What is the attitude and tone of Byron in his poem "Darkness"? How does Byron convey this attitude through formal literary devices and elements? What is the meaning of the poem? How does your interpretation differ from literary critics?

Byron's poem "Darkness" describes a dream "which was not all a dream" in which a postapocalyptic world is depicted. The semantic field of darkness is expressed in language like "darkling," "rayless," "blind," "blackening," and "moonless." The "desolation" of this world is characterized by its lack of natural light; in a quest for light, "watchfires" are built out of what had previously been "thrones," "palaces," and people's homes. So great is the desire of the people to see each other that "forests were set on fire," and the "terrified" birds and beasts are rendered "useless" by the shifted environment. In this world, there is "but one thought—and that was death." Ultimately, everything in the world, even "the waves," "the winds," and "the clouds" succumb to the darkness, who, personified, "was the Universe."
The attitude of this poem is unrelentingly dark—as the title would suggest; darkness eventually destroys the world because no living thing can exist without the sun. Even the natural elements—which are personified like in the Romantic tradition—also fall to darkness. Literary criticism has usually referred to Byron's use of Biblical language. He alludes to Revelations without actually bringing a new kingdom to bear after the darkness. The poem has also been discussed as a "Last Man" poem. It describes the end of the world from the point of view of the last person remaining, although it could be argued that the speaker (or dreamer) is a sort of omniscient narrator rather than a sole survivor, as the end of the poem suggests that nobody is left in the world at all.

Why do you think the Warden scratches Mr. Sir?

The Warden in Holes is a truly fearsome individual. A nasty, egomaniacal control freak and bully, she simply will not tolerate any challenge to her authority, however minor. A particularly stark illustration of this comes in chapter 20 when Mr. Sir brings Stanley to the Warden's office. Stanley has been accused of stealing Mr. Sir's sack of sunflower seeds. In front of the Warden, Stanley admits to stealing the seeds, but Mr. Sir isn't so sure; he thinks that Stanley's just covering for someone else.
It's at that point that the Warden asks Stanley to go fetch her makeup case. Inside is a little bottle of dark-red nail varnish, which the Warden proceeds to apply to her fingernails. The varnish contains a special ingredient: rattlesnake venom, which is pretty harmless when dry, but fatal when wet. After creepily stroking Stanley's face, the Warden slaps Mr. Sir right across the chops, leaving three dark scratches across his face. He writhes on the floor in agonizing pain, but fortunately for him, he won't die, as thankfully, the nail varnish appears to have dried. The Warden hits Mr. Sir because she feels he was wasting her time over something so incredibly trivial as the petty theft of a bag of sunflower seeds.

Is sneaking around an example of furtive behavior?

Yes, but it's not a very specific example.
Furtive behavior, by definition, is stealthy or secretive; it's done in the hope that no one will notice. Sneaking around is being furtive, but it's not a specific example of furtive behavior.
Here are a few specific examples: you might take a furtive glance at your friend's quiz paper, furtively text someone during class, or take a furtive spoonful of your sibling's dessert.
In any of those cases, you're acting slyly and sneakily because you don't want anyone else to notice what you're doing. You're being furtive.
Often, but not always, furtive behavior involves stealing something. This is why we derived "furtive" from fur, the Latin word for "thief."
Here's one more example. In Alice Walker's story "Everyday Use," the narrator describes some of Dee's friends as "furtive boys in pink shirts hanging about on washday after school." She means that the boys are acting slyly and sneakily and are hoping to avoid notice. Are these boys sneaking around? Probably. Is sneaking around an example of furtive behavior? Yes, but it's a very vague, general example. Again, a specific example would be something like "sneaking into the class before the teacher notices I'm late," "sneaking around with his date so his girlfriend won't know he's cheating on her," or "sneaking into the kitchen to take the last piece of cake from the fridge."
https://www.oed.com/

According to Samuel Johnson, why is comedy is valued over tragedy in "Preface to Shakespeare"?

The question is not so much if comedy is valued over tragedy in Samuel Johnson's "Preface to Shakespeare"—Johnson makes no value judgement between and tragedy—but in what ways did Johnson believe that Shakespeare was a better writer of comedic scenes than of tragic scenes.
Johnson makes no distinction between Shakespeare's comedies and tragedies.

Shakespeare's plays are not in the rigorous and critical sense either tragedies or comedies, but compositions of a distinct kind; exhibiting the real state of sublunary [down to earth] nature, which partakes of good and evil, joy and sorrow, mingled with endless variety of proportion and innumerable modes of combination . . .

Johnson notes that in the works of the ancient Greek and Roman playwrights there were only two types of plays—comedies and tragedies—and each type of play was clearly distinct from the other, "according to the laws which custom had prescribed . . . and considered as so little allied, that I do not recollect among the Greeks or Romans a single writer who attempted both."
According to Johnson, Shakespeare's plays were different.

Shakespeare has united the powers of exciting laughter and sorrow not only in one mind, but in one composition. Almost all his plays are divided between serious and ludicrous characters, and, in the successive evolutions of the design, sometimes produce seriousness and sorrow, and sometimes levity and laughter.

Johnson believes that Shakespeare is a natural, intuitive, instinctual writer of comedy and comic scenes, and that, although Shakespeare is very skillful at writing tragedy, he clearly labors over the tragic elements of his plays.

In tragedy he often writes with great appearance of toil and study, what is written at last with little felicity; but in his comick scenes, he seems to produce without labour, what no labour can improve. In tragedy he is always struggling after some occasion to be comick, but in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature. In his tragick scenes there is always something wanting, but his comedy often surpasses expectation or desire. His comedy pleases by the thoughts and the language, and his tragedy for the greater part by incident and action. His tragedy seems to be skill, his comedy to be instinct.

Johnson contends that Shakespeare's comic characters are more natural, more true-to-life than his tragic characters, that they speak more like real people, and that they "hold a mirror up to nature" to a much greater (and more pleasing) degree than his tragic characters.
Nevertheless, Johnson believes that Shakespeare was successful in affecting an audience in all of his plays, whether a comedy, tragedy, or history.

Through all these denominations of the drama, Shakespeare's mode of composition is the same; an interchange of seriousness and merriment, by which the mind is softened at one time, and exhilarated at another. But whatever be his purpose, whether to gladden or depress, or to conduct the story, without vehemence or emotion, through tracts of easy and familiar dialogue, he never fails to attain his purpose; as he commands us, we laugh or mourn, or sit silent with quiet expectation, in tranquility without indifference.

Samuel Johnson contends that writing comedies has been more agreeable to Shakespeare's intrinsic nature and proclivities.

In tragedy he [Shakespeare] is always struggling after some occasion to be comick; but in comedy he seems to repose, or to luxuriate, as in a mode of thinking congenial to his nature. ("Preface to Shakespeare")

Because Shakespeare's drama is "the mirror of life" that it is, Johnson explains that there is a mingling of tragedy with comedy in the plays. But, unlike the tragedies, the comedies have not suffered from the changes of time and the interpretations of history. The characters of comedy are, therefore, more natural. Further, Johnson argues that in the tragedies, Shakespeare has a "disproportionate pomp of diction" and much circumlocution. He adds that there is a tedious quality to the longer narration in tragedy, and it is "unanimated."
Moreover, Johnson feels that Shakespeare's real literary strength is in "the power of nature," a power that is better demonstrated in his comedies with their spontaneity. For, in the tragedies, the speeches are set and "cold and weak." Then, too, certain deviations from historical truth--"his disregard for distinctions of time and place"-- are perceived as flaws by Johnson. For instance, Johnson writes,

We need not wonder to find Hector quoting Aristotle, when we see the loves of Theseus and Hippolyta combined with the Gothick mythology of fairies. ("Preface to Shakespeare")

Johnson ends his "Preface to Shakespeare" by conceding that some allowances should be made to the Bard because of the age in which he lived.

How does violence come to take the place of love, expression, and creativity in Gods Go Begging? Make sure to quote the text and closely analyze the metaphors and symbols, the tone and/or feeling of each scene, demonstrating their connection to your claims and arguments.

In the first scene of the book, the two dead people cling to each other as if they are embracing. Véa writes: 

Pronounced dead on a cold city sidewalk, they held on to each other as the gurney rolled from cement to asphalt and into a waiting ambulance for a long, anonymous ride. In the end, it was clear to every onlooker that neither dying woman would ever let go of the other. (2)

When they are shot down on the street, the two women embrace as if it is an act of love. Their arms, fingers, and even stories have become entwined, and this deadly embrace is a symbol of the way in which death has replaced love. The dead women watch, detached, as their bodies are dissected in the coroner's office. They are thrown together into an embrace only when they are dead, and the movements of their dead bodies mimic the movements of love to show how death has replaced love in the world of the novel.
In addition, the lives of the personnel in the coroner's office have been marred and tainted by death. The assistant medical examiner tells his colleague that his wife is afraid that he has dissected so many women that "she thinks it'll make her body less special to [him]" (3). In other words, dealing with dead bodies and dissecting them have replaced touching his wife in an act of love. The chief medical examiner thinks that his "career would stalk him; it would take careful aim at his native curiosity, his romanticism, his passion" (27). Véa uses personification to make the medical examiner's career into a weapon that can stalk him. Dealing with death has killed the medical examiner's curiosity and the expression of his dreams, as it has for many of the characters in the novel, including the protagonist Jesse, who is forever haunted by the death and destruction he saw in Vietnam. 

Is it important that Jonas sees the apple change in The Giver?

It is important that Jonas sees the apple change because it is his first indication that he is different and his community is not what it seems.
When Jonas is growing up, he believes what everyone in his community believes. He thinks the community is perfect, all citizens are happy, and Sameness ensures no one is ever uncomfortable. The strict rules and conformity are necessary to maintain the community’s structure and happiness. When Jonas sees the apple change, he realizes nothing is what it seems.
The apple changing is the first sign Jonas is different from others and that the community is hiding a secret. Jonas is the only one who notices anything unusual about the apple.  He sees it change when he is tossing it to his friend Asher.

But suddenly Jonas had noticed, following the path of the apple through the air with his eyes, that the piece of fruit had—well, this was the part that he couldn't adequately understand—the apple had changed. Just for an instant (Chapter 3).

Jonas asks Asher about it, but he notices nothing unusual about the apple. Jonas tries to bring the apple home, but he can’t see anything different about it. All that happens is that he is publicly chastised for hoarding food. The Speaker doesn’t mention him by name, but Jonas knows the Speaker is talking about him. That’s how it works in Jonas’s world. You conform, or else.
When Jonas turns Twelve, he finds out what the change was all about. At the Ceremony of Twelve, his number is skipped when he is supposed to be called for his assignment. He and the other audience members are told by the Chief Elder that he has been given an unusual assignment and has been selected Receiver of Memory. It is a job that requires special skills, personality traits, and one unique ability.

Finally, The Receiver must have one more quality, and it is one which I can only name, but not describe. I do not understand it. You members of the community will not understand it, either. Perhaps Jonas will, because the current Receiver has told us that Jonas already has this quality. He calls it the Capacity to See Beyond (Chapter 8).

Jonas realizes he does have this unique ability. He saw the apple change. He sees the faces of people in the crowd change. He learns through his training that this means he is susceptible to the memories. Only a very small percentage of people in his community are, and Jonas is one of them.
When he begins his training, Jonas finds out he is seeing color. No one else in his community does. The apple was red, and he was seeing its redness. When he receives memories, he starts to see all the colors. 
As extraordinary as it is to have a special ability no one else has, akin to a magic trick, the really important thing about Jonas and the apple is that it is the first time Jonas and the reader realize something else is going on behind the community’s perfect surface. The community is much darker than Jonas realized.  
As part of his training, Jonas begins to see the community's dark side and that another way of life is possible. It is the way of life he sees in the memories, a way of life that is not devoid of feelings and ruled by politeness. Jonas begins to doubt his community and is eventually forced to leave it.

What would be a good thesis sentence for why Antigone is more justified than Creon in their tragic collision?

A possible thesis to explain why Antigone is justified in disobeying Creon's law could be something like this:

Antigone is justified in disobeying Creon's law because she believes she is following higher and more just laws: her sense of duty to family and the gods.

In the play, Antigone's brothers fight in a battle but on different sides. One brother fights for Thebes (Creon's side), and the other fights against. Both brothers are killed, but Creon forbids anyone to bury the body of the brother who fought against Thebes. Antigone feels a sense of duty to her brother as family and gives him a proper burial. She also knows that the gods support her decision and tells Creon this. Antigone is the protagonist of the play (it's named for her, after all), and she garners the sympathy of most readers and audiences. She is outspoken and loyal to her family. She truly believes that if a law is unjust, or contradicts her moral compass or the will of the gods, it should not be obeyed.
Another way to support the thesis is to discuss Creon's character and how he is portrayed by Sophocles, the playwright. Creon is depicted as stubborn in upholding his decree, even when he and others question it. He ends up losing his son, who was set to marry Antigone, and his pride and obstinacy end in tragedy for all involved.

Possible thesis statements for why Antigone is more justified in her reasoning than Creon might sound like the following:
Antigone's reasoning is more justified than Creon's because Antigone seeks to obey and honor the laws of the gods, while Creon instead seeks to maintain his public honor and authority over his state.
Alternatively, it could sound something like this:
Antigone is justified in opposing Creon's decree because her burial of her brother upholds the laws of the Gods and her familial duty.
The conflict in Antigone is interesting because both of these characters have valid reasons for their actions, and both of them are ultimately punished.
Creon does not want Polyneices to be buried because Polyneices led a rebellion against his brother and his home country. To Creon, Polyneices should not be buried because he is a traitor. Creon threatens that anyone who defies this order will be publicly stoned. Creon is well aware of his position as a leader and does not want anyone to threaten his authority. He chooses a public punishment that would put similar traitors (anyone who dared to defy his decree) on display. Creon is stuck between maintaining his power on Earth and being a strong leader of men and following the customs that honor the gods (burying the dead).
Antigone is not a ruler, so she does not have to worry about losing her authority or public image in the same way that Creon does. She follows laws and customs that are central to her faith in the gods and her position as a woman. Although it hurts her that her brothers fought each other, it is still her place as a woman and a sister to bury Polyneices. She fulfills her family duty and the honor due to the gods by burying Polyneices.
While the two struggle, there are several others that question Creon's will, but the chorus also frequently condemns Antigone because, in many ways, she willingly brings her punishment on herself.

Here's a possible thesis statement you could use:
Antigone is justified in defying Creon, because doing the right thing is ultimately more important than obeying unjust laws.
Sometimes it's necessary for brave people to stand up and defy unjust laws. That's what Antigone does. Her uncle, King Creon, has violated the law of the gods in leaving the body of Antigone's brother Polynices to rot out in the open. He won't allow Antigone or anyone else to bury him. But Antigone defies Creon's orders. She knows what's morally right and what's pleasing to the gods.
When writing your thesis, make sure to cite examples from the text to support your argument (whichever one you use). Also, you might like to use a few brief examples from history to show how people in real life have often challenged unjust laws, such as those who fought to abolish slavery or opponents of the Nazis.
 

College Algebra, Chapter 2, 2.4, Section 2.4, Problem 36

Find an equation of the line that pass through $\displaystyle \left( \frac{1}{2}, \frac{-2}{3} \right)$ and perpendicular to the line $4x - 8y = 1$.

If the line is perpendicular to $4x - 8y = 1$, then its slope is equal to the negative reciprocal of the other.


$
\begin{equation}
\begin{aligned}

4x - 8y =& 1
&&
\\
\\
8y =& 4x - 1
&& \text{Add $8y$ and subtract } 1
\\
\\
y =& \frac{4}{8} x - \frac{1}{8}
&& \text{Divide by } 8
\\
\\
y =& \frac{1}{2}x - \frac{1}{8}
&&

\end{aligned}
\end{equation}
$


By observation, the slope of the line perpendicular line to $4x - 8y = 1$ is $m = -2$.

By using Point Slope Form


$
\begin{equation}
\begin{aligned}

y =& mx + b
&&
\\
\\
y =& -2x + b
&& \text{Substitute } m =-2
\\
\\
\frac{-2}{3} =& -2 \left( \frac{1}{2} \right) + b
&& \text{Solve for } b
\\
\\
\frac{-2}{3} =& -1 + b
&& \text{Simplify}
\\
\\
b =& \frac{1}{3}
&&

\end{aligned}
\end{equation}
$


Thus, the equation of the line is..

$y = -2x + \frac{1}{3}$

At the beginning of "Contents of a Dead Man's Pocket," what does Tom think is the most important thing in his life?

At the beginning of the story, Tom thinks that his work is the most important thing in his life.
When his wife, Clare, asks him to accompany her to the cinema, he refuses. Tom explains that he has to finish up some work, and he tries to cheer his wife up with a comment about future prospects:

"It's just that I hate you to miss this movie; you wanted to see it too." "Yeah, I know...Got to get this done though...You won't mind though, will you, when the money comes rolling in and I'm known as the Boy Wizard of Wholesale Groceries?"

Tom believes that all his hard work will eventually pay off for him and Clare, and that's how he rationalizes his workaholic tendencies. In his opinion, he feels that he has to distinguish himself from the other young employees. By taking on independent projects that will benefit the company, Tom believes that the top executives will finally take notice of him. So, Tom stays home to put together a special report that (he is convinced) will revolutionize grocery-store display methods for his company.
However, it is not until he loses the yellow paper containing all the pertinent facts and figures of his study that he begins to reevaluate his priorities in life.

Write a character sketch for Anne Frank and Peter Van Dan

A character sketch is a brief description of a character. The word "sketch" should make you think of art, where an artist rapidly creates a design. It doesn't have to include many details, and it isn't necessarily finished.
Some of the main characteristics of Anne Frank include her outgoing and talkative nature. Peter provides an example of this when he explains,

"All right, Mrs. Quack Quack! . . . I heard about you...How you talked so much in class they called you Mrs. Quack Quack! How Mr. Smitter made you write a composition, "'Quack, quack' said Mrs. Quack Quack."

Anne was known for being very verbal and talkative around her school. Additionally, Anne cares deeply for her family and friends. This is seen when she goes out of her way to find and create presents, when she and her family have hardly any money or resources, for the members of the secret annex. She loves people and enjoys conversing with them. Finally, Anne also has a very optimistic view of the world. She famously wrote in her diary,

"In spite of everything, I still believe that people are really good at heart."

Peter, however, enjoys his peace and quiet. Throughout much of the dramatic version of The Diary of Anne Frank, Peter tries to be by himself in his room. After he tells the others about how Anne was called Mrs. Quack Quack in school, the two of them continue to bicker. Finally, he exits:

"Quack, quack, quack, and from now on stay out of my room!"

Peter liked his alone time, especially with his cat, Mouschi. In fact, Peter seems to be a bit like his cat. As he explains to Anne when she tries to be friendly with Peter's cat,

"He's a tom. He doesn't like strangers."

Later, when Anne and Peter become friends, he tells Anne directly that he didn't believe he had any friends:

"I don't want any [friends]." I get along all right without them."

However, by the end of Anne's diary (and the dramatic version), Peter learns to consider Anne a true friend. In the play Anne asks Peter if he could, "get along without [her]?" He responds,

"No. If they were all like you, it'd be different."

Peter is much less interested in socializing than Anne is. He's also less talented in academics than Anne and her sister, Margot. Finally, Peter is much more pessimistic than Anne. One example of this is when Peter tells Anne that he doesn't have (or need) any friends.
https://encyclopedia.ushmm.org/content/en/article/anne-frank-biography

Discuss the role of storyteller as presented in "The Zebra Storyteller."

Spencer Holst, the author of "The Zebra Storyteller," tells readers the exact role of a storyteller in the last lines of the text:

"He took a good look at the cat, and he didn’t know why, but there was something about his looks he didn’t like, so he kicked him with a hoof and killed him. That is the function of the storyteller."

In the story, a Siamese cat pretends to be a lion and goes around killing zebras. He speaks "inappropriate Zebraic." During one event, the cat comes across a zebra and speaks to it. The zebra is "fit to be tied," and the cat kills the zebra. The cat continues to kill many zebras, making neckties and belts from their hides.
The story then changes a little. It shifts focus to "the storyteller of the zebras," who is pondering a new story. The zebra thinks that it would make a good story to tell of a cat who speaks the language of the zebras. It just so happens that the Zebraic-speaking cat crosses the path of the storytelling zebra. The zebra is not surprised by this cat, because it was just thinking of this, and it decides it does not like the looks of the cat and kills it.
Therefore, the purpose, or role, of the storyteller is to anticipate and prepare the audience for the unexpected. If one expects something to happen, then he or she will not be surprised and will know how to react in the situation. In the end, it is the role of the storyteller to think up the impossible and prove its possibility. By passing the now-possible story on, listeners are prepared for the unexpected.
Outside of the text in question, stories are told for a few different reasons. First, these stories allow us to make connections with others who have experienced what we have not yet experienced. This allows us to feel connected to others around us and gain knowledge regarding how to deal with a situation we have no experience with. Secondly, stories are meant to teach lessons. Through morality stories, readers are taught about the decisions they must make in life and what the possible outcomes could be. Lastly, stories offer escape. Some stories are meant to allow readers some space between reality and fantasy.

Find lim x-> infinite. f(x) = (3x/(e^2x + 7x^2))^(1/x)

We are asked to find lim_(x->infty) ((3x)/(e^(2x)+7x^2))^(1/x) :
First, use the fact that the limit of a product is the product of limits to get:
=lim_(x->infty)3^(1/x) * lim_(x->infty)((x)/(e^(2x)+7x^2))^(1/x)
Note that lim_(x->infty)3^(1/x)=3^(lim_(x->infty)1/x)=3^0=1
Now for the remaining factor write as:
=lim_(x->infty)e^(ln((x)/(e^(2x)+7x^2))^(1/x)
Use a property of logarithms (ln is the natural log function) to get:
=lim_(x->infty)e^((ln((x)/(e^(2x)+7x^2))/x)
=e^(lim_(x->infty)((ln((x)/(e^(2x)+7x^2))/x)
The limit is indeterminate, so use L'hopital's rule:
d/(dx) (ln((x)/(e^(2x)+7x^2))/x)=-(e^(-2x)+2e^(2x)+7x^2)/(x(e^(2x)+7x^2))
so we have
=e^(lim_(x->infty) -(e^(-2x)+2e^(2x)+7x^2)/(x(e^(2x)+7x^2))
=e^(-lim_(x->infty)(e^(-2x)+2e^(2x)+7x^2)/(xe^(2x)+7x^3)
Divide the argument through by xe^(2x) to get:

e^(-2/1)=1/e^2

What accounts for the fact that Polaris has drawn closer to the direction of true magnetic north?

Motion and speed are relative terms. Asking how fast you are traveling immediately begs the question "relative to what?" In a car that is traveling down the road, you might be moving at 45 miles per hour relative to the road, but you aren't moving at all relative to the car's trunk. Star position and movement is similar in this regard. Stars appear to change position over the course of a night or season because of Earth's rotation around its axis and revolution around the sun. A star like Polaris is visible all year from the northern hemisphere, but that doesn't mean it appears completely stationary. The Earth is on the opposite side of its orbit about every 180 days. This change in Earth's position will cause celestial objects to appear to shift around a little bit. This is called parallax. You can easily demonstrate it by holding your thumb up in front of your face at arm's length. Close one eye. Then quickly alternate back and forth which eye is closed. Your thumb will appear to shift and wiggle back and forth even though it's not moving at all. Polaris is subject to this kind of apparent motion. Additionally, Polaris is actually moving. Polaris exists in the Milky Way, and our galaxy is not static. It rotates and is moving through the vastness of space. Polaris is subject to all of this motion. The fact that Polaris is moving closer to magnetic north or geographic north is coincidental.
One final note. While it's true that Polaris and Earth's magnetic north are falling closer in line, it's also true that Earth's magnetic field is constantly changing. It's possible that Earth's magnetic north is moving closer to Polaris's position and not the other way around.
https://earthsky.org/astronomy-essentials/north-star-movement

Why won't Walter Cunningham take the money from Miss Caroline?

Everyone in Maycomb knows the Cunninghams are a very proud family. They may be dirt poor, but they are disinclined to accept any free handouts. They will never accept any favors from anybody unless they can repay it. Since they can rarely afford to pay money, the family repays people in the products of their labor.
Since Walter knows that this philosophy is part of being a Cunningham and realizes that he will not be able to repay the quarter on offer, he refuses to take it. Miss Caroline is new to the town and does not know of their tradition. She sees Walter's response as rude and is quite annoyed with him. Scout is urged to enlighten Miss Caroline about their ways and when she does so in Walter's defense, Miss Caroline, who had already been irked by her on a previous occasion, decides to punish her.
It is for this reason that Scout later rubs Walter's nose in the sand; she believes that he brought trouble upon her. Jem saves the boy from his sister's vengeance and invites him home for dinner. In this instance, Jem displays the qualities Atticus has inculcated in his children. Scout is still too young and naive to understand her father's philosophy and responds on an emotional level.
It is clear that Atticus has taught his children not to discriminate, and Scout's action in this particular situation in some way foreshadows her intervention later in chapter 15, when she speaks to Walter's dad in front of the jailhouse where Tom Robinson is incarcerated. Mr. Cunningham is part of a lynch mob intent on removing Tom and executing their brand of justice. Her father has been aware of the threat and is outside the prison, keeping watch, when they arrive.
Scout recognizes Mr. Cunningham and goes to speak to him about his son and his entailment. Her action prevents a serious confrontation and probably saves both her father and Tom from serious harm. Mr. Cunningham responds to her and asks the mob to leave, which is exactly what they do.

Because of the way he has been brought up, Walter Cunningham won't take any lunch money from Miss Caroline.
As Scout explains in the book, Walter is a Cunningham, and in Maycomb, the Cunninghams are known to be a poor but proud family. A Cunningham will refuse a gift he cannot readily repay.


"...The Cunninghams never took anything they can’t pay back—no church baskets and no scrip stamps. They never took anything off of anybody, they get along on what they have. They don’t have much, but they get along on it."

So, despite not having any lunch, Walter refuses to take the lunch money offered by Miss Caroline. Scout explains to Miss Caroline that Walter will never have the money to repay her, and since she can't use any "stovewood," forcing Walter to take the money would be wrong. In regards to the "stovewood," Scout is referring to the way the Cunninghams usually pay for any services or products.
Scout recalls a time when Walter's father had some legal work done by Atticus. Accordingly, Mr. Cunningham later paid Atticus with stovewood, hickory nuts, turnip greens, and Christmas holly. Scout tries to explain to Miss Caroline that the Cunninghams have their own way of doing business, but Miss Caroline refuses to listen. In the end, Scout is spanked for her troubles, a punishment she considers unjust.

Let x be the age in years of a licensed automobile driver. Let y be the percentage of all fatal accidents (for a given age) due to speeding. For example, the first data pair indicates that 36% of all fatal accidents involving 17 year olds are due to speeding. x=17,27,37,47,57,67,77 y=36,25,20,12,10,7,5 1.)find the sample mean for x (round to nearest whole number) and y (round to 2 decimal places). 2.)find a and b. round your answer to 3 decimal places 3.)write the equation of the least squares line y=a+bx 4.)Predict the percentage of all fatal accidents due to speeding for 25 year olds. (round to 2 decimal places)

We are given the following coordinate pairs: (17,36), (27,25), (37,20), (47,12), (57,10), (67,7), and (77,5), where the x-coordinate represents the age in years and the y-coordinate the percent of fatal accidents with speeding as the major cause.
It might be easiest to create a table with the following headings: x, y, xy, x^2, and y^2. Then sum each of the columns:
x:      y:      xy:      x^2:      y^2:17     36     612     289        129627     25     675     729        62537     20     740    1369       40047     12     564    2209       14457     10     570    3249       10067      7      469    4489         4977      5      385    5929         25-----------------------------------329   115  4015   18263     2639
(1) Find the mean of x and y:
bar(x)=(sum x)/n=329/7=47
bar(y)=(sum y)/n=115/7 ~~ 16.43
(2) Find a and b for the linear regression line of best fit. (Note that you should check that the correlation is significant—with r about -.959 the correlation is significant at least for a 98% confidence.)
a=((sum y)(sum x^2)-(sum x)(sum xy))/(n(sum x^2)-(sum x)^2)
=(115*18263-329*4015)/(7*18263-329^2) ~~ 39.761
b=(n(sum xy)-(sum x)(sum y))/(n(sum x^2)-(sum x)^2)
=(7*4015-329*115)/(7*18263-329^2) ~~ -.496
(3) The equation of the regression line y'=a+bx is y'=39.760-0.496x
(4) The value of the regression line at x=25 (which is the estimate for the percentage of fatal accidents caused by speeding for 25 year olds) is
y'=39.760-0.496(25)=27.35
http://mathworld.wolfram.com/LeastSquaresFitting.html

McDougal Littell Algebra 2, Chapter 3, 3.2, Section 3.2, Problem 39

We could use any of these numbers to start off.
We can either choose to solve for x or y it doesn't matter. I will start by solving for y in 6x + 9y =-3
The first step is to move 6x to the other side by subtracting it because we are trying to get y alone.
9y = -3 - 6x
Now divide by 9 because it is standing in the way of y:
y = -3/9 - (6x)/9
We can simplify these:
y = -1/3 - (2x)/3
Now plug in these numbers as Y on the other problem:

-4x - 6(-1/3 - (2x)/3) = 11
distribute the -6

-4x + 2 + 4x = 11
combine like terms:

-4x + 4x + 2 = 11
2 != 11
therefore there are no numbers that could satisfy this equation.

Does Nick enjoy the afternoon at the New York apartment? Why or why not?

It would be fair to say that Nick does not enjoy his time at Tom's apartment in New York. He doesn't explicitly say so, but from his description of what happens, it's a fair assumption that he doesn't much care for the occasion. For one thing, there's something rather tawdry about Tom's place; not surprising when you consider it's his bolt-hole for conducting clandestine trysts with Myrtle Wilson.
The little social gathering encapsulates the deep social gulf between Tom Buchanan and his mistress and her family. Myrtle is a new woman as soon as she puts on some glamorous clothes. She starts to behave like a duchess, showing off her rich lover to her sister and some friends, acting like she has it made. Drink only makes her worse; copious amounts of booze turn her into a female version of Tom, assuming his same air of social superiority.
Nick is caught in the middle of all this. He already knew that Tom wasn't a particularly pleasant guy, but when he casually almost breaks Myrtle's nose, it's still a shock to see just how brutal he can be.

What kind of language style and literary devices are used in "The Snows of Kilimanjaro" by Ernest Hemingway?

"The Snows of Kilimanjaro" is one of Ernest Hemingway's most masterfully written short stories, and it has plenty of linguistic style and literary devices embedded in the text to keep even the closest of readers occupied for a long time. Hemingway's doing a lot in this story. For our purposes, though, I think it would be best to focus on two things in particular: economy of language and symbolism.
Economy of language: this trait is a classic characteristic of Hemingway's style. His writing is most commonly known for simplicity and lack of needless stylistic flourishes. Indeed, Hemingway's prose could be reasonably compared to a strong cup of black coffee, as both are robust, plain, and simple. Understatements are a particularly key trait in this story. Often, Hemingway writes about important things in an indirect fashion; he never directly says what's happening, but the reader can guess obliquely by paying attention. In "Kilimanjaro," Hemingway doesn't immediately tell us his protagonist is dying. Rather, we're allowed to figure this out for ourselves based on the characters' indirect, clipped dialogue and a few hints Hemingway throws our way. As a result, the story's deeper meaning unfurls indirectly, so we appreciate it much more once we finally understand it. 
Symbolism: all of "Kilimanjaro" can be summed up in Hemingway's brief description of a frozen leopard near the summit of Mt. Kilimanjaro at the beginning of the story. The leopard can be seen as a symbol for seeking and struggling to reach a higher purpose or meaning, but ultimately falling short in the process. This same concept is what much of the rest of the story is about, as the protagonist Harry laments the literary talents he failed to develop to the fullest. As such, the leopard becomes a literary device that symbolically represents the idea of failing in the process of striving for great things, and so it also becomes the heart of the whole short story. 

Summarize one theory of Carl Jung. Please use at least 3 references. Also, please discuss the positive applications of the theory, and discuss the components of this theory that might make this theory challenging to apply. Discuss two ways in which this theory can be applied in a counseling setting. Include a description of how this theory can embrace multiculturalism and support culturally competent counseling practice.

One of Jung's theories is that of archetypes. Jung understood archetypes as manifestations of a universal collective unconscious. These could be seen across societies and were deeply embedded in the unconscious in a holistic manner, manifesting in art and life across cultural contexts.
Jung essentially rejected the idea that the mind was a blank slate, and archetypes were clear evidence of this fact. They were examples of imagery and ideas which welled up from the unconscious and represented deeply buried primal urges and impulses. They were best understood intuitively rather than rationally.
Jung saw these archetypes as being expressed in various ways, and he thought they captured various themes. There were archetypal phases of life (birth, death, and so on) and archetypal figures. One archetypal figure is the "hero." The mythologist Joseph Campbell expands on this concept in his book The Hero With a Thousand Faces, suggesting that the archetype of the hero is seen in myth and storytelling across cultural contexts. This is certainly one way that Jung's theory of archetypes could be seen as embracing multiculturalism. Other archetypes include archetypal events ("the deluge", "the apocalypse", and so on).
In therapeutic terms, the archetypes can be viewed as models or templates for "personality types," which engender certain behaviors. One can see how aspects of this view can have therapeutic possibilities while also realizing that their broad and perhaps oversimplified nature makes it hard to make them fit an individual's specific life experiences.
Archetypes can also be seen as providing a guide for the various stages of life, as human development and growth throughout life follows a kind of deeply ingrained archetypal form. Again, this can be seen to have therapeutic possibilities while at the same time being limited by the tendency to overgeneralize.
Archetypes have been challenged, criticized, and misinterpreted, but they still remain one of Jung's most powerfully influential and lasting concepts.
http://www.cgjungpage.org/learn/articles/analytical-psychology/870-archetypes-and-complexes-in-the-womb

https://books.google.fr/books?id=ZLPgBQAAQBAJ&dq=jungian+archetypes

How did Rhea Silvia become pregnant if she was a vestal virgin? Did she have sex to conceive the twins?

Most historians, when studying the myth of Rhea Silvia, use as source the writings of the famous Roman historian, Titus Livius, more popularly known as Livy. He had written a monumental work on the history of Rome, and covered the period from its earliest legends before the traditional foundation in 753 BC through to the reign of Augustus when he (Livy) was still alive. Scholars have respected his version of early Roman history as being the most accurate.
Rhea Silvia was the mother of Romulus and Remus. The circumstances of their conception have been much debated, but Livy states in his account that Rhea was raped. She had been forced to become a vestal virgin and undertake a vow of celibacy for thirty years. This was done by her uncle Amulius, who seized the throne from her father, Numitor, and killed her brother to prevent him from being rightfully challenged by him or his heirs. Amulius was imprisoned.
In terms of the myth, Rhea Silvia fell pregnant after being violated by Mars and gave birth to the twins who would eventually establish Rome. Livy states, however, that she had been violated by a man, not by Mars. He assumed that her claim to have been raped by Mars was either a result of her imagination or because it was deemed less shameful for a vestal virgin to have committed such an offense with a god. Be that as it may, the punishment for such an act was death, and Amulius ordered that she be buried alive for breaking her vow of chastity.
In a number of myths, the river god, Tiber, took pity on Rhea Silvia and rescued her from Amulius's clutches. He later made her his wife, which promoted her status to that of a minor deity. 
Amulius had also instructed that Rhea's illegitimate twins, Romulus and Remus, be executed by exposure, but the servant who was to execute the sentence took pity on the two boys and set them adrift in a basket down the river Tiber. Their basket later got caught on the river bank, and they were rescued and weaned by a wolf. A shepherd and his wife later discovered them and raised them. As grown men they avenged their uncle's murder by killing Amulius and returning their grandfather, Numitor, to his rightful place on the throne.

In Guns, Germs, and Steel by Jared Diamond, why did the different areas of Austronesia develop so differently?

Austronesia is a term for the area including the islands off the Pacific coast of China and Southeast Asia: Taiwan, Indonesia, the Philippines, and the Pacific Islands. Six thousand years ago, this area exploded in population as peoples from China and Southeast Asia migrated from the mainland to the islands. This migration can be traced with both archaeological and linguistic evidence.
Despite their similar origins, not all Austronesian cultures developed the same way. Those who left mainland Asia via Taiwan came to overrun the indigenous cultures in the Philippines and Indonesia, but in about 1500 BCE, they reached New Guinea and came to very different results. These results persist to this day. Physically, the people of New Guinea are distinct from those of Indonesia, and their languages aren't clearly related to other Austronesian languages.
According to Diamond's theory, the indigenous people of New Guinea had developed a more sophisticated level of agriculture than the Indonesians, and with that came greater resistance to disease and more advanced tools. All of this positioned the New Guineans against Austronesian invasion. While the peoples of the Philippines and Indonesians were all but replaced by the Austronesians, the situation in New Guinea led to more of a merger and assimilation rather than a complete replacement.

The Austronesian expansion refers to one of the largest population movements of the past 6,000 years, in which people of Taiwan (or, as Diamond states, "stemming ultimately from mainland China") colonized Java and Indonesia.
Diamond suggests that different areas of Austronesia developed differently, stating that the outcomes of the expansion in the New Guinea region were almost opposite to those of the Philippines and Indonesia. In New Guinea, indigenous populations managed to keep "invaders" at bay, while the Philippines and Indonesia saw their indigenous populations wiped out by the new arrivals. 
Diamond chalks this phenomenon up to the differences in cultural circumstances in these areas. New Guinea's indigenous population already had a firm grasp on food production (and were able to successfully accept the introduction of Austronesian pigs, chickens, and dogs), were in possession of polished stone tools, were resistant to tropical diseases, were accomplished seafarers, and had developed trade; Indonesia and the Philippines, on the other hand, were mostly populated by a small group of hunter-gathers who didn't have such honed skills or tools. 
Diamond summarizes this quite effectively near the end of Chapter 17, stating:

In short, the variable outcomes of the Austronesian expansion strikingly illustrate the role of food production in human population movements. Austronesian food-producers migrated into two regions (New Guinea and Indonesia) occupied by resident peoples who were probably related to each other. The residents of Indonesia were still hunter-gatherers, while the residents of New Guinea were already food producers and had developed many of the concomitants of food production (dense populations, disease resistance, more advanced technology, and so on). As a result, while the Austronesian expansion swept away the original Indonesians, it failed to make much headway in the New Guinea region, just as it also failed to make headway against Austroasiatic and Tai-Kadai food producers in tropical Southeast Asia.

In other words, the differences in these indigenous populations' cultural advancements and their ability (or inability) to create a sustainable food source resulted in their respective victory (or defeat) over the colonization efforts of Austronesians. 

Single Variable Calculus, Chapter 2, 2.4, Section 2.4, Problem 4

Find a number $\delta$ such that if $|x -1| < \delta $ then $\displaystyle |x^2 - 1| < \frac{1}{2}$ using the given graph of $f(x) = x^2$









First, we will get the values of $x$ that intersect at the given curve to their corresponding $y$ values. Let $x_L$ and $x_R$
are the values of $x$ from the left and right of 1 respectively.

$
\begin{equation}
\begin{aligned}
y & = (x_L)^2 &
y & = (x_R)^2\\

0.5 & = (x_L)^2 &
1.5 & = (x_R)^2\\

\sqrt{0.5} & = \sqrt{(x_L})^2 &
\sqrt{1.5} & = \sqrt{(x_R})^2\\

x_L & = \sqrt{0.5} &
x_R & = \sqrt{1.5} \\

x_L & = 0.7071 &
x_R & = 1.2247
\end{aligned}
\end{equation}
$


Now, we can determine the value of $\delta$ by checking the values of $x$ that would give a smaller distance to 1.


$
\begin{equation}
\begin{aligned}
1 - x_L & = 1 - 0.7071 = 0.2929\\
x_R - 1 & = 1.2247 - 1 = 0.2247
\end{aligned}
\end{equation}
$


Hence,
$\quad \delta \leq 0.2247$

This means that by keeping $x$ within $0.2247$ of $1$, we are able to keep $f(x)$ within $0.5$ of $1$.

Although we chose $\delta = 0.2247$, any smaller positive value of $\delta$ would also have work.

Find the point on the parabola x+y^2=0 that is closest to the point (0,-3)

Let us say the coordinates of the point closest to (0,-3) are (a,b).
The distance (L) between these two points can be given as;
L = sqrt((0-a)^2+(-3-b)^2)
By getting L^2
L^2 = a^2+(3+b)^2 -----(1)
 
However (a,b) is on the parabola. So we can say;
a+b^2 = 0
a = -b^2
By substituting a = -b^2 on equation (1)
L^2 = b^4+(3+b)^2
L^2 = b^4+b^2+6b+9 ----(2)
 
The maximum/minimum of L is given when dL/db = 0
By first derivative on (2)
2LdL/db = 4b^3+2b+6
For maximum and minimum dL/db = 0
4b^3+2b+6 = 0
 
In these complex cases it is better to apply b = -1, b = +1 or b = 0 and see whether it solves equation.
You can see at b = -1 gives you one solution. 
So we can write,
(b+1)(pb^2+qb+r) =4b^3+2b+6 where b^2 is not equal to 0.
pb^3+(q+p)b^2+(r+q)b+r =4b^3+2b+6
By comparing components,
p = 4
r = 6
q = -4
 
pb^2+qb+r = 4b^2-4b+6
4b^2-4b+6 = 0
b^2-2b+3 = 0
delta = (-2)^2-4xx1xx3<0
So this part does not have real solutions. They have complex solutions.
 
When b<-1 say b = -2 then
 dL/db = (4b^3+2b+6)/(2L) = (-32-4+6)/(2L)
Since L>0 then dL/db<0.
 
When b>-1 say b = 0 then
 dL/db = (4b^3+2b+6)/(2L) = (0+0+6)/(2L)
Since L>0 then dL/db>0.
 
Since at b= -1 the parabola changes from negative gradient to a positive gradient, that means the curve has a minimum. So the length between points is minimum.
When b = -1 then;
a = -b^2
a = -1
 
So the closest point to (0,-3) is (-1,-1) which is on x+y^2 = 0 parabola.
 
http://clas.sa.ucsb.edu/staff/lee/Max%20and%20Min's.htm

http://www.mesacc.edu/~marfv02121/readings/nearest_point/index.html

https://en.wikipedia.org/wiki/Quadratic_equation

Are spiders deaf?

Spiders have all the senses we do. Spiders are not deaf, although they do not hear with ears the way people do.  Spiders "hear" by sensing vibrations in the air. They receive these vibrations through hairs and small slits all over their bodies. Humans, too, hear sounds as vibrations in the air. Our ears capture these vibrations. The spider's sense of hearing is so well fine-tuned that the spider knows the size and type of insect caught in its web, much as we would know if someone large or small were coming up the steps based on the heaviness of the person's tread. The spider also uses this sense of hearing when he courts a female by "plucking" at a pattern on the female, rather than just touching her anywhere. This is considered a proper spider introduction, letting the female know his intentions are to court her, not attack her.
http://www.smithsonianeducation.org/educators/lesson_plans/under_spell_spiders/spiderspecifics.html

According to the narrator, how did Laurie change when he started kindergarten in the story "Charles" by Shirley Jackson?

Shirley Jackson's narrator in "Charles" is apparently a deluded mother. Her thinking that her child has transformed on the day he goes off to school, before ever entering the kindergarten classroom, is unfounded at best.
According to the mother, who narrates, on the first day of school, her "sweet-voiced" tot suddenly transform into a "long-trousered, swaggering character" who walks with an older girl and forgets to turn and wave goodbye to his mother. Then, in the afternoon, he returns and announces his arrival by flinging open the front door. Curiously, the mother never scolds her son when he exhibits inappropriate behavior. The father makes a feeble attempt at disciplining Laurie but does not follow through with sufficient parental effort when the boy ignores him. For instance, after Laurie tells his parents that a boy named Charles was rude at school, and the teacher spanked him and ordered him to stand in a corner, he takes a cookie and walks off despite the fact that his father is telling him to stay put.
Ironically, the mother narrates that "Charles was an institution in our family." She adds, "Laurie did a Charles when he filled his wagon full of mud and pulled it through the kitchen." The husband is equally obtuse as he comments about something Laurie has done, describing it with the words "[L]ooks like Charles."

When Shirley Jackson's "Charles" begins, the narrator's son Laurie is "my sweet-voiced nursery-school tot" (Jackson 1).  Even as he turns the corner on his way to school, he begins his transformation to a "swaggering character" (1).  From a sweet and compliant child, he morphs into a noisy and rude character who slams the door, speaks to his father "insolently" (1) and loses his ability to speak proper English, now saying "I didn't learn nothing" (1).
Laurie begins to come home with stories of Charles, a classmate he says gets in trouble all the time. He has hit the teacher, yells during story time, injures a little girl on the playground, and makes so much noise that he disrupts other classes. After some time passes, Laurie reports Charles has settled down and is rewarded for better behavior. He has a few lapses, and then seems to settle in well. 
After weeks of Laurie reporting on Charles's bad behavior to his parents, his mother, who has missed the parent-teacher conference, attends the PTA meeting, hoping to hear about Charles. This is when she learns from Laurie's teacher that there is no Charles in Laurie's class. She also learns Laurie had a difficult time adjusting to school, but seems to be doing better now. 
Laurie's transformation in school is from sweet toddler to his new alter ego, Charles. Charles is the vehicle by which Laurie reports to his parents his own bad behavior, or at the very least, behavior he wished to engage in while in school. Once he acclimates to school, Laurie reports Charles is behaving better, too. School is truly a transformational process, but it is often a bumpy road!

sum_(n=1)^oo n/3^n Use the Root Test to determine the convergence or divergence of the series.

Recall the Root test determines the limit as:
lim_(n-gtoo) root(n)(|a_n|)= L
lim_(n-gtoo) |a_n|^(1/n)= L
Then, we follow the conditions:
a) L lt1 then the series is absolutely convergent
b) Lgt1 then the series is divergent.
c) L=1 or does not exist  then the test is inconclusive. The series may be divergent, conditionally convergent, or absolutely convergent.
 
We may apply the Root  Test to determine the convergence or divergence of the series sum_(n=1)^oo n/3^n .
For the given series sum_(n=1)^oo n/3^n , we have a_n =n/3^n .
 We set up the limit as:
lim_(n-gtoo) |n/3^n|^(1/n)
 Apply Law of Exponent: (x/y)^n = x^n/y^m and simplify.
|n/3^n|^(1/n)=(n/3^n)^(1/n)
        =n^(1/n)/(3^n)^(1/n)
        = n^(1/n)/3^(n/n)
         = n^(1/n)/3^1
          = 1/3 n^(1/n)
Applying |(n/3^n)|^(1/n)=1/3 n^(1/n) , we get:
lim_(n-gtoo) |(n/3^n)|^(1/n)
=lim_(n-gtoo)1/3 n^(1/n)
= 1/3lim_(n-gtoo)n^(1/n)
= 1/3[1]
=1/3
 Note: lim_(n->oo) n^(1/n) = 1
The limit value  L=1/3 satisfies the condition: L lt1 .
 Therefore, the series sum_(n=1)^oo n/3^n is absolutely convergent.

Precalculus, Chapter 1, Review Exercises, Section Review Exercises, Problem 42

Find the intercepts and graph of the line $x - 2y = 8$.

$x$-intercepts:


$
\begin{equation}
\begin{aligned}

3x + 4y =& 12
&& \text{Given equation}
\\
3x + 4(0) =& 12
&& \text{To find the $x$-intercept, we let $y = 0$ and solve for $x$}
\\
3x =& 12
&&
\\
x =& 4
&&

\end{aligned}
\end{equation}
$


The $x$-intercept is $(4,0)$.

$y$-intercepts:


$
\begin{equation}
\begin{aligned}

3x + 4y =& 12
&& \text{Given equation}
\\
3(0) + 4y =& 12
&& \text{To find the $y$-intercept, we let $x = 0$ and solve for $y$}
\\
4y =& 12 && \\
y =& 3 && \\
\end{aligned}
\end{equation}
$



The $y$-intercept is $(0,3)$.

The intercepts are $(4,0)$ and $(0,3)$.

In what way is Carle’s interaction with Azucena changing him?

In the beginning, Carle personally covers all things that happen to Acuzena. He films the people who find her and the first people who try to rescue her. Eventually, he puts aside his gear to join in on the rescue efforts. He wades into the mud and ties a rope under Acuzena's arms, to be used to pull her out. Since her feet are trapped in the mud, the volunteers are unable to pull her out of the mud using the rope. Still, Carle does not give up. He reassures Acuzena that they would do everything in their power to get her out of the mud. He tries everything he can to free the girl’s legs from the mud but fails. Finally, he puts a tire under her arms to support her body and resolves to get a pump to be used to drain the water around her to enable him to move the debris surrounding her feet. The pump takes forever to arrive. Carle is wearied by the long wait. He looks very tired. The text states that he has “dark circles under his eyes” and a “growth of beard.” He is so tired and consumed by the rescue activities that he even stops filming happenings around him. He does not leave Acuzena’s side throughout the ordeal. He tells her encouraging stories to cheer her up. He even feeds her. On the second night by her side, Carle is reminded of the horrors he has gone through in his life. He remembers the war in Europe and the time he spent in the concentration camp. He remembers all those things that he has tried to forget. He realizes that he has used his work to hide his biggest fears: “that all his exploits as a reporter, the feats that have won him such recognition and fame, were merely an attempt to keep his most ancient fears at bay.” He cries for himself, for his pain.
In trying to rescue Acuzena, Carle discovers himself. He had wanted to offer her a shoulder to lean on, however, it is Acuzena who ends up consoling him. Finally, on the third night, Acuzena dies and Carle removes the tire from under her arms.

What smelly event occurred as a result of Avery's actions? How did it happen?

Avery and Fern have been spending a carefree, fun day at the Zuckermans' farm. They take turns to play on the swing, go picking berries, and eat some of Mrs. Zuckerman's blueberry pie. But Avery is seldom very far from getting into mischief of one sort or another, and today is no different. For the first time, he sees Charlotte sitting in her web. Avery finds himself fascinated by the little creature. He decides that he's going to keep her all for himself. So standing on a stool, he approaches Charlotte's web and tries to knock her into his box using a stick.
Thankfully, Avery's foolish idea gets the comeuppance it deserves. He loses his balance on the stool, and in his fall he tips over Wilbur's trough. This in turn breaks a rotten goose egg, which apparently was sitting underneath the trough. When the egg breaks, it gives off the most revolting smell imaginable. Indeed, the smell is so bad that Fern and Avery have no choice but to run away from the barn as quickly as possible. Charlotte has just had a very lucky escape indeed.

How and why did Jacksonian democracy fail African Americans, Native Americans, and women?

The presidency of Jackson was known for its democratic reforms. Many states abolished their property requirements to vote; this meant that nearly all white men over the age of twenty-one could vote. Campaign managers now sought to appeal to this larger group of voters by hosting barbecues and giving out mementos such as hickory sticks in order to promote the candidate. However, not all Americans were included in Jacksonian democracy.
Women could not vote and in most states were prohibited from owning property without their husband's approval. Women were important voices in the early temperance and abolitionist movements, but without the vote their voices went largely unnoticed. Women protested their lack of rights in the Seneca Falls Convention in 1848, but by then Jackson had already been dead three years.
African Americans were still slaves during this period, and Jackson himself was a prosperous Tennessee slaveowner. Even in the North free blacks could not vote and faced discrimination. Only a small group of abolitionists promoted equality for both races, and many who were against slavery advocated sending former slaves back to Africa.
Native Americans suffered during the Jackson era. Jackson signed off on the Indian Removal Act, which allowed the government to remove the Five Civilized Tribes from the Southeast. Even though John Marshall stated that the treaty with the Cherokee gave them a right to their land, Jackson did not enforce the ruling. Thousands died on the march to Oklahoma in what would become known as the Trail of Tears. The government also successfully fought the Black Hawk War during this period.
https://www.history.com/this-day-in-history/black-hawk-war-begins

During and after Andrew Jackson's presidency, American democracy expanded. More men were able to vote as states ended property requirements for voting, and more offices were elected by popular election rather than being chosen by state legislatures or electors.
However, this expansion of suffrage (the right to vote) was limited to white men. Women, African Americans, and Native Americans were denied many basic citizenship rights, including the right to vote. In fact, most African Americans were not considered citizens at all, because they were slaves and therefore considered property.
The lack of the right to vote led women to become increasingly involved in social reform movements such as temperance (a movement to ban or restrict the consumption of alcohol) and the abolitionist movement (ending slavery). Women saw these reform movements as methods to become more involved in social and political affairs.
Native Americans perhaps suffered the most during Jackson's presidency. Jackson initiated what came to be known as the Trail of Tears, forcibly removing thousands of Cherokee, Seminole, Creek, Chickasaw and Choctaw Indians from their lands in the Southeast to lands further west. Thousands of Native Americans died during this forced relocation. Jackson chose to remove the Native Americans after gold was discovered in Georgia, and he even refused to comply with the Supreme Court when they ruled in favor of the Cherokee tribe.

What is the nature of ethological theory? What are some contributions and criticisms of the theory?

Ethology and its associated theories all stress the importance of the inter-relatedness of biology and behavior. The main gist is that behavior is strongly influenced by biology. Additionally, the biological behaviors that result are often tied to "critical periods." An example that gets used quite often to illustrate the theory and critical periods is the imprinting that occurs with baby geese. These goslings are born with the natural, biological ability to develop an attachment to the first thing(s) they see. It could be the mother goose, a human, or a even a child's toy. That biological imprinting will then affect the behavior of the goslings. The theory does have some Darwinian support because it shows how biological behaviors are tied to evolutionary changes. Additionally, ethology supports the idea that an animal's (or person's) personality/behavior is dependent on both the biological nature and environmental nurture.
http://www.personalityresearch.org/papers/pendry.html

Single Variable Calculus, Chapter 3, 3.8, Section 3.8, Problem 17

How fast are the people moving apart 15min after the woman starts walking?

Illustration










$
\begin{equation}
\begin{aligned}

\cancel{2} \frac{dz}{dt} =& \cancel{2}(x + y) \left( \frac{dx}{dt} + \frac{dy}{dt} \right)
\\
\\
\frac{dz}{dt} =& \frac{x + y}{z} \left(\frac{dx}{dt} + \frac{dy}{dt} \right)

\end{aligned}
\end{equation}
$


The distance covered by the man is $\displaystyle x = (4ft/ \cancel{s}) \left( 20 \cancel{min} \cdot \frac{60 \cancel{s}}{1 \cancel{min} }\right) = 4800 ft$. We use $20 min$ since the man starts walking $5 mins$ ahead to the woman. On the other hand, the distance covered by the woman is

$\displaystyle y = (5 ft/s) \left( 15 \cancel{min} \cdot \frac{60s}{1 \cancel{min}} \right) = 4500 ft.$

We can use equation 1 to solve for $z$. Then,


$
\begin{equation}
\begin{aligned}

z^2 =& (4800 + 4500)^2 + 500^2
\\
\\
z =& 9313.4312 ft

\end{aligned}
\end{equation}
$


Now, using equation 2 to solve for the unknown, we have


$
\begin{equation}
\begin{aligned}

\frac{dz}{dt} =& \left( \frac{4800 + 4500}{9313.4312} \right) (4 + 5)
\\
\\
\frac{dz}{dt} =& 8.987 ft/s

\end{aligned}
\end{equation}
$


This means that the distance between the man and the woman changes at a rate of $8.987 ft/s$ after 4 hours.

Reasons why Lady Macbeth wants Macbeth to kill Duncan.

Lady Macbeth does not want Duncan killed because he is a bad king or has wronged her in any way. Lady Macbeth wants Duncan killed because his death will allow her to have more of what she wants. Lady Macbeth wants more money, power, and fame. She already has quite a bit of that. In fact, she has enough of it through her husband, Macbeth, that Duncan wants to visit their home. However, Lady Macbeth is not satisfied with her current station in life because she knows that she can obtain more. Duncan's death means that Macbeth can become king, and she can become queen. In her mind, the end justifies the means. She wants to be queen and have all of the status that comes with it, and murder is just an obstacle to be overcome. What I have always found interesting is that killing Duncan is not a problem for her, but it is for Macbeth. He does not want to do it, and Lady Macbeth bullies him into doing it. After Duncan's death, there is a role reversal between Macbeth and Lady Macbeth. She feels increasing guilt, while Macbeth continues to kill anybody that might threaten his position.

The reason Lady Macbeth encourages her husband to kill King Duncan is because she is motivated by her ambition and desire to become queen. After Lady Macbeth reads her husband's letter regarding the prophecy of the three witches, she commands evil spirits to make her callous, bloodthirsty, and courageous enough to plot Duncan's murder.
Lady Macbeth is excessively ambitious and desires the authority, prestige, and material wealth that come along with being queen, which is why she wants her husband to kill King Duncan. However, Lady Macbeth is worried that her husband is too kind and sensitive to follow through with assassinating the king. Therefore, Lady Macbeth plans and participates in the plot to kill King Duncan to guarantee that she will become queen. Unfortunately, Lady Macbeth's plans are in vain because she gradually becomes overwhelmed with guilt after Macbeth kills King Duncan. Despite becoming queen, Lady Macbeth ends up losing her mind and commits suicide by the end of the play.

Single Variable Calculus, Chapter 3, 3.5, Section 3.5, Problem 70

Find $f''$ in terms of $g, g'$ and $g''$. If $g$ is a twice differentiable function at $f(x) = xg(x^2)$

By using Chain Rule,


$
\begin{equation}
\begin{aligned}

f(x) =& xg(x^2)
\\
\\
f'(x) =& \frac{d}{dx} (x) \cdot g(x^2) + x \cdot \frac{d}{dx} [g(x^2)]
\\
\\
f'(x) =& 1 \cdot g(x^2) + x \cdot g'(x^2)(2x)
\\
\\
f'(x) =& g(x^2) + 2x^2 g'(x^2)
\\
\\
f''(x) =& \frac{d}{dx} g(x^2) + 2 \left[ \frac{d}{dx} (x^2) \cdot g'(x^2) + x^2 \frac{d}{dx} g'(x^2) \right]
\\
\\
f''(x) =& g'(x^2)(2x) + 2 [ (2x) \cdot g'(x^2) + x^2 g''(x^2) (2x) ]
\\
\\
f''(x) =& 2x g'(x^2) + 2 [ 2x g'(x^2) + 2x^3 g''(x^2) ]
\\
\\
f''(x) =& 2xg'(x^2) + 4 xg' (x^2) + 4x^3 g''(x^2)
\\
\\
f''(x) =& 6x g'(x^2) + 4x^3 g''(x^2)
\end{aligned}
\end{equation}
$

Calculus of a Single Variable, Chapter 8, 8.6, Section 8.6, Problem 42

To evaluate the integral problem: int_0^(pi/2) xsin(2x) dx ,we may first solve for its indefinite integral. Indefinite integral are written in the form of int f(x) dx = F(x) +C
where: f(x) as the integrand
F(x) as the anti-derivative function
C as the arbitrary constant known as constant of integration
We follow a formula from basic integration table to determine the indefinite integral function F(x) . For the integrals with logarithm, the problem resembles the formula:
int x sin(ax) dx= -(xcos(ax))/a+sin(ax)/a^2 +C .
By comparing x sin(ax) with xsin(2x) , we determine that a= 2 .
Plug-in a=2 to the integral formula, we get:
int_0^(pi/2) xsin(2x) dx=-(xcos((2)x))/(2)+sin((2)x)/(2)^2|_0^(pi/2)
=-(xcos(2x))/2+sin(2x)/4|_0^(pi/2)
After solving the indefinite integral from, we may apply definite integral formula: F(x)|_a^b = F(b) - F(a) .
-(xcos(2x))/2+sin(2x)/4|_0^(pi/2) =[-((pi/2) *cos(2*(pi/2)))/2+sin(2*(pi/2))/4]-[-(0*cos(2*0))/2+sin(2*0)/4 ]
=[-((pi/2) *cos(pi ))/2+sin(pi) /4]-[-(0*cos(0))/2+sin(0)/4 ]
=[-(pi*(-1))/4+0 /4]-[-(0*1)/2+(0)/4 ]
=[pi/4+0]-[0+0]
= [pi/4] - [0]
=pi/4

Calculus of a Single Variable, Chapter 3, 3.9, Section 3.9, Problem 19

lim_(x->0)3x-sin^2x
plug in the value of x
= 3*0-sin^2(0)
=0
lim_(x->oo) 3x-sin^2x
lim_(x->oo) x(3-(sin^2x)/x)
Apply the squeeze theorem to evaluate the limit of sin^2x/x
-1<=sinx<=1
0<=sin^2x<=1
lim_(x->oo)(0/x)<=lim_(x->oo)(sin^2x)/x<=lim_(x->oo)(1/x)
lim_(x->oo)(0/x)=0
lim_(x->oo)(1/x)=0
So, by the squeeze theorem,
lim_(x->oo)(sin^2x)/x=0
Therefore,
lim_(x->oo)3(x-(sin^2x)/x)=oo(3-0)=oo

In George Washington Cable's literary work "The Grandissimes," what events led to the feud between the De Grapions and the Grandissimes?

The feud between the two families originated from a long-ago gambling conflict between Agricola Fusilier and Nancanou, husband to one Aurora De Grapion-Nancanou. Aurora, one of the female heroines of the story, was originally a De Grapion; when she married young Nancanou at sixteen, she became Aurora De Grapion-Nancanou. Aurora's husband was said to have been an educated man of "cultivated tastes."
Accordingly, on one of his business trips to New Orleans, Nancanou took to socializing with Agricola Fusilier, Honore Grandissime's uncle. Conveniently, Nancanou had dropped Aurora and their daughter off at her father's house before he engaged in revelries with Agricola. Both men eventually spent themselves into a stupor, alternately drinking, dancing, and gambling together. On one of those dissolute days, Nancanou found himself on the losing side during a gambling bout; down to his last quarti, he realized that he needed to adopt some desperate measures in order to recoup his costs and to protect his reputation.
So, Nancanou pledged the whole of his estate against a play. It was said that Agricola initially refused to take up Nancanou on his offer, but he soon relented. In the end, Nancanou lost badly and accused Agricola of having cheated his way through. Incensed at having his integrity called into question, Agricola challenged Nancanou to a duel. Before the duel, Nancanou sent Agricola a clear title to his estate, lacking only his wife's signature to legitimize the transaction.
The duel ended with Nancanou's death. In the aftermath, Agricola wrote to Aurora with a stipulation: Aurora could keep her husband's estate if she would agree in writing that "the stakes had been won fairly." If she refused, Agricola would claim the land and holdings for his own.
Gravely insulted by Agricola's terms, the widowed Aurora and her father both wrote back a coldly polite letter, inviting Agricola to lay claim on the land if he so pleased.

They kept all their rage to themselves, and sent the polite word, that they were not acquainted with the merits of the case, that they were not disposed to make the long and arduous trip to the city and back, and that if M. Fusilier de Grandissime thought he could find any pleasure or profit in owning the place, he was welcome; that the widow of his late friend was not disposed to live on it, but would remain with her father at the paternal home at Cannes Brulées.

Eventually, de Grapion (Aurora's father) passed away, and since his property was greatly mired in debt, both Aurora and her daughter, Clotilde, became homeless. They soon found themselves in New Orleans and according to Dr. Keene, "without a male protector" and ostensibly "without adequate support." Because of these events, the legendary feud between the de Grapions and Grandissimes soon came to be known throughout New Orleans society.

How do the American Romanticism writing styles/values differ from the Enlightenment writing styles/values?

The values of the Enlightenment, also sometimes referred to as the Age of Reason, included a focus on rational thought and logic. Enlightenment thinkers privileged the scientific method and reason over imagination, fantasy, or ideas about the supernatural. They were less concerned with the human spirit and more concerned with what is observable, with what is tangible and ultimately knowable about the human experience. Romantic thinkers, on the other hand, privileged emotion over reason, believing that the ability to feel deeply doesn't have to be taught, and so this makes it more fundamental to the human experience. They were interested in individualism and our own creative potential, and they much preferred folk and fairy tales or legends, as well as folk art forms, over anything that had the appearance of sophistication or polish. Often, there is a greater focus on nature in their works, as well as how nature's sublimity can have an uplifting or purifying effect on us and even improve us morally. One is also much more likely to find references to or possibilities of the supernatural and other fantastic elements in Romantic writings.
In a significant number of his stories, Washington Irving creates some fantastic or supernatural elements, and because they feature American settings (rather than European), they became instrumental in developing a folklore for the new United States. He was particularly interested in capturing and representing the local color—and sometimes the superstitions—of his home, the Hudson River Valley in New York state. For these reasons, then, he is associated with American Romanticism. His works contain everything from people making deals with the devil to superstitious townsfolk telling local legends about a headless horseman who haunts the woods around Tarrytown. Further, attention to nature can be found in many of Irving's stories as well. One need only read the first few lines of "Rip Van Winkle" for an example. The narrator says,

Whoever has made a voyage up the Hudson must remember the Kaatskill mountains. They are a dismembered branch of the great Appalachian family, and are seen away to the west of the river, swelling up to a noble height, and lording it over the surrounding country. Every change of season, every change of weather, indeed, every hour of the day produces some change in the magical hues and shapes of these mountains

This sort of attention to the natural, physical setting of the story is quite characteristic of Romantic writings. Notice that Irving even personifies the Catskill Mountains, suggesting that they "lord over" the country, boastful of their nobility and height. He calls them "magical," and later "fairy mountains," strongly implying that there is something otherworldly, something supernatural even, in their beauty. The narrator also remarks on the effect these mountains have on the "good wives" who live in their shadow. We can see how he is creating a new American folklore, a tradition associated with American Romanticism, just from these few lines and the choice words Irving uses.

College Algebra, Chapter 4, 4.1, Section 4.1, Problem 12

A quadratic function $f(x) = -x^2 + 10x$.

a.) Find the quadratic function in standard form.


$
\begin{equation}
\begin{aligned}

f(x) =& -x^2 + 10x
&&
\\
\\
f(x) =& -1(x^2 - 10x)
&& \text{Factor out $-1$ from each term}
\\
\\
f(x) =& -1 (x^2 - 10x + 25) - (1)(25)
&& \text{Complete the square: add 25 inside parentheses, subtract $(-1)(25)$ outside}
\\
\\
f(x) =& -(x - 5)^2 + 25
&& \text{Factor and simplify}

\end{aligned}
\end{equation}
$


The standard form is $f(x) = -(x - 5)^2 + 25$.

b.) Find its vertex and its $x$ and $y$-intercepts.

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

The vertex of the function $f(x) = - (x - 5)^2 + 25$ is at $(5, 25)$.


$\begin{array}{llll}
\text{Solving for $x$-intercepts} & & \text{Solving for $y$-intercept} & \\
\text{We set } f(x) = 0, \text{ then} & & \text{We set } x = 0, \text{ then} & \\
0 = -(x - 5)^2 + 25 & \text{Add } (x - 5)^2 & y = -(0 - 5)^2 + 25 & \text{Substitute } x = 0 \\
(x - 5)^2 = 25 & \text{Take the square root} & y = - (-5)^2 + 25 & \text{Simplify} \\
x - 5 = \pm 5 & \text{Add } 5 & y = -25 + 25 & \text{Simplify} \\
x = \pm 5 + 5 & \text{Simplify} & y = 0 & \\
x = 0 \text{ and } x = 10 & & &
\end{array}
$


c.) Draw its graph.

sum_(n=0)^oo (2/3)^n Determine the convergence or divergence of the series.

The given series sum_(n=0)^oo (2/3)^n is in a form of the geometric series.
 Recall that the sum of geometric series follows the formula: sum_(n=1)^oo a*r^(n-1) .
or with an index shift: sum_(n=0)^oo a*r^n = a+a*r + a*r^2 +...
The convergence test for the geometric series follows the conditions:
a) If |r|lt1  or -1 ltrlt 1 then the geometric series converges to sum_(n=0)^oo a*r^n =sum_(n=1)^oo a*r^(n-1)= a/(1-r) .
b) If |r|gt=1 then the geometric series diverges.
By comparing   sum_(n=0)^o(2/3)^n or sum_(n=0)^oo1*(2/3)^n with the geometric series form sum_(n=0)^oo a*r^n , we determine the corresponding values as:
a=1 and r= 2/3 .
The r= 2/3 falls within the condition |r|lt1 since |2/3|lt1 or |0.67| lt1 .
Note: 2/3 ~~0.67 .
By applying the formula: sum_(n=0)^oo a*r^n= a/(1-r) , we determine that the given geometric series will converge to a value:
sum_(n=1)^oo(2/3)*(2/3)^(n -1) =1/(1-2/3)
                                  =1/(3/3-2/3)
                                  =1/(1/3)
                                  =1*(3/1)
                                  = 3

How is school an agent of socialization? How does it perpetuate gender/class/race socialization? How does bullying impact school socialization?

Schools provide a common time and space for children of approximately the same ages to come together and learn. And while states have standards for math, language arts, science, and social studies that teachers directly instruct their students in, there are also other skills that students are learning, both directly and indirectly.
Sometimes schools create intentional programs to accomplish some of the goals of socialization. They may focus on a specific character trait, such as honesty or respect, for a month, and intentionally recognize those students who display that trait. And sometimes skills of socialization are taught more indirectly. By participating in class and seeing the behaviors (and rewards and consequences of those behaviors) of classmates, students begin to assimilate into patterns of social behavior that reflect that school's values. So, for example, after watching a classmate have her recess taken away for calling math "stupid," other children learn that this type of language and behavior are not appropriate and should not be imitated.
Depending on where children live, they may not have contact with any other children outside of school (particularly in very rural areas) or may only have contact with children of a race and socioeconomic status similar to their own, determined by housing affordability options. Schools, however, bring together a typically diverse group of students from a variety of backgrounds and ask them to accomplish learning goals together. Students learn to deal with conflict that inevitably arises from being in close proximity to others with dissimilar backgrounds. They hopefully learn empathy as it is modeled through literature and contextual situations. And they learn about healthy competition between students of various backgrounds. Students share recess, lunch, and creative arts classes with classmates who are different genders, races, and abilities and have daily opportunities to engage in healthy and authentic conversations as they discover areas of common interests.
Bullying can have multiple effects on socialization. If it is recognized and handled well at school, other students will see the negative results of that type of behavior and will not be encouraged to follow in that path. It can also indirectly strengthen other friendships as students bond together in resistance of a bully's threats. But if the bully's behavior isn't recognized or if the behavior isn't appropriately dealt with, impacted students will feel unsafe at school and will likely retreat socially in an effort to disappear from the bully's radar.

Socialization is the process where humans learn the ideologies and norms of society. Schools are one of the strongest agents of socialization because children spend a lot of time there and have to attend school for many years. At school, they learn how to interact with others by playing with their friends or by learning it from their teachers.
Additionally, children can also form their own cliques or group of friends based on ethnicity, gender, or social class. Here, societal roles will start to form. For example, a group of girls may only play together exclusively. They may only do girly activities, and when one of them suggests that they try a boy activity, she may get teased or mocked for wanting to do so. This will prevent that girl (and possibly others in the group) from doing boy activities or acting like a boy, thus perpetuating how a girl should act.
As for how bullies can impact socialization, well, they can bully someone based on their ethnicity, gender, or social class. Over time, this can teach the victim that he/she has lesser social power than a certain ethnicity, gender, or social class (or maybe all three). Another thing to consider is that teachers can also teach kids of certain ethnicities, genders, or social classes that they are of lesser value by treating them worse than other students.

Schools act as an agent of socialization through the hidden curriculum. According to sociologists, the hidden curriculum is an unintended result of education. It is the process by which the norms and values of a society are taught to children, alongside the expectations of their particular society. It teaches girls how to be feminine, for example, and boys to be masculine. It also teaches children how they should treat and perceive other classes and races of people.
In terms of school socialization, it could be argued that bullying hinders this process because instead of teaching a child the correct norms and values of their society, bullying teaches deviant (or unacceptable) norms and values. So, instead of teaching a child how to correctly behave in society and how to feel part of their society, bullying can make a child feel less connected to society and more likely to become deviant.
For more information, see the reference link provided.
https://open.lib.umn.edu/sociology/chapter/16-2-sociological-perspectives-on-education/

Discuss at least three reasons describing why Shakespeare's Othello the Moor of Venice is or is not a tragedy as defined by Aristotle, as well as three reasons why or why not Othello is a tragic hero as defined by Aristotle.

I will discuss in the following post reasons one could make either argument about the play as a tragedy and Othello as a tragic hero by Aristotle’s definitions.
Reasons that the play qualifies as an Aristotelian tragedy:
The strong reliance on Peripety; the play begins with a happy marriage between Othello and Desdemona, yet ends with the dissolution of trust and the latter’s murder.
The catharsis at the end of the play when Othello kills Desdemona, which is the culmination of the growing discord and mistrust.
The reliance on pity; Othello is pitiable because of Iago’s masterful manipulation. The dramatic irony present in knowing Iago’s tricks and seeing Othello fall for them as the audience inspires pity for Othello.
Reasons that the play does not qualify as an Aristotelian tragedy:
Shakespeare’s absent set descriptions and sparse stage directions means the play lacks the spectacle Aristotle defines as one of the elements of tragedy.
Iago lacks a believable personality as a jealous person, which violates one of Aristotle’s comments on a good tragic character.
One could argue that the pity inspired in the audience doesn’t occur because Othello so easily falls for Iago’s tricks, and when Othello murders his wife, the audience is angry at his actions and wants to see his downfall.
Reasons Othello is a tragic hero:
Othello’s hamartia is his lack of confidence in himself; he so readily believes Iago’s lies because he worries that a young, beautiful woman like Desdemona could never love a non-white man such as himself. One could also argue that this hamartia is actually jealousy.
His reversal of fortune is that he loses both his wife, his friends, and his own life in rapid succession.
Othello realizes that he is responsible for his downfall, prompting him to commit suicide.
Reasons Othello is not a tragic hero:
Othello does not demonstrate an excessive pride or hubris. Instead, Othello seems to have to opposite problem deep down.
One could argue that he certainly deserves death for murdering his wife via smothering, which goes against Aristotle’s definition of the tragic hero.
One could also argue that Othello is certainly responsible for his lack of confidence or jealousy, and if he did not have these flaws, then he wouldn’t have been susceptible to Iago’s manipulation. This contradicts Aristotle’s view that the hamartia is not the fault of the hero himself.

How are infancy, childhood, adolescence, and adulthood defined? How would you diagnose Leo's experiences? Leo often feels sad and tends to be very sensitive to criticism. When he was younger, Leo used to enjoy watching sports and going to sporting events, but he now feels that there is no point to these things. He has never experienced suicidal ideation, does not tend to be excessively guilty, and has had a stable weight for several years. About three days a week, Leo becomes very energized and will do things like stay up all night reorganizing the kitchen, garage, or living room. If someone calls Leo when he is in an energized mood he talks very quickly and excitedly but is not rude. Around once a month, he makes a large purchase online or engages in some medium stakes online poker. He is still able to pay his mortgage and put food on the table. Leo still shows up to work generally doing a good job. He dates occasionally and has some friends through work. Leo appreciates when people give him space when he wants it. Leo says, "I have a good job and I'm doing fine. Nothing is wrong." If you were Leo's treatment provider, what would you diagnose Leo with and why?

Here are the definitions:
Infancy is usually the period of childhood before a baby learns to walk.
Childhood is the time period from a person's birth to the beginning of adolescence, which begins with puberty.
Adolescence refers to the time period after the beginning of puberty until a person reaches adulthood.
Adulthood is the period after someone is fully grown and developed.
Leo is likely suffering from bipolar disorder, also known as manic-depression (see the link below for more information). People with this mental illness suffer from periods of depression intermixed with manic periods during which they often experience changes in their sleep patterns and energy levels. Leo is clearly suffering from mild to moderate depression, as he has lost interest in activities he used to enjoy, though he does not have other serious symptoms of depression such as gaining or losing weight or being suicidal. He experiences periods of intense activity in which he stays up all night and then he speaks very quickly, which can be signs of mania. He also occasionally spends a lot of money, which is also a sign of mania. However, none of these symptoms are severe enough to interfere with his work. Therefore, he likely has a mild to moderate case of bipolar disorder. 
https://www.nimh.nih.gov/health/topics/bipolar-disorder/index.shtml

What is the World State's response to overpopulation in Brave New World by Aldous Huxley?

The World State's response to overpopulation is to regulate the type and number of the population on a global scale.
According to Aldous Huxley's Brave New World, the World State is the entity responsible for keeping the population at an optimum number for each succeeding generation. By its calculation, a population of under two billion is the ideal population number to support global welfare. To ensure the realization of its population goals, the World State relies on eugenics and dysgenics.
Eugenics basically refers to the breeding of superior human beings for the welfare of global societies. Conversely, in Brave New World, dysgenics refers to the breeding of inferior human beings for the purposes of supporting the higher-skilled populations of the earth.
In his novel, Huxley introduces the idea the population of the earth must not only be maintained at a certain number, but also that the number of that optimum population must be carefully apportioned among the genetically superior and the genetically inferior. This ensures the majority of the population is composed of genetically superior humans.
In the novel, biologically superior ova and sperm are fertilized and decanted as superior species of Alphas, Betas, and Alpha Pluses. To ensure a class of almost sub-human beings are able to support the genetically superior beings, inferior ova is combined with inferior sperm to produce Gammas, Deltas, and Epsilons. As an additional step, the Gammas, Deltas, and Epsilons are exposed to what is called Bokanovsky's Process. The novel describes the process:
One egg, one embryo, one adult-normality. But a bokanovskified egg will bud, will proliferate, will divide. From eight to ninety-six buds, and every bud will grow into a perfectly formed embryo, and every embryo into a full-sized adult. Making ninety-six human beings grow where only one grew before. Progress.
In the novel, Bokanovsky's Process is combined with Podsnap's Technique, which speeds up the maturation of unfertilized eggs to produce a vast number of these genetically inferior beings. The Gammas, Deltas, and Epsilons are used to perform unskilled, menial labor; the World State keeps this group content in its servile condition by providing the members of this subhuman group easy and plentiful access to gratuitous entertainment, sexual fulfillment, and daily doses of soma (a pleasure drug). Since drugs like cocaine and heroin aren't legally available in the dystopian world of the novel, soma is the only available means by which the World State can protect itself from rebellion within its borders; it's an insurance policy against uprisings and societal unrest.
To prevent over-producing humans of either genetically superior or inferior stock, the World State only allows 30% of female embryos to develop normally. The others develop into what are called freemartins: sterile women developed from female embryos that were periodically injected with male sex hormones.
Since the World State makes all decisions for citizens, they also decide when human beings die. Those who are too sick and old are not allowed to burden society with their infirmities. Death conditioning begins at the age of eighteen months; every toddler spends at least two mornings a week at the Hospital for the Dying.
So, to recap, the World State's response to overpopulation is to control the number and type of citizenry as well as to utilize euthanasia to dispose of what the state considers useless citizens.
https://www.huxley.net/bnw-revisited/

https://www.idph.com.br/conteudos/ebooks/BraveNewWorld.pdf

Why is the demand curve perfectly elastic in perfect competition?

Under perfect competition, the aggregate demand for a good or service will rise in response to a lower price. The lower the price the higher the aggregate demand will be, all other things being held equal. Conversely, the higher the price the lower the aggregate demand will be. The elasticity or responsiveness of the demand curve is accordingly held to be perfect in theory. In other words, the demand curve will move outward or inward on the x axis with perfect responsiveness to changes in price. This is an assumption built into a simplifying classical economic model in order to make explicit the behavior of certain economic variables one wishes to test. All simplifying assumptions in such models are understood to be useful mathematical rules of thumb and not absolute expressions of economic reality in every case. Veblen goods are an obvious exception to perfect price elasticity as their demand increases with higher prices.

The question considers why in perfect competition the demand curve is assumed to be perfectly elastic. More specifically, this assumption refers to the firm’s demand curve in a perfectly competitive market, rather than the overall demand curve for the market as a whole. 
The first step is to define the term elasticity. This is a mathematical concept relating quantity demanded to price. Specifically, it is defined as the percent change in quantity (demanded) divided by the percent change in price. As such it is mathematically related to slope, but is not equivalent. “Perfect” elasticity is applied to the situation in which the demand curve is horizontal, i.e. slope = 0. Mathematically, this would imply that the amount of output which the firm may sell at the given market price is effectively infinite. More accurately, the firm may sell all of the output of which it is currently capable at the given market price. 
The key feature of this situation is that the firm is a perfect price taker, rather than price maker. That is, offering output at a price lower than “market” would not result in additional sales, and offering it at a price higher than market would result in no sales whatsoever (i.e. all buyers would simply go elsewhere rather than pay the higher price). In a perfectly competitive market, ALL firms are in this same situation. The market price is established, at equilibrium, by the cumulative interaction of all buyers and all sellers in some type of auction/open market process. This requires that the good or service in question is perfectly homogeneous between producers (e.g. wheat of a certain grade) such that one supplier’s output is literally indistinguishable from any others. Other assumptions include that switching from one supplier to another is completely costless for any and all buyers. 
Note that this condition is largely hypothetical. Truly perfect competitive price equilibrium rarely occurs. Most markets are typically in motion, always searching for new equilibrium in reaction to the latest change in conditions. Also, only certain commodities meet the requirement of homogeneity, and suppliers are constantly trying to create the perception if not the reality of product differentiation so that they can, in fact, exercise some control over price.

A computer loses 30% of its value each year.a) write formula for the value of the computer after n years.b) How many years will it be before the value of the computer falls below 10% of its original value?

If a computer loses 30% of its value each year, then every year the value of the computer is 70% of its original value. That is, if original value of the computer is $100, then in one year it will lose 30%, or $30, in value, and its new value will be $70.
To express this in general, denote the original value of the computer by A. Then after one year, its value will be 0.7A. The same will happen the following year, so the value of the computer after two years will be (0.7)*(0.7A)=(0.7)^2 * A, after three years it will be (0.7)*(0.7)^2 * A = (0.7)^3 * A, and so on. So it can be seen that after n years the value of the computer A(n) will be (0.7)^n * A.
So the formula for the value of the computer after n years is
A(n) = (0.7)^n * A
If after n years the value of the computer falls below 10% of the original, then A(n) is less than 0.1A. To find n for which A(n) equals 0.1A, solve the equation
0.1A = (0.7)^n*A
(0.7)^n = 0.1
This is an exponential equation and the solution is a logarithm with the base 0.7 of 0.1:
n = 6.46
So after 7 years, the value of the computer will fall below 10% of its original value.
 

Write an analysis of the main characters in the play: Don Juan Tenorio Don Luis Mejia Don Gonzalo de Ulloa Don Diego Tenorio Dona Ines de Ulloa Cristofano Buttarelli Marcos Ciutti A paragraph for each, please. Many thanks.

Don Juan Tenorio is the main character in the play. He is a young man who chases thrills, which is best illustrated by the bet he makes with his friend to see who could do the most damage to others in a single year. Don Juan wins by dishonoring more women and killing more men; he admits that he does not believe in God's salvation and thus seeks his pleasure while he is alive. Don Juan is easily able to manipulate and charm others because he is charismatic, intelligent, and sneaky. Despite this, he does fall for Ines, a young woman he intends to marry who has been living in a convent. When he tells her father that he will change for her, though, Don Gonzalo refuses to accept it and instead rejects him. When he is rejected, he reverts to form and blames others for his problems; he kills Don Gonzalo and Don Luis. This puts him back on the path to reject God until Ines, dead because of Don Juan's actions, bargains her soul to save him. Don Juan still does not accept her offer of salvation until he is literally about to be dragged into Hell. He is stubborn, self-assured, and convinced of his own rightness even in the face of evidence that the ghostly apparitions he is seeing are real. When he finally accepts her, he is taken to Heaven with her and saved from Hell.
Dona Ines de Ulloa is the opposite of Don Juan. She loves God and seeks to please Him in her life; when she is brought to Don Juan's estate, she immediately wants to go to her father's house to preserve her virtue. She also loves Don Juan and wants to be with him. She is loyal enough that she is willing to bargain her soul with God to save Don Juan. She has one night to get him to accept salvation, or they will both be taken to Hell. Ultimately, she succeeds and the pureness of her soul cleans his own.
Don Luis Mejia is much like Don Juan. He also spent a year dishonoring women and killing men in order to win the bet. He did not achieve the same numbers and lost the bet but does not repent of his actions. He is also reckless, charming, charismatic, and pleasure-seeking. Despite his actions, he is enraged when Don Juan decides to try to seduce Ana, his fiancee. When he, like Don Gonzalo, rejects Don Juan's attempts to say he has changed, Don Juan stabs him, and Don Luis dies.
Don Gonzalo de Ulloa is the father of Ines. He is tricky and stern. He sneaks into the tavern where Juan and Luis meet to discuss their bet and hides from them so they will not know that they are being overheard. He is clever enough to realize his future son-in-law might hide his true character from him. Gonzalo is also honorable and loves his daughter deeply. He thinks to himself that he has to know because, though he is a gentleman, he is a father first. He goes to confront Don Juan and refuses to yield when Don Juan says he is a changed person.
Don Diego Tenorio is the father of Don Juan. He, like Don Gonzalo, is noble and intelligent. He sneaks into the same tavern to learn the truth of his son and hides so that it will not be kept from him. Once he knows the kind of man his son is, his honor compels him to use the family fortune and lands to create a graveyard where his son's victims can be buried.
Cristofano Buttarelli is the owner of the tavern where Don Luiz and Don Juan meet to discuss their exploits. He is driven by profit; he allows Don Gonzalo and Don Diego to hide in the tavern and listen to the conversation the two other men have. He thinks to himself that even though he has good wares, it does not matter that they are spending money for nothing as long as they are spending. He also admires Don Juan greatly, even though he sees the results of his evil misdeeds. He is not a moral person and clearly thinks of Don Juan as someone to look up to.
Marcos Ciutti is the servant of Don Juan. He appreciates the pleasures that serving the man gives him; he tells Buttarelli at the beginning that his own indulgences have been paid for by his master. He is also immoral; he is willing to help trick Ines and her attendant so that Don Juan can kidnap her to fulfill the terms of the second bet.

What are three scenarios in The Great Gatsby that portray how some characters imagine and live out their dream? What does this suggest about the character's underlying belief about getting ahead in life?

Nick Carraway
Nick returns from WWI "restless" and soon develops the dream of moving East to "learn the bond business." As he leaves his Midwestern home, Nick thinks his move to New York is permanent. Nick has a Ivy League education, and he knows that the country's financial capital is in Manhattan, so he makes a good choice in pursuing a job on Wall Street and commuting in from the less expensive suburbs on Long Island. Despite a hectic summer fraught with lots of social drama, Nick goes to work every day and admits to Gatsby that he doesn't make very much money. Nonetheless, Nick turns down Gatsby's offer of a lucrative yet shady job to continue to pursue his version of the American Dream. Nick seems content to put in the necessary time and honest work to get ahead.
Myrtle Wilson
Myrtle dreams of climbing out of the Valley of Ashes, but she has no personal ambition beyond attaching herself to a man. She admits to Nick and others that she only married George Wilson because she "thought he was a gentleman." By this, Myrtle means wealthy. Myrtle describes her attraction to Tom Buchanan; it is initially based on his "dress suit and patent leather shoes." Though she longs for a marriage to Tom to raise her social standing and standard of living, she only progresses to becoming a kept woman in an overdecorated uptown apartment before her untimely death. Myrtle believes that getting ahead in life is defined only in dollars; in her case, someone else's.
Jay Gatsby
When he was still Jimmy Gatz, Gatsby had vague longings of a better life away from his impoverished farm family, but he was unable to develop a concrete plan to improve his life. His time with Dan Cody showed him what wealth could provide, and his meeting with Daisy Fay deluded him into thinking that she somehow embodied his American Dream. Marrying Daisy is the ultimate measure of Gatsby's success for himself, and he believes that all it will take is enough money to captivate her. Gatsby's underlying belief about success is unfortunately tied to a very unworthy woman with no dreams of her own.

In The Great Gatsby, the characters have different ways of expressing and living out their dream lives. Gatsby, for example, is chiefly concerned with winning back Daisy, his lost love. He believes that the only way to achieve this is to become as rich and successful as possible. In Gatsby's scenarios, he throws lavish parties each week in the hope of drawing her in and convincing her of his merit. While the pair are briefly reconnected, Daisy has no intention of leaving her husband, which suggests that Gatsby's dream is ill-founded. But Gatsby believes that money and success are the only way to "recreate the past" and get ahead.
In contrast, for Myrtle, the dream is to escape Wilson's garage and to live like a wealthy socialite in New York. We see this briefly in Chapter Two when she throws a party for her friends and her demeanor is completely changed. For Myrtle, this dream is only possible through being Tom's mistress, but her death brings her dream to a violent end. Her brief life shows that her dream is founded on her desire to escape the humdrum life she has cultivated with Wilson.
Finally, for Nick, the dream is based on building a successful life in New York as a bondsman. But he quickly realizes that life in the city is superficial and materialistic. After Gatsby's death, Nick decides to leave New York because he realizes, through Gatsby's experiences, that dreams often come with a hefty price. This demonstrates that Nick is the most realistic and down-to-earth of all the characters, and it is for this reason that he becomes disillusioned with the idea of the American Dream and of getting ahead more generally. At the end of the novel, therefore, he decides to leave New York and return to his hometown.