Find the distance traveled by a baseball in 1.7 s if the baseballs average speed is 22.4 m/s

Take note that average speed can be computed using the formula
s_(avg) = (t otal .distance . covered)/ (t otal . time . taken) 
  Plugging in the given values, the formula becomes
22.4m/s =(distance)/(1.7s)
Isolating the distance, the equation turns into
22.4 m/s * 1.7s = dista n c e
33.08 m= dista n c e
 
Therefore, the baseball has a traveled a total distance of 33.08 meters.
https://www.physicsclassroom.com/class/1DKin/Lesson-1/Speed-and-Velocity

Precalculus, Chapter 6, 6.3, Section 6.3, Problem 71

You need to find the component form of the vector v = , hence, you need to use the information provided.
You need to evaluate the magnitude |v|, such that:
|v| = sqrt(a^2+b^2)
2sqrt3 = sqrt(a^2+b^2)
The direction angle of the vector is theta = 45^o , hence, you may use the following formula:
tan theta = b/a => tan 45^o = b/a => 1 = b/a => b = a
Replacing a for b yields:
2sqrt3 = sqrt(a^2+a^2) => 2sqrt3 = +-a*sqrt2 => a = +-sqrt6 => b = +-sqrt6
Hence, evaluating the components of the vector v, yields or <-sqrt6,-sqrt6>.

What argument does the French philosopher Montesquieu make regarding the three branches of government? What does Montesquieu advocate regarding the composition of these three branches? Why? How does this argument inform United States government as outlined in the Constitution?

What argument does Montesquieu make regarding the three branches of government?
The French philosopher Brède et de Montesquieu, later called Charles-Louis de Secondat, was the first to develop the idea of the "separation of powers." This separation of powers is the foundation for the three branches of government in the United States of America, including the executive, legislative and judicial branches. In his most famous work, Spirit of the Laws, Montesquieu makes the argument that the three branches of government are necessary to maintain enough division in political power that no one person holds all authority. The three branches also maintain enough unity that the nation can function efficiently. He believed the three-branch government to be the most effective way to promote liberty and that each branch must act independently for this system to succeed.
What does Montesquieu advocate regarding the composition of these three branches? Why?
Montesquieu advocated for three separate branches of government with distinct responsibilities that prevent the other branches from overlapping in function. He believed this was the best possible composition of government because it allowed for each branch to provide checks and balances to the others. The composition of the legislative branch is a group of politicians responsible for creating laws of the state and allocating funds that allow the government to function. The executive branch is headed by the President in the context of the United States government, and it is responsible for implementing policy created by the legislative branch. The judicial branch is composed of judges who interpret the constitution of the nation and determine how it applies to relevant matters and controversies.
How does this argument inform United States government as outlined in the Constitution?
The Constitution of the United States was largely founded upon the idea of separation of governmental authority as put forth by Montesquieu. The Constitution itself is designed to moderate each branch of government and prevent any one branch from usurping the authority of another in its own domain. The Founding Fathers were heavily influenced by Montesquieu when they drafted the Constitution, particularly as it related to the three-branch system of checks and balances. It was Montesquieu's argument that led to the United States Constitution's allocation of government authority, which states that the legislative branch makes the laws, the executive branch enforces the laws, and the judicial branch interprets the laws. The United States Constitution further specifies that the legislative branch of government is composed of the House of Representatives and the Senate, both of which are designed to ensure that the will of the people is enacted in the legislative stage of government.

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

Recall binomial series  that is convergent when |x|lt1 follows: 
(1+x)^k=sum_(n=0)^oo _(k(k-1)(k-2)...(k-n+1))/(n!)
or(1+x)^k= 1 + kx + (k(k-1))/(2!) x^2 + (k(k-1)(k-2))/(3!)x^3 +(k(k-1)(k-2)(k-3))/(4!)x^4- ...
 For the given function f(x) =1/(1+x)^4 , we may  apply Law of Exponents: 1/x^n = x^(-n) to rewrite it as:
f(x) = (1+x)^(-4)
This now resembles (1+x)^k for binomial series.  
By comparing "(1+x)^k " with "(1+x)^(-4) ", we have the corresponding values:
x=x and k = -4 .
 Plug-in the values  on the formula for binomial series, we get:
(1+x)^(-4)=sum_(n=0)^oo ((-4)(-4-1)(-4-2)...(-4-n+1))/(n!)x^n
               = 1 + (-4)x + ((-4)(-4-1))/(2!) x^2 + ((-4)(-4-1)(-4-2))/(3!)x^3 +((-4)(-4-1)(-4-2)(-4-3))/(4!) x^4- ...
= 1 + (-4)x + ((-4)(-5))/(2!) x^2 + ((-4)(-5)(-6))/(3!)x^3 +((-4)(-5)(-6)(-7))/(4!) x^4- ...
= 1 -4x + 20/(2!) x^2 -120/(3!)x^3 +840/(4!)x^4- ...
= 1- 4x +10x^2 -20x^3 +35x^4- ...
Therefore, the Maclaurin series  for  the function f(x) =1/(1+x)^4 can be expressed as:
1/(1+x)^4 =1- 4x +10x^2 -20x^3 +35x^4- ...

What did the magi invent?

The magi didn't, technically, invent anything. They were wise men or magicians and probably astrologers. Because astrologers watched the skies and could predict where the stars and planets would move to, they were considered to be able to foretell the future.
The magi in the Bible foretell that the Messiah has been born and determine where he is. They come to visit him and bring him gifts to honor him. They are able to look past his humble surroundings and see the divinity that surrounds him.
What they "invented"—what has followed from their example—is the tradition of gift-gifting to celebrate the birth of Jesus. This gift-giving, ideally, is understood as an outpouring of love and reverence in response to God's gift of giving Jesus to the world.
In "The Gift of the Magi," O. Henry compares the loving, sacrificial gifts of Jim and Della to the gifts the original magi gave Jesus.

The magi, or the Three Wise Men, invented the art of giving Christmas presents. This is what the narrator tells us in "The Gift of the Magi." In the Bible, the Three Wise Men brought gifts of gold, frankincense, and myrrh to the baby Jesus. As they were wise, the narrator thinks, so too were their gifts. Della and Jim, however, are unwise in that they've sacrificed for each other the greatest treasures of their house. But at the same time they're wise in that they give each other gifts that demonstrate their mutual love. It's not so much the actual gifts that matter in this case—which turn out to be useless, anyhow—but the spirit in which they are given. Therein lies the wisdom of Della and Jim, which is why the narrator says that they are the wisest of all who give and receive gifts.

In Three Men in a Boat by Jerome, what happens to Harris when he goes inside the maze?

Harris narrates his previous experience with the Hampton Court maze in chapter six. He tells the narrator and readers that he thought it would be a trivial thing to guide a "country cousin" through the maze.

“We’ll just go in here, so that you can say you’ve been, but it’s very simple. It’s absurd to call it a maze. You keep on taking the first turning to the right. We’ll just walk round for ten minutes, and then go and get some lunch.”

Harris's confidence is a result of having obtained what he believes is a map of the maze. Unfortunately, the map is not an actual map of the maze.

He had studied it up in a map, and it was so simple that it seemed foolish—hardly worth the twopence charged for admission. Harris said he thought that map must have been got up as a practical joke, because it wasn’t a bit like the real thing, and only misleading.

Harris was so confident in his ability to navigate the maze that he bragged about it to other people that had been lost in the maze for quite some time. Readers are told that his group grew to include roughly 20 people.

Harris said he should judge there must have been twenty people, following him, in all; and one woman with a baby, who had been there all the morning, insisted on taking his arm, for fear of losing him.

It eventually became obvious to several of the people following Harris that Harris had no clue of how to escape the maze. At this point, Harris suggested that they simply turn around and go back the way that they came from. The group agreed to try this; however, the group didn't make it out of the maze. In fact, the group made it to the center of the maze. Once there, the group tried over and over again to get out, but each "escape" attempt eventually returned them to the center of the maze.

And three minutes later they were back in the center again.
After that, they simply couldn’t get anywhere else. Whatever way they turned brought them back to the middle. It became so regular at length, that some of the people stopped there, and waited for the others to take a walk round, and come back to them.

Next, the group began to yell for help. A maze keeper heard their cries and attempted to guide the group out. He stood atop a ladder and gave directions, but that didn't work. The keeper decided that he would go into the maze and guide the group out. That would have worked too; however, the maze keeper was a new keeper, and he got lost too.

He was a young keeper, as luck would have it, and new to the business; and when he got in, he couldn’t find them, and he wandered about, trying to get to them, and then he got lost.

The group was finally saved and able to make it out of the maze once one of the more experienced keepers returned from dinner. Interestingly, Harris still thinks the maze is a "fine maze." He and J. both agree that they should try and get George to try the maze.

Harris said he thought it was a very fine maze, so far as he was a judge; and we agreed that we would try to get George to go into it, on our way back.

He couldn’t get out of the Hampton Court maze. Harris tells this rather amusing story to J. in Chapter VI. The maze was set up around the year 1700, and it is still the oldest hedge maze in the United Kingdom. Harris says he got a map of it and thought it would be easy enough to walk through. But when he led “a country cousin” into it, they couldn’t find their way back out. They kept walking and kept finding other people who were stuck, too. The group eventually yelled for help to the keeper of the maze. He got a ladder to straddle the hedge and to climb in to reach them. But he was young and new to the job, and he got lost in the maze, too. They all had to wait for an older keeper to come back from his dinner break to get everyone out. Still, Harris and J. think they ought to send George into the maze when they pass Hampton Court on their way back.
https://www.hrp.org.uk/hampton-court-palace/whats-on/the-maze/

What are at least three things that they learn about oracles, and how do they incorporate oracles into the Eygpt Game?

Mrs. Granger, the children’s teacher at Wilson, first introduced the concept of oracles to the class after Toby brought up the subject to distract her from a scheduled afternoon test. After some discussion, Toby found himself forgetting about the test altogether and becoming more fascinated by the idea of oracles.
The class learned all about the different kind of oracles and how they predicted the future in different ways: “ . . . through the actions of sacred snakes or birds or fish or even through the way the insides of a dead animal were arranged when the priests cut it open” (p. 143). Some even went into a trance.
Oracles performed their talents at very particular locations:


. . . special sacred places, caves or grottoes, or specially built temples, and there were all sorts of far-out things connected with them like sacred fires and mystic vapors and magical statues. (143)

During Mrs. Granger’s discussion of oracles, she mentioned the country of Egypt, which further intrigued the students. (144)
The children learned that Egyptian oracles got messages from the gods through a high priestess with fits, and “she would sit on a throne before the sacred fire, surrounded by swirling mystic vapors, and people who wanted predictions would write their questions on a slip of paper and drop it in the fire. (146)
This format inspired the children to develop their own oracular interpretations by writing their questions on a slip of paper and placing it overnight in the beak of a Thoth altar they had created.
Altogether, the children produced three questions and received three responses:
Ken asked first, “Will I be a big-league star someday?” to which the oracle responded, “Man is his own star and the soul who can be honest, is the only perfect man” (155-156).
Melanie then asked, “When will I go home?” to which the oracle responded, “The best thing we can do is to make whenever we’re lost in look as much like home as we can” (163-164).
Finally, Melanie asked, “Where is security?” to which the oracle responded, “Look under the throne of Set” (169-170; 180).

What would be a good thesis statement if you are writing a essay about literary elements in Fahrenheit 451?

A good thesis statement should contain enough information that your reader can read just that one sentence and know the main claim of your argument. It should contain the name of the piece of literature and the writer, and it should contain the response to whatever prompt you've been assigned. If you are writing about literary devices used in the story, one tactic might be to choose three devices and dedicate a paragraph or two explaining the use of each of them. It may also be useful to consider what effect the devices have on the story. Maybe they work together to create a theme or a mood.
Examples of that would be something like this:

In Fahrenheit 451, Bradbury uses symbolism, suspense, and allusion in order to develop his theme of the danger of censorship.
Ray Bradbury's famous novel, Fahrenheit 451, is known as a sci-fi thriller that warns against the dangers of conformity, and Bradbury uses allusion and suspense to make the theme more memorable.

Think about which literary terms you best understand and then explain their effect in this story throughout your paper. Once you know which terms you'll discuss, write one great sentence that explains the argument for those terms.

A thesis statement is the central argument or claim of an essay. A good thesis statement must be specific and arguable. For example, your paper should be about a position or idea that the author of the work establishes, suggests, reproduces, undermines, or critiques through the literary work.
One important literary element is theme. The central themes of Ray Bradbury's Fahrenheit 451 include literature, interpersonal relationships, identity formation, and the individual's relationship to the state. An effective thesis statement for Fahrenheit 451 would then argue for Bradbury's position on these issues. For example, try to answer one of the following questions with evidence from the text.
What does Bradbury think about literature?
Does Bradbury think that the state may control an individual's morals?
What does Bradbury think about modern mass media?
What does Bradbury think about the effects of censorship, such as book burning?
Does Bradbury think one may live a happy, meaningful life without literature?

That's an interesting question.
A good thesis sentence needs to be something you can argue. That means it can't be something like "There are literary elements in Fahrenheit 451." It should be clear, specific, and lay out the line of reasoning you plan to develop in your essay.
That means you need to think a bit about Fahrenheit 451 and the literary elements Bradbury uses in it. I'd start by making a list.
He uses symbolism throughout.
He intense imagery.
He uses allusions. (He alludes to other works of literature, and to mythology and religion.)
He uses hyperbole.
He uses irony.
And so on. I'd keep making that list, and then I'd assemble the results into a thesis statement that relates the literary elements used to the themes of the book. (That would mean thinking about the themes.)
Here are some examples.
In Fahrenheit 451, Ray Bradbury primarily uses symbolism and irony to develop his themes of censorship and human nature.
Or something like this:
While Ray Bradbury uses a range of literary elements to develop his argument about the nature of books, thought, and humanity in Fahrenheit 451, his most powerful tools are symbolism and allusion.
 

Explain Aristotle’s account of human virtue. Generally, what are virtues? How are they obtained?

Aristotle addresses the concept of virtue in his written works, the “Nicomachean Ethics” and the “Eudemian Ethics.” For the ancient Greeks, virtue (called “arete”) meant excellence, and could be used to define the behavior of almost anything, say the excellence of a knife at cutting or the excellence of a person at athletics. A “virtuous” person as such, was one who strove to live life to his/her full potential.
In his works, Aristotle describes two types of virtue: moral and intellectual.
He explains moral virtue as a person’s ability to “behave in the right manner” and “a mean between extreme deficiency and extreme excess.” He describes it as the midpoint or the balance, or even compromise between extreme behaviors which are considered vices. For instance, modesty is the balance between being shy on one end and shameless on the other!
Moral virtues can be obtained by habitually exercising them, that is, through constant practice. Examples of moral virtue are courage, self discipline, modesty, friendliness and justice.
Intellectual virtues on the other hand refer to the methods used by people to reach truths. They include scientific methods or knowledge and calculative methods, such as wisdom. They can be obtained through instruction and practice.
I hope this helps.

Provide a summary for the introduction only (Pages 7-17) of the narrative provided. http://www.iranchamber.com/history/rkhomeini/books/velayat_faqeeh.pdf

Ayatollah Khomeini begins his treatise with a short introduction. In this introduction, Khomeini argues against the separation of religion and state. He maintains that it is the duty of his followers to support the formation of Islamic governments and to do so by violent revolution, if necessary.
According to Khomeini, Islam is a militant religion and must be recognized as such. He considers the imperialistic West responsible for the poverty and primitive conditions in the Muslim world. Khomeini maintains that the integration of Western culture into the Muslim world effectively obscures the revolutionary aspect of Islam; he insists that violent revolution is the answer to his people's suffering.
In the introduction, Khomeini argues that the Quran contains practical wisdom related to social, legal, and political matters. He contends that Allah bequeathed such wisdom to mankind while the West was still mired in tyranny and ensconced in spiritual darkness. Khomeini opposes the westernization of Muslim judiciaries, contending that the mix of western constitutionalism and Islamic law distorts the purity of Islam. He also asserts that the idea of monarchical/ hereditary succession is antithetical to Islam.
Khomeini defends his vision of Islamic perfection, where usury, the consumption of alcohol, and the celebration of sexual vices are prohibited. However, he questions the criticisms of Islamic law, arguing that his detractors have failed to understand the basis for harshness within the law. He defends the necessity of adulterers receiving a hundred lashes and alcoholics, eighty lashes. He maintains that this is the only way to eradicate moral corruption and the rising numbers of murders and suicides caused by alcoholism.
In arguing his case for political Islam, Khomeini attacks the West and its predilection for spreading the concept of constitutional protections to the Muslim world. He laments that Muslims who want to set up an Islamic government must resort to taqiyyah (subterfuge) to avoid stirring up the opposition of those who have adopted western constitutional values. Basically, Khomeini sees the entire Western world as a threat to his purist form of Islam.

What are the inventions of the 1920s and how do they relate to The Great Gatsby?

Probably the most important modern invention to The Great Gatsby is the automobile. The automobile was invented in the 1890s, and the first Model-T came out in 1908, bringing cars to the average person before the first World War, but it was in 1920 that car ownership topped one million. The Roaring Twenties are associated with the widespread use of the automobile and the fast-paced lifestyle it brought.
Automobiles are important to the plot of The Great Gatsby: the pretense of having a car to sell gives Tom the excuse to call the Wilsons' garage as well as to stop in, making it easier for him to set up meetings with Myrtle. Beyond that, Gatsby's long yellow car characterizes him as a thoroughly modern, self-made man. Showing he attracts a modern crowd, long lines of cars arrive at his mansion for his wild, jazz-age parties. It's notable, too, that while the patrician, upper-class Tom has a string of polo ponies, Gatsby doesn't own a horse, only car. Most significantly, it is Gatsby's huge car that runs over Myrtle, setting the tragic ending of the novel in motion.
The telephone is another invention that predates the 1920s, but widespread phone use actually doesn't begin to take off until the post-World War I period. In Gatsby people communicate by phone all the time, although many people in the US wouldn't have phones until the 1930s. To some extent, the phone shows the privilege of the people in the novel—or in Wilson's case, the need to have one for a business.
Built-in swimming pools also predate the Roaring Twenties but are often associated with that period and the economic excess of the boom years. Gatsby's pool is important to his party-goers, although he doesn't use it until the last day of summer, and then he is killed in it. It represents both his wealth and the fact that his goods were not purchased for his own physical pleasure but in pursuit of an elusive dream.

How and why did the United States enter World War II

The United States entered WWII in order to save the world from the totalitarian regimes in Japan, Germany, and Italy. Although the United States was not involved in the war from its beginning in 1939, it was helping arm Britain against Germany through the Lend-Lease program. American destroyers were also being used as escorts in order to ensure that munitions made it to Britain. Before the United States officially joined the Allied cause in December 1941, its destroyers had been fighting an unofficial war with German U-boats for months.  
The United States officially joined the war after the Japanese attack on Pearl Harbor on December 7, 1941. The United States had long condemned Japanese aggression in China and started to embargo war supplies such as aircraft fuel and steel to Japan. Japan saw that it would go to war against the United States at some point in the future, so the Japanese launched a surprise attack against the American Pacific Fleet located at Pearl Harbor. The attack killed over two thousand Americans but failed to destroy vital oil reserves or the navy's aircraft carriers. After the United States declared war on Japan, Germany and Italy declared war on the United States, thus bringing the country fully and officially into the worldwide conflict.  

Is the story told chronologically? Why or why not?

Generally speaking, the story short story "Soldier's Home" is told chronologically. In Hemingway's iconic dry and understated style, the story summarizes Krebs's experience of leaving a Methodist college to fight in World War I, staying to explore France and Germany (or at least the girls there), and returning home to a lack of fanfare and everyday life. The story speaks generally about the challenges he faces, namely, the lies he tells to try to interest would-be friends in the pool hall, and how even his lies are unimpressive. Then, the plot focuses on a conversation Krebs has with his sister and mother on a routine morning.
However, there are a few subtle flashbacks, and these flashbacks serve to reveal the conflicts within Krebs's character. For example, he reminisces some about life before the war: "Before Krebs went away to the war he had never been allowed to drive the family motor car." Such flashbacks serve to underscore the fact that Krebs is struggling to reintegrate with his old life. He has a new identity now as a veteran, and he is struggling to marry his old life with his new worldview.

sum_(n=2)^oo 1/(n(lnn)^p) Find the positive values of p for which the series converges.

To find the convergence of the series sum_(n=2)^oo 1/(n(ln(n))^p) where pgt0 (positive values of p ), we may apply integral test.
Integral test is applicable if f is positive, continuous, and decreasing function on an interval and let a_n=f(x) . Then the infinite series sum_(n=1)^oo a_n converges if and only if the improper integral int_1^oo f(x) dx converges to a real number. If the integral diverges then the series also diverges.
For the infinte series series sum_(n=2)^oo 1/(n(ln(n))^p) , we have:
a_n =1/(n(ln(n))^p)
Then, f(x) =1/(x(ln(x))^p).
The f(x) satisfies the conditions for integral test based on the following reasons:
- f(x) is continuous since x(ln(x))^p !=0 for any x-value on the interval [2,oo)
- f(x) is positive since 1/(x(ln(x))^p)gt0 for any x-value on the interval [2,oo).
- f(x) is decreasing since f'(x) is negative  for large value of x . It eventually decreases at the tail of the series.
To evaluate the convergence of the series using integral test, we set-up the improper integral as: 
int_2^oo 1/(x(ln(x))^p)dx
Apply u-substitution by letting: u=ln(x) u=ln(x) then du = 1/xdx , a=ln(2) and b=oo .
int_(ln(2))^oo 1/(x(ln(x))^p) dx=int_(ln(2))^oo 1/(ln(x))^p *1/xdx
                           = int_(ln(2))^oo 1/u^pdu
                           =int_(ln(2))^oo u^-p dx
                          = u^(-p+1)/(-p+1)|_(ln(2))^oo  
                          =u^(-(p-1))/(-p+1)|_(ln(2))^oo
                           =1/(u^(p-1)(-p+1))|_(ln(2))^oo
 Apply definite integral formula:  F(x)|a^b = F(b)-F(a) .  
1/(u^(p-1)(-p+1))|_(ln(2))^oo=1/(oo^(p-1)(-p+1))-1/((ln(2))^(p-1)(-p+1))
                               = 1/oo-1/(-p+1)1/(ln(2))^(p-1)
                               =0-1/(-p+1)1/(ln(2))^(p-1)
                               =1/(-p+1)1/(ln(2))^(p-1)
The integral converges to a real number when pgt1 .
Thus, the series sum_(n=2)^oo 1/(n(ln(n))^p) converges whenever pgt1 .

According to Weapons of Mass Destruction and Terrorism by James Forest and Russel Howards, what factors influence the biological impacts of a radiological attack, once the material has been dispersed? Why are they important?

According to the book, there are several factors that can influence the biological impacts of a radiological attack, once the material has been dispersed.
First, the radioactive source is important. Officials contend that there are 3 types of mechanisms used to perpetrate radiological attacks. They are radiological incendiary devices (RID), radiological dispersal devices (RDD), and radiation emission devices (RED).
Terrorists use one of the three dispersal methods for various reasons. For example, some terrorists use RIDs because the devices couple fire with radioactive material. Use of such a device can complicate rescue efforts by law enforcement and fire-fighting personnel. In the case of an RID attack, officials have to contend with public panic regarding fire and radioactive material.
The second factor that can influence the biological impacts of a radiological attack is the variety of human exposure pathways for the dispersed material. These pathways are inhalation, ingestion, external exposure, and immersion.
External exposure is the most common pathway and associated with gamma emitters like RED devices. Meanwhile, inhalation requires that the terrorist to convert the radioactive source into an aerosol form. Typically, the terrorist must disperse such a radioactive source through ventilation systems. According to the book, inhalation is the most damaging exposure pathway, especially in the case of alpha emitters. Meanwhile, the immersion method (where people are covered with contaminated water) can lead to grievous external and internal bodily injuries.
So, the factors that influence the biological impact of a radiological attack are the dispersal methods, the kind of radiation emitted by the isotope used (gamma, alpha, or beta particles), and the chemical forms of the isotopes themselves. These factors are important because they determine the scope of the catastrophe and the methods that must be used to contain the ramifications of the attack.

Calculus: Early Transcendentals, Chapter 4, Review, Section Review, Problem 13

lim_(x->1^+)(x/(x-1)-1/ln(x))
=lim_(x->1^+)(xln(x)-1(x-1))/((x-1)ln(x))
=lim_(x->1^+)(xln(x)-x+1)/((x-1)ln(x))
Apply L'Hospital's rule, Test L'Hospital condition :0/0
=lim_(x->1^+)((xln(x)-x+1)')/(((x-1)ln(x))')
=lim_(x->1^+)(x(1/x)+ln(x)-1)/((x-1)(1/x)+ln(x))
=lim_(x->1^+)ln(x)/((x-1)/x+ln(x))
=lim_(x->1^+)(xln(x))/(x-1+xln(x))
Again apply L'Hospital's rule, Test L'Hospital condition:0/0
=lim_(x->1^+)((xln(x))')/((x-1+xln(x))')
=lim_(x->1^+)(x(1/x)+ln(x))/(1+x(1/x)+ln(x))
=lim_(x->1^+)(1+ln(x))/(2+ln(x))
Now plug in the value and simplify,
=(1+ln(1))/(2+ln(1))
=1/2

What philosophers contributed to the American independence?

American independence was dependent on some earlier principles of republicanism developed by ancient Roman thinkers like Cicero but was really more properly understood as a product of the Enlightenment. Early Enlightenment thinkers like John Locke and his Two Treatise on Government were very important to the conception of American independence.
One can see key philosophical elements in the thinking of founding fathers like Thomas Jefferson, who was influenced by Enlightenment principles of equality and rational government and by the writing of Locke. Even more radical and deeply egalitarian in his Enlightenment views was Thomas Paine, whose thoughts penned as Common Sense became deeply influential in the quest for American independence.
Most of the founding father were deists, skeptical of any one form of organized religion but nonetheless believing in the divinely inspired rightness of the American experiment.

What kind of metrical line does Dekker use in The Honest Whore? Can it be used in the same way as in Shakespeare (iambic pentameter) to understand the meaning and the pronunciation of the text? Thanks.

Dekker was writing at the same time as Shakespeare, his plays being produced for similar purposes and audiences. As such, it is unsurprising that his techniques and styles can be compared to Shakespeare's. Like Shakespeare, Dekker uses iambic pentameter—sometimes strictly, and sometimes more loosely. More frequently, however, he seems to rely on iambic tetrameter (where there are four beats in a line, rather than five). His dialogue is written mainly in free verse.
Let's look at an example from the first scene of the play:

Kinsmen and friends, take from your manly sides [iambic pentameter] Your weapons to keep back the desp'rate boy [tetrameter]From doing violence to the innocent dead [tetrameter]

In a play that uses strict iambic pentameter—which simply means that the line has five "feet," or points of emphasis—we can use this to help us interpret where a speaker of early modern English might have placed emphasis on certain words, although we cannot be too prescriptive about this. Iambic pentameter can be fluid, and the place our modern minds might expect an emphasis to fall might not be the exact place an Elizabethan speaker might have put it. The difficulty with a play that moves between tetrameter and pentameter is that it is harder to understand the intent of the original writer. A modern speaker might attempt to wrangle a line into tetrameter where it would originally have been emphasized as pentameter.

College Algebra, Chapter 7, Review Exercises, Section Review Exercises, Problem 20

Find the complete solution of the system
$
\left\{
\begin{equation}
\begin{aligned}

x - y - 2z + 3w =& 0
\\
y - z + w =& 1
\\
3x - 2y - 7z + 10w =& 2

\end{aligned}
\end{equation}
\right.
$
using Gauss-Jordan Elimination.

We transform the system into reduced row-echelon form

$\displaystyle \left[
\begin{array}{ccccc}
1 & -1 & -2 & 3 & 0 \\
0 & 1 & -1 & 1 & 1 \\
3 & -2 & -7 & 10 & 2
\end{array}
\right]$

$R_3 - 3 R_1 \to R_3$

$\displaystyle \left[
\begin{array}{ccccc}
1 & -1 & -2 & 3 & 0 \\
0 & 1 & -1 & 1 & 1 \\
0 & 1 & -1 & 1 & 2
\end{array}
\right]$

$R_3 - R_2 \to R_3$

$\displaystyle \left[
\begin{array}{ccccc}
1 & -1 & -2 & 3 & 0 \\
0 & 1 & -1 & 1 & 1 \\
0 & 0 & 0 & 0 & 1
\end{array}
\right]$

$R_2 - R_3 \to R_2$

$\displaystyle \left[
\begin{array}{ccccc}
1 & -1 & -2 & 3 & 0 \\
0 & 1 & -1 & 1 & 0 \\
0 & 0 & 0 & 0 & 1
\end{array}
\right]$

$R_1 + R_2 \to R_1$

$\displaystyle \left[
\begin{array}{ccccc}
1 & 0 & -3 & 4 & 0 \\
0 & 1 & -1 & 1 & 0 \\
0 & 0 & 0 & 0 & 1
\end{array}
\right]$


This is in reduced row echelon form. If we translate the last row back into equation, we get $0x + 0y + 0z + 0w = 1$, or $0 = 1$, which is false. This that the system has no solution or it is inconsistent.

Precalculus, Chapter 9, 9.2, Section 9.2, Problem 26

The given first few terms of the arithmetic sequence are:
{10, 5, 0, -5, -10...}
Take note that the nth term of an arithmetic series is a_n =a_1 + (n-1)d . Since the first term a_1 is known already, let's solve for the value of d. d is the common difference of the consecutive terms of an arithmetic sequence.
d=a_2-a_1 = 5-10=-5
d=a_3-a_2 = 0 - 5 = -5
d=a_4-a_3=-5-0 = -5
d=a_5-a_4 = -10 - (-5)=-5
So the common difference is d = -5.
Then, plug-in a_1=10 and d=-5 to the formula of nth term of arithmetic sequence.
a_n =a_1 + (n-1)d
a_n=10 + (n-1)(-5)
a_n = 10 -5n + 5
a_n=15-5n
Therefore, the nth term of the given arithmetic sequence is a_n=15 - 5n .

Single Variable Calculus, Chapter 7, 7.7, Section 7.7, Problem 36

Determine the derivative of $f(t) = \csc ht (1 - \ln \csc ht)$. Simplify where possible.


$
\begin{equation}
\begin{aligned}

f'(t) =& \frac{d}{dt} \csc ht (1 - \ln \csc ht)
\\
\\
f'(t) =& (\csc ht ) \frac{d}{dt} (1 - \ln \csc ht) + (1 - \ln \csc ht) \frac{d}{dt} (\csc ht)
\\
\\
f'(t) =& (\cancel{\csc ht}) \left( \frac{-1}{\cancel{\csc ht}} \right) \cdot \frac{d}{dt} (\csc ht) + (1 - \ln \csc ht) (- \csc ht \cot ht)
\\
\\
f'(t) =& - (- \csc ht \cot ht) + (1 - \ln \csc ht) (- \csc ht \cot ht)
\\
\\
f'(t) =& \cancel{\csc ht \cot ht} - \cancel{\csc ht \cot ht} + \csc ht \cot ht \ln \csc ht
\\
\\
f'(t) =& \csc ht \cot ht \ln \csc ht

\end{aligned}
\end{equation}
$

What drives Grendel to attack so many men at Heorot, the mead hall?

Grendel is jealous of the people celebrating in Heorot. The warriors sing and make merry in the mead hall until one night Grendel decides to attack. Under the cover of darkness, while the warriors are asleep in a drunken stupor, Grendel attacks, and the monster takes away thirty men. The monster’s aim is to feed on the bodies. 
He attacks again on the next night and every subsequent night until the mead hall is abandoned. Grendel is driven by evil, and he seeks to disrupt the Danes' way of life and cause them lasting torment. Grendel ensures that the feud lasts for a long time, and all attempts by the Danes to fight or appease him are met with increasing hostility. The monster is only interested in bringing death to the people.

How the monster relished his savage war / On the Danes, keeping the bloody feud / Alive, seeking no peace, offering / No truce, accepting no settlement, no price / In gold or land, and paying the living / For one crime only with another.

Grendel is frequently described as one of the descendants of Cain, and thus he is forced to wander the world in isolation, cut off from civilization and community. It's suggested that the light-filled joy of Heorot, with its many feasts and gatherings of large groups of people, anger Grendel, and so he attacks the mead hall in order to put an end to the merriment. This aspect of Beowulf is one of the most interesting parts of the poem. Grendel, for all his demonic cunning, is not necessarily pure evil; rather, he's an outcast, an isolated loner who seems to long for some kind of community and is unable to deal with the fact that others experience joy while he does not. Thus, even though he is one of the villains of the story, Grendel becomes almost sympathetic, as he attacks Heorot in order to put a stop to the joyful celebrations that remind him that he is alone. 

h(t) = sin(arccos(t)) Find the derivative of the function

This function is a composite one, it may be expressed as h(t) = u(v(t)), where v(t) = arccos(t) and u(y) = sin(y). The chain rule is applicable here, h'(t) = u'(v(t))*v'(t).
This gives us  h'(t) = -cos(arccos(t))*1/sqrt(1-t^2).
Note that cos(arccos(t)) = t for all t in [-1, 1], and the final answer is
h'(t) = -t/sqrt(1-t^2).
We may obtain the same result if note that sin(arccos(t)) = sqrt(1-t^2) for all t in [-1, 1]  (arccos(t) is non-negative and therefore square root should be taken with plus sign only).

Precalculus, Chapter 5, 5.4, Section 5.4, Problem 21

sin((-13pi)/12)
using the property sin(-x)=-sin(x),
sin((-13pi)/12)=-sin((13pi)/12)
=-sin(pi/2+pi/3+pi/4)
Now using sin(pi/2+x)=cos(x),
=-cos(pi/3+pi/4)
=-(cos(pi/3)cos(pi/4)-sin(pi/3)sin(pi/4))
=-(1/2*1/sqrt(2)-sqrt(3)/2*1/sqrt(2))
=(sqrt(3)-1)/(2sqrt(2))
rationalizing the denominator,
=(sqrt(2)(sqrt(3)-1))/4
cos((-13pi)/12)
using the property cos(-x)=cos(x),
cos((-13pi)/12)=cos((13pi)/12)
cos((13pi)/12)=cos(pi/2+pi/3+pi/4)
now using cos(pi/2+x)=-sin(x),
=-sin(pi/3+pi/4)
=-(sin(pi/3)cos(pi/4)+cos(pi/3)sin(pi/4))
=-(sqrt(3)/2*1/sqrt(2)+1/2*1/sqrt(2))
=(-(sqrt(3)+1))/(2sqrt(2))
rationalizing the denominator,
=(-sqrt(2)(sqrt(3)+1))/4
tan((-13pi)/12)=sin((-13pi)/12)/cos((-13pi)/12)
plug in the values of sin((-13pi)/12),cos((-13pi)/12) obtained above,
=((sqrt(2)(sqrt(3)-1))/4)/((-sqrt(2)(sqrt(3)+1))/4)
=-(sqrt(3)-1)/(sqrt(3)+1)
rationalizing the denominator,
=-((sqrt(3)-1)(sqrt(3)-1))/((sqrt(3)+1)(sqrt(3)-1))
=-(3+1-2sqrt(3))/2
=-(4-2sqrt(3))/2
=sqrt(3)-2

Why did Matt want to go to Annabella’s house with Kira?

In chapter eight of the Lois Lowry's novel Gathering Blue, Kira, the main character, has to go to Annabella's house to learn how to make dye. The path there lies through the woods, and Kira is apprehensive. The common knowledge is that there are ferocious beasts living in the woods, but if one stays on the path, he or she will be safe.
Matt is a mischievous little boy, befriended by Kira. The author does not state directly why he wants to accompany her, but it is clear to the readers that Matt thinks that walking through the woods to a place he has never been before is a big adventure. Also, Kira, as opposed to most other people, is nice to him, so he enjoys spending time with her. He tries to convince Kira to take him by saying that she will be needing protection and help, in case she gets lost.
Kira tries to dissuade him because she does not think it is a good idea for a little boy to go on such a long walk; however, she really would like his company on what would otherwise be a lonely trip. When Matt demonstrates that he has already prepared his own provisions by stealing bread from the baker, she cannot object any longer. "So the boy won, to Kira's delight, and she had company for the journey into the forest."

The divorce rate is rising with at least 45% of American marriages ending in divorce. What advice would you give to couples considering marriage? How would you explain the impact of divorce on children to these couples?

The difficult fact is that those who are in love are typically likely to choose marriage without considering the odds of success and it is challenging to talk reality with people who have stars in their eyes. That said, it would be important for each person to consider what is known about the other person. What does the person say? How does the person act? Are the two reasonably congruent? If not, what is going on? How does this person show love? How selfish is this person? Are there financial issues going into the marriage because one person has not managed money well? Have there been failed relationships in the past for either person? What has been the cause of failure? Does one person have the goal of changing the other person? 
Divorce is potentially devastating for children because of the way in which children think. A child thinks he or she is to blame because the parents are divorcing and that one or the other parent doesn't love him/her well enough to stay. Children especially suffer when there is a protracted, cantankerous custody battle and they are pushed to choose sides. 
The only time divorce is somewhat less devastating is if the children have witnessed domestic violence between partners and that carries its own emotional baggage for children. 
Divorce profoundly affects all who are involved and it would behoove the potentially-married to consider all these things and work to change them before the vows are said. 

Calculus of a Single Variable, Chapter 9, 9.2, Section 9.2, Problem 14

sum_(n=1)^oo (n!)/2^n
To verify if the series diverges, apply the ratio test. The formula for the ratio test is:
L = lim_(n->oo) |a_(n+1)/a_n|
If L<1, the series converges.
If L>1, the series diverges.
And if L=1, the test is inconclusive.
Applying the formula above, the value of L will be:
L = lim_(n->oo) |(((n+1)!)/2^(n+1))/ ((n!)/2^n)|
L= lim_(n->oo) |((n+1)!)/2^(n+1) * 2^n/(n!)|
L=lim_(n->oo) | ((n+1)*n!)/(2*2^n) * 2^n/(n!)|
L = lim_(n->oo) | (n+1)/2|
L = 1/2 lim_(n->oo) |n+ 1|
L=1/2 * oo
L=oo
Therefore, the series diverges.

In the story "In Another Country," what does the machinery in the hospital represent to the army major?

The fact that he has no faith in the physical therapy machines meant to restore his injured hand is emblematic of the major's loss of faith in moving forward in life to what we now recognize as "the new normal" after a traumatic physical and psychological injury. He has been forever altered by war. He is physically diminished by his injury, and he is unable to accept the likely reality that he will never be the athlete he once was as a champion fencer. He looks at the pictures of hands after they have undergone machine rehabilitation and sees only the loss, not the improvement. His pessimism is only deepened by the death of his wife; he is utterly disillusioned and too psychologically closed off to accept that he will find purpose in the coming days. Sadly, the fact that the doctor hangs new photographs that show completely restored hands comes too late for the major. By the story's end, he has convinced himself that his rehabilitation is impossible and that to put his faith in a machine would be fruitless. The machines could also represent a rejection of technology, since technology enabled massive slaughter of the soldiers on the fields of battle and in the trenches of WWI on a scale never before seen.

To the major, the machinery in "In Another Country" represents the war machine and man's dependency upon something mechanical that can fail him.
The Italian major, who was once a fencing champion, now has a withered hand that is useless to him. He comes to the hospital every day, but he does not believe in the power of the machines to rehabilitate his withered hand. One day he expresses his lack of faith in the machines as he "said it was all nonsense." These machines are a new concept for therapy, and the major declares that the use of them is "an idiotic idea,...a theory, like another." Nevertheless, the major comes every day to the hospital because he can no longer go to war and his routine of therapy on the machines at least establishes some order in his life. Also, he likes the American who, like him, is injured. To give himself some purpose, the major teaches the American, who can converse in Italian, correct grammar so that he will have better form.
After his young wife dies of pneumonia, the major is out for three days. When he returns he goes on the machine for his hand, but he ignores the photographs of restored hands and simply looks out the windows.

What social, political, and economic factors influence fashion?

Fashion is influenced by the world around it. There are social, economic, and political factors that have changed the way fashion is used throughout history.
Clothing is impacted by the social setting. Whether it is because certain attire is mandated for certain activities or because it is more comfortable to work in a certain way, the environment of fashion changes it. This lends itself to adaptations in fashion. In the 1940s, women entered the workforce and began jobs in manufacturing in much larger numbers than before. Because of this, it became more commonplace for women to wear bandannas, have their hair up, or wear pants and jumpsuits. These items slowly worked their way into the general fashion world and became commonplace.
Politically, certain factors will impact the fashion world. For some regions, like the Middle East, politics and religion directly dictate what is to be worn and not worn. However, prominent political figures have also impacted clothing—such as when American presidents stopped wearing hats. Additionally, activist groups such as PETA have successfully discouraged the use of real fur in attire for quite a large population.
Finally, the economics of fashion have highly impacted it. With the shifting times of the economy, fashion trends have trickled down and become more common for lower classes to afford and wear. Cheaper materials have enabled fashion to spread to the masses regardless of financial resources.

Sociological and other critical approaches to fashion emphasize that fashion is embedded within social status and exists as a form of what Veblen termed "conspicuous consumption." In other words, fashion is the polar opposite of functional dressing. Instead, it is a way of displaying, often in wasteful, impractical, and uncomfortable manners, that one has sufficient wealth to adorn oneself (whether through clothing or body art) in a way that has little to do with practical necessity.
In many cultures, wealth was historically displayed by wearing large amounts of gems and precious metals. Jewelry served as a form of portable wealth as well as a display of social status. In some cultures, it offered a safe and portable way of wealth storage and could even be used as a form of currency. It obviously lacks a practical purpose in that it does not protect the body from the environment.
Another element of fashion is that by its very impracticality, it is intended to demonstrate that its wearers do not need to do physical labor. From foot binding to high heels and from corsets to large hoop earrings, fashion indicates that its wearers do not need to be physically active or take safety precautions. Instead, they exist within a protected environment in which the main impetus in clothing choice is display.
Another important element of fashion is distinction. In other words, fashion must stand out in some way: Items can stand out because of their timeliness, fragility, or expense compared to what others can afford or choose to wear.

Fashion refers to a popular trend, especially in dressing, footwear or accessories. The following is an analysis of factors that influence fashion:
Social Influences
Music: This is an important part of the culture of any society. While different cultures have their unique forms of music, people are often able to relate to even the most foreign forms. As such music brings together the cultures of the world, allowing them a means of communication, expression, or celebration. Many musicians also express themselves through their dressing or fashion sense, for instance, hip hop artistes such as Tupac, brought in the sagging jeans and gold chain fashion ensemble; indie music brought on the skinny jeans trend.
Occupation: Every profession has a work culture, which includes dressing code and sense of fashion. For instance, an office worker is generally expected to use minimal makeup, wear formal clothes and shoes. A farmer on the other hand would prefer to don overalls and perhaps gunny boots or other comfortable types of footwear. Factory workers have their own uniforms, and so do the police or people serving in the army or nurses and others working in the medical field.
Occasion: Every occasion has a dress code. For example, while brightly colored clothes and makeup might be appropriate at a casual party, more polished and subdued clothing might be donned for a church service. 
Political Influences
There have been many political figures that have influenced fashion trends, for instance, Jackie Kennedy epitomized simple, chic fashion, and Melania and Ivanka Trump, Michelle Obama and Theresa May (the British Prime Minister) are all present day fashion icons from the political class. Government policies can push for things like the buying of locally made items, through increased taxation of imports, or promotion of the production of items out of recycled products. Animal rights groups such as PETA, have fought against the use of animal skins and furs in the fashion industry.
Economic Influences
During times of high economic growth, consumers have more disposable income that can be spent towards fashionable clothing and accessories. However, during periods of recession, consumers tend to prioritize needs such as basic food, shelter and clothing, thereby restricting spending on fashionable items. Also, most millenials have embraced cost saving measures such as cloth/accessory renting or leasing services, especially for highly expensive designer gowns, tuxedos purses, and jewelry. Companies such as Bag Borrow or Steal and Rent the Runway make use of this concept to cater for those who wish to reduce their spending on fashionable items.
https://smallbusiness.chron.com/macroenvironmental-factors-affecting-clothing-industry-37254.html

Are there examples of defamiliarization in Beowulf?

This is an interesting question. I have seen defamiliarization discussed in Beowulf scholarship, but normally not in terms of there being defamiliarization in the epic itself. Rather, there has been some scholarly discussion about the effect of defamiliarization in certain translations of Beowulf, such as when the poem is (or has been) translated in aureate or late-medieval style. This has the effect of rendering the poem into another context: it makes it sound and appear late medieval, like a romantic or courtly poem, which forces us to look anew at the subject matter.
The question of defamiliarization in the poem itself, however, is a different one. Defamiliarization is a literary device or approach which forces the reader to view something familiar in a different way. It often means using deliberately poetic language in order to distinguish poetry from prose. As such, some scholars of Anglo-Saxon and Old Norse have suggested that the use of kennings, which are very much marked and formed speech, is itself an excellent example of defamiliarization.
In a kenning, an everyday object or concept is presented in a way that forces us (and the listening audience) to view it through the lens of poetry. In Beowulf, we see multiple examples of kennings, all of which give the reader/listener some guidance as to which elements of the described concept are of most importance at this moment. For example, when a king or lord is described as a "giver of rings and treasure," the poet is emphasizing his role as a provider, a person who is responsible for forming bonds of loyalty within a community. Another notable kenning in this poem include hronráde, or whale-road, to mean the sea—which creates an impression of vastness and the existence of the unknown, suggesting the difficulty of the travels that had to be embarked upon. You can undoubtedly find many others yourself.
I have given some links below that speak further about the concept of the kenning as an example of defamiliarization.
https://siegeoflondon.wordpress.com/2016/05/17/creating-kennings-at-birkbeck-college/

What is remarkable in the busybodies in the story "The Minister's Black Veil"?

The narrator says it is surprising that, with all the busybodies and impertinent people in the congregation, not a single one of them could bring himself or herself to come right out and ask Mr. Hooper why he has begun to wear the mysterious black veil.  Further, despite the fact that Mr. Hooper has, in the past, been somewhat prone to self-doubt and a willingness to follow the advice of his advisors, no one dares to approach him to make a friendly comment about the effect the new veil has on the people in the parish.  Instead, everyone remains totally mum on the subject of the veil, and people begin to avoid him as much as possible.  He is still called on, of course, to preside over funerals and weddings, but there are no more invitations to Sunday dinner.

What does the reader learn about Atticus's character during his summation to the jury in Lee's To Kill a Mockingbird?

In Chapter 20, the reader learns that Atticus Finch is the moral compass for Maycomb County.
Throughout the narrative of To Kill a Mockingbird, Atticus Finch is consistent in his adherence to moral principles, practicing the precept of "climbing into the skin [of a person] and walk[ing] around in it," as he is polite to Mrs. Dubose despite her insults, he addresses the Ewells professionally and politely despite their false testimonies, and he always treats everyone fairly regardless of a person's race or social status. Moreover, Atticus remains stalwart in the practice of these personal convictions regardless of the situation, even when he is maligned and ostracized by the community for having taken the assignment of defending Tom Robinson.
In his closing argument at Robinson's trial, Atticus reminds the jury of every citizen's Constitutional rights, regardless of his color or creed or social position. He appeals also to their moral consciences, subtly suggesting that they follow his example: "In the name of God, do your duty."

How does Azucena become trapped?

Azucena becomes trapped in the mire of mud, debris, and clay after a massive volcano erupts, which creates an avalanche of "telluric vomit." The volcanic eruption buries the small villages at the bottom of the volcano in viscous mud, leaving more than twenty thousand human beings trapped in the quagmire. When Rolf Carlé and his news team arrive, they find Azucena buried up to her neck in mud. Rolf Carlé discovers that Azucena cannot move, and it is speculated that her legs are trapped underneath the mud by the remains of a fallen wall or the bodies of her family grasping onto her legs. Rolf Carlé initially attempts to pull Azucena from the mud using a rope but is unsuccessful. Rolf Carlé is also not able to receive a pump to remove the water and loosen Azucena from the quagmire. On the third night of covering Azucena's tragic situation, she dies in the mud pit.

In the story "And of Clay We Are Created," a thirteen-year-old girl named Azucena was found stuck in mud with only her head above the surface. She was one of more than 20,000 people whose lives were affected by the eruption of a volcano. When the volcano erupted, snow and ice that had been on the mountain detached, causing an avalanche. Azucena's home and family were devastated by the resulting mudslide.
The mud seemed to be like quicksand; the more Azucena struggled to be free, the more she was pulled under. Rescuers thought that her legs may have been held in place because they were caught in the rubble of her destroyed house. However, Azucena seemed to think that she was, "held by the bodies of her brothers and sisters clinging to her legs." Rolf, the reporter that tried to rescue her, stayed with her until she finally died.

What were the reasons why Germany annexed Cameroon?

German traders have been involved in trade with West African peoples in the area that later became Cameroon since the late 1860s. The British presence dominated along the coast, but in the early 1880s France was expanding its West African colonial holdings. The development of international trade was destabilizing the existing regional social hierarchy and undermining the power of local chiefs. Several chiefs wanted Britain to annex the area in the hope that it would protect their own authority against possible challenges within their own communities or from the French, who tended to replace local rulers with colonial bureaucrats. British government opinion on this was divided. While British government representatives in West Africa actively worked to prepare for annexation, some high-ranking government officials in England opposed the idea. Disappointed with British vacillation and delays, a few chiefs turned to Germany to ask for protection against the threat of the French advance.
In the 1870s, Germany had not sought colonial expansion, but by the early 1880s the atmosphere changed. Bismarck’s turn to economic protectionism in 1879 and the rapid growth of overseas trade made it more important to secure access to both markets and sources of raw materials. In the early 1880s, influential German organizations began advocating imperial expansion in Africa. In 1883, the German government asked German merchants their opinion about the development of West African trade; the merchants complained about British and French competition. As a result, Bismarck ordered his local representative, Dr. Gustav Nachtigal, to proceed with the annexation. Annexation made Germany into an active participant in the "Scramble for Africa" and set the stage for Germany to play a central role in the diplomatic negotiation of colonial borders in Africa at the Berlin conference of 1884.

Give a summary of chapter two.

In chapter two, Brian is visited at his home by three men who are interested in learning about how he managed to survive in the woods for as long as he did. However, what astounds Brian is that the men do not just want a mere narration of how he did it; they want one of them to travel back into the woods with him and relive the experience. One of the men named Derek informs Brian that the three of them teach people survival skills for a living but have never encountered a real-life situation to practically test what they teach theoretically. The men leave but propose to return when Brian’s parents are home so as to explain further and seek their consent.
The author explains how the experience has changed Brian; he has become more alert and aware of his environment, he speaks less and appreciates food much more. His parents talk him into attending counseling sessions, but like everybody else, the counsellor hardly understands him. As the chapter ends, Brian is preparing pork chops and potatoes as he waits for his mother’s arrival.

Explain the concept of Lebensraum.

Lebensraum was the idea, popularized by Adolf Hitler and the Nazi Party in the 1930s, that the German people should (and would) conquer lands to the east, in particular in Russia. These lands, which would be "cleansed" of Slavic peoples who the Nazis deemed inferior, would then become Lebensraum, or "living space" for the German people. This concept, sometimes compared to the ideology of manifest destiny in the United States, was based on the belief in the racial superiority of the "Aryan" German people. The people who happened to live on these vast expanses of land would either be driven off, killed, or enslaved. While the idea of Lebensraum was not Hitler's originally, he made it a key aspect of his virulently racist party ideology during his rise to power. In his manifesto Mein Kampf, written in prison in 1923 and published two years later, he made the argument explicitly. Claiming that the German people were running out of resources, he pointed to the east as a site for the fulfillment of German destiny:

We must eliminate the disproportion between our population and our area…… Some of this land can be obtained from Russia….. We must secure for the German people the land and soil to which they are entitled.

Lebensraum was the justification for Hitler's aggressions in the late 1930s, including the annexation of Austria and the Sudetenland and his invasions of Czechoslovakia and Poland. Once World War II broke out, Hitler eventually sought to bring the ideology to fruition by invading the Soviet Union. His forces murdered millions of Jews, Slavic peoples, and others with the goal of creating Lebensraum. So this concept, rooted in warped racial theory, is one of the most destructive ideologies in human history.
http://www.bbc.co.uk/history/worldwars/wwtwo/hitler_lebensraum_01.shtml

https://www.historylearningsite.co.uk/modern-world-history-1918-to-1980/weimar-germany/mein-kampf/

What would be an example of a scenario or conversation between a humanistic therapist and someone he is treating who has generalized anxiety disorder versus an example of that between a therapist who uses cognitive therapy with someone who has generalized anxiety disorder.

A cognitive-behavioral approach to treating generalized anxiety disorder would entail changing the thinking patterns causing the anxiety. For example, if you worry excessively about specific things, like spiders, a cognitive therapist might get to the cause of your worrying and implement exercises to retrain your brain not to worry so much.
The goal would be to train the patient's brain to stop believing their worries are necessary. Cognitive behavioral therapy would aim to rewire their tendencies via repetitive exercises that allow them to see how unproductive and unnecessary their worries truly are. 
A humanistic approach, on the other hand, focuses on more than just the brain patterns of the patient. Instead of working to undo the root of the patient's worries, the humanistic approach focuses more on identifying and accepting the pain that comes along with life. It focuses on allowing the patient to see the bigger picture and seek self-actualization despite their psychological issues and past experiences.
Instead of working on fixing specific issues, humanistic therapy is meant to help the patient accept their issues and live a happy, successful life regardless. A humanistic therapist might show a patient with generalized anxiety disorder how to focus on their strengths instead of honing in on their weaknesses so often.

Humanistic therapy helps patients develop a more holistic and positive view of themselves and their lives. The field, which developed in reaction to behavioral therapy, puts forth the idea that the patient is at the center of the therapy, not the diagnosis or the behavior. One of the fathers of humanistic theory, Carl Rogers, emphasized "unconditional positive regard" for the patient and his or her beliefs. This means that the therapist values the subjective thoughts and feeling of the patient.

Humanistic therapy for someone who has generalized anxiety disorder would emphasize the patient's freedom to make meaningful choices. The therapist would value the patient's own views and subjective take on his or her life and would help the person make choices that help him or her achieve self-actualization, or the meaningful use of his or her talents. For example, if the patient wanted to work with animals and saw this work as more meaningful and less stressful than their current office work, the therapist would value the patient's interests and choices and help them work towards a more meaningful career.

Cognitive behavioral therapy for anxiety would involve the therapist helping the patient to examine the cognitions, or thought patterns, and behaviors that are making him or her anxious. For example, many people engage in irrational automatic thought patterns such as catastrophizing, in which they image the worst possible outcome of a situation. For example, they assume a call from their boss means that they will be fired. A therapist would help a patient recognize and shift these types of anxiety-producing thought patterns. In addition, the therapist would help the person develop behavior patterns, such as regular exercise and meditation, that could help the person reduce his or her anxiety.

How do Ben and Julio become friends?

After Julio throws a punch at Ben for knocking him over, and after Ben very kindly saves both of the boys from getting into trouble with their principal, the two become friends. They bond over a long, friendly phone call and, we assume, many routine interactions at school that we don’t actually read about.
Let’s see exactly how this unusual friendship blossomed.
As Chapter 4 opens, it’s Julio’s first day at his new school. It is a place that fills him with dread, bitterness, and anxiety. Facing the “tall, brown, ugly building” with a frown, noting how “damp and depressing” it appears, he wonders how he’ll ever navigate “that giant jail.” Julio is already brimming with fear and anger when a fellow student with conspicuously green hair accidentally crashes into him. In response, Julio punches this unfortunate stranger:

“All of [Julio’s] anger and frustration exploded in the center of the green-haired boy’s face.”

Students cluster around them, urging them to fight, and the principal bursts onto the scene. To Julio’s amazement, the green-haired boy, Ben, speaks up to defend Julio and keep him out of trouble:

“‘Mr. Prince! Nobody’s fighting! This dude here was just trying to help me up.’”

It works. The boys are free to go. And, Ben impresses Julio again with his insight, showing Julio that he understands how he’s feeling:

“‘I could see you had some issues that had nothing to do with me. Am I right?’”

In that moment, the boys bond. Julio’s anger and anxiety ease up, and he says to himself, “Amazing dude, that Ben.”
Later, in Chapter 6, Ben looks up Julio’s telephone number and calls him up after school, and the boys get to know each other as they share a long, friendly conversation.
In between that phone call and Chapter 10, we assume that the boys spend time together at school and enjoy each other's company, because it's in Chapter 10 that the friendship has definitely solidified: “Ben was a friend who could always make [Julio] laugh.”
As readers, we feel relieved and happy for Julio. He had been so anxious and angry about having to transfer to a new school. He was homesick for Corpus Christi- he missed its warm weather and beautiful magnolia trees- and now here’s Ben, offering his friendship immediately to Julio, easing his transition to life in Cincinnati.
As savvy readers, we smile and say “ah ha!”, finding satisfaction in how a character named “Ben” has entered the story to befriend the male protagonist. We expected that, because we know that this novel is roughly parallel to the Shakespearean play Romeo and Juliet, and in that play, the male protagonist’s best friend (and cousin) is named Benvolio. And, we're happy to see that in Ben's first scene, he's averting a fistfight, exactly as Benvolio does in Romeo and Juliet.
Finally, as word lovers, we find it perfect that Julio’s kind, open-hearted, magnanimous new friend is named Ben, because we recognize his name’s similarity to words like “benevolent,” “benefactor,” and “benediction”—words for kind, helpful, warm-spirited people. We’re satisfied that Julio has crossed paths with, and connected so warmly with, Ben.
For more details, please see our chapter summaries, specifically for Chapters 4, 6, and 10.

In chapter 4, Ben and Julio meet under rather strange circumstances, but it ultimately leads to a friendship.
They meet in school when they literally bump into each other. Ben falls through the doorway to school, accidentally knocking Julio down. Julio, immediately on edge, punches Ben, and it seems like a fight is about to break out. But as the two are talking to the principal, Ben covers for Julio, saying that he slipped on a piece of ice. This act of kindness from a stranger disarms Julio, and the principal lets them go.
Walking back to class, the boys become acquainted. Julio inquires as to why Ben covered for him, and Ben simply says that he thought Julio was having a tough time adjusting to a new school and that he holds no grudge against him. Julio starts to warm to his new school and feels like he may have made a friend.

Intermediate Algebra, Chapter 3, Test, Section Test, Problem 8

Determine whether the pair of lines $2y = 3x + 12$ and $3y = 2x - 5$ is parallel, perpendicular, or neither.

We write each equation in slope-intercept form.

Equation 1


$
\begin{equation}
\begin{aligned}

2y =& 3x + 12
&& \text{Given equation}
\\
\\
y =& \frac{3}{2}x + \frac{12}{2}
&& \text{Divide each side by $2$}
\\
\\
y =& \frac{3}{2}x + 6
&& \text{Slope Intercept Form}

\end{aligned}
\end{equation}
$


Equation 2


$
\begin{equation}
\begin{aligned}

3y =& 2x - 5
&& \text{Given equation}
\\
\\
y =& \frac{2}{3}x - \frac{5}{3}
&& \text{Slope Intercept Form}

\end{aligned}
\end{equation}
$


Since the slopes are not equal and the product of their slopes is $\displaystyle \frac{3}{2} \left( \frac{2}{3} \right) = 1$, not $-1$, the two lines are neither parallel nor perpendicular.

How does geography influence the way we live?

Geography has an incredible influence on how we live. The buildings we build, the food we grow, the clothing we wear, and the kinds of work we do are just a few ways in which geography matters.
A settlement near an ocean must take into account tides and sandy coastlines.  To build upon the sand often means providing support many feet below the sand.  You will also see many houses on stilts in coastal area, to let the tide come in under the house as opposed to in the house.  Different kinds of materials for roofing exist, depending upon climate.  Building materials vary.  In an area in which there is a great deal of clay soil, bricks are cheaper to make, and you will see more brick houses.  In an area that has many forests, you are likely to see more frame houses.
What food we grow is based upon geography. Some terrains are ideal for rice, others for wheat.  We cannot grow mangoes or pineapples where I live, but it is ideal for tomatoes and peppers.  The terrain, the rainfall, and the seasons all dictate what gets grown.
I remember getting on a plane to go to Hawaii and handing my mother my winter coat, telling her I wouldn't need it for my trip.  There is a reason those natives in warm island cultures dress the way they do and a reason we dress the way we do in the northeastern part of the United States.  That is geography, which includes climate.
What kinds of work people do are often dependent on geography.  We cannot fish in the ocean unless we are near it.  We cannot grow wheat if we live in a swamp.  We cannot mine for coal if there are no coal seams or be sherpas if there are no mountains.  Many of us today have jobs today that can be done in most parts of the world, but geography still has a powerful impact on many.
Our various cultures are strongly influenced by geography.  And that is one reason its study remains important.
 

Which term best describes the relationship between Potter and his wife while on the Pullman?

Their relationship could best be described as devoted despite their somewhat awkward demeanor. They look at each other with great tenderness, with love in their eyes as they smile at each other. At the same time, they both feel a little out of place on the train. The Sheriff is uncertain of the reaction of the townsfolk towards his new bride when he gets home, so he's probably a little awkward at the prospect of someone on the train recognizing him. His bride is also a little embarrassed, albeit for different reasons. It's her first time on board a train, so she's almost like a fish out of water. She's also embarrassed by the reaction of the other passengers towards her stiff, straight puff sleeves; it makes her feel so terribly self-conscious. Her plain demeanor makes for an unimpressive sight, but this merely serves to highlight how devoted her new husband is towards her. He's more than a little worried as to what other people might think about his new bride, but he knows he's made the right decision.

int sqrt(4+x^2) dx Find the indefinite integral

 
Given to solve,
int sqrt(4+x^2) dx
using the Trig Substitutions we can solve these type of integrals easily and the solution is as follows
 
for sqrt(a+bx^2) we can take x= sqrt(a/b) tan(u)
so ,For
int sqrt(4+x^2) dx
the x= sqrt(4/1)tan(u)= 2tan(u)
=> dx= 2sec^(2) (u) du
so,
int sqrt(4+x^2) dx
= int sqrt(4+(2tan(u))^2) (2sec^(2) (u) du)
= int sqrt(4+4(tan(u))^2) (2sec^(2) (u) du)
=int sqrt(4(1+(tan(u))^2)) (2sec^(2) (u) du)
= int 2sqrt(1+tan^2(u))(2sec^(2) (u) du)
= int 2sec(u)(2sec^(2) (u) du)
= int 4sec^(3) (u) du
= 4int sec^(3) (u) du
by applying the Integral Reduction
int sec^(n) (x) dx
= (sec^(n-1) (x) sin(x))/(n-1) + ((n-2)/(n-1)) int sec^(n-2) (x) dx
so ,
4int sec^(3) (u) du
= 4[(sec^(3-1) (u) sin(u))/(3-1) + ((3-2)/(3-1)) int sec^(3-2) (u)du]
= 4[(sec^(2) (u) sin(u))/(2) + ((1)/(2)) int sec (u)du]
=4[(sec^(2) (u) sin(u))/(2) + (1/2) (ln(tan(u)+sec(u)))]
but x= 2tan(u)
=> x/2 = tan(u)
u = tan^(-1) (x/2)
so,
4[(sec^(2) (u) sin(u))/(2) + (1/2) (ln(tan(u)+sec(u)))]
=4[(sec^(2) ( tan^(-1) (x/2)) sin( tan^(-1) (x/2)))/(2) + (1/2) (ln(tan( tan^(-1) (x/2))+sec( tan^(-1) (x/2))))]
=4[(sec^(2) ( tan^(-1) (x/2)) sin( tan^(-1) (x/2)))/(2) + (1/2) (ln((x/2))+sec( tan^(-1) (x/2)))] +c
 
 
 
 

What happens when Jem threatens to spank Scout?

At this point in To Kill a Mockingbird, tensions in the Finch family have reached absolutely critical levels. Atticus has received a bad reputation due to his spirited defense of Tom Robinson, and it begins to affect the way that citizens of Maycomb treat Jem and Scout. Scout, still being very young, finds aimless outlets for her pent-up aggression. One such way is being deliberately antagonistic toward her aunt. When she is sent to her room for this, Jem, who is coping with the stress by attempting to act as what he perceives to be as mature as possible, threatens to spank Scout. This is the breaking point for the tension between them, and the two begin to engage in an all-out fistfight. Scout's breaking point here is caused by the threat because as Jem matures, Scout begins to feel distant from him. She feels young and inferior, and when Jem threatens to take such an adult liberty such as punishing her physically, it is more than she can bear.

In chapter 14, Scout sasses Aunt Alexandra and is sent to her room, where Jem attempts to calm his sister by telling her not to antagonize their aunt. Jem then informs Scout that Atticus has been stressed out lately because of the upcoming Tom Robinson trial. When Scout mentions that her father doesn't seem stressed, Jem accidentally insults her by saying that she cannot understand certain things—she is not old enough. Scout responds by saying, "Jee crawling hova, Jem! Who do you think you are?" (Lee, 139) Jem then threatens to spank Scout, and she ends up punching him directly in the mouth. Jem responds by defending himself and fights back. The two siblings begin wrestling on the floor, and Scout starts to throw wild punches at her brother. Atticus ends up stopping the brawl, and the two siblings forget about their fight once Dill Harris crawls out from underneath the bed.

sum_(n=1)^oo (-1)^(n+1)/(nsqrt(n)) Determine whether the series converges absolutely or conditionally, or diverges.

To determine the convergence or divergence of the series sum_(n=1)^oo (-1)^(n+1)/(nsqrt(n)) , we may apply Alternating Series Test.
In Alternating Series Test, the series sum (-1)^(n+1) a_n is convergent if:
1) a_ngt=0
2) a_n is monotone and decreasing sequence.
3) lim_(n-gtoo) a_n =0
For the series sum_(n=1)^oo (-1)^(n+1)/(nsqrt(n)) , we have:
a_n = 1/(nsqrt(n))
Apply the radical property: sqrt(x) =x^(1/2) and Law of Exponents: x^n*x^m =x^(n+m).
a_n = 1/(nsqrt(n))
      =1/(n*n^(1/2))
      =1/n^(1+1/2)
      =1/n^(3/2)
The a_n =1/n^(3/2) is a decreasing sequence.
Then, we set-up the limit as :
lim_(n-gtoo)1/n^(3/2) = 1/oo =0
By alternating series test criteria, the series sum_(n=1)^oo (-1)^(n+1)/(nsqrt(n)) converges.
The series sum_(n=1)^oo (-1)^(n+1)/(nsqrt(n)) has positive and negative elements. Thus, we must verify if the series converges absolutely or conditionally. Recall:
a) Absolute Convergence:  sum a_n  is absolutely convergent if sum|a_n|  is convergent.  
b) Conditional Convergence:  sum a_n  is conditionally convergent if sum|a_n|   is divergent and sum a_n  is convergent.  
We evaluate the sum |a_n | as :
sum_(n=1)^oo |(-1)^(n+1)/(nsqrt(n))| =sum_(n=1)^oo 1/(nsqrt(n))
                         =sum_(n=1)^oo 1/n^(3/2)
Apply the p-series test sum_(n=1)^oo 1/n^p is convergent if pgt1 and divergent if 0ltplt=1 .
The series sum_(n=1)^oo 1/n^(3/2) has p=3/2 or 1.5 which satisfies pgt1 . Thus, the sum_(n=1)^oo |(-1)^(n+1)/(nsqrt(n))| is convergent.
Conclusion:
Based on Absolute convergence criteria, the series sum_(n=1)^oo (-1)^(n+1)/(nsqrt(n)) is absolutely convergent since  sum |a_n| as sum_(n=1)^oo |(-1)^(n+1)/(nsqrt(n))| is convergent.

If Satan is frozen in Cocytus, who is in charge of Dante's version of hell?

The Roman poet Virgil is Dante's guide on the journey through hell. Virgil is able to do this because he is not a Christian and so has been condemned to spend eternity in hell. Virgil has gone to hell not because he is a terrible person, which he is not, but because he was born before the birth of Christ. Therefore, he was unable to know about and benefit from Christian salvation. He is a wise guide through hell because he is so rational, but he doesn't fully understand the importance—the eternal significance—of Christ's coming, describing him only as a "mighty Lord."
Dante probably chose Virgil as his guide through hell because in Virgil's epic poem the Aeneid, he refers to a descent into hell: Virgil, on multiple levels, is therefore a knowledgeable guide to the underworld.
If we think about it, Satan, the prince of lies, would be a particularly untrustworthy guide through the underworld, providing Dante with a warped picture of it. Dante is lucky to have the reasonable Virgil who will tell him the truth about what he is seeing; though Virgil, unable to leave hell, can't guide him to Purgatory or Paradise.

How did the early settlers brush their hair?

Combs for hair have existed since ancient times. They were often carved from bone, wood, or shells and used mostly for keeping hair free from pests, such as lice, rather than for style or physical appearance. As civilizations developed, the desire to style hair in order to reveal wealth and class was met with the creation of traditional hair brushes. However, because they were typically made by hand and individually and intricately carved, only the very wealthy owned hair brushes.
Early settlers started arriving in the Americas in the 1600s, and they would likely have used combs, rather than brushes, to keep their hair clean, neat, and pest free. Lice and fleas were quite common in the colonies. Very wealthy settlers may have had hand carved brushes for styling.
Hair brushes would not become popular or common in the Americas until the mid-to-late 1800s.

What is a quote supporting additional problems the brothers faced after Ponyboy returned in The Outsiders by S.E. Hinton?

When Ponyboy returns from hiding after Johnny kills Bob, the main issue the brothers face is Pony’s legal problem.  They fear that he might be put in prison or that he and Soda might be taken away from Darry.  Pony isn’t injured as seriously as Johnny, but he is badly shaken.
Things are complicated when Pony returns.  The gang is preparing for a rumble against the Socs, and Johnny and Dally are in the hospital from their injuries at the church fire.  Pony participates in the rumble even though he was somewhat injured in the fire, too, and is not as good at fighting to begin with.
When Randy comes to see him, Pony explains to him that he is worried about their family being broken up.

"My parents are dead. I live here with just Darry and Soda, my brothers." I took a long drag on my cigarette. "That's what's worrying me. If the judge decides Darry isn't a good guardian or something, I'm liable to get stuck in a home somewhere. …” (Ch. 11)

At his hearing, Pony is terrified to speak to the judge.  He feels a little mixed up about the events in the park, even thinking that he was the one who killed Bob instead of Johnny.  The judge is aware of this, and doesn’t really ask Pony any serious questions.

All the judge did was ask me if I liked living with Darry, if I liked school, what kind of grades I made, and stuff like that. I couldn't figure it out then, but later I found out what the doctor had been talking to the judge about. (Ch. 12)

Pony is acquitted, so he has no jail time.  He has to figure out how to get his life on the right track.  Johnny told him to stay gold.  He decides to call his English teacher and use his assignment to write a book about his life experiences as a kind of therapy, so he can move on with his life.

What is the significance of the title with respect to the short story, "The Lumber Room"?

The title of Saki's short story, "The Lumber Room" is significant because this forbidden room represents the self-appointed aunt's lack of imagination and appreciation for creativity, all of which Nicholas possesses. The boy's ability to find the key and enter into this room represents his victory over his aunt's petty dullness.
After he is punished for his subversive prank of tricking the obtuse aunt about a frog being in his morning bowl of bread-and-milk, Nicholas is sentenced to remain home while his boy and girl cousins are afforded the privilege of going to the beach. And, because he is in "disgrace," Nicholas is forbidden entrance into the gooseberry garden. Now, because Nicholas could enter this garden by one of two doors and hide in the "masking growth" of vegetables, the aunt decides that she will have to keep the garden under her surveillance: 

...she spent an hour or two in trivial gardening operations among flower beds and shrubberies, whence she could watch the two doors that led to the forbidden paradise. She was a woman of few ideas, with immense powers of concentration.

While she is thus occupied, Nicholas sneaks off to the lumber room for which he has discovered the key. He opens the door and enters into "an unknown land" filled with artistic items such as a tapestry which tells the story of a hunter and his dogs, who pursue a stag. There several other interesting items are stored, among them a book of delightful pictures of resplendent birds.
After a while, Nicholas hears a shrill cry from his aunt, who has fallen into a water tank in the gooseberry garden. Again, he foils her as she cries for rescue, but he cleverly reminds her that he has been forbidden to enter this garden. So, she must remain in this embarrassing position until a kitchen maid needs vegetables from this garden and hears her cries.
That evening, it is an aunt who sits in "frozen muteness" at supper because the cousins have not enjoyed their day, either. Only the silence of Nicholas contains bemusement as he wonders whether the hunter and his hounds will escape while the wolves devour his wounded stag in the lumber room. 
 
 
 

In Speak, what was Melinda's journey, and why did she embark on it?

Melinda's journey in Speak is to find a voice taken away as a result of being sexually abused at a party the summer before her first year of high school.
The sexual assault Melinda suffers at the hands of Andy Evans takes her voice away.  The trauma she experienced in addition to everyone in her social group blaming her for calling the police and breaking up the party where the rape took place contributes to her silence. As high school begins, Melinda finds herself socially ostracized.  She is unable to fit in anywhere and with anyone.  As a result of social and psychological marginalization, Melinda is unable to "speak" in a literal and symbolic way.
Reclaiming her voice constitutes her journey.  She has to navigate many different obstacles in her path such as uncaring teachers, even more unfeeling students, and, of course, "IT."  She must voyage through the painful condition of nothingness in order to find her voice: "I wash my face in the sink until there is nothing left of it, no eyes, no nose, no mouth!  A slick nothing!" Melinda finds some sources of assistance on her journey, such as the sage-like words of her art teacher:  

When people don't express themselves, they die one piece at a time.  You'd be shocked at how many adults are really dead inside- walking through their days with no idea who they are, just waiting for a heart attack or cancer or a Mack truck to come along and finish the job."  It's the saddest thing I know.

Melinda's journey takes her through intellectual stopping points, such as comparing herself to Hawthorne's heroine, Hester, in The Scarlet Letter: "...S for silent, for stupid, for scared.  S for silly.  For shame."  Her quest requires her to recognize the obstacles in the outside world and rise above it: "It is easier not to say anything... Nobody really wants to hear what you have to say." 
As her first year of high school comes to a close, Melinda is able to find her voice.  She emerges to this point as "tears dissolve the last block of ice" which blocks her ability to speak.  She is able to experience the "dripping shards of ice that vanish in a puddle of sunlight on the stained floor. Words float up."  Her confrontation with "IT" one last time is when Melinda comes full circle in her journey.

Apply the historical approach in criticism to the characters Maggie and Tom Tulliver from the novel The Mill On The Floss.

Historical criticism, as the name implies, interprets a work of literature within the context of its time period and the life of its author. The Mill on the Floss is in many ways an autobiographical novel. Maggie, born around the same time as Eliot (whose really name was Mary Ann Evans), is similar to Eliot, while Tom is based on Eliot's older brother Isaac. 
Patriarchy is one of the historical contexts that impacts both Maggie and Tom. Through both the legal system and cultural norms, men, considered innately superior to women both physically and intellectually, were given most of the power in mid-19th century England. Women were little more than property and society was organized to keep them within the web of male-dominated social and financial relationships. Therefore, although she is very "quick," or intelligent, Maggie is not given the same educational opportunities as Tom—such as the chance to learn Latin—specifically because she is a girl and girls were pre-judged not to have the same depth of intellect as males. Tom is less intelligent than Maggie, but is given more opportunities, power and responsibility because of his gender. 
Further, like Eliot, Maggie steps out of the strict gender boundaries established to keep women under the control of their families. Maggie, like Eliot, transgresses against Victorian (and pre-Victorian, as the novel begins around 1829) ideals of womanhood which valued docility, meekness, kindness, obedience, serving others selflessly, and quiet domestic attainments—and contentment with this lot. While Maggie, like the young Eliot, is deeply attracted to Christianity, an approved outlet for women, Maggie is also full of anger and seething emotions, anything but docile. As a young girl, for example, she expresses her anger by driving nails into her doll's head, re-enacting a story in the Bible in which the Hebrew woman Jael subverts domestic norms to drive a tent peg into the head of an enemy leader, killing him and becoming a heroine as a result. 
Like Eliot, Maggie breaks sexual taboos when she floats down the river alone with Stephen Guest. He wants to avoid a scandal by marrying her, but she refuses. Eliot herself got involved in a long-term unmarried relationship with George Lewes, a married man, highly scandalous for that time period. Like Isaac with Eliot, Tom sharply repudiates Maggie for her actions. 
Overall, both Maggie and Eliot are stunted by the historical period in which they live because of the rigid gender roles that ignored the reality of individual personality and intelligence. 
 
 
 
 

How is the title of The Wednesday Wars significant to the plot?

The title of the book is significant to the story because it references what has to happen to Holling Hoodhood every Wednesday afternoon.  
Holling is a Protestant. That's important because he is the only Protestant who attends his school. Everybody else is either Catholic or Jewish. On Wednesday afternoons, all the Catholic students go to Catechism, and all the Jewish students go to Hebrew studies. The administration has to figure out something to do with Holling. Their solution is to put him in a study hall-type class with Mrs. Baker.  
Mrs. Baker is not happy about the situation, and she initially makes Holling do menial tasks like clean desks and chalkboards. Holling doesn't enjoy it, and he believes Mrs. Baker hates his guts. After about a month, Mrs. Baker decides to use the time with Holling to teach him Shakespeare and have him read a play per month. Holling thinks that's just about the worst thing possible. He feels Wednesdays are essentially a battle between him and Mrs. Baker, hence the title The Wednesday Wars. As the novel progresses, Holling and Mrs. Baker grow to enjoy their time together.

Why was Rustum not able to live with his wife for a long time?

The poem "Sohrab and Rustum" is part of the Persian epic of Shahnameh.
However, the poems don't provide explicit reasons for why Rustum is not able to live with his wife for a long time. Despite this, we can still make some educated guesses by reading between the lines.
In Shahnameh, Rustum is hunting near the city of Samangan when he loses his beloved horse, Rakhsh. Accordingly, Rakhsh is stolen by some Turanian knights. For his part, Rustum is devastated by the loss of his prized steed. Meanwhile, the Samangan king invites Rustum to stay the night at his palace. The king tells Rustum that he can resume his search in the morning.
During the night hours, the king's daughter, Tahmina, approaches Rustum. She tells him that she has long admired him for his exploits. After all, Rustum is greatly feared by other warriors. Tahmina then offers herself in marriage to Rustum and promises him that she will lay all of Samangan at his feet. As for Rustum, he accepts Princess Tahmina's generous proposition.
The next morning, Rustum's steed is returned to him. After bidding Tahmina a sad farewell, Rustum returns to his country. Shahnameh tells us that Tahmina gives birth to a son nine months after Rustum's departure. She names the baby boy Sohrab. This is the same Sohrab that Rustum unwittingly kills in the poem "Sohrab and Rustum."
From the epic poem Shahnameh, we learn that Rustum is a great warrior. He has battled armies in every land and performed legendary feats. So, part of the reason Rustum is not able to live with Tahmina for a time is because he had to return to his own country, Zabulistan. There, Rustum is a paladin or holy warrior. So, Rustum had responsibilities to his own king and country: this is why he had to return to Zabulistan.
Also, the poem "Sohrab and Rustum" hints at another reason Rustum did not live with Tahmina for a time. In the poem, it is revealed that Tahmina lied about the sex of her child. She sent word to Rustum that she had borne a girl. She lied because she feared that Rustum would raise any boy child of his as a warrior. So, Rustum did not return to Tahmina for a time because he believed that he had a daughter, one who could not be raised as a warrior.

What is the nature of gods in Greek mythology?

The gods of ancient Greece were of an entirely different nature to deities in the monotheistic faiths such as Christianity, Judaism and Islam. To a large extent, they were created out of the projection of a wide variety of human characteristics, both good and bad. The gods were an integral part of the stories ancient Greeks told each other; and as these stories were often based upon the innate fallibility of human nature, it was always inevitable that the gods would themselves display similar character traits. Just as human beings are often devious, cruel, violent, greedy, and stupid, so too were the immortals, albeit on a much larger scale.
In telling tales of their gods, the Greeks were not attempting in any way to construct a system of religion based upon absolute truth, such as Christianity, for example. The Greeks certainly believed in their gods; but the gods were always inextricably linked to the telling of stories, stories told primarily about human beings and their foibles. But these were never "just" stories; they were a crucial means for a primitive people to explain the world around them, a world often beset by plague, famine, war, and natural disaster. The gods of Olympus allowed the Greeks to make sense of an often harsh, chaotic world.
Although the gods live far away from humankind on top of Mount Olympus, as projections of human nature, they are never completely separate from mortals. They make regular appearances in the material world, taking on the shape of animals, humans, and inanimate objects. They constantly meddle and interfere in the lives of individuals, races, and whole nations alike, often to catastrophic effect. One only has to think of the brutally cynical behavior of the gods during the Trojan War in the Iliad to see an illustration of this. In fact, had the gods not intervened, that war would never have broken out in the first place. And having effectively started the war, the gods are keen to see it continue largely for their own pleasure. So just when it seems that the Trojans and the Achaeans might actually reach some kind of truce, down comes Athena, disguised as a Trojan, to stir things up again.
Even here, though, there is some method to what seems like utter madness. By attributing ultimate responsibility to the gods for a seemingly never-ending conflict, the Greeks were unconsciously providing themselves with an explanation for the permanence of war in their civilization, with all its terrible repercussions. In a way, the gods could be used as a convenient excuse to avoid asking difficult questions about certain aspects of Greek culture and society. If things were bad, if say the harvest had failed, or the city state had been invaded yet again, or a terrible, deadly plague was sweeping the land, then it was strangely comforting to think that this was just how the gods had decreed it.
Greek gods are not so much immoral as amoral. Immorality would imply that they somehow deviate from an established moral code. But they abide by no such set of values. They are the gods, after all; they live by their own rules, rules they devised for themselves and for their own benefit. It therefore made little sense for ancient Greeks to curse the gods for their cruel, unjust behavior (though many of them did). The gods, however gratuitously sadistic and unpleasant their behavior often appears to be, always act according to their own standards.
Despite their constant interactions with mortals, the gods are a race apart, and they know this. This sense of otherness and transendence inculcates a sense of overweening pride in the gods which must at all times be flattered by the mere mortals down below. The gods are insanely proud and jealous; they know what is their due and they intend to see that they get it. If any mortal should be foolish enough to defy or challenge the gods in any way, then woe betide them. Arachne, the gifted weaver, learned this lesson to her cost when she made the mistake of challenging Athena to a weaving contest. Accounts differ as to who actually won, but in the long run it was Arachne who lost out, cruelly transformed into a spider as punishment for her gross impertinence.
Even on the rare occasions when mortals are graciously admitted to the inner sanctum of Mount Olympus, they must still know their place. When Ixion is invited by Zeus to dine with the gods, he foolishly lusts after Hera. As well as tricking Ixion by getting him to have sex with a cloud in the form of Hera, Zeus orders Hermes to bind him to a fiery solar wheel which will spin for all eternity.
In both the examples just cited, the mortals concerned were undone by hubris, or overweening pride. Another way of saying this is to say that Arachne, Ixion, and countless others were trying to become more god-like, breaking their natural bounds to make an ill-judged grab for immortality, the sole preserve of the gods. In the pride of the gods, then, we are introduced to yet another essential function of the Greek pantheon. The gods serve to act as a salutary reminder of what can happen if humans get too arrogant, too conceited, too boastful, too proud. In other words, if they start acting just like the gods themselves.
https://www.history.com/topics/ancient-history/greek-mythology

Aqueous zinc chloride is added to a sample of acidified aqueous silver nitrate. (i) What can be observed? (ii) What ionic equation, with state symbols, can be constructed for the reaction that occurs?

Part (i) asks What can be Observed?  Notice we start with aqueous forms of two compounds, which means initially we have two clear solutions.  (These compounds also happen to be colorless, but you wouldn't necessarily know that.)  Also, note that both compound names include a metal with, in one case, a nonmetal (chloride) and in the other, a polyatomic anion (nitrate).  These are therefore both ionic compounds.
In mixing together two aqueous solutions, most likely we are looking for formation of a precipitate, i.e., a solid that forms from the solution.  This can occur if either of the products of a double replacement reaction, where the positive ion from one compound combines with the anion from the other compound and vice versa, is insoluble.  To determine this, we figure out what the possible products would be, and use a solubility table to find out if either is insoluble.  In this case, silver chloride will be found to be insoluble.
Thus silver chloride will precipitate, and the observation would be that when the two clear solutions are mixed, the mixture becomes cloudy and a solid gradually settles to the bottom of the container.
ii) The correct equation begins with the formulas.  Finding formulas for ionic compounds requires finding the charges of all ions, and writing a formula that includes the smallest whole-number ratio that makes the formula electrically neutral (total positive and negative charges are equal).  You may have had to memorize that zinc forms the Zn+2 ion and silver forms Ag+; you can also find this information in many places, including ptable.com.  From the Periodic Table you can infer that chloride has a charge of -1, and a table of polyatomic ions shows that nitrate also has a charge of -1.  Thus the formulas are ZnCl2, AgNO3, Zn(NO3)2, and AgCl.
Write these as an equation and be sure to balance it:
     ZnCl2(aq) + 2 AgNO3(aq) --> Zn(NO3)2(aq) + 2 AgCl(s)
Here the (aq) state label is used for all aqueous compounds, including zinc nitrate since it is soluble.  Silver chloride is insoluble and forms a solid, so it is labeled (s).  Soluble (aqueous) compounds are assumed to be ionized in water, so we can write the ionic equation being careful with coefficients on the individual ions
Zn^(+2)(aq) + 2 Cl^(-)(aq) + 2 Ag^(+)(aq) + 2 NO_(3)^(-)(aq) -gt Zn^(+2)(aq) + 2 NO_(3)^(-)(aq) + 2 AgCl(s)
Note all ions are labeled (aq), and the solid silver chloride is written as the compound.
We can also write the net ionic equation by eliminating the spectator ions, those that appear on both sides:
Ag^(+)(aq) + Cl^(-)(aq) -> AgCl(s)
Since there were two of every remaining species, it is correct to somplify all of the coefficients to 1 (no coefficient).  This equation leaves out the information of what compounds were actually mixed together, but has the advantage of clearly showing that silver and chloride ions join together to form solid silver chloride.
 
 
 

Zinc chloride is an ionic chemical salt with the formula ZnCl2.  It is composed of the zinc cation (Zn++) and two chloride anions (Cl-).  Silver nitrate is also an ionic chemical salt with the formula AgNO3.  It is composed of a silver cation (Ag+) and a nitrate anion (NO3-).  Both chemicals are soluble in water, and when mixed together you need to know that the silver and chloride anions will react to form silver chloride (AgCl), a chemical that is a white solid and is largely insoluble in water.  So the answer to part one is that two clear aqueous solutions will be mixed together to make a cloudy mixture with a fine white solid suspended in the water.  To answer the second part, let's look at the complete ionic equation below:
Zn_(aq)^(2+) + 2Cl_(aq)^(-) + 2Ag_(aq)^(+) + 2NO3_(aq)^(-) -> 2AgCl_(s) + Zn_(aq)^(2+) + 2NO3_(aq)^(-)
This shows that the zinc chloride and silver nitrate will form solid silver chloride and zinc nitrate, which is completely soluble in water and will remain as ions.  The net ionic equation eliminates the unused spectator ions and is shown below:
2Cl_(aq)^(-) + 2Ag_(aq)^(+) -> 2AgCl_(s)