)^2}
\\
\\
f'(x) =& \frac{\displaystyle (1 - \ln x) \left( \frac{1}{x} \right) - (1 + \ln x) \left( \frac{-1}{x} \right)}{(1 - \ln x)^2}
\\
\\
f'(x) =& \frac{\displaystyle \frac{1}{x} (1 - \ln x + 1 + \ln x) }{(1 - \ln x)^2}
\\
\\
f'(x) =& \frac{2}{x(1 - \ln x)^2}

\end{aligned}
\end{equation}
$

What are the main literary themes in While I Was Gone?

The main themes of While I Was Gone are love, selfishness, and obsession. Sue Miller explores these themes through the story of Jo Becker, a wife and mother who becomes interested in a man from her past.
Love is a major theme in the novel. Jo loves her life and husband; she admits that things are perfect. That, however, doesn't keep her from feeling restless and unhappy. While she tries to tell herself that she should be grateful, it doesn't change her feelings. She wants something different, and she's not sure what that is. By the end of the novel, she can recognize that real love is what she has with Daniel, her husband—but by that point, it's almost too late to sustain it, because of her betrayal. Ultimately, though, love prevails, and they're working toward a strong and recovered marriage.
Selfishness is another theme and one that eventually corrupts the Becker family. Jo once left her first husband and lived a life as someone different. Once she reconnects with Eli, one of the men she lived with then, she begins to disconnect from her husband. As she grows increasingly close with Eli, she ignores his insults to her husband and their way of life. Only the revelation that he was responsible for the murder of one of her friends keeps her from sleeping with him.
Obsession is also explored in the novel. The contrast between the obsession that Jo feels for Eli and the love she feels for Daniel is shown by how they treat each other. Obsession runs hot, flares up, and can fade fast. It's new and exciting. The kind of love Jo has in her marriage is steady and unyielding. It isn't exciting, but it does last. The strength of her obsession, though, is so strong that she almost loses Daniel.

What are two incidents that show Baldeo's and Tembu's responsibility in "The Tiger in the Tunnel" by Ruskin Bond?

Baldeo is responsible because he takes up another job in order to provide for his family. Farming in the small rice fields barely produced enough for their sustenance, and the job as a railway station watchman was a good opportunity for Baldeo to earn some income.
Baldeo shows responsibility because he performs his duties diligently. Despite working cold nights and facing the threat of dangerous wild animals, Baldeo always reported to work and performed his task. He ventured out at night to ensure the signal lamp was alight.
Tembu shows responsibility by escorting his father to work at the station. He later takes up his father’s position after his father is killed by the marauding tiger. He understands that the job is important both to his family and the railway company.
Tembu is also responsible because he helps with the chores back home.

Baldeo carrying out his job as the night watchman and Tembu continuing his father's work represent an embrace of responsibility in "The Tiger in the Tunnel."
When Baldeo has to report for his duty as the night watchman, it is very cold. Baldeo leaves "the warm corner" of his hut in order to go out to a station "in name only."  As he walks to his job, he reflects on the dangers that await him.  He was walking through a placed filled with "eeriness." This feeling was enhanced by the "the wild animals he might encounter," such as "the man-eater" tiger.  Baldeo does not succumb to these fears.  He embraces the discomfort of the setting because he knows he has to do his job.
Tembu shows responsibility in continuing his father's work.  Tembu does not shy away from assuming responsibility for his family.  He understands that "life had to go on" despite the pain he feels over his father's death. Tembu recognizes that "a living had to be made and all the responsibility now fell" on his shoulders.  While he is filled with sadness, Tembu resumes his father's duties and becomes the new night watchman.  He carries his father's axe to further enhance the sense of responsibility he feels as the family's primary earner.  
Both father and son display responsibility in how they set aside personal feelings in order to do their jobs.

College Algebra, Chapter 10, Review Exercises, Section Review Exercises, Problem 24

If two balls are drawn from the jar in Exercise 23, find the probability of the given event.

a.) Both balls are red.

The probability that the first red ball is picked is $\displaystyle \frac{10}{15}$, then the probability that first and second red ball is picked is $\displaystyle \frac{10}{15} \times \frac{9}{14} = \frac{3}{7}$

b.) One ball is white and the other is red.

In this case, we must get the probability that the first ball picked is white and second is red or the probability that first ball picked is red and the second is white. Thus, we have

$\displaystyle \frac{5}{15} \times \frac{10}{14} + \frac{10}{15} \times \frac{5}{14} = \frac{10}{21}$

c.) At least one ball is red.

To solve this more easily, we can apply the complement to the probability that two white balls are picked. This gives

$\displaystyle 1 - \left( \frac{5}{15} \times \frac{4}{14} \right)= \frac{19}{21}$

d.) Both balls are red and even-numbered.

There are ten out of fifteen balls that are color red in which the numbers $0,2,4,6$ and $8$ are even. Thus, if the probability that first ball is red and even numbered is $\displaystyle \frac{5}{15}$. Then, the probability that the first and second ball is red and even numbered is $\displaystyle \frac{5}{15} \times \frac{4}{14} = \frac{2}{21}$

e.) Both balls are white and odd-numbered.

There are five out of fifteen balls that are color white in which the numbers $1$ and $3$ are odd. Thus, if the probability that first ball is white and odd numbered is $\displaystyle \frac{2}{15}$, then the probability that the first and second ball is white and odd numbered is $\displaystyle \frac{2}{15} \times \frac{1}{14} = \frac{2}{210} = \frac{1}{105}$

How is imperialism depicted in Cranford and in which chapters?

Cranford, by Elizabeth Gaskell, is set in an English village ostensibly far away from anywhere. It is especially interesting to note, then, that even in remote Cranford, the effects of the expanding British Empire can be seen, suggesting that its impact was far-reaching across the whole of Britain. At the beginning of the novel (Chapter 1) Gaskell jokes that the village is made up of "Amazons," with the absent men attached to their "regiments" or "ships." In the 1850s, these regiments would have been stationed in far-off corners of the Empire, and the ships heading East. Already the landscape of the village has been affected by the existence of Empire.
Elsewhere in the novel, small elements of the remote East become objects of fashion, as the women debate whether turbans are in fashion (Chapter 9) and delight in the entertainments of Signor Brunoni, a magician who claims to have performed for the King of Delhi and the Raja of Oude. Meanwhile, Mr Peter, who has traveled widely in India, relates tales of his time there for the ladies' entertainment: "He was telling her of his travels in India, and describing the wonderful height of the Himalaya mountains: one touch after another added to their size, and each exceeded the former in absurdity; but Mrs Jamieson really enjoyed all in perfect good faith."
In Cranford, then, we see Empire pervading even the most remote parts of English society, even if there is a lack of understanding of the cultures being appropriated and the people in the colonies. The Empire is seemingly out of reach of the ladies of Cranford, but as an English village, it is still distinctly part of the imperialist culture of Britain, which is altering the composition, fashions and behavior of the whole country.

What is the final result of the weathering process?

To some extent, the immediate and simple end of the weathering process is the production of sediment.  By definition, weathering is the breaking down or dissolving of rocks and minerals on Earths surface.  It can be done mechanically or chemically by agents such as water, ice, acids, salt, plants, animals, and/or changes in temperature. 
However, weathering is a part of the entire rock cycle.  Being a cycle means that there is not really a true end or beginning.  Weathering is simply a stage in the overall process that leads to something else.  Rock is weathered into sediments which are then carried somewhere else because of erosion.  These eroded sediments are then deposited somewhere.  Weathering, erosion, and deposition will continue year after year, and the deposited sediments will eventually be compacted and cemented together to form a sedimentary rock.  That rock can be turned into a metamorphic rock or igneous rock through other processes, or it could be subjected to weathering all over again and turned back into sediments. 
https://uh.edu/~geos6g/1330/weath.html

https://www.nationalgeographic.org/encyclopedia/weathering/

Intermediate Algebra, Chapter 3, 3.1, Section 3.1, Problem 54

Determine the $x$- and $y$-intercepts. Then graph the equation $4y = 3x$.

To find $x$-intercept, we set $y = 0$


$
\begin{equation}
\begin{aligned}

4(0) =& 3x \\
0 =& 3x \\
0 =& x

\end{aligned}
\end{equation}
$


To find $y$-intercept, we set $x = 0$


$
\begin{equation}
\begin{aligned}

4y =& 3(0) \\
4y =& 0 \\
y =& 0

\end{aligned}
\end{equation}
$


Both intercepts are the same point, $(0,0)$ which means that the graph passes through the origin. To find another point, choose any nonzero number for $x$ or $y$ and solve for the other variable. We choose $x = 4$.


$
\begin{equation}
\begin{aligned}

4y =& 3x \\
4y =& 3(4) \\
4y =& 12 \\
y =& 3

\end{aligned}
\end{equation}
$


This gives to ordered pair $(4,3)$. So the graph is

What are some level 2 questions for "The Earth Men" in The Martian Chronicles by Ray Bradbury ?

I assume that you are talking about Arthur Costa's levels of questioning, as discussed in works like Developing Minds: A Resource Book for Teaching Thinking (see third link below).
According to Costa's ideas, a level one question asks students to retrieve facts or details from a text. The student doesn't have to interpret anything. The student is merely asked to find the desired information. Here are examples of a level one question:
"What does Mrs. Ttt say the name of her planet is?"
"Who kills the captain?"
Level two questions ask students to make sense of the information that they gather from the text. These questions often include words like why or how. They might ask the reader to analyze, compare, contrast, infer, or explain. 
They differ from level three questions in that they don't ask students to make generalizations, judgments, or evaluations that force them to go beyond the text. They don't ask the reader to speculate, hypothesize, or predict (as would a level three question like: "How might the story have ended if Mr. Xxx had been accompanied by another Martian? Would it still have ended in murder and suicide? Explain your reasoning...").
So you're looking for questions that ask students to make inferences about what's said or depicted, but stop short of requiring them to apply the information to new or hypothetical situations.
Here are some examples of such level two questions:
"How does Mrs. Ttt's reaction to the astronauts differ from what the captain believes is appropriate?"
"The captain infers that he and his men are in an insane asylum. What lines of evidence lead him to conclude this?"
"Why isn't Mr. Xxx's visit to the ship enough to convince him that it is real?"
https://archive.org/details/ERIC_ED332166

What was Tecumseh's role in the creation of his new Indian alliance?

Tecumseh was the chief of the Shawnee tribe in what is now central Ohio during the early 1800s. He was greatly concerned about the incursions of white settlers into Native American lands west of the Appalachian Mountains. Tecumseh felt that no single tribe could withstand the settlers and the government of the United States. Therefore, he believed that it was necessary for the tribes between the Appalachians and the Mississippi River to form an alliance. This way they would be able to stand together and negotiate as a united front with the American government.
Tecumseh felt that the native people's reliance on American goods, such as tools, alcohol, cookware, and weapons created a reliance on white settlers and traders. He, along with his brother Tenskwatawa, campaigned hard to rid the tribes in his confederation of this reliance. This effort was met with limited success, especially in the southern areas of Georgia, Mississippi, and Tennesee. The tribes in these areas were less willing to sever trade relations with whites. Therefore, the confederation never took hold in that region.
Tecumseh and Tenskwatawa had better luck in Indiana, Ohio, and Kentucky where a number of tribes decided to unite with them to make a stand against white incursions into the area. Many of Tecumseh's followers gathered at Prophetstown in the Indiana Territory. Tecumseh's confederation never gained the popularity he hoped it would, though. Many tribes were reluctant to abandon their trading relationships with white merchants and were increasingly outnumbered by the settlers.
In 1811, a military force under William Henry Harrison attacked the Native Americans at Prophetstown in an effort to destroy the alliance. As a result, Tecumseh joined forces with the British in the War of 1812. The members of his confederation aided the British during the conflict. Tecumseh was killed at the Battle of the Thames in 1813. After the war, his confederation soon crumbled without his leadership.

Describe Boxer's character and personality. How do the pigs treat Boxer?

In Orwell's allegory about the rise of totalitarianism, Boxer is representative of industrial and agricultural workers who were exploited by the capitalist class. He is originally used for his strength and size by Farmer Jones. After the revolution, encouraged by Old Major (Marx or Lenin), Boxer becomes one of the most important animals on the farm because of his brute force and his valor during the Battle of the Windmill. While kind and soft spoken, Boxer is also tremendously loyal to the pigs who take over the day to day running of the farm. Unfortunately, Boxer is not very smart, and he never quite figures out that the pigs are taking advantage of his work. Throughout the novel, the donkey Benjamin complains and warns Boxer against the tactics of the pigs, yet Boxer will only reply by saying he will "work harder." His work and loyalty to the cause is an inspiration to the other animals on the farm.
Throughout the novel, Boxer is committed to making the farm successful and will not take a day off from rebuilding the windmill, even after he is crippled with a split hoof. When Boxer becomes physically unable to do the heavy work anymore, the pigs assure him that he will be taken care of, and Boxer appears to be looking forward to retirement and spending "peaceful days...in the corner of the big pasture."
The pigs claim they will send Boxer to the hospital in Willingdon where he could be treated "more satisfactorily than can be done on the farm." On the day that he is to go off to the hospital, a van shows up on the farm. Only Benjamin realizes what is happening when he reads the side of the van, which says, "Alfred Simmonds, Horse Slaughterer and Glue Boiler in Willingdon. Dealer in Hides and Bone Meal. Kennels Supplied." In the end, then, the pigs sell Boxer to the knacker so they can buy alcohol. It is a great betrayal of the hardest worker on the farm. It is representative of the Stalinist purges in the Soviet Union when farmers and workers died by the millions because of the communist government's policies.

Boxer is a massive horse who is the strongest, most dependable animal on the farm. After hearing about Animalism, Boxer becomes its biggest supporter and plays an important role in the Battle of Cowshed. Boxer's tireless work ethic is a major reason for the farm's success. He even wakes up early to begin working and selflessly puts the farm's best interests before his well-being. Despite his strength and usefulness, Boxer is extremely unintelligent. He cannot remember the alphabet after the letter D, and is naive to Napoleon's tyranny. His answer to every problem is "I will work harder," and Boxer believes everything that Napoleon says. The pigs take advantage of Boxer's loyalty and strength by overworking him and cutting his food rations. They view Boxer as simply a tool who they send away to die when he is no longer useful. Boxer's character is symbolic of the male working class and Russian peasants. 

Despite Las Casas’s vigorous defense of the Indians, what prejudices and assumptions of his own did he bring to bear in this work?

Bartolomé de Las Casas immigrated to the island of Hispaniola with his father in 1502, and in 1510 he became the first priest to be ordained in the New World. Later, in 1523, he joined the Dominican order of monks. Although he received the official title of "Protector of the Indians" and wrote several volumes about the atrocities that Indians suffered at the hands of colonists, when Las Casas landed in the Americas, he brought with him the same prejudices and assumptions that were common among his countrymen.
When he first arrived, Las Casas took part in slave raids and military expeditions against the Indians. For his service to the Spanish crown, Las Casas was awarded an encomienda—or a land grant that included Indian slaves. So, for a time, he was a slave owner. While he later gave up his slaves, he did not free them but rather returned them to the governor.
After this, he went to Spain and argued against the abuse of the Indian people. When he returned to the New World as "Protector of the Indians" and Bishop of Chaipas, which is now a part of Mexico, he fought fervently for better treatment for the Indians. In some of his writings, though, he promoted the use of Africans rather than Indians as slaves. Thus, for a time, he was an advocate of the Atlantic slave trade.
We can see that, despite the reforms that he fought for to better the treatment of indigenous peoples by the Spanish, he was subject to common prejudices and assumptions—first, in the owning of Indian slaves, and later in his advocacy for the use of Africans for enslaved labor.
https://www.college.columbia.edu/core/content/bartolom%C3%A9-de-las-casas

One of the most basic prejudices in A Brief History of the Devastation of the Indies is that of the "noble savage." Las Casas refers to Native peoples as "gentle sheep" and "guileless people" who were devastated and abused by the Spaniards, who behaved like "wolves." This was a common trope in European writing at the time—contrasting the supposedly "peaceable, humble, and meek" Indians with the corrupt Spaniards, who Las Casas repeatedly describes as "Christians" to underscore their hypocrisy. Of course, this is what we would call today a "positive stereotype," but it had the effect of dehumanizing Natives, effacing their history and their culture. While Las Casas had a sincerely humanitarian motive in decrying the abuses they suffered, he also hoped to convert them to Christianity and was keenly aware that the abuses and atrocities perpetuated by Spanish invaders made his task more difficult. Las Casas also initially favored the importation of African slaves as a substitute for enslaving Native peoples. While he eventually abandoned this position, his argument that the area natives were not worthy of being enslaved was certainly used to support the turn to Africa for slave labor. From a cultural perspective as well, Las Casas's efforts to convert Indian peoples to Catholicism portended the destruction of their own religion.
http://nationalhumanitiescenter.org/pds/amerbegin/contact/text7/casas_destruction.pdf

Bartolome de las Casas, a Spanish Catholic priest, spent most of his life in the Americas. He was appalled at the treatment the American Indians received at the hands of the Europeans, who thought they were nothing more than savages to be enslaved. Las Casas made it his mission to defend the natives from this prejudice, oppression, and cruelty.
He had his own agenda for doing so, though. Although he advocated for the natives’ right to fair treatment and freedom, he didn’t recognize them as a civilized culture in their own right or consider their spiritual beliefs to be valid. Like most Catholics and other Christians at the time, las Casas assumed that his own religion was the only true faith and that once the natives received the Christian message, “natural law” would take its course, and they would willingly convert. Las Casas thought that it was his God-given duty to introduce the natives to the Catholic faith. He reasoned that they were more likely to be receptive to the Bible’s teachings if the Europeans introduced Christianity to them peacefully and respectfully, rather than trying to force conversion upon them.
“The Indian race is not that barbaric, nor are they dull witted or stupid, but they are easy to teach and very talented in learning all the liberal arts, and very ready to accept, honor, and observe the Christian religion and correct their sins (as experience has taught) once priests have introduced them to the sacred mysteries and taught them the word of God.”—Bartolome de las Casas, In Defense of the Indians
The website below offers a lot of information about las Casas’s life, opinions, and essays. 
http://www.lascasas.org/

Single Variable Calculus, Chapter 1, 1.1, Section 1.1, Problem 18

Express the horizontal distance x traveled by the airplane and its altitude y as a function of time in minutes when an airplane takes off from an airport and lands an hour later at another airport, 400 miles away.



a.) Sketch a graph of horizontal distance x as a function of time








The figure shows that the horizontal velocity of the air plane is constant except at the take off and landing.




b.) Sketch a graph of altitude y as a function of time









Let's say that the height where the air plane become steady after take off is 20,000 feet and it will remain the same altitude throughout the journey except for the take off and landing.




c.) Sketch a possible graph of the ground speed









The ground speed is the horizontal velocity that indicates the speed of the air plane relative to the ground. Just like the graph in part \textbf{(a)} the horizontal velocity is constant except for take off and landing.




d.) Sketch a possible graph of the vertical velocity








Velocity is a vector quantity , it depends on the direction and it can be either positive or negative. The vertical velocity of the plane during take off is positive and increasing because the plane is ascending. As the plane becomes steady or it already reacted its cruising height, the vertical velocity decreases to zero and it remains zero during the entire duration where the plane is steady. As the plane is landing, its vertical velocity become negative and opposite as it was during take off.

Why does Connie go off with Arnold Friend

In Joyce Carol Oat's "Where Are You Going, Where Have You Been?," Arnold seems to have some kind of hypnotic control over Connie. It is not so much that he does something purposeful as if literally waving something shiny before her eyes, but the pull he has is almost palpable.
Her first impression of him at the restaurant includes his car:

...a convertible jalopy painted gold.

When he arrives at her house, the author describes Arnold's speech:

...he spoke in a fast bright monotone.

Arnold and his friend are both wearing sunglasses, but Arnold's glasses are noteworthy:

The driver's glasses were metallic and mirrored everything in miniature.

Like a child drawn to bright and shiny things, Arnold's car, glasses and even his speech seem to create a wave that Connie is unsuspectingly swept into.
There is more to this boy than Connie could imagine, and nothing for which she is prepared. A sense of something unnatural, even supernatural, is introduced—something beyond the natural world as she knows it. 

...the tiny metallic world in his glasses slowing down like gelatin hardening...

Talking to her as he rests against his car, he makes his "sign" in the air as if over her— that of an "X."

After his hand fell back to his side the X was still in the air, almost invisible.

Soon, a physical threat slowly comes to light. Arnold has already informed her that he knows where her family is and that she is home alone. Then he begins to lose the gloss, the shine:

"Maybe you better step out here," he said, and this last was in a different voice. It was a little flatter...

The more Connie looks at and listens to Arnold, the more upset she gets: dizzy and fearful. He seems to have appeared out of nowhere before coming up the drive; her vision blurs. His voice is lilting, almost like a chant.
When Connie refuses to come out and threatens to call the police, Arnold becomes more menacing. Eventually he says:

...if you don't come out we're gonna wait till your people come home and then they're all going to get it.

His message is clear.
When Arnold first arrives, Connie toys with the idea of being flattered or annoyed. For her, inexperienced as she is, it is a game. However, one can assume that as soon as Arnold first saw her at the drive-in restaurant her fate was sealed. The reader learns that he has been watching her since that night. By the time he arrives at her home, it's only a matter of time before she will leave with him. Like the spell a snake put its prey under, Arnold weaves his own spell. She realizes there is no escape for her. Her fear turns into emptiness and she listens as he gives her instructions. As she opens the door, it's almost as if she has an out-of-body experience (like someone who has died), watching herself move out into the sunlight and into Arnold's expectant and dreadful presence. 

What clue does the narrator's repeated lament "What can one do" give us about her personality?

At the beginning of the short story, the narrator mentions that her husband is a respected physician, who believes that she is suffering from "temporary nervous depression" and that she has a tendency to become slightly hysterical. Her husband's brother is also a physician, who agrees that she is simply suffering from distress and needs time to relax in order to recover. The narrator disagrees with her husband's assessment, but she is powerless to affect her situation and current circumstances. She also mentions that her husband requires her to remain in the upstairs bedroom of an old country home and forbids her from exercising or socializing with others, against her will. The narrator once again expresses her disapproval before submissively saying, "But what is one to do?" (Stetson, 2). The narrator repeats the question several times, which emphasizes her powerless, helpless situation.
Not only is the narrator a woman, therefore having fewer individual rights than men at the time, she is also not considered an "expert" in the field of health like her husband. She is portrayed as a marginalized member of society, who is not taken seriously and lacks independence. The fact that she completely disagrees with her husband but is powerless to change her situation warrants her submissive response. Her response indicates that she is obedient, tired, and submissive. She is not willing to argue and fight with her husband, which is why she resigns and accepts his decisions. The narrator is forced to remain secluded in the upstairs bedroom and gradually loses her mind.

In "The Yellow Wallpaper," the narrator's repeated lament of "what can one do?" initially suggests a submissive personality, as she attempts to adhere to the medical advice of her doctor husband. The idea of openly defying or arguing with him to advocate for herself is not an option, which is indicative both of personality and of the time period in which the story was written. Although she is compliant in all direct interactions with her husband, she is reluctant to fully submit to his wishes and suggests that the rest cure is hurting, rather than healing her condition. Her choice to keep a journal indicates a rebellious aspect of her personality, since she is forbidden to write until her condition is cured.
As the story progresses, the narrator no longer utters the question of what one can do; seclusion, inactivity, and boredom drive her to action as she fully departs from reality. Her initial meek dismay at being shut in the nursery is replaced with a sense of power and autonomy as she breaks free of the imaginary bars that imprisoned her in the yellow wallpaper. Her independence manifests itself in a mental breakdown, and although she has clearly gone mad at the conclusion of the story, she has also gained freedom. The absence of her earlier lament demonstrates a strong desire to act and be heard; she simply does not possess a meek personality that can be appeased by passively waiting to be saved.

Calculus of a Single Variable, Chapter 5, 5.6, Section 5.6, Problem 51

The derivative of y in terms of x is denoted by (dy)/(dx) or y’ .
For the given problem: y = 1/2(1/2ln((x+1)/(x-1)) +arctan(x)) , we may apply the basic differentiation property: d/(dx) c*f(x) = c d/(dx) f(x) .
d/(dx)y =d/(dx) 1/2[1/2ln((x+1)/(x-1)) +arctan(x)]
y'=1/2d/(dx) [1/2ln((x+1)/(x-1)) +arctan(x)]
Apply the basic differentiation property: d/(dx) (u+v) = d/(dx) (u) + d/(dx) (v)
y'=1/2[d/(dx) (1/2ln((x+1)/(x-1))) +d/(dx)(arctan(x))]
For the derivative of d/(dx)(1/2ln((x+1)/(x-1))) , we may apply again the basic derivative property:d/(dx) c*f(x) = c d/(dx) f(x) .
d/(dx) (1/2ln((x+1)/(x-1)))=1/2d/(dx) (ln((x+1)/(x-1)))
For the derivative part, follow the basic derivative formula for natural logarithm function: d/(dx) ln(u)= (du)/u .
Let u =(x+1)/(x-1) then du = -2/(x-1)^2 .
Note For the derivative of u=(x+1)/(x-1) ,we apply the Quotient Rule: d/(dx)(f/g) = (f'*g-f*g')/g^2 .
Let:
f= (x+1) then f'=1
g=(x-1) then g'=1
Then,
d/(dx)((x+1)/(x-1))= (1*(x-1)-(x+1)*(1))/(x-1)^2
=((x-1)-(x+1))/(x-1)^2
=(x-1-x-1)/(x-1)^2
=(-2)/(x-1)^2
Applying: d/(dx) ln(u)= (du)/u on:
1/2d/(dx)(ln((x+1)/(x-1)))= (1/2) *(((-2)/(x-1)^2))/(((x+1)/(x-1)))
=(1/2) *((-2)/(x-1)^2)*(x-1)/(x+1)
=(-2(x-1))/(2(x-1)^2(x+1))
Cancel common factors 2 and (x-1) from top and bottom:
(-2(x-1))/(2(x-1)^2(x+1)) =-1/((x-1)(x+1))
Recall (x-1)*(x+1) = x^2-x+x-1 = x^2-1 then the derivative becomes:
1/2d/(dx)(ln((x+1)/(x-1)))=-1/(x^2-1)

For the derivative of d/(dx)(arctan(x)) , we apply basic derivative formula for inverse tangent:
d/(dx)(arctan(x))=1/(x^2+1)

Combining the results, we get:
y'=1/2[d/(dx) (1/2ln((x+1)/(x-1))) +d/(dx)(arctan(x))]
y'=(1/2) [-1/(x^2-1) +1/(x^2+1)]
y' =(1/2) [-1/(x^2-1) *(x^2+1)/(x^2+1) +1/(x^2+1)*(x^2-1)/(x^2-1)]
y' =(1/2) [(-(x^2+1) +(x^2-1))/((x^2-1) (x^2+1))]
y' =(1/2) [(-x^2-1+x^2-1)/((x^2-1) (x^2+1))]
y' =(1/2) [(-2)/((x^2-1) (x^2+1))]
y' =(-1)/((x^2-1) (x^2+1))
or
y'= (-1)/(x^4-1)

How does Frantz Fanon differ from Gandhi and Martin Luther King Jr. in his theory of national independence?

Frantz Fanon, Mahatma Gandhi, and Martin Luther King Jr. were all proponents of social justice. They supported and envisioned an end to oppression and suffering among their people. They dedicated their lives towards ensuring that individual freedom was not only extended to a select group of people but to every human being. Martin Luther King, Jr. and Mahatma Gandhi differ with Frantz Fanon on how the change to the state of affairs should be instituted.
Both Martin Luther King and Mahatma Gandhi believed in an absolute non-violent approach towards securing independence from the oppressors by the oppressed. The two insisted that violence would lead to bitterness and more violence that goes contrary to harmonious co-existence of the two groups despite their previous differences. Their idea emanated from the need for reconciliation between the oppressors and the oppressed.
On the other hand, Frantz Fanon argued that the system of oppression was protected through violent means. The oppressors employed soldiers and policemen not only to protect the status quo but to affirm the oppressors' dominance and subsequent exploitation over the oppressed. Frantz suggests that such a system cannot be changed through peaceful means and the oppressed are left with no choice but to apply violence against the oppressor to secure freedom. As Fanon said in his book The Wretched of the Earth,

The rebel’s weapon is the proof of his humanity. For in the first days of the revolt you must kill: to shoot down a European is to kill two birds with one stone, to destroy an oppressor and the man he oppresses at the same time: there remain a dead man, and a free man; the survivor, for the first time, feels a national soil under his foot.
http://www.openanthropology.org/fanonviolence.htm

https://www.e-ir.info/2016/05/03/examining-the-dynamics-of-decolonisation-in-fanons-the-wretched-of-the-earth/

How does Narayan make Susilla's illness and death so moving?

In The English Teacher, a novel by author R.K. Narayan, a portion of the main character's life is based on Narayan's. Narayan's own wife succumbed to typhoid in 1939, and he injected much of the grief and pain he felt as a result of this loss into Krishna's character. The fact that the author had actually experienced the loss he wrote about with Susila's death made the event even more moving and relatable. The emotions present in the last scenes between Krishna and Susila are thought-provoking, genuine and heartwarming. He shows his devotion as a husband by caring for her when she can no longer see to her own needs.
The majority of the novel focuses on Krishna's experience after his wife's death. The author also gives an honest look into the events leading up to Susila's death, and this realism is part of what makes the story so moving. The novel is divided into three distinct stages: Susila's illness, Susila's death, and Krishna's attempts to reach her in the afterlife.
After Susila's Death
While the realism of the events leading up to Susila's death are moving, the reader truly experiences Krishna's pain when he reaches out to his wife in the spiritual realm. This comes as a result of his philosophical musings and the burning question of how success in life relates to success in spiritual things, if at all. Krishna's interactions with his wife's ghost begin through a medium. Eventually, he is able to contact her on his own. What makes these experiences particularly moving is the unusual way in which the author paints them. Krishna's contact with Susila's ghost is treated as a normal part of life rather than anything supernatural or extraordinary. Eventually, the story reaches a moving emotional climax in which Krishna accepts that his wife is still with him spiritually even if she no longer has a physical presence in this world.

Suppose that your brother confided in you that he had embezzled $20,000 dollars from his employer to help pay for his son’s medical bills. If he had not stolen the money he would not have been able to afford to both pay for his son’s care and his mortgage payment, and so he would have been forced to choose between not providing medical care for his son or having his family lose their home. (He has a wife and a daughter as well.) He tells you that you are the only person who knows about this crime and you think it extremely unlikely that he will be caught unless you turn him in. He works for very large company, which has not noticed the missing money yet, and in the unlikely event they did discover the missing funds, he has covered his tracks quite well. What would virtue theory say you should do in this situation? Would a virtuous person report the crime to the police? Why or why not?

Virtue ethics has to do with a focus on achieving eudaimonia or human flourishing through development of one's ingrained moral character. Thus one concerned with virtue ethics asks of decisions whether they are in accord with this moral character and whether they contribute to developing or undermining it. 
The first thing to note about the statement of the problem is that it includes many pieces of information that philosophers concerned with virtue ethics would consider fundamentally irrelevant. Whether your brother is likely to be caught or not would be of interest to a consequentialist but irrelevant in the case of virtue ethics. Like a deontologist, a virtue ethicist would be concerned with the quality of the actions themselves rather than whether one is or is not likely to "get caught."
The main issue virtue ethics would raise is the effect of these acts upon character. If your brother has been engaging in practices including theft and deception, misleading his colleagues and feeling that he is somehow entitled to steal because he thinks that his personal needs outweigh the needs of all other people, he is acting in a way that harms his moral character, leading him to develop the habits of dishonesty and stealing. Getting away with such acts reinforces the bad moral character he is developing and passing along to his children. 
In terms of your own position, complicity with lying and stealing is itself wrong, but so is lack of love and compassion for one's family. To act in accordance with virtue, you might try to persuade your brother to turn himself in and offer to loan him the $20,000 to repay his company when he does so. This would help improve his moral character and help you develop the moral character of generosity, empathy, and honesty. 
https://plato.stanford.edu/entries/ethics-virtue/

How does Antonio feel as act 1, scene 1 opens in The Merchant of Venice?

Act 1, scene 1 of Shakespeare's The Merchant of Venice opens with Antonio telling Salarino exactly how he feels. Antonio is feeling sad and depressed.

In sooth, I know not why I am so sad.
It wearies me; you say it wearies you.
But how I caught it, found it, or came by it,
What stuff ’tis made of, whereof it is born,
I am to learn.
And such a want-wit sadness makes of me,
That I have much ado to know myself.

Antonio admits that he is feeling this way; however, he admits that he does not know why he is feeling this way. Salarino provides us with the answer. He says that Antonio is worried about the ships that he has out on the ocean. Antonio has a lot of money wrapped up in those ships, and he could be worried about their safety. He stands to make a lot of money if the ships safely make it to their destination; however, he stands to lose a lot of money if they are wrecked. Antonio responds by saying that isn't what has him worried, sad, and depressed. He's been smart with his money, so losing the ships won't ruin him entirely.


Believe me, no. I thank my fortune for it—
My ventures are not in one bottom trusted,
Nor to one place, nor is my whole estate
Upon the fortune of this present year.
Therefore my merchandise makes me not sad.



Then Solanio suggests that Antonio is sad about love, and Antonio denies that too.

What is the significance of the rosebush outside of governor's mansion, which Pearl cries over?

The rosebush at the governor's mansion is an echo of the mention of the wild rosebush that grew beside the prison door where Pearl was born while her mother was jailed for her adultery. The narrator describes it as covered with roses that "offer their fragrance and fragile beauty to the prisoner as he went in, and to the condemned criminal as he came forth to his doom, in token that the deep heart of Nature could pity and be kind to him."
Pearl was conceived in an act of passion that Puritan society could not condone. Her mother, Hester Prynne, was living alone in the wake of her husband's disappearance; moreover, their's had been an arranged and loveless marriage, because of her parents' poverty. Pearl's father, Arthur Dimmesdale, would not acknowledge Pearl or Hester because he was a Puritan minister.
The wild rosebush represents something beautiful that comes from Nature, much like Pearl herself. Because the novel is romantic, Pearl has a seemingly supernatural ability to intuit that she is wild and beautiful as well. When Pearl reaches out and cries for the rose in the governor's garden, it is as if she has a sense memory of the place of her birth and identifies with the rose's natural beauty.

What form does "Sonnet 18" take, and how does this powerfully convey its message?

As its title indicates, the form of "Sonnet 18" is a sonnet. As with many of Shakespeare's sonnets, it is specifically an English or Shakespearean sonnet. This means it is written in iambic pentameter. Its lines consist of five iambic feet; an iamb is an unstressed followed by a stressed syllable. In terms of rhyme, it consists of fourteen lines, set up as three open quatrains followed by a couplet. The rhyme scheme is ABAB CDCD EFEF GG.
The sonnet is a form typically used for love poetry, which is true of "Sonnet 18." The Shakespearean sonnet typically has a turn after the third quatrain, with a surprise or shift in focus in the couplet. In this case, the shift is from the notion of the mortality of worldly objects and the beloved, to the permanence of the poem that immortalizes the narrator's love.

I need help with critiquing four different journal articles from the FBI Law Enforcement Bulletin. The articles must have been published in last 2 years and must have the following: 1.thesis, 2. methods, 3. evidence or support for thesis, 4. conclusion, 5. evaluation and possible application for work. Evidence must be presented in each critique.

Here are critiques of four articles from the last two years of the FBI Law Enforcement Bulletin:
1. "Law Enforcement Chaplains: Defining Their Roles" by Richard Braswell, Bryan Steinkopf, M.S., and Angela Beamer, M.A. Published online on 11/9/2016.
This article is about the variety of the roles chaplains play in law enforcement. The thesis is that the variety of their roles is a strength. These roles include corrections, departmental functioning, community-police relations, line-of-duty deaths, officer wellbeing, and crisis interventions. The article presents evidence and details about all these roles. The conclusion is that these roles can also present ambiguity about chaplains' roles and that organizations must define the chaplains' roles more clearly. Future research can look at how to define these roles (though this isn't mentioned in the article) and reduce ambiguity. This article presents ambiguities and raises important questions about chaplains' roles that should be resolved to help chaplains function most effectively. 
2. "No-Body Homicide Cases: A Practical Approach"  by Michael L. Yoder, M.A. Published online on 11/9/2016.
This article is about the high number of missing persons reported each day and the reasons for their disappearance. Officers must act quickly to identify homicide cases and must immediately preserve electronic data that can be erased quickly. This article does not present evidence but presents best practices that officers must follow in the case of no-body homicide cases. The conclusion is that investigators should follow the practices established by the FBI’s Behavioral Analysis Unit 4. There are no calls for future research, but future research can evaluate the effectiveness of the routines and practices established by the Behavioral Analysis Unit 4. This article is a springboard for future discussions about these practices.
3. "Mental Preparedness Training" by Judith P. Andersen, Ph.D., Konstantinos Papazoglou, M.A., Harri Gustafsberg, M.Sc., Peter Collins, M.D., and Bengt Arnetz, M.D. Published 3/9/2016.
This article presents medical evidence about the long-term effects of stress on officers, including elevated levels of cortisol, depression, and heart disease. The thesis is that given these stressors, law enforcement agencies must have mental preparedness exercises as part of their training for officers. The study presents the literature on officers' mental preparedness programs, including a study on training officers in breathing techniques that were shown to improve judgment and decision making among officers. The article presents the components, costs, and need for such training programs and draws the conclusion that law enforcement agencies must put into place empirically validated mental preparedness programs before officers become stressed so that officers can have the best health outcomes and be most effective at their jobs. The study calls for increased collaboration between law enforcement agencies and psychologists to implement these types of programs. This is a valid suggestion for future research.
4. "Policing in the Casino Gaming Environment: Methods, Risks, and Challenges" by Kenneth J. Peak, Ph.D. Published 5/5/2015.
This article looks at the functions of private security officers in casinos and examines their roles, including surveillance and security. The article does not include methods but introduces details about private casino security and their practices, including their need not to follow Miranda warnings. The article draws the conclusion that these officers have similar duties to public officers but also have unique duties and that private casino security officers must work with law enforcement. There is no call for future research, but future research can look at how the collaboration between private officers and public law enforcement might work most effectively in casinos. This article clarifies the roles of private security officers in casinos. 

How did Maniac create more trouble when he raced Mars Bar in the book Maniac Magee by Jerry Spinelli?

Maniac won his race with Mars Bar running backwards, which was insulting to his opponent.
Maniac just did not understand what he was getting into when he met Mars Bar.  He didn’t realize that the boy had a reputation for being tough and that Mars Bar was a threat to him.  His first mistake was not acknowledging Mars Bar's greatness, and his second was taking a bite out of his candy bar.
Maniac was really confused by Mars Bar.  Just as race was not a concept he understood, toughness was lost on him.  He made an enemy of Mars Bar though, and he realized that.  After Grayson's death, Maniac returned and ran into Mars Bar again.
Mars Bar told him he had new sneakers, he had been working out, and he was a faster runner.  He challenged him to a race.  Maniac was not sure what to do.

Even as the race began -- even after it began -- Maniac wasn't sure how to run it. Naturally he wanted to win, or at least to do his best. All his instincts told him that. But there were other considerations: whom he was racing against, and where, and what the consequences might be if he won. (Ch. 38) 

Maniac’s decision to run backwards was an unusual solution to a difficult problem.  He wasn’t really trying to humiliate Mars Bar by proving that he could run faster backwards than his opponent could run forwards.  He just didn’t know what to do and it was the best he could come up with. 

Why did I do it? was all Maniac could think. He hadn't even realized it till he crossed the line, and he regretted it instantly. Wasn't it enough just to win? Did he have to disgrace his opponent as well? Had he done it deliberately, to pay back Mars Bar for all his nastiness! (Ch. 38) 

In reality, Maniac just loved to run.  He enjoyed being on the East End among the people there.  He really missed it and the Beales. He wished he had a home.  Maniac had again added to his legend without meaning to.

What are the conflicts that have occurred with Western health care for Native Americans?

Government studies have concluded that healthcare outcomes and patient satisfaction tend to be less positive for Native Americans than for other demographics. There are a number of reasons for this, but the most general cause cited is mistrust of Western medicine and doctors. This attitude of mistrust implies that Native Americans may be less likely to obtain regular checkups, and less likely to follow up on doctors' instructions when diagnosed with a particular condition. But other conflicts may arise from general quality of health on reservation communities, where poverty and unemployment tend to be pervasive. This impacts nutrition and can also be connected to increased alcohol and drug abuse, as well as increased depression and anxiety. All of these underlying factors can mean a more problematic outcome in healthcare situations.
There are also specific cultural issues that are impacting health among Native American communities, such as intergenerational anger and grief among elders who have seen their customs eroded, and a history of oppression by the American government and social institutions such as the education system.

Does the use of vulgar language in the workplace tend to increase sexual harassment?

Sexual harassment can have many definitions, which can be problematic both for lawyers and for those who are feeling uncomfortable at work but may feel that the behavior upsetting them is not "bad enough" to constitute sexual harassment. The use of vulgar, misogynistic, and rude language in the workplace, however, can certainly be considered sexual harassment, as it leads to an unproductive and unsupportive work environment, particularly for women.
Not all vulgar language constitutes sexual harassment necessarily. Some vulgar language does not have a sexual component, albeit it can still be inappropriate for workplace use and could still be classified as harassment or generating an uncomfortable workplace environment. However, the vast majority of vulgar language in English is connected to sex and sexuality in one way or another; certainly, much of it is misogynistic. The use of words like "screwed" in a business context—"they screwed us over"—would be considered mild by some, but has a misogynistic and vulgar overtone which paves the way for wider use of demeaning and inappropriate language. The use of profanity in the workplace can make coworkers, particularly women, feel uncomfortable and even unsafe; this need not be directly addressed to them, although vulgar comments about a woman's body or crude descriptions of sexual acts would certainly be classed as the pinnacle of sexual harassment through the use of vulgarity.
Even where things are meant to be "only jokes," attempts to be funny are no excuse for compromising someone else's comfort at work. Sexual harassment need not have a physical element to be very real.
https://www.thearmstronglawfirm.com/Sexual-Harassment/Sexual-Harassment-Foul-Language.shtml

What impression does Nunez leave on the 3 villagers?

In "The Country of the Blind," Nunez attempts to explain to the villagers where he is from. When he says, "where the city passes out of sight," the villagers are perplexed about the word "sight." The villagers then attempt to lead him and Nunez says, "I can see." Again, they repeat the word "see" and seem to be confused by his use of an unknown word. As they use their hands to feel his features, one of the villagers describes Nunez as, "rough he is as the rocks that begot him."
Unfortunately, Nunez does not make a positive impression on the villagers. While they identify him as a man, they describe Nunez as having imperfect senses and words with no meaning. A boy mocks him and villagers refer to him as, "newly formed." Nunez condescendingly believes that his ability to see makes him superior. According to him, "In the Country of the Blind the One-Eyed Man is King." However, it is Nunez that becomes the student. After attempting to escape, the people in the village pity him and begin to teach him their ways. Eventually, Nunez becomes a "citizen of the Country of the Blind."

Is Macbeth an innocent victim of the powerful witches—nothing more than their plaything?

Macbeth is not simply the plaything of powerful witches. First, as we find out in act 3, the three witches who prophecy that Macbeth will become thane of Cawdor and king of Scotland are not all that powerful. When Hecate, the head witch, enters the scene in act 3, scene 5, she shows she is much more powerful than the others are, and she is angry at them for not consulting her before approaching Macbeth, as well as for, in her opinion, letting Macbeth use them. She states that they will have to regain control of the situation to destroy Macbeth.
Second, although Macbeth believes the prophecy that he will become king, nobody forced him to take matters into his own hands by murdering Duncan. That is entirely Macbeth's choice. In fact, Macbeth had decided not to murder Duncan until Lady Macbeth attacked his masculinity and persuaded him to go ahead with the plot. That, however, had nothing to do with the witches. It was entirely Macbeth's decision to follow through with his wife's commands, although one could argue she knew how to manipulate him. 
However, on the other side, once Hecate arrives on the scene, and the witches make their final, deceptive prophecies about Macbeth's fate (such as that he can not be defeated by a man birthed by a woman), it could be argued that he is so mired in troubles that he has to rely on them, and thus he becomes their plaything.

Do you think the character J. is a hypochondriac? What makes you think so? What reasons from the text support your opinion?

This story is built on the ridiculous humor of a farce. A farcical story is one in which the characters get involved in silly or unlikely situations. The hypochondriacal ramblings of the three friends are part of the farce. We will have to dig a little deeper to know whether George and William Samuel Harris are or are not truly hypochondriacs (I doubt it), but the exposition of the story gives us proof that J. is more the farcical social buffoon than the hypochondriac.

I sat for awhile, frozen with horror;.... I came to typhoid fever—read the symptoms—discovered that I had typhoid fever, must have had it for months without knowing it—wondered what else I had got; ... [I] began to get interested in my case, and determined to sift it to the bottom, and so started alphabetically .... Cholera I had, with severe complications; and diphtheria I seemed to have been born with. I plodded conscientiously through the twenty-six letters, and the only malady I could conclude I had not got was housemaid’s knee.

J. may well be convinced by a circular that his liver "was out of order," but he certainly cannot be convinced of his having all the diseases he reads about while at the British Museum, although it may well be true, as he says, that he at that time needed a treatment for hay fever: "I remember going to the British Museum one day to read up the treatment for some slight ailment of which I had a touch—hay fever, I fancy it was." Many people do suffer hay fever who are not at all hypochondriacal. Taking the last two diseases J. mentions, diphtheria and cholera, anyone with either of these (1) would be extremely contagious and (2) would be violently ill and (3) would often be rather dead, so they would surely know beyond anxious speculation (as would all and everyone around him) that they were ill.
In 1889, when this work was published, a child contracting diphtheria had only a 50 percent chance of recovering from it. So for J. to "have been born with" diphtheria is a pretty sure passport to a more ephemeral existence where disease isn't a worry or at best a passport to hospital quarantine until resolved, one way or the other. A diphtheria vaccine was introduced in the U.S. in 1920, which radically reduced the incidence and death rate, but in 1889, chances of contracting and surviving diphtheria were grim. The CDC says of adults and children that "up to half the people who got the disease died from it." Cholera is an even more contagious and deadly disease. The CDC says that "death can occur within hours" when left untreated.
That these are disease that are difficult to be hypochondriacal about (as they have obvious symptoms and are usually fatal) suggests that J. is constructed as a farcical narrator to humorously pursue the characterization of a pseudo-hypochondriac in this farcical story that comments on upper class English society. He is not really a hypochondriac.   
Hypochondria is a troubling anxiety disorder that, like all anxiety disorders, is distressing and socially debilitating for the sufferer. A hypochondriac would not be able to wrap his worry and anxiety about disease in humor, farce and irreverence the way J. does. J. and his friends are more affected by ennui than by hypochondria. A ridiculous farcical character is meant to point the finger of sarcasm and satire, while using ironic language, at a social concept or social foible (i.e., a foolish idea or foolish habit). The social foible in Three Men is that of endlessly discussing medical conditions when boredom, or ennui, is the real problem. My opinion is that, no, J. is not really a hypochondriac. He is a narrator who is having a good laugh at himself while pointing the finger at the portion of society that shares his ennui and foibles.

George and Harris and Montmorency are not poetic ideals, but things of flesh and blood—especially George, who weighs about twelve stone.  Other works may excel this in depth of thought and knowledge of human nature: other books may rival it in originality and size; but, for hopeless and incurable veracity, nothing yet discovered can surpass it. (Preface, London, August, 1889.)
https://www.thefamouspeople.com/profiles/jerome-k-jerome-216.php

The narrator of the novel Three Men in a Boat is referred to as J., and we should not confuse him with the book’s author, Jerome K. Jerome. In Chapter I, J. shares with us the story about how he looked up diseases in a medical encyclopedia and confirmed for himself that he had the symptoms of nearly every one of them. Then he follows it up with an equally ridiculous, subsequent tale. He went to his doctor with the news, got an unusual prescription, followed the recommendations to the letter, and lived happily ever after. Here we can already tell that J. is an avid storyteller and that he uses humor and exaggeration for effect. He’s setting the stage for the way he will narrate the rest of the book. Is his character really a hypochondriac? It's hard to say. Maybe he was one, temporarily, when he had the medical book right in front of him. On the other hand, a severe hypochondriac may have been afraid to even join such a prolonged and unpredictable outing. Since J. appears to be overly concerned/anxious about his health, it would probably be fair to say that he is, to some degree, a hypochondriac. 

What is the role of management in reducing workplace stress for "first responders"?

Management has a vitally important role in helping first-responders, such as police officers, firefighters, and ambulance/Emergency Medical Technician personnel, manage or control the stress that is an inherent part of such professions. Especially with respect to law enforcement and firefighting, these missions are inherently stressful, as they routinely involve life-threatening situations and often split-second decisions with major potential ramifications. And these are professions that are not traditionally well-compensated, although wages for police and firefighters have improved over time. 
One of the ways management of first-responders deals with stress levels among subordinates is through carefully managed work schedules. Firefighters, for example, work long shifts, as long as 24 hours at a time, sleeping and eating at the firehouse so that they are as responsive as possible to the inevitable alarms that most assuredly will go off. At the end of these shifts, however, they are routinely given two days off to rest. These shift structures help firefighters to retain some semblance of a family life while preventing occupational "burn-out." Similarly, Emergency Medical Technicians work complicated shift schedules that factor in the impossibility of predicting how long an ambulance crew or EMT team will be on a call. The nature of the crises to which EMTs respond do not lend themselves to set hours. As a result, they are expected to work long shifts but are compensated for more hours than they may actually work. In other words, they may be scheduled for fewer than the traditional 40-hour work week, but with the expectation that overtime will result in at least 40 hours actually worked.
Another way managers help their employees control stress is through regular medical exams and, especially in the case of police officers, psychological counseling. While there are outward or external manifestations of prolonged periods of stress, such as irritability, the internal manifestations may not be apparent absent visits to medical clinics. By monitoring over time heart rates, blood pressure, and so on, management can stay abreast of the toll taken on employees. In the case of police officers, prolonged periods patrolling high-crime urban areas can be extremely stressful, diminishing the mental and physical capacity of individual officers to respond to major crises, such as a terrorist attack, or even to respond appropriately to common but life-endangering incidents involving armed suspects. Mandatory psychological counseling for police officers regularly operating in high-stress environments can help management to detect cases of mental exhaustion and emotional duress. This, in turn, can help the manager to better manage his or her staff.
Which brings us to the next manner in which the stress levels to which first-responders are routinely subjected can be controlled. Leaving personnel in high-stress environments for too long can, obviously, result in poor or even dangerous performance of responsibilities, such as when unarmed suspects are shot by officers accustomed to operating in hostile environments. Soldiers are not the only individuals who must be trained to function in ambiguous but stressful atmospheres. Police officer similarly must be trained to maintain a certain demeanor less they react adversely to a stressful situation. It is imperative, therefore, that managers monitor their first-responders and establish rotation policies that ensure that no individual spends too much time in the harshest environments. Admittedly this is easier said than done, but it is important nonetheless.
The importance of management in dealing with the stress under which first-responders are expected to function cannot be overstated. Failures on the part of managers to monitor and detect instances of mentally impaired firefighters, police or EMTs can have catastrophic results. The first-responders themselves can not be expected to take the requisite measures to prevent mental deterioration caused by prolonged periods of stress. That is why managers must perform that task for them.

In Shakespeare's A Midsummer Night's Dream, how does Bottom conduct himself when he is with Titania? Does his behavior confirm Puck's opinion of him as "The shallowest thickskin of that barren sort"?

In Act 4, Scene 1 in Shakespeare's A Midsummer Night's Dream, the audience is treated to the hilarious spectacle of Bottom (still with his donkey's head) living large with Titania and her attendant fairies. In general, Bottom conducts himself with a great deal of pomposity and self-importance, ordering the fairies to serve him (which, among other things, involves mandating that Cobweb must scratch his head) and generally enjoying the devoted attention of both Titania and her helpers. The joke is, of course, on him, as he has an absurd donkey's head and is hardly attractive, but the dim-witted Bottom is completely unaware of the reality of his situation and insists on acting like a king. It would seem, therefore, that Bottom does confirm Puck's assertion that the bumbling "mechanical" is "the shallowest thickskin," as all of Bottom's actions suggest he is incapable of thinking critically about himself. Instead, Bottom chooses to shallowly bask in his absurd vanity, which at least makes for good comedy.

Single Variable Calculus, Chapter 3, Review Exercises, Section Review Exercises, Problem 54

Determine the points on the ellipse $x^2+2y^2=1$ where the tangent line has slope 1.
Solving fro $x$, where slope$(m) = 1 = y'$
$\displaystyle \frac{d}{dx} (x^2) + 2 \frac{d}{dx}(y^2) = \frac{d}{dx}(1)$

$
\begin{equation}
\begin{aligned}
2x + 4y \frac{dy}{dx} &= 0\\
\\
5yy' &= -2x\\
\\
\frac{\cancel{4y}y'}{\cancel{4y}} &= \frac{-2x}{4y}\\
\\
y' &= \frac{-x}{2y}\\
\\
1 &= \frac{-x}{2y}\\
\\
2y &= -x\\
\\
\frac{\cancel{2}y}{\cancel{2}} &= \frac{-x}{2}\\
\\
y &= \frac{-x}{2}
\end{aligned}
\end{equation}
$

Using the given equation


$
\begin{equation}
\begin{aligned}
x^2 + 2y^2 &= 1\\
\\
x^2 + 2 \left( \frac{-x }{2} \right)^2 &= 1\\
\\
x^2 + 2 \left( \frac{-x }{4} \right) &= 1\\
\\
x^2 + \frac{x^2}{2} &= 1\\
\\
\frac{2x^2 + x^2}{2} &= 1 \\
\\
\frac{3x^2}{2} &= 1\\
\\
\frac{\cancel{2}}{\cancel{3}} \left[ \frac{\cancel{3}}{\cancel{2}}\right. x^2 &= \left.\phantom{\frac{\cancel{3}}{\cancel{2}}} 1 \right] \frac{2}{3}\\
\\
x^2 &= \frac{2}{3}\\
\\
\sqrt{x^2} &= \pm \sqrt{\frac{2}{3}}\\
\\
x^2 &= \pm \sqrt{\frac{2}{3}}

\end{aligned}
\end{equation}
$


Solving for $y$, using the given equation
@ $\displaystyle x = \pm \frac{2}{3}$

$
\begin{equation}
\begin{aligned}
\left( \sqrt{\frac{2}{3}} \right)^2 + 2y^2 &= 1\\
\\
\frac{2}{3} + 2y^2 &= 1\\
\\
2y^2 &= 1 - \frac{2}{3}\\
\\
2y^2 &= \frac{3-2}{3}\\
\\
2y^2 &= \frac{1}{3}\\
\\
\frac{\cancel{2}y^2}{\cancel{2}} &= \frac{\frac{1}{3}}{2}\\
\\
y^2 &= \frac{1}{6}\\
\\
\sqrt{y^2} &= \pm \sqrt{\frac{1}{6}}\\
\\
y &= \pm \sqrt{\frac{1}{6}}
\end{aligned}
\end{equation}
$


The points on the ellipse $x^2 + y^2 = 1$ where the slope is 1 are $\displaystyle \left( \pm \sqrt{\frac{2}{3}}, \pm \sqrt{\frac{1}{6}}\right)$

I am a year 10 student needing to deliver a persuasive speech about any of the following Australian public holidays: ANZAC Day, Labour Day, Queen's Birthday or Australia Day, and convince my audience (teacher and students) to accept my viewpoint of why this specific holiday reflects our identity and who we are as Australians. I have chosen ANZAC Day. The finished work is to be 4.5 to six minutes in total, along with a PowerPoint presentation alongside and no word count (just thought I'd be specific). I guess my main problem is with the introduction paragraph and concluding paragraph, more so the concluding one. I want to start in a way in which my audience will really want to listen to, and finish in a way that'll really get them thinking about what I've just presented. In other words, what would be the best possible way to structure a persuading introduction and conclusion that will capture the attention of my audience?

I can definitely offer some advice on this topic.  I have been teaching a public speaking course for almost a decade.  From the information provided in the question, it seems like you have a good handle on the persuasive arguments that you plan on using to convince your audience of the importance of ANZAC Day and why it accurately reflects who your audience is as Australians.  That’s great news.  That means that you have the majority of your speaking points ready to go.  
I do agree with you that the introduction and the conclusion are the more difficult parts of the speech.  I spend more time teaching introduction and conclusion tactics in my class than any other speech topic.  The question specifically mentions that you want to get your audience listening right from the start.  That’s absolutely critical. Audiences that are bored right from the start do not continue to listen.  That means the very first sentence of the speech needs to grab audience attention.  I call this part of the speech the “attention getter.”  I teach my students 5 types of attention getters.  
Ask a question.  This is probably the easiest way to begin a speech.  You could go with something simple like "Why do Australians celebrate ANZAC Day?"  You could increase audience participation by phrasing the question a bit differently.  "How many of you know why Australians celebrate ANZAC Day?"  This question style would require audience members to raise their hands.  Regardless of the question, by asking a question, you are activating the brains of your listeners.  The audience knows that you aren't looking for a verbal answer, but audiences can't help but begin thinking of an answer to the question.  That focuses their attention on the topic, and it focuses their attention on you because they want to hear the answer and find out if their answer is correct. 
Use a quote.  Quotes are effective because more often than not the chosen quote is a quote from a well known person.  That always carries weight with audiences.  If the quote isn't from a well known person, that's okay too as long as it is focused on your topic.  The quote still does the same thing for audiences.  They assume that the quote is of critical importance because you have chosen to start with words that are not your own.  Audiences will be curious about why that particular quote is so important, and curious audiences will continue to listen. 
Make strong, bold, and perhaps controversial statements.  The goal here is to get an emotional response out of audience members.  This can often work better than trying to trigger logical responses from audience members; however, be careful.  The bold statement can backfire by creating a slightly hostile audience.  That audience will either not listen to you or will not be easy to convince, because they already think you are wrong.  
Use a definition.  This is similar to a quote in a lot of ways.  It presents your audience with something concrete and factual.  It generally focuses the audience to your intended topic; however, I personally feel that it is the most boring.  It can be done well, but it tends to be a bit of a flat way to start. 
Use an anecdote (tell a story). This type of attention getter is not a single sentence.  It involves the speaker "setting the scene."  Considering your topic, you could tell a story about something that happened during the Gallipoli campaign of 1915.  You could also tell a story about yourself and the way that you and your family celebrate ANZAC Day.  Audiences love stories.  That's why anecdotal introductions are so effective. 
For the conclusion, you've stated that you really want your audience to "think" about what you've just presented.  That's definitely true.  You are going to do this by signalling to your audience that you are finishing your speech.  Saying "In conclusion" is a simple and effective way of doing this.  Then restate the main persuasive points in a succinct way that is not an exact repeat of what you have said earlier.  I would attempt to try to get your audience to do more than "think" about what you have said.  A good conclusion to a persuasive speech is going to motivate your audience to do something.  Perhaps you can encourage the audience to go to a formal city celebration of the day in order to publicly celebrate with other Australians.  
Also in the conclusion, you might want to think about using one of the attention getters as the final statement.  Closing a speech with a quote is always an effective closing.  Finishing with an anecdote can be effective as well, but be sure to keep it short. Asking your audience a rhetorical question is also a good closing technique.  "For me and my family, we are going to celebrate ANZAC Day with hundreds of other fellow Australians.  How will your family choose to show pride in this great holiday?"   
https://www.mcckc.edu/tutoring/docs/br/english/Speech_Outline.pdf

In "The Small Room," what alcohol were they drinking?

In "The Small Room," the most commonly referenced alcohol is the martini. A martini is a cocktail made from gin and vermouth. This choice serves two purposes in the story.
First, martinis are strong. Depending on the gin and the exact mixture, martinis will hover at around 30% alcohol by volume. For reference, wines are usually 10–15% alcohol by volume, and beers are usually in the 4–8% range. Sarton emphasizes this with references to "post-martini exhaustion" and "the dangerous martini-induced operation of memory."
Second, but related, is the martini's association with indulgence and alcoholism. The phrase "three-martini lunch" has entered the American vocabulary to refer to professionals with the time, and fortitude, to indulge heavily in alcohol during the workday. 
One last note: the most common garnish in a martini is a single green olive. Olive Hunt's name is a nod to this fact.

Who was the Father of Humanism?

Francesco Petrarca, sometimes referred to as Pertrarch, is the Father of Humanism. A poet and scholar in fourteenth century Renaissance Italy, he is perhaps most well-known for his poems to Laura, a woman he saw in a church. Although she did not return his love, she was influential in his work.
Given the title of "the first modern man," Pertrarch was a student of ancient literature and language, and a collector of classic texts. His knowledge of ancient Greek and Roman thought and languages contributed to his humanist beliefs that people can live good lives and achieve value. Pertrarch was a devout Catholic, and while he believed in God and an afterlife, he also believed that his time on Earth could be full and meaningful.
https://www.nytimes.com/2004/05/29/style/petrarch-the-first-humanist.html

College Algebra, Chapter 4, 4.1, Section 4.1, Problem 44

Determine a function whose graph is a parabola with vertex $(3, 4)$ and that passes through the point $(1, -8)$.

Recall that the general equation of a parabola is

$f(x) = a(x - h)^2 + k$, with vertex $(h,k)$

where $x = 1, f(x) = -8, h = 3$ and $k = 4$.

Solving for $a$, we have


$
\begin{equation}
\begin{aligned}

-8 =& a(1 - 3)^2 + 4
&& \text{Substitute the given values}
\\
\\
-8 =& 4a + 4
&& \text{Evaluate the parentheses}
\\
\\
-8 - 4 =& 4a
&& \text{Subtract } 4
\\
\\
-12 =& 4a
&& \text{Divide by } 4
\\
\\
a =& -3
&& \text{Answer}

\end{aligned}
\end{equation}
$


Thus, the function is

$f(x) = -3 (x - 3)^2 + 4$

How does the story "A Horse and Two Goats" develop the idea of the need to interact with people who have vastly different identities from your own?

The characters of Muni and the unnamed American live very different lives, and their mutual areas of understanding are quite limited. Muni has not had the opportunity to travel abroad as the American is doing. He is very concerned with the pressing necessities if daily life but also wishes to live a life of of honesty and integrity. The American seems to love the superficial manifestations of Indian culture. He is attracted to the visual aspects of the horse—with an eye to displaying it as an object to invite his friends' envy.
As a wealthy man, the American seems capable of buying such an artifact and is unconcerned with its cultural or social significance. Muni is happy to think he has found a buyer for his goats. They strike a bargain that is, paradoxically, of mutual satisfaction, even though it is based on misunderstanding.
In many respects, however, Muni and the American are alike. Each is motivated by his own self interest, and neither one takes the trouble to find a solution to the language barrier. As an individual, each of them gains something he wants in the short term but neither is benefitting Indian society more generally. Muni seems to receive a greater initial benefit, as the money he gets will go a long way for his and his wife's expenses. But as a representative of his country and culture, he has lost more in functioning as an unwitting participation in the plundering of its cultural heritage.

"A Horse and Two Goats" is a story by Indian author R. K. Narayan. Its main focus is cultural insularity and miscommunication. Although some of the effect of this is comic, it also raises some serious points about the harm that such insularity does to both India and the colonial powers attempting to govern India and help India's development. 
Both Muni and the American do not know each others' languages and thus have difficulty understanding one another. Muni therefore thinks that the American is trying to buy his goats, while the American thinks that Muni is selling him the statue. If we look at the story more analytically, though, we find that it addresses more complex issues.
First, as Muni is a poor villager, as readers, we feel that he is justified in having little knowledge of American culture, but we also think that the American, who traveled to India, and is intent on bringing back souvenirs to show off his sophistication, should be more sensitive to Indian culture.
Also, we note very different traditions and value systems. Although Muni is a poor villager, he is very knowledgeable about the great Sanskrit epics that are at the center of Hindu religion. He is himself pious, and understands and explains the spiritual significance of the horse. The American, by contrast, appears crudely materialistic.
In the exchange, both seem unaware of each others' needs and values. Muni's misunderstanding of the American leads him to sell off, for a desultory sum, a crucial part of his cultural heritage. In terms of the American, we get the sense that the author is trying to explain that donations of aid in the form of cash will not transform the lives of poor villagers for the better, and that colonialism is actually culturally impoverishing as well as exploitative. 
This suggests that in a globalized culture and economy it benefits people in both developed and developing nations to understand each others' cultures better.

Who is Percy Shelly?

Percy Shelley was an English poet who lived from 1792–1822. He was contemporaries with John Keats and Lord Byron and, like them, he wrote in the Romantic mode. Shelley's philosophical beliefs, including his idealism and atheism, were deeply important to his work. He is widely considered to be one of the most influential lyric poets in the English language. "Ozymandias," along with other poems like "Ode to the West Wind," are some of his most famous works. In "Ozymandias" Shelley describes a statue of a king that once proclaimed his kingdom's greatness but is now a ruin. The poem's most famous line, "Look on my Works, ye Mighty, and despair," is an excellent example of irony.
Percy Shelley is also notable for having been married to Mary Shelley, the author of Frankenstein.

What do you think is the single best explanation for homicide?

There is never going to be one single reason for homicide. Normally, it is derived from many past experiences. Whether it be with that person they killed, their childhood, etc. Sometimes, the person actually has had something wrong with them since they were born.  

Looking for a "single best" explanation for homicide is problematic. There are many different motives for homicide, perhaps as many as there are criminals.
First, we should note that homicide is not a new phenomenon. We have archaeological evidence for a murder that occurred 430,000 years ago. There is considerable space devoted to homicide in ancient law codes, something that is evidence of the ubiquity of this crime through human history.
Despite tremendous variation across cultures and periods, there are a few consistent things we know about homicide. First, across all periods for which we have data, the majority of perpetrators are male. However, correlation is not necessarily causation, and though people with Y chromosomes are more likely to commit homicide, one cannot claim for certain that Y chromosomes explain homicide. 
Next, the perpetrators of homicide tend to be socially disadvantaged in some way. They may be people living in poverty, members of minority groups, or otherwise marginalized. There is also a solid correlation between homicide rates and GINI coefficient (a measure of economic inequality within a society). Thus one could also argue that inequality and social injustice tend to cause homicide. Of course, this sort of statistical analysis does not explain why one person may commit homicide and another not. 
Interpersonal conflicts are a common motivation for homicide. The wide availability of guns in certain societies, such as that of the United States, also correlates with an increase in homicide rates.
https://www.nationalgeographic.com/science/phenomena/2015/05/28/worlds-oldest-murder-mystery-was-430000-years-in-the-making/

Why might Menelaus be a good person to go to for advice by someone with troubles like Telemachus has?

After Odysseus’ disappearance, men wreaked havoc on his estate due to his absence. They were interested in marrying Penelope, Odysseus’ wife and Telemachus’ mother. Penelope avoided their overtures and employed her wits to remain loyal to her lost husband. However, the men camped at Odysseus’ home and feasted on his livestock and drank his wine much to the displeasure of both mother and son.
The goddess Athena visited Odysseus’ home disguised as a traveler and advised Telemachus to travel and visit Nestor of Pylos and Menelaus of Sparta. The aim of the visit was to find information about his father and to secure his father’s estate. Menelaus was important in the venture because he arrived last from Troy, placing him in the most suitable position to know the whereabouts of Odysseus.

... thence go on to Sparta and visit Menelaus, for he got home last of all the Achaeans ...
https://www.owleyes.org/text/odyssey/read/book-i

What are Jonas's physical traits?

In The Giver, due to "sameness," most of the people look very similar to each other, especially since no one can see color until Jonas gives back the memories at the end of the book. Jonas is only twelve years old, so he would appear to be young. Jonas has "neatly trimmed hair" and pale eyes that make him stand out in the community. The newchild, Gabriel, also has pale eyes, just like Jonas. This can be seen as foreshadowing Jonas becoming the Receiver of Memory, as well as the role of Gabriel in the future. These eyes are most likely what give Jonas the "Capacity to See Beyond." Except for his eyes, Jonas looks much like everyone else, with white skin, dark hair, and a tunic (or long shirt) that he wears with long pants.

Jonas's appearance is similar to the rest of the citizens in the community as a result of Sameness, except for the fact that he has pale eyes. In Chapter 2, the reader discovers that Jonas has neatly trimmed hair after his father strokes his head as a sign of affection. The reader also learns that Jonas has white skin, which he shares with the rest of the community members. Jonas also wears a tunic, which is the official attire of the community. Despite Jonas's relatively mundane appearance, his eyes distinguish him from the rest of the citizens. Jonas has pale eyes while the rest of the citizens in the community have dark eyes. The Committee of Elders select Jonas to be the next Receiver of Memory because he possesses the Capacity to See Beyond. Knowles does not give an in-depth description of Jonas's appearance throughout the novel and as far as the reader can tell, Jonas's pale eyes are his only distinguishing physical quality. 

What are your thoughts and reactions to "A&P"?

It looks like you are referring to John Updike's short story "A&P."
Of course, thoughts and reactions to the story will vary based on individual perspectives. However, it is likely that you will have decided opinions about the girls or Sammy (the main characters in the story).
First, let's discuss the girls. The author gives us a very visual description of how they look. He talks about bare skin, long hair, and pink cheeks. Why do you think he does this? As for Sammy and his colleague Stokesie, they are entranced by what they see. The girls are young, attractive, and virile. They are also seemingly oblivious to the attention they are generating with their bikinis.
The author shines a spotlight on the girls' unconventional appearances and behavior. But, why does he do this? We are told that women usually put on shirts or shorts before they enter any store in Sammy's town. However, Sammy notes that the women who do this usually have "six children" and sport "varicose veins" on their legs. He tells us that nobody cares what they wear. However, three young, attractive girls in bikinis are sure to draw attention.
The author draws attention to how the girls are dressed as opposed to how they are expected to dress. Apparently, the town has a strict dress code. You may have even seen signs in some stores today that say "No shirt, no shoes: no service." In the story, Lengel (the store manager) tells the girls that he isn't pleased with how they are dressed. He tells them that customers need to be "decently dressed" and that they need to cover up their shoulders the next time they come in.
However, Queenie (the prettiest of the girls) tells Lengel that she and her friends are already decently dressed. So, here is the overriding question: who gets to decide how customers are dressed? Store managers (who adhere to prevailing social conventions) or patrons? In your opinion, were the girls "decently dressed"? What about Lengel's admonishment to the girls? Was he right to demand that they dress according to "store policy"? Additionally, what is the purpose of a dress code?
Should one be able to dress according to one's whims and inclinations at public places or events? The answers to these questions will depend on your personal perspectives, of course. In the story, Sammy obviously disagrees with his manager. He quits on the spot in protest. However, Lengel tells Sammy that he is making a big mistake.
Unperturbed, the euphoric Sammy makes his grand exit. His happiness does not last for long, however. He looks for the girls, but they are long gone. It doesn't look like they even witnessed his brave actions on their behalf. As Sammy looks back at the store, he sees Lengel, "checking the sheep through." Strangely, he feels deflated. Sammy begins to realize that he has just lost a paying summer job, all because of his brash actions.
So, do you think that Sammy did the right thing? Again, opinions will vary on this one. Our thoughts and reactions to a story show how the story resonates with us. And perhaps, that is the purpose of a good story: to encourage contemplation and dialogue about prevailing social habits and practices.

How does the the sniper feel about the war at the beginning of the story?

The only hint in the beginning of the story about how the sniper feels about the war (in a mostly detached narration of his activities) appears in the second paragraph when the third person narrator refers to him by saying, "his eyes had the cold gleam of a fanatic." A fanatic is someone who is totally dedicated to a cause so the reader must assume that the Republican sniper is committed to his role in the Irish Civil War. The Republican army was steadfast in its opposition to Ireland's recent treaty with Great Britain. The history of the Irish Republican army often involved men who would rather die than live under the hegemony of the British and this sniper may have been just such a man. The sniper tends to do things without remorse, including killing an armored car commander, as well as a lady he perceives to be an "informer" who is out to reveal his position above the streets of Dublin. He is methodical in his tricking of the Free-State sniper and his killing of that enemy. Thus, it could certainly be argued, especially at the beginning of the story, that the sniper was in favor of the war because it was in support of giving Ireland its complete freedom.