In what sense are “memories forever” in Lois Lowry's The Giver?

In Lois Lowry's The Giver, memories are "forever" in the sense that they must be held by at least one person. They will not cease to exist. Released by one person, they inevitably will attach themselves to others. The community has found some means to place all memories in the Giver, where they stay until the Giver passes them on to the Receiver, who becomes the new Giver. Whoever is holding the memories must remain in the community. If the person who holds the memories goes Elsewhere, the memories return to the community. The Giver explains to Jonas that this "would mean that the community has to bear the burden themselves, of the memories you had been holding for them" (155). As Jonas begins to understand the horror of this community, he wants to leave, but there is no one ready to replace him as a new Receiver and the Giver cannot take back the memories he gave to Jonas. As a result, the permanence of memory creates a situation in which Jonas's leaving is likely to overwhelm the community with all the memories he already holds.  
This idea, the permanence of memory, seems fanciful, but Jung thought that humanity had a "collective unconscious," and people who suffer from post-traumatic stress disorder (PTSD), suffer from the problem of traumatic memories they cannot make go away. For Lowry, this story is an exploration of how we might be mere automatons without memory, unable to properly feel, reason, or have control over ourselves.  

how salinger uses clothing and physical apppearance to devolop certain characters

Ackley is unhygienic and he is annoying. He comes into you room and pick up your personal stuff and put it back in the wrong place. He will cut his toenails all over the floor He is two years older than Holden and he thinks that make him superior. Holden really doesn't care for him. Holden is a compassion guy. He invites Ackley to come along with him and Mal Brossard to the movies because no one else would hang out with Ackley for the night.
You could say that Holden is so lonely he hangs out with Ackley, even though can't stand the guy. After Stradlater punches Holden in the nose, he goes into Ackley's room looking for company and conversation for the night. It is really combination of both.
While Holden is reading Out of Africa, Ackley comes in the room, pretending his arrival is an accident. He comes in and trash talk Stradlater.
When Holden asks if he need to be a Catholic to join a monastery, Ackley get offended thinking Holden is making fun of his religion. When Holden left, Ackley said Holden going to get his head bashed in someday for being such a wise guy.

Salinger, through the character of Holden, uses clothing and physical descriptions to develop many characters mentioned in the novel. Salinger's descriptions of women, like his aunt as well as his love interest, Sally Hayes, benefit particularly from details to do with their clothing.
Holden describes his aunt as a well-dressed woman who enjoys charity events, but he is careful to say that she would not enjoy these events if she wasn't able to wear her nice black clothes and red lipstick. These details reveal that Holden's aunt is likely an affluent person who likes to partake in activities that other affluent people attend; though she is generous enough to want to participate in charity functions, she is not so generous as to participate without her appearance just as she likes it to be.
Sally Hayes as well prefers to dress carefully, and her clothing choices reflect her own awareness of her physical appearance. For example, when Holden and Sally go ice-skating, she expresses enthusiasm for renting a skating skirt that reveals her figure; Holden is aware and somewhat judgmental of Sally's vanity, but he begrudgingly acknowledges to the reader that she did look great in the ensemble after all.

Here are a few notable examples of clothing and physical appearance used to develop characters in The Catcher in the Rye:
Holden's red hunting hat plays a role throughout the novel. He purchased it when seeking comfort while the fencing team was angry at him, and at first wears it only in private situations while feeling vulnerable. The hat may symbolize his clinging to childhood, and although he gives it to Phoebe for protection when he is planning to leave town, he is grateful when she returns the hat to him at the end of the book, even though he realizes it does not truly protect him from anything.
Stradlater's rejection of his own flannel jacket for Holden's houndstooth jacket foreshadows his pretentious nature, which is demonstrated when he flatters Holden with the goal of getting a homework assignment written, as well as when he goes out on a date with Jane and Holden recalls Stradlater's many dishonorable interactions with women.
Holden describes the three girls in the Lavender Room as "pretty ugly, and they all had on the kind of hats that you knew they didn't really live in New York, but one of them, the blonde one, wasn't too bad." The hat comment is ironic since Holden, a New Yorker, describes his own hat as unattractive and an ill fit for the city; however, his assumption about the women is true since they are actually from Seattle. The women fit into Holden's idea of phonies, as they are in the club with the main goal of seeing or being seen by famous people. Their superficial behavior aligns with his superficial initial impression of them.
Holden's descriptions of his sister Phoebe are more detailed than his descriptions of anyone else in the novel, which makes sense, since he idolizes her as an admirable, innocent example of childhood bliss. Near the beginning of Chapter 10, he vividly describes her ears, hair, body type, and personality, and the childish characteristics that are highlighted point to Holden's respect for innocence and his desire to cling to youth.

Calculus of a Single Variable, Chapter 7, 7.2, Section 7.2, Problem 32

Let's use the shell method for finding the volume of the solid.
The volume of the solid (V) generated by revolving about the y-axis the region between the x-axis and the graph of the continuous functiony=f(x), a <= x<= b is,
V=int_a^b2pi(shell radius) (shell height)dx
V=int_a^b2pixf(x)dx
Given ,y=9-x^2 , y=0 , x=2 , x=3
V=int_2^3(2pi)x(9-x^2)dx
V=2piint_2^3(9x-x^3)dx
V=2pi[9x^2/2-x^4/4]_2^3
V=2pi{(9(3)^2/2-3^4/4)-(9/2(2)^2-2^4/4)}
V=2pi{(81/2-81/4)-(18-4)}
V=2pi(81/4-14)
V=2pi((81-56)/4)
V=2pi(25/4)
V=(25pi)/2

Draw a character sketch on Katherine Bridges.

Katherine Bridges is a conventionally pretty, charming young lady, whose winsome beauty immediately attracts Chips's attention on that first fateful meeting on a hill in the Lake District. Chips soon discovers that there's so much more to Katherine than just good looks and charm. Urbane, cultured, and sophisticated, she's also a highly-intelligent woman with advanced ideas, someone who passionately believes in gender equality. There was a growing demand for women to have the vote in late 19th-century Britain, and Katherine exemplifies a new breed of politically-conscious women actively campaigning for change.
Even though Chips is less than enamored by modern women, deriding them as "monstrous creatures," he's nonetheless captivated by Katherine's forceful intellect. Having lived virtually his whole life in an all-male environment, Chips has never really understood women. But when Katherine comes into his life, that all changes. She opens his mind, making him less stuffy, less of a stick in the mud when it comes to the fairer sex.
As mentioned earlier, Katherine first meets Chips on a hill. This shows us that she's not just adventurous in her ideas but physically adventurous too. Once more we're reminded of how modern a woman she really is. At that time, it was quite uncommon for women to go climbing; it wasn't considered very ladylike. But Katherine has such enormous curiosity about the world around her that she just has to get out and explore, irrespective of what society might think.
Katherine isn't just book smart; she has great practical intelligence too. She acts as a confidante to Chips, providing him with sage advice on such matters as how to instill discipline in his pupils whilst still behaving kindly towards them. Katherine herself is a disciplined, organized person and introduces some much-needed order into her notoriously absent-minded husband's life.
Most importantly of all, perhaps, Katherine is a kind and loving woman, universally adored at Brookfield by masters and pupils alike. We see her caring side straight away when she first meets Chips in the Lake District. After Chips sprains his ankle, she immediately rushes to his aid and then proceeds to take care of him for a whole week.

What is the theme of Day Three of the Decameron? What things come to mind when going through the stories?

The theme of day three of the Decameron is erotic desire in various illicit forms. As a backdrop, the stories on this day pick up after a two-day hiatus, during which the group arrives at an estate, rests, and, on Saturday, bathes. The setting provides a perfect backdrop for the erotic, as it filled with sweetly singing birds, fountains, and gardens. Ironically, however, day three is a Sunday—and the day begins with a story of lusty nuns who manage to get their needs satisfied despite their vows of chastity.
In going over these stories, a chief thought that comes to mind is that forbidden fruit is the most desirable. A handsome young man is not satisfied with the girls he can get, but wants to work at a convent, where he can have access to those who are most forbidden to him. A good-looking groom goes to lengths—and takes risks—to sleep with a married queen. A dissatisfied wife, who doesn't think her rich tradesman husband is good enough for her, communicates through her friar to find a lover. And so it goes.
A second thought that occurs is that not much has changed today: we tend to want what we are not supposed to have. Eros and desire are closely connected. We have the strongest erotic wish for what appears out of reach.

The main theme of Day Three is the power of lust and its ability to supersede the moral nature. Most of the ten stories deal with human sexuality in some form or other; they highlight the fact that both clergy and commoner alike are susceptible to the dictates of lust. One gets the idea that Boccaccio is satirizing the counterfeit righteousness displayed by Roman Catholic clergy, the merchant classes, and the working classes in everyday life.
For example, in the first story, Masetto pretends to be mute and becomes a gigolo of sorts to a gaggle of nuns and their Abbess. All the women enjoy their nightly trysts with him, and the Abbess eventually makes Masetto the bailiff, retaining his sexual services for a lifetime. In this story, the entire female religious order collaborates to fulfill the dictates of their lusts. 
Another story (the sixth story of Day Three) relates how one man satisfies his lust for a beautiful woman by resorting to trickery. Accordingly, Ricciardo (himself a married man) falls in love with Catella. He wants to bed Catella, but the woman is so infatuated with her husband (Filippello) that she refuses to sleep with him. Ricciardo then resorts to trickery; he informs Catella that her husband is having an affair with his (Ricciardo's) wife. Then, the wily trickster suggests that Filippello intends to take his pleasure with his (Ricciardo's) wife at a bagnio (or brothel). Catella falls for the ruse and ends up sleeping with Ricciardo instead (who she thinks is her husband, Filippello). When she discovers her mistake, Catella is furious. However, Ricciardo calms her down with his sweet words and gentle ways. In the end, Catella decides to continue her extramarital relationship with Ricciardo, "having thus learned how much more savoury were the lover's kisses than those of the husband..."
Yet another story on the third day testifies to the power of lust and its ability to corrupt a once impeccable character. In the tenth story, Alibech is an innocent girl who wishes to know how she can fulfill the dictates of the Christian faith. So, she decides to search for a religious mentor, and in her travels, comes across Rustico, a religious hermit. For his part, Rustico is sexually aroused by the nubile young girl. So he sets out to trick her into losing her virginity by using spiritual language to describe the sexual act as a transformative exorcism of sorts. He calls it "putting the devil (back) in Hell." This story is said to be one of the most bawdy stories in the Decameron. One thing is for sure: It reinforces the power of lust and how even respected figures can fall prey to its power.

Single Variable Calculus, Chapter 4, 4.5, Section 4.5, Problem 10

Use the guidelines of curve sketching to sketch the curve. $\displaystyle y = \frac{x^2 - 4}{x^2 - 2x}$

The guidelines of Curve Sketching
By factoring, we can results $\displaystyle y = \frac{x^2 - 4}{x^2 - 2x} = \frac{(x+2)\cancel{(x-2)}}{x \cancel{(x-2)} } = \frac{x+2}{2}$ It means that there is a removal discontinuity at $x = -2$

A. Domain.
We know that $f(x)$ is a rational function that is defined everywhere except for the value of $x$ that would make its denominator equal to zero. In this case we have $x = 0$ and $x = -2$ (removable). Therefore the domain is $(-\infty, -2) \bigcup (-2,0) \bigcup(0,\infty)$


B. Intercepts.
Solving for $y$-intercept, when $x = 0$
$\displaystyle y = \frac{0+2}{0} =$ is undefined since 0 is not included in the domain
Solving for $x$-intercept, when $y = 0$
$\displaystyle 0 = \frac{x+2}{x}$

We have, $x = -2$. However, the function has a removal discontinuity at $ x = -2$. It shows that we don't have intercept.


C. Symmetry.
The function is not symmetric to both $y$-axis and origin by using symmetry test.

D. Asymptotes.
For vertical asymptotes, we equate the denominator to 0, that is $x = 0$. For horizontal asymptotes, since we have equal coefficients of $x$ with numerator and denominator, we obtain $\displaystyle y = \frac{1}{1} = 1$

E. Intervals of Increase or Decrease.
If we take the derivative of $f(x)$, by using Quotient Rule...
$\displaystyle f'(x) = \frac{x(1) - (x + 2)(1)}{x^2} = \frac{-2}{x^2}$
When $f'(x) = 0$,
$\displaystyle 0 = \frac{-2}{x^2}$
The critical numbers do not exist.
If we divide the interval by its domain, we can determine the intervals of increase or decrease

$
\begin{array}{|c|c|c|}
\hline\\
\text{Interval} & f'(x) & f\\
\hline\\
x < -2 & - & \text{decreasing on } (-\infty, -2)\\
\hline\\
-2 < x < 0 & - & \text{decreasing on } (-2 , 0 )\\
\hline\\
x > 0 & - & \text{decreasing on } (0,\infty)\\
\hline
\end{array}
$



F. Local Maximum and Minimum Values.
Since $f'(x)$ doesn't change sign, we can say that the function has no local maximum and minimum.

G. Concavity and Points of Inflection.

$
\begin{equation}
\begin{aligned}
\text{if } f'(x) &= \frac{-2}{x^2} , \text{ then}\\
\\
f''(x) &= \frac{x^2(0)-(-2)(2x)}{(x^2)^2} = \frac{4}{3}\\
\\
\\
\text{when } f''(x) &= 0\\
\\
0 &= \frac{4}{x^3}
\end{aligned}
\end{equation}
$

It means that we have no inflection points.
If we divide the interval within the domain, we can determine the concavity as...

$
\begin{array}{|c|c|c|}
\hline\\
\text{Interval} & f''(x) & \text{Concavity}\\
\hline\\
x < -2 & - & \text{Downward}\\
\hline\\
-2 < x < 0 & - & \text{Downward}\\
\hline\\
x > 0 & + & \text{Upward}\\
\hline
\end{array}
$




H. Sketch the Graph.

Single Variable Calculus, Chapter 3, 3.5, Section 3.5, Problem 49

Find the first and second derivatives of $H(t) = \tan 3t$
Solving for the first derivative of the given function


$
\begin{equation}
\begin{aligned}
H'(t) &= \frac{d}{dt} ( \tan 3t)\\
\\
H'(t) &= \sec^2 3t \cdot \frac{d}{dt} (3t)\\
\\
H'(t) &= (\sec^2 3t) (3)(1)\\
\\
H'(t) &= 3\sec^2 3t
\end{aligned}
\end{equation}
$



Solving for the second derivative of the given function


$
\begin{equation}
\begin{aligned}
H''(t) &= \frac{d}{dt} (3\sec^2t)\\
\\
H''(t) &= 3 \cdot \frac{d}{dt} ( 3\sec3t)^2\\
\\
H''(t) &= (3)(2)(\sec 3t) \cdot \frac{d}{dt} (\sec 3t)\\
\\
H''(t) &= 6 \sec 3t \cdot \sec 3t \tan 3t \cdot \frac{d}{dt}(3t)\\
\\
H''(t) &= 6 \sec 3t \cdot \sec 3t \tan 3t \cdot 3\\
\\
H''(t) &= 18 \sec^2(3t)\tan(3t)
\end{aligned}
\end{equation}
$

Whaat do you make of the relationship between the narrator and her husband? In what ways is this relationship defined by the time period which the story is written?

In Charlotte Perkins Gilman's "The Yellow Wallpaper," the narrator's relationship with her husband, John, is definitely strained; the reader understands this because of the perspective from which the tale is told, as the narrator shares her frustrations and feelings of helplessness with the reader. While the couple's relationship is defined somewhat by the time period, a great deal of the dynamic emerges as a result of her husband's profession. Because of his "expertise," the narrator initially feels powerless against her husband's will, as she suggests early in the tale:

John is a physician, and perhaps—(I would not say it to a living soul, of course, but this is dead paper and a great relief to my mind)—perhaps that is one reason I do not get well faster.You see, he does not believe I am sick!And what can one do?If a physician of high standing, and one’s own husband, assures friends and relatives that there is really nothing the matter with one but temporary nervous depression—a slight hysterical tendency—what is one to do?

Not only does John believe he "knows better" as husband and therefore head of the household (during the time period), but his training also causes him to believe that his wife is not ill. Further complicating matters, John is a proponent of the "rest cure" which was developed by Silas Weir Mitchell as a means to treat neurological illnesses, particularly among women. The rest cure consisted of near-total isolation for the patient, who was confined to a bedroom (if not specifically to a bed). During the period of confinement, which could be as long as two months, the patient was supposed to rest and avoid any "strenuous" activities. According to Silas Weir Mitchell, "strenuous activities" consisted of reading, talking, and writing, all of which come up as forbidden within the short story. I've provided a link below to a brief synopsis of Mitchell and the rest cure.
As the story suggests, the rest cure was an ineffective way of treating those suffering from neurological disorders. The oppressive treatment causes the narrator, who is suffering specifically from postpartum depression, to slowly lose her mind. As the tale progresses, John pulls rank as both man of the household and her doctor in an effort to "fix" the narrator which, combined with the rest cure, causes her condition to grow worse and worse. In the end, she ends up breaking free of her husband's rule, but it is at the cost of her own sanity.
http://broughttolife.sciencemuseum.org.uk/broughttolife/techniques/restcure

With close reference to chapter 20, explore Brontë's success in creating suspense.

The suspense that builds in Jane Eyre is meant to create mystery and ambiguity around the setting of Thornfield Hall, Mr. Rochester's family home, which houses his mad wife, Bertha Mason, in a hidden room. Jane begins to notice the strange behavior of Grace Poole, one of the servants of the house, but she becomes distracted when Mr. Rochester brings home a party of visitors. During this visit, an uninvited man named Mr. Mason arrives. His presence clearly disturbs Mr. Rochester, as Mr. Rochester admits to Jane that he is worried he would be judged by the guests if they were to learn certain things about him. In chapter 20, the house has quieted down, and Jane is awoken from her sleep by a beam of moonlight. Once she is awake, a series of strange things happen to create confusion and mystery in the plot.
First, Jane hears a scream:

Good God! What a cry! The night—its silence—its rest, was rent in twain by a savage, a sharp, a shrilly sound, that ran from end to end of Thornfield Hall.

In the commotion, Jane can hear someone calling for Mr. Rochester to come. Everyone floods from the bedrooms, and Mr. Rochester lies to them all, saying that a servant has had a nightmare. Once everyone is in their rooms again, Mr. Rochester comes for Jane and whispers a request for help, adding a question about how she handles the sight of blood. These details, paired with Mr. Rochester's stated fear from chapter 19, verify that he has a secret, and the anticipation builds as we, with Jane, follow him to the forbidden rooms on the third floor.
To add to the suspense, Grace Poole and Mr. Mason, the two most mysterious characters, are in the room where Mr. Rochester brings Jane, and we believe we are about to get some answers, only to discover that Jane will be left alone with Mr. Mason to sponge his mysterious neck wound in silence while Mr. Rochester is busy getting help. While Jane and Mason are alone, Bronte incorporates some adept repetition and imagery to create a more sinister and symbolic atmosphere:

I must dip my hand again and again in this basin of blood and water and wipe away the trickling gore. I must see the light of the unsnuffed candle wane on my employment; the shadows darken on the wrought, antique tapestry round me, and grow black under the hangings of the vast old bed, and quiver strangely over the doors of a great cabinet opposite—whose front, divided into twelve panels, bore, in grim design, the heads of the twelve apostles, each enclosed in its separate panel as in a frame; while above them at the top rose an ebon crucifix and a dying Christ.

Bronte's extended description of the room, with its religious images and ominous lighting, provides the best source of suspense, since we, with Jane, are waiting anxiously for Mr. Rochester to return or for something terrible to happen, like an attack from the person in the locked inner room. Every detail of the setting extends the wait and gives added indications of danger and discomfort, heightening the suspense with each new image.
With these unnerving surroundings, Jane begins to puzzle together the clues she has about the secret Rochester must be keeping. She wonders about Mason, about what caused his injury, about why they are not allowed to speak; and just as that unsnuffed candle finally goes out, at the moment of highest tension in the chapter, Mr. Rochester returns with help for Mr. Mason. As the doctor is dressing Mason's wounds, Jane hears some more clues about Mason's incident:

"She bit me. . . . She worried me like a tigress, when Rochester got the knife from her."

Jane receives no explanation of this from Mr. Rochester, only an errand to fetch him a fresh shirt. Jane assumes the "she" in Mason's story is Grace Poole, and once they are alone, she asks Mr. Rochester if Grace Poole will continue to live at Thornfield Hall. He says she will and tells Jane not to worry about her, which confuses and perplexes Jane, who is afraid for his life.
Mr. Rochester makes light of the event, teases Jane about keeping him company the night before his wedding, and makes an excuse to visit the servants in the stable; and we, with Jane, are left with more unanswered questions than anywhere before in the plot line. The suspense stays heightened for a while longer in the story, with more events happening in the night, like Jane's veil being torn, and with Jane's nightmares haunting her and giving her apprehension. All these details lead to the revelation of Bertha in the inner room, and the suspense lifts as Jane stands in her wedding gown before Mr. Rochester's first wife, with Bertha's brother, Mr. Mason, having interrupted the ceremony at the church.

What does Juliet mean when she says, "I have no joy of this contract tonight./It is too rash, too unadvised, too sudden;/Too like the lightning, which doth cease to be"?

These lines are spoken in Act II, Scene 2 of Shakespeare's Romeo and Juliet. The scene is usually referred to as the balcony scene as Romeo has gone into the Capulet orchard to catch another glimpse of Juliet, and the scene plays out with Romeo standing below the balcony speaking with Juliet. He just met Juliet at the party in Act I and has already fallen head over heels in love with the girl. Likewise, Juliet has fallen instantly in love with Romeo, but here she expresses her misgivings over the speed of their courtship. Because she is a Capulet and Romeo a Montague there are problems because their families are mortal enemies.
At the end of the party in Act I, Scene 1, the two have discovered each other's identities, but this does not stop Romeo from pursuing his emotions and his encounter with Juliet at the balcony confirms his suspicions that Juliet shares his feelings. Unlike Romeo, Juliet is reticent to engage in something that would be forbidden by her parents and family. The relationship is "too sudden" and she realizes that it may lead to trouble. The audience is already well aware of the enmity between the two families as the play opens with a street brawl instigated by the servants of Juliet's family and her cousin Tybalt. When Romeo appears below her balcony, she is instantly aware that his presence could mean his death because of the hatred her relatives have for the Montagues. Ultimately, however, she cannot hide her feelings and she pledges her love for Romeo, despite her reservations about the hasty nature of their love.

I have no joy of this contract to-night:It is too rash, too unadvised, too sudden;Too like the lightning, which doth cease to be

What is the theme of "On Being Told I Don't Speak Like a Black Person" by Allison Joseph?

The theme or message of this poem is that we shouldn't judge people by the way they speak or even have expectations for how they should speak based on their external appearance, such as their skin color. The poem is a plea for accepting people as they are rather than imposing our expectations on them.
The narrator talks about how her Jamaican mother was hit with a ruler as her teacher tried to force her to speak with an upper class British accent. Her mother, however, kept her own lilting accent, which the speaker's friends now appreciate.
The narrator, however, doesn't sound like her mother or like a New Yorker or as what people think of as a stereotypical black speaker, and she wants that to be OK. As she says:

Let us speak. Let us talkwith the sounds of our mothersand fathers still reverberatingin our minds, wherever our mothersor fathers come from:Arkansas, Belize, Alabama,Brazil, Aruba, Arizona.

This is an idealistic poem, one that celebrates diversity and affirms the worth of people's differences.

The major theme, I think, is that we ought not to make assumptions about individuals based on the way they speak, and we ought not expect people to speak a certain way based on their appearance. Her college friends expect the speaker to speak in a "lazy" way, "dropping syllables" and "not finishing words" or avoiding the use of certain "erudite" or "scholarly" words. They seem to expect her, because she is black, to speak this way, and their assumptions and insinuations are offensive to her. They've learned about "black English" from a text, and they use their limited knowledge of certain facts to generalize about an entire population of individuals, assuming homogeneity where extreme diversity and variance exists. Speech, she realizes, isn't general; in fact, there is "nothing / more personal" than the way one talks, and one should not have to explain or defend their speech to others.

The central idea of this poem is learning to define and take pride in one's own identity. The narrator struggles with how to respond to classmates who say she speaks "wrong" because she does not speak like the black Americans they know. In fact, the narrator does not sound like her Jamaican mother or her father either. She accepts her own unique voice and urges everyone to celebrate theirs as well ("Let us simply speak to one another, listen and prize the inflections, differences"). The characters in the poem who prize their unique accents, like the narrator's mother, are praised, while the characters who change their voices to conform, like the "colonial-minded teachers" or the narrator's father "when he wanted to sell someone something," are mocked.
The poem is not merely about speech patterns, though. The accents and modes of speech used by black people in America carry heavy socioeconomic connotations. The author is angry that classmates assume she speaks in a "lazy" way, "dropping syllables here, there, not finishing words," like a black American. Ironically, while urging the reader to accept all accents, she criticizes a mode of urban black speech. The narrator forms her identity around her accent but still struggles to shape the part of her identity based around her race. While the narrator understandably does not want to be pre-judged based on her appearance, she cannot claim the type of full self-definition and self-acceptance she seeks (and which her mother seems to have retained despite the efforts of the "colonial-minded teachers" to make her conform) until she copes with this part of her identity.

What is the climax of "The Possibility of Evil" and why?

The denouement of "The Possibility of Evil" is what we would call a climactic ending. The ending is climactic because it is unmistakably life-changing in nature. Miss Strangeworth's habits are no longer a secret; someone is privy to her actions. For the woman who has never contemplated the "possibility of evil" in her life, the revelation that her position has been reversed is terrifying. The hunter has become the hunted. The ending is climactic because it is stark, shocking, and ironic: Miss Strangeworth's life is forever changed and impending events are beyond her ability to control.
We are told that Miss Strangeworth sent out three letters during her last outing. The envelopes were pink (to Don Crane), green (to Mrs. Harper), and blue (to Mrs. Foster). The Harris boy retrieved what appeared to be a pink envelope and presumably delivered it to Don Crane. However, the envelope (and letter) that returns to Miss Strangeworth is green in color.
We know that the green envelope was sent to Mrs. Harper. Here's the quote that describes what Miss Strangeworth wrote to Mrs. Harper:

She selected a green sheet this time and wrote quickly: Have you found out yet what they were all laughing about after you left the bridge club on Thursday? Or is the wife really the last one to know?

The phrase "the wife is usually the last to know" refers to how a woman often discovers her husband's affair after everyone else. The quote above is intriguing because of how it characterizes Miss Strangeworth as an omniscient purveyor of justice in her community. Yet, the climactic ending turns this characterization on its head. Instead of being the powerful, righteous matriarch presiding over a wayward community, Miss Strangeworth becomes a terrified old lady at the end of the story.
Someone else knows about her secret life. The reader is left to contemplate the possible identities of the one who has discovered Miss Strangeworth's secret. Is it Don Crane, since the Harris boy delivered his letter (and very likely revealed that Miss Strangeworth sent it)? Or is it Mrs. Harper, the one Miss Strangeworth believes is the last to know about her husband's affair? After all, the letter that was returned to Miss Strangeworth was green. Or, even more intriguing, can it be that more than one person knows about Miss Strangeworth's secret?
Whatever the answer is, the ending is a climactic one. Miss Strangeworth's life is forever changed and not in a very pleasant way.

In literature, a climax is a moment in which the tension in a story reaches its peak. It is also helpful to think of the climax as a turning point in a story, a moment which leads directly to the resolution.
In "The Possibility of Evil," the climax occurs when Miss Strangeworth goes to the mail slot at the post office and accidentally drops one of her poison pen letters. Instead of posting this letter, it is picked up by the Harris boy who sees that it is addressed to Don Crane. Thinking it might be important, the Harris boy decides to deliver it to Don Crane himself.
This moment is climactic because the audience realizes that once Don Crane receives the letter, Miss Strangeworth's secret will become public knowledge. Everybody will know (and have undeniable proof) that she is the author of the poison pen letters. What really adds to the tension in this scene is that Miss Strangeworth has no idea that her letter has been intercepted by the Harris boy. As a result, she is powerless to stop this chain of events.

English: I know why the caged bird sings by Maya Angelou. To Marguerite, her mother seems alternately charming, elusive, unreliable and strong. Which episodes in the novel illuminate her character? Do you think she was a good mother?

Perhaps the most noticeable aspect of Maya's relationship with her mother is Vivian's absence during much of her children's lives. At ages 3 and 4, Maya and Bailey are sent to Arkansas to live with their grandmother, whom they call "Momma," and they do not develop relationships with Vivian, whom they address formally as "Mother," until a surprise move to St. Louis years later. Although Vivian is supportive and nurturing of her children when present, her absence determines the trajectory of their lives, affects them emotionally, and directly leads to Maya's molestation and sexual assault by Mr. Freeman. Although Vivian is a good mother in many ways, and is loved and admired by her children, she makes parenting choices that take a negative toll on their lives.
The time Maya and Bailey spend watching their mother sing, dance, and charm crowds at Louie's demonstrates the charming way in which Vivian navigates society as a beautiful woman. The children's fascination and idealization of their mother point to her endearing character, as well as to their yearning for affection from an often absent maternal figure. The surprise 2:30 a.m. party in which Maya and Bailey are awakened for biscuits, hot chocolate, and a surprise performance is a prime example of how their "beautiful and wild mother" lives in an elusive, unusual manner. Vivian's strength is notably demonstrated when she encourages Maya to pursue a job with the railway company despite odds stacked against her, as well as in the closing scene of the novel, in which she reassures Maya that she is well equipped for the role of motherhood.

In the poem "Green Rain," how does Dorothy Livesay represent nature?

In the poem "Green Rain," Dorothy Livesay repeatedly compares nature scenes and sounds to her grandmother's things and her grandmother's house. The first comparison occurs in the first stanza. The narrator of the poem tells readers about the "long veils of green rain." The narrator says that those long veils were feathered like her grandmother's shawl. This information about how the rain and feathered shawl are intricately tied together in her memory is again highlighted in the last line of the poem.

But now I remember the dayAs I remember my grandmother.I remember the rain as the feathery fringe of her shawl.

Another great comparison comes in the second stanza when the narrator says that the rain's "silence" was a lot like her grandmother's parlor. The parlor was the place that was filled with her grandmother's voice rising and falling, as the rain and wind tends to do during various storms.

How does the weather reflect Winnie's emotions in Natalie Babbitt's Tuck Everlasting?

In the prologue of Natalie Babbitt's Tuck Everlasting, the narrator sets the story during the "first week of August," a time period the narrator describes as being "motionless, and hot." The motionlessness of early August is characterized in the absence of wind and rain; there is only lightning at night and no thunder. The narrator further relays that it's during these "dog days" of summer that people are likely to do things they later regret. This backdrop of motionless, oppressive heat not only serves to foreshadow the conflicts in the story to come but also serve to capture Winnie Foster's emotions that drive the story. By chapter 3, the narrator describes Winnie as being as boiling angry as the weather was boiling hot:

She had come out to the fence, very cross, very near the boiling point on a day that was itself near to boiling.

She is so angry because, just like the heat is oppressive, she feels that her adult family members oppress her. As an only child, she is the only person whom her grandmother and mother look after, and they are constantly restricting her behaviors. For example, in Chapter 3, her grandmother yells from the window of the cottage to order her not to sit on the grass because the grass will stain her clothing. Similarly, her mother orders her to come inside the house so she doesn't get heat stroke. Winnie feels so oppressed that she is contemplating running away to become her own person. Hence, the oppressive heat of the weather reflects Winnie's feelings of being oppressed by her family and her feeling of anger as a result of that oppression.

What is the purpose of A Doll's House by Henrik Ibsen?

In A Doll's House, Torvald Helmer treats his wife, Nora, much like a child, and this is a reflection of society at the latter end of the nineteenth century. During this time, women were not allowed to vote and were not deemed responsible or fit enough to manage their own financial affairs. Therefore, society was constructed in a way that made women almost entirely dependent on the men in their lives; most often, the financial role was fulfilled by husbands, as it was also not considered proper for middle-class women to work outside their homes. If women dared to leave their marriages, they likely had no possible means of supporting themselves and therefore also lost their children. Women were fairly trapped in circumstance.
In the play, Nora seeks medical treatment for her husband and finds a way to pay for it herself. This takes some creative liberties with the truth, but she sacrifices all she can to save his life. When Krogstad, another man in her life, has the opportunity, he threatens to expose her lie in order to improve his own situation. In the end, Nora walks away from her patriarchal world in search of herself. She tells her husband,

You neither think nor talk like the man I could join myself to. When your big fright was over—and it wasn't from any threat against me, only for what might damage you—when all the danger was past, for you it was just as if nothing had happened. I was exactly the same, your little lark, your doll, that you'd have to handle with double care now that I'd turned out so brittle and frail. Torvald—in that instant it dawned on me that for eight years I've been living here with a stranger, and that I'd even conceived three children—oh, I can't stand the thought of it! I could tear myself to bits.

Nora's comments reflect the ultimate purpose of the play. Ibsen demonstrates the inner strength of women who are placed in situations that seem to offer them no options. Needing a sense of validation and purpose, the soul of a woman will go to great lengths to fulfill the desires of her heart. In the era when this play was first performed, Nora's choice was quite offensive to the general audience, and Isben's portrayal of an independent woman who sought to discover her true sense of self separate from her husband earned the author the label of an "anarchist." However, Isben considered the purpose of his play valuable nonetheless: People should not blindly accept the social structures they support.

A Doll's House premiered in Copenhagen, Denmark in 1879 at the beginning of the first wave of the suffrage movement in that country. Though the play is set in Norway, another Scandinavian country in which women were seeking enfranchisement, it explores concerns among women that were common in the West at the time, particularly legal rights and identity.
The play's conflict arises over Nora Helmer's crime of forgery. To pay for her husband, Torvald, to go to Italy to recover from an illness, she borrows money from Krogstad, who later becomes her husband's employee. The law at the time required that a man cosign for any financial transaction. To avoid asking her ailing father for the favor, she forges his name. Krogstad, a disgruntled employee, threatens to expose that she has borrowed the money, which, in turn, would expose her crime. She partly expects that her husband will sacrifice himself in response to her selflessness or, at the very least, be moved. On the contrary, he is upset with her. Nora, astounded by his unkind reaction, leaves him and their children. She realizes that Torvald cannot see the importance of her act because he has always viewed her as one would a child or a pet—not as an individual capable of making decisions for the benefit of both of them.
The incident exposes the problem at the root of their marriage: Nora does not know who she is outside of other people's definitions of her—primarily those of Torvald, who sees her only as a wife and mother and, therefore, a subordinate. Nora leaves to find out who she thinks she is, which she can only do through her individual experience of the world.
Ibsen's purpose in writing this play was to explore the ways in which women's identities are constructed in relation to their roles as wives and mothers, which can be insufficient in forming a self. The play also illustrates how laws made it nearly impossible for women to make decisions without the approval of a male relative. This resulted in a state of almost complete dependency. Nora leaves her home—the "doll's house" in which she is merely a pretty object for Torvald to adore—to escape this state of dependency.

Why did artists choose to live in Greenwich Village?

'The last leaf' by O.Henry is a beautiful heartwarming short story set in the 1900s in the quaint village of Greenwich.
The artists chose Greenwich because it was a centre that promoted and supported art and culture. It attracted artists from all over and a number of studio apartments were available for these artists.
Two of the three main characters of the story ,Sue and Jhonsy shared one such studio apartment. Sue was a professional artist and lived with her friend Jhonsy who was suffering from pneumonia.
The third character Behrman was an old man and was a failed artist. He lived in the apartment below Sue and Johnsy. He managed his living by modelling for artists who could not afford expensive models.
He sacrificed his life to save Jhonsy when he painted his masterpiece'The last leaf' of the Ivy creeper.
Since the story is about artists it is aptly set in the village of Greenwich.

The narrator of "The Last Leaf" offers several reasons why artists chose to live in Greenwich Village. The story was written more than a hundred years ago, in 1907, and at that time rents were cheap in that neighborhood. Most artists struggled and made very little money when they were starting out—and even late into their careers—so low rents were very appealing to them.
A second reason was that the neighborhood was very charming to the artistic eye. It was "quaint," with Dutch attics and eighteenth-century gables. Further, the way the streets and squares twisted and made odd angles meant that an impoverished artist could easily evade a bill collector coming to get paid for a canvas or paint.
As O'Henry describes it, Greenwich Village became a magnet for artists, and soon enough of them lived their for it to become an artists' colony.

Why did Maggie Nelson write, “You’ve punctured my solitude”?

Maggie Nelson's The Argonauts is a memoir and a work of "autotheory," meaning that Nelson combines her own experiences with philosophy and theory to create not just a portrait of her own relationship and path to motherhood, but an exploration of the nature of love and family itself.
The line, "You've punctured my solitude," is a metaphor. From this line, a reader might picture solitude as a balloon or a bubble that Nelson was contained within, and the artist Harry Dodge, Nelson's partner and the antecedent of the "you" here, can be pictured as a needle puncturing the bubble and breaking through to Nelson.
This line is a quote that Nelson spoke to Harry, and she includes it in the opening pages of the book as part of her discussion of how aloof and unavailable she was before she met Harry. That completely changed once they embarked on their relationship.

Why is the lifeless body referred to as better

I think you have misread this poem slightly. At the end of Longfellow's poem "The Slave's Dream," he does not say that the lifeless body is "better"—he describes it instead as a "worn-out fetter." The word "fetter" is more usually used as a plural, fetters, and generally refers to irons clamped around a prisoner's arms or legs. This makes it a particularly poignant word for Longfellow to use in this context, as he has been describing slaves who may have spent their whole lives in literal fetters or irons. Because of this, then, Longfellow is saying that their lifeless bodies are the "fetters," or constraints, in which their souls have been trapped for the duration of their time on earth. Once the soul leaves the body, the body is no longer a person, but simply a trap or container in which that soul has been anchored. The use of the word "fetter" to describe this abandoned body makes it clear that the soul contained within it did not enjoy its time there; on the contrary, in escaping that "fetter," it is removing itself from a life of slavery and imprisonment. As an unfettered spirit, it will experience a freedom in death which it did not have in life.

In Tangerine, how did Luis die?

In Edward Bloor's novel Tangerine, Luis Cruz is killed by a blow to the head from a blackjack wielded by Erik Fisher's friend, Arthur Bauer. 
The head wound doesn't kill Luis right away. Luis had an aneurysm, which is a weakening in the wall of an artery; it causes the artery to stretch out, making it susceptible to bursting spontaneously or in response to an injury. He was hit on a Tuesday, and six days later, he was dead. 
Paul Fisher, the narrator and younger brother of Erik Fisher, saw Arthur Bauer assault Luis. Luis had shown up at football practice looking for Erik. He was there to confront him about hitting his relative, Tino, in the face. When he finds Erik and tells him the reason he is there, Erik directs Arthur to take care of Luis. In response, Arthur fishes a "blackjack" out of his gym bag. This is a sock filled with lead. He uses it to hit Luis in the side of the head while Erik keeps moving, saying "Arthur takes care of all of my light work." That incident occurs on page two hundred and eleven. 
His actual death is reported as happening on Monday, November 27th. 

"Luis Cruz is dead. When I walked into first period this morning, there was a group of kids standing around and whispering. Henry D. came up to me and said, 'Did you hear what happened?'
'No.'
'Tino and Theresa were waiting outside yesterday for Luis to pick them up, but he never came. Theresa called home and told their father. He went out into the grove and found him lying there dead.'"

In "The Raven" by Poe, what strange effect does the raven have on the narrator?

In Edgar Allen Poe's "The Raven," a melancholy student is visited by a raven who utters the famous, cryptic phrase, "Nevermore." Though the student reasons that the bird probably learned the phrase from a past master, he begins to act very strangely in the presence of the bird. More specifically, he begins a sort of dialogue with the raven, culminating with an inquiry about his former love, Lenore, and whether or not he will be reunited with her in the afterlife. The raven, of course, replies "Nevermore," and the student accordingly spirals into despair.
The strange effect here is that the raven's presence causes the narrator to gradually believe that the bird is a sinister omen or some kind of supernatural emissary bent on heightening his depression. In reality, the bird is probably none of those things. As the narrator himself says, it's likely that the bird learned "Nevermore" from a human and dumbly repeats the phrase without a sinister motive (or any motive at all). Though the narrator knows this fact, he continues to assume that the raven is an evil entity trying to torment him. Based on this strange, totally illogical effect, we gain an insight into the depths of the narrator's depression, and we see how, driven by despair and longing for a lost loved one, the human soul insists on needlessly torturing itself. 
https://www.owleyes.org/text/raven/read/the-raven

Single Variable Calculus, Chapter 1, 1.2, Section 1.2, Problem 8

The graphs shown below are a quadratic functions. Find expressions of each functions.













$
\begin{equation}
\begin{aligned}
y &= ax^2 + bx + c, &&\text{general equation of quadratic function}\\
f(x) &= ax^2 + bx + c; (3,0), (4,2), (2,2)\\
0 &= a(3)^2 + b(3) + c\\
0 &= 9a + 3b + c &&\text{Equation 1}\\
2 &= a(4)^2 + b(4) + c \\
2 &= 16a + 4b + c &&\text{Equation 2}\\
2 &= a(2) ^ 2 + b(2) + c\\
2 &= 4a + 2b + c &&\text{Equation 3}\\
\end{aligned}
\end{equation}
$


*Combining Equations 1, 2 and 3 will result to
$a = 2 , b = -12, c = 18$
$\boxed{.: f(x) = 2x^2 - 12x + 18}$


$
\begin{equation}
\begin{aligned}
g(x) &= ax^2 + bx + c; (-2, 2 ),(0, 1),(1, -2.5) \\
2 &= a (2)^2 + b(-2) + c \\
2 &= 4a - 2b + c && \text{Equation 1}\\
1 &= a (0)^2 + b(0) + c\\
1 &= c && \text{Equation 2}\\
-2.5 &= a(1)^2 + b(1) + c \\
-2.5 &= a + b + c && \text{Equation 3}\\
\end{aligned}
\end{equation}
$


*Combining Equations 1, 2 and 3 will result to
$a = -1, b = -2.5, c = 1$
$\boxed{.: g(x) = -x^2 - 2.5x + 1}$

Why did Adam hang himself?

Prior to the story Adam has been staying in a home for the mentally disabled. Unfortunately, the home has to close, so Adam comes to stay with his niece Hattie Owen and her family. Adam's disabilities mean that he finds it difficult to live in the same world as everyone else. The world outside is a frightening place, really quite overwhelming at times. Although Adam is in his early twenties his emotional life has not developed to the same level as most adults. He is a very emotional man, which sometimes finds expression in a huge sense of fun and a desire to be accepted. At the same time, however, Adam can find his emotions extremely difficult to handle, and this can cause problems.
Sadly, this is what leads to Adam taking his own life. He develops a huge crush on a young woman called Angel Valentine who has been staying at the Owens' boardinghouse. One day, Adam arrives home, hoping to surprise Angel with a bunch of flowers. But when he sees Angel, she is with her boyfriend. Adam is absolutely devastated. He lacks the emotional capacity necessary to deal with the situation, and so he runs off, utterly heartbroken. Overwhelmed by waves of emotion, he tragically hangs himself.

In "The Lottery" by Shirley Jackson, what happens if someone misses or isn't present at the drawing?

When someone misses the drawing, another family member must draw on his or her behalf.
During the proceedings, Mr. Summers, the man who presides over the lottery, must ensure that everyone is accounted for. On one particular occasion, a man named Clyde Dunbar is absent. Accordingly, Dunbar has broken his leg, and so, he cannot attend the drawing. Mr. Summers asks who will draw on Dunbar's behalf, and Dunbar's wife answers that she will do the honors.
Upon hearing this, Mr. Summers asks whether Mrs. Dunbar has a grown son who will draw for his father. She responds that their son, Horace, isn't sixteen yet and therefore, cannot draw for his father. Interestingly, even though everyone in the crowd knows that Horace isn't of age, Mr. Summers must follow protocol and formally ask the necessary questions when someone is absent.
Mr. Summers then asks whether the "Watson boy" is drawing this year. The boy answers in the affirmative and confirms that he will be drawing for himself and his mother. Interestingly, there is no explanation for why a young boy can draw for his mother but Horace cannot draw for his father, Clyde. As the story progresses, however, we get the idea that tradition is extremely important to the members of the community. The people are willing to keep in place the arbitrary rules and rituals that dominate their lives, so long as things can continue as they always have.

What were the results of the inquisition ordered by King Philip IV and Pope Clement V against the Knights Templar?

Effectively, the reason Philip IV ordered this inquisition was money. The Knights Templar had become the world’s first proper bank, enormously wealthy and shrouded in secrecy. This led many to be both jealous and suspicious of how these riches had been accumulated. As a monastic order, the knights might have been expected to live humble lives; as they were seemingly not behaving like a monastic order, Philip attempted to tax them. When they refused, they were charged with heresy, black magic, sodomy and other heinous charges.
The resulting inquisition completely wiped out the huge order. It was more than slightly illegal; Philip had to effectively maneuvered Pope Boniface out of his position as he did not condone the inquisition, and even Clement was surprised when Philip began proceedings without consulting him. However, he supported Philip and ordered the arrest of all Templars and the confiscation of their lands for the church. Many Templars were burned at the stake until the leaders of the order confessed to all charges under torture. The Templars would never reform openly.

What are the marketing techniques used by Chevrolet manufacturers? What is your opinion in their techniques?

Chevrolet uses the marketing technique of focusing on its awards, such as those from J.D. Power Awards and Car and Driver magazine. The commercials use "real people" to demonstrate the cars' features, such as Wifi connectivity.  Chevrolet's line of trucks, such as the S-10 and the Silverado, appeal to rural and blue-collar Americans by showing the trucks being used by people working on farms and in construction.  The commercials for Chevrolet trucks also focus on their longevity, using the tagline that they are the longest-lasting trucks on the road.  In 1991, the company was even able to use Bob Seger's song "Like a Rock" to describe its vehicle's longevity.  
While I cannot give you your opinion, I can at least share mine with you.  Chevrolet's focus on its awards and car features are nothing unusual in automobile advertising.  However, the "real people" that it uses in the commercials are paid actors.  Chevrolet is trying to portray a clean American image--the commercial's goal is to imply that this is what typical Americans drive.  I would like to see more of a focus on fuel economy.  Also, I believe that if the company focuses more on its American manufacturing plants in the commercials, it would tap into the "Buy American" movement that is strong in the country right now.  Of course, this marketing strategy would have to be modified for overseas marketing, as Chevrolet is a global company.  
https://econsultancy.com/why-is-chevrolet-s-content-marketing-so-compelling/

How does Leiningen know the ants are approaching without seeing them?

Leiningen learns that the ants are approaching his plantation because he is told by a Brazilian official that the ants will probably reach his plantation in approximately two days.
When Leiningen hears the words of the official, he tells the man, "even a herd of saurians couldn't drive me from this plantation of mine." And, despite the official's explanation that the ants are "elemental" and an "act of God," Leiningen refuses to leave his plantation. For the past three years, he has been a planter and dealt with flood, plague, and other "acts of God." Furthermore, he prides himself on how he has triumphed over every difficulty.
Even when he sees the legions of ants that march toward his land, eating everything in their paths, Leiningen refuses to leave because he believes the human mind can surpass the limitations of insects. Indeed, he believes he can win the war against them.

The human brain needs only to become fully aware of its powers to conquer even the elements.

In addition, Leiningen has always known how to "grapple with life," and he is determined to make the most of the fight against the ants.
http://www.classicshorts.com/stories/lvta.html

Calculus of a Single Variable, Chapter 8, 8.2, Section 8.2, Problem 20

Given to solve,
int x^3e^(x^2)/(x^2+1)^2 dx
let t = x^2 => dt = 2x dx
so,
int x^3e^(x^2)/(x^2+1)^2 dx
= int t*x*e^(t)/(t+1)^2 dx
=int t*e^(t)/(t+1)^2 (xdx)
=int t*e^(t)/(t+1)^2 (1/2)dt
let u = t e^t => u'= e^t + te^t
and v'=(1/(t+1)^2)
=> v' = (t+1)^(-2)
so v=(t+1)^(-2+1) /(-2+1) = (t+1)^(-1) /(-1)
=> v= (-1)/(t+1)
so , applying integraion by parts we get ,
int uv' = uv - int u'v
so ,
int t*e^(t)/(t+1)^2 (1/2)dt
= (1/2)[(t e^t )((-1)/(t+1)) - int (e^t + te^t)((-1)/(t+1)) dt]
= (1/2)[(-(t e^t )/(t+1)) + int (e^t + te^t)((1)/(t+1)) dt]
=(1/2)[(-(t e^t )/(t+1)) + int (e^t)(1 + t)((1)/(t+1)) dt]
=(1/2)[(-(t e^t )/(t+1)) + int (e^t) dt]
=(1/2)[(-(t e^t )/(t+1)) + (e^t)] +c
but t = x^2
so,
1/2[(-(t e^t )/(t+1)) + (e^t)] +c
=1/2[((-x^2 e^(x^2) )/(x^2+1)) + (e^(x^2))] +c
= 1/2(e^(x^2)(-x^2 + x^2+1)/(x^2+1)) + c
=1/2(e^(x^2)/(x^2+1)) + c

In Silas Marner, what did the people at the party think of Godfrey and Nancy?

In chapter 11, the party serves as the setting of one of the most poignant encounters between Nancy Lammeter and Godfrey Cass. Keep in mind that the Lammeter and the Cass clans are two of the most influential families in Raveloe. Like it often occurs with small, cohesive towns, some families with property, rank, history or money tend to stand out over the common folk. In that fashion, the townsfolk often imagine the spirit of greatness that accompanies these families will be perpetuated by joining their children in matrimony.
This being said, the townspeople saw the way Godfrey and Nancy were together at the party, although at the same time they were not so into each other that their actions would be too obvious. They referred to this behavior as "sweethearting."

I see he's for taking her away to sit down, now they're at the end o' the dance: that looks like sweethearting, that does."

Basically, in traditional "townfolk talk" the people are noticing both young persons want to get closer to one another. They see that they are getting closer physically and emotionally. The dynamics that could later turn into a full-fledged relationship are all there. Marriages and celebrations are big deals in traditional settings, so the blossoming of a relationship, especially one which would be quite popular, is always a topic of choice in a place such as Raveloe.

Why is Act 1 called the exposition? Explain the background information given on Theseus/Hippolyta, the four lovers, and the workmen.

Act 1 is basically called the exposition because it establishes the setting for the play and provides background information about the principal characters. The exposition also gives us a historical, political, or social context for a play. 
In A Midsummer Night's Dream, the first act introduces us to the chief characters. They are Theseus (the Duke of Athens), his intended wife, Hippolyta, the four lovers, and the workmen. In Act 1 Scene 1, Shakespeare sets up the main conflict of the play: Hermia is betrothed to Demetrius but is enamored with Lysander; she wants to marry Lysander, but her father steadfastly refuses to give his consent. The rest of the play addresses this conflict. Basically, Act 1 lays the foundation for the plot twists in Acts 2, 3, 4, and 5. 
In Act 1, scene 1, Egeus, Hermia's father, wants her to marry Demetrius, and he gets Theseus to take his side in the argument. For his part, Theseus threatens Hermia with either death or consignment to a nunnery if she refuses to obey her father. Meanwhile, Helena pines for Demetrius and envies Lysander and Hermia's passionate devotion to each other. While Lysander and Hermia plot to marry in secret, Helena also plots to win back Demetrius. In Act 1, Theseus's edict that Hermia obey her father sets in motion the events of the play, from Hermia and Lysander's elopement to the mix-up in identities in Oberon and Titania's enchanted forest. 
Act 1, scene 2 introduces us to the workmen who will perform for Theseus and Hippolyta at their wedding. We see the laborers again in Act 5, when they perform Pyramus and Thisbe for the wedding party. Act 1 highlights the contentions that mar the laborers' preparations for the performance. It also lets us know how each laborer is chosen for his part. So, when each workman takes up his role in Act 5, we are already familiar with how he will execute his role. In Act 1, scene 2, Bottom argues that he should be given either the part of Thisbe or the lion. He fancies himself capable of those roles. Instead, Quince assigns Bottom the part of Pyramus. 
Act 1, scene 2 also highlights the inept characters of the workmen, and we see evidence of their incompetence when they perform an awkward version of Pyramus and Thisbe for Theseus and Hippolyta in Act 5. Basically, the workmen provide comic relief in the play, with Bottom providing the lion's share of it (especially in Act 3, scene 1 when Puck transforms Bottom's head into an ass's head). Essentially, Act 1 introduces us to the major comic characters of the play: the workmen. 

What is the mood of Act II, scene 2 of Julius Caesar?

There is an ominous and foreboding mood in Act II, Scene 2 of Julius Caesar.
Certainly, the weather is ominous, as the thunder and lightning threaten in the heavens. Caesar himself observes, 

Nor heaven nor earth have been at peace tonight:Thrice hath Calpurnia in her sleep cried out,"Help, ho! They murder Caesar...." (2.2.1-3)

Shortly after his words, Calpurnia enters and reports ominous happenings that the watchman has witnessed--
The watchman has seen "horrid sights" of a lioness whelping (giving birth) in the streets.
Graves have opened and the dead issued forth with military formations coming from the clouds that then engaged in battle.
Blood has drizzled down upon the Capitol and the din of battle clashed in the air.
Horses have neighed and dying men groaned.
Ghosts have screamed and shrieked in the streets. 
Caesar tells his wife that these omens can apply to rest of the world as well as to them. Yet, he expresses a certain fatalism:

...death, a necessary end,Will come when it will come (2.2.36-37)

There are other omens, as well; for example, a servant reports that the augurers, religious officials in Rome who interpret and foretell events, have reported that a sacrificial animal had no heart in it. But, Caesar retorts that if he were to not go to the Senate House, he himself would be a beast without a heart. Still, Calpurnia begs her husband on this Ides of March to not go forth, but to send word that he is ill instead. When Decius arrives in order to escort Caesar to the Senate, Caesar tells him of his wife's dream in which she saw his statue bleeding like a fountain while other Romans came toward this fountain, and with smiles on their faces, they bathed their hands in this blood. Caesar tells Decius, that Calpurnia considers this dream as an omen and begs her husband to stay home.Decius interprets this dream in another manner, 

Your statue spouting blood in many pipes,In which so many smiling Roman bathed,Signifies that from you great Rome shall suckReviving blood, and that great men shall pressFor tinctures, stains, relics, and cognizance. (2.2.85-89)

Decius here suggests to Caesar that people will beg for badges that indicate they are his servants; to the audience, he suggests that people will desire remembrances of his death. He has thus fed Caesar's ego. Further, Decius provokes Caesar into going to the Senate by asking,

If Caesar hid himself, shall they not whisper, "Lo, Caesar if afraid?" (2.2.100-101)

Influenced by Decius, Caesar rejects Calpurnia's dream, as well as all the omens and disturbances of the heavens.  Therefore, when the others enter, among them Antony and Brutus, he departs for the Senate. 
 

What are sound images?

The term “sound image” has several definitions and applications. It may be a visual representation of audio phenomenon, or it may relate to the arbitrary character of representation in linguistics.
In acoustics, sound image may be a photographic representation of a sound, for example as it occurs on a film’s sound track. The “image” may also be a representation of a sound, such as the recorded version in contrast to the actual sound. The term may also relate to the relationship between visual and audio, such as the kinds of images that particular sounds suggest.
Ferdinand de Saussure, the pioneer of structural linguistics, used the term in a different way. In defining a “sign,” he distinguished between the concept that it represented and the sound image that it represented. For every idea that the human mind holds, it must arbitrarily attach a means of representing it. While the concepts are very similar across cultures, the representations differ widely because they are arbitrary. One common example is “tree.” While plants with a trunk, branches, and leaves occur in most parts of the world, the use of the sound-image “tree” in English compared to “arbol” in Spanish is arbitrary.

Sound images refer to the visual representations of radar pulses, usually digital, to present a picture of what is happening in places we cannot see.
One of the most commonly understood examples of sound imaging is ultrasound technology, used to "see" inside the human body. Ultrasound imagery is used for a variety of medical applications, but is often associated with pregnancy. Ultrasound imagery allows physicians to "see" a fetus in the womb to determine important things like due dates, size, sex, and possible birth defects.
Similarly, sonar applications allow us to see where we would not otherwise be able to see—for example, in deep ocean environments. Through sonar technologies, we are able to send a sound pulse toward the earth and record its bounce-back rate to determine depth. The application of sonar along the ocean floor can create profiles of ridges and valleys to offer us a better understanding of what is happening deep underwater.
For more information on sonar technology, check out the NOAA Ocean Explorer link, which offers several great pictures produced by sonar technology.

Explain the symbolic characteristics of Ralph and Jack in Lord of the Flies by William Golding.

Ralph is initially described as having "fair hair" and is referred to as the "fair boy" in the opening scene of the novel. He is also described as having a "golden body" and is associated with the conch. Golding's description of Ralph being a "fair boy" symbolically represents his just, upright personality. The color gold also symbolically represents Ralph's revered status among the group of boys, who eventually elect him chief.
Since the conch symbolically represents order, democracy, and civilization, Ralph is also associated with those values. Ralph also continually laments his long, tangled hair and constantly pushes it out of his face. The length of the boys's hair in the story is significant and is used as a gauge to reflect the boys's diminishing civility. Ralph is an archetype for civilization, structure, and democracy throughout the novel, and he attempts to establish a civil society in vain.
Jack is initially described as "something dark" as he walks towards the platform, where Ralph is blowing the conch. Jack is then described as having red hair and wearing a black cap. Golding also writes that Jack's light blue eyes turn angry when he is frustrated. The color red symbolically represents Jack's affinity for blood and emphasizes his passion for hunting. The black cap and dark imagery symbolically reflect Jack's wicked nature. As the story progresses, Jack removes his clothes, paints his face, and allows his hair to grow past his eyes. Jack's startling appearance symbolically represents his savage nature.

Jack is described as "tall, thin, and bony; and his hair was red beneath the black cap" (page 20). Red hair is a symbol of his later quest for blood. He is also described as having blue eyes that are "ready to turn to anger" (page 20). He is angry and violent, and later, he constantly totes about a spear, which symbolizes his connection to a primitive form of violence. Jack also carries around a bloodied knife, and he smears the blood from his knife over his forehead, again symbolizing his connection to bloodthirstiness (page 71). He has forgotten about being rescued and has descended to using violence. For example, he snatches off Piggy's glasses (page 71). Jack is lawless and uses force to lead.
Ralph, on the other hand, is described as "fair," (page 8), or blond, symbolizing that he is a fair-minded and sweet golden boy. He is also described as having a "golden body" (page 11). He is associated with the conch, a shell he uses to call others to a meeting, symbolizing order and law. His values are in opposition to the chaotic lawlessness and bloodthirstiness that Jack symbolizes. 

Why was salutary neglect important?

The British established colonies in North America so that the British would benefit from having these colonies. The British got raw materials from the colonies and then sold the finished products made in the British factories to the colonies. This gave the British a guaranteed market for their products. To ensure that the British would benefit from the colonial trade, they established laws known as the Navigation Acts. These laws required the colonists to buy certain products only from Great Britain. The colonists were also required to use British ships when trading. However, the British often did not enforce these laws. This was known as salutary neglect.
The colonists became used to the lack of enforcement of the Navigation Acts. They illegally smuggled products from other countries and used the ships of other countries. When the colonies became more expensive to operate, the British began to crack down on smuggling. This angered the colonists. After the French and Indian War ended, the British began to pass laws that angered the colonists. Some of these laws dealt with trying to control the smuggling that was occurring. Other laws controlled where the colonists could go or created new taxes. The Proclamation of 1763 and the Stamp Act were examples of these laws. These events helped lead to the start of the Revolutionary War.
https://www.history.com/topics/american-revolution/stamp-act

https://www.ushistory.org/us/9a.asp

Salutary neglect, which was the British policy towards the American colonists in the early to mid-1700's.  It was a system of loose imperial control over the colonies and a lax enforcement of trade laws.  The Navigation Acts made it impossible for colonists to trade with nations other than England.  This led to smuggling of goods from the colonies.  England turned a blind eye towards the abuses of the colonists during this period.  The result of the period of salutary neglect was that the colonists learned to govern themselves and manage their own economies.  An elite class emerged in the colonies that benefited from the autonomy.  After England's prolonged war with France that included the French and Indian War in North America, the crown was desperate for increased revenues.  They looked to the colonies for this bump in revenue.  When England decided to enforce the tax and trade laws that were already on the books, the American colonists ultimately rebelled and the American Revolution was born.
https://www.britannica.com/topic/salutary-neglect

College Algebra, Chapter 2, 2.3, Section 2.3, Problem 46

Solve the equation $16x^3 + 16x^2 = x + 1 $ graphically on the interval $[-2,2]$. State each answer correct to two decimals.

$
\begin{equation}
\begin{aligned}
16x^3 + 16x^2 &= x + 1\\
\\
16x^3 + 16x^2 - x - 1 &= 0 && \text{Subtract } x \text{ and } 1
\end{aligned}
\end{equation}
$




Graphically, the equation $16x^3 + 16x^2 - x - 1$ is equal to 0 at $ x \approx -1$, $x \approx - 0.25$ and $x \approx 0.25$


$
\begin{equation}
\begin{aligned}
16x^3 + 16x^2 - x - 1 &= 0 && \text{Model}\\
\\
\left( 16x^3 + 16x^2 \right) - (x + 1) &= 0 && \text{Group terms}\\
\\
16x^2 (x + 1) - (x + 1 ) &= 0 && \text{Factor out } 16x^2\\
\\
(16x^2 - 1)(x +1) &= 0 && \text{Factor out } 16x^2 - 1\\
\\
16x^2 - 1 &= \text{ and } x+1 = 0 && \text{Zero product property}\\
\\
x &= \pm \sqrt{\frac{1}{16}} \text{ and } x = -1 && \text{Solve for } x
\end{aligned}
\end{equation}
$

Why are the narrator and her father going to Florida in The Book of the Dead?

In The Book of the Dead, Annie and her father are going to Florida from Brooklyn because she's a sculptor who wants to personally deliver her sculpture to a client. It's the first one she has ever sold.
Unfortunately, her father and the sculpture are gone when she wakes up in the motel they stayed in the night before delivering the statue. She promises the client that she'll have it for them the next day and doesn't tell them that "Father"—the name of the statue—has disappeared with her own father.
In the end, the sculpture is destroyed by her father and she finds out more about his history that she didn't know before. His past is entwined in certain ways with the Haitian dissident whose daughter wants the sculpture so much. She and her father love the hands on the sculpture that Annie made.
https://www.newyorker.com/magazine/1999/06/21/the-book-of-the-dead-2

Annie is a sculptor. She's travelling with her father to Florida to deliver a statue she's recently made called "Father." The statue has been sold to a TV actress, the daughter of a Haitian dissident who is a refugee from torture and political repression in his homeland. The relatively close proximity of Florida to Haiti makes it a natural destination for Haitian immigrants and refugees. Annie's father is also a Haitian refugee; but it turns out that there's so much about him that she never knew. When she wakes up in a Florida motel room, she's surprised to discover that her father's vanished, and with him the sculpture; both father and "Father" are gone. By the time Annie discovers their whereabouts, her feelings toward her father have changed forever.

What is the tone of "there will come soft rains"

"There Will Come Soft Rains," a poem by Sara Teasdale, was published in the July 1918 issue of Harper's Magazine, several months before the armistice that ended World War I.
The narrator speaks of a landscape teeming with life: "swallows circling" and making "shimmering [sounds]," singing frogs, and the flowering of plum trees. Teasdale's verse does not only focus on the day, but also the passage of day into night and the passage of the seasons. She signals these time changes with the actions of the animals ("And frogs singing in the pool at night") and the changes in both plant and animal life ("And wild plum trees in tremulous white, / Robins will wear their feathery fire").
The narrator makes a point of noticing the absence of human life in this territory that has been reclaimed by nature. Teasdale seems to distinguish human life and its efforts—specifically war—as something outside of nature, for nothing natural in the poem knows what had concerned humans for the last four years (e.g., "not one," "scarcely know").
The tone is one that signals nature's indifference to the presence of humans. Even if we were to bring on our own extinction, it would not create the slightest difference in the perpetuation of other forms of life. This is not meant to be negative or even to claim that human existence mars nature in someway. Instead, it is meant to illuminate the fact that we are not as significant as we would like to believe. Life can go on without us.
https://poets.org/poem/there-will-come-soft-rains

What are some good lines with literary devices or figurative language from the first five parts of The Book Thief?

Quote: "A suddenness found its way onto his lips then, which were a corroded brown color and peeling, like old paint."
Literary Device: simile
Page:part 1, page 16
Explanation: This quote is a simile. It compares two things (lips to old paint) using "like" or "as."
2. Quote: "The book thief had struck for the first time—the beginning of an illustrious career."
Literary Device: foreshadowing
Page: part one, page 22
Explanation: This quote shows foreshadowing, hinting at events to come later in the story (stealing other books).
3. Quote: "Within seconds, snow was carved into her skin."
Literary Device: hyperbole
Page: part one, page 18
Explanation: This quote contains hyperbole, an extreme exaggeration (the snow is hitting her hard, but not actually being "carved into her skin").
4. Quote: "They ignore the reality that a new version of the same old problem will be waiting at the end of the trip—the relative you cringe to kiss."
Literary Device: metaphor
Page: part one, page 19
Explanation: This quote is a metaphor, which compares two things (a new version of an old problem to a relative you cringe to kiss) by saying that they are equivalent.
5. Quote: "...the boy’s spirit was soft and cold, like ice cream."
Literary Device: simile
Page: part one, page 17
Explanation: This quote is a simile. It compares two things (the spirit to ice cream) using "like" or "as."
6. Quote: "...empty hat-stand trees..."
Literary Device: metaphor
Page: part one, page 21
Explanation: This quote is a metaphor, which compares two things (hat stands to trees) by saying that they are equivalent.
7. Quote: "Ash stumbled from its edge and lunged and lifted several times until it hit the ground."
Literary Device: personification
Page: part one, page 21
Explanation: This quote shows personification, which is making an inanimate object (the ash) show a human characteristic (stumbling, lunging).
8. Quote: "There is murky snow spread out like carpet."
Literary Device: simile
Page: part one, page 21
Explanation: This quote is a simile. It compares two things (snow to carpet) using "like" or "as."
9. Quote: "...apartment blocks that look nervous."
Literary Device: personification
Page: part one, page 21
Explanation: This quote shows personification, which is making an inanimate object (the house) show a human characteristic (nervousness).
10. Quote: "But she did love Liesel Meminger. Her way of showing it just happened to be strange. It involved bashing her with wooden spoons and words at various intervals."
Literary Device: irony
Page: part one, page 25
Explanation: This quote shows an example of irony, which occurs when the author says one thing but means the opposite.

How do the novels Things Fall Apart and Heart of Darkness differ in their portrayal of colonialism?

One of the main differences in the books's respective portrayals of colonialism lies in their use of perspective. Heart of Darkness is told from the standpoint of a colonialist, albeit a colonialist who comes to question the very nature of colonial rule, whereas Things Fall Apart is a tale told by the colonized, those on the receiving end of the colonial enterprise.
As the latter perspective comes from the inside out, as it were, it gives us a much better idea of the damage that colonialism does to indigenous societies. Conrad may depict the sheer brutality of colonial rule with suitably harrowing realism, but the brutalized natives that Marlow encounters are never more than objects. The villagers of Umuofia, by contrast, are living, breathing subjects—inheritors of a rich, ancient civilization that is gradually being corroded by the domination and control of Western colonial rule.
Apart from anything else, this insider perspective enhances our understanding of what colonialism involves, helping us to see black Africans in a new light: not as the Other, as in Hearts of Darkness, but as subjects in their own right.

The representations of colonialism in Things Fall Apart and Heart of Darkness differ in a major way. In Heart of Darkness, Joseph Conrad depicts colonialism as a violent force deconstructing a society of savages and barbarians. In contrast, in Things Fall Apart, Chinua Achebe depicts colonialism as a violent force deconstructing a sophisticated and highly developed culture. As such, though both novels display the savage nature of colonial enterprises, Conrad makes the assumption that cultures subjected to colonialism are entirely primitive, whereas Achebe recognizes the nuanced, complicated, and culturally advanced natures of societies dominated by colonialism.
This distinction is critical. While Conrad's critique of colonialism is very important, it's undeniable that he depicts African cultures in a racist manner: native Africans are represented as primitive and less-developed than Europeans, and the latter are driven mad by the dark and "primitive" cultures of Africa. Achebe, however, depicts his native Igbo individuals as normal human beings: they can be virtuous and noble, they exist in a complicated social hierarchy, and they also make entirely human mistakes. Thus, Achebe's depiction of colonialism is ultimately harder to bear. While Conrad shows colonial powers destroying apparently "savage" cultures, Achebe shows colonialism destroying sophisticated and cultured human beings. In this way, Achebe truly gets to the heart of colonial injustice. 

What events from The Adventures of Tom Sawyer does Huck mention in the first paragraphs of the story?

Tom Sawyer and Huck's discovery of a trunk filled with gold coins in a cave after witnessing events in a cemetery and a haunted house in The Adventures of Tom Sawyer are alluded to in the opening chapters of The Adventures of Huckleberry Finn.
In the opening paragraphs, the narrator Huckleberry Finn mentions that he and Tom Sawyer "found the money that the robbers hid in the cave, and it made us rich. We got six thousand dollars apiece—all gold." It is this treasure that Huck is worried about in chapter 4 of The Adventures of Huckleberry Finn. Huck becomes alarmed when he sees the footprints of his father's boot-heel "made with big nails, to keep off the devil." Frightened, Huck rushes to Judge Thatcher's. There, he begs the judge to take his one hundred and forty dollars and the six thousand of his share of the treasure, as well. The puzzled judge tells Huck he will "buy" it for a dollar, suspecting that Huck is threatened somehow. Indeed, Huck is worried that his scoundrel of a father will try to take this money from him.
The six thousand dollars is in gold coins that were hidden in the cave by Injun Joe. Huck and Tom Sawyer's discovery was made possible by the fact that they overheard three men in a cemetery one night. There they witnessed Injun Joe kill one of the men. Later, the boys dug for the treasure at an abandoned house, but they had to hide because men arrived. As these men talked, Huck and Tom recognized the voice of Injun Joe. Then, the boys saw the men try to bury their booty. However, as they dug, they discovered another treasure of gold coins. Having noticed the boys' new shovels, however, the men decided to move this treasure, believing that others were previously digging for it.
In a later chapter, Tom and Becky were lost in a cave and remained in there for some time despite a search for them by men in the town. Fortunately, Tom finally found a way out. A week later, Tom had Huck accompany him to this cave, where they found the treasure of gold that Injun Joe buried. The boys were awarded the gold, and it was invested for them. This is the money that Huck alludes to in the first paragraphs of The Adventures of Huckleberry Finn. This is also the treasure that Huck tries to give to Judge Thatcher.

What does Brutus say would have happened if the senators wouldn't have killed Caesar?

Brutus genuinely believes that if Caesar hadn't been assassinated then he would have made himself king. The Roman republic that Brutus venerates so much was founded after the overthrow of kings. From then on, Romans were anxious to make sure that their city state would remain a republic, and they were deeply suspicious of anyone who might give the impression of wanting to become king. By the time of his murder, Caesar had become a very powerful individual in Rome; in actual fact, he was a dictator. Many people, including Brutus, thought that the next logical step was for Caesar to declare himself king, something they would never accept.
In his speech to the plebs, or common people of Rome, Brutus attempts to justify his participation in Caesar's murder. He says that if Caesar had been allowed to live, then the Roman people would've been turned into his slaves:

Had you rather Caesar were living and die all slaves, than that Caesar were dead, to live all free men? (Act III Scene ii).

If Caesar hadn't been killed, he would've destroyed the ancient traditions of republican Rome. Even if he never actually called himself a king, he would still effectively be one. The Roman people, for their part, though still formally citizens, in reality would've been little better than slaves.

How could reading "The Ones Who Walked Away from Omelas" guide our personal ethics?

In reading and considering this powerful short story, we will hopefully come to the realization that it is unethical to purchase our own happiness at the expense of others.  The people in Omelas know that the miserable child exists, and, though they may find his or her existence regrettable, they seem to feel that the means justify the ends: misery for one person is well worth the happiness of many thousands of others.  It is the few people who leave Omelas, those who cannot allow another innocent person to suffer in order to buy their own contentment, from which we can learn.  We all deserve an equal chance to be happy, even if that means we all must endure some sadness and some misery.  It is clear that one cannot exist without the other. The idea that "into each life a little rain must fall" must guide us in our decisions about how to treat others.

Who ruins Melinda's plan to leave the pep rally?

In "The First Marking Period," the first part of the novel Speak, under the subheading "Devils Destroy," Melinda decides to use the excuse of going to the pep rally to bunk class and clean her newly found cupboard—a safe place where she goes to be alone. Her plan is to join the crowd on the way to the rally and then to duck into "a bathroom until the coast is clear." As she states, however, "I forgot to factor in Heather."
She is just approaching the safety of the bathroom when her new friend Heather runs up to her, calling her name and grabbing her arm. She says she wants Melinda to sit with her at the pep rally and even has an extra pom pom Melinda can wave. "We'll get them going, won't we Mel?"
The pep rally turns into a disaster for Melinda. Someone recognizes her as the person who phoned the police at Kyle's party and beats her up.

Heather ruins Melinda's plan to not attend the pep rally.
In the First Marking Period, Melinda's school is holding a pep rally for homecoming that she plans on skipping. Melinda plans on walking in the crowd alongside the other students towards the auditorium before sneaking into a bathroom, where she can wait until the halls are cleared and collect more supplies to fix up her hiding spot in the empty janitor's closet. Unfortunately, Melinda cannot follow through with her plan because Heather calls her name and drags her to the pep rally. During the pep rally, a random girl taps Melinda on the back of the shoulder and begins ridiculing her for calling the cops on Kyle Rodgers's party the previous summer. The girl then jams her knees into Melinda's back. Melinda wishes she could disappear and sulks away after the pep rally ends.

What are some examples of style in Oliver Twist?

Style includes the words, phrasing, and literary devices an author uses. It is what gives a writer a distinctive voice, and it sets the tone or mood of a piece of writing.
The opening paragraph of the novel typifies Dickens' ornate style of writing, with a long, paragraph length sentence of many clauses, punctuated by semi-colons. This establishes Dickens as a Victorian writer and is a style that might be considered archaic today:

Among other public buildings in a certain town, which for many reasons it will be prudent to refrain from mentioning, and to which I will assign no fictitious name, there is one anciently common to most towns, great or small: to wit, a workhouse; and in this workhouse was born; on a day and date which I need not trouble myself to repeat, inasmuch as it can be of no possible consequence to the reader, in this stage of the business at all events; the item of mortality whose name is prefixed to the head of this chapter.

The narrative voice in the passage above is also characteristic of Dickens' style in this novel: it is wry and darkly or grimly humorous. The speaker alludes to the common perception in Victorian England that a poor child cannot matter when he says it "can be of no possible consequence to the reader" when Oliver was born. It also is circumlocutious or roundabout in getting to the point, mimicking—and mocking—the evasive and euphemistic way middle-class people talk about the poor.
This narrative voice creates a tone that is ironic and filled with veiled anger at the plight of the poor in England.
It is worth noting too that Dickens' style in this novel is to begin as he does in this opening chapter with a paragraph or two that sets the scene, usually from afar, and then zooms into particulars, as if a camera is first providing an overview and then settling on a particular place within the setting. This allows Dickens to frame his scenes with a narrative voice that sets the tone—usually a condemnatory one.

Dickens' written style in Oliver Twist, as elsewhere in his work, is highly elaborate. He frequently resorts to what's called periphrasis, which is a nice way of saying that he beats about the bush quite a lot. This is not intended as a criticism, in any way; Dickens is such an expert writer that he knows exactly what he's doing here. In using periphrasis, he's deliberately refusing to come right out and say what he means—the better to stimulate the reader's imagination. He'd much rather hint and suggest by the language that he uses and leave the reader to draw their own conclusions.
A good example of periphrasis occurs when The Artful Dodger and Charley steal Mr. Brownlow's wallet. Dickens describes their theft as "an illegal conveyance of Mr. Brownlow's personal property". This is exactly the kind of language that Fagin would use to describe the act of pickpocketing. As he's always worried about getting caught, Fagin often resorts to euphemisms and long-winded expressions in discussing his gang's various criminal activities. So Dickens' use of periphrasis in this case is entirely appropriate to how Fagin cloaks criminal acts in respectable-sounding language.

Oliver Twist by Charles Dickens is a bildungsroman, also known as a coming of age novel. Dickens uses a variety of styles in this book in order to stimulate a variety of emotions and reactions from the reader.
One of the techniques he uses is irony, which he uses most strongly in the first eight chapters before Oliver arrives in London. Dickens writes in a sarcastic tone as he mocks the institutions which oppress the vulnerable in Victorian society and benefit those in power. For example, in chapter two, the men who run the workhouse are described as being wise, philosophical men who thought it was improper for people to be content to live in a workhouse where they were properly fed and cared for. Instead, they settle on this solution:

So, they established the rule, that all poor people should have the alternative (for they would compel nobody, not they,) of being starved by a gradual process in the house, or by a quick one out of it.

Essentially, Dickens demonstrates that the board of the workhouse decided to starve the poor in their best interests. This sarcasm reveals the hypocrisy of the board.
Another technique Dickens uses to mock these public institutions is melodrama. This can be seen in the famous scene where Oliver asks for more:

The master was a fat, healthy man; but he turned very pale. He gazed in stupefied astonishment on the small rebel for some seconds; and then clung for support to the copper. The assistants were paralysed with wonder; the boys with fear.

It is ridiculous that Oliver asking for more gruel would prompt such a reaction. By exaggerating the gravity of Oliver's offense, Dickens draws attention to the injustice that the boys in the workhouse face.
Because the chapters were originally published individually as a series in a magazine, the book has an episodic structure rather than a definitive plot. Dickens often talks around the point in long, rambling sentences rather than simply saying what he means.

Discuss: "Communists and Tsars ruled Russia in the same way during the period 1825–1945."

On the face of it, the establishment of the Soviet Union represented a clean break with the Russian Empire of the previous centuries. Yet to some extent, Communist rule in the Soviet Union showed marked similarities with its Tsarist forebear, displaying a remarkable degree of continuity. For one thing, a centralized system of government was retained; indeed, under the Communists it was strengthened. The Tsarist state, though often cruel, lacked the ruthless efficiency of the Soviet Union. It can be argued that the authoritarianism of the Tsars developed over time into the totalitarianism of Stalin.
In substance, if not in form, Lenin and Stalin came to be regarded in much the same way as the Tsars. The Tsar had absolute power, granted to him, it was believed, by God. Although the Soviet Union was officially an atheist state, there was something unmistakably god-like about how Lenin and Stalin were treated. Both generated their own fanatical personality cults in which anything less than fawning submission was regarded as a sign of counter-revolutionary tendencies. They, like the Tsars, enjoyed absolute power, with the difference that their control was much more comprehensive, backed up by an apparatus of state terror.
Serfdom existed in the Russian Empire until the institution was abolished by Tsar Alexander II in 1861. Serfs were similar to slaves, though not quite the same. For one thing, they were still Russian citizens, and as such were required to give compulsory military service. Prisoners in penal colonies were used as slave labor to work on engineering projects, especially in the remote parts of Siberia. This unfortunate legacy of Tsarist rule was taken to the next level under the Soviet Union. Millions of slaves—mainly political prisoners—toiled away in the gulags, or prison camps, and on massive projects such as the notorious Belomor Canal.
Over time, Russian chauvinism with regards to the empire's subject peoples revived under Stalin despite the Bolsheviks' emancipatory rhetoric when it came to national self-determination. The USSR, no less than the old Russian Empire, was controlled for the ultimate benefit of Russia. National self-determination was no more acceptable to Stalin than it had been to the Tsars. The security needs of Mother Russia came first, and it was deemed necessary, therefore, to maintain firm control of the remotest parts of the world's largest country.

Single Variable Calculus, Chapter 2, 2.5, Section 2.5, Problem 53

(a) Show that the equation $x^5 - x^2 - 4 = 0$ has at least one real root.
(b) Determine the root using a graph.

(a) Let $f(x) = x^5 - x^2 - 4 $
Based from the definition of Intermediate value Theorem,
There exist a solution $c$ for the function between the interval $(a,b)$ suppose that the function is continuous
on the given interval. So we take $a$ and $b$ to be 1 and 2 respectively and assume the function $f(x)$
is continuous on the interval (1,2). So we have,


$
\begin{equation}
\begin{aligned}

f(1) =& (1)^5 - (1)^2 - 4 = -4\\
\\
f(2) =& (2)^5 - (2)^2 - 4 = 24

\end{aligned}
\end{equation}
$


By using Intermediate Value Theorem. We prove that...

So,
$
\begin{equation}
\begin{aligned}
& \text{if } 1 < c < 2 && \text{then } \quad f(1) < f(c) < f(2)\\
& \text{if } 1 < c < 2 && \text{then } \quad -4 < 0 < 24
\end{aligned}
\end{equation}
$

Therefore,
There exist such root for $x^5 - x^2 - 4 = 0$.


(b) Referring to the graph, the approximate value of root is $x = 1.43$

Why does S. E. Hinton use just her initials rather than her full name?

S. E. Hinton published The Outsiders in 1967. On the advice of her publisher, she used her initials instead of her full name, Susan Eloise, to forestall the inevitable criticism that female writers cannot write convincingly from the perspective of males. After it became known that S. E. Hinton was female, she continued to use S. E. Hinton as her professional name to draw a line between her public and private lives. Hinton has said in interviews and on her website that she values her privacy, and by publishing as "S. E." she can maintain separate identities as a public writer and private citizen.
Hinton's publisher in 1967 perhaps continued the nineteenth-century tradition of female writers masking their gender, apparently as a way to broaden their readership. J. K. Rowling's publisher is said to have given her the same advice upon publishing the Harry Potter novels. Mary Ann Evans published under the name George Eliot. Amantine Lucile Aurore Dupin wrote under the name George Sand. Emily Brontë published as Ellis Bell, Charlotte Brontë as Currer Bell, and Anne Brontë as Acton Bell.

Susan Eloise Hinton wrote The Outsiders when she was in high school and published her novel at the age of seventeen. Though her publishers were happy to print the novel, they were concerned her name might be a deterrent to potential readers. Especially for a story which deals so heavily with machismo, Viking Press felt a feminine name would discourage the target audience. As a result, Hinton chose to publish using her first and second initial alongside her surname. This decision is one many woman authors make, even today. Authors may fear having a feminine name implies their books are only for women, or only about topics which interest women. Of course, that's not necessarily true! Some women do write for a feminine audience, but many more are seeking to write to a more inclusive experience. Another famous author who chose to use a gender neutral pen name to prevent a gendered effect on book sales is J. K. Rowling, the author of the Harry Potter series.

Which details show that August is an optimistic person?

Wonder, written by R.J. Palacio, is a story about a fantastic young boy named August “Auggie” Pullman. Auggie was born with a severe facial deformity and had to undergo several surgical procedures. Despite his differences, Auggie maintains a positive and optimistic attitude throughout the entire novel.
One example of Auggie’s optimism is seen on his first day attending public school at Beecher Prep. Auggie is unsure of who to sit with in the cafeteria and sits by himself. This shows he is optimistic that someone will join him and also that he is very brave—school cafeterias can be frightening places! A girl named Summer sits with him and they become friends.
Another time Auggie shows his optimism is near the end of the novel when he attends a sleep-away retreat with his classmates. This adventure shows that Auggie is optimistic and keeping an open mind because he has never gone on a trip without his family and is hoping for the best. Unfortunately, Auggie gets beat up and someone steals his hearing aids. Auggie doesn’t let this affect his attitude but uses it as an opportunity to bond with his peers.

In the beginning of Wonder, August visits a school that his parents would like for him to attend. The principal arranges for three students to meet August and give him a tour of the school. Although one of them makes a comment about his face, August says that he wants to go to school there. He seems positive about taking on this new adventure.
August also seems to have a positive outlook on how others view him. He knows he looks different and understands why some kids may stare or react when they see him. He says, "Like, it's okay, I'm know I'm weird-looking, take a look, I don't bite."
August decides to invite his entire homeroom class to his birthday party. He does this because he does not want to hurt his classmates' feelings. His party ends up being much smaller than he thought, but August maintains a positive attitude. The adults participate in the party by bowling next to the kids, and August believes their participation made his party seem larger than it actually was.