What ideas other than death and rebirth could you infer from the poem "Ode to the West Wind?"

The poem is a kind of appeal to the west wind to unite with the poet. When Shelley writes, “Be thou me, impetuous one!”, it can be understood in several ways. Shelley could be wishing that the power and beauty of the west wind could inhabit his verse (“Make me thy lyre”), or he could be expressing a deeper desire to merge with nature, to become part of the seasonal cycle that the wind creates. There is a tragic difference, the poem suggests, between the power of the wind and the life of the adult Shelley (“I fall upon the thorns of life! I bleed!”). Another idea is that by merging with the wind Shelley can somehow escape his adult responsibilities. The first three stanzas establish the wind as a great and terrible natural force, a creator and destroyer. Shelley’s wish to become one with it is a yearning to claim that power for himself in order to break the cares that have “chain’d and bow’d” him. It is at once an expression of poetic ambition and a cry for personal absolution.

Another major idea or theme of "Ode to the West Wind" is that a poet's ideas can be blown all over the earth the way the wind blows autumn leaves. The leaves on a tree remind the poet of leaves of paper on which he writes his verses. 
In the last verse, the poet addresses the wind, asking if he, the poet, can become its "lyre" or the instrument the wind plays. The poet desires to become one with the spirit of the wind. "Be thou [you] me," he implores. Here, he continues to convey the idea that his thoughts can be sent all over.
The poet understands the wind as a universal song that he can join. He notes the wind's "mighty harmonies." Finally, he imagines that he and the wind can come together so the wind becomes his "trumpet" and spreads his words.  
In this, the poet expresses his deep, fervent desire not just to write poetry or experience rebirth, but also to have his thoughts widely known through his words.

In The Other Wes Moore, why did Mary once refuse to let Bernard, Wes's father, see Wes as a baby?

Bernard got Mary pregnant with Wes, but he abandoned her before Wes was born. Bernard is an abusive alcoholic with no education who finds it impossible to hold down a steady job. It's little wonder, then, that Mary doesn't want him in her son's life.
When Wes was eight months old, Bernard unexpectedly showed up on her doorstep, banging loudly at the door and demanding to see his son. But Mary stood firm; she wouldn't let Bernard in. Bernard was drunk, as usual, and Mary clearly felt that he represented a danger to young Wes. She may also have been thinking about the long term, that if she allowed Bernard across the threshold he'd start trying to insinuate his way back into her life, with possibly damaging consequences for the stability of Wes's upbringing.

Please include comments and analysis of the character Obi Okonkwo in No Longer at Ease.

In a character analysis, it is important to explain the character role in the book as well as the character's traits. Obi Okonkwo (who has the full name of Michael Obiajulu Okonkwo) is the main character of No Longer at Ease.  He is vastly different from his ancestor, the Okonkwo in Things Fall Apart. Obi is passive while the elder Okonkwo was active. Obi is full of indecision and constantly at odds with the people and events around him.
Obi is very smart in that he receives a scholarship from the Umuofia Progressive Union. In this way, Obi is able to receive a quality education and even graduate with honors. It is when he returns from London that his troubles begin. Suddenly the European values he has learned clash with the Nigerian values of his homeland. He is discouraged with Lagos and upset that he cannot find the homeland he speaks of in his own poetry. Obi has his own ideas that are not accepted: he studies the humanities instead of law, does not adopt the mannerisms of the educated, and plans to marry a girl who is "osu" (and, therefore, "taboo").
Obi changes throughout the book. At first, Obi shows perseverance in that he gets a job and sticks to it, even when life gets very hard. Obi shows honor in that he works to pay off his loans and help his family financially. Unfortunately, Obi's honor and perseverance do not last. It is sad to see Obi's original morals crumble as the book progresses. Eventually, the public arena wears Obi down. Obi gives in to the corruption and participates in the usual bribes. Unfortunately, Obi turns his resolve into acquiescence.

College Algebra, Chapter 4, 4.4, Section 4.4, Problem 32

Determine all rational zeros of the polynomial $P(x) = 2x^3 + 7x^2 + 4x - 4$, and write the polynomial in factored form.

The leading coefficient of $P$ is $2$ and the factors of $2$ are $\pm 1, \pm 2$. They are the divisors of the constant term $-4$ and the factors of $-4$ are $\pm 1, \pm 2, \pm 4$. The possible rational zeros are $\displaystyle \pm 1, \pm 2, \pm 4, \pm \frac{1}{2}$

Using Synthetic Division







We find that $1$ and $2$ are not zeros but that $\displaystyle \frac{1}{2}$ is a zero and that $P$ factors as

$2x^3 + 7x^2 + 4x - 4 = \left( x - \frac{1}{2} \right) \left( 2x^2 + 8x + 8 \right)$

We now factor the quotient $2x^2 + 8x + 8$ using trial and error. We get,


$
\begin{equation}
\begin{aligned}

2x^3 + 7x^2 + 4x - 4 =& \left( x - \frac{1}{2} \right) (2x + 4) (x + 2)
\\
\\
2x^3 + 7x^2 + 4x - 4 =& 2 \left( x - \frac{1}{2} \right) (x + 2)(x + 2)

\end{aligned}
\end{equation}
$


The zeros of $P$ are $\displaystyle \frac{1}{2}$ and $-2$.

Precalculus, Chapter 4, 4.4, Section 4.4, Problem 44

cot(pi/2)=cos(pi/2)/sin(pi/2)=0/1=0

How much does Mr. Bumble demand for information about Oliver?

It's not the henpecked Mr. Bumble who negotiates with the sinister Monks, but rather it is his wife. They settle on a figure of twenty-five pounds (quite a tidy sum; roughly $2,000 in today's money). Neither of the Bumbles know it, of course, but Monks is in fact Oliver Twist's half-brother and has crawled out of the woodwork to make sure Oliver doesn't get the inheritance to which he's rightfully entitled.
Monks pumps Mrs. Bumble for information as he wants to make sure that all traces of evidence that might link him to Oliver or his mother are destroyed. That explains why he's so interested in the gold locket stolen from Oliver's mother, Agnes, by an old crone and then subsequently redeemed at the pawn shop by Mrs. Bumble. The locket is a keepsake of Agnes's and contains a wedding ring with her name carved on it and two locks of hair. Monks is determined to ensure that Oliver will never discover his mother's true identity nor claim his inheritance, so he ties down the gold locket and throws it into the river.

College Algebra, Chapter 4, 4.5, Section 4.5, Problem 44

Find a polynomial $P(x)$ that has degree 5 with integer coefficient and zeros $\displaystyle \frac{1}{2}, -1$ and $-i$, and leading coefficient 4; the zero $-1$ has multiplicity 2.
Recall that if the polynomial function $P$ has real coefficient and if a $a + bi$ is a zero of $P$, then $a-bi$ is also a zero of $P$. In our case, we have $\displaystyle \frac{1}{2}, -1, -i$ and $i$. Thus the required polynomial has the form.

$
\begin{equation}
\begin{aligned}
P(x) &= a\left( x - \frac{1}{2} \right)[x - (-1)]^2 (x -i) [x - (-i)] && \text{Model}\\
\\
P(x) &= a\left( x - \frac{1}{2} \right) (x + 1)^2 (x-i)(x+i) && \text{Simplify}\\
\\
P(x) &= a\left( x - \frac{1}{2} \right) (x+1)^2 (x^2 -i^2) && \text{Difference of squares}\\
\\
P(x) &= a\left( x - \frac{1}{2} \right) (x+1)^2 (x^2 + 1) && \text{Recall that } i^2 = -1\\
\\\
P(x) &= a(x+1)^2 \left[ x^3 + x - \frac{1}{2}x^2 - \frac{1}{2} \right] && \text{Apply FOIL method}\\
\\
P(x) &= a \left[ x^2 + 2x + 1 \right] \left[ x^3 + x - \frac{1}{2}x^2 - \frac{1}{2} \right] && \text{Expand}\\
\\
P(x) &= a \left[ x^5 + x^3 - \frac{1}{2}x^4 - \frac{1}{2}x^2 + 2x^4 + 2x^2 - x^3 - x + x^3 + x - \frac{1}{2}x^2 - \frac{1}{2} \right] && \text{Expand}\\
\\
P(x) &= a \left[ x^5 + \frac{3}{2}x^4 + x^3 + x^2 - \frac{1}{2} \right] && \text{Simplify and combine like terms}\\
\\
P(x) &= 4 \left[ x^5 + \frac{3}{2}x^4 + x^3 + x^2 - \frac{1}{2} \right] && \text{Substitute } a = 4 \text{ to be the leading coefficient}\\
\\
P(x) &= 4x^5 + 6x^4 + 4x^3 + 4x^2 - 2
\end{aligned}
\end{equation}
$

What are four benefits of a business forming a strategic alliance as a means of expanding a business?

A firm that wants to expand its business through strategic alliance(s) will benefit through access to increased resources and capabilities and through broadening market channels and brand recognition. There are many individually identified benefits included in this broad outline, some of which are:


resources: technological and human resources

capabilities: new target markets and the global market

market channels: supply chain, distribution, and marketing channels

branding: consumer recognition of strong/ stronger brands

The U.S. Small Business Administration identifies alliances as one means through which business expansion can be achieved quickly, especially since the strategy of alliance encompasses other expansion strategies, like global and e-commerce expansion, market area expansion, and diversification expansion.
Strategic alliance facilitates business expansion because such resources as capitalization, production capabilities, products, and intellectual property can be shared within the alliance. With enhanced resources, capabilities, channels, and branding, business growth is less time- and cost-demanding.
To illustrate, consider, as an example, when an alliance includes geographic resources, e.g. store locations, then expanding geographical market area requires less time and cost than if a business were to expand store locations on its own without the benefit of a geographically strong alliance.
Bear in mind that a strategic alliance is "strategic" when it is formed for mutual benefit and for the purpose of helping alliance members achieve specified goals that would remain out of reach if acting alone while independent of an alliance. Consequently not all business alliances are strategic alliances.
Jason Wakeam, "The Five Factors of a Strategic Alliance." Ivey Business Journal.
https://iveybusinessjournal.com/publication/the-five-factors-of-a-strategic-alliance/

What are the central characteristics of “Sonny’s Blues” by James Baldwin that, in your view, contribute to a successful or satisfying story?

Let's turn this question around. Words like "successful" and "satisfying" aren't very useful in questions like this one, because they suggest that you have to actually like the story—which you may not. If you didn't particularly enjoy a story, it can be hard to think of anything "successful" or "satisfying" about it. But whether or not we enjoyed a story, we can consider what makes it successful in terms of achieving its goals or fulfilling its purpose. So, what are the goals and purpose of this story, and how does Baldwin achieve them?
Like most of Baldwin's writing, this piece focuses on the difficulties and challenges facing the black community in America. As such, there are various characteristics of this story which help us understand the points he is making. First of all, the first-person narrator helps create a sense of intimacy between the speaker and the reader. We feel sympathy for this man who is talking directly to us, a man who "taught my classes algebra" and worries for the boys in his class who might one day end up where Sonny is. The narrator has succeeded in becoming a responsible member of the community, and the reader consequently respects him for that, but Baldwin uses this intimacy fostered between reader and speaker to emphasize that this is almost a matter of luck. Because black boys grow up in a community where drugs like "horse" were available to them at school age, and in projects where they were forgotten by the government, the difference between becoming an algebra teacher and becoming a drug addict can be a matter of chance. The realism of the story, and the nature of the first person narrative, helps us better understand the "darkness of [black children's] lives."
The writer of the story is conversational, his language erudite but utilizing language features (sentences beginning with "and" and "some," for example) which help us to imagine that he is telling his story only to us. As such, we are drawn into his internal conflict and emotional journey as he thinks about his brother. The effect of this is that, when the narrator's mother tells him the story of what happened to his uncle, we are as shocked as he is, and we feel the resonance of the line: "till the day he died, he weren't sure but that every white man he saw was the man that killed his brother." Along with this, the reader suddenly recognizes the many unspoken sides to these Harlem stories and just how fraught Sonny's existence necessarily has been.
As such, at the end of the story, we too have come to want to give Sonny a second chance. Notably the "darkness" at the story, which once symbolized menace and threat, has come to mean something else in the "darkness" of this club, where "coal-black" jazz players welcome the brothers in. Here, they are among their people in their "dark corner," the language echoing the narrator's own reinterpretation of blackness—and of Sonny's musical gift. Here, Sonny is in his element, and his music becomes a "triumph" of its own.

Is democracy possible in a non-democratic country?

Democracy is possible in a non-democratic country, but the process is often difficult. Democracy is the idea that all citizens have the power in government, either through directly voting on laws or by electing representatives. There are several steps in a country progressing from a non-democratic government to a democratic government.
The first step is to dissolve the previous government. Since dictators very rarely give up their power willingly, oftentimes this first step is accompanied by war or a coup d'etat. The new government also must resist the temptation to simply replace the dictator with a new one and instead begin to lay the groundwork for democracy.
The second step is deciding on a form of democracy. In a true democracy, each citizen votes directly on laws and matters of government. This is extremely rare, because most citizens do not have enough time to follow all of their government's bureaucracy. Instead, most countries use a representative democracy, where citizens elect politicians to vote for their preferences.
The third step is educating the public. The citizens are used to being told what to do under a dictator, and they must be taught how to vote according to their wants and needs. An educated populace is always better, especially in a democracy.
The final step is holding elections. In a country that is likely fragmented and war-torn, the logistics behind a national election could be daunting. Yet many fledgling democracies survive and even thrive, proving that it is possible for a non-democratic country to become a democratic country.

Who is the antagonist in Unbroken by Laura Hillenbrand?

Although one could argue there are multiple antagonists in Unbroken by Laura Hillenbrand—including the ocean and Louis Zamperini's own self-doubt—perhaps the most accurate answer would be Mutsuhiro “The Bird” Watanabe.
During Zamperini's time as a prisoner of war in the Pacific, Watanabe was responsible for the war camp where Zamperini was held. Although there is no explicit reason stated for why Watanabe had a hatred of Zamperini, a few conclusions can be made.
Because Watanabe had not been able to attain the rank of officer in the Japanese military, he despised all those who were officers in the U.S. military. Zamperini was one of those officers. Watanabe would force U.S. troops to hit their own officers in the face, perhaps because of the disdain he had for not being made an officer himself.
The main reason why Watanabe had a severe dislike for Zamperini could be because Zamperini refused to be broken by Watanbe. While Watanabe operated by invoking fear and tearing men down, Zamperini held true to his internal strength and convictions and did not cower in Watanabe's presence.
This, in turn, only angered Watanabe more and made him want to dole out more punishments on Zamperini. The two were caught up in this seemingly endless cycle of punishment and resistance throughout Zamperini's time at the camp.
https://www.litcharts.com/lit/unbroken/characters

How is theme of the "white savior" expressed in Baldwin's "Sonny's Blues"?

“Sonny’s Blues,” by James Baldwin, is a story about two brothers divided. Sonny, the heroin-addicted jazz musician, and his brother, the nameless narrator. The narrator has “escaped” the streets of Harlem to become an algebra teacher, yet he realizes he is still trapped. The evidence is the poverty-embossed look of his apartment complex. “We live in a housing project…A few days after it was up, it felt uninhabitably new, now…it’s already rundown” (25). While the narrator is trapped by his physical surroundings, he also has a poor image of self, thereby trapping himself becoming a victim of internalized racism.
In contrast, Sonny is trapped in the physical prison of oppression resulting in the stereotypical expectation of heroin addiction. Sonny is trapped in his addiction, just as his brother is trapped in his feelings of inferiority, and the need to separate himself from his own peer group. Sonny’s music, however, offers Sonny some relief. The two brothers are at opposite ends of the spectrum with Sonny feeding off his community’s creativity as well the dark underworld that capitalizes off the impoverished by offering an escape from their gloomy reality through drugs.
Nevertheless, the narrator, being the older brother, expects far more from Sonny than Sonny can give. When Sonny lives with his brother and sister-in-law; Sonny becomes someone that neither his brother nor Isabel could comprehend, “…it was as though [Sonny] was all wrapped up in a cloud, some fire, some vision all his own; and there wasn’t any way to reach him” (10). He is disappointed when Sonny declares he will be a jazz musician rather than a classical performer. The personal disappointments and misunderstandings, the narrator’s loss of self intertwines with the racial realities that both brothers face.
Undoubtedly, racial oppression is an obvious backdrop in “Sonny’s Blues,” however, there is no evidence of a white savior in the work. When the narrator learns from his mother that one of his uncles had been run over by a truck filled with white men and murdered, this suggests that no matter how victorious the narrator was in his escape, the threads of oppression would always be a relevant factor in his life and in his brother’s life. The brother’s father had a fear-anger reaction to the murder of his brother. Every white man became a suspect in his brother’s murder in the father’s mind. The lack of trust for whites is evident, and the impact of the brother’s father witnessing the murder damaged his psyche forever:
“Your Daddy was like a crazy man that night and for many
a night thereafter…Your Daddy never did get really right again…Till the
day he died he weren’t sure but that every white man he saw was the man
that killed his brother” (20).
To conclude, “every white man,” represents oppression in its entirety; therefore, there is no white savior present. In the end, Sonny’s brother realizes that Sonny’s music has a purpose, “…he could help us to be free if we would listen” (47). The themes in “Sonny’s Blues” include anger, pain, alienation and redemption. The narrator’s attempt at escape are futile because he could not escape from his own beginnings and lack of self-worth. Sonny, on the other hand, escaped through music and although forever attached to his community, he and his brother re-establish their relationship helping the narrator to reaffirm his belief in himself, thereby providing Sonny the recognition that he and his music deserves.

"Sonny's Blues," Baldwin's short story, is about a narrator, who can perhaps be said to have "escaped the trap" of Harlem, and his brother, Sonny, who has not. The narrator is a school teacher, and he no longer lives in Harlem, but the "housing project" in which he lives looks "already run down"—the narrator, still living in a black area, does not feel that he has "escaped" at all. There is a connection drawn between "escaping" and entering the white world.
Yet the first white people we experience in this story are far from the "white savior" idea. While there is a subconscious association drawn between whiteness and freedom from the trappings of lower-class projects, it is a group of white men who ran over the narrator's uncle, drunk, and left him for dead. For the rest of his life, the narrator's father was scarred by this, wondering if "every white man he saw might have been the man that killed his brother."
Ultimately, the idea of the white savior is not much a part of this story. The story is concerned with the lives of black people, and what elevates Sonny out of the depths in which his brother fears he will die is music, the music of black people. Whatever enjoyment Sonny finds in life is not found outside his black neighborhood, but with Creole, and with music. There are no major white characters in this story: the only white people who have affected the lives of this family have not attempted to be "white saviors," but done irreparable and thoughtless damage.

Calculus of a Single Variable, Chapter 8, 8.2, Section 8.2, Problem 22

intx/sqrt(6x+1)dx
Apply integral substitution: u=6x+1
=>(u-1)=6x
=>x=(u-1)/6
dx=1/6(du)
intx/sqrt(6x+1)dx=int((u-1)/6)/sqrt(u)(1/6)du
=int1/36(u-1)/(sqrt(u))du
Take the constant out,
=1/36int(u-1)/sqrt(u)du
=1/36int(u/sqrt(u)-1/sqrt(u))du
=1/36int(u^(1/2)-u^(-1/2))du
Apply the sum rule,
=1/36{intu^(1/2)du-intu^(-1/2)du}
Apply the power rule,
=1/36{(u^(1/2+1)/(1/2+1))-(u^(-1/2+1)/(-1/2+1))}
=1/36{u^(3/2)/(3/2)-u^(1/2)/(1/2)}
=1/36{2/3u^(3/2)-2u^(1/2)}
Substitute back u=(6x+1) and add a constant C to the solution,
=1/36(2/3(6x+1)^(3/2)-2(6x+1)^(1/2))+C
=1/36(2)(6x+1)^(1/2)(1/3(6x+1)-1)+C
=1/18sqrt(6x+1)((6x+1-3)/3)+C
=sqrt(6x+1)/18((6x-2)/3)+C
=sqrt(6x+1)/18(2/3)(3x-1)+C
=1/27(3x-1)sqrt(6x+1)+C

Calculus: Early Transcendentals, Chapter 6, 6.1, Section 6.1, Problem 27

Given y=1/x, y=x, y=1/4x, x>0
Find the intersection point of y=x and y=1/x.
x=1/x
x^2=1
x=1
When x=1, y=1. The intersection point is (1, 1).
Find the intersection point of y=1/4x and y=1/x.
1/4x=1/x
x^2=4
x=2
When x=2, y=1/2. The intersection point is (2, 1/2).

A=int_0^1(x-1/4x)dx+int_1^2(1/x+1/4x)dx
= int_0^1(3/4x)dx+int_1^2(1/x+1/4x)dx
=[3/4*x^2/2]_0^1+[lnx+1/4*x^2/2]_1^2
=[3/8x^2]_0^1+[lnx+1/8x^2]_1^2
=[3/8(1)^2-0]+[(ln2+1/8(2)^2)-(ln1+1/8(1)^2]
=3/8+ln2+1/2-ln1-1/8
=1/4+1/2+ln2-ln1
=3/4+ln2-ln1
=1.443
The area enclosed by the given curves is 1.443 units squared.
The curve in black is y=1/x.
The red line is y=x.
The green line is y=1/4x.

Beginning Algebra With Applications, Chapter 5, 5.4, Section 5.4, Problem 54

Determine the equation of the line through the points whose coordinates are $(5,9)$ and $(-5,3)$.

Using the Slope Formula with $(x_1, y_1) = (5,9)$ and $(x_2, y_2) = (-5,3)$

$\displaystyle m = \frac{3-9}{-5-5} = \frac{-6}{-10} = \frac{3}{5}
$

The slope of the line is $\displaystyle \frac{3}{5}$.

Using the point slope formula with $\displaystyle m = \frac{3}{5}$ and $(x_1, y_1) = (5,9)$


$
\begin{equation}
\begin{aligned}

y - y_1 =& m(x - x_1)
&&
\\
y - 9 =& \frac{3}{5} (x-5)
&& \text{Substitute } m = \frac{3}{5}, (x_1, y_1) = (5,9)
\\
y-9 =& \frac{3}{5}x - 3
&& \text{Apply Distributive Property}
\\
y =& \frac{3}{5}x + 6
&& \text{Write the slope-intercept form}

\end{aligned}
\end{equation}
$

How are gender and race for inmates studied using the interpretive and critical framework?

Interpretive and critical analysis is a type of qualitative framework that asks people to make sense of what they are going through. Traditionally, studies in criminology have been more quantitative in nature. An interpretive and critical analysis allows researchers to study inmates in a more in-depth way and to understand the social, emotional, cultural, and other aspects of their experiences. 
For example, Miller and Glassner (2004) conducted a study of female gangs using this type of approach. To conduct their study, they used the interactionist technique of interviewing, which looks at the intersubjectivity between the researcher and interviewee to enhance the authenticity of interviewees' responses. Examining intersubjectivity means making the researchers' biases explicit to reduce their biases. Miller and Glassner (2004) also advocate treating participants' reactions as meaningful, even if they seem to go against cultural norms or ideas. For example, in their study, they regarded female gang members as intelligent, though this is contrary to cultural stereotypes. These types of studies, as Miner-Romanoff (2012) writes, are important because they implement carefully thought-out methodologies for interviewing and collecting data, as well as for interpreting data. 
To establish the researchers' trustworthiness in this type of study, participants are chosen to maximize variation with regard to race, gender, and other variables, such as type of offense and sentence. For example, Miner-Romanoff's study (2010) about inmates' understanding of their assignment to adult court included a demographic questionnaire that asked participants' race and gender, along with other variables. 
 
References:



Miller, J., & Glassner, B. (2004). The “inside” and the “outside”: Finding realities in interviews. In D. Silverman (Ed.), Qualitative research: Theory, method and practice (pp. 125-139). Thousand Oaks, CA: Sage.




Miner-Romanoff, K. (2012). Interpretive and Critical Phenomenological Crime Studies: A Model Design. The Qualitative Report 2012 Volume 17, Article 54, 1-32 http://www.nova.edu/ssss/QR/QR17/miner-romanoff.pdf



Miner-Romanoff, K. (2010). Incarcerated adults sentenced in adult criminal court while juveniles: Knowledge, understanding, and perceptions of their sentences. (Unpublished doctoral dissertation). Walden University, Minneapolis, MN. UMI No. 3412128. 
https://nsuworks.nova.edu/tqr/vol17/iss27/2/

Calculus of a Single Variable, Chapter 5, 5.8, Section 5.8, Problem 87

For the given differential equation: (dy)/(dx) = 1/sqrt(80+8x-16x^2), we may write it in a form of N(y) dy = M(x) dx .
Cross-multiply the (dx) to the other side:
(dy) = 1/sqrt(80+8x-16x^2) dx
To solve for the general solution of the differential equation, we may apply direct integration on both sides.
int (dy) = int 1/sqrt(80+8x-16x^2) dx
For the left side, it follow basic integral formula:
int dy = y
To evaluate the right side, we may apply completing the square on the trinomial: 80+8x-16x^2 = -(4x-1)^2+81 or 81-(4x-1)^2
Then, the integral on the right side becomes:
int 1/sqrt(80+8x-16x^2) dx=int 1/sqrt(81-(4x-1)^2) dx
The integral resembles the basic integration formula for inverse sine function:
int 1/sqrt(a^2-u^2)du=arcsin(u/a)+C
We let u = 4x-1 then du = 4 dx or (du)/4= dx .
Note that 81 = 9^2
Then,
int 1/sqrt(81-(4x-1)^2) dx =int 1/sqrt(9^2-u^2) *(du)/4
=(1/4)int1/sqrt(9^2-u^2)du
=(1/4)arcsin(u/9)+C
Plug-in u=4x-1 in (1/4)arcsin(u/9 ), we get:
int 1/sqrt(81-(4x-1)^2) dx= (1/4)arcsin((4x-1)/9) +C
Combining the results from both sides, we get the general solution of differential equation:
y =1/4arcsin((4x-1)/9) +C

Is marriage out of date in today's society?

To answer this question, it is necessary to look at both sides of the argument. For a start, think about some of the benefits of marriage. As an institution, marriage has existed in our society for centuries. For young adults, marriage has been an accepted part of growing up and establishing one's self in the community. Many people also consider marriage to provide a solid foundation for having a family by providing children with the stability they need. Moreover, for those with religious values, marriage offers the opportunity to have their romantic union blessed by God.
In contrast, we know that marriage in today's society is declining rapidly. In the modern United States, only 51 percent of American adults are married, compared with 72 percent of adults in 1960. Moreover, the rate of divorce has steadily risen: 60 percent of those who marry between the ages of 20 and 25, for example, will end up getting a divorce. (See the first reference link provided.) So, if fewer people are getting married and more people are getting divorced, it seems that the value of marriage has declined significantly. In addition, it suggests that marriage does not necessarily guarantee a stable environment for children.
There are also questions to consider regarding the role of marriage in our very diverse society. Gay marriage, for example, remains a taboo in many parts of the world, while in others it is only just receiving widespread attention.
In summary, marriage has certainly undergone significant changes, but the fact that so many couples do marry suggests that it still has a role to play in our society. On the question of whether it is outdated, you will need to weigh some of these advantages and disadvantages to reach your own conclusion.
https://bcc-cuny.digication.com/roynunez/Is_marriage_out-of-date_in_today_s_society

Where is Mai in the first chapter of "Monkey Bridge" by Lan Cao?

In the first chapter of Monkey Bridge, Mai is at Arlington Hospital in Virginia, three years after leaving Saigon. The year is 1978, and Mai's mother, Thanh, is recuperating from a stroke; Thanh is a patient at the hospital.
The stroke has left Thanh with a blood clot in her brain, and she often experiences nightmares and hallucinations due to the hemorrhaging that she suffered. In the chapter, Mai and her best friend, Bobbie, are visiting with Thanh. Although Thanh is making a slow but steady recovery, Mai is distressed that her mother often calls out for her father, Baba Quan, in her sleep.
Thanh and Baba Quan were supposed to meet at a rendezvous point on the 30th of April in 1975, where a car was to take them to an American plane. However, Baba Quan never appeared, and Thanh had been forced to leave for America without him. Mai knows that her mother still grieves for the father she left behind, so she resolves that she and Bobbie won't rest until they find a way to bring her grandfather to America.

How is the quote, "Community. Identity. Stability" achieved within the World State? Explain by providing quotes from the text.

In Aldous Huxley's Brave New World, those in power have engineered a society that is community-oriented and impeccably stable. People's identities are assigned to them at birth, and this creates a communal identity of harmony and stability.
The first two words in this quote are connected. In this society, people are taught that the only identity they should have is a communal identity. A popular hypnopedic teaching asserts that

Everyone belongs to everyone else.

People in the World State are discouraged from thinking that they are individuals who belong to themselves. No one can act in their own interests. Instead, they must always do what is best for the community. Another hypnopedic teaching states:

When the individual feels, the community reels.

Citizens are hindered from experiencing deep emotions. Their entire lives are filled with distractions to prevent them from engaging any profound ideas. This is why Helmholtz does not find belonging and is ultimately rejected by this community. He is an intelligent thinker who considers himself an individual and experiences deep emotions.
Stability is the greatest concern of those who control the World State. In order to create a world of stability, any inconveniences or misfortunes are removed. People are prevented from developing serious relationships or experiencing fear and sadness. Mustapha Mond explains:

The world's stable now. People are happy; they get what they want, and they never want what they can't get. They're well off; they're safe; they're never ill; they're not afraid of death; they're blissfully ignorant of passion and old age; they're plagued with no mothers or fathers; they've got no wives, or children, or lovers to feel strongly about; they're so conditioned that they practically can't help behaving as they ought to behave.

This stability is engineered at the cost of romance, high art, love, sadness, familial relationships, and self-awareness. There is no purpose to life other than entertainment and consumption. This is how community, identity, and stability are achieved in Brave New World.

how does the poem Ozymandias make the reader feel?

Readers will respond differently to this poem, but one common reaction would be to experience a feeling of desolation. One might also come away with a sense of the futility of the kind of tyrannous greatness Ozymandias pursued.
The desolation or emptiness one feels in contemplating Ozymandias and his once mighty kingdom emerges through Shelley's imagery. Imagery is description using the five senses of sight, hearing, taste, touch, and smell.
In "Ozymandias," we are left with images of brokenness and emptiness. We can visualize the following:

Two vast and trunkless legs of stone
Stand in the desert

These severed legs with no trunk (torso and body) are all by themselves in the desert. The head of Ozymandias is broken off and lies by the statue's feet as if he has been beheaded. This is an image of destruction and loneliness. Later, we learn the following:


Round the decay
Of that colossal Wreck, boundless and bare
The lone and level sands stretch far away.

Words like "boundless," "bare," "lone," and "level" offer to our mind's eyes a vista of aloneness where once a great kingdom stood. The complete silence of this scene is also desolate.

The words that Ozymandias had carved on his statue are now ironic. He calls on the "mighty" to look on his works and despair. He means for them to see his vast city, his armies, and his wealth and know that they cannot challenge him. Instead, the "mighty" now should despair because such "great" works came to nothing but desert sand. Shelley was a political radical in his time (although his convictions would not seem as radical to us), and he supported the ideals of the French Revolution. The image of Ozymandias's severed head and the "level sands," representing the forces of leveling (a word for equality), are images that warn the powerful of Shelley's day that they too will end up as nothing.

One could certainly feel unsettled after reading Shelley’s sonnet. Essentially an account of a visit to the tomb of Ramses II (the Ozymandias immortalized in the poem), the traveler tells the narrator that all that remains of this once-great king and the civilization he built is a broken statue in the desert. Only the statue’s legs remain upright. On its pedestal, an inscription, once meant to intimidate, is now a grim reminder of the power that time wields over all things: "My name is Ozymandias, king of kings:/Look on my works, ye Mighty, and despair!" Despite the greatness of his works and vastness of his empire, time seems to have mocked the king, as did the sculptor who captured his frown and sneer in the now-ruined stone monument.
Through his work, Shelley alludes to the transience of all man-made things. Even art and language do not survive the ravages of time, which is the only true power. Offering no words of hope, the poem ends abruptly, leaving its reader with only more questions.

Who says the following and why? You’re on the spot he’d need a humiliating in if you thought against. You’re talking nonsense - idiocy

We're in book 2 of the Odyssey, and Penelope's suitors have taken over the royal palace, eating the absent Odysseus out of house and home. Penelope has tried her very best to stall the suitors until her husband's return, promising to marry one of them when she's finished spinning an elaborate shroud. Each night, as part of her cunning delaying tactics, she secretly destroys her handiwork so that she can start all over again.
The suitors are arrogant, insolent, and disrespectful. Even when Telemachus plucks up the courage to call an assembly and pleads with the suitors to leave, they still treat him like he's just a kid. But they are no more respectful of age than they are of youth. The wise old Mentor addresses the assembly. He says that he doesn't begrudge the suitors for their behavior. But he certainly does resent the men of Ithaca for sitting around and doing nothing, instead of rising up and sending the suitors packing. After all, they greatly outnumber the suitors:

Sitting here in silence . . . never a word put forth to curb these suitors, paltry few as they are and you so many.

But one of the suitors, Leocritus, son of Euenor, rounds angrily on Mentor for his boldness:

Even if Odysseus of Ithaca did arrive in person, to find us well-bred suitors feasting in his halls, and the man were hell-bent on routing us from the palace—little joy would his wife derive from his return, for all her yearning. Here on the spot he’d meet a humiliating end if he fought against such odds. You’re talking nonsense—idiocy.

These are fighting words. Leocritus is openly saying that, even if Odysseus did return, he'd be so heavily outnumbered by the suitors that he'd end up being totally humiliated if he ever tried to drive them from his palace. As with all but one of the unfortunate suitors, Leocritus will be forced to eat his ill-chosen words in due course.

What is the significant difference of events in the lives of the two young characters of "The Flower" by Alice Walker and "A&P" by John Updike? Does reading the two stories in combination produce a message of culture and identity in America?

The main difference between what occurs in the two young lives of the protagonists of Walker's and Updike's stories is that the loss of a romantic notion of life is forced upon Myop while Sammy brings his crash into reality upon himself.
That Myop dwells in a childish world of her own is evinced in the opening lines of "The Flowers":

It seemed to Myop as she skipped lightly from hen house to pigpen to smoke house that the days had never been as beautiful as there.

For, even though her parents and she are obviously poor sharecroppers and their lowly cabin has "rusty boards," Myop is not affected by such humble surroundings because these are all she knows in her innocence. With pigs and chickens and crops, the family probably has enough to eat, as well. Besides, she has the beauty of nature around her in which she delights. So, it is only when her innocent notions of life collide with the reality of man's inhumanity to man that the romantic cloud under which she dwells is harshly removed from Myop.
Similarly, Sammy's view of life is clouded by his youth in which he, too, has not yet been confronted by harsh realities. While he is critical of the middle-aged women--"houseslaves"--with their curlers and "varicose veins mapping their legs," Sammy is completely smitten when the girl he names Queenie enters the grocery store in her swim wear. He describes her in desirous tones, and concludes that she is "more than pretty." Then, when the store manager Mr. Lengel approaches Queenie and her two friends, telling them that they must leave because policy does not allow anyone to enter the store with their shoulders uncovered, Sammy acts according to his romanticized perceptions. He decides that he must rebelliously be their heroic defender.

That's policy for you. Policy is what the kingpins want. What the others want is juvenile delinquency.

Believing that he will impress the girls, particularly Queenie,  Sammy decides upon the chivalrous gesture of quitting his job in order to put on display for the girls his disapproval of the rules.
However, Sammy's romantic notions are destroyed once he is outside the store. For, his act goes unnoticed by the girls who are "gone, of course," as Sammy notes. Alone outside, Sammy looks back into the store and suddenly realizes the rashness of his romantic and voluntary act:

...my stomach kind of fell as I felt how hard the world was going to be for me hereafter. 

Certainly, an examination of the two stories reveals that the cultural differences of the two characters is apparent in the limitations of life. For those like Myop's people, poverty and cruelty are often imposed upon them, whereas for people like Sammy and the three girls there is more freedom to act. 

What were challenges African nations faced after World War II?

After World War II, many African nations saw a chance to achieve independence from European colonial rule. However, the European powers were very reluctant to let go of their imperial holdings in Africa. The war had destroyed their economies, and they counted on the resources of their colonies to rebuild their nations' wealth. This even meant that several European powers, particularly France, Great Britain, and Belgium began expanding their empires even further into the Africa's interior. More land and power was taken away from tribal leaders. Colonial administrators began to demand even more mineral and agricultural resources from African workers.
At the same time, many African peoples began the call for independence. After the war, the United Nations issued a declaration that all peoples have the right to self-rule. They were also influenced by the decolonization of Asia that was occurring at the time. Africans seized on this to demand freedom from colonial rule. Europeans found it increasingly difficult to justify keeping other nations under colonial rule. They responded by saying that they were retaining these colonial possessions for a while longer in order to prepare them for independence. In the meantime, they continued to exploit the colonies' resources and labor.
Understanding that their ability to maintain colonies in Africa would not last much longer, Britain began the process of setting up local governments that would be favorable toward them once they were independent. For example, in Ghana, the British established a governmental bureaucracy designed to support them, at the exclusion of much of the local populace.
France, on the other hand, tried to convince the populace of their colonies that they should become more French instead of aspiring toward self-rule. This was not well received, and several armed struggles for independence ensued.
Even after independence was achieved, many African nations had significant struggles to face. Most had been under colonial rule for generations and had no experience of how to self-govern. With the exception of the former British colonies that had local governments in place, administrative structures were not established when the European powers suddenly left. This often created power vacuums, where local leaders struggled to gain control.
https://history.state.gov/milestones/1945-1952/asia-and-africa

Calculus of a Single Variable, Chapter 5, 5.7, Section 5.7, Problem 15

Recall that int f(x) dx = F(x) +C where:
f(x) as the integrand function
F(x) as the antiderivative of f(x)
C as the constant of integration..
For the given problem, the integral: int 1/(sqrt(x)sqrt(1-x))dx
does not yet resemble any formula from table of integrals.
To evaluate this, we have to apply u-substitution by letting:
u =sqrt(x)
Square both sides: (u)^2=(sqrt(x))^2 , we get: u^2 =x
Then plug-in u^2 =x in sqrt(1-x) :
sqrt(1-x) = sqrt(1-u^2) .
Apply implicit differentiation on u^2 =x , we get: 2u du = dx .
Plug-in sqrt(x) =u , sqrt(1-x) = sqrt(1-u^2) , and dx= 2u du , we get:
int 1/(sqrt(x)sqrt(1-x))dx =int 1/(u*sqrt(1-u^2))*(2u du)
=int (2u du)/(usqrt(1-u^2))
Cancel out common factor u:
int 1/(usqrt(1-u^2))*(2u du)=int (2 du)/sqrt(1-u^2)
Apply the basic integration property: int c*f(x) dx = c int f(x) dx :
int(2 du)/(sqrt(1-u^2))= 2int(du)/sqrt(1-u^2)
The integral part resembles the basic integration formula for inverse sine function:
int (du)/sqrt((a^2 -u^2)) = arcsin(u/a) +C
Then,
2int(du)/sqrt(1-u^2) =2arcsin(u/1) +C
=2 arcsin(u) +C
Express it in terms of x by plug-in u =sqrt(x) for the final answer :
int 1/(sqrt(x)sqrt(1-x))dx =2 arcsin(sqrt(x)) +C

Single Variable Calculus, Chapter 7, 7.6, Section 7.6, Problem 50

Suppose that a lighthouse is located on a small island, 3 km away from the nearest point $P$ on a straight shore line, and its light makes four revolutions per minute. How fast is the beam of light moving along the shore line when it is 1km from $P$





$
\begin{equation}
\begin{aligned}
\tan \theta &= \frac{y}{3}\\
\\
\theta &= \tan^{-1} \left( \frac{y}{3} \right)
\end{aligned}
\end{equation}
$


By taking the derivative with respect to time,

$
\begin{equation}
\begin{aligned}
\frac{d \theta}{dt} &= \frac{\frac{d}{dy}\left( \frac{y}{3} \right) \frac{dy}{dt}}{1 + \left( \frac{y}{3} \right)^2}\\
\\
\frac{d \theta}{dt} &= \frac{\left( \frac{1}{3} \right) \frac{dy}{dt}}{1 + \frac{y^2}{9}}\\
\\
\frac{d \theta}{dt} &= \frac{\left( \frac{1}{3} \right) \frac{dy}{dt} }{\frac{9+y^2}{9}}\\
\\
\frac{d \theta}{dt} &= \frac{3\frac{dy}{dt}}{9 + y^2}\\
\\
\frac{d \theta}{dt} &= \frac{9+y^2}{3} \frac{d \theta}{dt}
\end{aligned}
\end{equation}
$

Since, $\displaystyle 1 \text{km } \text{ and } \frac{d \theta}{dt} = 4 \frac{\cancel{\text{rev}}}{\text{min}} \left( \frac{2\pi\text{rad}}{1\cancel{\text{rev}}} \right) = 8 \pi \frac{\text{rad}}{\text{min}}$

So,

$
\begin{equation}
\begin{aligned}
\frac{dy}{dt} &= \frac{9+ (1)^2}{3} \left( 8 \pi \frac{\text{rad}}{\text{min}} \right)\\
\\
\frac{dy}{dt} &= \frac{80 \pi}{3} \frac{\text{km}}{\text{min}}
\end{aligned}
\end{equation}
$

What is a summary of chapter 8 in Stiff?

Stiff: The Curious Life Of Human Cadavers is a 2003 nonfiction work by Mary Roach. In chapter 8, "How to Know If You’re Dead," Roach looks at beating-heart cadavers, live burial, and a search for the soul. The chapter analyzes the differences between a healthy human being and a body surviving only through a machine.
Roach visits beating-heart cadavers at the University of California San Francisco Medical Center who are being kept alive for organ donation. In particular, she follows a lady, known as "H," who is braindead but is on artificial life support. Roach comments that

H doesn’t look or smell or feel dead.

She observes when a surgeon cuts H open while H's organs are still functioning and notes that she struggles with the idea that H is now a cadaver and no longer a living being:

It is strange, almost impossible, really, to think of her as a corpse.

Roach thinks about what makes somebody truly dead. When does the soul leave the body? And also, where in the body is the soul when a person is alive?
The chapter ends with Roach’s personal opinion on organ donation:

It is astounding to me, and achingly sad, that with eighty thousand people on the waiting list for donated hearts and livers and kidneys, with sixteen a day dying there on that list, that more than half of the people in the position H's family was in will say no, will choose to burn those organs or let them rot. We abide by the surgeon's scalpel to save our own lives, our loved ones' lives, but not to save a stranger's life. H has no heart, but heartless is the last thing you'd call her.

When is an individual truly dead? In the eighth chapter of Stiff, Roach tackles the debate over the definition of death and continues her reflections on the existence and seat of the human soul.
To understand why the debate over when death actually occurs is important, one must understand the two types of death defined by the medical community: clinical and biological. Clinical death, defined by the absence of heartbeat, breathing, and brain function is sometimes reversible, while biological death, which occurs at the cellular level up to two hours after clinical death, is not reversible. A blurring of these definitions occurs in the case of individuals who are organ donors, however. Though technically considered “dead,” unable to sustain heart and lung function on their own, the vital organs in these beating heart cadavers are preserved for transplantation via artificial (mechanical) respiration and circulation. Therefore, if a human being is being maintained in such a manner, are they truly a cadaver?
Using one such beating-heart female cadaver, “H,” as an example, Roach witnesses the harvesting of her organs at UCSF Medical Center. While she supports organ donation, believing the practice both humane and necessary, she also struggles with the idea that H, who has been maintained on artificial life support, is no longer a living person. This, in turn, causes Roach to meditate upon the existence of the soul. Ultimately, however, she believes people like H are “the dead’s heroes.” Thanks to H’s gift, for example, the lives of three people will be saved.

Suggest ideas for an essay on existentialism and its relations to modern day literature. The essay needs to explore how existentialism reveals philosophies of life and connects to the human condition. How can existentialism in modern literature reveal existential plights in characters?

An essay on the relationship between existentialism and modern literature might focus on both the larger existentialist themes that appear throughout modern works and specific character studies. The existential crisis presents itself throughout modern literature, and it typically involves a moment of realization in which the main character is confronted with the lack of inherent meaning in life.
Existentialism in Modern Literature
Existentialism is alive and well in modern literature. Fight Club by author Chuck Palahniuk is a great example of existentialism presented through the lens of modern literature. The main character is a young man struggling with mental health issues who exhibits many of the classic ideas of existentialist thought. He rebels against society and its postmodern sensibilities, refusing to accept a world in which everything, including personal identity, is a commodity. The unnamed narrator goes through an existential crisis in which he questions whether his own life has any meaning. He is without goals or prospects and is confronted with the endless consumer cycle his life has become, which prompts him to take steps to create his own meaning. In this sense, Fight Club is both an existentialist story and a rebellion against postmodern thought.
Philosophies of Life and the Human Condition
Existentialism relates to philosophies of life and the human condition in many significant ways, the chief of which is the idea of the meaning of life. While other philosophies allow the individual to define life's meaning according to some inherent value in social structures, existentialism calls the very idea of meaning into question. In existentialist thought, meaning is entirely dependent upon the individual. If there is any meaning in the human condition, existentialist philosophers argue that it is up to the individual to create and define it. In this sense, the existentialist philosophy of life is a rebellion against blind obedience to authority and societal expectations and it results in a highly individualized mode of living.
One of the greater implications of existentialist thought on the human condition is that if meaning is a product of individual choice, so is suffering. No Exit by Jean-Paul Sartre is an existentialist work that delves into the idea that Hell, used as a metaphor for human suffering, is created by humans and inflicted both upon the self and others. As Sartre expressed through his work, human existence may be an accident, but it is up to humans to use the freedom that has been given to them by chance to determine what purpose their lives will have, if any.
Existential Plights in Characters
Throughout modern literature, existentialist themes often result in a crisis of identity or purpose for the main character. From the ubiquitous "mid-life crisis" to existential crises in youth, characters at all stages of life are shown to experience moments of questioning that lead them to a deeper understanding of the meaning of life. This understanding can range from personal to universal in scope. In the Fight Club example, the narrator's existential plight manifests in the form of Tyler Durden, a creation of the narrator's imagination. The narrator's existential plight reaches its climax when he realizes that he created Tyler and he is both in control of and responsible for the harm he brings to others.
https://www.bu.edu/wcp/Papers/Cont/ContBhan.htm

Can traditional elements of crime writing be applied to "The Rime of the Ancient Mariner"?

Before we find an answer to this question, let's look at what traditional elements of crime writing are. First of all, the term "crime writing" encompasses a wide range of story possibilities. These include cozy crimes, which usually have a friendly protagonist and focus more on the intellectual solving of crimes; hard-boiled detective thrillers, which have hardened detectives with dubious backgrounds and a substantial amount of violence; courtroom dramas, which highlight court procedures to ascertain the guilt or innocence of suspects; capers, which are usually told from the criminal's point of view; and police procedurals, which focus on the investigation of police officers to solve crimes. There are other subcategories within these broad main types.
Most or all of these types of crime writing have several important elements in common. First, they must have a crime, often a murder, which initially seems unsolvable. Sometimes, though, the crime is solved in the beginning and the plot deals with other matters. Secondly, there must be an interesting protagonist, usually either a detective or policeman but sometimes an interesting civilian, who attempts to solve the mystery and as a result gets into dangerous situations. Thirdly, there must be unsavory characters involved. One or more of them committed the crime, and the others are suspects who turn out to be innocent. Finally, there must be danger and tension until the crime is solved and the criminal escapes or is brought to justice.
The famous poem "The Rime of the Ancient Mariner" by Samuel Taylor Coleridge tells of a mariner who stops a wedding guest and tells him the story of a voyage he took to Antarctic waters. He shoots an albatross, and the crew is at first angry but then supports the crime. As a result, the ship and its crew are cursed. Everyone eventually dies except the mariner, who makes it back home but feels compelled to tell his story again and again to those who will listen.
This poem has few of the traditional elements of crime writing as delineated above. There is a crime in the killing of the albatross for which the entire crew suffers, but this is more of a crime against nature or God rather than other humans. There is an interesting protagonist, but he does not attempt to solve the crime or even absolve himself of it; when he is finally freed it is more by accident than intention. There are no other suspects. There is, however, rising danger and tension.
In conclusion, "The Rime of the Ancient Mariner" has few of the elements of traditional crime writing. Instead, because of the supernatural elements in it, it has more in common with fantasies or ghost stories.

The traditional elements of crime writing—an eerie setting, a terrible crime involving a death and a victim, vengeance, guilt, punishment, and a transgression against morals and/or laws can be applied to Coleridge’s famous long ballad. Indeed, the crime of the Mariner is so dreadful that it has disturbed the spirit world, which wreaks vengeance on him for shooting the sacred albatross, which can be viewed allegorically as a Christian soul. Pride, or "hubris," is the Mariner’s flaw, both in thinking he would escape punishment —even though he transgressed against the life force of the albatross—and in embarking on a voyage of discovery, which, in the 1790s, might have been seen as contrary to biblical teaching because of the sailors' attempt to "play God" by embarking on an over-ambitious expedition. The Mariner suffers guilt, as would be portrayed in a crime story, and learns a moral lesson, realizing that he has done a "hellish thing." Although there is no conventional "trial" of the Mariner, the spirit voices act as judges and represent the Mariner’s own guilt.

How does Tennyson's poem "The Lotos-Eaters" change or revise lines 62–104 in Book IX of Homer's Odyssey?

Tennyson's poem "The Lotos-Eaters" is not so much a revision of as an elaboration upon this section from the Odyssey. Homer's description of the visit to the land of the Lotus Eaters is rather brief. He details how his heroes "landed / in the land of the Lotus Eaters, who eat a flowery food." When some of the men are sent to discover the identity of the Lotus Eaters, they find that "the Lotus Eaters did not intend destruction" and receive lotus fruit to eat themselves. Importantly,

Whoever of them ate the honey-sweet fruit of the lotusNo longer wished to report or come back,But wanted to stay there among the Lotus Eater men,To feed on lotus and forget return home.

Ultimately, the men have to be dragged back to the ship, weeping, and tied there.
Tennyson's poem, then, offers further elaboration upon the Lotos Eaters themselves, whom Homer does not really describe, and upon the effects of the fruit. In Homer's poem, we do not know how the sailors were aware that they had landed "in the land of the Lotus Eaters"—they go out deliberately to find these people. In Tennyson's poem, the Lotus Eaters approach the sailors: "the mild-eyed melancholy Lotos-eaters came."
Tennyson's depiction of Lotus Eater country is very much one of a land in stasis, "a land where all things always seem'd the same." The idea that the land and its inhabitants are always, to a certain extent, asleep is conveyed by the semantic field of sleep in the language: "languid," "dream," "slumbrous." The sailors who eat the fruit, accordingly, "deep asleep . . . seem'd, yet all awake," with voices "as voices from the grave." This sleep, then, is perhaps not one they are intended to wake from. The term "Lotos-eaters" is often equated with opium smokers, a common vice in the Victorian age and one which was known to create a similar kind of endless sleepy languidness. Some have argued that Tennyson's poem interprets the behavior of Homer's sailors through the lens of this contemporary understanding. This is supported by Tennyson's comment in the poem that "the poppy hangs in sleep."
Tennyson's poem offers an eerie explanation as to why those who ate the fruit should all have decided to "forget return home." In Homer, we do not see the sailors' point of view; they are not allowed to explain themselves. In "The Lotos-Eaters," the fruit seems to induce a sort of group hallucination:
And all at once they sang, "Our island homeIs far beyond the wave; we will no longer roam."
The "choric songs" seem to represent the feelings of these affected sailors and the attitude towards "return home" which, in Homer's poem, we are not presented with. Homer tells us only that the men refused to come back to the ship and had to be dragged there. According to Tennyson, the lotus fruit made the men feel that they had good reason for this. After all, "why should we toil alone" when there is "sweet music here," and "weary seem'd the sea"? While the men still like to dream of the "Fatherland," the idea of embarking once again upon the sea seems an unbearable toil to them by contrast to the lure of "the Lotos-land." The men seem to know, or sense, that to stay here is to accept death, or waking death, but this does not dissuade them:

Is there any peace In ever climbing up the climbing wave? All things have rest, and ripen toward the grave In silence; ripen, fall and cease: Give us long rest or death, dark death, or dreamful ease.

The Lotus Eaters convince themselves that, while they would like to see their homes again, it may have been too long for them to be welcome and that they will "come like ghosts to trouble joy." They would rather "in the hollow Lotos-land to live and lie reclined" and take an oath to do so.
What is interesting about Tennyson's poem is that it gives voice to those men who, in Homer's epic, are presented only as resistant to their Captain's orders. We can interpret their pleas in two ways—on one hand, as a reasonable protest against a journey which has gone on too long and from which they crave respite. On the other hand, we know that they have eaten of the lotus fruit at this point. Does the lotus fruit simply allow them to express what they had been feeling already, now that they have been given another option? Or does it put ideas in their heads that were not already there? Either way, it illuminates these lines from Homer and helps us consider another point of view on the story.

In Heartbreak House, Shaw exposes the spiritual bankruptcy of his generation. Do you agree?

Shaw exposes the spiritual bankruptcy of his generation. In this Shavian parody, the spiritual emptiness of the bourgeoisie at the time of World War I is satirized. For example, Mrs. Hushabye and her husband survive because of the earnings of their father, the inventor Captain Shotover. He is an odd man who fools around with dynamite. As the family is running out of funds, he must invent something horrific, a weapon, to earn more money. Their quest for money, even urging Captain Shotover to create a weapon while they live an empty and useless existence, is a sign of their spiritual bankruptcy.
Ellie Dunn, for her part, wants to marry someone who will take care of her. She agrees to marry Boss Mangan because he is rich, though it is later revealed that he has no money. She says that "a soul is a very expensive thing to keep: much more so than a motor car," showing the extent to which she equates her soul with money. Ellie ultimately marries Shotover, though he has a Jamaican wife, perhaps because he is old and she won't have to put up with him for long. Her choices are superficial and spiritually corrupt. In the end, the party at Heartbreak House is bombed, and, rather than being frightened, the upper-class members of the party refuse to turn off the lights. Instead, the two lower-class members of the party are killed, and the upper-class people hope the bombers will return the next night. Their willingness to be bombed and their superficial and naive attitude about the bombs are the ultimate sign of their spiritual bankruptcy.

College Algebra, Chapter 10, 10.4, Section 10.4, Problem 34

A mortgage company advertises its rates by making unsolicited telephone calls to random numbers. About $2 \%$ if the calls reach consumers who are interested in the company's services. A telephone consultant can make 100 calls per evening shift.

a.) What is the probability that two or more calls will reach an interested party in one shift?

b.) How many calls does a consultant need to make to ensure at least a $0.5$ probability of reaching one or more interested parties?

Recall that the formula for the binomial probability is given by

$C(n,r) p^r q^{n-r}$

a.) In this case, the probability of success is $p=0.02$ while the probability of failure is $q=1-p=0.98$. To solve this more easily, we can use the complement of the probability that none of 1 call reach an interested party. Thus, the probability that two or more calls will reach an interested party is


$
\begin{equation}
\begin{aligned}

=& 1 - [P(0) + P(1)]
\\
\\
=& 1 - \left[C(100,0)(0.02)^0 (0.98)^{100-0} + C(100,1)(0.02)^1 (0.98)^{100-1}\right]
\\
\\
=& 1 - [0.1326 + 0.2707]
\\
\\
=& 0.5967

\end{aligned}
\end{equation}
$



b.) In this case, we are required to solve for $n$. Again, by applying complement of the probability that none has reached the interested party, we get


$
\begin{equation}
\begin{aligned}

0.50 =&1 - \left[C(n,0) (0.02)^0 (0.98)^{n-0}\right] &&
\\
\\
0.50 =& \frac{n!}{0! (n-0)!} (0.98)^{n-0} &&
\\
\\
0.50 =& \frac{n!}{n!} (0.98)^n &&
\\
\\
0.50 =& (0.98)^n
&& \text{Take $\ln$ of both sides}
\\
\\
\ln (0.50) =& n \ln (0.98)
&& \text{Solve for } n
\\
\\
n =& 34.34 &&
\\
\\
& \text{or}
&&
\\
\\
n \approx & 35
&&


\end{aligned}
\end{equation}
$



It shows that the consultant must make 35 calls in order to ensure a $0.5$ probability of reaching one or more interested party.

Is economic globalization governed properly? Discuss what globalization is and how things such as trade, finance and multinational corporations are or are not governed.

Economic globalization provides a major challenge for governance. Most laws and legal enforcement mechanisms are national in nature. Thus while nations can, to a degree, police the conduct of multinationals within their own boundaries, when legal and other regulatory issues span national boundaries, establishing laws and regulations for globalized business is difficult. This is especially the case because doing so would involve giving up national sovereignty to a certain degree. Given a political mood of populist and nationalist backlash against globalization, as exemplified by Brexit and the US backlash against NAFTA and the TPP under Trump, it is politically difficult for politicians to argue for giving greater powers to international organizations such as the WTO.
Many regulations, such as environmental and labor laws, are national rather than global. This means that companies wishing to avoid such regulations can use global supply chains to do so. For example, rather than paying a living wage to workers in developed countries, companies can outsource manufacturing to sweatshops in the developing world. Similarly, companies can export toxic waste or move processes that produce it to countries with little environment regulation or lax enforcement. Companies can also avoid paying taxes by using complicated international stratagems like funneling earnings through subsidiaries or choosing domiciles for parent companies in low-tax areas. Tax havens and shell companies can further obscure the global flows of cash and be used to evade fines and sanctions.
Some organizations provide forums for global or regional cooperation on trade and various forms of regulations. The World Trade Organization and the United Nations are among the truly global groups, although their ability to regulate and enforce standards is limited by the need to obtain the consensus of so many national governments. The Paris Climate Agreement is supported by 200 countries and is designed to deal with global climate change. With Donald Trump deciding to leave the accord and Syria joining, the United States is the only country not part of the accord. This is an example, though, of the difficulty enforcing environmental regulations on a global scale.

int (1/(2x+5) - 1/(2x-5)) dx Find the indefinite integral

int (1/(2x+5)-1/(2x-5))dx
To solve, express it as difference of two integrals.
= int 1/(2x+5)dx - int 1/(2x-5)dx
Then, apply substitution method.
u=2x+5

du=2dx
1/2du=dx

w=2x-5

dw=2dx
1/2dw=dx

Expressing the two integrals in terms of u and w, it becomes
= int 1/u*1/2 du - int 1/w*1/2dw
=1/2int1/u du- 1/2 int1/w dw
To take the integral of these, apply the formula int 1/x dx = ln|x|+C .
= 1/2 ln|u| - 1/2 ln|w|+C
And, substitute back u= 2x+5 and w=2x-5.
=1/2ln|2x+5|-1/2ln|2x-5|+C
Therefore,  int (1/(2x+5)-1/(2x-5))dx=1/2ln|2x+5|-1/2ln|2x-5|+C .

What do the characters' emotions and behavior reveal about their psychological states in "Soldier's Home"?

Ernest Hemingway's short story "Soldier's Home" is about a returning World War I veteran who fought in some of the most important battles of the war. There are essentially only four characters represented in the story: Harold Krebs, his mother, father and sister. Krebs apparently is suffering ill effects from his experience in the war. He lacks motivation and claims that he wishes to avoid complications and for everything in his life to "go smoothly." His days are spent basically in an idle state, sleeping late, spending time at the library (trying to sort through books on the war to figure out what really happened to him) and shooting pool. He is unable to communicate his unease about what he went through in the war and tends to avoid interpersonal relationships. In today's terms it might be said that Krebs suffers from post-traumatic stress disorder. His psychological state is one of a man who has experienced the horrors of war and is not capable of returning to his old life and normal existence. Two recent movies, The Hurt Locker and American Sniper, portray characters who would relate to what Krebs is feeling as he attempts to reintegrate into life in his small Oklahoma town.
Krebs's mother is also affected by her son's unease. She cannot understand why he won't simply carry on with his life as if the war never happened. She finally confronts him at the end of the story in an extremely uncomfortable scene in which Harold tells her that he doesn't love her and cannot pray with her. James R. Mellow, in his biography of Hemingway, suggests that Mrs. Krebs is modeled after Hemingway's own mother and that, along with being devoutly religious, was also a highly controlling figure in her children's lives. The fact that Krebs is no longer her little boy has caused her great dismay and she eventually breaks down crying in the face of his rejections.
Krebs's father is never physically present in the story, but his presence is felt. He is obviously a no-nonsense businessman who simply wants his son to get on with acquiring a job and being a productive member of society. His absence suggests that he may not be emotionally invested in his son's life and that the only thing that really matters to him is work.
Finally, the reader is introduced to Krebs's sister Helen, who appears in a seemingly unimportant scene in which she asks him if he is her "beau" and wants him to attend her indoor baseball game. She tells him that he doesn't love her unless he goes to her game. Krebs is initially apathetic and noncommittal in his conversation with his sister, but the discussion is later revealed to be important. In the story's last lines he says he will go to Helen's game, and this may be the first realization for Harold that he must get on with his life and that he may actually be capable of loving someone.

Calculus of a Single Variable, Chapter 8, 8.2, Section 8.2, Problem 33

dy/dt=t^2/sqrt(3+5t)
y=intt^2/sqrt(3+5t)dt
Apply integral substitution :u=sqrt(3+5t)
du=1/2(3+5t)^(1/2-1)(5)dt
du=5/(2sqrt(3+5t))dt
=>dt/sqrt(3+5t)=2/5du
u=sqrt(3+5t)
squaring above,
u^2=3+5t
=>5t=u^2-3
t=(u^2-3)/5
t^2=1/25(u^2-3)^2
t^2=1/25(u^4-6u^2+9)
y=intt^2/(sqrt(3+5t))dt
=int1/25(u^4-6u^2+9)(2/5)du
=int2/125(u^4-6u^2+9)du
Take the constant out,
=2/125int(u^4-6u^2+9)du
Apply the sum and power rule,
=2/125(intu^4du-int6u^2du+int9du)
=2/125(u^5/5-6u^3/3+9u)
=2/125(u^5/5-2u^3+9u)
Substitute back u=sqrt(3+5t)
=2/125(1/5(3+5t)^(5/2)-2(3+5t)^(3/2)+9(3+5t)^(1/2))
simplify the above and add a constant C to the solution,
=2/125(3+5t)^(1/2)(1/5(3+5t)^2-2(3+5t)+9)+C
=2/125sqrt(3+5t)(1/5(9+25t^2+30t)-2(3+5t)+9)+C
=2/125sqrt(3+5t)((9+25t^2+30t-10(3+5t)+45)/5)+C
=2/125sqrt(3+5t)((9+25t^2+30t-30-50t+45)/5)+C
=2/125sqrt(3+5t)((25t^2-20t+24)/5)+C
y=2/625(25t^2-20t+24)sqrt(3+5t)+C

I need an analysis of this painting. In approximately what time-period was this work created (years are acceptable) What is the subject matter (What kind of activity is being depicted?) Can you tell if the artist takes a position towards his subject (favorable/unfavorable), or does he remain neutral/unbiased? Why do YOU think this painting is important? (What can we learn from it? What was Catlin trying to show us, the viewers, 180 years later?)

Having never seen this painting before, I will first offer my own initial impressions, and then we’ll look up the artist and the history. Your own prior knowledge and experience can tell you a lot about the meaning of any artistic work, even if you don’t know anything about it.
I see two Native Americans, one in traditional dress, and the other in vintage European garb. I’m guessing this scene is set during the American western expansion, which I know took place in the 1800s. Some of the Natives held on to their ancient traditions, while others adapted (or were forced to adapt) to the new ideas that the European immigrants brought with them.
The character on the left is wearing a traditional feathered headdress and holds a peace pipe (both highly spiritual symbols), while the one on the right wears a top hat with one bright feather and smokes a cigarette. He seems, to me, to be more interested in the meaningless shallow finery of the Europeans than in his tribe’s spiritual heritage.
The two Natives are facing away from each other, and I wonder if they are really supposed to be two separate people, or if this is a metaphor for the internal struggle of an individual who’s trying to decide whether to stay true to his family and tribal values or emulate the European customs.
Using Google’s reverse image search, I learned that this peace is called Wi-jún-jon, Pigeon's Egg Head (The Light) Going To and Returning From Washington. It was painted by George Caitlin in 1839. This painting does indeed depict two sides of one person: it’s a “before and after” shot of an Assiniboine Chief who went to visit Washington and returned to his tribe with all kinds of new clothes, accessories and ideas (1).
I don’t feel like the artist is biased one way or another, but it does seem like he’s trying show us something important about individual identity vs. group identity and how our personality can actually change a lot depending on the company we keep. This is as true today as is was at the time of the painting (and throughout all of history). No matter how close and connected you may feel to your family and your oldest friends, there are always new people and new ideas to explore. Identity, personality, and values are malleable, and sometimes new situations will change you a lot more than you’d expect.
 
Work Cited: (1) "Wi-jún-jon, Pigeon's Egg Head (The Light) Going To and Returning From Washington." Smithsonian American Art Museum, n.d. https://americanart.si.edu/artwork/wi-jun-jon-pigeons-egg-head-light-going-and-returning-washington-4317. Accessed 16 December, 2017.

In the book Tangerine, what is Mike and Joey’s relationship?

Mike and Joey are brothers, and have a relationship that is a complete contrast to Erik and Paul. Mike is a role-model to his younger brother, showing compassion and brotherly love, a natural foil to the sadistic Erik. Since Erik's death occurs very early in the novel, it is difficult to rely on concrete interactions to define Mike and Joey's relationship dynamic, however, there is a great deal that we can infer based on the way Joey acts. When Mike is struck by lightning, Joey immediately rushes to his aid, taking his shoes off to make him more comfortable. He seems to want to live up to his brother's reputation by quitting soccer to go out for football. He wants to be like his brother in every way, as if this is his way of mourning and carrying on his legacy.

In Tangerine by Edward Bloor, Mike Costello and Joey Costello are brothers. Early on in the novel, Mike is electrocuted to death by a bolt of lightning. Joey, out of love and care for his brother, rushes to his brother to take off his shoes in order to make him comfortable as he's dying.
Mike Costello was somewhat of a football star at school; as a consequence, Joey feels pressured to live up to his brother's large reputation after his death. In a way, this shows both Joey's devotion toward making his brother proud as well as the significant amount of respect he has for his brother. By choosing to abandon his own sport (soccer) in favor of his brother's sport (football), Joey is shown mourning his brother in a very special way.

How did the system of checks and balances in the federal government help to limit the concentration of power?

From the very inception of the federal government, the country's founders were concerned about the possible abuses of power that could take place if power were concentrated in the hands of a few individuals. In order two counter this threat of tyranny, the government was divided into three main branches: legislative, executive, and judicial. While each branch has very different responsibilities and functions, it also has certain abilities to limit the power of the other branches.
The modern idea of checks and balances was first articulated by the French philosopher Baron de Montesquieu in the eighteenth century. He argued that the ability of one part of the government to place checks and balances over another part while exercising its own unique functions would protect the will of the people, prevent fraud, and limit mistakes. While this system of government might not be as efficient or expeditious as a single ruler, it would eliminate what Montesquieu called "arbitrary control."
The United States Constitution lays out the function of the federal government and borrows heavily from Montesquieu's ideas of the separation of powers and checks and balances. For example, Congress (legislative branch) can pass a law, but the president (executive branch) can veto the law. In turn, Congress has the ability to overturn a presidential veto. The president nominates judges (which are in the judicial branch), but these judges must be approved by Congress. Indeed, the legislative branch, namely the Senate, must approve most presidential nominations. It can also impeach judges appointed by the president and even the president too. The judicial branch can check the power of the two other branches by declaring laws or executive actions to be unconstitutional.
As a result of all these checks and balances, the process of creating and implementing laws can be cumbersome and move slowly. This was done by deliberate design. Federal action can only occur if the majority of government is in agreement. No president, judge, or congressional body can act independently. Throughout the history of the United States there have been many presidential vetoes, many of which were then overridden. The courts have found many laws and executive actions to be unconstitutional and presidential nominations have been denied.
Because of this system, power in the federal government is spread around the different branches rather than being concentrated in a single source with the ability to abuse it.

What are examples of literary elements in act 5, scene 3, lines 55–90?

Literary elements in these lines of Julius Caesar include apostrophe, metaphor, and soliloquy.
When the two men find Cassius's body, they are shocked to find him dead. Titinius uses a metaphor, which is the direct comparison of unlike things for effect. He refers to Cassius as the "sun" and speaks of his death as a sunset, specifically comparing his "red blood" to its "red rays." He introduces this idea through apostrophe, which is direct address, often to an inanimate object or natural element: in this case, "O setting sun!" He continues the weather metaphor for the ill fortune or defeat of Rome that comes with Cassius's death; without the sun, there will be "clouds."
Messala also uses metaphor and apostrophe. He contrasts death and birth, comparing the error that has led to the death as a mother dies in childbirth. He speaks to error as to a child: "O error!"
After Messala leaves, Titinius speaks a soliloquy before he kills himself, a monologue when the character is alone on stage. (The dead body doesn't count.)
https://www.playshakespeare.com/julius-caesar/scenes/act-v-scene-3

There are a number of notable literary elements in this exchange between Messala and Titinius. For example, in lines 70-75, we see an extended metaphor with the use of figurative language personifying the "hateful error" that led to Cassius's "deed." Messala appeals to the error itself, "melancholy's child," describing it as having been "soon conceived" (a pun on the word "conceived," which can mean either conceived like a child or conceived as an idea) and then having killed "the mother that engender'd thee."
Later in the scene, Messala highlights a use of pun, declaring his intention to meet Brutus and "thrust" the news upon him—"I may say "thrusting" it / For piercing steel . . . shall be as welcome to Brutus as tidings of this sight." The structure of the sentence here privileges the imagery, and contains potential dramatic irony, an allusion to other instances of "thrusting" "piercing steel" in the play (notably relating to the death of Caesar).

In "Mending Wall" by Robert Frost, why do you think the speaker agrees to rebuild the wall every time it falls down?

The activity can be seen as an excuse for the speaker to bond with his neighbor for a brief period once a year. He probably sees it as an opportunity to be social and to renew the link they have. There is, furthermore, a clear suggestion that the speaker sees the meeting as an opportunity to persuade his neighbor that they do not need a wall between them after all. He alludes to the fact that a wall is used for protection, either inside or out, but it seems as if neither he nor his neighbor has anything to protect. The speaker's subtle sarcasm suggests that none of them has anything to fear about the other.

He is all pine and I am apple orchard.
My apple trees will never get across
And eat the cones under his pines.

In addition, the speaker makes a point of stating that his neighbor's contention that "Good fences make good neighbours" does not make any sense, because none of them have livestock, such as cows, which may wander from one's area into the other's and cause damage.
It is clear that the wall creates some tension between the two men. The one sees the wall as a purposeless barrier, while the other insists on maintaining a stubbornly traditional approach by referring to the cliched notion that a well-constructed and well-maintained fence ensures good relations between neighbors. In this instance, though, it evidently does not, since our two protagonists are not in agreement about its presence. The speaker's annoyance is, however, contained, and it is his composure and cordial acceptance of his neighbor's idea, rather than the existence of a wall, that prevents any open conflict.

The speaker's land and his neighbor's land are separated by the differences in the trees: "He is all pine and I am apple orchard." If their lands are marked by this difference, the wall seems to be merely symbolic and perhaps even unnecessary. 
The speaker suggests that the rebuilding is "just another kind of outdoor game." This could mean the rebuilding itself is playful. Given that the speaker summons his neighbor and they both take part in rebuilding, there is something communal about it. As they go about rebuilding the wall, the speaker wonders why his neighbor says "Good fences make good neighbors." So, perhaps the speaker continues to rebuild the wall because it affords him an opportunity to try and decipher what his neighbor actually means by this phrase. Does each man continue to rebuild the wall to acknowledge their separation? Or does the rebuilding give the two men a chance to meet in a peaceful way? 
The ending is ambiguous. But since this is a "mending" wall, there is a strong suggestion that the rebuilding is a way for the two men to keep their distant relationship stable (like the wall) and this ritual is a peaceful (and maybe even playful) way to do it. 

What are some of the major challenges today in providing effective treatment programs in prison? I am using the following book. Latessa, E. J., & Holsinger, A. M. (2016). Correctional Contexts: Contemporary and classical readings. Oxford: Oxford University Press. Chapters 16, 17, 18, 20, 22

This is an anthology of essays co-edited by Edward LaTessa and Alexander Holdinger covering a wide range of topics within the essays collected. Some of the topics covered explore the most significant challenges facing the prison system today, including recidivism (the tendency for released prisoners to become involved again in crime and return to prison). The authors comprise an array of journalists and academics, including journalist Ted Conover, who became employed as a corrections officer in order to go undercover and learn about the prison system for his book Newjack.
In defining "treatment programs," it is important to specify what kind of treatment is being referred to. The most common treatment programs in prison usually deal with drug offenders, sex offenders, and violent criminals. The latter two categories seek to address behavioral tendencies from a psychological perspective, through counseling and behavioral modification methods. The chapters indicated in your question address a number of different aspects of treatment approaches, as well as determining success rates over a period of time.
In chapter 16, "Experiences and Attitudes of Registered Female Sex Offenders" by Richard Tewksbury, the author acknowledges that studies of female sex offenders are relatively rare and seeks to illuminate common misconceptions while offering a survey of significant facts. Female sex offenders only began to be seriously studied in the 1980s, and generally, their crimes are seen as "less serious" than those of male sex offenders, as well as less easy to detect and prosecute. Understanding the special challenges facing female prisoners is one way of helping design and implement effective treatment. The author's research explores sex offender registries and the issues faced by offenders in their communities after they are released from prison, including harassment, housing discrimination, and difficulty finding employment.
Chapter 17 is a somewhat older study that looks at issues surrounding treatment in the 1960s. Martinson's attempt to answer the question "What works?" is explored by looking at a number of programs implemented in prisons to try and prevent prison riots, a number of which occurred in the 1960s. These riots resulted in a loss of life and demoralizing conditions at their institutions. Martinson's research first surveys prison rehabilitation programs that were used from 1945 to 1967 and looks at the data on outcome, such as recidivism rates, vocational success, educational achievement, and personality and attitude change. Perhaps somewhat surprisingly, Martinson's conclusions were as follows:




With few and isolated exceptions, the rehabilitative efforts that have been reported so far have had no appreciable effect on recidivism.




No doubt these findings led to changes in how rehabilitation programs were designed and potentially fueled more research into why and how recidivism occurs.
In chapter 18, "The Principles of Effective Correctional Programs" by Don A. Andrews, we see a summary of approaches to effective treatment programs. It is important to note that the author's work has been highly influential in the field of prison rehabilitation. Andrews first formulated the "Risk-need-responsivity" model, also known as the RNR model, considered to be one of the most influential models for the assessment and treatment of offenders. The principles of this approach have come to be known in the field as the "Andrews Principles." Some of the main core components involve the assessment of the risk of reoffending, the offender's needs that must be targeted in treatment, and the style of treatment best suited to the offender's risk level and need.
The authors of the article in Chapter 20 previously collaborated on research examining the impact of the closing of state mental hospitals on prison populations. This is a highly controversial subject about a practice which had a serious impact on many states' prison populations, most notably in Massachusetts, where a number of large mental health facilities were shut down in the 1980s and 1990s. Because social programs have not been sufficient to help these people adjust to life outside the mental hospitals, many of them end up in prison. One main issue explored in this research is the basic fact that the population of prison inmates with mental disorders is functioning marginally within a general prison population due to a lack of social skills and self-care skills, which can lead to serious issues and risks for the prisoner. It is also true that the majority of corrections officers do not possess adequate skills or training to address the special issues facing these inmates.
https://huji-primo.hosted.exlibrisgroup.com/primo-explore/search?vid=972HUJI_V1&sortby=rank&lang=iw_ILRecord/HUJ001571630/TOC

https://www.uscourts.gov/sites/default/files/68_3_5_0.pdf

What are the main problems and solutions for each chapter of Hoot?

I will provide answers for Chapters 1-18.
Chapter One: There are three main problems in this chapter. The first one involves Roy's relationship with Dana Matherson, the school bully. The second one involves the vandalism at the construction site of a future Mother Paula's Pancake House. The third one involves the unknown identity of the running boy. The author presents answers to these problems in later chapters.
Chapter Two: In this chapter, the main problem involves Roy and Ms. Viola Hennepin's conflicting perceptions of self-defense. The conflict is resolved temporarily, with Roy suspended from the school bus for two weeks and required to write a letter of apology to Dana. A minor problem in this chapter involves the unknown identity of the tall girl with the red-framed glasses.
Chapter Three: In this chapter, a major problem is the lack of leads the police department in Coconut Cove have in their pursuit of the vandal suspects. A minor problem involves Mr. and Mrs. Eberhardt's disagreement on how Roy should craft his letter of apology to Dana. The vandals are not found in this chapter, but Roy's father supports Roy's tone in his letter to Dana.
Chapter Four: In this chapter, the main problem is the occurrence of more vandalism at the construction site under Officer Delinko's watch. However, the tall girl with red glasses is revealed as one Beatrice Leep, a soccer player.
Chapter Five: In this chapter, the main problem involves the identity of the running boy and his connection to the recent events at the construction site. Roy discovers a bag full of cottonmouth snakes at the boy's campsite but does not know why they are there. The mystery is only partly solved in this chapter: We discover that the running boy is nicknamed Mullet Fingers, but we don't know how he is relevant to the story.
Chapter Six: In this chapter, the main problems involve Officer Delinko's incompetence on the job and Beatrice's connection to Mullet Fingers. Because Officer Delinko fell asleep during his shift at the construction site, the police chief confines him to desk duty for a month. Meanwhile, Roy's efforts to track down Mullet Fingers and to figure out his connection to Beatrice fail.
Chapter Seven: In this chapter, the main problem still involves the recent acts of vandalism at the construction site. Meanwhile, the mystery surrounding Beatrice's connection to Mullet Fingers is solved when Beatrice confesses to Roy that Mullet Fingers is her step-brother.
Chapter Eight: In this chapter, the main problem continues to revolve around the vandalism incidents at the construction site. By orders of Chuck Muckle, the Vice-President of Corporate Relations, Curly (the foreman) hires a dog trainer's four Rottweilers to protect the site. This short-term solution partially solves the problem, but the identity of the vandals is still a mystery. Meanwhile, there is an indication that the conflict between Roy and Dana will soon be resolved.
Chapter Nine: In this chapter, the main problems involve continued acts of vandalism at the construction site (someone released poisonous snakes inside the chain-link fence, spooking the Rottweilers) and Roy suffering continued assaults from Dana.
Chapter Ten: In this chapter, two problems are solved, one temporarily. Beatrice pulls Dana off Roy in the janitor's closet, strips Dana to his underwear, and proceeds to tie him to a flag pole on the school grounds. Essentially, Beatrice becomes Roy's protector. In another development, we discover how Mullet Fingers is relevant to the story. He is revealed to be responsible for the acts of sabotage, in efforts to save the burrowing owls from being decimated by continued development at the construction site.
Chapter Eleven: In this chapter, the main problem revolves around the difficulty of catching the vandal. As a solution, Curly decides to spend the night in a trailer on the grounds of the construction site.
Chapter Twelve: In this chapter, the main problem involves how Mullet Fingers will treat the injuries he sustains after he gets bitten by one of the Rottweilers. Beatrice and Roy accompany Mullet Fingers to the emergency room, but he later escapes.
Chapter Thirteen: In this chapter, the main problem revolves around Roy and his parents' conflicting views about saving the owls at the construction site. In the end, the conflict is resolved with Roy's parents voicing confidence in his judgment about the matter.
Chapter Fourteen: In this chapter, the main problems are Dana's continued assaults on Roy and Mullet Finger's ultimatum for Roy. Mullet Fingers refuses to divulge his immediate plans for further acts of sabotage at the construction site; instead, he challenges Roy to join him. For the first problem, Roy tries to negotiate with Dana, but to no avail. For the second, although the author doesn't reveal Roy's decision about joining Mullet Fingers in his exploits, we suspect that Roy won't stop his friend.
Chapter Fifteen: In this chapter, the main problem revolves around how Roy will support his friend in his endeavors. Roy decides against joining Mullet Fingers in his plans for further sabotage; however, he manages to come up with an ingenious plan to protect his friend. Roy lures Dana to Curly's trailer with a lie that a stash of cigarettes waits for him there. Dana enters Curly's trailer and is attacked by Curly. By the end of the chapter, Dana is arrested by Officer Delinko, as the officer and Curly remain convinced that Dana is the vandal.
Chapter Sixteen: In this chapter, the main problem rests on how Roy will help to save the owls. In the meantime, the problem of Dana's bullying is resolved: Dana will be in prison for a while, due to his actions at the construction site. Roy checks up on Mother Paula's construction permits and teams up with Beatrice to help Mullet Fingers save the owls.
Chapter Seventeen: In this chapter, the main problem is how the police will catch the actual perpetrator of the acts of sabotage. For political purposes, Dana becomes the official culprit, while Officer Delinko is assigned to investigative work.
Chapter Eighteen: In this chapter, the problem revolves around how Roy will stop Mother Paula from continuing the construction project. As a solution, Roy enlists the help of his classmates and teacher, Mr. Ryan. He informs them that the owls are an endangered species and that it is illegal for Mother Paula to be building on the site.
 
 

Is Christopher Columbus a hero worth celebrating or a villain not worth celebrating?

The question of whether or not Christopher Columbus is a hero or villain is up to each of us and our own beliefs. On the one hand, he raped, killed, stole, and conquered all in the name of wealth, power, and religion. On the other hand, he did bring the two worlds together and was paramount in creating what we know now as globalization.
I am in no way defending his heinous acts, and I in no way believe that he should be revered as a hero, but again that is just my opinion. Do you think that the ends justify the means? I'm an American, I may not be here today if it was not for Columbus, but is that worth 9 million plus lives of Native Americans. The question needs to be put into the perspective of do we revere conquerors? Do we appreciate those people who kill others in benefit of us?

Though Christopher Columbus has generally been regarded as a hero who discovered the New World (from the European perspective), some historians such as Howard Zinn have painted a more villainous picture of Columbus (see the link below). Using evidence from Columbus's writings, Zinn characterized Columbus as a rapacious villain rather than a conquering hero.
For example, when Columbus first arrived on the Bahamas, his first thought was to find gold. Zinn cites the following excerpt from Columbus's own writings:

"As soon as I arrived in the Indies, on the first Island which I found, I took some of the natives by force in order that they might learn and might give me information of whatever there is in these parts."

Columbus was intent on using the Arawaks, the Native Americans he encountered, to find gold. When he could not find gold, he and his crew turned to enslaving the Native Americans.
Zinn believes that far from being a hero who brought civilization and Christianity to the New World, Columbus perpetrated a form of genocide on the locals he encountered. Zinn and other historians have questioned the idea that conquest of a local people amounts to progress. Instead of being regarded as a hero worthy of celebration, Columbus can be regarded as a genocidal villain who began the wholesale extermination of many Native American tribes in the New World.
http://www.historyisaweapon.com/defcon1/zinncol1.html

Describe the influence of nationalism in the nineteenth-century.

Nationalism was hugely influential in Europe during the nineteenth-century. The French Revolution of the previous century had unleashed a radical ideology which held that the ultimate sovereign power resided with the nation rather than in a monarch. This idea proved inspirational to millions across the length and breadth of Europe living under kings and queens, many of whom were of a completely different nationality to those they ruled. The Austro-Hungarian empire, for example, was made up of many different nationalities including Germans, Czechs, Slovaks, and Hungarians. Distinct national identities began to emerge, united by common bonds of language and culture. It's no accident that the age of nationalism saw the emergence of a variety of national literatures which had previously been suppressed or marginalized.
Nationalism reached its apogee in the revolutions of 1848-49. Although these national uprisings petered out, the spirit of nationalism lived on. Where initially nationalism had been a liberal, emancipatory ideology, as the century wore on, it became decidedly more reactionary and exclusionary. The main reason for this development is that the political and social elite, who'd traditionally felt threatened by the rise of nationalism, successfully managed to incorporate it into their worldview, using nationalism as a means of consolidating their hold on power.
The unification of Germany is a prime example of this. The old Prussian aristocracy, the Junkers, were profoundly hostile to nationalism when it first emerged, seeing it as a threat to traditional society, not least because of its liberal and democratic character. Yet as time went on, and under the leadership of Bismarck, nationalism provided a useful instrument in forging a united Germany, one that would ensure the continued dominance and control of the social elite and a powerful Prussian army which served their interests. In other words, what started out as a movement from the bottom up became more top-down as the nineteenth-century progressed.

Examine the forces keeping Holden in childhood. Please help me with quotes and chapters. Many thanks.

The primary force keeping Holden in childhood is fear of growing up to become a phony like many of the adults he knows. He sees a certain amount of purity and innocence in childhood that he wishes to preserve. Here are a few examples:
The phoniness of adults:

Chapter 1. To Holden, his brother D.B. is a "prostitute" for going to Hollywood to make money writing movies when he could have stayed a short story writer.

Chapter 1. While meeting with Old Spencer, Holden becomes angry when his former teacher calls him out on his lack of effort in class and reads Holden's test out loud. He says he doesn't think he'll "ever forgive him for reading . . . that crap out loud." In addition, he says Spencer's use of the word "grand" is "a phony" and could make Holden "puke every time I hear it."

Chapter 24. Holden goes to stay with Mr. Antolini because Holden feels that his old English teacher could understand him, particularly his dislike of D.B. going to Hollywood to work in the movies. However, his trust in Antolini disappears when he wakes up to find his old English teacher rubbing his head in a "perverty" way.
The preservation of innocence:

Chapter 16. This chapter is probably the most important in the novel thematically. The museum, one of the primary symbols of the novel, stands for Holden's desire to preserve childhood. While thinking about looking for his sister Phoebe in the Museum of Natural History, Holden thinks about what he likes about the place. He says that "[t]he best thing . . . in that museum was that everything always stayed right where it was. . . . The only thing that would be different is you."

Chapter 22. In this chapter, Holden explains the novel's title. He says he would want to be "the catcher in the rye" from the Robert Burns poem by the same name. He says he keeps "picturing all these little kids playing some game in this big field of rye and all. . . . What I have to do, I have to catch everybody if they start to go over the cliff." Ironically, Burns's poem is about lovers meeting in a field of rye to have sex, one of the actions Holden sees as a true sign of adulthood and phoniness.