What are two problems you see in this family in the movie The Blind Side that are specific to "Structural Family Therapy" and "Family Emotional Systems Theory"?

Family Systems Therapy (FST) and its sub-branch Structural Family Therapy (SFT) are both psychological approaches that focus on the family as the most important unit of social organization; both analyze the relationships between family members as the key information in the process of creating healthy and stable individuals. FST treats a family as a singular emotional entity, with the same approach that traditional therapy might use to treat a single individual. In SFT, the psychologist "joins" the family and seeks to identify dysfunctional patterns within its power structures and then reorganize them along healthier lines. 
Since The Blind Side is about the welcoming of Michael Oher (young, black, and homeless) into the Tuohy family (white and affluent), we begin the movie viewing two dysfunctional family units—Michael's and the Tuohys. We are led to believe that, through the movie, harmony is achieved by the two merging together and offering the other something that was not available before. 
Michael Oher's is the simpler "problem"; he has no traditional family. And because of this, he does not have access to the great deal of support that healthy families are able to offer each other: emotional support, access to education, access to love, food, shelter (he has never slept in a bed), etc. 
Leigh-Anne Tuohy has a more nuanced "problem." Her family unit is comfortable but closed. Michael opens her up to a world she has not known before and changes her views on class, race, and more. 

Beth: You're changin' that boy's life.
Leigh Anne Tuohy: No. He's changin' mine.

In "The Most Dangerous Game," what are the internal conflicts in the story?

Having told his friend Whitney that he did not care how the prey felt in the midst of being pursued by the hunter, Sanger Rainsford surprisingly finds himself in the very position of the one who is hunted. He then begins to rethink his previously held beliefs about prey, as well as his beliefs about killing.
After he swims ashore on Ship-Trap Island and discovers the chateau of General Zaroff, Rainsford's ideas about hunting are challenged by the jaded hunter who has lost his enthusiasm for hunting animals. He informs Rainsford,

Life is for the strong, to be lived by the strong, and, if need be, taken by the strong. The weak of the world were put here to give the strong pleasure. I am strong.

These words, which are not too different from the earlier thoughts that Rainsford has expressed to Whitney about hunting, soon frighten Rainsford as he learns that he is to be the prey to give Zaroff his "pleasure." It is at this point that Sanger Rainsford's internal conflicts begin. 
Internal conflict: Rainsford starts to have a new perspective about the prey of a hunt.
As he becomes the one pursued, Rainsford does not feel the excitement of the sport anymore. He begins to realize the fear that the hunted animal feels. On the first day, after the general somehow succeeds in following Rainsford's intricate and divergent trail through the jungle, Rainsford is surprised to see his enemy's smoke rings waft upward toward where he thinks he is hidden in a tree. He feels a shudder of horror when he sees that the general smiles and then turns back. 
Internal conflict: Rainsford strives to prevent fear and panic from overcoming him.
After he realizes that General Zaroff has successfully trailed him, Rainsford concludes in horror that the general is not in the least worried about capturing his prey since he leaves him for another day's adventure. This realization by Rainsford causes "cold horror" to run through his entire being. In a forced effort to regain control of his faculties, Rainsford repeats to himself, "I will not lose my nerve. I will not." Later, he draws on his knowledge and experience to create a Malay man-catcher. When the general approaches it, the experienced hunter recognizes the trap in enough time to jump back, receiving only a glancing blow on his shoulder. Nursing his injured shoulder, Zaroff returns to his chateau.
Next, Rainsford digs a pit and plants spikes in the bottom of it; he then camouflages the opening with a rough carpet of tree limbs, weeds, and small branches. When he hears his pursuer approaching at night, Rainsford hides. "He lived a year in a minute" as he waits. Someone falls into the pit, but it is only one of Zaroff's dogs. The general compliments Rainsford on his Burmese tiger pit and then thanks his prey for an amusing evening.
Internal conflict: Rainsford wrestles with his feelings about killing another man.
Sanger Rainsford is convinced from what Zaroff has told him, as well as from the gunshots and screams that he heard when he first swam ashore, that the "game" will only end with either his or Zaroff's death. 
During the days that Rainsford is hunted, he is forced to question his ethical beliefs. He struggles with his desire to survive and his feelings about killing another human being. Knowing that Zaroff will kill him unless he can first kill the general, Rainsford has a crisis of conscience. In order to save himself, Rainsford creates deadly traps, knowing that Zaroff can die if he falls a certain way. Further, this crisis seems to be resolved at the story's end with Rainsford's thoughts of never having slept in a better bed, even though the reader is not explicitly informed of the result of the duel between Zaroff and Rainsford.

What are ten characteristics of General Zaroff?

When Rainsford arrives at the home of Zaroff, the narrator begins with a physical description.
Zaroff's looks are striking. He has bright white hair and black eyes, eyebrows, and mustache.
The general is obviously quite wealthy. The chateau, the hand-tailored clothes from London, and the furnishings in his home all reflect luxury.
Rainsford's host is commanding. He insists that Rainsford follow Ivan to the house and change into the clothes he provides.
General Zaroff is self-aware. He identifies himself and Ivan as Cossacks, remarking that they are a bit "savage."
General Zaroff is elegant. He is tall and slender with erect posture and is wearing evening clothes when Rainsford arrives, even though his house is in the middle of nowhere and he has no other guests.
Zaroff is presumptuous. He tells Rainsford "you want food, clothes, rest." He doesn't ask; he tells.
Worldliness is another of the general's traits. He has a "cultivated" voice and imported goods from all over the world. He is well-travelled and reads in three languages.
Zaroff is monomaniacal. His obsession is hunting.
He is remorseless. He speaks of killing all kinds of animals and his desire to experience the danger and challenges of hunting men without apology.
And finally, General Zaroff is a racist. He tells Rainsford "I hunt the scum of the earth: sailors from tramp ships—lassars, blacks, Chinese, whites, mongrels[...]."

1. General Zaroff is a sophisticated man with a refined taste in literature, music, and wine.
2. General Zaroff is a fanatic, who is obsessed with hunting.
3. General Zaroff is a maniacal man who murderers innocent, defenseless humans on his island.
4. The general is a talented, skilled hunter.
5. Zaroff is a cultured man, who has traveled all over the world and enjoys the finer things in life.
6. General Zaroff is a callous man with no regard for human life . . . which is evident in the fact that he hunts humans.
7. Zaroff is also a competitive man and looks forward to competing against Rainsford in the hunt.
8. General Zaroff is violent and takes pleasure in murdering defenseless humans.
9. Zaroff is also intelligent and mentions to Rainsford that he has read all of his books and is capable of speaking different languages.
10. General Zaroff is also a composed, stoic individual. He seems to control his outward emotions throughout the short story.

General Zaroff, the antagonist in Richard Connell's short story "The Most Dangerous Game," should be considered a "static" character because he never changes over the course of the story. He is, however, a "round" character because he has several distinguishing characteristics:
astute: Zaroff is quite capable of accurately assessing people and situations. When he is dining with Rainsford he seems to be sizing up his guest.
narcissistic: Zaroff has an obsessive interest in himself as judged by his conversation where he basically discusses his life and his passion for hunting.
sociopathic: Zaroff has a mental disorder which is displayed in his anti-social behavior and lack of conscience. He finds it perfectly just that he is able to hunt men.
shrewd: When Zaroff escaped Russia after the revolution he was smart enough to invest in American securities so he could sustain his lavish lifestyle.
educated: Zaroff is well-read with a large library including every book on hunting, and he is portrayed as reading the works of the Roman emperor Marcus Aurelius toward the end of the story.
cosmopolitan: Rainsford notes that Zaroff was a "cosmopolite" because he was quite sophisticated in his clothes, from the finest tailor in London, and in the fine furnishings of his chateau, procured from all over the world. 
skilled: Zaroff has grown to be a skilled hunter, so much so that animals posed no challenge and so he began hunting men. He seems to easily track Rainsford over the most difficult of trails.
barbaric: In his diabolical practice of hunting down men, Zaroff is truly a barbarian. It is ironic that such a cultured and educated man would resort to such barbarism.
godlike: Zaroff holds the power of life and death over the men he hunts and so has become like a god.
passionate: Above all, Zaroff is passionate about his hunting. He could not abide his growing boredom with the sport, so he went to great lengths to produce a new type of hunting.

How can you put "Death of the Ball Turret Gunner," into a historical and/or philosophical context. The Death of the Ball Turret Gunner Randall Jarrell, 1914 - 1965 From my mother’s sleep I fell into the State, And I hunched in its belly till my wet fur froze. Six miles from earth, loosed from its dream of life, I woke to black flak and the nightmare fighters. When I died they washed me out of the turret with a hose.

This short poem is an excellent example of the communicative power of verse. The poet, Randall Jarrell, was a World War II veteran who served in control towers for the Army Air Corps,  which makes him personally invested in the historical context of this poem and its narrator.  The poem is written from the perspective of a ball turret gunner—a gunner who would be shackled beneath a bomber aircraft in his own turret, which here is cast as a metaphorical womb—after he has been killed in battle. The brutal pragmatism with which the gunner is disposed of—"they washed me out of the turret with a hose"—reflects the feeling many World War II soldiers had; they felt that they were considered expendable, bred simply to be used by the "State." Later, the evidence of their sacrifice was washed away. The outlook of the poem is bleak, echoing the wartime work of Sassoon and Owen from World War I. There is little patriotism or pomp to it. 
Philosophically, what is arresting about this poem is the speaker's presentation of himself as an animal sent straight from his mother's womb into the belly of the gun turret, the service of the State, even before the birthing fluids have dried—"hunched in its belly till my wet fur froze." The choice of the words "State" and "dream" are particularly resonant given the context: during World War II, dreams struck many as a delusion of peacetime, and "The State" would have brought to mind the Soviet Union. This poem suggests that the American dream is only that, a dream, and that American soldiers are bred to serve the state like animals. Then, they are to be killed and disposed of—war is just as horrific everywhere. This is a provocatively grim philosophy which reflects the despair inherent in the historical context.  

In "The Monkey's Paw," what happens immediately after Mr. White wishes for 200 pounds?

Immediately after Mr. White makes the wish for two hundred pounds, three things happen:

A fine crash from the piano greeted the words, interrupted by a shuddering cry from the old man. His wife and son ran toward him.

His skeptical and fun-loving son Herbert plays a loud chord on the piano, as if to create an effect of something like a magical feat being performed. His father drops the monkey's paw because, as he tells his wife and son, it seemed to twist in his hand like a snake as he made his wish. Throughout the story, it is never clear whether the wishes are being granted by the monkey's paw or they only appear to be granted as a result of coincidence. As far as the paw seeming to twist in Mr. White's hand is concerned, that may have been caused by his fright when Herbert startled him with the "fine crash" from the piano, which was more or less what Herbert intended.
After that, nothing happens. The three family members stay up a little while longer and then all go to bed. That is the end of Part I.
Mr. White is obviously a modest man. If he had wished for something grander, such as a mansion or a big bag full of gold coins, then the reader would feel sure the monkey's paw had supernatural powers. Mr. White only wishes for two hundred pounds, though. It could have been sheer coincidence that Herbert would get killed in a factory accident the next day and the company would decide to give Mr. and Mrs. White the sum of two hundred pounds as compensation for losing their son.

Calculus of a Single Variable, Chapter 8, 8.4, Section 8.4, Problem 22

Given
int x^2/sqrt(36-x^2) dx
This can be solved by using the Trigonometric substitutions (Trig substitutions)
when the integral contains sqrt(a-bx^2) then we have to take
x=sqrt(a/b) sin(t) in order to solve the integral easily

so here , For
int x^2/sqrt(36-x^2) dx
x is given as
x= sqrt(36/1) sin(t) = 6sin(t)
=> dx = 6 cos(t) dt
so ,
int x^2/sqrt(36-x^2) dx
=int (6sin(t))^2/sqrt(36-(6sin(t))^2) (6 cos(t) dt)
= int 36(sin(t))^2/sqrt(36-(6sin(t))^2) (6 cos(t) dt)
= int ((36)*(6)(sin(t))^2 *cos(t)) /sqrt(36-(6sin(t))^2) dt
=int (216(sin(t))^2 *cos(t)) /sqrt(36-36(sin(t))^2) dt
= int (216(sin(t))^2 *cos(t)) /sqrt(36(1-(sin(t))^2)) dt
=int (216(sin(t))^2 *cos(t)) /sqrt(36(cos(t))^2) dt
=int (216(sin(t))^2 *cos(t)) /(6(cos(t))) dt
= int (216/6) sin^2(t) dt
= int 36 sin^2(t) dt
= 36 int sin^2(t) dt
= 36 int (1-cos(2t))/2 dt
= (36/2) int (1-cos(2t)) dt
= 18 [int 1 dt - int cos(2t) dt]+c
= 18[t- (1/2)sin(2t)]+c
but we know that
x= 6sin(t)
=> x/6 = sin (t)
=> t= sin^(-1) (x/6) or arcsin(x/6)
so,
18[t- (1/2)sin(2t)]+c
= 18[(arcsin(x/6))- (1/2)sin(2(arcsin(x/6)))]+c
so,
int x^2/sqrt(36-x^2) dx
=18arcsin(x/6)- 9sin(2(arcsin(x/6)))+c

What do the children represent in "The Lottery" by Shirley Jackson?

This is a very open-ended question, so you approach it from a number of angles. There are a few tried and true attributes that children have that are frequently represented in literature. One example of this is childhood innocence. Everyone's world view is limited by their experience, and the experience of a child is naturally limited due to their young age. So, they often see things in an idyllic light.
William Blake had an underlying theme of this in many of his poems. His theme was that people pass through an initial age of innocence, and then eventually enter an age of experience. The children in "The Lottery" are still in the innocence phase of life, since they have not experienced the good and bad, the triumph and the struggle that their parents and grandparents have so far. This is notable because Shirley Jackson could be using the children as a gauge for what is about to unfold in her story. Readers can understand the perspective of a child and instinctively know how children think, thus the reader can form an opinion of the the lottery happening in the story. 
Children are also used as a means of further contrasting innocence and experience. At one point Jackson shows a young child (two years old) as the one to draw the slip with the name of the person determined to die. But, at the same time, she also shows older boys who have learned what this means. They are gathering rocks, ready to pelt the chosen person to death. These boys have begun their transition from the age of innocence to the age of experience. 

The children are probably intended to represent the next generation of citizens who are being taught how to participate in the annual lottery. It is because each new generation of children is taught to participate, and sees their parents and parents' parents participate, that the lottery continues. The whole procedure of drawing and stoning is solemn and serious, although there is no sense to it, and never was. If children were not indoctrinated at the earliest age, the lottery would cease to exist. Little Davy, who is a member of the Hutchinson family, appears to be only about two years old, yet he is being shown how to draw the slip of paper which could contain the black spot that would mean his own death. A group of boys who are a bit older already know the important rules. They are collecting rocks to throw at the person who will be selected. All ages are represented in the story for the purpose of showing that the lottery is an age-old tradition. Davy will be like Old Man Warner someday, if he manages to survive all the annual drawings. By that time, Davy will be thoroughly convinced of the value and necessity of this superstitious event.

In "By the Waters of Babylon," under the leadership of John, what do you think the Hill People will do with their society?

The best place to look for evidence in regards to what John's plans are for his people is the final paragraphs of the story. John has returned from New York City, and he has returned with knowledge of what the former gods really are. John discovered that the Place of the Gods was actually inhabited by normal men and women. Those men and women wound up destroying themselves in some kind of nuclear event. John is amazed by everything he sees, and he realizes the people had amazing knowledge and technology. Unfortunately, they were unable to control it all, and ended up destroying themselves.  
At the end of the story, John vows to begin reintroducing that lost knowledge to his own people. He has to wait until he is the head priest, but his plan is to help bring in a rebirth of learning. It's very Renaissance in concept. 

Nevertheless, we make a beginning. It is not for the metal alone we go to the Dead Places now — there are the books and the writings. They are hard to learn. And the magic tools are broken—but we can look at them and wonder. At least, we make a beginning. And, when I am chief priest we shall go beyond the great river. We shall go to the Place of the Gods — the place newyork — not one man but a company. . . They were men who were here before us. We must build again.

Where did Jason die?

In the story "The Boy Who Wrestled With Angels," we learn that Jason collapsed on the loading dock of the Food Star supermarket. He was eventually hospitalized after shooting heroin into his veins. Gretel relates that Jason had noticed strange sensations immediately after the heroin entered his bloodstream. He collapsed on the loading dock and was found unconscious by his girlfriend, Terry LoPacca.
Jason had been abusing drugs for a long time. He had apparently been awarded a scholarship to Harvard but could not attend. At twenty, Jason worked in Food Star's deli department, worrying about how he would help pay his mother's medical bills and the mortgage.
Jason's drug habit eventually killed him. In the chapter, we learn that Jason died beneath an overpass, where he had been getting high from heroin.

You are at a point on Earth. You travel exactly 100 miles due south. You turn and travel exactly 100 miles due west. You then turn and travel exactly 100 miles due north. You notice that you are now exactly at the point from which you started. Where are you at the beginning and the end of the trip? Are there any other points on Earth where this can happen? If so, where are they?

The question you posed is a famous brainteaser. It is often used in the technology industry. The key idea to grasp in this question is that the earth is a sphere. Therefore, if a person is at the North Pole and travels 100 miles to the south, then heads 100 miles to the west, and then travels 100 miles to the north, the person would be at the North Pole. The travel route will actually look triangular in shape.
There are many other answers to this question. Actually, there is an infinite number of answers and they all involve traveling near the South Pole. In this situation, think of a circle 100 miles in circumference near the South Pole. If a person starts 100 miles north of this point, then travels 100 miles to the south, followed by 100 miles to the west, and then goes 100 miles to the north, you will end up where you began. There is an infinite number of points a person can start from this line of latitude and end up in the same place. The travel route will be circular in shape.
If you click here, you will go to a page that has a YouTube video that explains this process in detail.
https://mindyourdecisions.com/blog/2011/02/22/one-mile-south-one-mile-east-one-mile-north-a-classic-puzzle/

Intermediate Algebra, Chapter 3, 3.5, Section 3.5, Problem 56

Identify whether the relation $xy = 3$ defines $y$ as the function of $x$ and give the domain.

First, we solve $y$ by dividing both sides by $x$, So we have
$\displaystyle y = \frac{3}{x}$
Given any value of $x$, we find $y$ by dividing $3$ into $x$.
This process produces exactly one value of $y$ for each value in the domain, so the given equation defines a function.
The domain includes all real numbers except those which value the denominator . We find these numbers by setting the
denominator equal to and solving for $x$. In this case,

$
\begin{equation}
\begin{aligned}
x = 0
\end{aligned}
\end{equation}
$

The domain includes all real numbers except , written $(-\infty, 0) \bigcup (0, \infty)$

Please discuss the role Executive branch agencies of the federal government play in regulating business and industry, and then discuss the role played by that branch of government in supporting or hindering the role of administrative agencies. Cite examples from your text and from the documentary The Warning. The Warning: Brooksley Born's Battle With Alan Greenspan, Robert ...

The Warning, producer Michael Kirk's documentary on the failure of senior level economic officials to listen to prescient warnings about the dangers to the U.S. economy from an unregulated derivatives market, reaffirms the vital necessity of properly regulating complex financial arrangements and ensuring that government agencies responsible for regulating industries are performing their missions as required.
Having spent six years as a senior staffer on the U.S. Senate Committee on Banking, Housing, and Urban Affairs, I had an interesting perspective on the issue of regulation of business and industry. From that perspective, as well as from the vantage of other positions I held in the United States Congress, there was no question that Executive Branch agencies were frequently delinquent in their responsibilities for policing businesses. Their failure to do so can adversely affect the entire economy and/ or the nation's security. The Executive Branch of the federal government is responsible for regulating business when it is determined that such oversight is warranted. The financial services industry certainly qualifies for such scrutiny. As important, however, is the role of Congress in overseeing those federal agencies--a responsibility that also too often falls to the wayside. As depicted in The Warning, the derivatives market qualifies on both counts.
The U.S. economy, as in most countries, reflects the interactions of a myriad of variables, including the private sector, government, international developments, and more. One of the federal government's primary responsibilities, needless to say, is protecting the public it serves from criminal or potentially dangerous influences. The financial services industry is vital to the welfare of the entire country, and it is supposed to be regulated and, for the most part, it is. Financial experts are smart, though, and tend to be clever in their conceptualization of complex financial instruments that fall outside the boundaries of regulatory structures intended to protect the economy and the public from catastrophic failures. As the documentary illuminates, derivatives provided a classic example of such instruments that were little-understood and insufficiently regulated. Derivatives were not an unknown instrument; on the contrary, everybody who dealt with finances knew they existed, and many understood how they functioned. To most of the public, however, they were arcane business models that eluded easy comprehension. Still, their importance to the national and global economy cannot be overstated. According the Bank for International Settlements in Basel, Switzerland, the global value of over-the-counter derivatives at the end of 2007--the time frame in which the global economy melted-down--was around $15 trillion. That was, coincidentally, the size of the United States' gross domestic product that year. In short, the little-understood and little-regulated derivatives industry was a dagger pointing at the heart of the U.S. economy.
The Warning uses Brooksley Born as its principle protagonist. At the time, Born was the chairperson of the Commodity Futures Trading Commission, the federal regulatory agency responsible for the trade in commodities such as oil and gas--a pretty important responsibility for a relatively obscure agency. Born's warnings about the fragility of the derivatives market, went unheeded by the Federal Reserve, White House, Congress, and virtually every agency and department tasked with protecting the public from precisely the type of catastrophic development that occurred. This is where the regulatory role of Executive Branch agencies comes into play. Had those agencies responsible for regulating the financial services industry fully understood their responsibilities, there is a very good chance the crisis could have been averted, at least in part (the housing market played a large role in the crisis as well). Additionally, if Congressional committees, like the Senate Banking and Finance Committees and their counterparts in the House of Representatives (mainly the Financial Services Committee), had been doing their jobs and overseeing the Executive Branch regulatory agencies, then sufficient attention might have been focused on the derivatives market, and necessary laws and regulations could have been passed and implemented. Derivatives, however, were allowed to slip through the regulatory net.
A key problem, as Kirk's documentary further highlights, is the power of the financial services industry to lobby against regulations it believes will hinder its ability to function. Sometimes, those lobbying efforts are warranted; sometimes, they are not. Industry, especially financial services, want the minimum level of regulatory structure they can get, and it is, as noted, a powerful sector of the national economy. Not for nothing, in fact, have the chairmanships of key congressional committees been held by senators and congressmen from areas like New England. Connecticut in particular is home to a vast financial services sector. Industry should have a say when it comes to the regulatory environment in which it must operate, but it is incumbent upon its government overseers to ensure the regulatory structure is sufficiently robust to prevent major disruptions to the economy caused by malfeasance on the part of business. This is why relationships between business and government, in both the Executive and Legislative Branch, is so difficult to regulate.
The Warning provides the unique perspective of a key figure, Brooksley Born, who was able to analyze the derivatives market and assess its dangers to the national economy. That her warnings were ignored is not surprising, as intelligence failures have invariably resulted in nasty surprises for the nation. The failure of key officials to accept and act upon important information is the underlying cause of most man-made catastrophic developments. The case of the derivatives market was one such example, but it won't be the last.
https://www.bis.org/publ/otc_hy0805.pdf

What motivates Ulrich's change of heart, and does this change reflect internal or external conflict in "The Interlopers"?

Ulrich von Gradwitz's change of heart is motivated initially by his struggle against nature, which is an external conflict, and then by his conflict of conscience, an internal struggle.
While von Gradwitz is patrolling his coveted strip of woodland in search of the "poacher" Georg Znaeym, whose family has never accepted the court ruling that this land no longer belongs to them, Ulrich suddenly comes face-to-face with his mortal enemy. In that brief moment of civilized hesitation before shooting each other, a force of Nature creates an external conflict for the men when lightning strikes the huge beech tree under which they stand. Suddenly, they are pinioned beneath large, heavy branches.While they lie victim to the force of the storm, each hurls curses at the other. Eventually, though, "[b]oth had now given up the useless struggle to free themselves from the mass of wood that held them down."
Ulrich struggles to free one arm enough to pull a flask of wine from his outer coat pocket. He decides to offer some of this wine to his foe, adding, "Let us drink, even if tonight one of us dies." Georg Znaeym refuses this offer. Nevertheless, Ulrich von Gradwitz further engages in his internal conflict as he places the feud into perspective with their life-and-death struggle in the coveted woods.

An idea was slowing forming in his brain. . . In the pain and languor that Ulrich himself was feeling, the old fierce hatred seemed to be dying down.

Finally, Ulrich von Gradwitz tells Georg Znaeym that he has been lying there thinking about their dispute, and he now realizes they both have been rather foolish because there are much better goals in life than to win a boundary dispute. He proposes,

"Neighbor, if you will help me to bury the old quarrel, I—I will ask you to be my friend."

After a long silence in which Znaeym ponders this proposal, Georg agrees, chuckling at how the people in the region would stare if the two men should ride into the market together after all the years of their animosity. Thus, their internal conflicts are resolved. Unfortunately, the external one with the forces of nature is lost when, rather than either of their hunting parties arriving, their shouts have beckoned other "interlopers": roaming wolves.

How would you explain the king’s “perfect“ system of justice?

The king's system of justice is perfect because only destiny and chance determine the fate of a person accused. It eliminates any kind of bias or prejudice, which could sway a jury or a judge toward mercy or severity depending on their personal feelings toward the accused. The king's version of justice does not allow for that kind of personal involvement in a case, which gives the king reason to believe it is perfect.
Though this description of the king's system of justice sounds somewhat reasonable on the surface, a closer look reveals its numerous flaws. It does not take into consideration the honesty of the accuser, nor does it take into consideration any extenuating circumstances that might explain the accused's crime. As well, chance and destiny ignore the belief in a person's free will, which might be problematic to some readers.

Beginning Algebra With Applications, Chapter 6, 6.2, Section 6.2, Problem 62

Solve the system of equations: $
\begin{equation}
\begin{aligned}

-0.1x+0.3y =& 1.1 \\
0.4x - 0.1y =& -2.2

\end{aligned}
\end{equation}
$


$
\begin{equation}
\begin{aligned}

-0.1x+0.3y =& 1.1
\qquad \text{Solve equation 1 for } y
\\
\\
0.3y =& 0.1x + 1.1
\\
\\
y =& \frac{0.1x + 1.1}{0.3}
\\
\\
y =& \frac{1}{3}x + \frac{11}{3}

\end{aligned}
\end{equation}
$




$
\begin{equation}
\begin{aligned}

0.4x- 0.1y =& -2.2
\qquad \text{Substitute } \frac{1}{3}x + \frac{11}{3} \text{ for $y$ in equation 2}
\\
\\
0.4x - 0.1 \left( \frac{1}{3}x + \frac{11}{3} \right) =& -2.2
\\
\\
0.4x - \frac{1}{30} x - \frac{11}{30} =& -2.2
\\
\\
\frac{11}{30}x =& -2.2 + \frac{11}{30}
\\
\\
\frac{11}{30}x =& \frac{-11}{6}
\\
\\
x =& -5

\end{aligned}
\end{equation}
$


Substitute the value of $x$ in equation 1


$
\begin{equation}
\begin{aligned}

y =& \frac{1}{3} (-5) + \frac{11}{3}
\\
\\
y =& \frac{-5}{3} + \frac{11}{3}
\\
\\
y =& \frac{6}{3}
\\
\\
y =& 2

\end{aligned}
\end{equation}
$


The solution is $(-5,2)$.

What are enacted to limit the amount of goods allowed into a country? Quotas? Sanctions? Tariffs? Free trade agreements?

Sanctions, quotas and tariffs all seek to restrict the movement of goods into a country.  Free trade agreements encourage the import and export of goods between member countries.
Sanctions are penalties imposed upon one country by either a single country (unilateral) or multiple countries (multilateral).  The sanction is a formal notice to a country that imports and/or exports will be tightly controlled until the penalized country meets a specific demand such as ending genocide.
Quotas are restrictions on the quantity of items or the value of items accepted for import.  They may be part of a formal sanction or a standard restriction to trade.  The goal of quotas is to protect the domestic industry from a flood of foreign product.  Quotas can also control prices by keeping supply low during high demand periods.
Tariffs are a tax imposed upon import goods.  Importers must either absorb the tax, reducing profit, or pass it along to consumers, increasing the market price of the good.  The increased cost may make it less desirable to the public, thereby limiting market share.  Tariffs are designed to control domestic prices and employment by making the market hostile to foreign entries. 
Free Trade Agreements (FTA) reduce the restrictions on importing goods to a foreign market.  FTAs allow for a more global market place and access to a greater number of products by allowing exporters a low-cost method of placing goods in a variety of regional markets.  Detractors argue FTAs also reduce employment and encourage counterfeit goods.

In To Kill a Mockingbird, what is Judge Taylor's attitude toward his job?

Judge Taylor in Lee's To Kill A Mockingbird takes his job seriously. He is the only judge in a racist community when a very controversial case crosses his desk. Rather than play to the white majority's wishes to convict Tom Robinson without much of trial, Judge Taylor appoints the best lawyer in the county to defend a black man. He knows Atticus Finch will provide the best possible defense for Tom Robinson even though the community might hate him for it. He does this because he believes everyone deserves a fair trial. The book doesn't come out and say these things explicitly, though. Most of this can be inferred by what Atticus says to his brother about his appointment as follows:

"Before I'm through, I intend to jar the jury a bit—I think we'll have a reasonable chance on appeal, though. I really can't tell at this state, Jack. You know, I'd hoped to get through life without a case of this kind, but John Taylor pointed at me and said, 'You're It'" (88).

Atticus's enthusiasm for justice is exactly why Judge Taylor tells him "You're It." He knows Tom Robinson has a chance with such a good lawyer. By providing Tom with a good lawyer, Judge Taylor shows he is not a part of the racist majority of Maycomb.
On the other hand, Scout points out that Judge Taylor runs his courtroom "with an alarming informality" (165). She says Judge Taylor often looks sleepy, puts his feet up on the desk, and has been seen cleaning his fingernails with a pocketknife! Although he may seem disconnected or disinterested while sitting on the bench, Scout says the following about Judge Taylor's attitude:

He was a man learned in the law, and although he seemed to take his job casually, in reality he kept a firm grip on any proceedings that came before him (165).

Therefore, Judge Taylor's attitude towards his job may seem relaxed on the surface, but ultimately, he has more control over what is going on in his courtroom than it appears.

What happens to Pip's sister in Great Expectations, and what is the result? How might we understand what's wrong with her in modern terms?

To be clear, a lot of things happen to Pip's sister, Mrs. Joe, in the book Great Expectations. First, she becomes the sole caretaker of her baby brother at age twenty, after burying two parents and five brothers. That alone would make anyone a little stressed out, and she is no exception. In fact, the most contentious part of her relationship with Pip stems from her having "brought him up by hand"—beating him—and she is very proud of that fact, as were many parents during this time period who brought their children up this way. Pip may find it hard to understand at first, being on the receiving end of those beatings, but her entire life up until that point had been filled with heartache and being young and unmarried; she had absolutely no help or experience in raising Pip at first. When she married Joe, that was arguably the best thing that had ever happened to her. He was nice, funny, kind, and a good father for Pip to have, although he could not stand up to his wife and he seemed incapable of softening her already hardened heart.
At first glance, she may just seem like an abusive, self-important, evil person. Because of her earlier struggles, however, Mrs. Joe fears abandonment and believes that her only recourse in life is to become wealthy and powerful. She exerts this power over others to stem the very real fear that she has of being abandoned by those she cares for. We can see this in how she treats Joe; she does whatever she can to keep him from bettering himself. Her main focus is on survival and bettering herself through wealth, and we see her pass these values on to Pip, which ends up causing him great tumult and confusion as he tries to sort out his own values. He, like many others during this time, thinks that the greatest achievement that he could possibly strive for would be to acquire wealth and the status of a "gentleman." This is what his sister wished for him, and this is what he learns to value as a small child. The outcome of this is that he does everything that he can in order to be this person and ends up becoming someone that he doesn't recognize or even like very much. The wealth that he'd always desired and that his sister had always desired has proven to be both a blessing and a curse in his life.
If we want to understand why people valued wealth so much, and why times were very difficult for young people, especially young women and children, during the nineteenth century in England, we need to look to history to show us. In hindsight, we can see how child labor and extreme poverty during the Industrial Revolution bred desperation during this time. In the book, we observe how Mrs. Joe and Pip both acted out of desperation and a desire to improve their lives. Mrs. Joe thought that she was doing the best thing, but she had no experience raising children and had never learned kindness because of her harsh upbringing and the way the role of motherhood was thrust upon her.
When she is attacked suddenly and seemingly without reason by an unknown assailant, everyone is confused and suspects Joe. Pip knows, however, that it was his convict's leg cuff that produced her injuries. He does not feel that telling anyone would help or lead to a conviction, so he does not tell. Eventually, his sister heals from her injuries, though her vision, hearing, memory, and speech are affected. She communicates through drawings and Pip finds that her temper and patience have improved after the attack. Today, we would say that she likely suffered from brain damage, which made her incapable of understanding and remembering details from her previous life, such as her anger towards certain people.
Later, we find out through Mrs. Joe's strange obsession with Orlick that he was the true attacker, who hit her with his hammer in a fit of rage. He did this in reaction to the anger she inspired in people through her yelling and berating and always having to be right. Still, Orlick is the type of person who would hurt someone just to hurt them. In many ways, he is the antithesis of Joe's character.
It turns out that this attack was actually for the best for everyone in Mrs. Joe's life. It gives Mrs. Joe some perspective on her life, her values, and how she was treating others. Certainly, it makes her more grateful for the care and love that she has in her life instead of leaving her wondering what her life could be like if she were wealthier. Another strange outcome is that she forges better relationships with others, including Orlick, who spends time with her, though he is confused by her desire to see him after his attack on her.

Calculus: Early Transcendentals, Chapter 7, 7.4, Section 7.4, Problem 24

Integrate int(x^2-x+6)/(x^3+3x)
Rewrite the rational function using partial fractions.
(x^2-x+6)/(x^3+3x)=(A/x)+(Bx+C)/(x^2+3)
x^2-x+6=A(x^2+3)+(Bx+C)x
x^2-x+6=Ax^2+3A+Bx^2+Cx
x^2-x+6=(A+B)x^2+Cx+3A
Equate coefficients and solve for A, B, and C.
3A=6
A=2

C=-1

A+B=1
2+B=1
B=-1

int(x^2-x+6)/(x^3+3x)dx=int(2/x)dx+int[(x-1)/(x^2+3)]dx
=int(2/x)dx+int[x/(x^2+3)]dx-int[1/(x^2+3)]dx

The first integral matches the form int (du)/u=ln|u|+C
int(2/x)dx=2int(1/x)dx=2ln|x|+C

Integrate the second integral using u-substitution.
Let u=x^2+3
(du)/(dx)=2x
dx=(du)/(2x)
-intx/(x^2+3)dx
=-int(x/u)*(du)/(2x)
=-1/2ln|u|
=-1/2ln|x^2+3|

The third integral matches the form
int(dx)/(x^2+a^2)=(1/a)tan^-1(x/a)+C
-int1/(x^2+3)dx
=-1/sqrt3tan^-1(x/sqrt3)+C

The final answer is:
2ln|x|-1/2ln|x^2+3|-1/sqrt3tan^-1(x/sqrt3)+C

What is an analysis of the poem "Telling the Bees"?

"Telling the Bees" by John Greenleaf Whittier tells the tragic story of a lost love.  However, the subject is not immediately apparent upon first glace.  Rather, the poem starts out with a lot of concrete imagery that creates a very peaceful agrarian setting: an old wall, stepping stones in a brook, and a house.  The first hint of the true focus occurs with the description of the house, "with the gate red-barred."  The color red traditionally suggests love or danger, or both.  Whittier goes on to mention poplar trees, which are associated with the Greek god Hades, the Ruler of the Underworld and the Lord of the Dead.  But again, this is a subtle nod to the tragic nature of the poem, and the poet quickly shifts the focus to a barn and cattle, as if to keep the reader from focusing too deeply, too quickly.
The third stanza introduces the beehives, finally giving the reader a glimpse at where the poem draws its name.  The custom of "telling the bees" was popular in England and transferred into other parts of Europe and even New England.  It is the practice of informing bees of important events that happened in the lives of their keepers.  These could be births, marriages, deaths, or any other significant events.  A superstition exists that suggests if the bees are not informed, and especially not "put into mourning," they might leave their hive, stop producing, or die.  After giving us the first look at the hives, Whittier moves to focus on flowers, saying "And down by the brink/ Of the brook are her poor flowers, weed-o'errun,/ Pansy and daffodil, rose and pink."  The is the first mention of a "her" as the focus of the poem; the pansies and daffodils are "hers," and they are overrun with weeds, which shows they have not been tended to in awhile.  Also, as the setting is June, these two types of flowers would already be past their growing cycle for the year, and would therefore be dead even without the weeds choking them. Further, the pansy is symbolic of love and the daffodil is symbolic of new beginnings, so Whittier's juxtaposition of the two specific types of flowers with the weeds also represents the halting or hindrance of love and new beginnings.  The narrator then reveals that a year has passed since he saw the flowers in this condition.  He then uses a simile to describe the passing of that year: "as the tortoise goes,/ Heavy and slow."  It seems everything has remained the same, from the roses to the sound of the brook, except the tending of the flowers.  By the end of this stanza, the reader understands that a year has gone by since the event took place, and at that point the flowers had not been tended for a month.  It is clear that something tragic has happened; now it is just a matter of seeing the narrator react to it.

In the next stanza, the narrator mentions "the same sweet clover-smell in the breeze;/ And the June sun warm/ Tangles his wings of fire in the trees/ Setting, as then, over Fernside farm."  Once again the reader is given imagery that connotes a problem.  The sun's wings are tangled in the trees as it sets over the farm.  The setting sun suggests the end of the day and the approach of night, which is symbolic of death.  The progress toward the inevitable realization is further reinforced.In the sixth stanza, the narrator reminisces how he used to tidy his appearance "with a lover's care" beside this same brook, and then quickly tells the reader that "a month had passed," which felt like a year "to love" since he last visited this place and looked upon the house with the red gate.  It is at this point that the narrative begins to reveal the tragedy of the scene.  The narrator had been gone from his love for a month, and was excited to see her again. As the narrator leads the reader toward this hopeful reunion, he again reiterates how things seemed normal, including "the slantwise rain/ Of light through the leaves," the sun on her window, and the bloom of her roses under the eaves.  Everything looks just as it did a month before, and the stanza ends with the narrator ends with the recollection that "[n]othing changed but the hives of bees" before moving into the difference in the hives, and what has happened since his last visit.On that day a year ago, the narrator showed up to see his love, the "her" of the poem, and noticed a servant girl "[d]raping each hive with a shred of black."   The black shrouds signify death, and the narrator immediately reacts, saying "the summer sun/ Had the chill of snow" because he understands the servant girl was informing the bees of someone's death.  Immediately, the narrator begins to think that his love, Mary, is weeping for the loss of her grandfather who now "sleeps/ The fret and the pain of his age away."  However, the narrator then recalls seeing the old man "on the doorway sill" while the servant continues to sing.  Through her song, she reveals to the narrator what has truly happened.  The song has continued to echo in the narrator's ear ever since, because the servant girl was not lamenting the loss of Mary's grandfather, but of Mary herself, saying "[s]tay at home, pretty bees, fly not hence!/ Mistress Mary is dead and gone!"  This is the note on which the poem ends.  Mary has died, her flowers are no longer being tended to, and a year after finding out, the narrator is still dealing with the loss.  Mary's absence is accentuated by the fact that despite her death, nearly everything else has remained the same.  Her loss has shaken the narrator greatly, and it is even more difficult to overcome because even though her life has gone, the life that was all around her continues, almost like the busy droning of the bees.

 

How many liters of O2 gas at STP is equivalent to 14g of O2?

To answer this question, you must use the ideal gas equation:P V = n R T"P" stands for pressure, "V" stands for volume, "n" stands for number of moles, "R" stands for gas constant, and "T" stands for temperature.The problem mentions that this scenario occurs at STP, which stands for standard temperature and pressure. This automatically gives us two important pieces of information: (1) the temperature in the scenario is 273 K & (2) the pressure in the scenario is 1 atm.It's also given to us that there are 14 g of O2 present in the scenario, which can help us to calculate the number of moles!  By looking at the periodic table, we can see that 1 mole of oxygen has a mass of 15.999 g.  Since 1 mole of O2 is composed of 2 moles of oxygen, we can find that 1 mole of O2 has a mass of 31.998 g.2 xx (15.999 g) = 31.998 g  We then use the molar mass of O2 to find the number of moles:(14 g)/(1) xx (1 mol)/(31.998 g) = 0.44 mol
The gas constant -- "R" -- is a constant, and we choose which ones to use based on the other units in our scenario.  Since this scenario deals with atm, K, and mol, we will use the following for "R": Now we can put everything we know into the ideal gas equation & solve for volume:(1 atm) xx V = (0.44 mol) xx (0.08206(L atm)/(mol K)) xx (273 K) V = 9.9 L

How can you describe how Bod and Silas progressed through the book and made it more intriguing for the reader?

At the outset, their polar differences set the stage for what promises to be an interesting relationship: the orphan Bod, a defenseless human baby, is subject to the laws of the natural world (except for the supernatural powers later conferred upon him by the ghosts), while Silas, an otherworldly creature, is not bound by such constraints. If one, drawing from Gaiman’s description, takes the position that Silas is a vampire, his actions, which are contrary to what we know of vampiric nature, make their relationship all the more intriguing. Instead of leaving the baby to the ravages of time and the elements or killing him outright (Gaiman tells us that Silas only eats “one thing—and it’s not bananas”), Silas takes pity on the child and agrees to become his guardian. Since he, unlike the locale’s other inhabitants, is able to leave the graveyard, he procures food, clothing, and other necessities for the growing child, adopting the long-term role of foster parent. Over time, Silas also enrolls Bod in public school, rescues him after his arrest, and saves his only human friend, Scarlett, from being killed by Jack Frost.

What are the disadvantages of liquidation strategy to the organization and the society?

Liquidation is a corporate level strategy that is one of four retrenchment strategies implemented when a company is experiencing difficulties in operations after growth has faltered and because the available stability strategies, such as "pause and then proceed," have failed due to a hostile, changing or unclear economic situation.Disadvantages may not always be considered because of the last-chance nature of liquidation retrenchment, although a significant advantage, i.e., self-directed options versus court order mandates, is often the driving force behind the choice to liquidate. Harvard Business School research, reported in 2013 and conducted by Harvard professor Ananth Raman and doctoral student Nathan Craig, indicates some surprising disadvantages besides the commonly discussed ones:Disadvantages:1. Principals of the company (also called directors) may be held liable for misconduct if mandated liquidation investigations show misconduct on their parts.2. Principals may be held liable for all the company's debts.3. All the company's assets will be sold to pay for liquidators' fee and to cover a portion of all debts outstanding. This precludes the possibility of using the assets should the principals want to reopen in the same business.4. All personnel, staff and production teams will be made redundant. Most often, this results in the scattering of human resources so expertise is lost should--as in the above item--the principals want to reopen in the same business.Disadvantages: Raman and Craig Research The disadvantages to liquidation recognized by Raman and Craig indicate that approaching liquidation from the accepted emotional (right-brain) approach, the 100 percent liquidation approach and the math-free approach leads to less than optimum profitability from liquidation. They show that logical strategy (left-brain), changes in markdown discounts at the beginning and end of liquidation and implementation of mathematical algorithms to make decisions and predictions about moving inventory between stores and customer behavior throughout the liquidation process off-set these disadvantages with increased profitability (hence increased debt payment) after liquidation.
Disadvantages to Society:The most often felt disadvantages to society are illustrated by the 2012 liquidation of Borders book stores. A significant social resource for readers and gift givers was removed along with a social gathering place for community groups. A sense of loss was generated in many levels of society by Borders liquidation. A more dramatic social disadvantage was the loss of jobs, financial security and personal pride for the employees of Borders who had to reassess their skills and work histories to find a new fit with employment in a different industry.
Another disadvantage to society is illustrated by the 2008 liquidation of Linens 'n Things, which--along with the above social disadvantages--resulted in a significant loss of selection (some items not being picked up by other retailers) and price-point merchandising, since the Linen 'n Things price-point was accessible to working class families.
"Strategy Formulation," Rex C. Mitchell, Ph.D., California State University, Northridge (DOC)
https://hbswk.hbs.edu/item/everything-must-go-a-strategy-for-store-liquidation

In the essay "Where the World Began," how is Laurence's opening sentence an effective beginning for a descriptive essay?

The opening sentence of Laurence's essay "Where the World Began" is as follows: "A strange place it was, that place where the world began." This is an effective opening line for a descriptive essay because it is vague enough to allow plenty of scope for the imagination to wander but at the same time offers some clues to direct the imagination. The word "place" is rather vague, and so mysterious, and the fact that it is repeated emphasizes the mystery. The word "strange" offers some direction for the imagination and implies a perhaps unusual, extraordinary place, and the phrase "where the world began" in turn suggests that the place in question is perhaps ancient and prehistoric. Alternatively, this phrase might be read metaphorically, in which case it could mean that this strange place was the setting for some kind of important, transformative experience for the speaker, who was responsible, metaphorically, for creating the world she now knows.
When one reads the final line of the essay, the opening line seems even more effective. The final line of the essay is: "This is not only where my world began. It is also the land of my ancestors." The final line links back to the opening line, creating a sense of closure. The final line also seems to clarify the meaning of the opening line. When Laurence wrote that the strange place was "where the world began," the meaning seems to be that it began there for her, because that's where her ancestors were born, and thus where her own history began.

Laurence's opening sentence is as follows:

A strange place it was, that place where the world began.

A descriptive essay will focus on conveying a sense of place (or the sense of a person) by using the five senses of sight, sound, taste, touch, and smell. By repeating the word "place" twice, Laurence signals the intent and subject matter of her piece. This is a good start for a descriptive essay because it orients the reader to what is to come.
Laurence has begun with a sweeping, overarching, generalizing statement about the prairie town in which she began her life. Personally, I don't believe that is the best way to start a descriptive essay, as it seems a bit bombastic and overblown to me, but it is effective in raising a reader's curiosity. It directs a reader to expect to learn about the strange rather than the ordinary. A descriptive essay should communicate a clear dominant impression, and Laurence does so with the word "strange."

Margaret Laurence was a Canadian novelist, short story writer, and essayist.

Laurence's work "Where the World Began" depicts her childhood in the prairies of Canada. It looks at Canadian values and belief systems, as well as the growth of Canadian society in comparison with Laurence's own growth. It examines how Canada and the ancestors who helped settle it formed her perspective on the world today.

The essay begins with the sentence “A strange place it was, that place where the world began.” This opening sentence is incredibly effective for a descriptive essay for a couple of reasons, the most obvious being that it appeals to readers' curiosity. The sentence keeps the audience interested in what’s to come. In what place did the world begin?
Descriptive essays tend to start with one of the following: a simple statement, descriptive sentence, quote, fact, or statistic.
By blending both a statement and description together, Laurence captivates readers while also conveying her position on the matter. Instead of simply stating that there is a “place where the world began,” she adds that it was “strange.” This adjective heightens the emotional response from readers and encourages them to keep reading to find out more.

The language and style are both simple. Simple language is important in maintaining your reader's attention. A concise style lets Laurence set up her anecdotes without confusing readers about her position.

The opening sentence also contains repetition, an important literary device; the word “place” appears twice.

Ultimately, Laurence’s opening sentence is intriguing and somewhat open-ended; therefore, it succeeds in setting up a compelling descriptive essay.
https://www.thecanadianencyclopedia.ca/en/article/margaret-laurence

What is the relationship between Anne and Peter Van Daan?

At the beginning of their stay together, Anne and Peter were just two people who had to share the same living space. Their paths never overlapped at school because he was a few years older than her and had different friend groups. They also had different personalities; while Anne is clever and loud and, at times, abrasive, Peter is quiet and reserved. Anne soon decides that Peter has no personality and becomes largely indifferent to him.
As their stay grows longer, however, Anne matures and realizes that she is being unfair to Peter. Just because he is quieter and more reserved than her does not mean he has no personality. They both work to get to know one another better and soon develop a mutual attraction. Their parents tease them relentlessly about the relationship, at times disapproving of the private time the two spend together, which embarrasses Anne and Peter. Nevertheless, they continue meeting in the attic room and dream of a future after the war.

The relationship between Anne and Peter does not begin as an adolescent romance, though it certainly develops into one as Anne continues to write in her diary over the year and half or so that they are together in the annex.
At the beginning, Anne is not impressed with Peter who presents as a shy, lonely young boy. She observes in him a sort of laziness and passivity that she does not respect or understand. Anne is certainly a sensitive and creative young girl, as her writing shows, and she can't see why he is content to be so boring. At this early point in their relationship, they don't really have much of a connection except for the awful circumstances that have brought them together in the first place.
After some time, Anne begins to notice something different about Peter, and she concludes that he likes her in a romantic way. His interest in her seems to inspire her to reciprocate, and their relationship changes for a short time. She fantasizes about true love and marriage and wonders if Peter could be a good husband for her in the future. This burst of affection is short-lived, however, as Peter's former passivity returns, disappointing Anne, and they separate, agreeing that they will not argue with each other in the future.

What is the central conflict in Araby?

The central conflict in this story is that of imagination versus reality. In it, a young adolescent boy longs for a richer, more satisfying life than the one he leads in Dublin in a dark house at end of a "blind" alley. The imagery surrounding his life is dull and monotonous: we learn of "decent" lived within houses that have "brown imperturbable faces."
The boy finds an imaginative alternative to the dingy, rainy, cold environment he lives in when he develops a crush on his friend Mangan's older sister. She seems beautiful to him with her "soft rope of her hair tossed from side to side."
The boy dreams of her and blots out his everyday world thinking about her. As he wraps his imagination around her he is:

thankful that I could see so little. All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them, I pressed the palms of my hands together until they trembled, murmuring: 'O love! O love!' many times.

When the girl mentions wanting to go to the bazaar but not being able to, the bazaar and the girl conflate or merge in the boy's mind. They both become objects of desire. They seem apart from his dull, mundane world. Instead, they are tinged with exotic and beautiful colorings by his longings.
He decides he will go to the bazaar and bring Mangan's sister a gift. But his drunken uncle lets him down by coming home so late that the boy doesn't get to the bazaar until it is closing. What he sees is dusty and shoddy and no different from the Dublin life he wanted to escape. At the end of the story, his epiphany or realization is that he can't exchange reality for the exotic world he has imagined, because that exotic world doesn't exist for him. Because of this, his eyes burn "with anguish and anger."

The narrator in James Joyce’s “Araby” is a young boy who experiences his first crush on a girl, Mangan’s sister, who is described in a way that lets one infer she is a bit older than the narrator.
However, the primary conflict is man versus self, because the narrator transitions from childlike innocence to the cynicism of adulthood.
At the beginning, the narrator describes imaginary play with his neighborhood friends and the enchantment he experiences in his mysterious house. He soon becomes lovestruck, and afterward he constantly pines for Mangan’s sister—to the point that he no longer enjoys anything, not even the shopping trips he takes with his aunt.
When the narrator finally arrives at the bazaar just as it is about to shut down, he realizes how foolish he has been to waste time and money on going in the first place. He only went in order to buy a gift for Mangan’s sister based on his one and only conversation he has had with her. His infatuation blinded him to the reality that this pursuit was futile and ridiculous.
Therefore, the central conflict is an internal one within the narrator and his coming of age via the experience at Araby.

How much irony is used in "The Ransom of Red Chief" by O. Henry?

The story "The Ransom of Red Chief" is ironic, in that the outcome is the opposite of what the reader might expect. Two men kidnap the son of a prosperous man in Alabama and expect the father will be grief-stricken when he hears his son has been abducted and that, as a result, he will pay the kidnappers at least $2,000. From the beginning of their abduction of the boy, who calls himself Red Chief, everything goes contrary to the kidnappers' plans. First, the little boy proves to be far more fearsome than the kidnappers. For example, he tries to scalp one of them in his role as an Indian chief. This is ironic because the kidnappers are expected to be scarier than the boy. Second, the boy is not only unafraid of his abduction, he loves being kidnapped and finds the experience far more fun than being at home or school. Therefore, he has no inclination to go home—another form of irony. Finally, the father of the boy tells the kidnappers they have to pay him to convince him to take back the boy. Therefore, in the ultimate ironic twist, the kidnappers wind up paying the father to take the pesky boy back.

What are three historical references from The Help by Kathryn Stockett that lend depth to the understanding of African-American culture in the American South?

In Kathryn Stockett's The Help, the main character, Skeeter, is developing a book about the racial injustices faced by black maids in Jackson, Mississippi during the civil rights era.
In the novel, Skeeter is listening to the radio and she hears a song by Bob Dylan called Times Are A Changing. The Nobel laureate wrote a few protest songs during the time, including one which inspired Sam Cooke to write his famous song A Change Is Gonna Come. The music of the time reflects what was on the people's minds. Progressive people, black and white, were concerned with extending basic human rights to blacks and other minorities.
A second reference in the novel was to the assassination of President John. F. Kennedy. Black people saw hope in Kennedy's presidency. He often spoke out against segregation despite push back from even his own party members. In 1963, Kennedy introduced the Civil Rights Act, which attempted to address the rampant discrimination people were facing in employment and in public spaces.
A third was the March on Washington led by Dr. Martin Luther King. Aibileen watches the march on television. King was a black civil rights leader with a message of nonviolent protest. The non-violent protests led by King were an attempt to show the moral inferiority of the people who would attack such peaceful protesters.

Historical references in The Help illuminate the intensely difficult struggle for equality African-Americans waged in the deep South.
The novel's opening shows the historical condition that gave birth to the Civil Rights Movement.  Hilly wants to enforce the law of segregation in the homes of Jackson's residents.  Her insistence on separate bathrooms for African-Americans and whites highlights segregation's degrading reality.  People like Aibileen who tended to the children of white families were not permitted to use the same restroom. The intensity of Hilly's desire is evident in how she wants to criminalize owners of public facilities who do not utilize segregated restrooms. Hilly's zealousness shows what Southern African-Americans had to confront.  The Supreme Court's decision in Plessy v. Ferguson made segregation "the law of the land."  African-Americans had to battle Southern whites' insistence on preserving this practice. 
As Skeeter's book is taking form, her publisher insists that she quickly finish. Skeeter protests, arguing that she needs time to collect evidence.  However, her publisher tells her about the March on Washington, suggesting to Skeeter that the struggle for racial equality is going to occupy national significance. The March on Washington is where Dr. King delivers his "I Have a Dream" speech.  As a result, national consciousness begins to pivot towards the need for equality.  A heightened awareness of the Civil Rights Movement develops as a result of Dr. King's efforts at the March on Washington.  This historical detail shows how life for Southern African-American culture changed when the nation began to develop a greater understanding of civil rights.
Finally, the shooting of Medgar Evers is a historical event in The Help that demonstrates the full extent of the struggle that Southern African-Americans faced in their fight for equality.  Evers was a prominent figure in the National Association for the Advancement of Colored People (NAACP.)  An activist that demonstrably challenged racism and discrimination, Evers was shot in the driveway of his home.  His assassination showed to Aibileen and Minnie the intense dangers of speaking out against injustice in the South.  They recognized that if members of hate groups like the Ku Klux Klan (KKK) could kill Medgar Evers right outside his home, in front of his family, they were taking great risks in writing the book with Skeeter. The shooting death of Medgar Evers is a historical event that depicts the risks that African-Americans in the South faced when speaking out against injustice.

What do we learn from K. Andres Ericsson's study on violinists at Berlin's academy of music?

Gladwell discusses the K. Anders Ericsson study in chapter 2 of Outliers.
The study in question divided a class of violinists at the Berlin school of music into three groups based on their ability levels. Each student was then asked to calculate how many hours he or she had spent practicing since they first picked up the violin.
The study found that students in the top, elite group had practiced an average of 10,000 hours, steadily increasing the number of hours per week as they got older. The conductors of the study then conducted the same survey with piano players with similar results.
Gladwell infers from this study that people need to spend 10,000 hours on a specific skill before they can become masters of it. He also takes note of the fact that the study found no “naturals” or “grinds,” or people who were able to make it in the top tier on talent alone or hard workers who still fell short of their goals.
Therefore, Gladwell concludes that if someone is willing to put in the time required to master a desired skill, then he or she will reach the top of his or her field. In fact, he insinuates that this hard work is what makes a marginally talented person into an exceptional talent.

How were girls treated in India back in 19th Century?

In traditional Indian society, a woman was expected to become a wife and mother and her childhood was considered preparation for this. Girls would learn how to cook, keep house, and care for their future husbands and children. Girls were not allowed to go to school because it was not expected to help them in their proper role as a wife and mother. By the time a girl was in her teenage years, it was common to have a marriage arranged and in the works. Girls would leave their parents' homes to live with their husbands and become mothers often before reaching adulthood. Girls were really considered a burden on their parents because they could not earn money for the home or take care of their parents in old age, and it was expected that their parents would pay a dowry, too. For this reason, infanticide was very common in India until the 20th century or so. It persists in rural areas or in the form of sex-selective abortion through all sects of society.
During the second half of the 19th century, the presence of the British had a big influence on the roles and status of women and girls. The Indian people, especially the expanding middle class, wanted to appeal to British social life and this included changing the treatment of girl children. In addition to establishing a number of missionary schools, the Crown began tracking literacy and female infanticide rates as a way of initiating reform in the status of girl children. Though there have been criticisms of the social, moral, and economic reforms imposed by the British government, it is undeniable that they set the stage for improving the lives of girl children.
https://asiasociety.org/education/indian-society-and-ways-living

Discuss the character of Annie.

Annie is the protagonist of D.H. Lawrence's story. She is pragmatic, competitive, and aggressive when crossed. In the story, Annie initially keeps the roving John Joseph at arm's length. She prides herself on her iron self-control, an attribute she feels that many of John Joseph's female admirers lack.
However, when Annie allows John Joseph to escort her to the fair, all bets are off. Annie soon discovers that she is as susceptible to John Joseph's charms as the other girls are. Meanwhile, the philandering stud is confident that he can enjoy and discard Annie on his own time. After all, he has treated other girls similarly. For her part, Annie is lured into complacence by John Joseph's masculine wiles. Her naivety about men is demonstrated by her eagerness to trust in John Joseph's sincerity.
She begins to make emotional demands on John Joseph after several dates. Like many of the girls before her, Annie desires the "developing intimacy" between them to result in a more permanent attachment. She fails to realize that this inclination will precipitate the end of her relationship with John Joseph.
After John Joseph leaves her, Annie weeps with "fury, indignation, desolation, and misery." Her anger is actuated by hurt pride and the pain of rejection. When crossed, Annie is an implacable foe. John Joseph soon discovers that Annie is a woman to be reckoned with. Her vindictive desire for revenge is aided by her resourcefulness, cunning, and exquisite sense of timing. Annie enlists the help of other women who have been jilted by John Joseph, and together, they give John Joseph the beating of his life.

Is there any proof that explains that some of the characters are telepathic?

Yes, there is evidence that some of the characters are telepathic. Chapter 4 is a good place to start looking for this evidence. This chapter begins with David explaining to Uncle Axel that he can communicate with his cousin Rosalind using "thought shapes." Another good example for strong proof that telepathy is the Deviant power of the group occurs in chapter 9. This chapter begins with David explaining to readers how he and the others came to discover that Petra also has their gift. He is out working when he "hears" inside of his head a demanding scream. The call is urgent and causes David pain. He begins running in the direction that he is being called to, and along the way Rosalind joins him. They both felt the call, and they discover Petra clinging on to a bush trying not to be swept away by the current. The Sealand woman is also strong evidence of telepathy. She is able to communicate across long distances to David in order to calm him and let him know what is happening. Once they meet, readers are told that she talks in regular words but then slips into "thought-forms," which are much easier for David to follow.

How does Mr. Brown deal with passionate members of the clan?

Achebe weaves a narrative around life in Igbo society, making the society a microcosm representing the increasing dominance of British rule over the indigenous people. Both the British and the Igbo cultures are portrayed by Achebe as a combination of diverse and distinctive types of human beings. On the one hand, there are people like Mr. Smith and Okoknwo, who will neither compromise nor surrender when their respective cultures are threatened. While on the other hand, there are people like Mr. Brown and Akunna, who are accommodating and willing to learn about other cultures.
Mr. Brown is different from the other ‘white men’, as he constantly tries to learn about the traditions and beliefs of the villagers of Umuofia and Mbanta. He represents the benevolent side of the British imperialism, as he restrains the overzealous members of his church from provoking the clan members. Mr. Brown resorts to peaceful ways to convert people of Umuofia to Christianity. He engages in respectful discussions with many men of the villages. He builds a school and a hospital for the welfare of the community, and his actions have a lasting impact on the villagers.

Mr. Brown despite bringing Christianity which many of the men and women of Umuofia were at first against, begins gaining respect as the benefits that seem to be associated with his presence are welcome and outweigh the differences in religious beliefs.

There was a feeling in Umuofia that Mr. Brown had indeed brought a lunatic religion. And even in the matter of religion there was a growing feeling that there might be something in it after all, something vaguely akin to method in the overwhelming madness.
This growing feeling was due to Mr. Brown, the white missionary, who was very firm in restraining his flock from provoking the wrath of the clan. One member in particular was very difficult to restrain. His name was Enoch and his father was the priest of the snake cult. The story went around that Enoch had killed and eaten the sacred python, and that his father had cursed him.

Mr. Brown uses a reconciliatory approach in dealing with the attacks his church members were facing from the other members of the community. He does not preach hate or try to retaliate, infact, he visited the villages where he engages with villager who had different beliefs to those he held in a bid to understand them better. This leads to him being highly ranked and presented with a carved elephant tusk which was a sign of dignity.

Mr. Brown preached against such excess of zeal. Everything was possible, he told his energetic flock, but everything was not expedient. And so Mr. Brown came to be respected even by the clan, because he trod softly on its faith. He made friends with some of the great men of the clan and on one of his frequent visits to the neighbouring villages he had been presented with a carved elephant tusk, which was a sign of dignity and rank. One of the great men in that village was called Akunna and he had given one of his sons to be taught the white man’s knowledge in Mr. Brown’s school.
Whenever Mr. Brown went to that village he spent long hours with Akunna in his obi talking through an interpreter about religion. Neither of them succeeded in converting the other but they learned more about their different beliefs.

In Things Fall Apart, Mr. Brown deals with the passionate members of the clan with reason and with compassion. The more zealous members of the clan approach him and tend more towards violence and extremism, but he is able to reason with them, discussing religion, helping them out, and showing them kindness. This gentleness endears him to the clan members, and essentially earns him a position as an honorary clan member. His kindness is the primary reason the Christian church begins to take a foothold in the region, which, during his lifetime, is an excellent and admirable achievement, however it eventually turns out to have a negative impact on the clan and peoples when an equally zealous and violence-prone clergyman takes over the regional church. There are several themes that are explored by these relationships - primarily that violent and evil people can be found in any culture or religion, and that the best way to counteract extremism is through compassion and understanding.

Mr. Brown is portrayed as a tolerant, compassionate man, who treats the villagers of Umuofia with respect. Mr. Brown is firm in restraining the passionate, zealous members of his flock from provoking the wrath of the clan and preaches against excess zeal. Mr. Brown teaches his followers that all things are possible but should be done morally and with patience. Mr. Brown also leads by example and meets with revered members of Umuofia. Mr. Brown becomes friends with many of the clan members and frequently discusses religious differences with Akunna. Mr. Brown's tolerant disposition is appreciated by the villagers, and he is respected throughout Umuofia. Unfortunately, Mr. Brown dies and is replaced by the over-zealous Mr. Smith, who is a fiery preacher that provokes the wrath of the villagers, which leads to the demise of Umuofia.

What are three disciplines that could help solve globalization as a contemporary issue or problem?

Three disciplines that are acknowledged to have significant roles in helping to solve contemporary issues or problems inherent in the emergence of globalization are economics, banking and finance, and political science and public policy formation. Other disciplines recognized as significant in solving globalization issues and problems are social policy, health and well-being (as in the role of WHO), communication and information systems, business management, and ethics.
Specific discussions within the broad globalization discourse identify the discipline of economics, especially the fields of economic development and economic regionalism, as critical to solving the issues and problems accentuated by or emerging from globalization. There are divergent views on globalization economics, but there is agreement that the emergence and development of new consumer markets and production centers has unintended consequences, both negative and positive, and that globalization economics is paradoxically the cause and the avenue of resolution for these problems and issues. For example, one paradoxical situation is that new centers of production create land degradation and soil, water, and air toxification, but it is said that it is the powerful new voice of the indigenous peoples that allow them to call for resolution and remediation. 
The world's banking and finance institutions were at the door of collapse in 2008 and 2009. Consequently, they are presently inadequate to meet the challenges of globalization economics, yet, again paradoxically, the discipline of banking and finance still provides the front line for addressing global banking and finance needs for microloans, foreign direct investment, and emerging production center development. The issues and problems generated by globalization require accord in government policy on a multilateral scale. The discipline of political science and public (governmental) policy making is critical to directing the multilateralization of global policy to minimize negative unintended consequences and maximize positive consequences of globalization.
Additional Source:
Matthew Krain, "Briefing Paper: Globalization." College Board.
http://www.gmu.edu/programs/icar/ijps/vol9_1/Tidwell&Lerche_91IJPS.pdf

Does Emily fit the description of an antihero?

An antihero is a protagonist who is notably lacking heroic qualities and is the opposite of a conventional hero. While typical heroes are recognized for their strength, intelligence, charm, integrity, and bravery, antiheroes display both positive and negative character traits.
I would argue that Emily Grierson would not be defined as an antihero. Faulkner's protagonist is a mentally ill woman, who hails from an aristocratic family and has suffered under the oppressive rule of her father. Emily Grierson is more of a tortured soul whose actions are not motivated to prove a point or send a message. Her character symbolically represents the Old South and its difficulty transitioning to the post-Civil War environment. Emily Grierson is also not a tragic heroine because she lacks an inherent flaw. Emily's negative personality traits are a result of her mental illness and unfortunate life living with her domineering father. While there are tragic elements to Emily's life, she would not be considered a tragic heroine.
https://literarydevices.net/anti-hero/

According to Fanon in The Wretched of the Earth, what is the relationship between revolution and violence?

Fanon insists that decolonization can not occur without violence. His concern is with the former African colonies. It is not enough, he writes in The Wretched of the Earth, for a colony merely to be declared an independent nation. Such a country is not truly liberated if it continues to be dominated by a colonial mindset. It is not truly free if it is controlled by the class of native people who were trained and educated by the Europeans who once held power. These people simply imitate the ways of the colonizer. They continue to exploit the country's resources, stash their newfound wealth in European banks, and purchase European luxury goods. They continue to keep the mass of people down, just as the colonial powers once did. What is needed, says Fanon, is a total overturn of the former system. The oppressed masses must take power, and this can only be accomplished through violence:

The naked truth of decolonization evokes for us the searing bullets and bloodstained knives which emanate from it. For if the last shall be first, this will only come to pass after a murderous and decisive struggle between the two protagonists[...].

The colonizers brought violence and created the idea of a class of inferior natives. This class will continue to live in dire poverty until they turn the violence that has held them down against the ruling class:

The violence which has ruled over the ordering of the colonial world, which has ceaselessly drummed the rhythm for the destruction of native social forms and broken up without reserve the systems of reference of the economy, the customs of dress and external life, that same violence will be claimed and taken over by the native at the moment when, deciding to embody history in his own person, he surges into the forbidden quarters.

Violence against the colonizer or those who continue on with the colonizer's mindset, is morally justifiable, Fanon argues:

As far as the native is concerned, morality is very concrete; it is to silence the settler's defiance, to break his flaunting violence--in a word, to put him out of the picture[...].

Fanon disagrees with ideas of nonviolence and compromise. The people with power will not give it up until it is wrested from them, he says.

College Algebra, Chapter 8, 8.2, Section 8.2, Problem 46

Determine the parts of intersection of the pair of ellipses.

$
\left\{
\begin{equation}
\begin{aligned}
\frac{x^2}{16} + \frac{y^2}{9} &= 1\\
\\
\frac{x^2}{9} + \frac{y^2}{16} &= 1
\end{aligned}
\end{equation}
\right.
$

Sketch the graphs on the same axes and label the points of intersection.
By using elimination method,

$
\left\{
\begin{equation}
\begin{aligned}
\frac{x^2}{144} + \frac{y^2}{81} &= \frac{1}{9} && \frac{1}{9} \times \text{Equation 1}\\
\\
-\frac{x^2}{144} - \frac{y^2}{256} &= -\frac{1}{16} && -\frac{1}{16} \times \text{Equation 2}
\end{aligned}
\end{equation}
\right.
$


$
\qquad
\begin{equation}
\begin{aligned}
\hline\\
\frac{y^2}{81} - \frac{y^2}{256} &= \frac{1}{9} - \frac{1}{16} && \text{Add}\\
\\
\frac{175y^2}{20736} &= \frac{7}{144} && \text{Simplify}\\
\\
y &= \pm \frac{12}{5} = \pm 2.4
\end{aligned}
\end{equation}
$

Now we back substitute the value of $y$ in either of the equation. So if $\displaystyle y = \pm\frac{12}{5}$, then

$
\begin{equation}
\begin{aligned}
\frac{x^2}{16} + \frac{\left( \pm \frac{12}{5} \right)^2}{9} &= 1\\
\\
x &= \pm \frac{12}{5} = \pm 2.4
\end{aligned}
\end{equation}
$

Therefore, the parts of intersections are $(2.4, 2.4), (2.4,-2.4),(-2.4,2.4)$ and $(-2.4,-2.4)$

How is the theme of relationships portrayed in S. E. Hinton's novel The Outsiders?

The theme of relationships is significant to the novel The Outsiders. Throughout the novel, characters develop relationships with one another which affect their perspectives on life and emotional well-being. Relationships are formed among different social groups, as is the case with Ponyboy and Cherry, and unlikely bonds develop between individuals with drastically different personalities, such as the friendship between Dally and Johnny. As the novel progresses, relationships between characters are tested during adverse situations. Hinton gives interesting dynamics to these relationships by introducing conflict which the characters must respond to. Some relationships flourish, like Ponyboy and Johnny's friendship, while others are destroyed, like Sodapop and Sandy's romance. Hinton portrays friendships as uplifting, supportive, and positive, yet fragile. Johnny has a unique relationship with each Greaser member and provides much-needed sympathy to each one of his friends. After Johnny dies, all of the Greasers mourn and Dally loses his mind. Despite experiencing tragedy, Ponyboy is able to repair his controversial relationship with his oldest brother Darry and develop new friendships with Cherry and Randy throughout the novel. Caring relationships and mutual friendships provide support for each character to survive and thrive during tragic events in a broken society throughout the novel.

What is the form of a pastoral elegy? I would like to know the usual rhyme scheme and meter of a pastoral elegy.

There really is not a simple answer to your question, but this information should help you understand more about pastoral elegies.
An elegy is a formal poem of mourning. The word "pastoral" in literature connotes country life as an idealized existence. A pastoral elegy is a poem that mourns the death of an important person or idea and often casts the speaker and/or the subject as shepherds with the attendant Christian overtones.
In their ancient Greek version, elegies were written as couplets with alternating lines of hexameter and pentameter.
In English literature, pastoral elegies do not have a set form with regard to length, rhyme scheme, or meter. 
For an example of perhaps the most well-known English pastoral elegy, read John Milton's "Lycidas" available here: https://www.poetryfoundation.org/poems-and-poets/poems/detail/44733
In "Lycidas," Milton did not employ a regular rhyme scheme. He used alternating iambic pentameter and trimeter.
Pastoral elegies can even be written in free verse, such as Walt Whitman's elegy to Abraham Lincoln, "When Lilacs Last in the Dooryard Bloom'd."
https://www.poetryfoundation.org/poems/44733/lycidas

Is Gatsby fair to Daisy throughout the novel? Analyze their relationship in terms of the expectations that each places on the other.

This is an interesting question, and perhaps one that requires clarifying the word “fair.” If “fair” means reasonableness, i.e., expectations that recognize, acknowledge, and value the wants, needs, and desires of the another, then neither Gatsby nor Daisy is particularly fair to the other. Fitzgerald largely explores the American Dream—mainly its impossibility—in the relationship between Gatsby and Daisy. But before you can assess Gatsby’s expectations of Daisy, you have to understand what Daisy is to Gatsby. Essentially, she is symbolic for him—as symbolic as the green light on her dock or his shelves of unread books or the color of his car (gold-yellow, of course). Objectifying her in chapter VII, Gatsby tells Nick that Daisy’s “voice is full of money.” For Gatsby, Daisy is a yardstick of success, personified. She exists in a world he can only pretend to inhabit, however passionately he flings himself into it. In his social-class-algebraic equation, if he can have Daisy, he has arrived. Given that, his expectations of her are not based on her being a human being, a fact that logically precludes fair treatment.
After five years of amassing a fortune meant to lure her back to him, Gatsby expects Daisy—quite unreasonably, entirely unfairly—to abandon everything she knows: her husband, her daughter (though she doesn’t seem to care all too much for little Pammy), and, perhaps most importantly, her social position in the upper crust of society. In sociological terms, membership in this .0001% of society constitutes an ascribed status, not an achieved one, and no matter how vast a fortune Gatsby can amass through his bootlegging and criminal ventures, he can never freely breathe the refined air of East Egg. But—and this is one of the tragedies of the novel—Gatsby does not realize this. So, no matter how much he fawns over her, no matter how many custom-made shirts he flings in the air for her, his expectations of Daisy are based on a fantasy that, to a degree, negates her existence as a unique human being. And this has always been the case. Even when they first meet, back in Alabama, back before the war, he treats her ‘unscrupulously,” meaning “unfairly.” In a conversation with Nick, he essentially admits to “taking her” under false pretenses (a slightly archaic euphemism for "sleeps with," which, of course, is yet another euphemism), his modest background concealed by a smart uniform. But, unfairly, Gatsby lets her “believe that he was a person from much the same strata as herself”:

But he knew that he was in Daisy’s house by a colossal accident. However glorious might be his future as Jay Gatsby, he was at present a penniless young man without a past, and at any moment the invisible cloak of his uniform might slip from his shoulders. So he made the most of his time. He took what he could get, ravenously and unscrupulously—eventually he took Daisy one still October night, took her because he had no real right to touch her hand.

               
For her part, Daisy’s expectations of Gatsby are, despite her ultimate disregard for him, purer in a way. She thought him charming and handsome when they first met before the war, and, apparently, has actually harbored true feelings for him (to the extent that she has true feelings of affection for anyone). She seemed to enjoy the novelty of Gatsby, thinking he “knew a lot because [he] knew different things from her…”. In Chapter IV Fitzgerald gives us an insight into the apparent intensity of her feelings for Gatsby in the scene before her wedding to Tom, when she gets “drunk as a monkey” and throws a $350,000 pearl necklace in the trash, saying she refuses to marry Tom, claiming that (slurring) “Daisy’s change’ her mine!” But, of course, she does marry Tom, because, just as in the end of the novel when she and Tom conspire to aim the unhinged, forlorn weapon of George Wilson in Gatsby’s direction, essentially murdering him, she knows that she and Gatsby exist in different social realities.
So it is difficult to claim that Gatsby treats Daisy fairly. He wants to possess her, yes, but that’s hardly a reasonable expectation of another human being.
 

I do not feel that Gatsby is fair to Daisy throughout the novel. Gatsby naively believes that Daisy should leave her husband who she has a child with in order to be with him. He gives her an ultimatum and believes that she should choose him. They have not seen each other in five years, and Gatsby feels that Daisy should ruin her marriage to start a relationship with him. Gatsby had spent years amassing a fortune through illegal means to live up to Daisy's high standards. However, Gatsby allows money to corrupt him through his efforts to become rich. When Gatsby finally does become wealthy, he believes that he now has everything that Daisy could possibly want. Despite the fact that Gatsby is wealthy and physically attractive, Daisy does not feel comfortable living an insecure life. Being in a relationship with Gatsby is too risky for Daisy, and she cannot leave her secure life behind. Daisy expects Gatsby to be financially secure at all times, while Gatsby believes that Daisy's decision is simple. The truth is that Daisy's wishes are unrealistic and her decision is very difficult.

Glencoe Algebra 2, Chapter 2, 2.4, Section 2.4, Problem 67

The median of a set of numbers is the value for which half the numbers are larger and half are smaller. If there are two middle numbers, the median is the arithmetic mean of the two middle numbers.
To find the median, first list the numbers from least to greatest.
[2.5, 7.8, 5.5, 2.3, 6.2, 7.8] [2.3 ,2.5 ,5.5 ,6.2 ,7.8,7.8]
Next, find the exact middle. In this case, there are two numbers (5.5 and 6.2) in the middle. Therefore, find the mean (or average) of these two numbers.
To find the mean, add the two numbers and divide by 2.
(5.5+6.2)/2=5.85
The median of this data set is 5.85. Exactly half the numbers in the data set are larger than 5.85 and exactly half the numbers in set are smaller than 5.85.

What trouble does Owen get into in Every Day?

Owen is Leslie Wong's brother. A lives in Leslie's body in chapter 2, Day 5995. A feels that no one expects Leslie to be talkative during family breakfast.
On the way to school, Owen smokes a joint. Later in the school day, Owen gets into a fight with another boy about drugs. Owen claims this other boy is his dealer, but the other boy says that Owen is really the dealer.
Owen gets in trouble for fighting and runs away. However, A as Leslie convinces Owen to come back and helps Owen fabricate a story for their parents. They say that Owen and the boy were fighting about a girl, so his parents won't learn about the drugs.
Owen still is not nice to Leslie, despite her help when he is in trouble. So A says to Owen:

"Look . . . you lying little pothead . . . .You are going to be nice to me, okay? Not only because I am covering your butt, but because I am the one person in the world right now who is being decent to you. Is that understood?"

This changes Owen's attitude a bit.

What is the thesis and ultimate purpose of the book Newjack?

Ted Conover wrote this nonfictional book about Sing Sing, a notorious prison in New York. His purpose was to provide an eyewitness account of life inside the penal system. A "newjack" is a rookie prison guard. Conover became a newjack so he could explore the culture behind bars. After his year-long experience in Sing Sing, the purpose of the book ultimately became to shed light on the necessity of reforms in the prison system.
One of the major themes in the book is the role of masculinity and aggression in prison relationships. There are many characters in the book who display a level of masculine aggression that reaches dangerous, destructive levels. Conover often finds himself reacting in more violent ways than he anticipates as he acclimates to an environment that is steeped in male aggression and abuse. He ultimately discovers that the prison environment has a dehumanizing effect on prisoners and prison guards alike. He sees prison officers become "violent once enmeshed in the system." He concludes that a conflict exists between the need to isolate criminals from society and the need to reform a system that treats criminals more like animals.

Do you think the images of our ancestors still reverberate today with meaning and insight?

Viewing the work of one’s ancestors is like opening an diary. The imagery is a snapshot, capturing a vision of the period from the perspective of the artist that— coupled with some reading for cultural context— gives an intimate view of the times. 
The work is like a memory. In the same way one might recall a mistake or a great success and learn from it, one may also look to how the piece deals with its subject matter and pull out lessons. We can glimpse the way a society views its predecessors or principles too by comparing depictions of the same events across cultures and time. Caravaggio shows Saul’s experience of God differently than an artist might have before him, creating an intense air of drama around little more than a shock of light, which compared to the past use of hands descending from the clouds and glorious angels suggests a different way of thinking. By viewing work like this  one can pick up on the ideas that compelled the people of the times and, perhaps, understand how today’s society has been shaped as a result.

Your first step in answering this is to examine the underlying assumption of the question. An image does not just "reverberate" on its own in the absence of an audience. A response to a work of art is always the response of an individual interacting with that work. Since there are some 7 billion people alive on earth now, one cannot possibly know how each of those billions of people might interact with every single work of art created before they were born. 
If one looks at statistics of how many people visit museums or monuments to view the "old masters" it is obvious that some people find these works of interest. People stand in line for hours to view the Mona Lisa in the Louvre and tourists flock to sites such as the Athenian Acropolis, Knossos, or Pompeii. Although some people may find contemporary art more accessible or interesting, many others find older works more inspirational. 
Personally, I would suggest that viewing only the work of one's contemporaries is just as narrow-minded as never leaving a single small town and never meeting someone from a different ethnicity, social class, or religious background. Images from a distant period in time are inspiring precisely because they force us to think and respond outside the circumscribed temporal nature of our own lives. 

Single Variable Calculus, Chapter 6, 6.1, Section 6.1, Problem 28

Sketch the region enclosed by the curves $\displaystyle y = 3x^2, y = 8x^2, 4x + y = 4$ and $x \geq 0$. Then find the area of the region.







Let $A_1, A_2$ and $A_3$ be the area in the left, middle and the right part respectively.

Notice that orientation of the curve changes at the point of intersection. Let $A_1$ and $A_2$ be the area in left part respectively. Thus,

$\displaystyle A_1 = \int^{x_2}_{x_1} (y_{\text{upper}} - y_{\text{lower}}) dx$

To determine the values of the upper and lower limit, we must get the point of intersection of $y = 8x^2$ and $4x + y = 4$ So..


$
\begin{equation}
\begin{aligned}

& 8x^2 = 4 - 4x
\\
\\
& 8x^2 + 4x - 4 = 0

\end{aligned}
\end{equation}
$


By applying Quadratic Formula,

$x = 0.5$ and $x = -1$

Since the functions are defined for $x \geq 0$, we have $x = 0.5$


$
\begin{equation}
\begin{aligned}

A_1 =& \int^{0.5}_0 [4 \cdot 4x - 8x^2] dx
\\
\\
A_1 =& \left[ 4x - \frac{4x^2}{2} - \frac{8x^3}{3} \right] ^{0.5}_0
\\
\\
A_1 =& \frac{7}{6} \text{ square units}

\end{aligned}
\end{equation}
$


For the middle part, notice that we can't use a vertical strip for the entire region, we must divide the region into two sub region. Let it be $A_{2A}$ and $A_{2B}$. By referring to the graph we can determine the upper unit of $A_{2A}$ from the point of intersection of $y = 8x^2$ and $4x + y = 4$ that is at $x = 0.5$. So..


$
\begin{equation}
\begin{aligned}

A_{2A} =& \int^{0.5}_0 (8x^2 - 3x^2) dx
\\
\\
A_{2A} =& \left[ \frac{5x^3}{3} \right] ^{0.5} _0
\\
\\
A_{2A} =& \frac{5}{24} \text{ square units}

\end{aligned}
\end{equation}
$



For the other sub region, we can determine the upper limit by getting the point of intersection of $y = 3x^2$ and $4x + y = 4$. So..


$
\begin{equation}
\begin{aligned}

& 3x^2 = 4 - 4x
\\
\\
& 3x^2 + 4x - 4 = 0

\end{aligned}
\end{equation}
$


by applying Quadratic Formula,

$\displaystyle x = \frac{2}{3}$ and $x = -2$

Since the function is defined on the interval $x \geq 0$, we have $\displaystyle x = \frac{2}{3}$

Then


$
\begin{equation}
\begin{aligned}

A_{2B} =& \int^{\frac{2}{3}}_0.5 [4 - 4x - 3x^2] dx
\\
\\
A_{2B} =& \left[ 4x - \frac{4x^2}{2} - \frac{3x^3}{3} \right]^{\frac{2}{3}}_{0.5}
\\
\\
A_{2B} =& \frac{23}{216} \text{ square units}

\end{aligned}
\end{equation}
$


Hence, the total area for the middle part is

$\displaystyle A_2 = A_{2A}+ A_{2B} = \frac{17}{54}$ square units

Lastly, for the right part, we can use a horizontal strip to be able to get the area without dividing the area into two sub region. So..

$\displaystyle A_3 = \int^{y_2}_{y_1} (x_{\text{right}}, x_{\text{left}}) dy$

To get the upper limit, we know that the point of intersection of the curve $y = 3x^2$ and $4x + y = 4$ is at $\displaystyle x = \frac{2}{3}$

So if $\displaystyle x = \frac{2}{3}$, then

$\displaystyle y = 3 \left( \frac{2}{3} \right)^2 = \frac{4}{3}$


$
\begin{equation}
\begin{aligned}

A_3 =& \int^{\frac{4}{3}}_0 \left( \frac{4 - 4}{4} - \sqrt{\frac{4}{3}} \right) dy
\\
\\
A_3 =& 0.5185 \text{ square units}

\end{aligned}
\end{equation}
$


Therefore, the total area of the entire region is..

$A_T = A_1 + A_2 + A_3 = 2$ units