How to annotate the quote "wrinkled lip and sneer of cold command"

There are different ways to "annotate" quotations, depending upon the subject of your essay and the point you are trying to make in using the quotation. In terms of what we can unpack from this quote from Shelley's "Ozymandias," however, I will offer a few suggestions.
First, the context of the quotation: the description relates to the face of Ozymandias's statue, whose "shattered visage" is now sunk in the desert sand, no trace remaining of the great works he once thought would provoke "despair." We need to consider this quotation in the context of the whole poem: what does it tell us about Ozymandias himself? The word "sneer" suggests an arrogance which is in accord with a man who would declare himself "king of kings." The adjective "wrinkled" to describe the lip creates a visual image, helping the reader to picture the facial expression on the statue. For Ozymandias to have had himself depicted with a "sneer" on his face gives us some indication of how he wished to be seen. His expression is commanding, but that command is metaphorically "cold," as if he wished to be viewed as a distant and powerful ruler, rather than somebody approachable. This "king of kings," seeing himself as aloof and almost godlike, exhibited arrogance which was ultimately hubris, as nothing now remains of his "works."
In terms of the poetic language in this quotation, we see alliteration in the phrase "cold command," and it is interesting that the repetition is of "c," itself a clipped, curt consonant which seems in keeping with an arrogant expression and an aloof ruler. The sound device enriches the visual image.

WHAT ARE THE MERITS AND DEMERITS OF DEREGULATION?

The case for deregulation is both an economic argument, and an ideological one. 
Advocates of deregulation will state a positive economic case for reducing the burden of regulations on businesses and individuals.  However these advocates will also likely define themselves as somewhat libertarian in thinking, and have a natural preference for lower interference by government.
The argument in favour of deregulation is the theory that the reduction of interference by government has a positive effect on the ability of business to flourish.  For example a business that doesn't have to abide by lengthy and complicated employment law can more easily hire employees.  Or a business that didn't have to comply with environmental regulation could increase their profit margins.  This in turn should enable a more dynamic economy with increased job creation and stronger economic performance. 
Deregulation advocates would also point to heavily regulated economies, particularly in socialist countries like Venezuela, where tight controls on economic activity are symptomatic of a wider economic failure.
The case against deregulation revolves around the idea that market forces alone cannot be relied on to produce outcomes that benefit the overall population.  The government therefore sometimes needs to intervene in the market, by way of regulation, to ensure the health of the economy and the overall prosperity of the country.
One of the most obvious arguments against the deregulation of an industry would be the global financial crisis of 2008. While the banking industry was heavily deregulated throughout the late 20th Century, the industry eventually ran in to severe financial difficulty as a result of overly risky behaviour and negligence.  A regulated banking industry would in theory have been protected against these excesses and wouldn't have caused the financial deficit, which eventually fell to the taxpayer.
The extent to which deregulation can be said to be a success ultimately depends on perspective.  While environmental deregulation may allow for economic growth and benefit business, it could lead to practices that are hazardous to wildlife and long term damage to the planet.
 
 
 

Deregulation can have some good points. It removes a "one size fits all" form of governmental management and allows individuals and businesses greater autonomy in their dealings and resource management. Deregulation also saves the government money, as one has to pay for regulators.  Also, sometimes there can be biases in governmental regulations which benefit one group over another.
Deregulation can also be a bad thing. The Gilded Age proved that businesses can operate unfairly without regulation. They can sell the public dangerous goods and they can inflate their stock prices through fraud. Regulations are needed to manage natural resources. If the public depends on clean air and water, then there should be a public organization that defends these basic resources. A lack of regulation leads to unfair exploitation of resources.  

How are the powers of the paw revealed through the author's word choice?

W. W. Jacobs's masterful diction suggests that the paw is a frightening, sinister force with which no one should tamper. When he provides Sergeant Major Morris's initial descriptions of the paw, he wants to create the impression that this character is somewhat reticent about discussing the object and drawing the White family too much into its intrigue. When Mr. White inquires about the paw Morris had mentioned on a previous occasion, the Sergeant Major responds: " 'Nothing,' said the soldier, hastily. 'Leastways nothing worth hearing' " and "it’s just a bit of what you might call magic, perhaps." Jacobs also indicates that he says this "offhandedly." Furthermore, Morris later states that "it’s just an ordinary little paw, dried to a mummy."
The Sergeant Major's nonchalant attitude, however, does not put the Whites off, and they persist in asking questions about the object. At this point, the reader is naturally also intrigued and wants to know more. Jacobs's smart vocabulary gradually reveals the true nature of the paw. Sergeant Major Morris states that "an old fakir" had "put a spell on it so that three separate men could each have three wishes from it." The wording alludes to a supernatural power. This power, however, brings no good, as is made clear by Morris's later responses. When he confesses that he had made three wishes, "his blotchy face whitened." It is obvious that the Sergeant Major is overcome with dread when he refers to the paw's potential. 
The Sergeant Major throws the paw into the fire, and when Mr. White retrieves it, he tells him to "better let it burn" and that he should not "blame" him for what happens if he decides to keep it. He tells Mr. White to be "sensible" and get rid of the object. These words are a clear indication that the paw spells trouble. Mr. White does not heed the sergeant-major's advice and rather requests him to tell him how to make a wish. After explaining the method, Morris again admonishes, "but I warn you of the consequences" and tells him that he must "wish for something sensible."
After the sergeant-major's departure, Mr. White's wife wishes to know if her husband had given him anything for the paw. Mr. White states that Morris refused to accept any payment but that he relented at Mr. White's insistence. He then says that the sergeant-major had again pressed him to get rid of the paw. 
In spite of Sergeant-Major Morris's repeated insistence, the imprudent Herbert mocks their departed guest's dire caution and asks his father to make a wish. Mr. White, although doubtful, foolishly wishes for two hundred pounds. He later tells his wife that he felt the paw move as he made the wish. This ill-advised action results in the most tragic of consequences and leaves the White family broken and devastated.
When the representative of Maw and Meggins, Herbert White's employers, arrives to inform his parents about his tragic accident, both his parents realize with a devastating shock that the paw's powers were real. Mrs. White's "face was white, her eyes staring, and her breath inaudible" while her husband had "a look such as his friend the sergeant might have carried into his first action." Furthermore, when the two hear that the compensation for Herbert's death is two hundred pounds, the trauma is too much to bear, and Mr. White "put out his hands like a sightless man, and dropped, a senseless heap, to the floor" while Mrs. White "shrieked." Jacobs's wording here makes the ruinous effect of the paw's powers most apparent.

What valuable lesson did Scout learn in To Kill A Mockingbird?

Scout learns many lessons in To Kill a Mockingbird. She learns that sometimes the rules don't apply to everybody, as is the case with the Ewells. The children in the Ewell family do not attend school, and Mr. Ewell hunts out of season. Scout also learns that life is not always fair. This lesson is learned as she sees an innocent man convicted of a crime he did not commit. Through Tom Robinson's ordeal, Scout learns that people are often judged based on the color of their skin. However, perhaps the most valuable lesson Scout learns stems from her father's words in chapter 3.
Atticus tells Scout, "You never really understand a person until you consider things from his point of view-until you climb into his skin and walk around in it." In the beginning of To Kill a Mockingbird, Scout is terrified of Boo Radley. She believes the stories about him, and is almost ill when she learns that Boo covered her with a blanket on the night Miss Maudie's house burned. Gradually, Scout's perception begins to change, and by the end of the story, she feels much differently about Boo. Boo saves the children's lives, and Scout is able to understand why the sheriff doesn't want to involve Boo in any way. When Scout says that to involve Boo would be "sort of like shootin' a mockingbird," she shows that she has learned compassion.

Calculus: Early Transcendentals, Chapter 7, 7.2, Section 7.2, Problem 5

int sin^2(pix)cos^5(pix) dx
To solve, apply the Pythagorean identity sin^2 theta + cos^2 theta =1 repeatedly until the integral is in the form int u^n du .
= int sin^2(pix)cos^3(pix)cos^2(pix) dx
=int sin^2(pix)cos^3(pix)(1-sin^2(pix)) dx
=int [sin^2(pix)cos^3(pix) - sin^4(pix)cos^3(pix)]dx
= int [ sin^2(pix)cos(pix)cos^2(pix) - sin^4(pix)cos(pix)cos^2(pix)]dx
= int[sin^2(pix)cos(pix)(1-sin^2(pix)) -sin^4(pix)cos(pix)(1-sin^2(pix))]dx
= int [sin^2(pix)cos(pix)-sin^4(pix)cos(pix) - sin^4(pix)cos(pix)+sin^6(pix)cos(pix)] dx
int [sin^2(pix)cos(pix)-2 sin^4(pix)cos(pix)+sin^6(pix)cos(pix)] dx
=intsin^2(pix)cos(pix)dx-int2sin^4(pix)cos(pix)dx+intsin^6(pix)cos(pix)dx
To take the integral of this, apply u-substitution method.
u = sin (pix)
du= pi cos (pix) dx
(du)/pi = cos(pix) dx
= int u^2 *(du)/pi - int 2u^4 * (du)/pi + intu^6 * (du)/pi
= 1/pi int u^2 du - 2/pi int u^4 du + int 1/pi u^6 du
= 1/pi*u^2/3-2/pi*u^5/5 + 1/pi*u^7/7 + C
= u^2/(3pi) - (2u^5)/(5pi) + u^7/(7pi) + C
And, substitute back u = sin (pix) .
= (sin^2 (pix))/(3pi) - (2sin^5(pix))/(5pi)+ (sin^7(pix))/(7pi) + C

Therefore, int sin^2(pix)cos^5(pix) dx= (sin^2 (pix))/(3pi) - (2sin^5(pix))/(5pi)+ (sin^7(pix))/(7pi) + C.

How would Maya define a great teacher? What advice would she give to a new teacher?

Maya would probably define a good teacher as one who is accessible, attentive, and inspirational. 
Based on the story, Maya would probably consider Mrs. Bertha Flowers a phenomenal teacher. The older woman sets a good example in both conduct and speech. Mrs. Flowers also treats everyone she meets with respect. Maya tells us that Mrs. Flowers' smile is both "graceful" and "inclusively benign." The single greatest quality Mrs. Flowers has is her ability to make others feel comfortable in her presence.
Mrs. Flowers' attention to Maya facilitates the latter's emotional healing. In the older lady's presence, Maya feels accepted, valued, and trusted. In the book, Mrs. Flowers invites Maya to her home. There, she shares homemade cookies and lemonade with Maya and then reads to the young girl from A Tale of Two Cities.
Before Maya leaves, Mrs. Flowers gives her a book of poems to take home. The older lady tells Maya to memorize one poem and to recite it to her the next time she visits. Mrs. Flowers' attention brings Maya out of her shell.
If she had words of advice to give to a new teacher, Maya would likely tell him/her to be as caring, accessible, and accepting as Mrs. Flowers.

In "The Cask of Amontillado," are the catacombs a symbol of Montresor's state of mind?

You can certainly make the argument that the catacombs are symbolic of Montresor's state of mind. I like the comparison, and I think it works on a physiological level too. Catacombs are generally made up of a web of interconnected passageways that then have little storage "boxes" along the way or in special rooms. The human brain is similar in construction with all of the neurons, axons, dendrites, and sections of the brain itself. Impulses travel along the physical nerve cells and connections, and information is stored in various parts of the brain. Often, catacombs can be dark and twisted locations, and it's not unheard of for people to get lost in them. I would definitely argue that Montresor's mind is equally "twisted" and lost. He buries a friend (former friend) alive because Fortunato insulted him. Montresor doesn't feel any guilt over what he did either. It's like he's capable of locking down that particular emotion, and that is comparable to how he locked down Fortunato in the catacombs. If Montresor wants to, he can go down and visit the physical location where Fortunato is being kept. That again is similar to how Monstresor's brain works. He is capable of visiting the stored memory of the event any time he wants to, and that is the wonderful story that we get to read.

I think that is possible, yes. Ultimately, Montresor walls Fortunato into a hidden recess at the far back of his family's catacombs, and it seems, some fifty years later, that he has been unable to forget the man whose life he took. In this way, then, just as Fortunato has been imprisoned within the walls of Montresor's catacombs, Montresor has been unable to forget about what he did to Fortunato all those decades ago. Fortunato, in a way, remains trapped in both: the catacombs and Montresor's mind.
Also, in the beginning of the story, Montresor describes the vaults as "insufferably damp" and "encrusted with nitre."  As a result, they will be especially dangerous to Fortunato's health since he is suffering from a severe cold. Montresor's mind—with its murderous inclination—is also certainly dangerous to Fortunato's health. In these two ways, then, the Montresor family catacombs could be seen as symbolic of Montresor's state of mind, both during the events of the story and long after they took place.

How is the theme of jealousy presented in Othello?

Jealousy is presented as a tragic flaw in Othello—a destructive emotion that brings down an otherwise good man.
Iago, ever on the lookout for people's weaknesses, realizes that Othello—a strong, brave, and honest commander, supremely confident in his career—is insecure in the arena of love. A black man in a racist society and a middle-aged man in an ageist society, he worries that his lovely young wife doesn't truly love him. Iago ruthlessly exploits this fear. He manipulates events to suggest (though he pretends to do so reluctantly) that the handsome Cassio is sleeping with Desdemona. Othello falls for it and "honor kills" his wife as a result.
Shakespeare shows that jealousy is a "monster," a destructive emotion that grows out of all proportion to any reality and destroys lives. It clouds our judgment and becomes a form of madness.
Iago, too, can be seen as a jealous character. It appears as if Iago is so filled with anger and bile that he is looking for any excuse to hurt someone. Nevertheless, it is also true that Iago is jealous of anyone, such as Cassio or Othello, who has outpaced him and has risen faster in their careers. Iago is a twisted person, but bitter jealousy seems to be a core problem driving him to acts of evil.

Jealousy is Othello's tragic flaw, which leads to his downfall and Desdemona's death. Iago, who is depicted as a master manipulator, uses Othello's jealousy against him by convincing the general that Desdemona is unfaithful. Iago realizes that Othello is an outcast in Venetian society because he is a Moor and is much older than the beautiful Desdemona. He is also aware that Michael Cassio is a handsome, eloquent man, who would be able to make Othello jealous. Iago manipulates Othello's low-esteem and lack of confidence by suggesting that Desdemona is romantically interested in Michael Cassio. Almost immediately after Iago suggests that Desdemona is unfaithful in act 3, scene 3, Othello becomes aggressively jealous and begins to perceive his wife in a new light. Iago even warns Othello about the power of jealousy by telling him,

"Oh, beware, my lord, of jealousy! It is the green-eyed monster which doth mock The meat it feeds on" (Shakespeare, 3.3.170-172).

Othello's jealousy blinds him to the reality of the entire situation, and he accepts circumstantial evidence as proof that Desdemona is having an affair with Michael Cassio. Iago once again comments on the power of jealousy by saying,

"Trifles light as air Are to the jealous confirmations strong As proofs of holy writ" (Shakespeare, 3.3.332-333).

Othello's jealousy not only ruins his marriage to Desdemona but also motivates him to kill the woman he truly loves. Thematically, Shakespeare depicts the negative effects of jealousy by illustrating Othello's tragic demise.

Jealousy is the driving force behind much of the action—and tragedy—within Shakespeare's Othello. 
Othello thematically traces how jealousy can destroy lives—and how so often jealousy stems from events and circumstances which have been blown out of proportion. 
The major plot of the play involves Iago convincing the titular Othello that his wife Desdemona has been unfaithful to him and has cheated with Cassio. Despite the fact that Iago has little true evidence to prove this, Othello falls headfirst into the clutches of the "green-eyed monster." Through Iago's trickery, Desdemona's handkerchief—which had been given to her by Othello—ends up in the possession of Cassio. Although there is no literal correlation between this handkerchief and Desdemona's chastity (it is, after all, merely a handkerchief), Othello's raging jealousy seizes this as a sign that she has engaged in adultery. This psychological magnification results in Othello destroying his entire life; he murders his wife and then kills himself. 
The irony, of course, is that Iago uses jealousy to undermine the foundations of Othello's marriage, while it is jealousy itself that causes Iago to behave so erratically. Iago is jealous of Othello's power, position, and status and is angry that he was passed over for a promotion by Othello, who chose Michael Cassio as his military lieutenant instead. Additionally, Iago believes that his own wife Emilia may have engaged in an affair with Othello. 
Ultimately, jealousy serves as an irrational motivator and the harbinger of evil in this play.

In Bradbury's Fahrenheit 451, when Montag burns books, how does he feel?

The first line and opening paragraphs of Fahrenheit 451 by Ray Bradbury immediately inform readers that Guy Montag enjoys his job as a fireman who burns books, thus setting the dystopian tone of the novel.
However, after Montag’s encounters with the spirited Clarisse and the elderly woman willing to sacrifice herself for her books, his attitudes toward the job undergo significant changes.
In the novel’s third section and turning point, “Burning Bright,” Montag’s change of mind is then tested when station captain Beatty drives the Salamander truck to Montag’s house to burn the books Montag has hidden.
Montag’s initial reactions to the arrival at his house are disbelief and shock. In an instinctive, subconscious moment, he looks at what used to be Clarisse’s house, as if to evoke her spirit:

Montag’s face was entirely numb and featureless; he felt his head turn like a stone carving to the dark place next door, set in its bright border of flowers.

After Montag’s wife Mildred leaves the house, the firemen move in to do their work. Montag, still in shock, observes them with a detached, dreamy state of mind. After Beatty announces that fire’s purpose lies in eradicating “responsibility and consequences,” Montag’s resolve begins to waver under the spell of Beatty’s speech:

Montag stood looking in now at this queer house, made strange by the hour of the night… and there on the floor, their covers torn off and spilled out like swan feathers, the incredible books that looked so silly and really not worth bothering with, for these were nothing but black type and yellowed paper and raveled binding.

Then Beatty orders Montag to burn his own house with a flame thrower. Montag obeys, in part from his anger at Mildred’s betrayal. For a moment, his previous pleasure in burning returns. Then after Beatty punches him, the earpiece that links Montag to Professor Faber falls out. Beatty threatens to send the crew after Faber.
Beatty’s threat finally galvanizes Montag into making the decision about which side he’s truly on, one that makes him an outlaw, and brings the novel to its conclusion. However, when Montag turns the flame thrower on Beatty, he takes no pleasure in this burning.

The answer to this question does depend on when in the story it is asking about. At the beginning of the story, Montag is the quintessential fireman. He loves his job because he gets to light things on fire. Burning houses down that are filled with books makes sense to him because he has bought into the cultural assumption that books hold nothing worth his time or that books are dangerous.
As Montag comes into contact with people like Clarisse and the woman that is willing to burn to death for her books, his feelings begin to change. He questions the assumed uselessness of books because he has seen firsthand that someone is willing to die to protect them. He realizes that something valuable must be contained within the pages of books for a person to willingly burn to death for them. As Montag gets more exposure to books, he learns of their value, and he is saddened by the rampant destruction of them.

At the beginning of the novel, Bradbury describes Montag's experience burning books. Bradbury writes, "It was a pleasure to burn" (1). Montag enjoys his work as a fireman and takes pleasure in burning books. He firmly believes that he is helping humanity by burning books and is essentially institutionalized. Bradbury writes that Montag is calm as he flicks the igniter and watches as the flames engulf the books. Montag thinks of a relatively enjoyable experience by wishing that he could roast marshmallows over the flames. Bradbury also mentions Montag's "fierce grin." When Montag returns to the firehouse and looks in the mirror, he winks at himself. While Montag lays in his bed at night, his fiery smile does not go away. Bradbury is suggesting that although Montag is unsympathetic about his occupation and appears happy, his feelings are artificial.
After Montag becomes friends with Clarisse and realizes that he is living a meaningless life, Montag feels differently the next time he burns books. When Montag responds to a call suggesting that a woman has a library in her attic, Montag feels guilty about destroying the books. He is not unattached while he sets the novels on fire and even reads a line from one of the pages. He thinks about what he has read the entire time and even steals one of the books. Montag's feelings of guilt reflect his change in perspective. 

x=sint, y=cost , 0

x=sint
y=cost
First, take the derivative of x and y with respect to t.
dx/dx = cost
dy/dt=-sint
Then, determine the first derivative dy/dx . Take note that in parametric equation, the formula of dy/dx is:
dy/dx = (dy/dt)/(dx/dt)
Applying this formula, the first derivative is:
dy/dx = -sint/cost
dy/dx=-tant
Then, determine the second derivative of the parametric equation. To do so, apply the formula:
(d^2y)/(dx^2)= (d/dt (dy/dx))/(dx/dt)
So the second derivative is:
(d^2y)/(dx^2) = (d/dt(-tant))/(cost)
(d^2y)/(dx^2) = (-sec^2t)/(cost)
(d^2y)/(dx^2)=-sec^3t
Take note that the concavity of the curve changes when the second derivative is zero or does not exist.
(d^2y)/(dx^2)= 0   or   (d^2y)/(dx^2)= DNE
Setting the second derivative equal to zero, result to no solution.
sec^3t = 0
t= {O/}  
Since there are no angles in which secant will have a value of zero.
However, on the interval  0lttltpi , the secant does not exist at angle pi/2 .
sec^3t = DNE
t= pi/2
So the concavity of the parametric curve changes at t= pi/2 .
Now that the inflection is known, apply the second derivative test.
Take note that when the value of the second derivative on an interval is positive, the curve on that interval is concave up.
(d^2y)/(dx^2)gt0      :. concave up     
And when the value of the second derivative on an interval is negative, the curve on that interval is concave down.
(d^2y)/(dx^2)lt 0     :. concave down
So divide the given interval 0lttltpi into two regions. The regions are 0lttltpi/2  and  pi/2lttltpi . Then, assign a test value for each region. And plug-in the test values to the second derivative.
For the first region 0lttltpi/2 , let the test value be t=pi/3 .
(d^2y)/(dx^2)= -sec^3(pi/3) = -2^3=-8
So the parametric curve is concave down on the interval 0lttltpi/2 .
For the second region pi/2lttltpi , let the test value be t=(2pi)/3 .
(d^2y)/(dx^2) = -sec^3((2pi)/3) = -(-2)^3 = -(-8)=8
So the parametric curve is concave up on the interval pi/2lttltpi .
 
Therefore, the graph of the given parametric equation is concave down on the interval 0lttltpi/2 and it is concave up on the interval pi/2lttltpi .

College Algebra, Chapter 1, 1.2, Section 1.2, Problem 62

Suppose that a plank $30 ft$ long rests on top of a flat roofed building, with $5 ft$ of the plank projecting over the edge. A worker weighing $240 lb$ sits on one end of the plank. What is the largest weight that can be hung on the projecting end of the plank if it is to remain in balance?

By using the law of lever, let $w_1$ be the weight of the man, $x_1$ be the distance to the edge of the building, $w_2$ be the required weight to balance and $x_2$ be the other end of the plank. So in order to remain in balance..


$
\begin{equation}
\begin{aligned}

w_1 x_1 =& w_2 x_2
\\
\\
240 lb (30 - 5) =& w_2(5)
\\
\\
240(25) =& w_2(5) \qquad \text{Solve for } w_2
\\
\\
w_2 =& 1200 lbs

\end{aligned}
\end{equation}
$

What issues and ideas promoted sectional conflict during the era from 1815 to 1828?

The thirteen-year era from 1815 to 1828 in the United States was transitional in many respects. The country had just emerged from the War of 1812 (1812–1815) and the future seemed bright. Although America had not won the war, it did manage to hold its own against Britain. This thirteen-year period also preceded the rise of Jacksonian Democracy (1829 –1837).
The end of the War of 1812 healed a strong source of division in America. New England had never supported the war, so its end was important for national unity. It was clear, however, that sectionalism might emerge again over economic differences.
The presidency of James Monroe (1817–1825) is known as the Era of Good Feelings. One reason for this national harmony was the fact that only one political party—the Democratic-Republicans—dominated the nation. In the presidential election of 1820, Monroe received 99% of the electoral votes cast. Political unity meant that previously contentious issues, such as a national bank, now caused no controversy.
That fact that Monroe was from Virginia did cause some resentment in some quarters. He was the fourth Virginian to be president. Only one of the first five presidents was not from that state.
The strongest sectional divisions stemmed from the North-South argument over the status of slavery. Both sides had 22 U.S. Senators in 1819, and a balance was needed to maintain national harmony. The Missouri Compromise (1820) kept this equality by admitting Maine as a free state and Missouri as a slave state.
The presidential election of 1824 reflected strong sectional preferences. New England once again demonstrated its maverick status by supporting John Quincy Adams. Almost all of the rest of the country voted for Andrew Jackson.
The two most divisive issues of the period, therefore, were slavery and presidential politics in 1824.

Given the political fighting that took place during the election of 1800, the first part of the period between 1815 and 1828 was relatively calm. The Federalist party had largely ceased to exist after the Hartford Convention, and this brought about the Era of Good Feelings. However, the "good feelings" were not to last.
One reason for the rise of sectionalism was the rivalry between the Western states and the Eastern states. The West believed that the East unfairly controlled the money supply with the National Bank. The National Bank would become a campaign issue, as Andrew Jackson would not renew its charter after having become president in 1828.
Another reason for the rise of sectionalism was the controversy surrounding slavery. The cotton industry was starting to become more important as more southwestern territory opened up for white settlement. Some early abolitionists feared that the nation would be controlled by a minority of slaveholders from the South. When Missouri wanted to become a state, its entry would create more slave states than free states. Henry Clay came to the rescue with the Compromise of 1820, creating a dividing line between free and slave territory. Missouri would come in as a slave state, while Maine would enter as a free state. While the slavery debate would not spark violence as it would in later decades, people could already see that it would be controversial.
Another issue was internal improvements. Some believed that the federal government had an obligation to create infrastructure throughout the growing nation. Henry Clay would later harness this idea into his American System, which united internal improvements with national self-sufficiency in order to create jobs and prosperity. All of this would be powered by high tariffs and a national bank. The Jacksonian side believed in more limited government, as they believed that states should be in charge of their own infrastructure and more government meant more opportunities for corruption.
The 1824 election proved that the United States was still a collection of regions, as each major candidate—John Quincy Adams, Henry Clay, and Andrew Jackson—only polled well regionally. Part of this was due to candidates not campaigning on their own, but the main reason was that people wanted to see their "native son" in office. When Clay shifted his support to Adams and gained the Secretary of State position, Southern supporters of Jackson claimed a "corrupt bargain" and campaigned against the Adams dynasty and Clay. Some of these same Southern supporters went against Jackson during the Nullification Crisis when he demanded that South Carolina observe the national tariff.
While the issues of the United States during this period were not quite as acute as they would be in later decades, one could see that the United States were not truly "united" except in terms of a common history and many common traditions. People still viewed themselves as members of specific regions. Slavery, tariff law, infrastructure, and finance were the issues of the day, though slavery was the least of these. Later in the century, slavery would be the overriding concern of both candidates and of the growing national press.

The era immediately after the War of 1812, which ended in 1815, was marked by an absence of conflict and was known as the "Era of Good Feelings." After the war, the Federalists, who had opposed the war, largely collapsed, leading to the ascendancy of the Democratic-Republicans (called the Republicans) under Monroe and a period of economic nationalism. 
However, sectional conflicts developed during the Missouri Compromise of 1820, in which Maine (carved out of Massachusetts) became a free state and Missouri a slave state in order to keep a precarious balance between slave and free states (in addition, the parallel of  36°30′ was marked as the division between slave states to the south and free states to the north). During the presidency of John Quincy Adams (1825-1829), a Democratic-Republican, a philosophy that was opposed to the Republicans began to take shape. In fact, after serving as President, John Quincy Adams became a National-Republican and later a Whig. He believed in many of the pillars of what would become the foundation of the Whig party, including a high tariff and internal improvements such as road and canal building (these were referred to as "the American System.")
Later, as more states came into the union and as the National-Republicans opposed the policies of Andrew Jackson, a Democrat who followed John Quincy Adams as President in 1829, sectional conflicts became more intense.  The conflicts centered around abolitionism and whether new states should be free or slave; in addition, the Whigs favored industrialization, while the Democrats favored agrarianism. 

Why does Dolphus Raymond pretend to be a drunkard in To Kill a Mockingbird?

Mr. Dolphus Raymond at first seems to be the town drunk, always carrying a paper bag around and drinking out of it. He also lives with an African-American woman and has several children with her. Therefore, the white Dolphus Raymond has broken perhaps the most important social taboo in Maycomb, and this is even more shocking since Jem tells Scout that he comes from and old and wealthy family in Maycomb.
When Dill starts crying during Tom's cross-examination, the kids go outside the courtroom, where they run into Mr. Raymond. He offers Dill a drink from his sack, and the kids are stunned to learn it's simply soda. Mr. Raymond explains that the upper white society in Maycomb could never understand why he would choose to spend his time with African Americans. They want to hate him, of course, so he provides a very tangible reason: being the town drunk. This makes it easy for them to latch on to a reason for what they consider his poor choices:

When I come to town, which is seldom, if I weave a little and drink out of this sack, folks can say Dolphus Raymond's in the clutches of whiskey—that's why he won't change his ways. He can't help himself, that's why he lives the way he does.

This exchange shows how sometimes people who don't fit in socially have to learn to make some compromises in order to live the life they desire. Mr. Raymond is willing to further sacrifice his social standing in order to avoid dealing with white prejudices regarding his choices. It is much easier to play the part of a drunk and deal with the fallout from that characterization.

In order to avoid scandal falling upon his family because of his unconventional lifestyle, Mr. Dolphus Raymond pretends that he is a drunkard.
In Chapter 19, the sensitive Dill is overcome by Mr. Gilmer's cruel interrogation of Tom Robinson. The children leave the courtroom and encounter Mr. Raymond, who offers Dill his drink inside the paper sack. After he drinks some, Dill releases the straws and grins. "Scout, it's nothing but Coca-Cola." Mr. Raymond asks the children not to reveal his secret. Then he explains why he pretends to be inebriated all the time. "Some folks don't—like the way I live. Now I could say I don't care if they don't like it, right enough—but I don't say the hell with 'em, see?"
Mr. Raymond knows how appalled and disturbed the citizens of Maycomb would be if he consciously, with a sober mind, chose to live with a black woman and have children with her. But by pretending that he is an alcoholic, Mr. Raymond ensures people write him off. His decision to live with a black woman, they feel, is the product of his drinking—not a social commentary and a judgment against the white community of Maycomb.

What are the central themes of Birdy?

There are a lot of themes that run throughout Wharton's book.  
One central theme has to be about dreams versus reality.  Birdy creates his own birdlike existence as a way to escape his own abysmal reality.  To Birdy and Al, the real world is a place to be escaped from.  All of the places where the boys should be receiving love, guidance, and structure are places of harshness and cruelty.  In his dreamy bird world, Birdy is able to escape from nuns, teachers, parents, and army commanders.  The theme of escapism could also be a central theme that coincides with the dream versus reality theme.  
A second central theme has to be friendship.  Readers are introduced to Birdy through Al.  As Al's memories become blurred with Birdy's memories, it is made clear to readers that their friendship is just about the only part of reality that either of them can stand.  Their friendship is a deep bond that is strengthened by their time suffering through similar situations.  
Love seems to be another central theme.  Although Birdy's love for Petra is a fantasy, his feelings for her are no less real.  Through his imaginary relationship with Petra, Birdy is able to experience the love and security that he longs for in real life.  The relationship becomes so real to Birdy that he has a physical reaction while dreaming that he and Petra are mating.  His love for her is deep enough that he experiences real tragedy and mourning when she dies.  
Finally, I think a fourth central theme has to be the horrors of war.  This book doesn't make any attempt to glorify war or violence.  Wharton doesn't shy away from graphic descriptions of the war, and he shows readers that war leaves men deeply scarred both physically and emotionally.  Readers are told that Al wants to get sent back to the United States on a "psycho discharge" because the things that he has seen have made him "scared of even being scared."   

Beginning Algebra With Applications, Chapter 3, 3.3, Section 3.3, Problem 132

Evaluate $3x - 2 (3x - 5) > 4 (2x - 1)$

$
\begin{equation}
\begin{aligned}
3x - 2(3x) - 2 (-5) &> 4 (2x) - 4(1) && \text{Use the Distributive Property to remove the parenthesis}\\
\\
3x - 6x + 10 &> 8x - 4 && \text{Simplify}\\
\\
3x - 6x - 8x &> -10 - 4 && \text{Group terms}\\
\\
-11x &> - 14&& \text{Combine like terms}\\
\\
\frac{-11x}{-11} &> \frac{-14}{-11} && \text{Divide each side by -11}\\
\\
x &< \frac{14}{11} && \text{Remember that if you divide or multiply numbers ,the inequality symbol reverses}
\end{aligned}
\end{equation}
$

I am required to write a 3500-word essay for postgraduate level. I wish to do a paratextual research. The novel that I want to choose is Night Waking by Sarah Moss. I want to compare the covers from different editions but I am confused whether one edition is just enough or not. What aspects should I cover? Do you have recommendation about the literature that can support my analysis?

Night Waking was first published by Granta in paperback in 2011. There also exists a Kindle edition and a translation. It also appears that different covers have been used in different editions, possibly due to attempts to market the book in slightly different ways in different countries. In order to write a comparative study of the cover art for the different editions and other elements of the books as material object that might differ from edition to edition, you would indeed need to obtain copies of all print and electronic editions of the book. Research on the postgraduate level must always be comprehensive.
Because the novel is relatively recent, there is little if any scholarship concerning it, though there are several published book reviews. One starting point for talking about paratextual studies would be Examining Paratextual Theory and Its Applications in Digital Culture by Nadine Desrochers.
Your paper should begin with an argument concerning how and why the editions of the book differ. You might look at whether market segmentation, format, or region are determining factors.
The second section of the paper should describe the book's full publication history, including all editions and printings. For each edition, you should provide a complete bibliographic description. 
The third section of the paper should compare and contrast the different print editions, looking at such features as cover art, format, paper quality, price, and other changes between editions.
The fourth section of your paper should examine the differences between the print and digital editions. Here, you might include both a discussion of conventions of Kindle formatting which apply to most books published on Kindle and issues pertaining to this individual book. You should finish this section with a discussion of how the electronic versus print differences affect reader experience.
Your conclusion should talk about how the physical natures of the different editions create differing horizons of expectations for readers and how this would affect how we interpret or approach the text. Reader-response criticism might be a useful scholarly perspective for your conclusion.

Calculus: Early Transcendentals, Chapter 3, 3.5, Section 3.5, Problem 19

Note:- 1) If y = cosx ; then dy/dx = -sinx
2) If y = e^x ; then dy/dx = e^x
3) If y = u*v ; where both u & v are functions of 'x' , then
dy/dx = u*(dv/dx) + v*(du/dx)
4) If y = sinx ; then dy/dx = cosx
Now, the given function is :-
(e^y)*cosx = 1 + sin(xy)
Differentiating both sides w.r.t 'x' we get
-(e^y)*sinx + {(e^y)*cosx}*(dy/dx) = cos(xy)*[y + x*(dy/dx)]
[{(e^y)*cosx} - x*cos(xy)]*(dy/dx) = [y*cos(xy) + (e^y)*sinx]
or, dy/dx = [y*cos(xy) + (e^y)*sinx]/[{(e^y)*cosx} - x*cos(xy)]

Who said these words: "Give me blood and I will give you freedom"?

In a speech in 1944 to members of the Indian National Army, Subhas Chandra Bose gave a speech with the famous line "Give me blood, and I shall give you freedom" while touring Burma. Burma, today's Myanmar, was another British colony close to the Indian subcontinent.
India was colonized by the British, and before that it was controlled by the British East India Company. The country was incorporated into the British Empire and promised freedom after World War I, but the Indians had to continue negotiating for freedom from the British until it happened in 1947. Of the many opinions about decolonization in India, one supported peaceful nonviolence and tolerance (best exemplified by Mohandas Gandhi and Jawaharlal Nehru), while the other supported violent measures, as shown in this speech by Subhas Chandra Bose.
In the speech, Bose argued that since Britain was consumed by fighting in WWII and was distracted by war, they were at their weakest state and India should begin fighting back to win its independence. Bose argued that Indians should come together, put their lives on the line, and fight for freedom. Bose also referenced other countries in East Asia supporting their cause, namely Japan, Philippines, Vietnam, Indonesian islands, Thailand, and Burma (Myanmar).
The full text of this quote is "Friends! My comrades in the War of Liberation! Today I demand of you one thing, above all. I demand of you blood It is blood alone that can avenge the blood that the enemy has spilt. It is blood alone that can pay the price of freedom. Give me blood and I promise you freedom!"
There are some interesting things here; Bose used the word comrades to link Indians to the other colonized peoples fighting for freedom, in a way which was later used to link communist nations together (while communism had taken hold in the USSR at this point, the communist party was still actively at war with the nationalist party in China and had not officially taken control yet). Bose also traveled to the USSR to speak to Stalin about support for the nationalist movement.
Bose also asked for blood in this quote, both from the Indians who would die fighting for the cause and the blood of the enemy British who would be slain.
https://www.inc.in/en/media/speech/give-me-blood-and-i-promise-you-freedom

Subhas Chandra Bose said the words "Give me blood and I will give you freedom."  Bose was a leader in the Indian Independence movement.  He also created the Indian National Army.  The Indian Independence movement was against British colonial rule in India.  Bose believed in using force against the British in order to gain independence for India.  He saw violence as a necessity in the fight for India's independence.  In 1944, he gave a speech, which included the following words:

It is blood alone that can pay the price of freedom.  Give me blood and I will give you freedom!

By using these words, Bose promoted his idea of violence to obtain freedom from Britain.  He believed that bloodshed was a necessary sacrifice in the fight for Indian freedom.  He told his listeners that if they would sacrifice and fight for the cause of freedom, it could be obtained.  Bose died due to injuries from a plane crash two years before India gained independence, which occurred in 1947.

How does the mongoose show persistence in "Rikki-Tikki-Tavi"?

In the story “Rikki-Tikki-Tavi,” the mongoose after whom the story is named shows persistence in at least two places.  In both cases, he shows it as he protects “his” family from the cobras that want to kill them. 
In the first instance, Nag (the male cobra) wants to kill the man of the family in the house’s bathroom. The mongoose shows persistence by waiting patiently for Nag to go to sleep. The story says that Rikki-Tikki “stayed still as death” for more than an hour before he struck and tried to kill the snake. Once he bit Nag, he showed persistence again. He held on as Nag whipped his head back and forth, battering him against walls and various other hard things. Rikki-Tikki “was dizzy, aching, and felt shaken to pieces” before the man came and shot Nag with a gun. This shows real persistence.
At the end of the story, the mongoose shows persistence again. He kills all but one of Nagaina’s eggs and brings the last one to distract her and prevent her from killing the young boy of the family. He dances around for a long time, avoiding her strikes. Then, when she grabs the egg and makes off, he chases her down. He knows that he has to kill her and the last egg so that there will be no more snakes to threaten the family. He follows Nagaina into her burrow (a very dangerous thing to do) and kills her. In both of these instances, Rikki-Tikki shows persistence because he refuses to give up until he has done everything he can to protect his people.
http://www.cs.cmu.edu/~mongoose/rtt.html

Intermediate Algebra, Chapter 4, 4.2, Section 4.2, Problem 40

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

2x + 3y - z =& 0 \\
x - 4y + 2z =& 0 \\
3x - 5y - z =& 0

\end{aligned}
\end{equation}
$. If the system is inconsistent or has dependent equations, say so.


$
\begin{equation}
\begin{aligned}

4x + 6y - 2z =& 0
&& 2 \times \text{ Equation 1}
\\
x - 4y + 2z =& 0
&& \text{Equation 2}
\\
\hline

\end{aligned}
\end{equation}
$




$
\begin{equation}
\begin{aligned}

5x + 2y \phantom{+2z} =& 0
&& \text{Add}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

-2x - 3y + z =& 0
&& -1 \times \text{ Equation 1}
\\
3x - 5y - z =& 0
&& \text{Equation 3}
\\
\hline

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

x - 8y \phantom{+z} =& 0
&& \text{Add}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

5x + 2y =& 0
&& \text{New Equation 2}
\\
x -8y =& 0
&& \text{New Equation 3}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

20x + 8y =& 0
&&4 \times \text{ New Equation 2}
\\
x - 8y =& 0
&&
\\
\hline

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

21x \phantom{+8y} =& 0
&& \text{Add}
\\
x =& 0
&& \text{Divide each side by $21$}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

5(0) + 2y =& 0
&& \text{Substitute } x = 0 \text{ in New Equation 2}
\\
2y =& 0
&& \text{Multiply}
\\
y =& 0
&& \text{Divide each side by $2$}

\end{aligned}
\end{equation}
$




$
\begin{equation}
\begin{aligned}

2(0) + 3(0) - z =& 0
&& \text{Substitute } x = 0 \text{ and } y = 0 \text{ in Equation 1}
\\
0 + 0 - z =& 0
&& \text{Multiply}
\\
z =& 0
&& \text{Divide each side by $-1$}

\end{aligned}
\end{equation}
$


The ordered triple is $\displaystyle \left( 0,0,0 \right)$.

It may surprise the reader to learn that Beatty is quite well-read. How can Beatty's knowledge of and hatred for books be reconciled?

Beatty, who is well-read, dislikes the contradictory nature of books. But, like the devil who can quote scripture, Beatty manipulates excerpts from famous works to his advantage.
Having told the woman with many books that she has been locked up in a virtual Tower of Babel, Beatty knows only too well that reading, which offers contradictory ideas, is dangerous to the totalitarian state in which he exerts power. For this reason, Beatty seeks out those who secretly read literature. Books are harmful to a government that desires control over its people, because by reading books, people learn about ideologies that contradict those of their political state and ideas that celebrate individualism. Furthermore, Beatty knows the truth of what Faber tells Montag about books—"the right to carry out actions based on what one has read"—is dangerous to total control of the people.
When he comes to Montag's house because he suspects Montag of reading, Beatty tells his worker that reading is dangerous since there are conflicting ideas in various books, ideas which can create dangerous situations and lead to people's discontent.

We must all be alike. Not everyone born free and equal, as the Constitution says, but everyone made equal. Each man the image of every other; then all are happy. . . . A book is a loaded gun in the house next door. . .. Burn it. Take the shot from the weapon (Part I, page 57)

Although Beatty knows the value of literature, he understands that in a totalitarian state, reading is dangerous because it causes people to reason and to decide for themselves what is right. This kind of thinking is the enemy of a totalitarian government. And Beatty wants to control the problem.

What is the problem the speaker wants to solve?

The speaker in "A Modest Proposal" is desirous to solve the problems associated with the poor Irish: families become so big -- even when the parents are poor -- that the children cannot be supported, and they end up begging in the streets instead of becoming productive members of society.  For this reason, he proposes that parents sell their year-old babies as a food source for the rich English Protestants, and this will decrease the size of their families, making them easier to support, as well as provide them with an additional source of income.  (It will also lessen the number of Catholics in the world, which would please the English Protestants as well.)
However, this is not the same problem that the writer means to address.  The narrator is not Jonathan Swift, and Swift is attempting to draw attention to the plight of the poor Irish; wealthy English landowners have purchased around 90% of the land in Ireland by the time he penned this pamphlet, and many raised rents so high that the Irish tenant farmers could no longer afford to pay rent and feed their often large families.  He reasons, ironically (not sincerely), that if the English are willing to figuratively devour the Irish, then why not go one step further and actually devour them?

In the novel "The Hobbit", "Are Bilbo's successes in the story due to his good luck or are they a part of a larger world-wide plan that Bilbo can not understand.."

Much of Bilbo's good luck in The Hobbit has to do with his possession of the ring of invisibility, which allows him to do things like spy on the spiders in Mirkwood forest and learn Smaug's weakness, which allows the dragon to be killed. Even his initial good luck in finding the Ring happens because the Ring had grown tired of Gollum and was looking for someone new to carry it. In this way, The Hobbit is mainly setting up The Lord of the Rings, and we can see Bilbo's good luck as being the beginning of his relationship with the Ring, which begins well but, by the beginning of The Fellowship of the Ring, is making him feel like "butter spread over too much bread." 

Single Variable Calculus, Chapter 3, 3.5, Section 3.5, Problem 19

Determine the derivative of the function $y = (2x-5)^4(8x^2-5)^{-3}$


$
\begin{equation}
\begin{aligned}
y' &= \left[ (2x-5)^4 \cdot \frac{d}{dx} (8x^2-5)^{-3} \right] \left[ (8x^2-5)^{-3} \cdot \frac{d}{dx} (2x-5)^4 \right]\\
\\
y' &= \left[ (2x-5)^4 \cdot -3(8x^2-5)^{-4} \frac{d}{dx} (8x^2-5) \right] + \left[ (8x^2-5)^{-3} \cdot 4(2x-5)^3 \frac{d}{dx} (2x-5)\right]\\
\\
y' &= \left[ -3(2x-5)^4(8x^2-5)^{-4}(16x)\right] + \left[ 4(8x^2-5)^{-3}(2x-5)^3(2)\right]\\
\\
y' &= \left[(-48x)(2x-5)^4(8x^2-5)^{-4} \right] + \left[ (8)(8x^2-5)^{-3}(2x-5)^3\right]\\
\\
y' &= 8(2x-5)^3(8x^2-5)^{-3} \left[ -6x(2x-5)(8x^2-5)^{-1}+1 \right]\\
\\
y' &= 8(2x-5)^3(8x^2-5)^{-3} \left( \frac{-12x^2+30x}{8x^2-5} + 1 \right)\\
\\
y' &= 8(2x-5)^3(8x^2-5)^{-3} \left( \frac{-12x^2+30x+8x^2-5}{8x^2-5}\right)\\
\\
y' &= 8(2x-5)^3(8x^2-5)^{-3} \left( \frac{-4x^2+30x-5}{8x^2-5}\right)\\
\\
y' &= 8(2x-5)^3(8x^2-5)^{-3} (-4x^2+30x-5)(8x^2-5)^{-1}\\
\\
y' &= 8(2x-5)^3(8x^2-5)^{-4}(-4x^2+30x-5)
\end{aligned}
\end{equation}
$

Pip's fever and recovery can be seen as symbolic death and rebirth. Explain how Pip is reborn at the end of the novel. What parts of Pip have died?

After recovering from his fever, Pip is a man reborn. He's rediscovered himself, finally realizing who and what he really is. In pursuing the life of a man about town, a gentleman of means, he'd forgotten where he came from. He'd become ashamed of his humble origins as a "common laboring boy," an apprentice blacksmith living on the bleak Romney Marshes. Over time, he'd developed into a snob, embarrassed to be reminded of his past upon Joe Gargery's showing up to his apartment one day. But when Pip wakes up and sees Joe's kindly face, he feels utterly ashamed of how he's treated his very dearest friend.
There is nothing wrong in Pip wanting to live the life of a gentleman—to have money, nice clothes, and a decent place to live. Unfortunately, he loses sight of what's truly important in life: friendship, love, and true companionship. In Pip's rebirth, all that social snobbery, obsession with changing fashions and love of luxury have died. But then it could be argued that they were never really a part of his soul to begin with. Reborn, he's not really a new man at all, just the old Pip.

What are six text citations that foreshadow that Laurie is not telling the truth about Charles?

When Laurie comes home from school, shouting all the way up the hill, he tells his mother: “Charles yelled so in school they sent a boy in from first grade to tell the teacher she had to make Charles keep quiet." Laurie is, at this very moment, engaging in the behavior that he claims Charles was guilty of, which sounds a lot like a lie.
When Laurie's father asks what Charles looks like, Laurie tells him “He’s bigger than me, and he doesn’t have any rubbers and he doesn’t ever wear a jacket.” This description of the phantom Charles sounds like Laurie is describing what he wishes he was like: bigger and able to defy his parents by not dressing as they make him dress for the outdoors.
When Laurie has been excluded from the class exercise activities because of his behavior, he turns the situation around by making it seem that he didn't want to do the exercises, even though he has the ability, which he demonstrates to his father by touching his toes. Again, he casts Charles in this role that he is only demonstrating.
Laurie becomes emboldened after all the stories he tells about Charles's over-the-top behavior, and this is how he is able to get away with pulling a wagon full of mud through the family kitchen.
When the PTA meeting is drawing near, Laurie describes Charles's behavior as improving dramatically; it is really Laurie's behavior that is improving because he knows his mother and teacher will soon have a one-on-one conversation.
Because no one stands up in the PTA meeting to acknowledge and apologize for Charles's behavior, it becomes clear that it is Laurie's misbehavior and that his mother is in the dark about what her son has been up to.

Why are Countee Cullen and Lois Mailou Jones considered to have been major contributors to the Harlem Renaissance?

The late poet Countee Cullen is, indeed, well-known. However, Lois Mailou Jones's name does not frequently come up when one talks about the Harlem Renaissance. Really, the only female name that does frequently come up is that of Zora Neale Hurston.
Despite the major contributions of women to the Harlem Renaissance, many of their names are less-known (e.g., Jessie Fauset, Nella Larson) or unknown. We mainly hear the names of men (e.g., Langston Hughes, W.E.B. DuBois, Claude McKay, Alain Locke, Arna Bontemps, Wallace Thurman, and that of Cullen). This reveals that this movement was no less prone to sexism than any other.
Nevertheless, I would agree that Jones was a major contributor. Before the Harlem Renaissance, black painters followed European style convetions. Henry Ossawa Tanner, for example, was a major painter in the late-nineteenth century. His work followed the conventions of Impressionist painting. Some of Jones's work also follows these conventions, such as her portrait, Babella, Paris and her still-life Cauliflower and Pumpkin.
However, by the 1930s, her art began to reflect an interest in African art, particularly masks. Her exploration of African art motifs not only reflect a generally Modernist interest in African aesthetics (e.g., the works of Pablo Picasso and Francis Picabia), but also the goal of Harlem Renaissance artists to pursue a uniquely black aesthetic, a pursuit that would not be seen again in America until the Black Arts Movement of the 1960s. 
Countee Cullen is considered to be one of the finest poets of the Harlem Renaissance, treating themes, such as racism, with great sensitivity (e.g., "Incident"). During his time, however, he was criticized for his adherence to classical verse and for his Romantic influences. Again, one of the goals of the Harlem Renaissance was to legitimize a uniquely black aesthetic. Some saw Cullen's willingness to eschew black idiom as a denial of his own heritage. On the other hand, his choice of conventional forms probably also earned his work more attention among mainstream audiences.
 
https://www.britannica.com/biography/Countee-Cullen

https://www.britannica.com/biography/Lois-Mailou-Jones

Compare and contrast the characteristics of Crevecoeur's "Letters from an American Framer" to the characteristics of Romantic literature.

Crevecoeur's Letters from an American Farmer, considered to be one of the foundational texts of the American literary canon, was in fact written by a Frenchman just prior to the American Revolutionary War and published in London. Its London publishers originally feared that it would not be popular, but in fact it proved to be a sensation, largely because many of its themes and arguments resonated with early Romantics and supporters of the brewing American Revolution—classes which often corresponded—in England.
Where much later Romantic literature discusses the French Revolution favorably, Romantic writers a generation earlier had often been in favor of American independence, as this suited their ideology of individualism and rebellion against what they perceived to be repressive societies. Mary Shelley, writer of Frankenstein, was the offspring of two pro-Revolutionary writers and speakers, William Godwin and Mary Wollstonecraft, and this ideology continued on into the writings of Byron, Shelley, and many others. In the final letter in Letters from an American Farmer, the narrator discusses the changing situation in America and his own difficulties as to which side of the conflict he should take; ultimately, he determines that he will attempt to be neutral, but the details Crevecoeur provides about America caught the attention of those in England who were in favor of radicalism and a shift in the power paradigms of existing government. These concerns would echo those expressed by Shelley in his poems denouncing monarchy and repressive governments and dreaming of "hope...beaming through the mists of fear" (see "Queen Mab" for one of Shelley's earliest poems on the subject of revolution).
Other elements of anti-government criticism in Crevecoeur's letters include a general condemnation of slavery and a suggestion that this should not be allowed in a civilized society. This could be compared to similar preoccupations in the poems of William Blake, for example, who judged the living conditions under which children were forced to labor to be paramount to slavery, and sought to draw attention to them through his work.
Perhaps the most obviously Romantic element in Crevecoeur's Letters, however, is the preoccupation with nature and the descriptions of the land upon which he lived which pushed him towards feelings that might be called sublime. In Letter II, Crevecoeur expresses not only strong feelings of individualism and joy in the right to possess his own land—individualism being another tenet of Romanticism—but also describes that land and its natural inhabitants lavishly and with reverence. For example, he is "astonished at the myriads of insects which I perceive dancing in the beamsof the setting sun." He states, too, that he "never return[s] home without feeling pleasing emotion, which I often suppress as useless and foolish. The instant I enter onto my own land, the bright idea of property, of exclusive right, of independence exalt my mind." Emotionalism, and strong emotion evoked by nature, is a key tenet of Romanticism.
In Letters II and III particularly, descriptions of the narrator's sense of commonality with nature combine with his determined sense of his own right to control his own existence in a way which appealed greatly to proto-Romantics and influenced Romantic writers to follow. We could even argue that the epistolary form taken by Crevecoeur would later become a hallmark of Romantic and, later, Gothic literature (see Goethe's The Sorrows of Young Werther and Mary Shelley's Frankenstein, among others). This epistolary style, using letters without providing replies, lends the work an immediacy and turns it into a direct appeal to the reader, as there is no other imagined recipient there who might interpose his or her presence between author and reader. This directness, too, is a Romantic trait.
In terms of contrast, there are certainly some Romantic elements that are not present in this work. We do see rebellion, nature, strong emotion, and revolution, but there is not a defined hero as such, nor a strong sense of preoccupation with the Classical past. But overall, it is clear to see how this work could have proven inspirational to later Romantic writers and how it overlapped with themes commonly found in Romanticism.

Intermediate Algebra, Chapter 2, 2.3, Section 2.3, Problem 20

Use the variable $x$ for the unknown, and write an equation representing the verbal sentence "when $75 \% $ of a number is added to $6$, the result is $3$ more than the number". Find the number and solve the problem.

The equation is


$
\begin{equation}
\begin{aligned}

0.75x + 6 =& x + 3
&& \text{Write $75 \%$ as decimal}
\\
0.75x - x =& 3 - 6
&& \text{Subtract each side by $(x + 6)$}
\\
-0.25x =& -3
&& \text{Combine like terms}
\\
x =& 12
&& \text{Divide each side by $-0.25$}

\end{aligned}
\end{equation}
$

The following sentence is amiguous. Provide two explanations which illustrate the different meanings Visiting relatives can be problematic.

This kind of sentence is such an interesting example of the complexity of the English language.  Let's go over the two meanings this sentence has.
One way to read this sentence is to interpret it to mean that when we go to visit our relatives, it can be a problem.  In this instance, the word "visiting" is acting like a noun, as it is when we say things like "Cooking is a great hobby" or "Baking fish requires only a moderate oven."  We call words ending in "ing" that are acting as nouns gerunds. 
The other way to read this sentence is to read it to mean that the relatives who come to visit can be a problem.  In this case, the word "visiting" is acting like an adjective, modifying the noun "relatives," and when a verb acts like this, we call it a participle. Many participles end in "ing." Another example of this would be "The crying child needed a hug"  and "The winding path took me far."
There are many entertaining examples of this kind of ambiguous sentence as well as other entertainments that show how interesting English is at the website available at the link below. 
http://www.fun-with-words.com/

What is the Home and who stays there? Why does Bud not want to go back there?

The Home in the novel Bud, Not Buddy is an orphanage in Flint, Michigan where Bud lives at the beginning of the story. The Home is filled with orphans, including Bud, who do not have anywhere else to stay. Bud mentions that he doesn't like the orphanage because it is getting too crowded and fears that some of the children might steal his personal possessions in his suitcase. The novel's setting is during the Great Depression which was a time when many families were experiencing financial difficulty. The orphan population rose because many families could not afford to raise their children which was one reason that the Home was becoming overcrowded in the novel. Bud laments about living at the Home and doesn't want to return because he is tired of being sent away to various foster homes. After a short stay with the Amoses, Bud decides to travel across Michigan to find his father.

List all the steps that the Egyptians take to mummify Elizabeth's deceased pet.

The answer to this question can be found in the chapter titled "Ceremony for the Dead." Once it is decided that the pet will be mummified, Toby informs the other children that it is a long process. It will take about 5 or 6 days. He then tells them what supplies are needed. Palm branches and flower petals are needed for the procession. After the procession ended, the kids discussed what supplies would be needed for the actual mummification process. Oil is needed, and the kids figured bicycle oil was as good as any. The first step was to prepare a saltwater bath. The pet was then left to soak until "the following afternoon." The kids were a bit shocked at how gross the bird looked when removed.

The appearance of the mummy-to-be when he was removed from his brine bath, on the following afternoon, was something of a shock to everybody.

Then fresh water was poured over the animal to remove the brine. Next, the dead pet was dried.

When Pete-ho-tep was dry and his feathers rearranged, he did look almost as good as new, and the mummification process continued.

Following that was anointing with spices and perfume and then wrapping it in thin strips of oil-soaked cloth. The bird was then laid to rest with a supply of birdseed and toys in a small pyramid that the kids made of old bricks.

In the story, the children (calling themselves the Egyptians) take several steps to mummify Petey, Elizabeth's dead parakeet. Toby (Ramose) had originally intended to remove Petey's internal organs but eventually decided against it when Elizabeth objected.
The Egyptians first soak Petey in salt water.
The following afternoon, Toby pours some fresh water over the dead bird and then dries him off with the tail end of his T-shirt. There is every indication that he also rearranges Petey's feathers so that the dead bird looks presentable for his funeral.
In the next few days, Petey is anointed with different spices and perfumes. Then, he is carefully wrapped in thin strips of oil-soaked cloth. Petey is finally laid to rest in a pyramid built out of old bricks. The children place a few of Petey's favorite toys and a supply of birdseed inside the pyramid with him.

Describe Macbeth's character development.

We can chart Macbeth's descent into absolute moral corruption by the way the murders for which he is responsible are shown (or not shown, as the case may be) to the audience. For example, Macbeth kills during battle, but these killings all take place far offstage and in the context of a battle (which seems to excuse them to a certain extent). We hear of them only, never seeing them or any evidence of them. The next killing, of King Duncan, Macbeth's friend, guest, and kinsman, takes place just offstage, and, this time, the audience actually sees the blood on Macbeth's hands and hears about it from his own lips. It is a brutal murder, death by stabbing, and the audience feels much nearer to it, increasing its horror. The next murder and attempted murder of Banquo and Fleance, respectively, take place onstage, for the first time, and the audience actually watches as Banquo is cruelly killed and as the murderers try to kill his young son as well. That we actually see this murder and that it includes an attempt on a child's life, makes this one even more reprehensible than the last. Finally, when Macbeth arranges for the murders of Lady Macduff and her several children, these too take place onstage, in full view of the audience. Not only does this murder happen right before us, but it also serves no purpose whatsoever. In killing during battle, Macbeth fought to defend king and country; in killing the king, he usurps that title and status; in killing Banquo, he attempts to prevent Banquo's descendants from taking the crown; however, in murdering a woman and her children, Macbeth gains nothing. The extent of the violence and its proximity to the audience grow each time Macbeth kills, providing evidence of his character's development for the much, much worse.

From the outset of the play Macbeth is ambitious; his zeal in defending king and country is praised by the injured captain, who describes the courageous and bloody killing of the traitor, Macdonwald. He is happy to receive an additional title from Duncan. The first encounter with the Weird Sisters turns his ambition in a new direction as he quickly comes to the conclusion he must remove any obstacle that would prevent him from attaining the throne of Scotland.
Even so, his wife's plan to kill Duncan unsettles him, and he briefly considers backing out of their planned regicide. This scene, however, marks the end of Macbeth's loyalty to Scotland and his king and the end of his morality.  Once Duncan and his chamberlains are dead, Macbeth's ambition continues to grow unchecked. Acting independently of Lady Macbeth, Macbeth seems to have no reservations about arranging the deaths of Banquo, Lady Macduff, and Macduff's family. He attempts to have Fleance killed as well because he fears that Fleance could one day interrupt his reign. It could be said that once he has killed Duncan, Macbeth's ambition is forever wed to ruthlessness and an intensified drive to remain king.  
The death of Lady Macbeth does little to alter Macbeth's trajectory. He kills Young Siward and plans to kill Macduff, as well, in his attempt to remain in power.  Macbeth's ambitiousness follows him to his final moments; he tells Macduff he will neither yield nor fall on his sword. Among his finals words, he proclaims, "I will try the last."

What best explains the effect of Scrooge's personality?

The effect of Scrooge's personality is to make life hard for people around him. He underpays his clerk, Bob Cratchit, so that Bob can't afford medical care for his sick son, Tiny Tim, and his family lives in poverty. He won't even give Bob enough coals for the fire to be warm as he works. To Dickens, it is men like Scrooge, mean and miserly, who spread misery and suffering throughout society by their lack of generosity. They value money over people, and so people go hungry and cold. They have forgotten the importance of human relationships. To correct this problem in Scrooge, the various ghosts try to show Scrooge how important family, friends, and other people really are.
As for what made Scrooge the way he is, Scrooge's fiancee, as she breaks off the relationship, explains that he fears too much being without money. Because of his fear of not having enough money, he has made money his goal in life. It has become all-important. The effect of this is that he doesn't love her anymore. She explains this in the following passage:

"Another idol has displaced me; and if it can cheer and comfort you in time to come, as I would have tried to do, I have no just cause to grieve.”
“What idol has displaced you?” he rejoined.
“A golden one.”
“This is the even-handed dealing of the world!” he said. “There is nothing on which it is so hard as poverty; and there is nothing it professes to condemn with such severity as the pursuit of wealth!”
“You fear the world too much,” she answered, gently. “All your other hopes have merged into the hope of being beyond the chance of its sordid reproach. I have seen your nobler aspirations fall off one by one, until the master-passion, Gain, engrosses you. Have I not?”

What branch of the government passes bills?

In the United States system of government the branch that passes bills is the legislature, the US Congress. Any member of Congress can introduce a bill but only members of the House of Representatives can introduce bills relating to taxes and spending. Wherever the bill is introduced it must pass through both houses before it can become law. The process in both the Senate and the House is almost the same, involving a lengthy examination of proposed legislation by committees.
If a bill is then passed by one house, it's sent to the other. A joint committee of the House and Senate attempts to work out any differences. If both houses agree to the bill then it is signed by the Speaker of the House and the Speaker of the Senate, who is also the Vice President. Once signed, the bill is then sent to the president for his signature.

How does Philip Malloy describe Miss Narwin in his diary?

Philip describes Miss Narwin as uptight and strict.
In an entry dated Tuesday, March 13 at 10:35 p.m., Philip says that Miss Narwin is so uptight that she seems like she was pieced together with super glue. He says that, with her, it's impossible for anyone to have their own opinion. If a joke is made, her face registers disapproval and looks flinty.
He also talks about how boring he found Call of the Wild to be. He thinks that there must be better books to read and insists that he'll find a way to get around her. However, that seems unlikely since he also said that as soon as anyone goes sweet, Miss Narwin goes sour. She seems like a person who automatically goes against what other people say or want, from Philip's perspective.
The next thing that is in the book is a letter written by Miss Narwin that shows her in a different light. It's also clear that she likes Philip but thinks he can do more than he already is.

Philip describes Miss Narwin in decidedly unflattering terms. He says that she's so uptight that she must have been put together by superglue. And according to Philip she has no sense of humor. Every time he cracks a joke—which is often—she goes all flinty faced on him. But even if you try acting sweet, she goes sour all of a sudden. You just can't win for losing with this woman. Philip, not being the most diligent of students, also hates being told what to read. He resents Miss Narwin for making him read The Call of the Wild, a book that his mom had to read way back when. Philip reckons he needs to find a way to run past Miss Narwin. (Trust him to use a running metaphor.) The stage is set for an epic battle of wills between two forceful personalities.

Why do Heck Tate, Link Deas, and others come to the Finches’ house? What do they discuss with Atticus? What do they hope to avoid?

At the beginning of chapter 15, Heck Tate and a few of Atticus's friends stop over to his house to discuss a possible of change of venue for the Tom Robinson trial and to warn him about troublemakers, who may attempt to harm Tom Robinson. Sheriff Tate goes on to express his concerns regarding the Old Sarum bunch, a group of rowdy farmers known to cause trouble. Tate and the other men are aware that there are citizens who vehemently disagree with Atticus defending Tom Robinson and might try to cause trouble the night before the trial. Despite their anxiety about the Old Sarum bunch or any other disgruntled citizen, Atticus dismisses their concerns and says that he doubts anyone will get drunk on a Sunday night and cause trouble. Link Deas then asks Atticus why he even touched the case in the first place. Overall, Atticus's friends visit his home in order to express their concerns about the possibility that someone might cause trouble and harm Tom Robinson. That night, Atticus travels to the Maycomb jailhouse as a precaution and ends up preventing the Old Sarum bunch from lynching Tom before the trial.

In advance of his trial, Tom Robinson is going to be transferred to Maycomb County Jail. This could mean trouble, and lots of it. As Tom will soon be on his way, that gives only a brief window of opportunity for a lynch mob to form and dispense the timeworn Southern brand of summary justice. This is why Sheriff Heck Tate and some other men have come over to the Finch residence. They're warning Atticus of the possible danger of a lynching and that there are already rumors that the Cunninghams are involved. The situation could get ugly pretty quickly, so it's important to be prepared for what's likely to happen.
Watching from the window of the house, Scout and Jem instantly sense that something's not right. Although at first, they think—wrongly—that the men talking to Atticus are ganging up on him. But Atticus and the other men start to laugh and the little meeting breaks up, then they both realize that Atticus was in no real danger. That will come later outside the jailhouse.

College Algebra, Chapter 2, 2.2, Section 2.2, Problem 70

Show that the equation $x^2 + y^2 + 2x + y + 1 = 0$ represents a circle. Find the center and radius of the circle.


$
\begin{equation}
\begin{aligned}

x^2 + y^2 + 2x + y + 1 =& 0
&& \text{Model}
\\
\\
x^2 + y^2 + 2x + y =& -1
&& \text{Subtract } 1
\\
\\
(x^2 + 2x + \underline{ }) + (y^2 + y + \underline{ }) =& -1
&& \text{Group terms}
\\
\\
(x^2 + 2x + 1) + \left( y^2 + y \frac{1}{4} \right) =& -1 + 1 + \frac{1}{4}
&& \text{Complete the square: add } \left( \frac{2}{2} \right)^2 = 1 \text{ and } \left( \frac{1}{2} \right)^2 = \frac{1}{4}
\\
\\
(x + 1)^2 + \left(y + \frac{1}{2} \right)^2 =& \frac{1}{4}
&& \text{Perfect Square}

\end{aligned}
\end{equation}
$


Recall that the general equation for the circle with
circle $(h,k)$ and radius $r$ is..

$(x - h)^2 + (y - k)^2 = r^2$

By observation,

The center is at $\displaystyle \left( -1, \frac{-1}{2} \right)$ and the radius is $\displaystyle \sqrt{\frac{1}{4}} = \frac{1}{2}$.

Would it be plausible to see the character of Meursault in Albert Camus's The Stranger as a black man?

Albert Camus's novella The Stranger is a reflection of his French-Algerian heritage, and should be read in that context. The ramifications for France of its colonization of Algiers in 1830 and subsequent occupation of Algeria until 1962 (the decolonization following a protracted and bloody war of independence waged by Algerian nationalists) are still being felt today, as Muslim immigration from North Africa and the Middle East continues to deeply affect French (and German and Dutch and Swedish, etc.) cultural sensitivities and politics. That The Stranger takes place in French-occupied Algeria and involves the violent death of an Arab at the hands of a French-Algerian of French extraction lends Camus's story a particularly enduring relevance. The French, as European colonial administrators and expatriates tended to be, were prone to a cultural arrogance and heavy-handed demeanor in administering this prized possession, and relations between those of French extraction and those native to North Africa were frequently tense. And it is that tension that is at the heart of The Stranger.
Told in the first person by the novella's main character, Meursault, The Stranger is about the relationships between those of French heritage and those indigenous to North Africa. Camus, a communist who adamantly opposed French colonization of Algeria, adopted a decidedly negative view of his fellow Frenchmen and their treatment of the Arab population that had been subjugated by the stronger European powers. Camus's narrative is replete with examples of the arrogant, condescending attitude of the invaders toward the Arabs. Examine, for example, the following passage from The Stranger, in which Meursault describes his conversation with his friend Raymond regarding the latter's argument with and beating of his Arab girlfriend:




"His first idea, he said, had been to take her to a hotel, and then call in the special police. He’d persuade them to put her on the register as a “common prostitute,” and that would make her wild. Then he’d looked up some friends of his in the underworld, fellows who kept tarts for what they could make out of them, but they had practically nothing to suggest. Still, as he pointed out, that sort of thing should have been right up their street; what’s the good of being in that line if you don’t know how to treat a girl who’s let you down? When he told them that, they suggested he should 'brand' her."




Meursault is not taken aback by Raymond's treatment of the girl and of his friend's ideas about how to exact revenge for his perception of the girl's impertinence. Again, in the following passage, Meursault continues to describe Raymond's actions within the sociocultural context in which the story takes place:




"He’d beaten her till the blood came. Before that he’d never beaten her. 'Well, not hard, anyhow; only affectionately-like. She’d howl a bit, and I had to shut the window. Then, of course, it ended as per usual. But this time I’m done with her. Only, to my mind, I ain’t punished her enough. See what I mean?':

The point of Camus's story is less Raymond's actions and attitudes and more Meursault's response to his friend's information. Meursault is not critical of Raymond but rather understanding of and sympathetic to his situation. These French-Algerian residents of French-occupied Algeria assume a tone of racial or ethnic superiority and view the indigenous peoples as inferior, evident in Meursault's description of the scene when, following Raymond's beating of his girlfriend and Meursault's support of Raymond, the victim's brother and other Arabs begin to view these two outsiders with anger and vengeance on their collective mind:







"Just as we were starting for the bus stop, Raymond plucked my sleeve and told me to look across the street. I saw some Arabs lounging against the tobacconist’s window. They were staring at us silently, in the special way these people have—as if we were blocks of stone or dead trees."

All of this, the reader discovers, leads to the tragic chain of events that result in Meursault's shooting of one of the Arabs following an earlier violent confrontation on the beach. 
Now, Meursault's complicity in the death of the Arab is suggested by what the police perceive as his unemotional demeanor--a demeanor initially observed following his mother's death in the story's beginning. This is Meursault's personality; he is emotionally distant, not prone to displays of joy, anger, or any other emotion. When his employer offers him a transfer to Paris, Meursault, rather than appearing grateful and optimistic, instead responds ambivalently: "At this he looked rather hurt, and told me that I always shilly-shallied, and that I lacked ambition—a grave defect, to his mind, when one was in business." And, again, when his girlfriend asks if they can get married, his response is less than enthusiastic: "Marie came that evening and asked me if I’d marry her. I said I didn’t mind; if she was keen on it, we’d get married."
When reading The Stranger, one can clearly see the relevance of Camus's story for the current age. Can the story work with Meursault as black? Yes and no. On one hand, it's difficult to reproduce the social dynamic Meursault inhabits in Camus's story with a black protagonist. Meursault belongs to the privileged class of French-occupied Algeria: the colonizer class. Given the terrible, lasting effects of colonialism, there are few settings where a black protagonist would occupy the particular position of privilege the citizens of colonial powers enjoyed during this time. I would argue that it would be difficult to reproduce the power dynamics and themes of racism and prejudice that color The Stranger as Camus told it. On the other hand, it might be possible to make alterations to the story and its setting in order to convey the same themes and ideas that Camus was interested in communicating.
In short, yes, The Stranger can work if the Meursault character is black, but it would require significant alteration to the story's context.

please as much information on time does not bring relief by edna st vincent millay

“Time does not bring relief; you all have lied” is a 1931 poem written by Edna St. Vincent Millay, a famous American poet who was extremely popular in the 20th century (and beyond).
This is a poem about the pain of the subject, she has been separated from a great love and the pain is not alleviated by the passage of time. The poem spills over with natural imagery, which demonstrates the magnitude and endurance of the subject's emotional strife. Consider "I miss him in the weeping of the rain; / I want him at the shrinking of the tide." The power and majesty of nature itself reflects the subject's pain, her turmoil on par with the chaos of a storm and the force of the tides. She also sees things in purely negative terms: the rain "weeps" and the tides "shrink." Even the choice of verbs reflects the internal pain of the subject.
It is also important to note the form: this poem is an English sonnet, a classic form for a love poem. It is an ironic choice by the poet; she uses it to convey the fact that the subject is stuck in the modality of loving and romance, unable to move forward from this heartbreak.

What literary devices does Aphra Behn use in Oroonoko?

Part of the reason why Oroonoko remains of interest to modern readers is because of its ambiguous stance on slavery. The very nature of its title, Oroonoko, or The Royal Slave, is an active point of contention that best describes its sense of conflict. In particular, imagery and third-person narration work to create various, dynamic arguments for where Behn herself and her text stand with respect to the institution.
When we are first introduced to Oroonoko, he is described as being

not of that brown rusty black which most of that nation are, but of perfect ebony, or polished jett. ... His nose was rising and Roman, instead of African and flat. His mouth the finest shaped that could be seen; far from those great turn'd lips, which are so natural to the rest of the negroes. The whole proportion and air of his face was so nobly and exactly form'd, that bating his colour, there could be nothing in nature more beautiful, agreeable and handsome ...

By emphasizing his Eurocentric features, the narrator puts obvious effort into setting Oroonoko apart from other black characters. Similarly, his intelligence and morals are praised for their European sensibilities. Most of Oroonoko's nobility is attributed to his non-Africanness throughout the novel, especially once he is captured, which in and of itself complicates the discussion.
Likewise, the narrator remains uncritical of slavery throughout the narrative. From the description of the colonial slave trade in the opening exposition, to Oroonoko's detainment of prisoners of war, to his very own enslavement, there is no definitive evidence to show how the narrator feels about the subject, apart from the fact that they would rather avoid direct confrontation with it:

Some have commended this act ... but I will spare my sense of it, and leave it to my reader to judge as he pleases.

Oroonoko, written by Aphra Behn, is about a prince who was taken from Africa and forced from his high position into ultimate powerlessness; he was enslaved, moving from a position of highest esteem to a position of lowest esteem in a moment. Behn, a white female author, attempts to share his story in a realistic manner, though she often romanticizes his life through her lavish descriptions. One of these descriptions is seen as she uses imagery to present Oroonoko's physical appearance. She writes,

His face was not of that brown rusty black which most of that nation are, but of perfect ebony, or polished jett. His eyes were the most awful that cou'd be seen, and very piercing; the white of 'em being like snow, as were his teeth. His nose was rising and Roman, instead of African and flat. His mouth the finest shaped that could be seen; far from those great turn'd lips, which are so natural to the rest of the negroes. The whole proportion and air of his face was so nobly and exactly form'd, that bating his colour, there could be nothing in nature more beautiful, agreeable and handsome. There was no one grace wanting, that bears the standard of true beauty. His hair came down to his shoulders, by the aids of art, which was by pulling it out with a quill, and keeping it comb'd; of which he took particular care.

Upon meeting Oroonoko, she describes his appearance with vivid diction choices, employing words such as "polished jett," "nobly and exactly form'd," and "no grace wanting," to show Oroonoko's majestic appearance. In this passage, we also see Behn employing a simile, describing the white of his eyes (and his teeth) as being "white . . . like snow." Additionally, she employs hyperbole, or extreme exaggeration, in describing him as "so nobly and exactly form'd . . . there could be nothing in nature more beautiful, agreeable and handsome." These similes and hyperboles offer readers more clarity about Oroonoko's appearance and heighten his grandeur. Her description makes him out to be so perfect in appearance that he seems almost holy, despite her admission that his culture behaved differently than her Christian culture. For instance, she writes of Imoinda, the beauty of Oroonoko's homeland, who fell in love with Prince Oroonoko but was loved by the king and forced to become his concubine. Through this we learn of Oroonoko's culture's practices of marrying multiple women, something Behn would have opposed. Even though Oroonoko's culture follows "pagan" practices, the narrator speaks highly of the culture, using a positive tone to describe Oroonoko and his life accomplishments, despite his immense struggles.
Another literary device seen in the text is Behn's use of allusions. For instance, she alludes to Imoinda, Oroonoko's great love, as "black Venus." Oroonoko is called "black Mars." These allusions to Roman gods once more magnify Oroonoko's power and majesty. This is seen in the following passage introducing Imoinda:

This old dead hero had one only daughter left of his race, a beauty, that to describe her truly, one need say only, she was female to the noble male; the beautiful black Venus to our young Mars; as charming in her person as he, and of delicate virtues. I have seen a hundred white men sighing after her, and making a thousand vows at her feet, all in vain, and unsuccessful. And she was indeed too great for any but a prince of her own nation to adore.

Not only does this passage contain allusions, but it once more includes hyperbole, in describing the "hundred white men sighing after her, and making a thousand vows at her feet, all in vain." This is a clear exaggeration made for dramatic effect to emphasize her point that Imoinda was a great beauty.

What commentary on society was John Keats making with an "Ode to a Nightingale"?

I wouldn't interpret this poem as Keats making any particular kind of comment on society as a whole. He is not writing in response to any particular social change. Rather, he is lamenting the vicissitudes of life in general, and is doing so from the point of view of someone, it is widely believed, who was suffering from acute depression. Indeed, Keats's sentiments in this poem draw towards the suicidal: he has "been half in love with easeful Death" for some time, and envies the nightingale, who does not suffer either the speaker's difficulties or his troubled thoughts.
The "drowsy numbness" which pains the speaker and causes his heart to ache is not ascribed to any particular social issue, but rather has arisen because the speaker is so envious of the bird, whose "happy lot" seems so far outside the speaker's experience. The bird, like a "Dryad of the trees," soars, both literally and symbolically, above the speaker's cares.
The speaker yearns for some kind of draught in which the good feelings he half-remembers could be contained: "a beaker full of the warm South" which would allow him to "fade away into the forest dim." He yearns to leave his life and achieve a new existence with the nightingale, free of "the weariness, the fever and the fret" which form such a part of the speaker's own existence.
Keats certainly had much to be concerned about in his own life at the time of writing. He suffered from tuberculosis, an illness which would eventually end his life. His brother also succumbed to tuberculosis—this is alluded to in this poem, when the speaker laments how "youth grows pale, and spectre-thin, and dies." Keats was also unable to marry the love of his life because of insufficient funds to support her. As such, he has reason to interpret life as simply a state in which "men sit and hear each other groan," beset by "palsy" and early death. It is unsurprising that the difficulties of Keats's own existence have forced him into a position where "but to think is to be full of sorrow" and where "there is no light."
In the nightingale, the speaker sees a "light" which is unreachable on earth, or at least of which he cannot conceive in his extremely depressed mindset.

College Algebra, Chapter 3, 3.4, Section 3.4, Problem 30

The graph gives the number of farms in the United States from 1850 to 2000.

"Please refer to the graph in the book"

a.) Estimate the average rate of change in the number of farms between

i.) 1860 and 1890


$
\begin{equation}
\begin{aligned}

\text{average rate of change } =& \frac{f(b) - f(a)}{b - a}
&& \text{Model}
\\
\\
\text{average rate of change } =& \frac{f(1890) - f(1860)}{1890 - 1860}
&& \text{Substitute } a = 1860 \text{ and } b = 1890
\\
\\
\text{average rate of change } =& \frac{4500 - 2100}{30}
&& \text{Combine like terms}
\\
\\
\text{average rate of change } =& 80
&& \text{Answer}

\end{aligned}
\end{equation}
$


ii.) and 1950 and 1970


$
\begin{equation}
\begin{aligned}

\text{average rate of change } =& \frac{f(b) - f(a)}{b - a}
&& \text{Model}
\\
\\
\text{average rate of change } =& \frac{f(1970) - f(1950)}{1970 - 1950}
&& \text{Substitute } a = 1950 \text{ and } b = 1970
\\
\\
\text{average rate of change } =& \frac{2600 - 5500}{20}
&& \text{Simplify}
\\
\\
\text{average rate of change } =& -145
&& \text{Answer}

\end{aligned}
\end{equation}
$


b.) In which decade did the number of farms experience the greatest average rate of deadline?

Based from the graph, the greatest average rate of deadline occurs during 1950 to 1960.

What are the steps scientists take, to answer a question?

The scientific method is a logical method for problem solving. Generally, scientists will pose a concise question about an area of interest. 
Next, they will conduct research to find out what is known about the problem or question. Based on this, a scientist will formulate an hypothesis. This is an educated guess regarding a possible solution to the problem. A good hypothesis must be testable. It is written as an answer to the question or problem.
An example of a question is--will plants grow taller with the addition of fertilizer? One possible hypothesis is...Plants will grow taller when fertilizer is added.
This hypothesis can be tested by performing a controlled experiment. One group called the experimental group, will receive the variable being tested--(independent variable) while the other group known as the control group, is there for a comparison and will not receive the independent variable. The dependent variable will be the growth of the plant. The soil type, amount of sunlight, amount of water, type of plant used in the research, will all identical in the two groups. The only difference will be that the experimental group will receive the fertilizer.
A pre-determined amount of time for the experiment to take place, will be chosen and data will be collected regarding the growth rate of plants in the experimental and control set-ups. The data will be placed into charts, graphs and data tables and subsequently analyzed.
Eventually, a researcher will come to a conclusion. If the hypothesis is correct and is supported by the data, the hypothesis is accepted. If it is incorrect, a new hypothesis can be investigated. If fertilizer made plants grow taller, the results can be shared with others who can also do further research. 
I have included a link with scientific method steps.
https://www.sciencebuddies.org/science-fair-projects/science-fair/steps-of-the-scientific-method

What did Johnny announce after his fifth barbecue sandwich?

In chapter 6, Dally visits Ponyboy and Johnny in Windrixville and takes them out to eat at Dairy Queen. The boys are famished and end up stuffing themselves with BBQ sandwiches as Dally tells them about what is happening back at home. After Johnny finishes his fifth BBQ sandwich, he shocks Dally and Ponyboy by saying,

"We're goin' back and turn ourselves in" (Hinton, 74).

Dally reacts by gagging on his food before he curses at Johnny. Johnny proceeds to tell Dally and Pony that he believes he has a good chance of getting let off easy because he has no prior record with the police and was acting in self-defense. Johnny also mentions that he does not plan on spending the rest of his life in the abandoned church and simply wishes to go back home. Following Johnny's speech, Dally expresses his displeasure with Johnny's decision to turn himself in by telling Johnny that he doesn't want him to get hardened in jail like he did when he was first incarcerated. Shortly after leaving Dairy Queen, the boys arrive at the abandoned church and discover that it is on fire. When Pony learns that there are children trapped inside the church, he courageously enters the burning building and Johnny follows him inside.

How is post-colonialism portrayed in Aphra Bhen's Oroonoko?

Aphra Behn's short novel Oroonoko: or, the Royal Slave, published in 1688, tells the fictional story of Oroonoko, an African prince from Coramantien sold to British colonists after being duped into slavery. Upon his enslavement, Oroonoko is taken to a British colony in the West Indies called Surinam. Oroonoko is reunited with his love Imoinda in Surinam. The two conceive a child, but a failed slave revolt precipitates their tragic demise, and the novel culminates in the deaths of both Imoinda and Oroonoko.
Oroonoko can be read through a post-colonial lens as a representation of the disastrous effects of British colonization and slavery upon African nations and peoples. Oroonoko: or, the Royal Slave is a heroic tragedy built around the contradiction inherent in its subtitle: "royal slave." Behn describes Oroonoko as a dignified, noble, and courageous leader, establishing Oroonoko as a sympathetic hero early in the text. His enslavement is devastating for both himself and his beloved Imoinda, resulting in their deaths, and it serves as the great tragedy of the novel. His community of Coramantien is represented as a great paradise ripped apart by British colonizers, with Coramantiens "know[ing] no fraud...no vice or cunning, but when they are taught by the white men" (2315). Oroonoko upholds a code of virtue that the deceitful European colonizers do not, demonstrating that the ideals of civilization are not exemplified by slavery or Western imperialistic values.
"Oroonoko: or, a Royal Slave." The Norton Anthology of English Literature: by Stephen Greenblatt and M. H. Abrams, C, W.W. Norton, 2012, pp. 2307-2358.