Which of Sir Thomas Wyatt's poems speaks of escaping the corruption of King Henry?

I think you are probably referring to Thomas Wyatt's poem "Mine own John Poynz." In this poem, which takes an epistolary form, as a letter to a friend, Wyatt explains why he has chosen to go home and "flee the press of courts." He explains that he no longer wishes to "live thrall" beneath the eyes of "lordly" people. He does not, he says, "scorn" the power of the important men at court, but he does state that he has less "esteem" for them than he does for "common" people.
Wyatt goes on to say that he cannot "do so great a wrong / To worship them." His depiction of those at court is condemnatory: they are "as wolves"; they "make deceit a pleasure" and to stay in court is to "with innocent blood... feed myself fat." Wyatt's reference to Caesar, in this poem, as in others, seems to be an allusion to King Henry. Wyatt's poem continues to suggest that there is hypocrisy alive in court, where one lie is believed over an obvious truth, simply because it better fits the purposes of the court. While at court the "double face" tendency is to take the "nearest virtue" as a means of pretending away all the other recent vices, Wyatt says that he is unable to learn how to live like this. Rather, in order to maintain his honor and remain a Christian man, Wyatt is choosing to take himself away to "Kent and Christendom," the suggestion being that the corrupt court lies outside the bounds of Christendom.
Wyatt wrote many poems which are of historical interest because of the insight they offer onto the court of Henry VIII. Another of his, "Innocentia Veritas Viat Fides Circumdederunt me inimici mei," is thought to have been composed upon the execution of Anne Boleyn, with whom Wyatt was reportedly in love.

What elements of earlier belief systems do you see integrated into Hinduism? What were the external conditions (environmental/societal/political/economic, etc.) that gave rise to the origin of Hinduism? What was it about this time period? Location? Population?

Hinduism developed between 500 BCE and 300 BCE and it is indeed the result of the integration of earlier belief systems. As the other educator's answer describes, much of Hinduism has its roots in the Vedic religion that developed during the Iron Age. The Vedic religion was a combination of beliefs and rituals that were practiced by the Harappans, Indo-Aryans, and the followers of the renouncer religions that developed in the Indus River Valley.
From its start, the Hindu religion formed as a synthesis of these earlier belief systems as well as incorporating elements of early Buddhism. While northern India, especially the Indus River Valley and the Himalayan foothills proved to be the cradle of Hinduism, the religion quickly spread to southern India and several other parts of Southeast Asia.
One of the likely factors that allowed and encouraged the adoption and proliferation of early Hinduism was the growth of cities during the centuries before the Common Era. Growing urban populations led to a shift in society that resulted in the challenging of earlier belief systems. Many new movements, such as the Sramana, rejected the supremacy of the Brahmins as well as many of the earlier Vedic traditions, thus paving the way for a new religion.
With a new centralized urban population, schools of Hindu philosophy developed. This led to more standardization of Hindu dogma and practices. It was in these schools that the earliest known Hindu texts, part of the Smriti literature, were written which further helped to standardize and spread the religion. Interestingly, many of these texts served to affirm the importance and power of the Vedas, further intertwining these earlier beliefs into Hinduism.
http://www.people.fas.harvard.edu/~witzel/vedica.pdf

One of the traditions that was incorporated into Hinduism was the Vedic religion of the Iron Age, which was practiced among the Indo-Aryans of northern India from about 1750 BCE to 500 BCE. Their rituals were based on the four Vedas (including the Vedic Samhitas and some of the older Upanishads). These texts became the founding texts of Hinduism. The Vedas, written in Sanskrit, include the Rigveda, composed of about 1,000 hymns for the priestly families who conserved the literature; the Yajuveda, which contains prose for certain rituals; the Samaveda, which contains verses from the Rigveda with music; and the Atharvaveda, which includes incantations and magic spells. The Vedic religion was a polytheistic religion that involved sacrifices to gods connected with nature.
During the later Vedic period, only Brahmins could carry out the rituals in the Vedas. The four varnas, or castes, of Hinduism--the Brahmans (priests), Kshatriyas (warriors), Vaishyas (merchants), and Shudras (servants)—developed during the Vedic Age. The Vedic religion ended around 500 BCE, when the formation period of Hinduism developed. 
Hinduism developed from a combination of the Vedic religion and the religious cultures of the indigenous inhabitants of India. The religion likely evolved following the Aryan invasion of the Indian subcontinent around 1500 BCE and the eventual merging of the Aryan culture (the Vedic religion) with the indigenous beliefs already existing in India. The Aryan invasion, which some experts still dispute, is thought by other experts to have occurred at the time when the Indus Valley Civilization declined after their water sources dried up. After the Aryans, originally nomads, settled in the Indus Valley, their culture began to spread. This period, referred to as the Hindu synthesis, brought Hindu beliefs to southern India. In addition, the spread of Hinduism was facilitated by the granting of land to Brahmans by local rulers and by the incorporation of non-Vedic gods into the religion. As the culture of Hinduism developed, along with cities, the religion became increasingly complex and philosophical. 

Discuss the cultural conflicts of immigration and prohibition during the 1920s. How does this relate to some of today’s cultural challenges?

The two conflicts were closely linked. Nativists regarded immigrants as bringing all kinds of alien cultural practices with them into America of which they strongly disapproved. One of them was the consumption of alcohol. Most Americans drank alcohol, of course, but a large number of them still paid lip service to the idea that there was something inherently wicked about it. They felt that, at the very least, drinking should be discouraged, if not prohibited outright.
In any case, the mass immigration of the late nineteenth and early twentieth centuries into the United States made growing numbers of Americans uneasy, so much so that they sought to find security in notions of so-called 100% pure Americanism, which revolved around white nationalism and Protestantism. In due course, prohibition was added to the mix, marking a clear cultural boundary between the citizens of white Protestant America and the immigrant newcomers.
Though prohibition has long since been repealed, the white nationalism of 1920s Nativists remains a growing threat in American public life. In recent years, a strong anti-immigration sentiment has developed, which has now found expression in the policies of the Trump Administration. President Trump has stated time and again his desire to build a huge border wall with Mexico to keep out immigrants.
The language emanating from the White House concerning immigration has often been hostile, to say the least. In turn, one could argue that this officially negative attitude toward immigrants has created a hostile environment in which white nationalism has flourished. There is a perception among white nationalists that immigration from Latin America and the Middle East represents an existential threat to their ideal of what America should look like. This is virtually identical with the Nativist worldview that dominated American public life in the 1920s.

Immigration to the US reached its peak between 1880 and 1920. Most of the immigrants were from Europe and brought their own traditions with them, including alcohol production and consumption. Prohibition brought an end to drinking in the US, at least legally. This led to an array of underground and illegal speakeasies.
Immigrants often occupy the lower rungs of society when they first arrive and tend to occupy ethnic enclaves. Within these enclaves a number of informal businesses cropped up at the time that catered to immigrant needs, including alcohol production. Speakeasies during prohibition sometimes could be found within ethnic enclaves because of the difficulty the police had in acquiring information from the inhabitants. When this was the case, stereotypes could easily develop such as the assumption that immigrants are participating in illegal activities. During the 1920s, that meant speakeasies. Yes, some were involved, but then again, many Americans participated in these operations. But immigrants tend to stand out because of their already existing cultural differences.
If we look at immigration today, we can see some informal business occurring that, although may not involve criminal activity, may fall outside of the ability by local authorities to police it, leading to mistrust. Mistrust, lack of language abilities, and lack of cultural sameness can all contribute to stereotypes developing between native inhabitants and immigrants. Immigrants bring cultural traditions that may or may not be legal in the US, which can further the divide between the two. But these are issues that happen throughout the world—not just in the US—whenever disparate cultural groups come together.
http://nationalprohibition.weebly.com/immigrants-and-alcohol-prodution.html

Calculus: Early Transcendentals, Chapter 4, 4.9, Section 4.9, Problem 37

You need to evaluate f and the problem provides f'(x), hence, you need to use the following relation, such that:
int f'(x)dx = f(x)+ c
You need to evaluate the indefinite integral of the power function, hence, you need to use the following formula:
int x^(-n) dx = (x^(-n+1))/(-n+1) + c
int x^(-1/3) dx = (x^(-1/3+1))/(-1/3+1) + c
int x^(-1/3) dx =(3/2)*x^(2/3) + c
Hence,f(x) = (3/2)*x^(2/3) + c . You may find c using the following information, such that:
f(1) =1 => f(1) = (3/2)*1^(2/3) + c => 3/2 + c = 1 => c = 1 -3/2 => c = -1/2
Hence, evaluating f(x) under the given condition, yields f(x) = (3/2)*root(3)(x^2) - 1/2.

How did the Americans win independence in spite of British military advantages?

The Americans were able to win the war for independence for a number of reasons. First, the British found it difficult to destroy the American armies in the field and simultaneously occupy American cities. Second, they grossly overestimated the extent of loyalist support (or at least loyalist military support), particularly in the South. Third, the war was deeply unpopular at home from the outside, and the Americans always had sympathizers in Parliament who placed significant pressure on a series of ministers to win the war. Fourth, British generals, through incompetence, indecisiveness, and lack of strategic vision, often failed to press their advantages, most notably in the New York campaign of 1776, when Washington's entire army was there for the taking. Fifth, Washington's leadership should not be downplayed. As commander of the Continental Army, he managed to hold the force together, keeping it viable and battle-ready as he led the British through what he called a "war of posts." Basically, although he made many mistakes and never really won a major decisive victory, Washington avoided defeat, making the conflict far longer, messier, and more expensive than the British were willing to bear. Finally, French aid, including French military assistance, proved decisive after 1778, and it is very unlikely the Americans would have been able to achieve independence outright without it.
https://www.smithsonianmag.com/history/myths-of-the-american-revolution-10941835/?no-ist

Calculus of a Single Variable, Chapter 5, 5.2, Section 5.2, Problem 17

int (x^3-3x^2+5)/(x-3)dx
To solve, divide the numerator by the denominator.
= int (x^2 + 5/(x-3))dx
Express it as sum of two integrals.
= int x^2dx + int 5/(x-3)dx
For the first integral, apply the formula int x^n dx = x^(n+1)/(n+1) + C .
= x^3/3 + C + int 5/(x-3)dx
For the second integral, apply u-substitution method.
Let
u = x-3
Differentiate the u.
du = dx
Then, plug-in them to the second integral.
=x^3/3+C +5 int 1/(x-3)dx
=x^3/3+C + 5int1/udu
Apply the integral formula int 1/xdx = ln|x| + C .
= x^3/3 + 5ln|u| + C
And, substitute back u = x - 3 .
= x^3/3+ 5ln|x-3| + C

Therefore, int (x^3-3x^2+5)/(x-3)dx = x^3/3+5ln|x-3|+C .

Analyze how the speaker in the poem uses imagery to reveal their attitude towards power.

The dominant image in Marge Piercy's poem "A Work of Artifice" is a bonsai tree. The speaker of the poem describes the process through which a tree that, left in it's natural state, could have grown to majestic height is instead pruned and cultivated by a human gardener to remain stunted and dainty—a bonsai tree. She carries this imagery of the overly groomed and therefore limited tree throughout the poem and turns it into a metaphor for the way society oppresses women. The gardener in the poem has all the power, forcing the tree into his desired shape.

"Every day as hewhittles back the branchesthe gardener croons,It is your natureto be small and cozy,domestic and weak;how lucky, little tree,to have a pot to grow in."

These lines practically drip with irony. What the gardener is doing to the tree is anything but natural, yet he croons to the tree that "it is your nature." Taken as commentary about power, these lines draw attention to the way those in power believe and behave as though those without power are just naturally lesser, even as the empowered themselves are the ones taking that power away. It's a catch-22 of oppression.
Though the poem's diction is fairly conversational, the imagery is actually quite detailed. Note that it's not just the size of the tree that the gardener alters, but its natural habitat as well. The poem opens with the lines,

"The bonsai treein the attractive potcould have grown eighty feet tallon the side of a mountaintill split by lightning."

The contrast between "attractive pot" and "mountain" is extremely telling. One is domesticated, and, though "attractive," inherently constricting. The image of the mountain, however, is just as wild and majestic as the image of the tree climbing to eighty feet tall. From these very first lines, the poem sets up a dichotomy between the tamed and controlled and the wild and free.
It is not until the final lines of the poem that the imagery of that which is being oppressed changes from the natural to the human.

"With living creaturesone must begin very earlyto dwarf their growth:the bound feet,the crippled brain,the hair in curlers,the hands youlove to touch."

"Living creatures" is the first expansion of the subject of the poem from this one specific tree to a larger category, and the images that follow are of parts of the human, presumably female body. The speaker draws an inderect metaphor between the pruning of the bonsai tree and the beauty routines that society has imposed upon women: both are "dwarfing" their subject. It is in these last lines that the poem's message about power and oppression really becomes clear. Through constriction and domestication both the tree and women's power and freedom is stripped away from them.

DESSALINES Liberty or Death DE GOUGES The Rights of Women THOMAS JEFFERSON US Declaration of Independence GROUP AUTHORSHIP Declaration of the Rights of man and of the citizen Select two which have the most in common in terms of content. Compare them in terms of similarities and differences. Tell what makes these two align so well with one another even though they deal with different societies.

I would argue that the two documents that have the most in common are the speech by Dessalines and the Declaration of the Rights of Woman and of the Female Citizen by Olympe de Gouges. Both Dessalines, as a black man in Saint-Domingue, and de Gouges, as a woman in France, were marginalized members of their societies. They were, that is, oppressed. Dessalines was writing in 1804, after the Republic of Haiti had been established with him as its leader, but the themes he is addressing are those of racial subjugation. He describes the need for unity after having "exterminated" the "true cannibals." Under French rule, blacks had been "mutilated victims of the cupidity of white Frenchmen," who were a group of "bloodsuckers . . . fattened by our toil." De Gouges, on the other hand, is writing about the subjugation of women. She adapts the language of the Declaration of the Rights of Man to focus on the injustices suffered by women. In a searing postscript, she characterizes the treatment of women under the old regime (the one overthrown by the Revolution) as "vicious" and "guilty" and calls for women to demand recognition of their rights under the Revolutionary society. Jefferson's Declaration voices some of the universal rights referenced in the Declaration of the Rights of Woman, but it is not generally concerned with women's equality and only mentions African Americans in the context of the "domestic insurrections" King George had supposedly encouraged. Both Dessalines and de Gouges are members of oppressed groups who demanded equality. 
https://haitidoi.com/2013/08/02/i-have-avenged-america/

What can you infer about the boy's potential for violence based on his first words?

If you are referring to what the boy, Roger, says at the beginning of the story, I would argue that his first words betray his fear more than his potential for violence.
When Roger tries to snatch Mrs. Luella Bates Washington Jones' purse, he gets a rude awakening. Because the purse is heavier than he anticipated, he falls as he simultaneously tries to gain his balance and to prepare to flee. After he falls on his back, Mrs. Jones kicks him in the behind and hoists him up by his shirt front. The text tells us that she then proceeds to shake Roger "until his teeth rattled."
It is Mrs. Jones who speaks first. She orders Roger to pick up her purse and to hand it to her. He complies without a word. Then she demands to know whether he is ashamed of himself, to which Roger replies, "Yes’m." Next, Mrs. Jones asks Roger the reason for his actions. Roger meekly replies, “I didn’t aim to.” In the story, he doesn't tell her why he wants to steal her purse until later. His next words are also noteworthy.


“If I turn you loose, will you run?” asked the woman. “Yes’m,” said the boy. “Then I won’t turn you loose,” said the woman. She did not release him. “I’m very sorry, lady, I’m sorry,” whispered the boy.

Roger's first words betray his fear and his embarrassment at having been caught. He also seems genuinely ashamed for his actions. Roger seems more intent upon what he can get from Mrs. Jones' purse than on hurting her. So, from his first words, we can infer that Roger demonstrates little potential for violence.

 

What opportunities did they African Americans gain during the Civil War and Reconstruction? What obstacles still remained? Did the gains made in this era last? Why or why not?

African Americans made many gains during the Civil War and Reconstruction. They gained their freedom in 1865, citizenship in 1868, and male suffrage in 1870. There were still several obstacles in place, however. African Americans had been banned from getting an education in the South and without literacy, many jobs were still out of reach of the former slaves. African Americans had to overcome prejudice all over the nation as many would not hire an African American or allow him/her to live in certain neighborhoods. African Americans made many gains during military Reconstruction as they ran successfully for municipal and state office.
However, after military Reconstruction ended in 1877, many of these gains were wiped out as grandfather clauses, poll taxes, and literacy tests kept many African Americans away from the polls and the South went for Democrats once again. During Reconstruction the African Americans in the South did not get their "forty acres and a mule" as the federal government avoided redistributing the former planters' lands. Many African Americans and poor whites would become sharecroppers and their descendants would remain sharecroppers until WWII. Many cities also passed vagrancy laws which demanded that African Americans carry papers with them which defined their residences and occupations. Any African Americans caught without this material could be placed on a government chain gang, which was slavery by another name. African Americans did gain their freedom during this time, but that was really the only lasting improvement to their situation in the 1800s.

Can I have a summary on hierarchy in Chapter 7?

Chapter Seven is titled “The Ethnic Theory of Plane Crashes.” The “hierarchy” concept is raised beginning in subchapter 7. One of the contributing factors to Korean Air’s high number of plane crashes in the 1990s was that the crew members used “mitigated speech.” Even in emergency situations, they addressed each other politely and deferred to their captains, abiding by strong cultural and administrative hierarchies. In a hierarchy, individuals in a group are arranged in a definite order by rank, grade, age, or some other kind of system. Uniformed personnel are usually trained to defer to the knowledge and experience of their top leaders, by rank. There are also cultures whose languages and customs permit much more ambiguity – with the use of highly mitigated speech and extreme politeness – than others. Some of the Asian countries have the highest tolerances for oral ambiguity in the world. These factors combined dangerously for Korean Air. Even when lower-ranked crew members saw potentials for life-threatening circumstances, they didn’t feel free to mention the problems to any higher-ranked officers. The airline’s solution was to teach English to its personnel and to conduct all communication in English, using individual first names instead of rank. These changes allowed everyone the freedom to leave behind their perceived hierarchies. They could be direct and honest, which are necessary features involved when flying planes over mountainous terrain.

Calculus of a Single Variable, Chapter 7, 7.4, Section 7.4, Problem 41

To calculate the surface area generated by curve y=f(x) revolving about x-axis between a and b, we use the following formula
S_x=2pi int_a^b y sqrt(1+y'^2)dx
Let us therefore first find the derivative y'.
y'=1/(2sqrt(4-x^2))cdot(-2x)=-x/sqrt(4-x^2)
y'^2=x^2/(4-x^2)
We can now calculate the surface.
S_x=2pi int_-1^1sqrt(4-x^2)sqrt(1+x^2/(4-x^2))dx=
2pi int_-1^1sqrt(4-x^2)sqrt(4-x^2+x^2)/sqrt(4-x^2)dx=
2pi int_-1^1 2dx=4pi x|_-1^1=4pi(1+1)=8pi
The area of surface generated by revolving the given curve about x-axis between -1 and 1 is 8pi.
Graphs of the curve and the surface generated by curve's revolution can be seen in the images below.

Why does Gulliver reject the job?

I assume that you are referring to book 1, chapter 5 of Gulliver's Travels. In this part of the story, Gulliver, using his enormous size, drags the whole Blefuscudian fleet to the shore of Lilliput, preventing a full-scale invasion. The Lilliputian Emperor is suitably impressed with Gulliver's heroic endeavors and promptly awards him with "Nardac," Lilliput's highest honor. But the emperor is not finished with Gulliver just yet. Having seen what he is capable of, the emperor wants to use the giant Gulliver to finish the job; he wants him to go back to Blefuscu and destroy their entire fleet. The Blefuscudians won't just be defeated, they'll be utterly vanquished, so much so that they will be turned into nothing more than a colony if the emperor gets his way.
But Gulliver is not interested. He will have no part of a plan that will turn the Blefuscudians into slaves. The emperor will never forgive Gulliver for his refusal to destroy Lilliput's most hated and despised enemy. So he and his court lackeys start plotting the best way to bring about Gulliver's downfall.

I need help writing an argument that supports or refutes the claim that complex poems are superior.

No type of poem is inherently superior. Various types of poem can be well or badly written within the context of their own genres and audiences. 
Alexander Pope, for example, wrote a two-line poem that was inscribed on the collar of a dog he gave to Frederick, Prince of Wales. It read:

I am his highness's dog at Kew;
Pray tell me, sir, whose dog are you? 

This is a very simple and clever example of a genre sometimes known as occasional verse. It does not have the profundity or complexity of "The Wasteland" or of Pope's own "An Essay on Man", but that is not its point.
Poems should be judged according to what they are trying to accomplish. A limerick succeeds or fails according to how funny it is and how well it serves to entertain its audience; complexity would get in the way of its success. Traditional epic should be judged not on complexity but on the way it vividly and memorably conveys cultural tradition. 
In lyric poetry, some authors excel in creating complex works that engage the intellect as well as the senses and have multiple layers of meaning. Much of modern poetry and metaphysical poetry follow this model. Other poets succeed by creating simple and beautifully crafted lyrics such as Housman's "Loveliest of Trees, the Cherry Now."
No one type of poetry in inherently superior, although when selecting poems to read in the university classroom, one should choose complex and difficult poems as they provide greater challenges for students.
 

What is a central idea of Macbeth, Act 1 Scene 7?

This scene begins with Macbeth outside his castle, contemplating whether or not he should go ahead with the plan to murder the king, Duncan. Macbeth tells himself that if he is to do it, "'twere well / It were done quickly," but it is obvious that he is shrinking from his conviction. When Lady Macbeth enters, he tells her they will "proceed no further in this business." Lady Macbeth, however, argues with him, insulting his masculinity, telling him that "when you durst do it, then you were a man." She tells him to "screw your courage to the sticking place," and that if they should fail, "we fail." Ultimately, Macbeth is persuaded and says he will embark upon the task, saying famously, "False face must hide what the false heart doth know."
This line reflects a key theme in all of Macbeth: that of appearance vs reality. Duncan believes that Macbeth is honorable and has indeed honored him, which is part of why Macbeth does not want to kill him. However, in reality, Macbeth will betray him. Meanwhile, a woman, such as Lady Macbeth, would appear to be the softer member of a couple according to stereotype of the time, but in fact, the reality is that it is her urging, and her insults of her husband's character, which drive the couple toward murder. Some other key themes and ideas in this scene are those of Macbeth being torn between his conscience and his weaknesses: his pride and his desire to please his wife and achieve greatness. This scene is also a very interesting point at which to question the extent to which Lady Macbeth, rather than Macbeth himself, is to blame for what happens in the play.

What is the purpose of the short story "The Open Window" by Saki?

The purpose of "The Open Window" is to show that people can be deliberately malicious and cruel, especially to people who reveal their vulnerabilities. We know that the main character, Mr. Nuttel, has shared his nerve disorder with his hosts. In fact, his hostess, Mrs. Sappleton, says he "could only talk about his illnesses."
The fifteen-year-old Vera, Mrs. Sappleton's niece, also finds out that Mr. Nuttel barely knows her aunt. She takes advantage of this information to deliberately frighten Mr. Nuttel with a false story. Vera lies and says that her aunt's husband and two children disappeared one day while hunting. She explains that Mrs. Sappleton keeps the window (what we would call a French door) open in the deluded hopes they will walk back through it one day. Of course, they are quite alive. When they come in, Mr. Nuttel runs off, thinking he's seen ghosts.
The story implies that Mr. Nuttel is a bore about his illnesses and that Vera is getting revenge. It warns that people like Vera, despite polite manners, are not all sweetness and light. They are capable of manipulation and amusing themselves through cruelty. We all have an aggressive streak, which can come out passive-aggressively in how we treat people. The message of the story is not to assume that people have your best interests at heart.

When determining author's purpose, think about the acronym P.I.E., which stands for "persuade, inform, entertain." A story's purpose can usually be understood from these three points. The purpose behind Saki's short story "The Open Window" is to entertain. Vera, a young and mischievous girl, sets up an unassuming and sickly man, named Nuttel, for a practical joke. She tells him a story of a family tragedy only to pull off an ironic twist that frightens the man out of his wits. Not only is Vera a great storyteller, but she is also a great actress. She doesn't just tell the "facts" about the family tragedy that supposedly cost the lives of her aunt's husband and brothers, but she dramatically displays sorrow, and then believable horror, when the men return from hunting. When Nuttel runs from the home without a word to the hostess, the joke is successfully executed, and the intended entertainment is accomplished.

Single Variable Calculus, Chapter 7, 7.4-1, Section 7.4-1, Problem 52

Find the derivative of the function $y = (\ln x)^{\cos x}$, using log differentiation

$
\begin{equation}
\begin{aligned}
\ln y &= \ln (\ln x)^{\cos x}\\
\\
\ln y &= \cos x \ln \ln x\\
\\
\frac{d}{dx} \ln y &= \frac{d}{dx} (\cos x \ln \ln x)\\
\\
\frac{1}{y} \frac{dy}{dx} &= \cos x \frac{d}{dx} (\ln \ln x) + (\ln \ln x) \frac{d}{dx} (\cos x)\\
\\
\frac{1}{y} y' &= \cos x \cdot \frac{1}{\ln x} \frac{d}{dx} (\ln x) + (\ln \ln x) (- \sin x)\\
\\
\frac{y'}{y} &= \frac{\cos x}{\ln x} \cdot \frac{1}{x} - \sin x \ln (\ln x)\\
\\
y' &= y \left[ \frac{\cos x}{x \ln x} - \sin x \ln (\ln x) \right]\\
\\
y' &= (\ln x)^{\cos x} \left[ \frac{\cos x}{x \ln x} - \sin x \ln (\ln x) \right]
\end{aligned}
\end{equation}
$

What are advantages and disadvantages of affirmative action?

Affirmative action has two other disadvantages as well.  First, it allows white people to erroneously believe that people of color have been hired solely on the basis of race and that they are not qualified for their positions. I suspect that in the recent incident in which a black female physician was first assumed by an airline attendant not to be a doctor, the airline attendant still selected a white male doctor to attend to a passenger because at least subconsciously she assumed that the black physician would not be as competent because the flight attendant assumed the black physician got to where she was as a result of affirmative action. This assumption is made a frightening large percentage of the time. Second, affirmative action, some people of color argue, confers a status of victimhood upon them, a status they then internalize such that they begin to believe they are somehow lesser. These are distinct disadvantages that make affirmative action quite difficult for me to advocate.

Although many people would like to claim that we are living in a "post-racial" world, the fact of the matter is that the United States continues to host horrifically racist and prejudiced behaviors and attitudes. We can see this everywhere from the fight in the South to maintain the use of Confederate flags (a Civil War symbol of those fighting to protect slavery) to Presidential nominee Donald Trump's message to "build a wall" to keep out "terrorists" and "rapists" (his discriminatory descriptors of Syrian refugees and Mexican immigrants) to the spree of police shootings of young Black, Latino, and Native American individuals.
Affirmative action was introduced to the United States in the 1960s to prevent discrimination based on race, creed, color, or national origin. There are many advantages of these policies. They ensure that space is carved out in  historically privileged academic systems for minorities, and they promote diversity. They also provide job opportunities that may not otherwise be accessible due to the personal judgments of employers (who are often white), help protect people of color from hate crimes, and promote a moral commitment to working toward racial and social justice after centuries of oppression. 
One might argue that one of the disadvantages of affirmative action is that it doesn't seem to be doing a whole lot to resolve racial tensions in America--especially given the aforementioned issues we've faced over the last five years alone. It also seems to give privileged white individuals "fuel for the fire," as they can wield the presence of affirmative action as "evidence" that they are being unfairly treated, despite the fact that their class status and race imbues them with huge perks. Even more sinisterly, many racists use affirmative action as an excuse to continue their racist behaviors, with these controversial policies seemingly serving as just another reason to hate or resent people of color. 
Ultimately, I would argue that affirmative action does more good than harm. It may not solve the problem, but it is offering room for people of color to have their voices heard in important places, be it the classroom or the office. 

In the book Moral Disorder, Margaret Atwood depicts the themes of fractured identities, filial relationships, and gender roles. Nell is the protagonist of the stories, which focus on her ‘growth’ and evolution. What are the difficult ‘choices’ that Nell makes, and how does she take responsibility for those choices? How does the author trace Nell’s growth in the stories over the years and at different phases of her life?

Moral Disorder is an intriguing patchwork of eleven stories that follow the life of Nell from girlhood to her twilight years. Each story is a snapshot of a different time in her life and focuses on the role of her relationships. The opening piece of the novel introduces Nell and Tig, an elderly, married couple, facing an uncertain future.
The book goes back to an 11-year-old Nell who excitedly knits a layette for her unborn sister. She reads a book on household advice and envisions a perfect life ahead.
As a young adult, Nell rebels against her mother's stern conventions. She carves a niche for herself as a freelance book editor. She falls in love with a married man, Tig, who has two children. Nell and Tig decide to leave the city and adopt a rural life. They learn to farm, grow vegetables and venture into animal husbandry. She experiences the joy of motherhood and the bliss of growing old with the man she loves.
As an older woman, Nell confronts the mortality of life with aging knees and parents at the edge of death. She realizes the transient nature of her identity, governed by relationships. As she stumbles along life with varying degrees of idealism, opportunism, and cluelessness, she understands both, the meaning and the futility of life.

All that anxiety and anger, those dubious good intentions, those tangled lives, that blood. I can tell about it or I can bury it. In the end, we’ll all become stories. (Moral Disorder)

Atwood uses the short story genre in order to demonstrate how people are stories themselves, how we learn about story, and how the idea of "story" affects us. Using the first person perspective in many of the stories allows the reader to better understand Nell, to understand the theme of self-awareness and growth. However, switching out to the third person perspective allows us to better see the complete picture, like stepping back from a painting. Fractured storytelling through multiple perspectives shows us the fractured identities of the characters. People are fractured: their identities are a mishmash of their own perspectives, their own senses self-awareness, and the expectations and judgments of others.
People are also products of the choices they make. Using the non-chronological approach to storytelling helps Atwood show the end result of Nell's choices and then trace back the person she becomes through the choices she makes. Nell's very act of remembering her earlier decisions is in itself taking responsibility for them. She would not be troubled by her memories if she didn't seek to learn from them. This is reinforced by the introduction of Lillie and her experience with Alzheimers—the very opposite position of Nell's focus on memory.

In Moral Disorder, the central character, Nell, makes a variety of difficult choices about whether to have a family, her relationship with a married man, and managing her relationship with the man's family after he leaves his wife and marries Nell. Margaret Atwood traces her growth by breaking down Nell's story into different short stories and presenting them to the reader in a non-chronological order.
Nell ultimately takes responsibility for her choices by caring for her family members, renting a house for Oona, and learning to adapt to Tig's children—even if she can't help but beat them at Monopoly. Despite her tendency to daydream and fantasize about other lives, Nell grows from the little girl who resented her mother's pregnancy and yearned for freedom to a woman who has strong social ties and sacrifices to meet the needs of those in her life.
Atwood presents the stories in an intriguing way. The book opens with Nell and Tig in the morning, elderly and contemplating the news. The next story focuses on Nell at 11. Atwood switches perspectives, times, and narrators to chart Nell's growth—showing that she's changed in many ways as she's gotten older. In this way, Atwood can show Nell's anxiety over the responsibilities of a family, her guilt over her parents' and sister's health problems, and the burden placed on her to care for so many, including the ex-wife of her husband.

sum_(n=2)^oo 1/(n(lnn)^3) Determine the convergence or divergence of the series.

The Integral test is applicable if f is positive and a decreasing function on infinite interval [k, oo) where kgt= 1 and a_n=f(x) . Then the series sum_(n=k)^oo a_n converges if and only if the improper integral int_k^oo f(x) dx converges. If the integral diverges then the series also diverges.
For the given series sum_(n=2)^oo 1/(n(ln(n))^3) , then a_n =1/(n(ln(n))^3) .
Then applying a_n=f(x) , we consider:f(x) =1/(x(ln(x))^3) .  
The graph of f(x) is:
 
As shown on the graph above, the function f(x) is positive and decreasing on the finite interval [2,oo) . This implies we may apply the Integral test to confirm the convergence or divergence of the given series.
We may determine the convergence or divergence of the improper integral as:
int_2^oo 1/(x(ln(x))^3)= lim_(t-gtoo)int_2^t 1/(x(ln(x))^3)dx
To determine the indefinite integral of int_2^t 1/(x(ln(x))^3)dx , we may apply u-substitution by letting:
u = ln(x) and du = 1/x dx . 
The integral becomes: 
int 1/(x(ln(x))^3)dx=int 1/(ln(x))^3 *1/x dx
                            =int 1/u^3 du
Apply Law of exponent: 1/x^m = x^(-m) .
int 1/u^3 du=int u^(-3) du
Apply Power rule for integration: int x^n dx = x^(n+1)/(n+1) .
int u^(-3) du =u^(-3+1)/(-3+1)
                    =u^(-2)/(-2)
                    = - 1/(2u^2)
Plug-in  u=ln(x) on - 1/(2u^2) , we get:
int_2^t 1/(x(ln(x))^3)dx=- 1/(2(ln(x))^2)|_2^t
Apply definite integral formula: F(x)|_a^b = F(b)-F(a) .
- 1/(2(ln(x))^2)|_2^t=- 1/(2(ln(t))^2)-(- 1/(2(ln(2))^2))
                       =- 1/(2(ln(t))^2)+ 1/(2(ln(2))^2)
Applying  int_1^t 1/(x(ln(x))^3)dx=- 1/(2(ln(t))^2)+ 1/(2(ln(2))^2) , we get:
lim_(t-gtoo)int_1^t 1/(x(ln(x))^3)dx=lim_(t-gtoo)[- 1/(2(ln(t))^2)+ 1/(2(ln(2))^2)]
                                        = 0+1/(2(ln(2))^2)
                                        =1/(2(ln(2))^2)
Note: lim_(t-gtoo)1/(2(ln(2))^2)=1/(2(ln(2))^2) and
lim_(t-gtoo)- 1/(2(ln(t))^2)= [lim_(t-gtoo) 1]/[lim_(t-gtoo)2(ln(t))^2]
                                =-1/oo
                                =-0 or 0
Thelim_(t-gtoo)int_2^t 1/(x(ln(x))^3)dx= 1/(2(ln(2))^2)  implies that the integral converges.
Conclusion: The integral int_2^oo 1/(x(ln(x))^3) is convergent therefore the series sum_(n=2)^oo 1/(n(ln(n))^3)  must also be convergent. 

Single Variable Calculus, Chapter 3, 3.3, Section 3.3, Problem 68

Let $P(x) = F(x) G(x)$ and $\displaystyle Q(x) = \frac{F(x)}{G(x)}$, where $F$ and $G$ are the functions whose are shown
a.) Find $P'(2) \qquad$ b.) Find $Q'(7)$




a.) $P'(2) = F'(2) [G(2)] + F(2) [G'(2)]$
Referring to the given graph

$
\begin{equation}
\begin{aligned}
F(2)&= 3, \quad F'(2) = 0, \quad G(2) = 2, \quad G'(2) = \frac{1}{2}\\
\\
P'(2)&= 0 (2) + 3\left( \frac{1}{2}\right)\\
\\
P'(2) &= \frac{3}{2}
\end{aligned}
\end{equation}
$


b.) $\displaystyle Q'(7) = \frac{G(7)[F'(7)]-[F(7)]G'(7)}{[G(7)]^2}$
Referring to the graph given,

$
\begin{equation}
\begin{aligned}
F(7) &= 5, \quad F'(7) = \frac{1}{4}, \quad G(7) = 1, \quad G'(7) = \frac{-2}{3}\\
\\
Q'(7) &= \frac{1 \left( \frac{1}{4} \right) - 5 \left( \frac{-2}{3}\right)}{(1)^2}\\
\\
Q'(7) &= \frac{43}{12}
\end{aligned}
\end{equation}
$

Analyse the theme of betrayal in Much Ado About Nothing and show how its use has both good and bad outcomes.

In Much Ado About Nothing, betrayal is at the heart of many of the problems of the play, but it also ends up being the key to its happy ending.
Initially, an instance of betrayal sets up one of the main problems of the play. Don John, the envious and wicked brother of Don Pedro, wants to hurt his brother in any way possible. One way that he sees to do this is to ruin the marriage of Claudio, who is a particular friend of Don Pedro. Don John and Borachio devise a plan to fool Don Pedro and Claudio. Borachio says that he is intimate with one of Hero's waiting women and that at any time of night he can make the maid appear in Hero's window and pretend to be her. The two men plot so that Don Pedro and Claudio will see the maid (Margaret) and Borachio having sex in Hero's room. Margaret will wear Hero's clothes and Borachio will call her "Hero." Don Pedro and Claudio will then think that Hero is not a virgin, and this will ruin the wedding of Claudio and Hero. This does indeed play out exactly as the men plan, and it sets off a whole series of problems in the play, including this ruined marriage and several vows of revenge on either side.
However, betrayal also resolves the problem. Hero faints during the wedding, and most of the wedding guests assume that she is dead. Hero, who has only fainted, is hidden by her family until her good name is cleared. Once her name is cleared, her father, Leonato, tells Claudio that he can make up for the ruined wedding and the false accusations by marrying his "other" daughter. This "other" daughter is Hero in disguise, but Claudio agrees to this new wedding. At the alter, this disguise is revealed, and Claudio is happy to find his original bride restored to him. In this case, betrayal solves the problem and rewards Claudio with a happy marriage.
https://www.folgerdigitaltexts.org/html/Ado.html

“The Catholic Church rejects nothing that is true and holy in these religions. She regards with sincere reverence those ways of conduct and of life, those precepts and teachings which, though differing in many aspects from the ones she holds and sets forth, nonetheless often reflect a ray of that Truth which enlightens all of humanity.” (NA2) What is important about this statement from Nostra Aetate? What does it mean for how we treat those of other religions? Why does respecting people of other religions matter to us still today, more than fifty years after the promulgation of this document?

What is important about this statement is that it marks a change in the Church's stance towards the adherents of other religions. The statement itself opens the door for the Catholic faithful to pursue mutually satisfying relationships with people of other faiths, notably those of the Jewish faith.
The document itself (although 50 years old) paved the way for an improvement in Catholic-Jewish relations. It argued that, although "the Jewish authorities and those who followed their lead pressed for the death of Christ," all Jews should not be held responsible for the execution of Jesus Christ. The Nostra Aetate also recognizes the contribution of Hindus, Buddhists, and Muslims to matters of faith. It accepts that these three religions understand the "radical insufficiency of this changeable world" to satisfy the yearnings of the human soul. 
The tenets enshrined in the Nostra Aetate are a radical departure from the traditional Catholic theological stance. Its importance cannot be underestimated, as its publication inspired a similar Jewish document called Dabru Emet: A Jewish Statement on Christians and Christianity. The Dabru Emet acknowledges the common spiritual heritage both faiths share. Just as the Nostra Aetate reverses centuries of Catholic animosity towards Jews for the crucifixion of Christ, the Dabru Emet acknowledges that "Nazism was not a Christian phenomenon" and that only God can ultimately settle the irreconcilable spiritual differences between Jews and Christians.
So, respecting people of other religions is as important today as it was more than fifty years ago because it fosters peaceful coexistence in an increasingly volatile world.

What literary devices are used in As I Lay Dying?

Several literary devices are used in As I Lay Dying by William Faulkner. The most obvious is the title’s allusion, or reference, to The Odyssey by Homer. The novel’s title alludes to Agamemnon’s dying words, in which he tells Odysseus, "As I lay dying, the woman with the dog's eyes would not close my eyes as I descended into Hades.” The novel also contains several biblical allusions, most evident in Cora Tull’s narrative. She speaks often of doing her Christian duty, she sings religious hymns as she and Vernon travel back and forth to the Bundrens’ house as Addie is dying, and she views the Bundrens’ tribulations as “the hand of the Lord . . . for Anse Bundrens judgment and warning.” Anse occasionally quotes the Bible and refers to biblical principles, as well, but he does so to justify his selfish actions. “God's will be done,” he says.
Faulkner also uses foreshadowing, another literary device, in an interesting way in the novel. Clues to events that will occur later pepper the novel, with the first of these presented in the novel’s second sentence. Here, Darl mentions that although he is older than his brother Jewel, Jewel is “a full head” taller. The significance of this description of Jewel only becomes clear to readers later when it is revealed that Jewel and Darl have different fathers. Faulkner also foreshadows the novel’s end and reveals Anse’s true motive for dragging his wife’s corpse across the countryside. Anse’s reasons for wanting to go to town are mentioned so subtly that readers are usually surprised at the novel’s end, though Faulkner foreshadows the final events in Anse’s first words at the moment of Addie’s death: “Now I can get them teeth.” In addition, Faulkner foreshadows Anse’s remarriage when the family stops at a house to borrow shovels to bury Addie. “He pulled up at Mrs Bundren's,” Cash says. At this point in the novel, Anse has yet to bury his first wife, but Cash hints at Anse’s intent to marry again by referring to the homeowner as “Mrs Bundren.” The significance of Cash’s reference to the woman in this way becomes clear only when Anse, after their marriage, introduces this new woman to his children. “Meet Mrs Bundren,” Anse says sheepishly.
Symbolism is another literary device found in the novel. Cash’s carpenter tools are perhaps the most significant of the novel’s symbols. His “saw and hammer and chalk-line and rule” are crucial to his work, and he is justifiably upset when his tools are swept into the river. The tools are more than a way to earn his living, though, because they represent Cash’s meticulous, precise approach to life.
The diction, or word choice, in As I Lay Dying is another type of literary device, significant to one of the novel’s themes. Addie alludes to the theme of the inadequacy of words when she says that “words are no good; that words don't ever fit even what they are trying to say at.” In an attempt to perhaps make new words that do “fit . . . what they are trying to say at,” Faulkner coins new words and phrases, such as “pussel-gutted," a neologism he uses to describe Dr. Peabody.

In his 1930 novel As I Lay Dying, William Faulkner's most prominent literary device is his use of fifteen different narrators.  Each of the novel's fifty-nine sections is told through a single narrator's perspective.  Because the story is related by so many characters, the narration is presumably unreliable narration. 
Some of the narration is written as stream-of-consciousness, meaning that the desired effect is that of the narrator's unedited and unfiltered thoughts. 
Faulkner makes use of symbolism; for example, the fish that Vardaman catches corresponds with Addie's death.  Cora Tull's narration is peppered with hypocritical and desultory Christian symbols.
Faulkner clearly took inspiration from Homer's Odyssey; this is apparent by allusions such as the novel's title, which are words spoken by Agamemnon.  Anther allusion to The Odyssey is Cash's fall from the church roof––which corresponds with Elpenor's drunken fall from the roof of Circe's palace.
 
 

int_4^oo 1/(x(lnx)^3) dx Determine whether the integral diverges or converges. Evaluate the integral if it converges.

int_4^infty 1/(x(ln x)^3)dx=
Substitute u=ln x => du=1/x dx, u_l=ln 4, u_u=ln infty=infty (u_l and u_u denote lower and upper bound respectively).
int_(ln 4)^infty1/u^3 du=-1/(2u^2)|_(ln4)^infty=-1/2(lim_(u to infty)1/u^2-1/(ln 4)^2)=-1/2(0-1/(ln 4)^2)=
1/(2(ln 4)^2)approx0.260171
As we can see the integral converges and its value is 1/(2(ln 4)^2).
The image below shows graph of the function and area under it representing the value of the integral. Looking at the image we can see that the graph approaches -axis (function converges to zero) "very fast". This suggests that the integral should converge to some finite number. 

Single Variable Calculus, Chapter 5, 5.4, Section 5.4, Problem 38

Find the integrals $\displaystyle \int^1_0 \left( 1+ x^2 \right)^3 dx$

$
\begin{equation}
\begin{aligned}
\int \left( 1+ x^2 \right)^3 dx &= \int \left( 1 + 3x^2 + 3x^4 + x^6 \right) dx\\
\\
\int \left( 1+ x^2 \right)^3 dx &= \int 1 dx + 3 \int x^2 dx + \int x^4 dx + \int x^6 dx\\
\\
\int \left( 1+ x^2 \right)^3 dx &= 1 \left( \frac{x^{0+1}}{0+1} \right) + 3 \left( \frac{x^{2+1}}{2+1} \right) + 3 \left( \frac{x^{4+1}}{4+1} \right) + \left( \frac{x^{6+1}}{6+1} \right) + C\\
\\
\int \left( 1+ x^2 \right)^3 dx &= x + \frac{\cancel{3}x^3}{\cancel{3}} + \frac{3x^5}{5} + \frac{x^7}{7} + C \\
\\
\int \left( 1+ x^2 \right)^3 dx &= x + x^3 + \frac{3x^5}{5} + \frac{x^7}{x^7} + C\\
\\
\int^1_0 \left( 1+ x^2 \right)^3 dx &= 1 + (1)^3 + \frac{3(1)^5}{5} + \frac{(1)^7}{7} + C - \left[ 0 + (0)^3 + \frac{3(0)^5}{5} + \frac{(0)^7}{5} + C \right]\\
\\
\int^1_0 \left( 1+ x^2 \right)^3 dx &= 1+1+\frac{3}{5} + \frac{1}{7} + C - 0 - 0 - 0 - 0 - C\\
\\
\int^1_0 \left( 1+ x^2 \right)^3 dx &= \frac{35+35+21+5}{35}\\
\\
\int^1_0 \left( 1+ x^2 \right)^3 dx &= \frac{96}{35}
\end{aligned}
\end{equation}
$

Calculus: Early Transcendentals, Chapter 3, 3.6, Section 3.6, Problem 24

You need to find the first derivative of the function, using the quotient rule, such that:
y' = ((ln x)'*x^2 - ln x*(x^2)')/((x^2)^2)
y' = (x^2/x - 2x*lnx)/(x^4)
y' = (x - 2x*lnx)/(x^4)
You need to evaluate the second derivative, differentiating the first derivative, with respect to x, such that:
y'' = ((x - 2x*lnx)'(x^4) - (x - 2x*lnx)(x^4)')/((x^4)^2)
y'' = ((1 - 2*lnx - (2x)/x)(x^4) - 4x^3(x - 2x*lnx))/(x^8)
y'' = ((1 - 2*lnx - 2)(x^4) - 4x^3(x - 2x*lnx))/(x^8)
Factoring out x^3, yields:
y'' = x^3*(x*(1 - 2*lnx - 2) - 4(x - 2x*lnx))/(x^8)
Reducing like terms, yields:
y'' = ((1 - 2*lnx - 2) - 4(x - 2x*lnx))/(x^5) = (6lnx - 5)/(x^5)
Hence, evaluating the first and the second derivatives, yields y' = (x - 2x*lnx)/(x^4) and y'' = (6lnx - 5)/(x^5)

In Silas Marner, what hold does Dunstan have over Godfrey Cass? How does he use this hold?

In the novel, Dunstan holds Godfrey's secret marriage to Molly Farren (an opium addict) over his head. As the only one with full knowledge of Godfrey's unsavory connection to Molly, Dunstan is able to blackmail Godfrey into doing his bidding whenever he likes. If Godfrey so much as balks at anything Dunstan wants done, the latter just resorts to the time-tested threat of exposing the secret marriage to their father, Squire Cass.
For his part, Godfrey is intent upon preserving his reputation above all else; after all, he has his eyes on the beauteous Nancy Lammeter, and his goal is to eventually make her his wife. So, his disastrous secret marriage to Molly must never come to light.
Meanwhile, in one of his characteristic blackmail attempts, Dunstan threatens to expose Godfrey if he refuses to pay back a hundred pounds in rent money Dunstan has appropriated for his own. The truth is that Dunstan forced Godfrey to hand the rent money over to him. This puts Godfrey in a difficult position with their father, Squire Cass, who is a landlord. Because he is missing the hundred pounds in rent, Squire Cass has threatened to "distrain" or to seize the renter's property in order to exact payment.
Of course, the renter, Fowler, paid the rent a while back; however, it ended up in Dunstan's hands, and he isn't about to pay it back. Instead, he's charging Godfrey with doing the honors. To ensure that Godfrey does his bidding, Dunstan threatens to expose to Squire Cass Godfrey's secret marriage to Molly. In fact, it was Dunstan himself who goaded Godfrey into marrying Molly. With this disastrous match, Dunstan ensured that the ball would always be in his court when it came to dealings with Godfrey.
For his part, Godfrey enjoys his comfortable existence too much to risk exposure, and he eventually agrees to let Dunstan sell his prized horse, Wildfire, in order to cobble together the money for the rent.

Why did Luther's writings, like the Ninety-five theses, have such a large and immediate effect on the public's faith in the Roman Catholic Church?

There are three main reasons for the huge impact of Luther's work throughout Europe, which ushered in the Protestant Reformation. First, Luther took advantage of a relatively new technology, the printing press. The rapid growth of this technology, especially in the 16th century, allowed the quick dissemination of his work throughout Europe. Luther also quickly translated his theses from Latin into German, so they could be read and understood by a wider audience. Second, people in Europe had already begun to grow tired of papal corruption and some of the questions Luther raised, such as why the pope didn't finance his lavish building projects out his own wealth, resonated with the common people. Third, Frederick, the elector of Saxony and Luther's ruler, objected to the fact the pope was selling indulgences in Saxony to finance building projects in Rome, taking money out of the province that Frederick felt was needed there. Therefore, Frederick supported Luther against the pope. In sum, technology, a preexisting climate of discontent and the support of a powerful prince allowed Luther's ideas to spread. 

What do the first 21 lines tell us about the duke?

The first twenty one lines of the poem help us to understand the duke's possessiveness of his former wife: her portrait is kept behind a curtain that none are allowed to draw aside except him.  We can also learn that his pride was, perhaps, wounded by the fact that it was not only "Her husband's presence" that prompted her to blush; she, apparently, was pleased by anything else as much as she was by his attention to her.  
The duke also seems to place a lot of importance on appearances, as he name drops "Fra Pandolph," a famous painter who is renowned for producing excellent likenesses of individuals.  The duke seems to want his auditor to know that he paid dearly for this painting and demanded only the best.  In fact, he mentions the painter's name even before he begins to describe the woman who used to be his wife.  He prioritizes the value of the painting over the value of its subject.

Who is Gaston in "Gaston"?

In this short story, a father and his six year old daughter are eating peaches together when "two feelers" appear from the cavity of the peach seed. The feelers soon emerge, followed by the body of a brown bug, which fascinates the little girl. It isn't clear what type of bug this is, as the narrative is largely from the limited perspective of a child, but the bug is brown, has "a knob head, feelers, and a great many legs."
When the bug has climbed down the side of the peach and onto the plate, the little girl asks, "Who is it?" to which her father replies, "Gaston." In response to his daughter's suggestion that they should squash him, because that is what is generally done with bugs, the father argues that this is "Gaston the great boulevardier" and that they should take pity on him, as he is now homeless. He explains to his daughter that Gaston has previously been very well set up in his house in the peach seed, whereas now he is "out in the world and out on his own."
The little girl is so captivated by her father's flights of imaginative fancy about Gaston that she demands another "peach with people," causing her father to leave the house in search of a flawed peach. While he is away, the little girl's mother calls her, and her disapproval of the father's behavior punctures the little girl's enthusiasm for peach-bugs and specifically Gaston, who "was all ugh, as he had been in the first place." By the time her father returns, she has squashed Gaston, disillusioned by her mother's words, and announces that a car will soon arrive to take her to "a birthday party," and then back to New York. She is no longer interested in the peaches he has found, and the father is left deflated, feeling "a little, he thought, like Gaston on the white plate"—that is, "confused," "entirely alone," and unsure what to do with himself.

What is moral turpitude?

From a legal standpoint, "moral turpitude" is defined as an act that grossly violates the standards of a community. This is mostly relevant because it can be used to deny access to, or deport, a person with immigrant status. It is not very specific, but crimes that fall under the rubric of "moral turpitude" might, according to the Immigration Legal Resource Center, include fraud, theft, or a variety of acts with "lewd intent." Because laws vary from state to state, one's immigration status after committing a crime can be fairly complex. Immigration judges are responsible for determining whether or not a specific crime involves moral turpitude. Additionally, there is a growing body of United States case law—but not federal statutory law—that affects these decisions. Generally speaking, conviction on two crimes involving moral turpitude triggers deportation for most immigrants.
https://www.ilrc.org/sites/default/files/resources/n.7-crimes_involving_moral_turpitude.pdf

Can you explain an example of irony found in act 3, scene 3?

Shakespeare loves irony, and there are several examples of it in this scene.
First, for example, Emilia notes that the trouble between Othello and Cassio

grieves [her] husband / As if the cause were his.

Emilia at this point doesn't know that Iago is, in fact, the cause of the trouble between Cassio and Othello, nor does she realize that the trouble is a source of pleasure, not grief, to her husband. This is an example of dramatic irony, which occurs when characters are not aware of information that the audience already possesses.
Another example of dramatic irony occurs when Desdemona refers to Iago as “an honest fellow." We as audience know, of course, that Iago is anything but an honest person. He is evil and devious and plots to destroy Desdemona.
Desdemona's heartfelt desire to help Cassio is also laced with irony, as Iago plans to use this innocent desire to make her look as if she is cheating on Othello. If she were a meaner and more hard-hearted person who refused to help a friend in need, she would, ironically, end up appearing more innocent to her husband.

Is Edith Wharton’s realism similar to Henry James’s?

Yes, Edith Wharton's realism is similar to that of Henry James. Both came from wealthy American families and were friends and correspondents. Their similar backgrounds influenced their works.
Both novelists tried to use precise language (some complain that the late James was so precise as to be difficult to understand) to describe and analyze the psychological nuances of what life was like for individuals in upper-class circles. Both were also particularly interested in realistically describing the American upper-class experience. In this, both were different from rough-and-tumble authors of the American wilderness or western experience, such as James Fenimore Cooper or Mark Twain.
Instead, both Edith Wharton and Henry James concentrated on the drawing room and its refined manners. Novels such as James's The Portrait of a Lady and Wharton's The House of Mirth minutely explore the intersection of class, marriage, and wealth and the tragic effects the marriage market can have on beautiful young women. In both authors' work, it is the way people are seated or standing, the emphasis of a word, the import of a glance exchanged that make all the difference to a plot—psychological realism taken to a highly nuanced level.

How does repeated rejection exhaust applicants and affect them in the long term?

It's very difficult for many of the people in Evicted to find a place to live. One only has to look at Pam and Ned to see how hard it can be. They have drug problems, a lengthy rap sheet, and a bad eviction record behind them. Worse still, from the point of view of prospective landlords, they have children. Under such circumstances, it's not surprising they find it so hard to get a roof over their heads.
The broken housing market that forms the subject of the book is one in which demand greatly exceeds supply. This makes it a seller's market in which poor tenants are at a distinct disadvantage. Landlords can afford to be more choosy when it comes to deciding who their tenants are. People with prior convictions, drug problems, past evictions, or families with children are increasingly likely to be rejected when applying for accommodation.
The constant knock-backs have a damaging effect on the well-being of those caught up in a failing system. They find themselves trapped, unable to escape the endless downward spiral of poverty, eviction, and homelessness. In the short-term, it disrupts children's education. Families can't set down roots, and so they don't feel as if they belong anywhere. This is what happens to Arleen; she reckons she's rented twenty different houses in almost as many years. A constant round of evictions means that she, like so many others, just can't win for losing. Even if you can find work, most of your paycheck will go to the rent. And without a stable home environment, it's almost impossible to escape poverty through education. So Arleen and countless others remain trapped in the vicious cycle without a realistic means of escape.

I am looking for some assistance in an upcoming evaluation (7th grade class). I would like to compare/contrast two poems written by the same author using a Venn diagram. I have the following procedure in mind: 1. Establish an understanding of the author through quick video (biography). 2. Discuss genre of poetry and take notes as needed for building background before reading of poems. 3. Read both poems discussing literary elements and meaning (teacher). 4. If time allows, look at rhyme scheme (already understand different types). 5. During teacher led reading, students will highlight unknown words and place on sticky notes. Students will then place sticky notes on a 'Vocabulary Parking Lot' chart. (If time allows teacher will either review unknown words and meanings or pair in cooperative learning style to have students develop an understanding of words and meanings.) 6. Pair students to complete Venn diagram of the two poems. 7. Go over Venn diagram, quick review of previous lessons (as needed) and rate understanding using a "show of hands rubric." This lesson should be no longer than 50 minutes in length (one class period) with an essential question and grade appropriate standard displayed. Please respond with thoughts. This will be my first evaluation in a middle school classroom (school transfer). I have taught K-4 in previous years. I am currently a co-teacher in varying grades (6-12). Though I have been in this classroom (period) sporadically over the course of the year, I will establish a behavior queuing system at the start of class ("1, 2, 3 all eyes on me," etc.).

Let me begin by briefly establishing a bit of my credentials.  I have been teaching 7th grade for 11 years, and I have also had the opportunity to mentor and guide student teachers.
I really like your proposed lesson.  I think there are a lot of positive elements to it, and I think it's organized in a way that makes sense; however, I am concerned that the lesson is too full.  It outlines a tremendous amount of content, and I don't believe that trying to get through all of it in a single, 50 minute class period will do it justice.  The lesson plan above has 7 individual pieces.  That gives you an average of 7 minutes to complete each piece.  That also assumes you and the students begin the moment the bell rings and work until a minute before the the class ends.   
I have the feeling that you yourself know that your proposed lesson is too full.  I think that is why you wrote in there "if time allows" twice.  A concern of mine is that the "if time allows" parts of the lesson are near the front.  Will you be able to accurately judge the remaining time so early in the lesson?
My recommendation is that the lesson gets split into two days, or find a way to trim it down.  
I like the introduction.  I believe that using video is a very effective attention getter with today's junior high students.  I also like how you stated it needs to be short.  You're the teacher, not the video.  
I wonder if you could skip step 2.  There's nothing wrong with discussing the genre before reading the poems, but by not telling students the genre beforehand, you put that experience on the students.  The students have to fill out a Venn diagram on the poems.  Inherent in that diagram is an overlap of similarities.  Couldn't you leave it to the students to discover that the two poems are similar (or different) in genre?  It might be worthwhile to put steps 3 and 4 after the Venn diagram activity as well.  Your question seems to indicate that the students already know a bit about rhyme scheme, so it makes sense that in addition to genre comparisons, the student groups would be able to see the rhyme scheme differences.  
After the Venn diagram work, you've stated that you want to spend some time going over those.  I think that is the perfect opportunity for you to "be the teacher" and discuss with the class each poem's literary elements and meanings.  If you do that stuff while reading the poems, then students don't have to think about much.  They just have to regurgitate what you said 15 minutes beforehand on their Venn diagrams. 
Lastly, have you decided what your essential question is going to be?  Also, will the students know what the essential question is at the start of the lesson?  It could be something like "In what ways do you see today's two poems relating to each other?"  

What were some of the challenges that women faced during the Women's Rights Movement?

There have been several waves of women's rights movements, including the wave in the early years of the twentieth century, when woman were primarily campaigning for the right to vote, and one in the 1960s-70s, in which women were primarily campaigning for equal career and educational opportunities. In both cases, a chief challenge women faced was engrained perceptions of "femininity."
In the suffragist movement, aimed at getting the vote, suffragists had to field complaints brought by both men and women that they were too militant, too "unwomanly," too "unnatural," and too willing to upset social norms. People argued that the man's vote should represent the entire family and that the woman should stay in her "sphere." These included even woman like Laura Ingalls Wilder, who would later become a prominent author.
The same problems of perception dogged the later women's movement. In this case, the real issues being publicized by activists—such as access to top rank colleges, i.e. Yale and Princeton, which were closed to women, and access to top career positions, which were traditionally "male only," as well as issues of equal pay for equal work—were sidelined, and the activist women were trivialized as "bra burners" and "man-haters." Women had to explain why it wouldn't be a "waste" to attend top colleges and aspire to top careers when their supposed "destiny" was marriage and motherhood. Some people, both men and women (such as Phyllis Schlafly), were appalled that women would want to "compete" with men.

What were the United States' fears about communism after World War II?

As the Cold War between the United States and the Soviet Union intensified after World War II, the very real threat of Communism produced great fears in the American People. There was a real threat that Communists and their sympathizers inside the United States might actively support the Soviet Union and threaten American security. The Soviet Union had a history of conducting espionage inside America with the aid of U.S Citizens. The Rosenbergs, an American couple working for the American Government, actually helped the Soviet Union develop the nuclear bomb.

Internationally, Communism was gaining strength and territory. The Soviet Union tested the nuclear bomb. Mao Zedong and his communist rebels took over China, and in 1950 North Korea attacked South Korea.

Communism was the official ideology of the Soviet Union, and as the Soviets were the opponents of the United States, this inevitably created widespread fear and distrust of communism among Americans. The onset of the Cold War created an atmosphere of paranoia in the United States. Although the number of actual card-carrying Communists was tiny, proponents of the post-war Red Scare painted a picture of a country in which communists and their sympathizers were lurking round every street corner.
The biggest fear among Americans was that communists had infiltrated the US government. This was the basis of the notorious witch-hunts conducted against suspected communists by Senator Joseph McCarthy. Communist infiltration was used to explain what was perceived as the soft policy of containment pursued by the Truman Administration in relation to the Soviet threat. The failure of the administration to pursue a more aggressive strategy in the Korean War was also alleged to be the consequence of communist treachery in government.
According to McCarthy and his supporters, Communists had managed to attain positions of seniority in the upper reaches of the bureaucracy and even the Army, with the express aim of subverting American democracy from within. There was very little substance to these charges, but the general air of anti-communist paranoia meant that such unfounded accusations were widely believed.

In The Boy Who Harnessed the Wind, how does William Kamkwamba explore the conflict between magic and science?

Kamkwamba celebrates science and engineering as the way in which he was able to travel the world, obtain scholarships, and obtain the platform from which he writes. When he talks of magic, it is primarily as the indigenous belief systems of the people of Malawi which come into conflict with Western science. Kamkwamba paints a picture in which, despite the presence of a school and library, most people do not understand or believe in science.
Through his hands-on approach, Kamkwamba is able to obtain a level of understanding beyond that possessed by most people in his village. While initially others mock him for operating based on science rather than the traditional belief systems of his people which focus more on ideas of magic, they eventually come to respect him when they see his windmill functioning.
More than merely exploring tensions between science and magic, Kamkwamba explores the way in which competing systems of knowledge clash in colonial contexts. Western science—despite being a better system of knowledge to use in building technology such as windmills—is an foreign system of knowledge that was spread to Malawi through the violence of colonialism. Kamkwamba is able to bridge these two worlds in large part because he focuses on hands-on learning, making Western science his own so that he can use it in a way that makes sense in his specific context.

William Kamkwamba, the author, writes about the way in which his childhood belief in magic, passed down to him by his father, gives way to a belief in science when his family is faced with starvation and privation. He writes about the sway magic held over him as a boy growing up in Malawi before he turned to science. He says, "Before I discovered the miracles of science, magic ruled the world" (page 3). His father teaches him to believe in magic and explains the way in which magic operates "as a third and powerful force" that intervenes in the world because gods and men have too many troubles (page 6). His father explains to him that while magic is invisible, it is still all around him. When William is little, he believes in many forms of magic, such as magic lions who are sent at night to kill debtors (page 13).
William begins to turn to science in part to help himself and his family. For example, William and his friend Geoffrey begin taking apart old radios so they can repair them. Radios are critical because "the radio is the only connection to the world outside the village" (page 68). The boys become very interested in finding out the mechanics that make things run, but they don't consider what they are doing to be science. When the village starts starving, William realizes that magic can be of no help to them. After finding some discarded science books, he begins to construct a windmill. He writes of the forest where he once thought magic ruled: "now I was back there to cut down trees to build a ladder to science and creation—something greater and more real than any magic in the land" (page 199). Hunger and his family's need for electricity cause him to discard his traditional belief in magic in favor of embracing science. The conflict between magic and science is the conflict between traditional and modern belief, and necessity causes William to embrace a belief in science to help his family and his village. 

In Charles R. Saunders's "Gimmile's Songs," who is Dossouye? What is her role? What is the central conflict that arises for her? How is it resolved? How does her character use speculative elements to explore notions of race, gender, class, or sexuality?

These sorts of assignments are not really that difficult, although students often overthink them. In this case, Dossouye is a female warrior, highly trained, who has apparently left the Abomean army and is traveling on her own. Her partner is her Gbo, a massive "war-bull" that responds to voice commands. There is not much information in this text about Dossouye's mission, or even her back story. She needs to cross the river and decides to go for a swim, which is when all the trouble starts.
As far as conflict goes, there is plenty of action in the story, but there is not much rationale given for her hatred of the daju, other than they sought to take advantage of lone females in the wilderness. Perhaps that's the best way to think about conflict. There is also a sense, when Gimmile appears, that this is another male trying to get the best of Dossouye.
It's interesting that, for all her prowess, it is Gimmile that ultimately sacrifices himself to save her. I didn't find this resolution all that satisfying, I have to say -- Dossouye clearly can take care of herself. On the other hand, another way to think of Dossouye's character is to understand her as someone more "in tune" with others, more empathic. Her bond with Gbo is an example of this, but also the fact that she is the one Legba "has sent" to Gimmile suggests that the real conflict in the story may be between Gimmile and the gods that have cursed him; she herself somehow is the resolution he has so long awaited.
At any rate, Gimmile is a kind of ghost-lover for Dossouye (she "bears the seed of a ghost," he tells her). She is able to bring him to life through her passion; his love for her is a result of his possessing the "baraka" (the "mystic power" from the god Legba that made his songs "come true"). In a way, his love for Dossouye is one of his "songs" that comes true -- and that ultimately frees him of his curse. Whether we understand Gimmile as "real" in any way, Dossouye's adventure with him has a real effect on her.

sum_(n=2)^oo 1/(nsqrt(n^2-1)) Determine the convergence or divergence of the series.

To evaluate the given series sum_(n=2)^oo 1/(nsqrt(n^2-1)) , we may apply Integral test to determine the convergence or divergence of the series.
Recall Integral test is applicable if f is a positive and decreasing function on interval [k,oo) where kgt=1 and a_n=f(x) .
If int_k^oo f(x) dx is convergent then the series sum_(n=k)^oo a_n is also convergent.
If int_k^oo f(x) dx is divergent then the series sum_(n=k)^oo a_n is also divergent.
For the  series sum_(n=2)^oo 1/(nsqrt(n^2-1)) , we have a_n=1/(nsqrt(n^2-1)) then we may let the function:
f(x) =1/(xsqrt(x^2-1))
The graph of the function is: 
As shown on the graph, f(x) is positive and decreasing on the interval [2,oo) . This confirms we may apply the Integral test to determine the converge or divergence of a series as:
int_2^oo1/(xsqrt(x^2-1)) dx= lim_(t-gtoo)int_2^t1/(xsqrt(x^2-1))dx
To determine the indefinite integral of int_2^t1/(xsqrt(x^2-1))dx , we may apply the integral formula for rational function with root as:
int 1/(usqrt(u^2-a^2))du= 1/a *arcsec(u/a)+C .
By comparing " 1/(xsqrt(x^2-1)) " with "1/(usqrt(u^2-a^2)) ", we determine the corresponding values as: u=x and a=1.Applying the integral formula, we get:
int_2^t1/(xsqrt(x^2-1))dx =1/1 *arcsec(x/1)|_2^t          
                        =arcsec(x)|_2^t
Applying definite integral formula: F(x)|_a^b = F(b)-F(a) 
arcsec(x)|_2^t =arcsec(t) -arcsec(2)
Applying int_2^t1/(xsqrt(x^2-1))dx = arcsec(t) -arcsec(2) , we get:
lim_(t-gtoo)int_2^t1/(xsqrt(x^2-1))dx =lim_(t-gtoo)[arcsec(t) -arcsec(2)]
                                  =lim_(t-gtoo)arcsec(t) -lim_(t-gtoo)arcsec(2)
                                  = pi/2 -arcsec(2)
                                  =pi/6
The lim_(t->oo)int_2^t 1/(xsqrt(x^2-1))dx =pi/6 implies that the integral converges.
 Conclusion: The integral int_2^oo1/(xsqrt(x^2-1)) dx  is convergent therefore the series sum_(n=2)^oo 1/(nsqrt(n^2-1)) must also be convergent.

Whose words reveal that Charles is Laurie?

In this story by Shirley Jackson about a horrid boy named Charles who is supposedly in the narrator's son Laurie's kindergarten class, we discover that Charles is Laurie when the narrator (Laurie's mother) speaks to his teacher.
Laurie has been coming home telling his parents that Charles is very naughty and is repeatedly punished for his misdemeanors. It is clear that Laurie enjoys talking about Charles's audacity, and he has a different story to tell every day. Laurie's parents become very interested in meeting Charles's mother. His mother hopes that she will see her at the PTA meeting, but, unfortunately, she doesn't and ends up speaking to Laurie's teacher.
When Laurie's mother inquires about her son's behavior, it becomes apparent that the Charles he has been speaking about is himself. The teacher states:

“We had a little trouble adjusting, the first week or so, but now he’s a fine little helper. With occasional lapses, of course.”

Laurie has also been saying that Charles has become a good little helper and that he has not been in trouble for some time.
When Laurie's mother comments that her son's attitude must be because of Charles's influence, the teacher replies that they don't have any Charles in the kindergarten. Her statement confirms the fact that Laurie is, in fact, Charles.

In Wordsworth’s “Tintern Abbey,” what changes in the speaker's attitude toward nature do lines 88-93 specifically describe?

In this poem in general, the speaker is detailing the ways in which he has been affected by nature throughout his life, and particularly the ways in which the natural landscape around Tintern Abbey has sustained him while he has been away from it. Prior to these lines, he has described the "rapture" stimulated in him by nature when he was a boy, suggesting that children are most in tune with nature. In these lines, then, he is expressing the recognition that it is not necessarily a loss for the speaker to lose that kind of connection with nature, almost animalistic as it was. Indeed, now an adult with a different relationship to nature, he does not "mourn nor murmur" the loss of this relationship, because a new one is now being forged which seems adequate "recompense" to him.
As an adult, indeed, he is able to view nature in a way that is deeper than the "thoughtless" approach of the young man who is only viscerally affected by it, almost without thinking. Now, the speaker allows nature to stimulate in him feelings about "humanity," its power able to "chasten and subdue" him rather than simply stoke a rapture within him. The "sublime" which he now feels in nature is more of a contemplative one, an understanding that everything on earth, both human and belonging to the landscape, is actually "interfused" because of the existence of the natural world around us. As such, the emotions which the speaker can be driven to by exposure to nature are now deeper, more pensive, and more considered.

In these lines, the speaker describes his growing awareness that there is more than just simple beauty in the scenes of nature by which he has been so affected. He realizes that there is something deeper, something bigger running through these scenes, as well as "in the mind of man." The speaker describes a spirit that directs the thoughts of everything with the power to think and exists in all things. He seems to describe a kind of life force, something that connects all things in nature and all people to one another. This is an incredibly romantic idea. This awareness of the sublime linking everything is the result of the speaker's more mature reflections on nature brought about by his experiences with humanity, since he saw the natural scenes he describes some five years ago.

What additional personality traits do you come to know about the three friends -- the writer, George, and Harris -- in the third chapter of Jerome's Three Men in a Boat?

Here the men decide what to take along on their river trip. As usual, the task generates much debate and discussion. The narrator, known as J., is quick to judge and assess people. He equates Harris with his own Uncle Podger: a man who claims to know much and to be able to do much, but who falls short when it comes to implementation. We already see that J. goes on tangents when reporting on any topic. He also prefers to wear “red bathing drawers” whenever he goes to the shore.
Harris comes out as described by J., above. This attribute will surface again when Harris makes an attempt to cook scrambled eggs in Chapter XI.
George appears to be the most methodical and decisive of the three, and he is the most helpful in this task. He’s the one who makes the list and who nails down exactly what they will need. He decides on using the canvas boat cover instead of a tent. Unfortunately, he doesn’t know everything that he claims to know, either. He suggests that they will be able to wash their flannel suits in the river. They’ll try to do this in Chapter XVII, with poor results. J. is quite hard here on George: “We were to know in the days to come, when it was too late, that George was a miserable impostor, who could evidently have known nothing whatever about the matter.” This harsh foreshadowing tells us much about both George and J.

What is a dominant theme in Book One of Ovid's Metamorphoses that could be used for a presentation?

One of the themes you might wish to discuss is the utter amorality of the gods. It's important at the outset to understand the difference between immorality and amorality. Immoral actions are those that depart from an established set of norms or conventions. Amoral behavior, on the other hand, shows a complete indifference to any system of morality whatsoever. And this is how the gods behave, which is not surprising when you consider that they can do pretty much as they please. They're gods, so who's going to stop them from doing what they like?
Although Ovid calls on the gods for inspiration, he doesn't paint a particularly flattering portrait of them. In Book One of the Metamorphoses, for example, Apollo falls head over heels in lust with the nymph Daphne. He's so overcome with desire that he tries to rape her. It takes a sudden intervention from her father, Peneus, to save her honor. He turns Daphne into a laurel bush and Apollo is left frustrated.
But the other gods are no better. Jupiter—the equivalent of Zeus in Roman mythology—rapes Io, another unfortunate nymph. As he's the father of the gods there's no one to stop him from doing whatever he likes. Although he later takes pity on Io, Jupiter only does so to allay his wife Juno's suspicions. So even actions by the gods that appear on the face of it to be noble and just are motivated by self-interest.
The gods' amorality comes through most strongly in their relationship with mortals. In Book One an angry Jupiter punishes humanity with a flood, and all because of a negative experience with just one man, Lycaon. As this episode clearly demonstrates, the gods are very sensitive to even the slightest hint of disrespect from humans, and woe betide anyone who dares to anger them or defy them in any way. The only mortals who survive Jupiter's mighty flood are Deucalion and Pyrrha and that was only because they'd paid appropriate piety and respect to the gods. Burning incense and making animal sacrifices are considered more important to the immortals than the virtual annihilation of humanity.

What are the top seven important events in The Hate U Give?

Angie Thomas’s debut novel, The Hate U Give, is an emotional and moving story about Starr Carter. In the novel, sixteen-year-old Starr witnesses the brutal murder of her friend at the hands of a police officer and must learn to use her voice to speak up for both herself and her community.
At the beginning of the novel, Starr goes to a party in Garden Heights, her neighborhood. Starr and her half-brother, Seven, are sent to a (majority-white) school outside of their neighborhood because their parents want a better education for them. The party is important for Starr because she is often looked at differently because of her school. At the party, she runs into Khalil Harris. Starr and Khalil grew up together, but their lives have taken different turns. Starr suspects that he is dealing drugs, but the two enjoy catching up. As shots break out at the party, Khalil grabs Starr and puts her in his car, making sure she is safe.
On the drive home, Khalil is pulled over by a police officer. The police officer, whom Starr calls One-Fifteen because of his badge number, is angry when Khalil will not respond to his demands. He makes Khalil get out of the car and sits him on the ground beside it. When Khalil opens the door to check on Starr, the police officer believes he is reaching for a gun and shoots him three times. Starr watches her friend bleed to death beside her.
The Carter family decides to keep Starr’s involvement in the night’s events to themselves. The neighborhood doesn’t like it when people work with the police officers, and Starr’s father, Maverick, believes King, a local gang leader, will cause more trouble for Starr if she gets involved. This decision ends up being difficult for Starr. At school, no one knows the events she has witnessed, and she doesn’t feel comfortable opening up to them about it.
Starr goes to the police station to give her statement about the night’s events. She grows upset as the officers only focus on rumors of Khalil’s drug dealings and not on the officer that shot him. Starr and her mom fear Khalil will not have a fair case.
At Khalil’s funeral, April Ofrah speaks about the tragedy of the case and reminds the congregation that Khalil was an unarmed boy shot by the police. She arranges a march to follow the funeral. She also offers to represent Starr, pulling her further into the case. For several days, riots break out around the neighborhood. Starr’s father stays at his store to protect it from rioters. The government sends military tanks into the neighborhood and mandates a 10 pm curfew.
Starr begins publishing “The Khalil I Know,” an anonymous Tumblr that paints the true picture of Khalil. She gives stories, pictures, and memories of her friend. The posts empower her to get more involved, and she goes to April’s office. She learns that the case is going to a grand jury; April volunteers to represent Starr for free.
Thirteen weeks after Khalil’s death, Starr and her family move to a new, higher-class neighborhood. This is a difficult decision for her family, as her father never wanted to turn his back on where he came from, but the move is an important step toward healing.
When the grand jury announces that they find the officer innocent of wrongfully killing Khalil, bigger riots break out. This time, Maverick’s store is burned down. However, as another sign of healing, the neighborhood comes together and reports King for the arson. Starr ends the novel promising Khalil she will continue to fight against injustices in their community.

Angie Thomas's award-winning young adult novel, The Hate U Give, includes several key events that cause conflict, propel the plot forward, and impact the story's protagonist, Starr Carter.
At the age of ten, Starr witnesses a drive-by shooting that results in the death of her friend, Natasha. This traumatizing event is presented through flashbacks in the novel.
At the age of 16, Starr attends a house party in her neighborhood (Garden Heights) where she sees her old childhood friend, Khalil. She suspects that Khalil has been selling drugs, and this upsets her.
Starr and Khalil leave the party in Khalil's car. A police officer pulls them over because the car has a broken taillight. The police officer ends up shooting and killing the unarmed Khalil before pointing the gun at Starr.
Starr tells the police what she witnessed, but the police officer involved in the incident tells a different story. This, coupled with the fact that some of Starr's white friends seem indifferent to the fact that a "drug dealer" was shot, greatly upsets Starr and prompts her to begin to advocate for justice for Khalil.
Starr tells everyone what happened to Khalil in a nationally-televised interview. She receives a lot of support afterward from her family, friends, and anonymous people, but she also experiences negative responses, including a warning about "snitching" from King, a well-known gang leader in the neighborhood.
Starr bravely ignores King's warning and continues to advocate for justice for Khalil. She testifies in front of a grand jury, who ultimately decides not to indict the officer who killed Khalil. When protests erupt in response to the grand jury's decision, Starr finds herself in the middle of the protesting crowd. She climbs atop a police car and speaks through a megaphone about Khalil’s death until police throw tear gas at her.
Starr and her friends flee to the store her father owns. Someone barricades the door from the outside to trap them inside and then throws a flaming bottle through the window, setting the store on fire. King is accused of the crime and arrested by the police.
All of these events alter Starr and help her evolve from a young traumatized girl into a strong young woman who is dedicated to using her voice to advocate for justice for herself and other people.

The relative importance of the following events is a matter of opinion, but each one plays an important role in moving the action along in The Hate U Give.


At the beginning of the story, Starr Carter goes to a house party with old friends from her neighborhood of Garden Heights, which is significant since she now attends school in Riverton Hills and spends time with different friends.


Starr and a childhood friend, Khalil, leave the party together in his car. On the way home, Starr witnesses a police officer shoot and kill Khalil (who is unarmed) after pulling him over for a traffic stop. The officer alleges that he thought Khalil's hairbrush was a gun.


After a televised interview in which the officer's father gives inaccurate information about what actually occurred, Starr faces her fear of speaking out and comes forth to testify for a district attorney about the killing.


She then gives an interview on TV and mentions King, a Garden Heights drug dealer. A drive-by shooting occurs at the Carter home after Starr's interview, which is intended as a warning to her and to anyone considering "snitching," or talking to the police or the general public.


Starr ignores the warning and testifies for a grand jury.


The grand jury decides not to indict Officer Cruise, and violence breaks out in Garden Heights. Starr bravely speaks to the crowd about unjust police violence and apathy towards Khalil's death.


Chris, Starr's boyfriend, demonstrates his devotion to Starr by being present with her during the night's events, rather than staying at home in the safety of Riverton Hills. Starr, Chris, and Starr's half-brother, Seven, are victims of tear gas thrown by police, and afterward they take shelter inside the store owned by her father, Maverick, store just before it is fire-bombed.


Residents of Garden Heights tell police officers that King is responsible for the fire in Maverick's store. This is significant since locals do not typically provide information to police voluntarily. The arrest is impactful since Seven, his mother, and his sister will now be free of abusive King, the head of their household.


Starr decides that Chris is a true ally and finds peace about their relationship; in contrast, she parts ways with Hailey, an inconsiderate and racist friend that she has not had the confidence to stand up to in the past. Starr vows to continue speaking out for what is right and to never forget Khalil.

What is the relationship between artistic failure and Aschenbach’s psyche in Death in Venice?

Background: Aschenbach's Artistic Success and Failure in the Plot
Artistic success and failure are central to the development of Gustave von Aschenbach's character. At the beginning of Thomas Mann's Death in Venice, Aschenbach has enjoyed success in art. As a middle-aged writer, he has even been given the "von" title in honor of his literary achievements (the "von" title is roughly the German equivalent of "Sir" when a person is knighted in England). Most of his success has been achieved through discipline rather than raw talent. As a character he is aloof, and though creatively accomplished, he lacks connection to his own feelings. At the beginning of the novella, Aschenbach is artistically accomplished, sane, and in need of inspiration. 
Though usually a disciplined writer, Aschenbach decides to travel to Venice on holiday, hoping to spark inspiration. There, he becomes attracted to a boy named Tadzio, who is vacationing with his family at the same resort. Once Aschenbach sees Tadzio, his psyche begins to shift. Aschenbach is instantly attracted to Tadzio's body and secretly follows him. Eventually the boy returns his glances. 
Aschenbach's infatuation with the boy awakens a different part of him. Instead of the discipline he usually practices in his writing, infatuation and lust now drive his actions. Tadzio and Aschenbach notice each other and exchange many pregnant looks, but they never exchange words. 
 
Though once dignified and disciplined, Aschenbach throws all of that away as he grows increasingly obsessed with Tadzio. We see Aschenbach begin to unravel: he paints his face like the old fop that disgusted him at the beginning of the story, and he stays in Venice even though he knows a deadly cholera epidemic is taking place.
 
Artistic Success and Failure in Relation to Freud's Model of the Psyche
 
Mann's tale is intertextual and refers to many literary, psychological, and philosophical works of the time. There are certainly Freudian themes throughout, and there is evidence that Aschenbach's psyche is modeled after the Freudian model of the id, ego, and super-ego. In Freud's model of the psyche, the id represents the primitive, instinctive part of the personality. It consists of all the biological aspects of personality, including the sex instinct and the aggression instinct. Examining the text, we can see a direct, inverse relationship between Aschenbach's id and his artistic success:

Initially, Aschenbach is an acclaimed writer, yet he is disciplining himself very strictly. The id is repressed. While the artistic side of him thrives, the id is hidden.
Next, Aschenbach is out of inspiration and decides to vacation in Venice. This is the first emergence of his repressed id. 
In Venice, Aschenbach's id is fully awakened when he sees Tadzio and is attracted to his body. 
Aschenbach's id takes over when he becomes fully infatuated with Tadzio and tries to change his old appearance. At this point, the artistic, disciplined side of Aschenbach is gone.
At the beginning of the novella, Aschenbach's id has been suppressed by years of discipline. It is awakened when Aschenbach first sees Tadzio and is attracted to him. Having been repressed for so long, the id begins to take over, and Aschenbach is driven purely by his sexual desires. The Freudian model allows us to draw a direct parallel between artistic failure and the morphing of Aschenbach's psyche.

Why are characters fighting in Act 1?

The fight scene in act 1, scene 1 immediately introduces us to the background of the play. The bitter feud between the two warring families, the Montagues and the Capulets, has broken out on the streets of Verona in an unseemly brawl. Sampson and Gregory, two Capulet servants, are strolling along, looking for ways to provoke the hated Montagues. They come across two Montague servants and subject them to an insulting gesture. After a brief exchange of verbal insults, a fight breaks out, which soon escalates as Benvolio and Tybalt intervene on behalf of the Montague and Capulet sides respectively.
The proximate cause of the fight is the need to defend masculine honor. The Montague servants cannot simply walk away after being insulted by Sampson and Gregory; they must defend the honor of the family they represent by any means necessary. It would simply not be manly to do otherwise.
One of the many important aspects of the opening fight scene is that it shows us how deeply the conflict between the Montagues and the Capulets reaches down into Veronese society. This is a quarrel that involves everyone, from the highest to the lowest. The prevailing sense of masculinity displayed so starkly in the opening scene transcends the boundaries of class, making the problem of decisively ending the feud all the more difficult.
 

Calculus of a Single Variable, Chapter 10, 10.3, Section 10.3, Problem 25

Given parametric equations are:
x=t^2-t
y=t^3-3t-1
We have to find the point where the curves cross.
Let's draw a table for different values of t, and find different values of t which give the same value of x and y ,this will be the point where the curves cross. (Refer the attached image).
So the curves cross at the point (2,1) for t= -1 and 2
Derivative dy/dx is the slope of the line tangent to the parametric graph (x(t),y(t))
x=t^2-t
dx/dt=2t-1
y=t^3-3t-1
dy/dt=3t^2-3
dy/dx=(dy/dt)/(dx/dt)
dy/dx=(3t^2-3)/(2t-1)
At t=-1, dy/dx=(3(-1)^2-3)/(2(-1)-1)=0
Using point slope form of the equation,
y-1=0(x-2)
=>y=1
At t=2, dy/dx=(3(2)^2-3)/(2(2)-1)=(12-3)/(4-1)=9/3=3
y-1=3(x-2)
y-1=3x-6
=>y=3x-5
Equations of the tangent lines where the given curve crosses itself are:
y=1 , y=3x-5

Why won't Dee bring her friends to visit the family's new house?

Dee's mother knows how much Dee hated their first house. It's curious, isn't it, that Mama and Maggie got caught in the flames when the old house burned down—Maggie actually did sustain burns which have left scars—but Dee was already outside watching the house burn? One might wonder if Dee actually burned that house down. Mama seems to associate Dee with fire (whether intentionally or not): she says that, as a child, Dee "burned [them] with a lot of knowledge we didn't necessarily need to know," and she even compares Dee's orange and yellow dress to "the light of the sun." Maggie, on the other hand, wears a "pink shirt and red blouse": the colors of skin that has been burned. It's as though Dee is connected with burning while Maggie is connected with being burned.
Mama says that this new house is "three rooms, just like the one that burned" except the roof is of a different material. It has no windows, only holes cut in the walls. This house is so similar to the one that mysteriously burned, the one that Dee hated so much that Mama suggested she do "a dance around the ashes," so it stands to reason that Dee hates this house as much as the last one. The fact that she specifically says that she'll never bring her friends to visit also implies that she feels a level of embarrassment about the way her family lives.

"Everyday Use" has as its narrator the mother of two daughters. Maggie, the younger daughter, is compared to a "lame animal." She is shy, quiet, and insecure. Maggie is thin and covered in scars from being burned in a house fire. The other daughter, Dee, is fearless and confident. She is educated and more comfortable around other people. Maggie always looks down, while Dee looks people in the eye.
The narrator shares that in a letter Dee says that she will visit her mother and sister wherever they "choose" to live. The mother feels as if Dee will not bring her friends to the house because she thinks the house isn't good enough. The mother shares that Dee "wanted nice things." Their house with no real windows and a tin roof located in a pasture would most likely not meet Dee's standards.

What is the main theme of Captain Blood?

Although Peter Blood is a man of integrity, he is wrongly accused, convicted of treason, and sold off into slavery in Barbados. Yet despite this horrible beginning, the theme of the book is that justice will come in the end to a man wrongly punished as long as he hangs on to his honor and integrity.
In part, this is because the novel wants to show that poetic justice is at work in the universe. Poetic justice is a term that means that justice will, one way or another, come to all people. It is premised on the idea that this is a just universe. So, for example, if a person murders someone, even if the law finds him innocent, he will nevertheless come to a bad end. In the novel, coincidences become the vehicle for poetic justice.
Blood, for example, is able to escape slavery and become a pirate. However, even though the English have wronged him, Blood maintains his honor and never attacks British ships. In the end, poetic justice is achieved when Blood is pardoned and wins the hand of Arabella.