Who is maria in the boy in the striped pajamas?

Maria works for Bruno's family as the maid.
She has worked for the family since Bruno was three years old. As the maid, she is responsible for the upkeep of the family home. Maria also does the grocery shopping and sometimes takes Bruno to school.
When Bruno is unhappy at "Out-With," Maria tries to console him. However, Bruno will not be appeased. He contends that his father has made a mistake in moving the family away from Berlin. For her part, Maria is too indebted to Bruno's father to criticize her employer behind his back. As the other educator has already pointed out, Maria's mother worked for Bruno's grandmother as a dressmaker. Bruno's grandmother was a performer during her younger days, and Maria's mother followed her all over Germany.
After Bruno's grandmother retired, she gave Maria's mother a small pension. Not long after, Maria's mother succumbed to illness and died. Throughout the ordeal, Bruno's father supported Maria; he paid for her mother's medical care and later for funereal expenses. Then, Bruno's father brought Maria into the family home to work as a maid.
So, when Bruno confides his disappointment in his father to Maria, she refuses to sympathize with him. To Maria, Bruno's father is a good man. At least, that is what she will allow herself to say in public. Yet, Maria is obviously troubled that her employer has chosen to support Hitler's murderous policies.
Despite her reservations about Bruno's father, however, Maria is afraid to speak candidly. She tells Bruno that it is better to remain silent than to question his father. As an adult, Maria has probably seen how independence in any form is violently crushed. So, she advises Bruno to concentrate on his schoolwork and to do as his father says. To Maria, it is better to remain silent and stay safe than to speak up and possibly incur death for one's efforts.

The Boy in the Striped Pajamas is a book about a young boy and his family taking up residence near a concentration camp. The young boy, Bruno, develops a friendship with a Jewish boy named Shmuel, though he is naive to the fact that his new companion is suffering through life in a concentration camp.
Maria is Bruno's family maid and is considered a "minor" character in The Boy in the Striped Pajamas. Maria's mother worked as a dressmaker for Bruno's grandmother during her tour in Germany. The two women remained friends, even after Bruno's grandmother retired.
When Maria's mother fell ill, Bruno's father took care of the medical costs. When Maria's mother passed away, he also paid the expenses for the funeral and hired Maria as a maid. This act of generosity provided Maria with a job, food, and a home.

Review the details Brontë provides about the weather in the opening chapter of the novel

Bronte uses the pathetic fallacy in the opening chapter, which assigns human feelings to non-human entities. For example, the northern islands Jane reads about are made "melancholy" or sad by the bad weather there. Further, the weather Jane experiences, looking out the window of the Reed home, is "sombre," windy, and relentlessly rainy, reflecting the emotionally dark and desolate conditions in which Jane lives with her aunt and cousins. The violence of the weather, such as the winds and pelting rains, also reflect the howling storm of fear and rage rising in Jane's soul.
The rain and wind on a November day function more prosaically as a plot device, explaining why all the children are indoors. Jane writes:

I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the raw twilight, with nipped fingers and toes

The bleak weather is Gothic: the dark and rainy day becomes a dark and rainy night, setting the scene for what will soon, at least to the frightened young Jane, become a seemingly supernatural horror story. She is locked up in the red-room after defending herself against John Reed's abuse and has a fit when she thinks a gleam of light is a ghost.

The discussion of the weather in the first chapter of Jane Eyre by Charlotte Bronte (and, indeed, throughout the novel) is one of the literary devices whereby Bronte incorporates elements of a Gothic atmosphere to establish the setting. Gothic literature --- synonymous with suspense, crumbling castles, supernatural occurrences, and devastating secrets among the characters, among other elements --- was first introduced with The Castle of Otranto by Horace Walpole (published in 1764-65). Jane Eyre was published in 1847, at which time some literature still retained or borrowed heavily from many of the by-then established Gothic elements.
Bronte's descriptions of the weather, then, are meant to create a certain milieu, not only physical (as in her mentions of wind and clouds and rain) but also both emotional and psychological. She deliberately uses adjectives with dark, suspenseful, and gloomy connotations: the winter wind is "cold," the clouds "sombre," the rain "penetrating," the afternoons "chilly," the twilight "raw ... [causing] nipped fingers and toes." Later, the November day is "drear," the shrub "storm-beat," the rain "ceaseless," the "blast [of wind] ... long and lamentable." Jane is even reading to herself in her window-seat nook about the habitats of sea birds, as "among the stormy Hebrides."
Such descriptors serve to firmly establish a sense of foreboding, of impenetrable darkness, of forces out of control and power beyond imagination, of coming events, even change, too dramatic, drastic, and/or even terrifying to be predicted or planned for.
Imagine the same first chapter with different descriptors swapped in, perhaps to denote a bright, sunny day with a light, cool, refreshing breeze. Suddenly that Gothic atmosphere would be missing, and the whole milieu of the rest of the novel to come would change.
Sources
Gothic Literature
Jane Eyre by Charlotte Bronte

Descriptions of weather in a story like Jane Eyre often help to set the mood, or tone, for the story. Brontë includes descriptions of the weather in the very first paragraph of her novel. She writes,

The cold winter wind had brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the question.

The beginning of the novel is set in the winter, in cold, cloudy, and rainy weather.
In the following paragraphs we get some more descriptive words like chilly and drear November day. Relaying to us how Jane thinks about her own environment and how our narrator describes the weather, Brontë writes,




Afar, it offered a pale blank of mist and cloud; near a scene of wet lawn and storm-beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast.

There is even a description of the weather in the book that Jane is reading as she sits on the window-seat. The mention of the weather in the book mirrors the weather in Jane's own vicinity:




"Where the Northern Ocean, in vast whirls, Boils round the naked, melancholy isles Of farthest Thule; and the Atlantic surge Pours in among the stormy Hebrides...."

Perhaps it is the description of the weather in the book that is informing how Jane describes the weather to us, her readers. She is a child here and is learning how to use language to describe her surroundings, and perhaps the book's contents are feeding her imagination. There are certainly more interpretations of the role of the weather in this chapter, too.
Another analysis of what these descriptions of the weather mean or add to the story might consider, for example, how the tension and intensity Jane feels in John's presence is reflected in the "ceaselessness" of the rain outside. The rain is falling relentlessly, intensely, and without pause, just as John's abuse of Jane is continuous, anxiety-producing, and frightening.

What does Rudyard Kipling's poem "The White Man's Burden" reveal about his attitude towards Africans and Asians?

Kipling primarily looks upon colonial subjects as backward and primitive, as considerably less developed than the white man. The picture he paints of colonial subject peoples ("half devil and half child") is deeply offensive in its suggestion that there's something strangely exotic and dangerous about them. As such, he asserts that their savage, lawless impulses must be kept in check by the firm, controlling hand of the white man, whom Kipling regards as their racial superior.
At the same time, Kipling is keen to stress just how onerous the burden of the imperial project really is. He wants to give his American audience the benefit of British experience in managing an empire—to show just how difficult the imperialist project can be and why it's so important to adopt the right attitude. Establishing an empire will be a long, hard process, but it will be worth it in the end, he argues, not least because Kipling regards it as vital that the benefits of Western civilization are conferred upon the so-called lesser races.

The attitudes toward African and particularly Asian (Kipling wrote "The White Man's Burden" about American deliberations over invading the Philippines) peoples expressed in this poem are complex. Kipling clearly sees colonial peoples as inferior to whites. He describes them, after all, as "half-devil and half-child." He does not think they can possibly be sophisticated enough to appreciate the benefits of civilization, and those who try to bring it to them will earn "the blame of those ye better." Kipling is also completely convinced that imperialism, because it brings the alleged benefits of Western civilization to "inferior" peoples around the world, is a noble pursuit. These racist attitudes are as typical of Kipling's time as they are repugnant today. But Kipling's condescension aside, he is urging the wealthy, privileged, comfortable classes in the Western world to put aside self interest and serve others. The fact that the people who were the alleged beneficiaries of this "service" might not see it as such does not occur to Kipling, however. He sees colonial peoples as helpless and primitive.

What are the ethos,logos,and pathos of chapters 1-4 in Frederick Douglass, an American Slave

Ethos, pathos, and logos refer to three modes of persuasion, or persuasive appeals. They deal with the manner in which a speaker (or author) tries to draw their audience toward their point of view. 
Briefly, ethos appeals to the ethics, or moral standards, of the reader. This is when speakers suggest reasons why they can be trusted and relied upon.
Ex: That teacher has never had a student fail their final exams, and he always speaks kindly to students.
Pathos appeals to the listener's emotions, or feelings:
Ex: Don't be the only student who fails the exam; study, because you can pass the test!
Logos appeals to the logic of the listeners:
Ex: Over 50% of consumers agree that this new product is the most comfortable pillow in our modern world. 
Frederick Douglass began his speaking career as fugitive slave, meaning a slave who had run away to the north. His mother was a slave and his father was an unknown white man. He was raised by his grandparents and was estimated to be 23 years old when he began publicly speaking. (Many slaves and slave masters did not keep records of slaves' birth dates.) He explains in chapter one

"I have no accurate knowledge of my age, never having seen any authentic record containing it. "

He soon became a well-known speaker, as well as a prolific writer; he wrote three autobiographies, recounting major events of his life. His primary purpose in writing was to share his story, in the hopes of aiding the abolition movement. He wanted to show the horrors of slavery and to see it discontinued, or abolished, in the United States. 
One example of ethos in the text is seen in chapter two: 

"My master's son-in-law, Captain Auld, was master of the vessel; she was otherwise manned by the colonel's own slaves. Their names were Peter, Isaac, Rich, and Jake. These were esteemed very highly by the other slaves, and looked upon as the privileged ones of the plantation; for it was no small affair, in the eyes of the slaves, to be allowed to see Baltimore."

Here, readers learn about Douglass's life at his first master's house. First, we hear about his master's family. Then, we hear about the other slaves. For instance, we hear that there were several "esteemed" slaves, who were allowed to go with Captain Auld to Baltimore on business. This shows the trustworthy nature of these slaves and their loyalty to their master. They behaved both reliably and respectably. 
An example of pathos in the text is in chapter one:

"I never saw my mother, to know her as such, more than four or five times in my life; and each of these times was very short in duration, and at night. She was hired by a Mr. Stewart, who lived about twelve miles from my home. She made her journeys to see me in the night, travelling the whole distance on foot, after the performance of her day's work. She was a field hand, and a whipping is the penalty of not being in the field at sunrise, unless a slave has special permission from his or her master to the contrary—a permission which they seldom get, and one that gives to him that gives it the proud name of being a kind master. I do not recollect of ever seeing my mother by the light of day. She was with me in the night. She would lie down with me, and get me to sleep, but long before I waked she was gone. Very little communication ever took place between us. Death soon ended what little we could have while she lived, and with it her hardships and suffering. She died when I was about seven years old, on one of my master's farms, near Lee's Mill."

In this passage Douglass tells the sad story of his short-lived relationship with his mother. He explains that he rarely got to see his mother because she was a slave. He evokes pity from readers as he explains their separation, both physically and emotionally. 
Finally, an example of logos in the text is seen in chapter two:

"Here, too, the slaves of all the other farms received their monthly allowance of food, and their yearly clothing. The men and women slaves received, as their monthly allowance of food, eight pounds of pork, or its equivalent in fish, and one bushel of corn meal. Their yearly clothing consisted of two coarse linen shirts, one pair of linen trousers, like the shirts, one jacket, one pair of trousers for winter, made of coarse negro cloth, one pair of stockings, and one pair of shoes; the whole of which could not have cost more than seven dollars. The allowance of the slave children was given to their mothers, or the old women having the care of them. The children unable to work in the field had neither shoes, stockings, jackets, nor trousers, given to them; their clothing consisted of two coarse linen shirts per year. When these failed them, they went naked until the next allowance-day. Children from seven to ten years old, of both sexes, almost naked, might be seen at all seasons of the year."

In this paragraph, Douglass lists specific facts about the allowances the slaves received for clothing, food, and other necessities. Rather than telling an emotional story about how cold they were in the evenings without sufficient clothing, Douglass lists exactly what items slaves were given. He expects that readers will draw their own conclusions about whether the slaves' needs were met.
Ultimately, Douglass employs ethos, pathos, and logos to compile his life story and persuade others of the evils of slavery.

What is so important about the ending scene in The Last Lecture?

The final scene of The Last Lecture is so important because it reveals Randy's real purpose.
Randy opens The Last Lecture by saying his work is "not about dying." Rather, the lecture is about how to live. Randy accentuates this with talking about his life experiences and the lessons he learned. Throughout the work, the feeling is that Randy is trying to give a primer to the audience as to how life should be lived and what should be done in it to make it more meaningful.
The final scene challenges this idea. It is so important because Randy tells us the real reason why he decided to give the talk: "The talk wasn’t just for those in the room. It was for my kids.” When Randy tells us the talk was intended for his children, we understand he truly is going to die. What we witnessed was a dying father's wish for his children because he will never get to see them grow up. The lecture is a way for Randy to transcend his own limitations and speak to his kids after he is unable to do so. When this revelation dawns on the reader in the final scene, it adds poignancy to a work that is replete with it.

Who is the antagonist in "Saboteur" by Ha Jin?

Society is the antagonist in this story (the options are the protagonist himself, another character, Nature, or Society). The police are not a force in and of themselves; they are representative of an entire society that, apparently, sanctions the actions of the police. Despite Mr. Chiu's membership in the Communist Party, for some reason, people who have a higher status in society than he does have decided that he is suspect. Perhaps they desire to make an example of him; perhaps the author comments on the corrupt workings of a government that embraces Communism and the dangers such a government poses to its citizens. However, regardless of the reason for the antagonism, it is the state (or society) that acts as Mr. Chiu, the protagonist's antagonist.

In Ha Jin's story "Saboteur," the police are the antagonists, as they are constantly in opposition to the protagonist, Mr. Chiu. When he is peacefully eating with his new wife, a policeman tosses tea on their feet. When Mr. Chiu complains, the police deny their actions and arrest him, charging him without evidence with being a saboteur. Although Mr. Chiu is a Communist Party member, the police have long been acting against him and have compiled a large dossier against him. Mr. Chiu is sick with hepatitis, but the warden in the prison refuses to help him. In the end, Mr. Chiu must sign a false confession of his crimes so that he and his former student can be released from jail. The police, who accuse him without any reason and who show disregard for his health, are the antagonists in this story. 

By examining the Missouri Compromise, what can one learn about slavery as a political issue in the United States during the early nineteenth century?

Slavery had been a national issue prior to the Missouri Compromise, but it reached a boiling point in 1819. In 1819, there were 22 states in the Union: 11 free states and 11 slave states. This fact was important because it maintained a balance of power in Congress. Free states and slave states were equally represented in Congress, and the US sought to maintain that balance. However, that year Missouri requested to be admitted to the Union as a slave state, meaning there would be more slave states, tipping the balance in Congress. Debate broke out in Congress between representatives from free and slave states over whether or not to admit Missouri as a slave state. Many Northerners fiercely opposed Missouri's admission as a slave state, arguing that Congress had the authority to outlaw slavery in Missouri. On the other hand, many Southerners argued that states had the freedom to choose whether or not to allow slavery. Senator Henry Clay, known for his ability to compromise, proposed a solution: Missouri would be admitted as a slave state, and Maine, which had been part of Massachusetts, would be admitted as a separate free state, thus maintaining the balance between free and slave states. In addition, Clay proposed that slavery would henceforth be banned in the Louisiana Territory that was North of the 36' 30' latitude (except for Missouri). The compromise was not perfect. Southerners opposed the idea that Congress could ban slavery in any state or territory, and Northerners opposed the potential spread of slavery. However, ultimately, the Missouri Compromise did not prevent continued debate and conflict over the spread of slavery, and by 1854, it was repealed by the Kansas-Nebraska Act, which proved even more controversial and helped spark the Civil War.
https://www.history.com/topics/abolitionist-movement/missouri-compromise