What does Hurston mean by "I am too busy sharpening my oyster knife"?

More specifically, the quote comes from the personal essay "How It Feels to be Colored Me." Hurston makes the comment in the context of other writers' attitudes toward their blackness at the time in which the essay was written—1928, at the tail-end of the Harlem Renaissance. She says that she does not belong to "the sobbing school of Negrohood," which assumes that her color has given her a raw deal in life. For her, her blackness, as well as her womanhood, is an aspect of her wonderful being. Hurston says that she does not "weep at the world" because she is "too busy sharpening her oyster knife."
As the previous educator mentions, the comment is likely a play on the expression "the world is your oyster." However, Hurston's choice of this expression also alludes to the world's complexity. An oyster is a difficult thing to open, just as the world is sometimes a difficult thing to understand; but, it contains something delectable, if only one is willing to work to get to it. For Hurston, part of that work is being open to experience and not allowing other people's ideas about her to determine who she is and how she moves throughout the world. She is, instead, "sharpening her oyster knife," which suggests a determination to get to the good things that await her.

This quote comes from Zora Neale Hurston's autobiography Dust Tracks on a Road. When Hurston says that she is too busy sharpening her oyster knife, she means that she is too focused on her optimistic search for a happy and positive life to feel "burdened" by her blackness.
This quote refers to the expression "the world is your oyster," which is an expression of encouragement often said to a person who is able to access all the opportunities the world has to offer. The oyster knife is a metaphor for the tools Hurston needs to be able to live in the world. She would rather spend her time sharpening the knife that will enable her to open the oyster than to spend her time worrying about the oyster being shut too tightly. This quote is an example of Hurston's flamboyant and colorful writing style as well as her characteristic resistance to the notion that black men and women must be victims of white society.

What factors made the rise of civilization possible in Asia, Africa, the Middle East, and Latin America? What are the major similarities and differences in the rise of civilization in those regions, and how would you explain those similarities and differences?

The "rise of civilization" is not a single event, but a process of technological and cultural development that occurred over centuries. It's impossible to pin down a particular moment when any civilization was founded; they established themselves gradually over time. Often we date the founding of a civilization at the earliest writing; this is as much for convenience as anything else, as written records provide us with much richer details than we would get from studying other artifacts. It does create a substantial bias, however, because, by that definition, cultures such as the Navajo that never had a written language are not "civilized," even though the Navajo have many of the other features (such as agriculture, pottery, labor specialization, and government) we ordinarily associate with civilization.The most important precursor for civilization is agriculture, which was invented in what is often called the Neolithic Revolution. Agriculture allows humans to maintain a large and steady supply of food in one particular place, and thus to grow much larger populations. Larger populations require more structure — government — and more opportunities for specialization, which creates a virtuous cycle of improved economic efficiency toward further output, more population growth, and still more specialization. In one form or another, this process has continued for thousands of years.Still, it is notable that writing and other features arose around the same time in many places; it's still unclear how much contact there was between cultures of the Middle East, Africa, and Asia, so it is possible that these were in fact all offshoots of one still-more-ancient culture. Most scholars, however, think these civilizations were founded independently when and where conditions were appropriate. What we do know is that Latin American civilization was almost certainly founded independently; there's no plausible way people of different Latin American cultures could have been in contact during that time.Early civilizations have a lot in common with one another, but also some important differences. Religion was very important and often directly tied to government, but the details of each religion vary tremendously. They tend to be founded along rivers or in river valleys, where fresh water is plentiful. They usually have some sort of founding text — a book or code of laws that sets down their religion and system of government. Literacy was exceedingly rare in this time (writing itself was a very new invention), and those who had it therefore had abilities most people couldn't understand. Thus, books appear to have been believed by many people to hold literal magic powers; we continue to see remnants of this thinking today in all sorts of tropes about "magic books" and "sorcerer's scrolls." Another interesting similarity between Egyptian and Latin American civilizations that is often commented on is pyramids. Many people imagine some strange, supernatural or extraterrestrial explanation for this similarity, but the truth is much simpler: Pyramids are a basic and very stable geometric shape. They are easier to build than most other shapes, and more likely to remain standing over long periods of time. In fact, most modern skyscrapers are actually very steep, truncated pyramids which are slightly wider at the bottom than the top, rather than actually being true rectangular prisms of constant width. Civilizations always appear to have been founded in particularly fertile regions (we don't think of the Middle East as very fertile today because its land has been drained over centuries, but thousands of years ago it had some of the most fertile land in the world), and often during times of historically unusual fertility. It may be that the abundance of food in such regions was necessary to take the risk and start the process of establishing permanent agriculture. Metalworking was also important, so accessible bronze (as bronze is the hardest metal that's easy to work) for making tools and weapons was another important factor. A variety of domesticated animals appears in almost every civilization; they perform work and provide food. The ability to find animals to domesticate (a wide variety of animals in the Middle East, llamas and alpacas in Latin America) was therefore an important factor in founding civilizations. Ultimately, the most important factor may simply have been having someone in the tribe smart enough to think of the idea, and a tribe supportive enough of new ideas to listen. Every technology humans have ever invented ultimately began as somebody's crazy idea, and there's no reason to think bronzeworking, pottery, writing, or even agriculture were any different. It could have been a group who thought of it (simultaneous discovery is common even in science today), but it couldn't have been everyone. We may ultimately owe all of civilization to somebody who just had a spark of genius and realized you could plant seeds from plants and they would grow again, rather than just eating all the plants you have and not doing anything with the seeds.
http://history-world.org/cgi-sys/suspendedpage.cgi

https://courses.lumenlearning.com/boundless-worldhistory/chapter/precursors-to-civilization/

What are the differences between conceptual skills, human skills, and technical skills?

These are all valuable skills to have in any organization, and a good manager will have all three.  Let's go over them one at a time.
Conceptual skills are "thinking" kinds of skills. Our ability to look at the big picture is a conceptual skill. Our ability to see how all the parts make the whole is a conceptual skill, an understanding of relationships.  Our ability to generate and assess solutions to problems is sometimes a kind of conceptual skill.  Logic is a conceptual skill.  We need to understand cause and effect and analogy, which are two forms of logical analysis.  Critical thinking is a kind of conceptual skill in which one questions and assesses what one is presented with, rather than taking it as given.  Planning is a conceptual skill. 
Human skills are interpersonal and intrapersonal skills. That is, they are the skills we use to get along with other people and to understand ourselves, too.  Everyone needs needs both to get along in any social setting, but managers need them more than most because managers are responsible for motivating people to be as productive as possible and also for managing any conflict in the workplace.  The person who has no insight into others and him or herself will not do very well with this. Empathy is one very important kind of interpersonal skill. We can succeed better with people if we understand how they feel. Understanding oneself is equally important, to know one's weaknesses and strengths, so as to work on the weakness and capitalize on the strengths.  If I know that I am not at my best in the morning before my second cup of coffee, I would not want to hold an important meeting.  On the other hand, some people do their very best work very early.  If I am more introverted than extroverted, there are some more "social" tasks I might delegate to someone extroverted.  To be an effective manager, you must understand yourself and others.
Technical skills are sometimes thought of as mechanical skills, which embrace not only the nuts and bolts of traditional mechanics, but also today's technological skills.  Having these does not necessarily mean that a manager can fix the copier or get rid of the technology help desk. It does mean the manager needs to have a clue. A manager, for example, might be responsible for choosing new software for a company, in which case, the manager needs to have some idea how such software works and what it does.  A breakdown on the production line might not find the manager tightening the screw that worked itself loose, although there are many who would and do, but the manager has to have at least enough mechanical sense to know if the workers should be sent home or if the line can be operational in an hour.  It is difficult to manage any kind of mechanical or technological operation if one has no skills whatsoever in this area.
A good manager has many tools in the toolbox to draw upon, and these are the most important kinds of skills to have.  The manager who can excel in all three areas should be successful.

How is the setting of American Gods significant to the overall meaning of the story?

There are several settings in American Gods, and they join together to make a statement about the message of the largest story arc in the book, that of how American culture has evolved in terms of values, ethics, and beliefs. The modern highways, towns, and landmarks of the broad United States landscape is the primary setting, and the secondary settings are in other countries, depicted in flashbacks, in various past centuries.
One of the primary themes of the book is an exploration of how people's world views, ethics, and priorities are shaped by their belief in, and relationship with, "God," or "the Divine." Interestingly, Gaiman lists not only deities from various religious pantheons in his story, but he also incorporates social constructs and inventions into the concept of "God," thus including "Mr. Town," "Mr. World," and "Media," to name a few. This implies that "Gods" are whatever people give their time, energy, and attention, and that Gods can be created by people.
By using a large swath of the United States as his primary setting, the author is clearly making a statement that his novel's themes apply to the entire USA, and not just to the specific towns and landscapes that are described in the book. The winding, repetitive road trip taken by Shadow Moon and Mr. Wednesday is a symbolic "tying together" of all cultures and subcultures in the United States. This is underlined by the mention of "the center of the United States," which was called, "Humansville, Missouri," and was considered by the Gods to be "a neutral place."

"As near as anyone could figure it out, the exact center of the continental United States was several miles from Lebanon, Kansas, on Johnny Grib's hog farm. By the 1930's the people of Lebanon were all ready to put a monument up in the middle of the hog farm, but Johnny Grib said that he didn't want millions of tourists coming in and tramping all over and upsetting the hogs, so they put the monument to the geographical center of the United States two miles north of the town. They built a park, and a stone monument to go in the park, and a brass plaque on the monument. They blacktopped the road from the town, and, certain of the flux of tourists waiting to arrive, they even built a motel by the monument." (Pp. 426-427)

The war between the Old Gods, which include Kali Ma, Odin, Anansi, Czernobog, Lugh (Mad Sweeney), Thoth (Mr. Ibis), and others, and the "new gods," Media, Town, World, etc. demonstrates that the whole of the country, though we brought ancestral Gods and Goddesses with us when we emigrated generations ago, has adopted new ideas, priorities, beliefs, and ethics, threatening to leave behind even the memory of the ancestral Gods we once worshiped, and their value systems. It also makes a statement about the nature of the Divine, implying that the Divine needs us, not the other way around, for the humans in the novel can and do create their own Gods, shaping them, feeding them, and even evolving them.

This novel by Neil Gaiman, currently being produced as a TV mini-series, follows number of characters who interact with people who claim to be ancient gods. These gods have decided to try and resurrect their cults of worship in the United States, where, after centuries of displacement following immigration from Europe and elsewhere, their followers have largely forgotten them. The idea is that the gods were worshipped more enthusiastically in their native regions where their origins lie. And so the American setting of this novel becomes very significant.
The novel has been called a "road trip" novel since there is a great deal of traveling that occurs and important events that take place in these locations, all serving to advance the plot. The main character Shadow is released from prison and meets a man named Wednesday who invites him to work for him, and this involves travel from the start. There are a number of iconic American cities featured in the novel, like Los Angeles or Chicago, and the features specific to the cultures of these cities affect the things characters do there. Shadow is a mortal character who is chosen to help the gods bring about a kind of final battle for dominance within their pantheon. He hails from a small town in Indiana called Eagle Point, and this centrally located rural location is also significant. Indiana is a state located in what is known as America's "heartland"--a central region known for farming and agriculture, and its flat landscapes. The novel's plot takes Shadow to other places in the midwest, including locations in Illinois, Wisconsin and Kansas. Some of these locations are real, and some fictitious; and some of them have dramatic landscape features (like large rock outcroppings or lakes) that become associated with human sacrifices to the gods.
https://arteriesofamerica.com/2011/07/04/american-gods-roadtrip/

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

To determine the convergence or divergence of the series sum_(n=1)^oo (-1)^n/3^n , we may apply the Ratio Test.
In Ratio test, we determine the limit as:
lim_(n-gtoo)|a_(n+1)/a_n| = L
 Then, we follow the conditions:
a) L lt1 then the series converges absolutely
b) Lgt1 then the series diverges
c) L=1 or does not exist  then the test is inconclusive.The series may be divergent, conditionally convergent, or absolutely convergent.
For the given series sum_(n=1)^oo (-1)^n/3^n , we have a_n =(-1)^n/3^n .
 Then, a_(n+1) =(-1)^(n+1)/3^(n+1) .
We set up the limit as:
lim_(n-gtoo) | [(-1)^(n+1)/3^(n+1)]/[(-1)^n/3^n]|
 To simplify the function, we flip the bottom and proceed to multiplication:
| [(-1)^(n+1)/3^(n+1)]/[(-1)^n/3^n]| =| (-1)^(n+1)/3^(n+1) *3^n/(-1)^n|
Apply the Law of Exponent: x^(n+m) = x^n*x^m . It becomes:
| ((-1)^n (-1)^1)/(3^n *3^1)*3^n/(-1)^n|
Cancel out common factors (-1)^n and (3^n) .
| (-1)^1/ 3^1 |
Simplify:
| (-1)^1/ 3^1 | =| (-1)/ 3 |
          = |-1/3|
          =1/3
Applying  |[(-1)^(n+1)/3^(n+1)]/[(-1)^n/3^n]|= 1/3 , we get:
lim_(n-gtoo) | [(-1)^(n+1)/3^(n+1)]/[(-1)^n/3^n]|=lim_(n-gtoo) 1/3
lim_(n-gtoo) 1/3 = 1/3        
 The limit value L=1/3 satisfies the condition: L lt1 .
 Therefore, the series converges absolutely.

Can I get a critical response for section 1 of “Song of the Open Road” by Walt Whitman?

Walt Whitman's "Song of the Open Road," like his famous "Song of Myself," is long and divided into sections. Section 1, of course, is the opening of the poem and sets the tone and themes for the poem as a whole. To critically analyze the first section, let us go through each stanza in turn.
The first stanza begins,

Afoot and light-hearted I take to the open road,
Healthy, free, the world before me,
The long brown path before me leading wherever I choose (1–3).

Here, the speaker describes how he feels as he sets out on the open road. He is "light-hearted, "healthy, [and] free." He feels this way because he can go "wherever [he] choose[s]." The freedom the road gives him goes hand in hand with the speaker's cheerful and open-minded attitude.

The second stanza reads,

Henceforth I ask not good-fortune, I myself am good-fortune,
Henceforth I whimper no more, postpone no more, need nothing,
Done with indoor complaints, libraries, querulous criticisms,
Strong and content I travel the open road (4–7).

In these lines, the speaker describes how he will approach life once he has set out on the open road. He says he will not ask for "good-fortune" because he embodies that wish himself. He will no longer procrastinate or complain. He will focus solely on the open road and will be "content" with that alone. He "need[s] nothing" more.

In the third stanza, the speaker writes,

The earth, that is sufficient,
I do not want the constellations any nearer,
I know they are very well where they are,
I know they suffice for those who belong to them (8–11).

He views the world around him as perfect. He will appreciate it and ask no more of it than it gives. It is "sufficient." He takes the world on its own terms, and he asks the world to take him on his own terms, as well.

Finally, the speaker concludes section 1 by saying,

(Still here I carry my old delicious burdens,
I carry them, men and women, I carry them with me wherever I go,
I swear it is impossible for me to get rid of them,
I am fill’d with them, and I will fill them in return) (12–15).

This stanza is enclosed in parentheses, so its style indicates a shift in the poem. The idea found therein also indicates a shift in theme. The speaker says he does continue to carry his "old delicious burdens." This phrase is oxymoronic because burdens are usually troublesome and not "delicious." He explains that his burdens are "men and women." He describes himmself as "fill'd with them." This is an idea similar to what we see in "Song of Myself," in which Whitman proclaims that he is part of all of humanity and it is, in turn, all part of him. He carries the traits and concerns of the people with him. This is why many critics consider Whitman the quintessential American poet.

Overall, the poem is nontraditional in its style. There is no rhyme scheme or set meter. There is no set stanza structure. Most of the four stanzas have four lines each, but the first has only three. Whitman is known for his idiosyncratic style, and this poem is yet another example of his preference for free verse. This style, of course, matches perfectly with Whitman's central themes and concerns.

Analyze the Declaration of Independence, the Articles of Confederation, and the US Constitution. Explain the significance of these founding documents and how they altered the concept of government that had prevailed in society before their creation.

Consider that the American Revolution unfolded during the Age of Absolutism in a political context during which large-scale European countries were predominately organized as monarchies—and usually absolutist monarchies at that. Applying democratic government across a geographic expanse as vast as the United States was a new concept; there is a reason why this period of US history is often referred to as a kind of experiment. To a large degree, that is what it was: a testing ground of sorts, whose practitioners had no guarantee as to whether democracy was viable on such a scale at all.
The Declaration of Independence, the earliest of the three documents, provided a justification for independence from Britain. Its argument is largely derived from Locke: people hold certain natural rights, and governments are created to protect those rights. Therefore, government is based in a contract with the people and retains its legitimacy only so long as that original contract is honored. This vision on the role of government and its relationship with those it governs has been at the center of American political culture ever since.
Beyond this, we come to the Articles of Confederation and the US Constitution, which are both attempts at actually creating a functioning government according to those principles. Revolutionary War era discourse tended to focus on the subject of tyranny, but this raised the following question: now that the United States has won independence, what was preventing it from becoming tyrannical in turn? The system of government envisioned by the Articles was one where the individual states wielded the vast preponderance of power, while the federal government was kept weak. In the process, however, it created a system of government which was unable to meet the challenges of the post-Revolutionary War era, and it was replaced by the Constitution as a result. The Constitution increased the power of the Federal Government while applying the theory of checks and balances. This political structure has continued to govern the United States ever since, all the way to the present.

The Declaration of Independence is a different kind of document than the Articles of Confederation and the Constitution. Where the latter two documents served to establish the framework and structure of a new government, the first, as its title indicates, was intended to declare the independence of the United States from Great Britain.
But the Declaration also promoted a theory of government that was reflected in the other two documents. Stating first that "all men are created equal" with "certain unalienable rights," it proclaimed that the purpose of government was to protect these rights. Because the British government had in fact taken these rights away, it was the right of the Americans to establish a new government that would better protect them. Along with declaring independence, then, the Declaration was a justification for forming a new government, declaring the right of the Americans to "alter or abolish" British rule in favor of a more representative government.
The Articles of Confederation was a plan of government established during the American Revolution (after independence was declared in 1776). It was ratified in 1781 and bears the stamp of the Americans' fears of centralized government under the Crown. It was not a unitary government but a "firm league of friendship" between states. The central government, such as it was, consisted of only a Congress in which each of the thirteen states had a single vote. It had little coercive power over the states, and struggled to raise revenue, as it could not levy mandatory taxes.
The Constitution, written in 1787 at a national convention held in Philadelphia, was a reaction in many ways to the weaknesses of the Articles (as well as the problems stemming from these weaknesses). It created a strong executive, a federal judiciary, and established a Congress with comparatively vast powers. Most important, it contained a supremacy clause that made the federal government supreme in all cases over the states. So it altered the form of government under the Articles by situating power in a central government (while still leaving some powers at the state level).
Each of these documents, as indicated above, should be read as a response to conditions surrounding its creation as well as an attempt to alter the existing form of government. If they contain a common thread, it is a commitment to representative government. Each of them is a statement of popular sovereignty. The Declaration establishes the purpose of government as created by the people, and the Articles and the Constitution established governments founded on this principle and intended to put it into action.
https://guides.loc.gov/articles-of-confederation

https://www.archives.gov/founding-docs/constitution-transcript

How are women portrayed by George Orwell in 1984?

Though in some of his fiction, Orwell's portrayal of women is generally sympathetic and relatively progressive, in 1984, arguably, he expresses views that are in part stereotypical and even misogynistic. Julia, though she loves Winston and provides the only positive element in his life, is also shown as anti-intellectual and somewhat shallow. Winston observes that she falls asleep in the middle of conversations (today, however, we know this as narcolepsy) and generally becomes bored whenever he discusses ideas. At the same time, Winston realizes that Julia has immediate insights into things that have eluded him, such as the reasons for the Party's suppression of sexual freedom. Also, if we are to believe what O'Brien tells Winston during his "reeducation," Julia "betrayed" Winston without hesitation.
On the other hand, Orwell is progressive in having Winston express the view that Julia's past affairs do not matter to him. This, however, is not so much the attitude that her "past" is none of his business as it is Winston's thinking that Julia's uninhibited sexuality is a "weapon" which, if adopted by all, will defeat the Party.
The other women in the story, who make brief appearances, are portrayed to some degree as victims. Mrs. Parsons, Winston sees, is terrorized by her own children and seems a "washed-out" housewife. Winston's own estranged wife, Katherine, is cold, unresponsive, and a submissive follower of Party doctrine. Winston's mother, in his regretful reminiscences of her, is like Mrs. Parsons, trapped by circumstances and bullied by the young Winston to the point that she takes her daughter and runs away from him. In the portrayal of Winston's mother's fate, Orwell is making a feminist statement, in my view, despite the stereotyped attitudes about women elsewhere in the novel.
The middle-aged woman Winston encounters after his arrest, whom he assumes is a sex worker, sentimentally says to him, "I might be your mother." Winston reflects that this is actually possible, since it is likely that "people change somewhat after twenty years in a forced-labour camp." The woman, somewhat paradoxically, can be seen as a sign of Orwell's insight and sympathy. The traditional suppression of women's freedom, perpetuated deliberately by the Party, in the "housewife" status is linked by Orwell to the fact that for some women, prostituting themselves is the only alternative.

In what ways do Mark and Bryon seem like typical sixteen-year-old boys throughout the novel That Was Then, This Is Now?

Throughout the novel, Mark and Bryon think and behave like typical sixteen-year-old boys. They are both active individuals who tend to get into trouble and make bad decisions. Both Mark and Bryon get into several fights and engage in criminal behavior. Even though Bryon understands the difference between right and wrong, he cannot help his best friend Mark make the right life decisions. Like many teenage boys, Bryon is infatuated with females. He falls in love with Cathy and begins to have a serious relationship with her. As the novel progresses, Bryon learns he is getting too old to act like an irresponsible child. Mark essentially never grows up and realizes that he is at an age where his negative behavior will have serious consequences. Like most sixteen-year-old boys, Mark and Bryon experience significant changes throughout their lives that drastically affect their future.

Who makes the economic decisions in a dictatorship?

A dictatorship is “a form of government in which absolute power is concentrated in a dictator or a small clique.” Unlike a democracy, in which the people theoretically rule themselves either through direct voting or by electing representatives to make decisions on their behalf, a dictatorship consolidates power in one person or a small, exclusive administration. The dictator exercises absolute control over most aspects of people’s lives, and society, government, the military, and the economy are usually structured in such a way to ensure the continuation of a dictator’s rule.
The form a dictatorship takes can vary, and the way in which power is exercised depends on how a particular government is set up. Economic power, like any other type of power, will ultimately be under the control of the dictator and/or his or her administration. Rather than a more free market system like capitalism, the economy in a dictatorship is usually directly under the government’s control—or at least heavily influenced or regulated by government actions and policies. The dictator, as the absolute head of the government, is the primary source for the economic decisions and policies carried out.
https://www.merriam-webster.com/dictionary/dictatorship

What did Cousin Joshua do and how does he become a wedge between Aunt Alexandra and Atticus? Cousin Josh was locked up for trying to shoot the president. Aunt Alex refuses to accept that and makes him out to be a "beautiful character."

In chapter 13, Aunt Alexandra attempts to teach Jem and Scout about their family history and shows them a book titled Meditations of Joshua S. St. Clair. Aunt Alexandra then tells the children their cousin wrote the book and refers to him as a "beautiful character." Jem asks if it is written by the same cousin who was arrested for attempting to assassinate the president. Jem continues to elaborate on Cousin Joshua's embarrassing life story by saying,

"...Cousin Joshua said he wasn’t anything but a sewer inspector and tried to shoot him with an old flintlock pistol, only it just blew up in his hand. Atticus said it cost the family five hundred dollars to get him out of that one—" (Lee, 133).

According to Atticus, Cousin Joshua was a deranged fanatic, and he would not consider him a "beautiful character." Jem's knowledge of Cousin Joshua upsets Aunt Alexandra, who views him as a respected relative and a source of pride in their family. Atticus's contrasting view of Cousin Joshua upsets his sister, who is attempting to showcase the influential relatives in their family. Cousin Joshua's story illustrates that even the most respected families have embarrassing, mentally unhinged relatives.

When the speaker in Edgar Allan Poe’s “The Raven” hears tapping on his door, he hesitates. Why does he wait before opening the door?

The narrator of the poem is full of sorrow, as he is mourning his "lost Lenore" and attempting to distract himself from these feelings by reading an old "volume of forgotten lore." When he first hears the tapping at his door, he tells himself, half asleep ("nearly napping"), that it is only "'some visitor'" and "'nothing more.'" He mentions, next, that this was in "the bleak December." Midnight, in December especially, is quite dark. December has some of the longest and darkest nights of the year. In general, it is odd to receive a visitor knocking at one's door at midnight. Midnight is hardly a congenial hour to go calling on someone, so it does not strike me as strange that the narrator would be surprised and, perhaps, alarmed by someone at his door at this time of night.
Further, the narrator clearly has a good imagination, as we can see when he says that "each separate dying ember [of the fire] wrought its ghost upon the floor." It's interesting that he chooses the word "ghost" here, especially just before he tells us of his dead lover, Lenore. It seems like he's sort of freaking himself out a bit. At this point, he's woken up a bit more, and he notices the curtains rustling in such a way that, he says, they "Thrilled me—filled me with fantastic terrors never felt before." His heart is beating fast, and he reassures himself, again, that it is only "'some visitor'" and "'nothing more.''
At first, then, the narrator doesn't jump up to get the door because he's dozing off, and it's the middle of the night. Then, however, his imagination takes over, and he becomes fearful of who or what might be there. Finally, his "soul grew stronger," and he leaped up to answer the door, but no one was there.

In Edgar Allan Poe's "The Raven," a man is sitting alone reading when he hears a tapping at his door. He considers that it must be a visitor. However, he doesn't immediately open the door. When regarding why he pauses before opening the door, consider the first line of the poem. The words "midnight dreary" are mentioned, and the man describes himself as "weak and weary." This gives some indication that both the night and the man are dark and melancholy. By noting a "bleak December" and comparing a dying ember of a fire to a ghost, Poe is effectively attaining a mood of darkness and nervous anticipation.
After describing the "sad, uncertain rustling" of curtains, the man admits to being scared. He then mentions twice that it is just a visitor at the door as if he has to talk himself into believing that it is "nothing more." Finally, after delaying because he is scared, the man opens the door to find no one is there.

I'm not quite sure about the meaning of Maury's following sentence: "You see, I felt that we were even denied what consolation there might have been in being a figment of a corporate man rising from his knees." In chapter 3 (The Broken Lute), what is the meaning of "den" in the following paragraph: "The effect on the whole needing but a skull to resemble that venerable chromo, oncea fixture in every den." In "A Matter of Civilization" when describing Camp Hooker, what exactly is “A Mining Town in 1870–The Second Week.” Is it a painting or something else? When speaking about Dot, the author says "made as near an approach to character as she was capable of by walking in another direction," which is rather incomprehensible to me as a sentence.

The first sentence is taken from F. Scott Fitzgerald's The Beautiful and Damned and is in the context of a man feeling generally dissatisfied with his purpose in life and, more broadly, the purpose of people on earth. He has been prevented from making his own choices, and he feels that he has been denied every satisfaction—even the satisfaction of being a "figment of a corporate man" (that is, an image or a ghost of a businessman or a shadow of oneself). He feels constrained, essentially.
"Den," in the context of the second quotation, is another word for a lounge area or living room. It is used differently in different English-speaking geographical locations. Sometimes it means a room used by the man of the household for his private activities and relaxation, but, more generally, it tends to mean a cozy room used by the whole family to watch television, read, and so on. It has a 1970s connotation, and the first meaning of "den" is not used so commonly today.
"A Mining Town In 1870—The Second Week" is not a real painting or photograph, but the phrase is written in the style of a title for a painting or photograph. It is meant generically and refers to the fact that mining towns established in the United States around this time would generally be erected very quickly. Many would have many tents and temporary buildings for the first few weeks. As such, the camp looks as if it is relatively new, it appears rather backwards for the time period, and it appears slightly haphazard in its arrangement of tents and shacks. However, it is functional and industrious.
The comment about Dot is rather unkind, but it is meant humorously. The author is saying that Dot had no personality or character; the only time she ever had a personality was when she walked away—that is, the best thing about her was her not being present. We can infer that Dot is rather boring.

Precalculus, Chapter 6, 6.3, Section 6.3, Problem 70

You need to find the component form of the vector v = , hence, you need to use the information provided.
You need to evaluate the magnitude |v|, such that:
|v| = sqrt(a^2+b^2)
3/4 = sqrt(a^2+b^2)
The direction angle of the vector is theta = 150^o , hence, you may use the following formula:
tan theta = b/a => tan 150^o = b/a
tan 150^o = tan(180^o - 30^o) = -tan 30^o = -sqrt3/3
-sqrt3/3 = b/a => b = -a*sqrt3/3
Replacing -a*sqrt3/3 for b yields:
3/4 = sqrt(a^2+a^2/3)=> 3/4= +-2a/(sqrt3)=> a = +-(3sqrt3)/8 => b = +-3/8
Hence, evaluating the components of the vector v, yields <(3sqrt3)/8 ,-3/8> or <-(3sqrt3)/8 ,3/8>.

How do the plays I Don't Have to Show You No Stinking Badges! and M. Butterfly compare in terms of what they say about identity?

Both plays concern how racial stereotyping shapes identities and traps people in stereotypical identities.In Luis Valdez's play I Don't Have to Show You No Stinking Badges!, Sonny's mother and father succumb to American stereotyping of Mexican Americans by pursuing Hollywood careers playing nonspeaking stereotypical roles as a Mexican maid, Mexican gardener, a prostitute, and a robber. The money they earn from playing degrading, stereotypical, marginalized Mexican roles ironically allows them to buy into the stereotypical white suburban American dream; they own a "comfortable, middle-class suburban tract home in Southern California," which is furnished with leather furniture, bookcases, and an expensive entertainment center, and has all the amenities including a fire place, a two-car garage, a deck, and even a swimming pool. They can even afford to send their son Sonny to Harvard to pursue a law degree, a degree they want him to pursue because they want him to have the life they never had, a true American life free of Mexican American stereotyping. Yet Sonny wants neither an American identity nor a Mexican American identity. Instead, he's determined to create his own identity by creating his own movies, free of Mexican American stereotypes; therefore, he leaves Harvard to return to L.A. in order to pursue becoming the "next Woody Allen," a famous actor, writer, director, and producer (p. 184). Yet, by envisioning himself as the "next Woody Allen," he associates himself with an American ideal of stardom that shows he is actually unable to separate himself from American identity. Sonny begins trying to make his own film, thinking he could set it in the jungles of Central America to capture his roots, yet his ending involves him threatening his parents with his father's gun and being surrounded by the police, which only recaptures the Mexican American stereotype he is trying to escape. Through Sonny's inability to find his own identity, playwright Valdez shows us the damaging extent of stereotyping: (1) it prevents us from finding true identities; and (2) it prevents us from understanding true identities.Similarly, in David Henry Hwang's play M. Butterfly, based off of Puccini's Italian opera Madame Butterfly, French diplomat Rene Gallimard holds damaging stereotypical views about Chinese women. As a diplomat in China, Gallimard became involved in an affair with someone he believes to be a beautiful Chinese woman named Song Liling. Due to his prejudices, he believes in the stereotype of Chinese women being ideal loyal, subservient women, an idea he gets from his favorite opera, Puccini's Madame Butterfly, in which the character Cio-Cio-San, called "Butterfly," played a very gentle, subservient role. Out of stereotypical beliefs, he abuses and shames Song while affectionately calling her his "Butterfly." While behaving abusively, he fulfills the stereotypical role of the dominant white male.Yet roles become reversed when it is revealed that Song is actually a male spy. Once Song's true nature is revealed, Song becomes the dominant and abusive one, whereas Gallimard becomes the humiliated, subservient one. He is so humiliated that he commits seppuku, suicide by self-disembowelment, while Song watches.Like in Valdez's play, the action in M. Butterfly helps serve to show the danger and destructiveness of believing in and accepting stereotypes.

What are some examples of social behavior, and what is the definition of social behavior?

Social behavior can also be considered socialization and interaction. Social behavior occurs when individuals interact with one another, engaging in a group or pairs to communicate and relate.
There are many examples of social behavior. For instance, simply hanging out with friends is a social behavior, and so are romantic relationships and athletic groups. Any activity where people are actively engaged with other groups of people is a social activity. In other primates, for example, grooming is a social behavior. Packs of wolves and schools of fish are both examples of social units. Any time an individual, of any species, is interacting with other members of their species, they are engaged in social activity and are relating to other individuals.

"Social behavior" can be defined simply as the interaction between or among two or more people or animals, the latter usually discussed in terms of animals of the same species. It is a broad topic that includes both the spoken word and unspoken physical movements. Examples of social behavior include the way individuals interact during a party, meeting, athletic event, or any other gathering. The nature of the gathering and the personality and temperament of each individual can be studied as well as the collective behavior of a group. In the former case, social behavior can involve the way an individual assimilates into a crowd or group. Conversely, social behavior can involve the way people isolate themselves. Collective behavior of a group can involve the positive aspects of behavior, such as when a group of individuals acts together to improve a given situation, or the negative aspects of behavior, as when a group of individuals unites in a violent outburst or riot. 
With regard to animals, there have been numerous studies of the way various species interact with each other. Apes, for example, have been the subject of studies that have documented the way these animals behave among each other, with their more "human-like" characteristics usually emphasized by researchers. Similarly, lions have been frequently studied so that researchers could better understand their social behavior. Such studies have examined the way in which prides of lions form hierarchical structures and the way in which male and female lions divide labor intended to benefit the pride.

Researchers in many fields -- including animal behavior, anthropology, psychology, and sociology -- study social behavior. The term "social behavior" may be defined slightly differently depending on the field, but this definition (from biologist Terrence McGlynn) captures the main idea:

"Social behavior consists of a set of interactions among individuals of the same species."

This definition (from Biology Reference) is also helpful:

"Social behavior is defined as interactions among individuals, normally within the same species, that are usually beneficial to one or more of the individuals."

But it's important not to conflate "social behavior," which is neutral with respect to the nature of the social interactions, with terms like "prosocial behavior," which specify behavior that is intended to help others.
Social behavior can be friendly and mutualistic, as when two monkeys groom each other. Both parties receive immediate benefits.
It can be altruistic, as when a vampire bat donates food to a hungry companion. The donor pays a cost to deliver a benefit to the recipient.
But it can also be mutually antagonistic, as when two male elephant seals fight for access to females. And of course social behavior can include one-sided displays of aggression, or assertions of dominance.
Examples of human social behavior include:
shaking hands
flirting
conversation
religious rituals
snubbing or "putting down" another person
exchanging nonverbal signals (like smiles or frowns)
offering reassurance or consolation
sharing a meal
teaching
disciplining a child
singing or making music together
any act of cooperation between individuals
http://www.biologyreference.com/Se-T/Social-Behavior.html

Social behavior is a set of actions performed by individuals of the same species when they interact with each other. Both humans and animals engage in social behavior; social interaction can be both verbal and nonverbal. Some examples of human social behavior are: watching sports together, high-fiving, conversing about politics, and kissing.

Who has the power to declare war in the United States?

In theory, only Congress has the power to declare war, as written in Article I, section 8 of the Constitution. The President of the United States is the Commander-in-Chief of all US military forces once deployed, but is only authorized to deploy them with Congressional approval.In practice, the President has almost total authority over military action. Formal declaration of war almost always comes after hostilities have already started at the President's order, if at all; and even if Congress refuses to authorize war the President will often continue prosecuting "proxy wars" and "shadow conflicts" that involve covert operations and targeted airstrikes but do not officially rise to the level of "war" per se. Usually these military actions are authorized by a "use of force" declaration, which is weaker than a true declaration of war.How did this come about? It was a long historical process, but the turning point was at the end of World War 2 and the rise of nuclear weapons. With the rise of nukes and other high-tech weapons, war could now occur on so fast a timescale that it was considered unreasonable to expect the President to take the time to consult with Congress before taking actions. So the President was then authorized to take action in "national emergencies" and then was supposed to report to Congress within 60 days to get the necessary authorization (this codified in the War Powers Act of 1973).But even that has not been good enough for most US Presidents; Presidents Ronald Reagan, Bill Clinton, and George W. Bush all initiated military actions without the approval of Congress that were not reported under the War Powers Act until after 60 days had elapsed. Clinton brought the War Powers Act to the Supreme Court, and they ruled in his favor and substantially weakened the Act's enforceable effect.Today, the War Powers Act is treated more like a formality, a reporting requirement that the President must undertake while he effectively deploys military force around the globe unilaterally. Some people believe that this is necessary, that without it we would not be capable of the rapid response that modern asymmetric warfare requires. Others argue that it is Unconstitutional, and grants too much unilateral power to the President. Either way, the de facto situation is clearly that the President starts wars, and then Congress declares them later.
https://www.law.cornell.edu/uscode/text/50/1541

How does Mark Antony feel about Caesar's death?

Mark Antony was devoted to Julius Caesar. He loved him as if he were his own father. He disguises his feelings when he is meeting with the conspirators after the assassination, but when he is alone with Caesar's body he expresses his feelings eloquently. This is the first time the audience realizes that Antony feels so strongly about Caesar, as well as the first time the audience realizes that Antony is capable of such eloquence.

O, pardon me, thou bleeding piece of earth,That I am meek and gentle with these butchers!Thou art the ruins of the noblest manThat ever lived in the tide of times.Woe to the hand that shed this costly blood!Over thy wounds now do I prophesyWhich like dumb mouths do ope their ruby lipsTo beg the voice and utterance of my tongue,A curse shall light upon the limbs of men;Domestic fury and fierce civil strifeShall cumber all the parts of Italy;Blood and destruction shall be so in use,And dreadful objects so familiar,That mothers shall but smile when they beholdTheir infants quarter'd with the hands of war;All pity choked with custom of fell deeds,And Caesar's spirit ranging for revenge,With Ate by his side come hot from hell,Shall in these confines with a monarch's voiceCry “Havoc!” and let slip the dogs of war,That this foul deed shall smell above the earthWith carrion men, groaning for burial.    (Act 3, Scene 1)

Shakespeare here is briefly covering the events that actually took place during the long period between the assassination of Julius Caesar and the defeat of Brutus and Cassius at the battle of Philippi. The word "carrion" customarily refers to animals that have died in the open and serve as food for all the wild animals, birds and insects that profit from their deaths. Antony is calling the dead soldiers "carrion men" because they are likely to remain unburied on the battlefield and will be reduced to skeletons by jackals, vultures, crows, maggots, and other creatures that will thrive on this bounty. Antony is a thoroughly experienced warrior and knows what these scenes look like. 
Mark Antony shows his strong feelings about Caesar's death in his funeral oration. It is because of his powerful emotions of grief and outrage that he is able to speak with such compelling fervor. He moves the whole Roman mob to mutiny, even though they all favored the conspirators when Antony began to speak. Then Antony expresses his strong feelings once again when he and Octavius hold a brief parley with Brutus and Cassius while their armies wait to begin the carnage.

Villains! You did not so when your vile daggersHack'd one another in the sides of Caesar.You show'd your teeth like apes, and fawn'd like hounds,And bow'd like bondmen, kissing Caesar's feet;Whilst damned Casca, like a cur, behindStruck Caesar on the neck. O you flatterers!    (Act V, Scene 1)

So Mark Antony continues to feel very bitter about Caesar's death. It is Cassius whose strong motivation drives the first part of Julius Caesar up to the assassination. Then there is a sort of lull until the second half of the play is driven by the strong motivation of Mark Antony. He wants revenge. If Brutus and Cassius thought there was any hope of avoiding a battle by holding a parley, they were mistaken. Antony has already satisfied some of his thirst for revenge by killing all of the men he suspected of favoring Brutus and Cassius in Rome. Now he is ready to finish the job by destroying Brutus and Cassius along with most of their soldiers on the battlefield. Not only is Mark Antony driven by his own desire to avenge the man he revered, but he suggests that Julius Caesar himself has the ability to act through him and inspire him with his own powerful will.

And Caesar's spirit ranging for revenge,With Ate by his side come hot from hell,Shall in these confines with a monarch's voiceCry “Havoc!” and let slip the dogs of war.

 
 
 

College Algebra, Chapter 5, Review Exercise, Section Review Exercise, Problem 90

A sum of $\$5000$ is invested at an interest rate of $8 \frac{1}{2} \%$ per year, compounded semiannually.
(a) Determine the amount of the investment after $1 \frac{1}{2}$ years.
(b) On what period of time will the investment amount to $\$7000$
(c) Determine how long would it take for the amount to grow to $\$ 7000$, if interest were compounded continuously instead of semiannually.


a.) Recall that formula for Interest compounded $n$ years
$\displaystyle A(t) = P \left( 1 + \frac{r}{n} \right)^{nt}$
If the interest is compounded semi-anually, then $n = 2$


$
\begin{equation}
\begin{aligned}
A &= 5000 \left( 1 + \frac{0.085}{2} \right)^{2 \left( \frac{3}{2} \right)}\\
\\
A &= \$ 5664.9776 \quad \text{ or } \quad \$5665
\end{aligned}
\end{equation}
$


b.) If $A = \$7000$, then

$
\begin{equation}
\begin{aligned}
7000 &= 5000 \left( 1 + \frac{0.085}{2} \right)^{2(t)}\\
\\
\frac{7000}{5000} &= \left( 1 + \frac{0.085}{2} \right)^{2t} && \text{Take ln of both sides}\\
\\
\ln \frac{7}{5} &= 2t \left[\ln \left( 1 + \frac{0.085}{2} \right) \right] && \text{Solve for } t\\
\\
t &= \frac{\ln \left( \frac{7}{5} \right)}{2 \ln \left( 1+\frac{0.085}{2} \right)}\\
\\
t &= 4.04 \text{ years} \quad \text{ or } \quad 4 \text{ years}
\end{aligned}
\end{equation}
$


c.) Recall that the formula for interest compounded continuously is
$A (t) = Pe^{rt}$
if $A = 7000$, then


$
\begin{equation}
\begin{aligned}
7000 &= 500 e^{(0.085)t} && \text{Divide by 5000}\\
\\
\frac{7000}{5000} &= e^{0.085t} && \text{Take ln of both sides}\\
\\
\ln \frac{7}{5} &= 0.085t && \text{Recall } \ln e = 7\\
\\
t &= \frac{\ln \left( \frac{7}{5} \right)}{0.085} && \text{Solve for } t\\
\\
t &= 3.9585 \text{ years}
\end{aligned}
\end{equation}
$


It shows that if the interest is compounded continuously, it will only take a bit shorter compared to the period in which interest is compounded semi anually.

Who does Bob Ewell blame for the loss of his WPA job?

Bob Ewell blames Atticus for the loss of his WPA job. He accuses Atticus of "getting" his job. Of course, Atticus has not interfered with Ewell's position at all, but to Bob, it is yet another black mark against the Finches, who he is sure are out to destroy him in any way they can.
Scout surmises that Ewell lost the job due to laziness, and then opines he was probably the only person in the 1930s to lose a government job for that reason. This is a dig at the WPA, which employed many, many people under the New Deal, but was sometimes mocked by conservatives as "We Piddle Around"—some of them saw it as government make work. Scout is saying that one would have to be extremely lazy to lose such an easy job.
Whatever the reason—and it is likely that Ewell did not show up for work given his history—this perceived wrong adds to his desire to get revenge on the Finches.

At the beginning of chapter 27, Scout mentions that three small things that were out of the ordinary happened in Maycomb, and each one involved Bob Ewell. The first strange thing that happened concerned Bob acquiring and losing his WPA job in a matter of days. Scout mentions that Bob must have been the first person in history to lose his job on account of his laziness. Ruth Jones, the woman who works at the welfare office, says that Bob Ewell openly accused Atticus of "getting his job." Ruth was so upset about Bob's comments that she told Atticus what Bob said about him.
Bob seeks revenge on Atticus for making him look like an ignorant, malevolent man by exposing the truth to the community during the Tom Robinson trial. Despite the fact that Bob wins the case, the community knows the truth and has no respect for Bob. Bob thought that him winning the case would bring him notoriety but instead makes him an outcast. As a result, Bob begins to blame Atticus for all of his failures and negative reputation throughout town.

If you're in space for three years, is it true four hundred years would pass on Earth?

This would not be true under the conditions and technologies we currently possess. It's as simple as asking any astronaut; if time passed in such a way, astronauts would appear to be gone for dozens of years before returning, but this is not the case. If we ever attain the technology that allows us to travel closer to the speed of light, we would begin to see effects like the one described in the question.
The scientific process behind the story you've heard is a phenomenon called time dilation, which is a side effect of relativity. The passage of time has been shown to be influenced by a variety of factors—particularly speed. Scientists have put clocks into orbit, compared them with clocks on the ground, and found very small—but measurable—differences between them. These differences become exponentially larger as you near the speed of light. This is described by the Lorentz factor, which can be calculated mathematically as
1/sqrt (1-v^2/c^2) 
where v is the velocity of the moving object and c is the speed of light.
Then, we can compare the time dilation, or delay, between two relative events by applying the Lorentz factor to it. This can all be simplified to the following equation:
t = t0/(1-v2/c2)1/2
Where t = the elapsed time, t0 is the observed time by the traveler, v is the traveler speed, and c is the speed of light.
We can rearrange to solve for v:
(t0/t)2 + (v2/c2) = 1
Using the values provided above (t0 = 3, t = 400),
v = 0.99997c
http://www.phy.olemiss.edu/HEP/QuarkNet/time.html

What was the name given to the North's overall plan to divide the South in two?

At the beginning of the Civil War, General Winfield Scott developed his "Anaconda Plan" to defeat the Confederacy by blockading the South's ports and then cutting off and controlling the Mississippi River so that the South would be isolated from trade with the rest of the world. By cutting the South in half and controlling both the Mississippi and sea ports, the Union would slowly strangle the South, preventing much-needed supplies from entering the South. Scott developed this plan because he believed it would win the war without massive casualties on both sides—as the South ran out of supplies and food, they would eventually be forced to surrender. However, some Union commanders felt it was too conservative and would lead to a protracted war, and many journalists ridiculed the plan, dubbing it the "Anaconda Plan" after the anaconda snake, which slowly strangles its prey to death. At first the plan proved unsuccessful—about 90% of Confederate ships were able to break the blockade, allowing the South to continue importing supplies and food necessary to continue the war. However, by 1862, the Union had strengthened its blockade, and key Union victories at Antietam and Gettysburg in 1862 and 1863 turned the tide in favor of the Union. General Grant's successful campaign in the West allowed the Union to seize control of the Mississippi River, and by 1863, the South was feeling the pressures of the blockade and a string of Union victories.

Single Variable Calculus, Chapter 7, 7.7, Section 7.7, Problem 64

Find the integral $\displaystyle \int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt$

If we let $u = 4t$, then $du = 4dt$, so $\displaystyle dt = \frac{du}{4}$. We know that the anti-derivative of $\displaystyle \frac{1}{\sqrt{u^2 + 1}}$ is $\sin h^{-1} x$. When $x = 0, u = 0$ and when $x = 1, u = 4$. Therefore,


$
\begin{equation}
\begin{aligned}

\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \int^4_0 \frac{1}{\sqrt{u^2 + 1}} \cdot \frac{du}{4}
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} \int^4_0 \frac{1}{\sqrt{u^2 + 1}} du
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} [\sin h^{-1} u]^4_0
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} [\ln (u + \sqrt{u^2 + 1})]^4_0
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} \left[ \ln (4 + \sqrt{(4)^2 + 1}) - \ln (0 + \sqrt{(0)^2 + 1}) \right]
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} [\ln (4 + \sqrt{17}) - \ln (\sqrt{1})]
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} [\ln (4 + \sqrt{17}) - \ln (1)]
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} [\ln (4 + \sqrt{17}) - 0]
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{1}{4} \ln ( 4 + \sqrt{17})
\\
\\
& \text{or}
\\
\\
\int^1_0 \frac{1}{\sqrt{16 t^2 + 1}} dt =& \frac{\ln (4 + \sqrt{17})}{4}

\end{aligned}
\end{equation}
$

In "Flowers for Algernon," how does Charlie's intellect change throughout the novel? (Please use quotes.)

Charlie goes from having a very low IQ to a very high IQ. He then reverts to his low IQ.
Charlie, not knowing what he is getting into, agrees to an operation that might make him more intelligent. He writes that he is told that by participating in the "experament you mite get smart. They dont know if it will be perminint but theirs a chance. Thats why I said ok even when I was scared because she said it was an operashun."
We are also informed that Charlie's IQ is 68:

I felt proud when he said that not every body with an eye-q of 68 had that thing [motivation].

Charlie's increase in intelligence is reflected in his improved grammar, spelling, and vocabulary. We also see evidence for his increased intelligence in how quickly he learns to type and in how fast he can type:

Dr. Strauss is very angry at me for not having written any progress reports in two weeks. He's justified because the lab is now paying me a regular salary. I told him I was too busy thinking and reading. When I pointed out that writing was such a slow process that it made me impatient with my poor handwriting, he suggested that I learn to type. It's much easier to write now because I can type nearly seventy-five words a minute. Dr. Strauss continually reminds me of the need to speak and write simply so that people will be able to understand me.

The experiment fails, and Charlies reverts back to the intelligence he began with. This is heartbreaking because he now has the intellect to know what is happening and is going to happen to him. He writes:

I've given up using the typewriter completely. My co-ordination is bad. I feel that I'm moving slower and slower. Had a terrible shock today. I picked up a copy of an article I used in my research, Krueger's Uber psychische Ganzheit, to see if it would help me understand what I had done. First I thought there was something wrong with my eyes. Then I realized I could no longer read German.

At the end, his writing reflects his return to his old state:

Evry body feels sorry at the factery and I dont want that eather so 1m going someplace where nobody knows that Charlie Gordon was once a genus and now he cant even reed a book or rite good.

In Bad Feminist, what does Roxane Gay say about The Help?

In Bad Feminist, Roxane Gay brings up The Help in the chapter titled “The Solace of Preparing Fried Foods and Other Quaint Remembrances from 1960s Mississippi: Thoughts on The Help.” In this essay, Gay describes her experience seeing the popular film The Help and discusses her disappointment with both the book and the movie. Gay argues that The Help plays into the idea of the “magical negro,” a trope in which a black character uses their power to transform “lost or broken whites” into successful and happy people. Gay points out that Aibileen and Minny both possess a great deal of strength but use their power to help the white characters (like Skeeter and Celia) find happiness instead of using it to help themselves. When, at the end of the movie, Celia and her husband tell Minny that she has a job for life, it is played as a touching moment. However, Gay points out that it is actually pretty sad and offensive that Minny’s “happy ending” is to spend the rest of her life cooking and cleaning for a white family for very little pay. Gay also argues that the fact that a talented and Oscar-nominated actress like Viola Davis can only find a role as a maid says a lot about the racism that still pervades Hollywood. Finally, Gay discusses her issues with the novel the film is based on, admitting that she struggles with the fact that a novel about African American women was written by a white woman. On one hand, Gay knows that her instinctual anger is wrong and, as a writer herself, firmly believes that writers should not be limited to writing about characters that resemble them personally. On the other hand, Gay takes issue with writers like Kathryn Stockett, who “write across race” in a way that plays into stereotypes and caricatures. 

Discuss the full scope, nature, and impact of the New Deal programs created to put Americans back to work.

There were many New Deal programs that were created to bring relief to the American people and recovery to the American economy. The Civilian Conservation Corps was designed to give young people jobs. Males between the ages of 18–25 would work on conservation projects. This experience would give them skills and build up their confidence. The Public Works Administration, the Civil Works Administration, and Works Progress Administration were government programs designed to get the economy going again. Many people got jobs building roads, bridges, parks, schools, and airports. These jobs not only helped begin the revival process for the American economy, they also helped bring relief to the American people.
There were several impacts of these New Deal programs. These programs certainly provided help to many Americans that were desperately looking for work. These programs also helped to revive the economy. However, it was not until World War II occurred that the economy really returned to a more normal condition with lower unemployment and more economic activity. Additionally, these programs led many Americans to believe that the government should act as a safety net in times of significant economic distress. More people began to believe that the government could not sit back and do nothing when the economy significantly sputtered and many people were out of work.
https://www.history.com/topics/great-depression/new-deal

https://www.thoughtco.com/top-new-deal-programs-104687

How did John Winthrop and the Puritans view their colony as a holy experiment?

From what I can see, it was William Penn who championed the idea of a "holy experiment." He envisioned a city (what is now modern Pennsylvania) that promised religious liberty and political freedom for all. As a Quaker, Penn was a pacifist, and he relished the idea of a peaceful colony that welcomed everyone. Meanwhile, John Winthrop promoted his "city upon a hill" concept. The phrase "city upon a hill" was first introduced by Winthrop in his sermon "A Model of Christian Charity."
It can be argued, of course, that John Winthrop and his Puritan colleagues did indeed approach their settlement in New England as a "holy experiment." To Winthrop and the Puritans, New England was the "city upon a hill." Winthrop stressed that the eyes of the world were upon the Puritans. If they failed to impress upon the world their faithfulness in obeying God's precepts, they would be made a "story and a byword through the world."
Essentially, Winthrop and the Puritans viewed the success or failure of their colony as a reflection of their faith. The settlement was a "holy experiment" in the sense that it would either reinforce the power of the Puritan faith or expose to the world its failures. To Winthrop and the Puritans, the success of the Massachusetts colony rested on the whims of human nature, which made the settling of the colony a very dangerous "experiment" indeed. 
http://www.digitalhistory.uh.edu/disp_textbook.cfm?smtID=3&psid=3918

What were the major differences between Batman and Superman?

The two major DC comic book superheroes, Superman and Batman, are perhaps two of the most drastically different superheroes in the entire world of comic books. While sharing many similarities and often battling for the public spotlight as the world's most famous superhero, they are, above all, far more different than they are similar.
Perhaps the most important difference occurs with the true identity of each hero. Superman and Batman both have public personas and alter egos that allow their true identity to remain secret. While Bruce Wayne, the billionaire playboy from Gotham city, dons the alter ego of Batman, Superman, an alien named Kal-El that came from the planet Krypton, must take on a persona of his own after being adopted by a well-doing family named the Kents. Bruce Wayne takes the form of Batman to scour the night's streets in order to stop criminals after becoming hellbent on preventing crimes like the murder of his parents. Superman, on the other hand, takes on the form of Clark Kent to conform to society, to fit in. Superman, the superhero, is the true identity of Clark Kent. The powers he holds are his by birth, and in order to belong in the normal world, he must adopt the mild-mannered Clark Kent persona and hide his superpowers. Batman's powers are entirely bought and obtained through his large monetary influence as well as his extreme physical fitness.
The other significant difference between the two heroes is certainly which powers they hold. Superman, as spoken in his original radio plays, is "Faster than a speeding bullet! More powerful than a locomotive! Able to leap tall buildings at a single bound!"; in other words, his powers are otherworldly. Batman, on the other hand, utilizes gadgets, weapons, and technology to prowl the darkness and overpower his enemies. His superpowers are ultimately wealth and intelligence.
These two superheroes act as cultural icons and metaphors for the typical American life. Both are lonely, both are outcasts, and both aim to better the world through stopping criminals. It is the differences that set them apart, however, and it is the differences that make them two sides to the same coin of cultural Americana.
https://www.supermanhomepage.com/radio/radio.php?topic=r-radio

After reading Tafoya v. Perkins, how did you react to the evidence in the case? Did it strike you as incomplete? If so, what additional information would you like to have if you were deciding the case?

Based on the text of the case, the plaintiff's evidence appears to be extremely weak and could certainly be considered incomplete.   
The plaintiff's (Lafoya) attorney should have presented more evidence of the partnership agreement. The attorney should have recognized the statute of limitations issue and realized he would have to rely upon Sec. 13-80-103.5 (the cause of action with the 6-year statute of limitations) to bring his case.
To prove there was a "determinable amount of money" at issue under the above-mentioned section, the plaintiff's attorney would have had to prove what share of profits Lafoya was to receive from the partnership agreement. The attorney could have done this by producing a written partnership agreement. However, partnerships are often formed without a written agreement. If that was the case here, then the plaintiff would need to provide some extrinsic evidence (coming from a source other than an actual writing) of the partnership agreement. Such extrinsic evidence could have been in the form of pay stubs, letters or emails between the parties, etc.
If I was deciding this case I would like to have evidence of the partnership agreement, as mentioned above. However, it is not the judge's duty to present a party's case, and moreover, an appellate judge is bound by the findings of the lower court in deciding the outcome of an appeal.  
  

The evidence in this case struck me as incomplete. Tafoya, the plaintiff, stated that in cases in which there is an "unliquidated, determinable amount of money," there should be a six-year rather than a two-year statute of limitations. However, the judge ruled that the plaintiff's assertion that there should be a six-year statute of limitations on taking action in the case was wrong because the judge could not determine this amount of money due from looking at the original partnership agreement. It seems like what is missing in this case is the purchase agreement of the apartment complex from 1994 so that the judge could determine the amount of money that was in question. If the judge had this information, the judge could determine the amount of money in question and grant a longer period for the statue of limitations. Therefore, Tafoya might have had a claim to the money resulting from the sale of the apartment complex. You may also determine that other evidence was missing in this case. 

Focusing on one symbol, write an essay analyzing how that symbol functions in Frankenstein and what it reveals about the characters or themes of the work as a whole.

There are numerous symbols in Mary Shelley's Romantic novel Frankenstein. Many of the symbols are representative of either a specific character or theme presented in the novel.
First, a symbol in a text attaches meaning deeper than the face value of the image. Symbols tend to allow figurative "threads" to wind throughout a text, bringing more meaning to the image, character, or symbol than initially thought.
One important symbol in the novel is light. Typically in literature, light functions as a symbol of knowledge. This specific symbol is important, given that many of the characters in the text are on a quest for knowledge. Light for Victor represents his unraveling of scientific mystery surrounding life and death. Over the course of the novel, as Victor sheds more and more light upon life and death, the mystery surrounding life and death diminishes. Unfortunately for Victor, this knowledge leads to his downfall and destruction.
For the Creature, light works a little differently. First, upon waking, the Creature feels intense pain. He closes his eyes, and the pain subsides. It seems that, for the Creature, light (or knowledge) is something that he must avoid. After realizing that light from the sun hurts his eyes, he travels at night. Lured by the small light of a fire, the Creature finds that light physically hurts him again. Yet, this time, he learns how to use the light of the fire to roast nuts (making them taste better). Later, the Creature is enlightened further when he looks into a pool of water. He is horrified by his reflection, something he has never seen. This new knowledge saddens the Creature. For the Creature, avoiding light (knowledge) may have been better.
Robert Walton, the narrator of the novel and Victor's last friend, also illustrates the symbolism associated with light. He is on a course to discover the "seat of magnetism." He wishes to focus light (knowledge) on new paths to the North. During his voyage, he is willing to give everything up to find success. In the end, Victor intervenes, telling Walton of the error of his own ways, in order to veer Walton off the same destructive path.
In regards to how the symbolism of light affects or illuminates the theme of the novel, one of the themes is the search for forbidden knowledge. Figuratively, forbidden knowledge is the knowledge that man should not interfere with. It is the knowledge kept in a figurative darkness, only to be illuminated when someone discovers the light needed to shine upon it. Throughout the novel, as forbidden knowledge is brought out of figurative darkness, each of the characters involved puts himself on a path to destruction.
Therefore, the novel and its author are offering readers a warning against interfering with nature and the things which are off-limits to mankind. By keeping mankind in darkness, nature is able to keep ultimate control of the world.

What are some of the ways the author remembers his grandmother?

The author remembers his grandmother in a few ways. He visits her grave and recounts to others the history of her people. He also visits each room of his grandmother's former home. As he walks through each room, he remembers her daily rituals and is cheered by his recollections.
In the kitchen, he remembers her standing over the woodstove and turning meat in an iron skillet on winter mornings. At the south window, he remembers that she used to sit there, engrossed in her beadwork. In her bedroom, he recalls how his grandmother used to make mournful, wailing prayers by her bed. The narrator also recollects that he never understood his grandmother's prayers; they were in the Kiowa tongue.
As he walks through the house, he recalls the many nocturnal feasts and prayer meetings there. In the summer, her house had always been a hive of activity. Now, there is only a funereal silence.
The narrator remembers his grandmother by recounting her history to others, paying his respects at her grave, and visiting every room in her former home.

What mood is the author conveying in Jane Eyre? Does it ever change? If so, where?

In a literary work, mood is kindled in the reader by means of setting, theme, diction, and tone. These elements generate emotional responses in readers and thereby establish the emotional attachment of the reader to the text.
Charlotte Bronte's novel, Jane Eyre, is considered by many as a Gothic novel, and as such it has settings that lend themselves to the moods of gloom and mystery. Below, I have described some various plot points and settings in the novel, highlighting various words which help establish the changing moods of the novel.
Gateshead Hall - This is the first home for orphaned Jane and it is a melancholy place for little girl. There she feels imprisoned and unwanted, and she is mistreated by all but the servant Bessie. The red room into which she is unjustly locked causes Jane so much fear and distress that she falls ill. But when Bessie takes Jane under her care, the girl recovers. She likes to listen to Bessie's singing. Nonetheless, when Bessie sings to her after her traumatic experience in which she sees the ghost of her dead uncle, she finds in the maid's sweet voice "an indescribable sadness."
 Lowood School - This school for "charity cases" is a very depressing and threatening environment. Jane describes the garden with its high walls and a covered veranda that in January is a barren place:

When full of flowers they would, doubtless, look pretty; but now...all was wintry blight and brown decay. I shuddered as I stood and looked around me: it was an inclement day for outdoor exercise;not positively rainy, but darkened by a drizzling yellow (often a color of evil) fog....

Jane is very unhappy at Lowood. There is a sweet, saintly girl named Helen with whom she has made friends. Even Helen is treated with gratuitous cruelty, but she never becomes bitter. When Helen dies from her abuse, Jane is devastated.
Thornfield Hall - After Jane attains her education, she becomes a teacher at Lowood. But, when her confidante, Miss Temple, leaves the school to marry, Jane decides to accept a position as a governess for Mrs. Rochester's ward, Adele.When Jane first encounters Mr. Rochester outside of Thornfield Hall, the ground is icy and his horse slips, causing him to fall. A nervous Jane worries if her new employer will approve of her.Thornfield Hall is the most Gothic of settings. There Jane hears sounds in the night. The place becomes increasingly eerie, as Jane begins to hear what seems to be voices. She thinks that Grace Poole, who stays upstairs is, perhaps, deranged. 
Thornfield Hall is becoming more and more eerie, as Jane hears disembodied voices, and one night Rochester almost dies when his bed catches fire under mysterious circumstances.Further, Jane becomes anxious when it seems that Mr. Rochester will marry Blanche Ingram because Jane, who is in love with her employer, will have to leave if he marries Blanche. She becomes very despondent.However, Mr. Rochester does not marry Blanche; instead, he reveals his love for Jane so they plan to marry. Without warning a strange man appears on their wedding day only to reveal that Rochester is already married to an insane woman who is locked into a room upstairs with Grace Poole as her caretaker and guard.
Moor House - Jane leaves Thornfield and is absolutely distraught. She starves and is nearly dead when she collapses on the doorstep of a family who turn out to be her cousins on her father's side. Fortunately for Jane, the Rivers women nurse Jane back to health. While living with these cousins, Jane learns that she has inherited a sum of money from her father's brother, and she shares this money with her cousins. Her happiness is mitigated, though, by St. John Rivers's proposal that they marry and she accompany him on his missionary work in India. Jane does not love him, so she refuses him.Then, one eerie night Jane hears the disembodied voice of Mr. Rochester calling her. Believing in this spiritual and supernatural experience, Jane goes to Thornfield only to discover that his insane wife has succeeded in burning it, although she has killed herself by jumping from the building.
Ferdean - After her marriage to Rochester, Jane is finally happy as she serves as the eyes for her blind husband.

Never did I weary of reading to him; never did I weary of conducting him where he wished to go: of doing for him what he wished done. And there was pleasure in my services without painful shame or humiliation.

Certainly, the moods change during the narrative of Jane Eyre. The frightened and miserable orphan who lives in the cold and painful solitude of Gateshead and Lowood School and the bizarre and eerie Thornfield Hall is rescued at Moor House where she finally feels love and warmth. But, Jane heeds a supernatural calling and rescues the spirit of Mr. Rochester. In the end, Jane finds fulfillment and true happiness.

Prior to Jane learning about Bertha Mason Rochester, Rochester's mad wife who he keeps locked up in his attic, the mood of the novel is mysterious, tense, and Romantic.  From Jane's belief that her uncle's ghost resides in the red room of her youth, to the terrible treatment she receives from her cousin, aunt, and Mr. Brocklehurst, to her certainty that there are secrets at Thornfield, the mood continues to be affected by the feeling that there's a lot that Jane—and thus, readers—do not know. When Jane seems to hear Rochester calling for her across the miles supernaturally, she declines St. John's proposal, and the mood's Romanticism comes to the fore. In the end, the mood feels just: Rochester pays for his sins in regard to his wife, and he can now love Jane as an equal or even as someone who needs her, rather than the reverse. Jane, having proven her own strength of mind to herself, can finally be happy in her egalitarian marriage built on mutual love and trust.

What were the purposes for the taxes collected within the Roman Empire during the reign of Augustus, or Octavian?

The taxes imposed by Augustus played a role in his larger goal of bringing peace to the Roman Empire. Augustus took several steps to eliminate and further prevent any residual chaos from his father's empire; because of this, he took several steps to micromanage that which he reigned over. Due to the obscene amount of power given to him by the Roman Senate, Augustus was able to squash revolts and personally manage small provinces. Since Augustus was well in favor of a powerful, professional army, he paid all of his soldiers handsomely, but this heavily affected the empire's treasury. This is where taxes came in. Augustus, ever the organizer, ordered a census (basically, an inventory) on all the resources within the empire. This allowed him to have a knowledgable starting point when imposing taxes on the Roman people. In order to prevent the corruption of local officials getting in his way, Augustus centralized the treasury, bringing it to the city of Rome. The taxes imposed by Augustus, in general, were one of several ways in which the emperor imposed order upon the Roman Empire and created the Pax Romana, or "Roman Peace."

What type of literary device does Atticus use when he says, "This case is as simple as black and white?" How is his word choice ironic?

The type of literary device that Atticus uses is a simile. A simile is a comparison using "like" or "as". He is comparing two opposite things in the phrase, "This case is as simple as black and white."
This phrase is ironic because Atticus is implying that the case is not difficult to understand. The facts of the case are not all that complicated, however the case is dealing with complicated issues. To many people in Maycomb, the case is simple. A black man raped a white woman. In the south at that time, there were no questions asked when an issue like this came up because of the heavy prejudices that were still prevalent. However, Atticus proves that the case is not all that simple. Throughout the trial, Atticus disproves Mayella's testimony with facts such as the bruises she endured could not have been made by Tom due to his injured arm. Atticus proves Tom's innocence, which complicates the trial. 
It is also ironic that Atticus uses this phrase because the case literally is about "black" and "white". Tom is black, and Mayella is white. Atticus is in a way saying that regardless what he is able to prove and do to help Tom, it will not matter because in the south, the word of a white woman would always be taken as truth over the word of a black man, regardless if it is the real truth or not.

Atticus uses a simile when he says, "This case is as simple as black and white"—he makes a comparison between two unlike things using the word as. This statement is also ironic, because Atticus uses the common expression "simple as black and white," which means that the case is not a difficult one to understand since there are no complicated facts. But in the reality of Maycomb's society, there is an issue that complicates the case, because Atticus's statement also implies that the verdict comes down to racial issues, as a black citizen has been accused, and a white citizen has brought charges.
There is no ambiguity in the legal case. Atticus has proven that Tom could not have caused the bruises on Mayella, because they were made by a man's left hand, and Tom's left hand is withered and useless. On the other hand, this case is not truly as "simple as black and white." The irony is that the case is complicated by being about a black man and a white woman, for a black man is accused of raping and beating a white woman in the Jim Crow South. And, at that time the word of a white person is taken over the word of a black person. In this respect, the irony of Atticus's statement is that the case being "as simple as black and white" means that it really is not so simple for the jury. For Atticus asks a jury of twelve white men to set a precedent and vote according to their conscience and reason, not their culture.

Why do the women in the countryside think Ichabod is an important person? How do the young girls respond to him?

We learn from the narrator that the women in any rural village generally think of the schoolmaster as an important person. A school teacher is considered to be a gentleman because of his education.
The women of Sleepy Hollow admire schoolmaster Ichabod Crane because he has read "several" books all the way through and is learned in the works of Cotton Mather on New England witchcraft, in which, we learn he "firmly" and "potently" believed. In other words, the narrator is poking fun at the women for looking up to a superstitious man who is not all that well read.
The women like to invite him over for tea and cakes, and he enjoys gathering grapes for the young "damsels" or girls who cluster around him. As the narrator describes it, Crane

would figure among them [the damsels] in the churchyard . . . gathering grapes for them from the wild vines that overrun the surrounding trees; reciting for their amusement all the epitaphs on the tombstones; or sauntering, with a whole bevy of them . . .

The key point is that Crane is described as womanly and effeminate, pictured among teapots and cakes or "sauntering" with the young ladies. He is a contrast, therefore, to the virile, strong, and manly Brom Bones, who is usually surrounded by his male "gang."

Ichabod Crane is considered an important person in Sleepy Hollow. This idea might seem strange, as Ichabod is undoubtedly ridiculous and comical by turns, but the fact remains that he's a school teacher, and school teachers were generally considered important people during Washington Irving's day. After all, school teachers were far more highly educated than the average person, and a teacher's life seemed to be filled with more leisure than the average farmer's. As such, Ichabod appears to be something of a gentleman to the humble inhabitants of Sleepy Hollow.
By extension, the women of Sleepy Hollow regard Ichabod as an ideal husband for their daughters. Along the same lines, the girls of Sleepy Hollow see the school teacher as an eligible future spouse. The exception to this rule is Katrina Van Tassel, who also happens to be the woman Ichabod is most interested in. Katrina is ultimately interested in Brom Bones, so Ichabod's expression of affection late in the story is met with a stinging rejection.

How does imagery develop the setting in the opening paragraphs of the story "The Flowers"?

The opening paragraphs of "The Flowers" portray a pastoral scene of rustic and natural beauty and peace. 
Walking outside at a sharecropper's farm, Myop delights in nature:

The air held a keenness that made her nose twitch. The harvesting of the corn and cotton, peanuts and squash, made each day a golden surprise that caused excited little tremors to run up her jaws.

This young girl is much like Rousseau's Natural Man who is spiritually and mentally free since he is not tied to any of the artificial needs that depict modern society. Myop delights in the music of her stick tapping on the fence, the sun on her face, the "tiny white bubbles" of the stream against the rich, black soil.
These opening paragraphs depict the beauty of pristine nature with visual and auditory imagery, such as the pretty "silver ferns" and wildflowers, along with the sounds of her stick tapping out a tune on the wooden fence. For instance, one passage describes Myop discovering

...an armful of strange blue flowers with velvety ridges and a sweet suds bush full of the brown, fragrant buds.

All the more shocking, then, is the brutal contrast of the ending of Alice Walker's story as this idolized version of the rural life of Myop is disrupted and soiled by her sudden discovery of the remains of a man of her race who has been hanged and left to decay by the perpetrators. 

6,-2,2/3,-2/9,... Write the next two apparent terms of the sequence. Describe the patterns used to find these terms.

6, -2, 2/3, -2/9
To determine the next two terms, identify if it is an arithmetic or geometric sequence.
Take note that an arithmetic sequence has a common difference. While a geometric sequence have a common ratio.
To find the common difference, subtract the successive terms.
-2-6=-8
2/3-(-2)=8/3
-2/9-2/3=-8/9
Since the three pairs of consecutive terms do not have the same result, the given sequence is not an arithmetic sequence.
To find the common ratio, divide the consecutive terms.
-2/6=-1/3
(2/3)/(-2) = -1/3
(-2/9)/(2/3)=-1/3
Since the result are the same, the given sequence is geometric. Its common ratio is -1/3 .
So the 5th term of the geometric sequence is:
-2/9*(-1/3) = 2/27
And its 6th term is:
2/27*(-1/3)=-2/81
Therefore, the next two terms of the given sequence are 2/27 and -2/81.

What is the conflict between Vera and Nuttel in "The Open Window" by Saki?

The above answer by mwestwood is excellent. I would like to suggest another possibility.
Vera is being forced to play hostess. She doesn't like it. She probably hates it. Her conflict may be with her aunt. She hates her aunt for trying to force her to become another airhead country hostess, just like she is. So Vera takes out her anger on poor Framton Nuttel, who doesn't understand what he has gotten himself into. Instead of being the nice little junior-hostess-in-training her aunt wants her to be, Vera becomes just the opposite, the hostess from hell. She has to find out who this man is and what he knows about her aunt. Then she makes up a wild story intended to scare him out of his wits when the three hunters come back for tea. People who are forced to do jobs they don't like often retaliate by doing terrible jobs. 
There may be a big ongoing conflict between Vera and her aunt which Framton Nuttel has unwittingly stepped into. Aunt Sappleton checks up on Vera's hostessing as soon as she enters.

"I hope Vera has been amusing you?" she said.

The conflict between Vera and Nuttel is an age-old one: It is that of the predatory, ruthless type against the weaker one. 
Vera obviously is a perceptive, mischievous girl because she immediately asks Mr. Nuttel if he knows many of the people who live around there. So, once Nuttel says, "Hardly a soul," the clever and ruthless Vera amuses herself with creating a tale that has enough truth in it to lend it credibility and enough horror to frighten the nervous and intimidated Framton Nuttel. 
Stealthily, Vera asks Mr. Nuttel another question in order to ascertain that her fabricated tale of horror will have its intended effect: "Then you know practically nothing about my aunt?" And, when Nuttel replies that he only knows Mrs. Stappleton's name and address, the predatory nature leads Vera to further weave her tale into the "great tragedy" of the loss of Mrs. Stappleton's husband and two younger brothers. This now is a tale that will produce a horrific effect. Cleverly, then, she continues to frame this story with more details of the truth, blurring the lines between reality and illusion so much that her tale becomes credible to the nervous visitor. Thus, the horrific effect of the supposedly dead men walking through the open window is profound upon the man who has already suffered a mental breakdown. 
When Nuttel flees in terror, Vera has won her battle.

College Algebra, Chapter 1, 1.4, Section 1.4, Problem 72

Find all solutions of the equation $\displaystyle x^2 + \frac{1}{2} x + 1 = 0$ and express them in the form $a + bi$.


$
\begin{equation}
\begin{aligned}

x^2 + \frac{1}{2} x + 1 =& 0
&& \text{Given}
\\
\\
x^2 + \frac{1}{2x} =& -1
&& \text{Subtract } 1
\\
\\
x^2 + \frac{1}{2}x + \frac{1}{16} =& -1 + \frac{1}{16}
&& \text{Complete the square: add } \left( \frac{\displaystyle \frac{1}{2}}{2} \right)^2 = \frac{1}{16}
\\
\\
\left(x + \frac{1}{4} \right)^2 =& \frac{-15}{16}
&& \text{Perfect square}
\\
\\
x + \frac{1}{4} =& \pm \sqrt{\frac{-15}{16}}
&& \text{Take the square root}
\\
\\
x + \frac{1}{4} =& \pm \frac{15 i^2}{16}
&& \text{Recall that } i^2 = -1
\\
\\
x =& \frac{-1}{4} \pm \frac{\sqrt{15}}{4} i
&& \text{Subtract } \frac{1}{4} \text{ and simplify}
\\
\\
\left( x + \left( \frac{1 + \sqrt{15} i}{4} \right) \right)& \left( x + \left( \frac{1 - \sqrt{15} i}{4} \right) \right) = 0
&&

\end{aligned}
\end{equation}
$

How does Daniel win his first recruit in his own band of freedom fighters?

Daniel's first recruit to his merry band of zealots is Nathan. This young man has the profound misfortune to be the son of a tax collector, an especially despised profession in Judea at that time. The sins of the fathers are often visited on their children and it's no exception here. Poor young Nathan is picked on and despised simply because of what his old man does for a living. He has no alternative but to fight back against the bullies with everything he's got. Daniel is most impressed with how Nathan handles himself against the other boys when they suddenly ambush him and try to give him a good kicking. He also senses perhaps that Nathan will be an effective recruit to the cause as he has a vested interest in putting an end to a system which breeds hated tax collectors like his father.

f(x)=1/sqrt(4+x^2) Use the binomial series to find the Maclaurin series for the function.

Binomial series is an example of an infinite series. When it is convergent at |x|lt1 , we may follow the sum of the binomial series as (1+x)^k where k is any number. The formula will be:
(1+x)^k = sum_(n=0)^oo (k(k-1)(k-2) ...(k-n+1))/(n!) x^n
or
(1+x)^k = 1 + kx + (k(k-1))/(2!) x^2 + (k(k-1)(k-2))/(3!)x^3 +(k(k-1)(k-2)(k-3))/(4!)x^4+...
To evaluate the given function f(x) = 1/sqrt(4+x^2) , we may apply 4+x^2=4(1+x^2/4) .
The function becomes:
f(x) =1/sqrt(4(1+x^2/4))
f(x) =1/(2sqrt(1+x^2/4))
Apply radical property: sqrt(x) = x^(1/2) . The function becomes:
f(x) =1/(2(1+x^2/4)^(1/2))
Apply Law of Exponents: 1/x^n = x^(-n) to rewrite  the function as:
f(x) =1/2(1+x^2/4)^(-1/2)
or f(x)=1/2(1+x^2/4)^(-0.5)
Apply the aforementioned formula on (1+x^2/4)^(-0.5) by letting:
x=x^2/4 and k =-0.5.
(1+x^2/4)^(-0.5) = sum_(n=0)^oo (-0.5(-0.5-1)(-0.5-2) ...(-0.5-n+1))/(n!) (x^2/4)^n
= sum_(n=0)^oo (-0.5(-1.5)(-2.5) ...(-0.5-n+1))/(n!) x^(2n)/4^n
= 1 + (-0.5)*x^(2*1)/4^1+ (-0.5(-1.5))/(2!) *x^(2*2)/4^2+ (-0.5(-1.5)(-2.5))/(3!)*x^(2*3)/4^3 +(-0.5(-1.5)(-2.5)(-3.5))/(4!)*x^(2*4)/4^4+...
= 1 -0.5x^2/4+ 0.75/2* x^4/16-1.875/6x^6/64 +6.5625/24x^8/256+...
= 1 -x^2/8+ (3x^4)/128-(5x^6)/1024 +(35x^8)/32768+...
Applying (1+x^2/4)^(-0.5) =1 -x^2/8+ (3x^4)/128-(5x^6)/1024 +(35x^8)/32768+... , we get:
1/2(1+x^2/4)^(-0.5) = 1/2[1 -x^2/8+ (3x^4)/128-(5x^6)/1024 +(35x^8)/32768+...]
=1/2 -x^2/16+ (3x^4)/256-(5x^6)/2048+(35x^8)/65536+...
Therefore, the Maclaurin series for the function f(x) =1/sqrt(4+x^2) can be expressed as:
1/sqrt(4+x^2)=1/2 -x^2/16+ (3x^4)/256-(5x^6)/2048+(35x^8)/65536+... 

What are some points showing Juliet's maturity in Romeo and Juliet?

Arguably, Juliet demonstrates rational and mature thinking, but this maturity is, for the most part, demonstrated before she gives her heart to Romeo. 
In Act I, Scene 3 of Romeo and Juliet, Lady Capulet asks her daughter if she can consider Count Paris as a husband; she also informs Juliet that Paris will be at their feast. Juliet replies that she will take a look at Paris and try to like him if what she sees is worth liking. But, she adds that she will not let herself fall for Paris any more than her mother's permission allows. In other words, Juliet has a sense of moderation at this point:

I’ll look to like if looking liking move.
But no more deep will I endart mine eye
Than your consent gives strength to make it fly (1.3.99-101)

Certainly, this sense of moderation demonstrates a degree of maturity.
Further, in the famous balcony scene of Act II, Scene 2, when the passionate and impetuous Romeo swears his love and desire for Juliet, it is she who urges caution:

Oh, swear not by the moon, th' inconstant moon,That monthly changes in her circled orb,Lest that thy love prove likewise variable. (2.2.116-118)

Then, when Romeo asks what it is that he should swear by, she tells him not to swear at all. Instead, she urges caution, saying that her agreement to a betrothal is

...too rash, too unadvised, too sudden,Too like the lightning, which doth cease to beEre one can say "It lightens." (2.2.118-120)

Juliet maturely adds that their love is like a bud that will prove to be a beautiful flower if it is allowed to ripen, so they must be patient.
Despite her rather mature and cautionary behavior in the beginning of their relationship, Juliet is later influenced by Romeo's passion, and her love transforms into a "violent delight." That is, the love of Romeo and Juliet becomes the dangerous love about which Friar Lawrence prophetically warns Romeo when he tells the passionate lover,

These violent delights have violent ends.And in their triumph die, like fire and powderWhich as they kiss consume. (2.6.9-11)

So, while Juliet is cautionary and sensible initially in her approach to love, she later grows more impetuous in both her feelings and actions after secretly marrying Romeo.

Juliet consistently shows a maturity well beyond her age. Once she falls in love with Romeo, she becomes a determined woman willing to risk everything to follow her heart. In the famous balcony scene, she renounces her own family heritage if it means she can be with Romeo. She sees the foolishness of hatred because of a name alone. She can see past the feud.
Juliet remains loyal to Romeo, even after he kills Tybalt. Though for a moment she is conflicted about the death of her cousin, she soon quickly realizes the positive aspect of the situation:

My husband lives, that Tybalt would have slain,
And Tybalt's dead, that would have slain my husband.
All this is comfort (Act III, Scene 2, lines 105-107).

Juliet bravely accepts the Friar’s dangerous plan, facing her fears as she drinks the Friar’s potion. She would rather die than marry Paris, and she is ready to take her own life if the Friar’s plan does not work.
In the final scene, Juliet makes good on her promise. When she sees Romeo is dead, she kills herself because she refuses to live without him.
Juliet’s strong will, determination, and courage all point to the deep maturity she exhibits throughout the play.

Why is Mattie biten by a mosquito in the opening chapter? What might this foreshadow?

Mattie's being bitten by a mosquito is included in the opening chapter of Fever 1793 precisely in order to foreshadow later events, for the deadly fever that descends upon Philadelphia is spread by mosquito bites. At first, the mosquito's insistent buzzing is more irritating than anything else. It's certainly nowhere near as annoying to Mattie as the sound of her mother yelling at her to get out of bed.
But over the course of the book, what started out as just a minor irritation will come to take on great significance in the lives of Mattie and her fellow Philadelphians. Mattie may be sick and tired of hearing her mom's screeching voice, but at some point, she's going to have to help out her family as the fever rapidly spreads and the bodies start piling up in the streets.
As the story begins, she'd like nothing better than to fly away like a mosquito from her boring, humdrum home life. But the sudden outbreak of yellow fever means that Mattie's ambitious plans of a life away from her family have to be put on hold, and for the time being, she's brought crashing down to earth.

Matilda "Mattie" Cook is a young girl living in Philadelphia with her mother and grandfather if 1793. In the first chapter, which takes place on August 16th, Mattie wakes up on a very hot morning with a mosquito buzzing around her ear.
This opening scene provides significant foreshadowing of the events that are about to occur throughout the rest of the book. It is not long before Mattie's mother, Lucille, falls ill, as well as Mattie herself. The sickness they are afflicted with is Yellow fever, a viral disease which results in serious symptoms, including bleeding, kidney issues, fever, chills, muscle pains, and even death. It is spread through the bites of infected mosquitoes.
To provide a bit of context of how serious this epidemic was, consider that in Philadelphia (a city of 50,000 people in 1793), at least 5,000 individuals died. This is one of the worst outbreaks in the history of the United States.