Single Variable Calculus, Chapter 3, 3.6, Section 3.6, Problem 29

Find an equation of the tangent to the curve $2(x^2 + y^2)^2 = 25(x^2 - y^2)$ at the point $(3,1)$ using implicit differentiation if $y ' = m$ then


$
\begin{equation}
\begin{aligned}

\frac{d}{dx} 2(x^2 + y^2)^2 =& \frac{d}{dx} 25(x^2 - y^2)
\\
\\
2 \frac{d}{dx} (x^2 + y^2)^2 =& 25 \frac{d}{dx} (x^2 - y^2)
\\
\\
(2)(2) (x^2 + y^2) \frac{d}{dx} (x^2 + y^2) =& (25)\left( 2x - 2y \frac{dy}{dx} \right)
\\
\\
4(x^2 + y^2) \left( 2x + 2y \frac{dy}{dx} \right) =& 50 x - 50y \frac{dy}{dx}
\\
\\
8x^3 + 8x^2y \frac{dy}{dx} + 8xy^2 + 8y^3 \frac{dy}{dx} =& 50x - 50y \frac{dy}{dx}
\\
\\
8x^2yy' + 8y^3y' + 50yy' =& 50x - 8x^3 - 8xy^2
\\
\\
y'(8x^2y + 8y^3 + 50y) =& 50x - 8x^3 - 8xy^2
\\
\\
\frac{y'(\cancel{8x^2y + 8y^3 + 50y})}{\cancel{8x^2y + 8y^3 + 50y}} =& \frac{50x - 8x^3 - 8xy^2}{8x^2y + 8y^3 + 50y}
\\
\\
y =& \frac{50x - 8x^3 - 8xy^2}{8x^2y + 8y^3 + 50y}
\end{aligned}
\end{equation}
$



For $x = 3$ and $y = 1$, we obtain


$
\begin{equation}
\begin{aligned}

y' = m =& \frac{50(3) - 8(3)^3 - 8(3)(1)^2}{8(3)^2 (1) + 8 (1)^3 + 50(1)}
\\
\\
m =& \frac{-90}{130}
\\
\\
m =& \frac{-9}{13}

\end{aligned}
\end{equation}
$


Using Point Slope Form


$
\begin{equation}
\begin{aligned}

y - y_1 =& m(x - x_1)
\\
\\
y - 1 =& \frac{-9}{13} (x - 3)
\\
\\
y =& \frac{-9x + 27}{13} + 1
\\
\\
y =& \frac{-9x + 27 + 13}{13}
\\
\\
y =& \frac{-9x + 40}{13} \qquad \text{Equation of the tangent line at $(3, 1)$}

\end{aligned}
\end{equation}
$

How would you compare The Glass Menagerie and A Doll's House?

Both of these plays deal with questions of women's rights, the ability of women to express themselves, and the fact of their being dominated and controlled by other family members and by situations in which their independence is limited by the social strictures of the time.
Nora, in A Doll's House, is presumably living in a happy marriage, and by the standards of the nineteenth century, her husband is a good, decent man who is in love with her and is a good provider. The appearance of Krogstad, a man to whom she is repaying a loan which she had taken out under false pretenses, by forging her father's signature, throws her domestic situation into disarray. As the story progresses the husband, Torvald, shows himself as increasingly insensitive and domineering, and when it is revealed that Krogstad is planning to blackmail her, Torvald pours out a stream of abuse at Nora, allowing her to see how she's trapped, essentially in a position where as a woman she has no rights in her marriage. Her only choice is to leave her husband and somehow make good on her own.
In The Glass Menagerie Laura is dominated and trapped not by a husband but by an overprotective mother. Though the mother, Amanda, apparently wishes to find a match between her daughter and the "gentleman caller," one senses that it is her domineering nature, partly encouraged by Laura's handicaps, that has partly caused and perpetuated Laura's isolation.
The contrasts between Nora's and Laura's situations, however, are perhaps more striking than the similarities. Nora, though constricted by nineteenth-century social conventions, has actually attempted to act independently, even before the action of the play has begun. Her "crime" in forging her father's signature, which leads ultimately to the destruction of her marriage, is something she has done on her own, asserting her independence, ironically, in order to help her husband, since the loan was needed for his medical treatment. However, the misguided way in which she did this was the only route open to her, given those social strictures. Laura, on the other hand, has retreated into an imaginary world of isolation in which the figurines of her glass menagerie are more real to her than the outside world from which she has been excluded. Though this is the result of what we would now potentially diagnose as social anxiety disorder, one can understand that in the more enlightened time in which we now live, more options would be available to Laura and that she probably would not be living such a secluded life.
Both Ibsen and Williams deal with the issues that restricted and victimized women in their respective periods. But in each of these plays, there are purely human factors, apart from social conventions, which result in the problems and the pathos in which both Nora and Laura are enveloped.

Single Variable Calculus, Chapter 7, 7.4-2, Section 7.4-2, Problem 34

Differentiate $y = \log_2 (e^{-x} \cos \pi x)$


$
\begin{equation}
\begin{aligned}

y' =& \frac{d}{dx} \log_2 (e^{-x} \cos \pi x)
\\
\\
y' =& \frac{1}{e^{-x} \cos \pi x} \cdot \frac{d}{dx} (e^{-x} \cos \pi x)
\\
\\
y' =& \frac{1}{e^{-x} \cos \pi x} \left[ (e^{-x}) \frac{d}{dx } (\cos \pi x) + (\cos \pi x) \frac{d}{dx} (e^{-x}) \right]
\\
\\
y' =& \frac{1}{e^{-x} \cos \pi x} \left[ e^{-x} (- \sin \pi x) \frac{d}{dx} (\pi x) + \cos \pi x (e^{-x}) \right]
\\
\\
y' =& \frac{1}{e^{-x} \cos \pi x} [-e^{-x} \sin \pi x (\pi) - e^{-x} \cos \pi x]
\\
\\
y' =& \frac{\cancel{e^{-x}} (- \pi \sin \pi x - \cos \pi x) }{\cancel{e^{-x}} \cos \pi x}
\\
\\
y' =& \frac{- \pi \sin \pi x - \cos \pi x}{\cos \pi x}
\\
\\
y' =& \frac{- \pi \sin \pi x}{\cos \pi x} - \frac{\cancel{\cos \pi x}
}{\cancel{\cos \pi x}}
\\
\\
y' =& - \pi \tan \pi x - 1

\end{aligned}
\end{equation}
$

Precalculus, Chapter 7, 7.3, Section 7.3, Problem 36

(1) 2x-2y-6z=-4
(2) -3x+2y+6z=1
(3) x-y-5z=-3

Use equations (1) and (2) to eliminate the y and z variables.
(1) 2x-2y-6z=-4
(2) -3x+2y+6z=1
___________________
-x=-3

x=3

Divide equation (1) by a -2. Use equations (1) and (3) to eliminate the x and y variables.
(1) -x+y+3z=2
(3) x-y-5z=-3
________________
-2z=-1

z=1/2

Solve for y by substituting the x and z variables in to equation (3).
(3) x-y-5z=-3
(3)-y-5(1/2)=-3
3-y-(5/2)=-3
y=3-(5/2)+3
y=7/2

The solution set for the given system of equations is (3, 7/2, 1/2).


Check your answer by substituting the values for x, y, and z in the given equations.
(1) 2x-2y-6z=-4
2(3)-2(7/2)-6(1/2)=-4
6-7-3=-4
-4=-4

(2) -3x+2y+6z=1
-3(3)+2(7/2)+6(1/2)=1
-9+7+3=1
1=1

(3) x-y-5z=-3
3-(7/2)-5(1/2)=-3
3-(7/2)-(5/2)=-3
-3=-3

What exactly does the green light on the dock mean to Gatsby?

The Great Gatsby (Fitzgerald) begins with the green light in Chapter I, as Gatsby "stretched out his arms in a curious way, and. . . was trembling" (26-27), and it ends with the green light, too, as "Gatsby believed in the green light, the orgiastic future that year by year recedes before us" (189). Thus, the green light represents not just Daisy, but the hopes and dreams of all who came and come to America in search of that American dream, including all of us who are descended from those who immigrated here. The "new world" represents a clean slate, people no longer mired in the machinations and hierarchies. They believe they can love, thrive, and fulfill all their dreams. People can reinvent themselves, as Gatsby has done, giving himself a new name and, once he finds Daisy, a quest. The green light represents all of this for Gatsby, but as he moves toward it, it recedes. The closer he gets to Daisy, the more she eludes him. The American dream, a staple of our mythology, remains intact, I think, with many believing in it no matter how elusive it proves to be.

What evidence is given to support or dispute the point(s) presented in the readings?

The evidence presented in Meeting at the Crossroads to support the authors' conclusions rests in the changes of the girls they interview as they move from adolescence to adulthood and try to fit in with the ideals expected of them by their families, men, and society. The conclusion was that girls slowly lose their voices as they grow and adjust to better meet the expectations presented to them.
One of the statements that Lyn Mikel Brown and Carol Gilligan make early in the book is that "adolescent girls and adult women silence themselves or are silenced in relationships rather than risk open conflict and disagreement that might lead to isolation.” They see evidence that supports this in that the girls are less forthcoming, less happy, and less confident as they age.
At eight years old, the girls are willing to talk openly with interviewers, expressing both negative and positive feelings about their experiences. Later, though, when they are older, they are "willing to silence themselves rather than risk the loss of a relationship." A relationship in this context can mean a personal connection with someone.
Brown and Gilligan argue that girls want to "reduce conflict in relationships. [They] associate arguing with disconnection." That is one of the reasons why Victoria, who is abused when she is not at school, is unable to fully articulate her feelings. When she manages to do so, she immediately takes it back and defaults to insulting herself. She does not want to cause a conflict that damages the interviewer's perception of her—or her relationship with her family. 
Another piece of evidence that supports the conclusions of Brown and Gilligan is the case of Jessie, who is described as a whistleblower in her earliest interviews. She discusses things she sees as unjust openly and is passionate about what she wants. However, Brown and Gilligan note that as "girls become young women [they learn to] dismiss their experience and modulate their voices." Jessie does this as she gets older and is unable to fully discuss the incompatibility of two animals that she could easily discuss as a child. She curbs her opinions and focuses on being kind rather than resolving the issue.
In the end, the story of Sonia, an African American girl, is perhaps one of the most important in the book. When she was interviewed by a white interviewer, she did not open up or fully share her experience. By later matching her with a black interviewer, she was better able to discuss and explain her experience and point of view. From these experiences, Brown and Gilligan concluded that there is a way for women to help girls navigate the tribulations of growing up without losing their ability to speak of their own experience, feel confident, and stand up for themselves.
In Meeting at the Crossroads, Brown and Gilligan explain that as girls become women they learn to silence themselves and modulate how they express their own experience in order to conform to societal pressures and model themselves after the women in their lives. The evidence they provide comes from years of interviews with a diverse array of girls. They are able to see the changes in these young women firsthand. 

College Algebra, Chapter 3, 3.5, Section 3.5, Problem 80

The equation $\displaystyle C(t) = \frac{1}{2} t^2 + 2$ represents the temperature on a certain afternoon where $t$ represents hours after 12 noon $(0 \leq t \leq 6)$ and $C$ is measured in $^{\circ} C$.

a.) How the equation $y = C(t)$ obtained from $y = t^2$?

$y = C(t)$ is obtained by shrinking the graph of $y = t^2$ vertically by a factor of 2, then the result is shifted 2 units upward.

b.) Suppose you want to measure the temperature in $^{\circ} F$ instead. What transformation would you have to apply to the function $y = C(t)$ to accomplish this? Recall that $\displaystyle F = \frac{9}{5} C + 32$. While the new functions $y = F(t)$ that results from this transformation.

The function $y = F(t)$ can be obtained by stretching the graph of $y =C(t)$ vertically by a factor of $\displaystyle \frac{9}{5}$, then the result is shifted 32 units upward.


$
\begin{equation}
\begin{aligned}

\text{Thus, if } F =& \frac{9}{5} C + 32, \text{ then}
&&
\\
\\
F =& \frac{9}{5} \left( \frac{t^2}{2} + 2\right) + 32
&& \text{Substitute } C(t) = \frac{t^2}{2} + 2
\\
\\
F =& \frac{9}{10} t^2 + \frac{18}{5} + 32
&& \text{Apply Distributive Property}
\\
\\
F =& \frac{9}{10} t^2 + \frac{178}{5}
&&

\end{aligned}
\end{equation}
$

Analyze and consider the extent to which the passage given is “modernist” in its style or whether Forster uses other more conventional realist techniques in this passage. Forster makes use of these techniques to create effects (that is, how these stylistic choices help him to create various tones, displaying different attitudes, which deepen the psychological realism in the passage). Approaching the task this way will ensure that you are analyzing and interpreting rather than simply describing. Analyze the passage and demonstrate how the author uses different narrative styles to create a variety of tones and effects—stream of consciousness and so on.

The passage can be understood as “modernist” if we consider how Forster reveals the different points of view of his characters. This has less to do with the dialog of the passage, which is rendered in a relatively conventional way, and more to do with the way the narrator asserts unsaid attitudes or prejudices. Take, for instance, Ronny’s observation of the Indians waiting for the party to start: Forster does not treat any of the Indians as individuals. Instead, he reduces Ronny’s perception of them to bits of their clothing (“here and there it [the “dusky line“ of waiting Indians] flashed a prince-new or shuffled a shoe”). Ronny does not like them, to be sure, but the real purpose of the narrator is to convey Ronnie’s feelings and to turn the interiority of the scene “inside out”; that is, even as the English seek to assert their superiority over the Indians, the narration subordinates the thoughts and words of the English to the “impartial,” inscrutable Indian landscape. The English clothes are “like a leprosy” for the Indians; the words of the English women “seemed to die as soon as uttered.“ The whole scene is watched by a succession of observers—the kites, then, above the kites, the vultures, then, above the vultures, the sky, and beyond that, “must there not be something that overarches all the skies, more impartial even than they?” This “impartiality” is of course the point of Forster’s narrative. The “modernist” impulse of Forster is to show how his characters, English and Indian alike, resist reduction to impartial objects even as his narrative style reinforces the futility of their resistance.

What does Fleishman do grammatically to create Sae Young's voice?

When writing a character who hasn’t quite adjusted to using the English language, the author will purposefully disrupt the syntax and grammar of the character who is speaking. This creates a sense of distance and alienation between the character and the language that the character is trying to learn.
As chapter 8 begins, the reader will immediately notice how differently Sae Young speaks compared to the average native English speaker. As the chapter is narrated from her perspective, it is clear that Sae Young is not a master of the English language. After all, she is a Korean immigrant who migrated to Cleveland with her husband. She spends most of her time working in the store, so there is no need to brush up on her English. And once her husband dies and she is held at gunpoint, Sae Young alienates herself from people by staying in her house all day. Fleishman uses her broken English to accentuate her grief and loneliness in a new land.

Paul Fleischman's novel Seedfolks is set up as a compilation of thirteen character vignettes that all center around an accidental community garden, started by a young girl who wanted to honor her father. The story is set in Cleveland, Ohio, and the garden is located in a vacant lot. 
Sae Young is the eighth character readers meet in the book. She is from Korea and didn't come to the United States until she was an adult. Readers can infer this is the reason for her limited grasp of the English language. The Korean language is vastly different from English. For instance, in English, verbs come at the beginning of the sentence. In Korean, they come at the end. Listeners need to listen all the way to the end of a sentence in order to know whether the sentence is past, present, or future tense. With such differences in sentence structure, speaking English would have been difficult for an adult learner. Fleischman uses this in his vignette about Sae Young to help create her unique voice as a character. 
For example, Sae Young uses many sentence fragments. Here are a couple of examples: "Five sisters." "Many friends." A native English speaker would say, "I have five sisters and many friends."
Sae Young also leaves out articles in her sentences. Here is an example: 

"We buy dry cleaning shop, live next block. Dry cleaning shop better than restaurant. Don't have to speak English too much and only work six days." 

Notice that she leaves out the article "a" at the beginning of the quote. She also leaves out the conjunction which would join the two sentences. A native English speaker might say it this way: "We bought a dry cleaning shop and lived on the next block." Sae Young also speaks in the present tense even though she is referring to events that happened in the past. So, the main ways that Fleischman uses grammatical changes to develop Sae Young's voice are unconventional verb tenses, omitted articles, and irregular sentence construction.

College Algebra, Chapter 7, Review Exercises, Section Review Exercises, Problem 26

Let

$\displaystyle B = \left[
\begin{array}{ccc}
1 & 2 & 4 \\
-2 & 1 & 0
\end{array}
\right]
\qquad
C = \left[
\begin{array}{cc}
\displaystyle \frac{1}{2} & 3 \\
2 & \displaystyle \frac{3}{2} \\
-2 & 1
\end{array}
\right]$

Carry out the indicated operation $5B - 2C$, or explain why it cannot be performed.

$\displaystyle 5B - 2C = 5 \left[
\begin{array}{ccc}
1 & 2 & 4 \\
-2 & 1 & 0
\end{array}
\right] - 2 \left[
\begin{array}{cc}
\displaystyle \frac{1}{2} & 3 \\
2 & \displaystyle \frac{3}{2} \\
-2 & 1
\end{array}
\right] = \left[ \begin{array}{ccc}
5 & 10 & 20 \\
-10 & 5 & 0
\end{array} \right] -
\left[ \begin{array}{cc}
1 & 6 \\
4 & 3 \\
-4 & 2
\end{array} \right]
$

$5B - 2C$ is undefined because we can't subtract matrices of different dimensions.

Please write a summary regarding the article "High-Powered Controversy: Gun Control, Terrorism and the Fight Over .50 Caliber Rifles"

Allan Rostron's article titled "High-Powered Controversy: Gun Control, Terrorism and the Fight Over .50 Caliber Rifles" (University of Cincinnati Law Review, vol. 73, 2005) represents the author's attempt at explaining the controversy surrounding the introduction during the 1980s of .50 caliber rifles designed primarily by private individuals who subsequently marketed their design to the United States Armed Forces. The military had, and still has, a valid requirement for a sniper rifle capable of taking out hardened and soft targets at long distances, and few, if any, gun control advocates dispute that contention. The existence of the .50 caliber rifle became controversial when the weapon's designers opted to market their creation to the private sector—individual gun owners who bought the rifle for target shooting and hunting. The introduction into the private marketplace of a weapon clearly designed for military applications has proven controversial because of the questionable need for such a weapon in the hands of private citizens and the risk to public safety should criminals and terrorists attain them.
Rostron's article traces the history of .50 caliber weaponry to the First World War, when, first Germany, and then the United States developed high-powered, high-capacity automatic weapons firing particularly large bullets. The .50 caliber machine gun became a staple of the United States Army and Marine Corps, and, as noted above, private gun enthusiasts developed a rifle capable of firing .50 caliber ammunition. The military, especially the Marine Corps, bought it but not in sufficient numbers to support a viable production line. The gun's developers wanted to be able to market the weapon to private gun owners as a way of generating revenue while ensuring that the means of production would remain ready to meet military requirements.
As .50 caliber rifles entered the marketplace, many Americans became concerned about the threat such weapons would present in the hands of criminals and terrorists. Rostron's article examines the debate between gun owners and gun control advocates, emphasizing the merits and flaws of both sides arguments. He ultimately decides that a proposal modeled on one in Great Britain offers the best opportunity for a comprise. The British model, which Rostron endorses, focuses on the rifle itself, rather than the specific caliber of ammunition. Fifty-caliber ammunition has a practical military application but a dubious civilian one. Even to the extent that private gun owners insist on using .50 caliber ammunition for target practice and/or hunting, they have no legitimate need for a rifle that fires the length of those that currently use .50 caliber ammunition. The compromise is for a rifle of more limited range, but that still uses this caliber ammunition.

Calculus of a Single Variable, Chapter 5, 5.5, Section 5.5, Problem 74

For the given integral: int (x^4+ 5^x) dx , we may apply the basic integration property:
int (u+v) dx = int (u) dx + int (v) dx .
We can integrate each term separately.
int (x^4+ 5^x) dx =int (x^4) dx + int (5^x) dx
For the integration of first term: int (x^4) dx ,
we apply the Power Rule for integration:
int (x^n) dx = x^(n+1)/ (n+1) +C .
Then,
int (x^4) dx = x^(4+1)/(4+1) +C
int (x^4) dx = x^(5)/(5) +C

For the integration of first term: int (5^x) dx , we apply the basic integration formula for exponential function :
int (a^x) dx = a^x/ln(a) +C where a!=1
Then,
int (5^x) dx =5^x/ln(5) +C
Combining the two integrations for the final answer:
int (x^4+ 5^x) dx =x^(5)/(5) +x^(5)/(5) +C

Discuss two examples of irony in The Shining?

There is one particularly notable example of situational irony in The Shining. The Overlook Hotel seems to be just what the doctor ordered for Jack. With its remote location high among the Colorado Rockies, its peace and tranquility, and its almost complete isolation, the hotel appears to offer everything Jack could possibly need to recover from his various health problems. But of course, this is not the case. This may not be a dark, haunted castle perennially lashed by a violent thunderstorm, but the hotel's ostensibly peaceful setting is arguably a much more effective environment for Jack's mental collapse because it provides such a stark contrast to the raging torment inside Jack's disintegrating mind.
Another example is how King treats the theme of communication. This is a story in which a number of characters are able to communicate with each other telepathically. Yet at the same time, the Overlook Hotel's isolated, wintry environment ensures that modern methods of communication, such as the telephone, short-wave radio, and the roads leading to the hotel, do not work as they should and are therefore much less effective than ESP.

This question is useful. It is useful to be reminded that King isn't just a horror writer, or just out to shock readers and gross them out, but also uses a wide range of literary techniques, such as irony.
Turning to the question, there are several examples of irony in King's famous novel. The first is a major element of the plot. Jack Torrance's life is a mess. He takes this position at the hotel because it is supposed to be easy. It is supposed to give him a chance to focus on his writing and rebuild his life. However, in a massive example of situational irony, Jack's time at the hotel is not easier, and his life doesn't pull together. Instead, it is far harder, and his life gets shredded.
A related irony is Jack's relationship to drinking. Before he came to the hotel, Jack was having trouble with alcohol, and one reason he took this position was to dry out. However, the hotel itself provides him with alcohol, and sets up situations where he'll drink. His actions to save himself and his family end up putting all of them at severe risk. That's a rather bitter irony.
http://typesofirony.com/the-3-types-of-irony/

How do Travis and Old Yeller work together to mark the hogs?

Travis and Old Yeller work together to mark the hogs using clever teamwork. Marking hogs is very dangerous work. It involves making a distinctive cut in a baby pig's ear. Travis knows the danger involved: he says, "I've worked with papa long enough to know that anytime you mess with a wild hog, you're asking for trouble" (Chapter 9). The risk comes from separating the piglets from the adult hogs, who are very keen to protect their offspring.
When Travis and Old Yeller come across a pack of hogs, Old Yeller antagonizes them into chasing him into a dead end formed by large rocks. Travis then climbs a branch of an oak tree that juts over the cornered pigs. While the hogs are distracted by the dog, Travis uses a lasso to snare one young pig at a time to raise it up into the tree where he marks its ear. By each marking their pigs' ears in this way, every settler knew exactly which hog belonged to whom.
The work takes about an hour to complete. The hogs are so distracted by Old Yeller that they do not pay much attention to Travis in the tree above them. Occasionally, the larger hogs break ranks and charge at Old Yeller, but he is able to stay just out of their reach each time.

How does social class affect relationships both in The Kite Runner and reality?

The Kite Runner by Khaled Hosseini illustrates how social class affects relationships, just as it often does in reality. In the book, best friends Amir and Hassan spend all of their time together, although they are from two extremely different social classes. Amir is from a wealthy Sunni Muslim background. Hassan is a poor Shi'a Muslim and ethnic Hazara. The two boys clearly love one another, but their differences are always at the surface.
For instance, it is telling that Amir never once refers to Hassan as his friend. Yet the two boys are always together. They do everything together, but there is an unspoken line drawn between companionship and actual friendship—at least in Amir’s mind, as a child growing up in Afghanistan. His relationship with Hassan parallels the relationship their fathers had as boys. Amir says,

Ali and Baba grew up together as childhood playmates—at least until polio crippled Ali's leg—just like Hassan and I grew up a generation later…
But in none of his stories did Baba ever refer to Ali as his friend.
The curious thing was, I never thought of Hassan and me as friends either. Not in the usual sense, anyhow.

It is not until years later that Amir realizes how good a friend Hassan was to him and that they were, indeed, friends. In fact, they were not merely the sons of a master and servant—as it turns out, they were brothers.
Throughout the book, the people in Amir’s social class display tremendous prejudice toward Hassan. They openly refer to him as “a Hazara” and to Amir as his master. Moreover, during the book’s most pivotal scene, it seems clear that the three boys who assault Hassan are from Amir’s social class. The merchant who points Amir in their direction says,

The other boys...The ones chasing him. They were dressed like you.

The reader has to wonder whether those boys would have had the temerity to assault another boy had he been from the same social class. It seems unlikely.
We often see that social class becomes a barrier to forming friendships in reality. Sometimes it is because people from different social classes socialize primarily in their own neighborhood and therefore do not have the opportunity to meet.

In The Kite Runner, social class is linked to ethnicity and religion. The main characters in the novel are separated by class but also by ethnic and religious background. Amir and his father Baba are upper class characters who are Pashtun (ethnic group) and Sunni Muslims (religion). Their servants Ali and Hassan are Hazara (ethnic group) and Shi'a Muslims (religion). Amir points out in the novel that in Afghanistan, these ethnic and religious categories are typically aligned.
Although Amir and Hassan grow up spending time together and are even nursed by the same woman after Amir's mother dies in childbirth and Hassan abandons him and Ali, their relationship is strained as a result of their class difference. When Amir feels insecure or feels like Hassan is better than him in any way, he falls back on his supposed superiority, based on his family's class and ethnic makeup. For example, when Hassan points out the plot hole in Amir's story, Amir thinks to himself that Hassan, as a Hazara, is inferior to him and has no right to correct him. When Amir and Hassan come across the bully Assef one day in the city, Assef (also upper class and Pashtun) challenges Amir to explain why he is seen in public with a Hazara and proceeds to hurl slurs at Hassan and his father Ali and to relay his admiration of Hitler and programs of ethnic cleansing. Amir thinks to himself that maybe he didn't believe Hassan was his "friend," and later, he denies Hassan as a friend and calls him simply "our servant." Amir's need to feel superior to Hassan also plays a role in Amir's lack of action when Hassan is assaulted by Assef after the kite fighting tournament.
Ironically, when Amir and Baba move to America, they must suffer a decline in class, as Baba can only find work at a gas station. Amir gets an education and becomes a writer, living a more middle class lifestyle, but they are certainly not at the top of the social hierarchy as they were in Afghanistan. A further irony is that both Baba and Amir, though privileged in their society, commit arguably unforgivable acts against the lower class characters. However, both Baba and Amir try to redeem themselves: Baba through helping the poor and starting an orphanage and Amir by adopting Sohrab, Hassan's orphaned son. Ultimately, Amir claims Hassan and stands up to his father-in-law, who insists that their Afghan-American community will demand to know why his daughter is raising a Hazara boy.
It is tragic but also realistic that the class and ethnic divisions between Amir and Hassan lead to the dissolution of their friendship, and later, to Amir's attempt at redemption. The Kite Runner offers a poignant depiction of the way social class and other distinctions can drive a wedge between people who would otherwise have been best friends.

Throughout the novel, Khaled Hosseini depicts how people treat others differently because of their social class. This treatment negatively affects many relationships throughout the novel. For example, Baba refuses to have an open, loving relationship with his son Hassan because Hassan is a Hazara. Amir is also a privileged Pashtun who looks down on Hassan and treats him disrespectfully at times. It is socially acceptable for Amir to treat Hassan with contempt, which causes a rift in their relationship. Amir never fully expresses his true feelings of friendship to Hassan because Hassan is from a lower social class. Both Baba and Amir's relationships with Hassan do not reach their full potential because Hassan is a Hazara and they are Pashtuns.
For centuries, Hazaras living in Afghanistan have suffered persecution at the hands of Pashtuns because of their religious and ethnic differences. Hazaras have prominent Asian features and are Shiite Muslims. Although they compromise 20% of the population, many Hazaras live in the mountainous regions of Afghanistan to avoid persecution. These provinces are extremely underdeveloped, and they do not have the same opportunities for advancement as Pashtuns. Relationships between Pashtuns and Hazaras are also socially discouraged in Afghanistan.

In what fashion is the Marilyn French's The Women's Room a reflection of the past?

The Women's Room takes place between the 1940s and the 1970s, during the inception of the women's movement. This work reflects many of the gender norms and restrictions that affected women in the past. Mira, the story's protagonist, grows up feeling repressed by society's insistence that girls should act like young ladies. From proper posture to the activities her mother tells her ladies don't indulge in, such as rough play, Mira feels constantly at odds with the person she is inside versus the woman society expects her to become.
As she grows up, Mira finds society even more restrictive. Her desire to live independently contradicts the belief of the past that women should submit to their husbands and devote themselves to rearing children. When she meets a man who seems to respect her more than her classmates, Mira hopes she has finally found the companionship and support she always craved. Instead, her husband proves to be just as dismissive of her as her parents were, and Mira finds herself even more trapped once she has children.
The Women's Room is a strong reflection of the gender moors of the past, including society's beliefs about the role of women at home. As Mira makes her way through the restrictive 1940s and 1950s, she hopes the women's liberation movement of the 1960s and 1970s will finally bring the change she always longed for. In reality, she finds many of the same misogynistic attitudes are still present in society at large and in the minds of the men she meets, just disguised in different packaging.
The story is also a reflection of the different relationship dynamics in the past. Like many women of her time, Mira traded the authoritarian control of her parents for a husband who treated her both as child and live-in maid. She, like many women who went through the liberation movement of the 1960s, was forced to liberate herself through her personal decisions and, ultimately, by finding her own voice and telling her story in the form of a book.

Calculus: Early Transcendentals, Chapter 6, 6.3, Section 6.3, Problem 18

With the method of cylindrical shells we sum up the volumes of thin cylinders.
The volume of a cylinder is
2pi*r*h*dr,
where h is the height, r is the radius of a cylinder (the distance from the axis of rotation to the argument) and dr is the thickness.
y=x^2 and y=2-x^2 intersect at the points x=-1, y=1 and x=-1, y=1. Between x=-1 and x=1 2-x^2gtx^2, so the height h is equal to 2-x^2-x^2=2(1-x^2).
Also r=1-x.
So the volume is (remove odd functions integrating from -1 to 1)
2pi int_(-1)^1 (1-x)*2(1-x^2) dx=4pi int_(-1)^1 (1-x-x^2+x^3) dx =
=4pi int_(-1)^1 (1-x^2) dx=8pi int_0^1 (1-x^2) dx=
=8pi (x-1/(3)x^3)_0^1=8pi(1-1/3)=16/3 pi.

What does the term “whistleblowing” mean?

Whistleblowing is when a person reports some improper action that takes place within a business or an institution.
There is a significant amount of risk in being a whistleblower. Because a whistleblower is exposing some improper actions, the whistleblower must be prepared to provide evidence of wrongdoing. Sometimes a culture exists in a business that will protect those who are doing the improper actions. A person could lose his or her job by whistleblowing, and there is a chance things might not change. For example, in the 1970s, an employee at Firestone reported there might be a defect with a specific tire the company was making. Nothing was done about this, though, and the company eventually had to replace millions of tires and settle many lawsuits because many people were killed and injured by the defective tires.
Another example of whistleblowing was W. Mark Felt. Felt was an Associate Director at the FBI. He worked secretly with Washington Post reporters Woodward and Bernstein to share information on how President Nixon was connected to the Watergate Scandal. The reporters referred him to as “deep throat.”
A recent example of a whistleblower would be Edward Snowden. He claimed the government collects data on private individuals. Since he leaked classified documents, he has been charged with espionage. He is currently in Russia, where he was granted asylum.
Because there is a risk to whistleblowers, laws have been passed to protect them. Thirty-five states have passed laws protecting whistleblowers. The Civil Service Reform Act of 1978 protects government employees who blow the whistle on improper actions. The Sarbanes-Oxley Corporate Reform Act of 2002 protects whistleblowers in publicly traded companies.
https://www.scu.edu/ethics/focus-areas/business-ethics/resources/encouraging-internal-whistleblowing/

https://www.scu.edu/government-ethics/resources/what-is-government-ethics/whistle-blowing-in-the-public-sector/

Is Jay Gatsby great?

Like the novel itself, Jay Gatsby's greatness encompasses several layers. Perhaps the best way to discuss Gatsby’s greatness is to look at the novel’s title. The term “the great” could easily refer to a showman or illusionist—such as the Great Houdini. In fact, Gatsby is an illusionist. His parties are examples of his showmanship; he has his charm and money, but once Tom is able to pull off Gatsby’s mask at the novel’s climax, it looks like he could have “killed a man.”
However, Gatsby’s singular-mindedness could also be an example of how the man truly did great things. Near the end of the novel, Gatsby’s father shows Nick a book with Jay’s childhood 6 a.m. to 9 p.m. daily routine and his ”general resolves” to make him a better person. In fact, Gatsby’s discipline throughout the novel is what turns him from a poor boy growing up destitute to one of the wealthiest men in Long Island. Sure, he says he did everything for Daisy, but she is ultimately what he sees as the end goal. It’s Gatsby’s resolve that makes him great, in a way.

What is "Driving through Minnesota During the Hanoi Bombings" about? What is its meaning and analysis?

Robert Bly's poem is framed by its title "Driving through Minnesota During the Hanoi Bombings." The speaker is in a car with a companion, driving through the summer countryside while listening to a report on the radio about current actions in the Vietnam War. The reader is taken from the serenity of the Minnesota landscape, with its "lakes just turning green" and "white turkeys" on "new grass," to the battlefront where a sergeant is saying,

I saw the boy
being tortured with a telephone generator
[...]
I felt sorry for him
And blew his head off with a shotgun.

The contrast between the speaker's surroundings and the news being broadcast through the radio is jarring, even traumatizing. It is impossible to forget scenes like the one described by the sergeant. The beauty of the "new grass" is not enough to counteract the horror of the

Terror just before death,
Shoulders torn, shot
From helicopters.

The speaker and his companion are appalled at the news and at how calmly it is delivered. The Hanoi bombings of 1966 marked a serious escalation in hostilities in Vietnam, and the anti-war movement in America was galvanized by reports like these, which brought the harsh realities of the battlefield into everyday American life, where they could not be ignored or downplayed. The speaker notes his impotent rage at the atrocities, saying, "Our own cities were the ones we wanted to bomb!"As it is, he and his companion are powerless to help the Vietnamese,


To atone
For the suffering of the stringy-chested
And the short rice-fed ones[.]

The horrors of war and the speaker's impotence in the face of his horror are nightmarish and make reality seem almost hallucinatory. The nightmare intrudes on every aspect of his life, making it impossible to enjoy even the simplest of things:


Our own gaiety
Will end up
In Asia, and you will look down in your cup
And see
Black Starfighters.

The Minnesota landscape is beautiful and quiet, but the reports from Vietnam have settled on the speaker's mind like "crystals," or shards of glass, tearing into the illusion that the whole world is as peaceful as Minnesota at this point in time.

This assignment is based on three different fields of professional health care: physician, shaman, and chiropractor. For each field, 1. How is the sickness, disease, illness, or condition defined by the professional? 2. From the perspective of the professional, what is etiology, or cause, of this condition? 3. What is the recommended treatment? 4. What is rationale for the treatment? How does treatment work? How effective is it? 5. What is the overall philosophy of the field they are in? 6. How might their philosophy change someone's everyday life, if he or she adopted this philosophy or approach?

Medical doctors diagnose illness as a deviation from the normal and as a condition that fits into a known pattern (such as the pattern of symptoms that define Alzheimer's). They often confirm or make diagnoses based on medical examinations and tests, and the medical field believes the etiology of the disease is genetic (in one's DNA), a result of disease or lifestyle, or a combination of these factors. The treatment is usually lifestyle changes, medicines, surgery, physical therapy, or other largely physical changes to the body. For example, a physician would advise a person diagnosed with diabetes to take insulin, eat less sugar and carbohydrates, and get more regular exercise. Their treatments are designed to change the body--in this case, to introduce less sugar into the body and to allow for more regular and efficient absorption of sugar in the body. These treatments can be very effective. While physicians sometimes make recommendations for psychotherapy or other types of non-physical treatment, their philosophy is based on the idea that disease is physical and must be treated physically.
A shaman, on the other hand, believes that sickness comes from spirits. Shamans believe disharmony, fear, loss, or another spiritual crisis gives rise to illness, and they heal these types of illnesses not by concentrating on the biological or psychological realm as physicians do, but rather by trying to help the patient return to a state of spiritual wholeness. They believe the illness was caused by a separation of a person from his or her soul, and the treatment involves restoring them to spiritual wholeness. The treatment involves the shaman traveling to another world and petitioning spirits to help restore the ill person spiritually. These spirits help create a protective shield around the person and restore his or her spiritual wholeness. The shamanic philosophy is that the root of illness is in the spiritual world, and if we use that philosophy, people might abandon the use of traditional medicine and instead use shamanistic healers who could connect them to spiritual wholeness.
A chiropractor believes problems in the musculoskeletal system affect a person's general health through the nervous system. They regard musculoskeletal issues as the causes of illness, and these issues are treated with manipulation of the spine or soft tissues and joints. For example, chiropractors treat spinal subluxation, or the misalignment of parts of the spine, as they believe it causes neurological problems in the body. Many traditional chiropractors believe vertebral subluxation is the cause of all diseases, while other chiropractors are open to other forms of treatment, including massage and exercise. This form of treatment has been found to be mainly effective for back pain but not for other conditions. If chiropractic treatment were one's main form of treatment, one would not use medicines or traditional doctors. Instead, one would use spinal or soft tissue manipulation to cure disease.

Who are the main greasers in The Outsiders by S.E. Hinton?

In Chapter One of S.E. Hinton's novel The Outsiders, the first person narrator Ponyboy Curtis describes his "greaser" brothers and friends. The term greaser refers to the young men who live in the poorer part of the city, which is the setting of the novel (Hinton has admitted that the novel is based on her youth in the city of Tulsa, Oklahoma). They are called greasers because they tend to wear their hair long and slicked back with plenty of hair gel. Ponyboy first introduces the reader to his brothers, Darry, the oldest, and Sodapop, the middle son. The three brothers recently lost their parents, and Darry acts as guardian to his brothers.
Darry is described as tall and muscular. He was once a very good athlete and excellent student in high school, but now works hard to keep his brothers together. He often clashes with the often dreamy and sometimes irresponsible Ponyboy. Sodapop is described as "movie star handsome" and Ponyboy idolizes him. Throughout the novel, Ponyboy compares his brothers, with Darry often being referred to unfavorably and Sodapop portrayed as more understanding. In the end, Ponyboy comes to the realization that Darry truly loves him and is just doing what he believes is best for his brother.  
Two important greasers in the novel are the wild and unpredictable Dally and the shy but lovable Johnny. Most of the plot revolves around Johnny's killing of a Soc and the later episode where Ponyboy, Johnny, and Dally become heroes by saving several children from a burning church. Tragically, both Dally and Johnny will wind up dead by the end of the novel. The other two greasers often mentioned are Two-bit Mathews and Steve Randle, who are close friends of the Curtis brothers and loyal companions. 

What are some things/people that Holden hungers for?

"Hunger" is a great verb to use when describing Holden's need for certain things and people. One thing Holden hungers for is a strong emotional response to certain situations; he seems frustrated at times when he doesn't feel something strongly. He exhibits an example of this frustration when he talks about leaving Pencey: "I don't care if it's a sad good-by or a bad good-by, but when I leave a place I like to know I'm leaving it. If you don't, you feel even worse."
Another thing Holden hungers for is a feeling of equal standing with others, and this feeling is sometimes symbolized by objects. He expresses this need for equal standing when he remembers rooming with Stradlater while in New York: "The thing is, it's really hard to be roommates with people if your suitcases are much better than theirs—if yours are really good ones and theirs aren't...It's one of the reasons why I roomed with a stupid bastard like Stradlater. At least his suitcases were as good as mine."
One person Holden hungers for is his brother Allie. Holden remembers going to visit Allie's grave with his parents, and his memories of this activity are painful because he misses his brother so much. Holden describes imagining the other visitors to the graveyard going to dinner after visiting their dead relative, and because Allie can't be with them to go to dinner, Holden says, "I can't stand it...I just wish he wasn't there."

How does the poet make "Because I could not stop for Death" a disturbing poem?

If "Because I Could Not Stop For Death" is a disturbing poem, perhaps it is due to the portrayal of death as a sort of implacable gentleman who silently insists on the company of the poem's speaker. He does not exert any force or cause pain, and he is patient, taking his time to guide the speaker "toward eternity." The journey to death is described as a carriage ride past familiar, comforting sights like the schoolyard and fields of grain. When the destination of her body is reached, the "house" he delivers her to is her grave. She remarks that this all happened centuries ago, but the passage of time in eternity is apparently so swift that it seems as short as the day she figured out that her time to die had come.

Single Variable Calculus, Chapter 6, 6.1, Section 6.1, Problem 12

Sketch the region enclosed by the curves $y = x^2$, $y = 4x - x^2$. Then find the area of the region.


By using vertical strips
$\displaystyle A = \int^{x_2}_{x_1} \left(y_{\text{upper}} - y_{\text{lower}} \right) dx$
In order to get the values of the upper and lower limits, we equate the two functions to get its point of intersection. Thus

$
\begin{equation}
\begin{aligned}
x^2 &= 4x - x^2\\
\\
-2x^2 + 4x &= 0 \\
\\
2x (-x + 2) &= 0
\end{aligned}
\end{equation}
$

we have, $x = 0$ and $x = 2$
Therefore,

$
\begin{equation}
\begin{aligned}
A &= \int^2_0 \left[ \left( 4x - x^2\right) - x^2\right] dx\\
\\
A &= \int^2_0 \left( 4x - 2x^2\right) dx\\
\\
A &= \left[ \frac{4x^2}{2} - \frac{2x^3}{3} \right]^2_0\\
\\
A &= \frac{8}{3} \text{ square units}
\end{aligned}
\end{equation}
$

Summarize the article "The Responsible Gun Ownership Ordinance and the Novel Textual Questions about the Second Amendment." http://scholarlycommons.law.northwestern.edu/cgi/viewcontent.cgi?article=7428&context=jclc.

This article is about a city of Chicago ordinance that places restrictions on gun ownership. The change in the ordinance came after the Supreme Court case District of Columbia v. Heller (2008), which protected an individual's right to own a gun for lawful purposes in federal enclaves but which did not address the question of whether this right was incorporated against the states. This issue was later decided in McDonald v. Chicago (2010), in which the Supreme Court ruled that an individual's rights to bear arms is incorporated against the states. The article provides a discussion of these two cases and their implications for gun rights. The McDonald case struck down the earlier law that the new ordinance in Chicago was intended to replace. 
The author, McGovern, states that in drawing up a new ordinance, the city of Chicago interpreted the two new Supreme Court decisions too narrowly and limited their considerations to the question of gun ownership in the house. The author writes, "the City of Chicago ignored the broader implications of Heller and McDonald, which extend beyond the right of an individual to use firearms for self-defense" (483). The author believes that this narrow interpretation illegally restricts gun ownership rights in the city of Chicago.
The ordinance, for example, only allows one operable firearm in the house at a time, but the author believes that the "right to bear arms" means the protection of having more than one arm and presents the justification for his argument (including the idea that the Second Amendment was meant to protect the ownership of multiple arms.) The author also believes that the Chicago ordinance interprets the understanding of where people can bear arms too narrowly. The Chicago ordinance restricts this right to the house itself and excludes outer buildings such as garages or outer areas such as yards, where the author believes people have this right. In addition, the author believes that the ordinance wrongly restricts people's right to bear arms outside their homes. The author concludes that this ordinance can be challenged, as can similar ordinances in other cities. 
 

Who is the old seaman? How does he behave at the inn?

The old seaman calls himself "Captain" but is in fact a man by the name of Billy Bones. It's fair to say that he's quite a character. As soon as enters the Admiral Benbow he starts behaving in a wild, raucous manner: cussing, drinking, sponging, and generally making a complete nuisance of himself. The salty old sea dog is a habitual drunkard, knocking back endless tankards of rum. Dr. Livesey warns him about his drinking, but Billy Bones is not prepared to listen. He also likes a bit of song, whether or not anyone else wants to join in. He introduces us to the famous old pirate song "Dead Man's Chest," with its refrain of "Yo-ho-ho, and a bottle of rum."
Jim's father, however, is scared stiff of the man. This isn't all that surprising when one considers his violent, unstable demeanor. But for many others, there's something wonderfully mysterious about his larger-than-life character, and Jim Hawkins, for one, is utterly fascinated by him. He spins a good yarn, this Billy Bones, and his tales of adventure on the high seas stir the imagination of the young lad. He tells Jim that he was first mate on board the ship of Captain Flint, a notorious pirate. This sets the scene for what is about to happen. For after the old sea dog finally breathes his last after one tankard of rum too many, Jim and his mother find a key hanging round the old pirate's neck. It's a key to an old chest. There's not much gold inside the chest, but there is a map inside—a treasure map. Having made this startling discovery, Jim Hawkins is about to embark upon the adventure of a lifetime.

Why is feminism controversial?

Why is anything controversial? Because people disagree about how they think the world should be. Part of what makes feminism controversial is that different people seem to define it differently. The most basic definition is "women should have equal rights to men", which used to be highly controversial (and still is in some parts of the world), but at least within First World countries is largely accepted and agreed upon. There are also much stronger, more specific definitions that fall under the umbrella of "feminism", which can include everything from legal abortion to affirmative consent laws. Many of these more specific policies are where the real controversy lies: Simply agreeing in principle that women deserve equal rights doesn't necessarily convince you that abortion should be legal under all circumstances. They aren't wholly unrelated, but additional premises are needed to tie them together, and that fact often gets ignored.But part of what makes feminism controversial is... sexism! A lot of people around the world still have some really deep-seated beliefs and attitudes that are extremely sexist. Some of these were probably learned in childhood, or picked up gradually as life experiences; some may even be linked to genetic traits that evolved thousands of years ago. But for whatever reason, a lot of people really do feel strongly that men and women should have fundamentally different roles in society and should not be treated the same way---and those people are going to get angry when you try to do otherwise.Especially in cultures like the US and Europe where we all agree in principle that women are equal, people tend not to think of these attitudes and beliefs as sexist; but by definition they still are. For instance, there is a common norm "men should hold doors for women"; well, that doesn't sound like such an awful thing, right? But it's directly assigning different social roles to men and women---and that makes it by definition sexist. Benevolent? Sure. Harmless? Maybe. But sexism nonetheless. A lot of people have general ideas about men and women that they don't think of as bias, they just think of them as "how things are".Finally, one thing that makes sexism in particular very complicated in a way that other forms of bigotry such as racism and ethnocentrism are not is that sex is a real thing. The way we define cultures, nations, and even races is basically arbitrary; it's a socially-constructed phenomenon with little if any real basis in underlying traits. But sex isn't like that; humans actually are, biologically, a sexually dimorphic species, and certain differences between men and women really are genetically defined---testosterone levels, height, and upper body strength are obvious examples. Sometimes it's fairly obvious that a given difference is purely societal (the stereotype "women are bad drivers" can't exactly be something we evolved thousands of years ago), but often it isn't. Many feminists try to deny this and say that there are no real genetic differences between men and women, but that just isn't true. We don't know what differences are genetic; perhaps only a few are. But some definitely are, and we need to face up to that. Clearly human behavior isn't entirely genetic, and I'm not aware of anyone who thinks it is. But it is partly genetic, and many feminists have been strangely unwilling to accept that fact---which very likely contributes to why feminism is so controversial. I think feminists would do themselves a favor by admitting that some differences between men and women are at least partly genetic, and trying to figure out ways to ensure equality despite that fact.
https://plato.stanford.edu/entries/feminism-topics/

https://rense.com/general63/galaxyofgeneticdifferences.htm

How has the feud affected the town of Verona? As a result, how do the people of Verona feel about the Capulets and Montagues?

As we know from what the Prince says in act 1, scene 1, the Montagues and Capulets have fought in public in Verona three times before the play starts. He says that they have "thrice disturbed the quiet of our streets," so they obviously disrupted life in Verona. Not only that, but they

made Verona’s ancient citizensCast by their grave-beseeming ornamentsTo wield old partisans in hands as old,Cankered with peace, to part your cankered hate.


That is, the elderly citizens of Verona were forced to put down items appropriate to their age and take up arms in order to separate the fighting Montagues and Capulets. They hadn't fought in a long time, since their hands were "cankered with peace," but now they have to do so because of the feud.

We can infer, then, that these citizens would probably be very frustrated with the situation. They probably like their city peaceful and don't like having to get up and strain their creaky old bones in battle. The Prince, certainly, is quite angry, as he calls the fighting families "beasts" with "bloody hands." He is a representative of his people, so likely they are angry as well.

The feud between the Capulet and Montague families has led to violence in the streets of Verona. In act 1, we learn that three times in the recent past, the street fighting has gotten so bad that the peaceful citizens of Verona have had to pick up their weapons and break up the violence.
While we never hear directly from the people of Verona how they feel about the Capulets and Montagues, we do hear from the Prince at the beginning of the play. As another brawl is about to erupt, he steps in. We can tell from his language that he is entirely fed up with the nonsense. He says it has to stop, that it is disturbing the peace, and that the next person from either family to start fighting will be put to death. From this, we can surmise that the ordinary people are tired of having their streets turned into a war zone and are probably angry at the Capulets and Montagues.

How does the structure (syntax, punctuation, sentence length and sentence variety) in the following passage from The Lord of the Flies contribute to the atmosphere and theme? On the right hand was the lagoon, troubled by the open sea; and on the left -- Ralph shuddered. The lagoon had protected them from the Pacific: and for some reason only Jack had gone right down to the water on the other side. Now he saw the landsman's view of the swell and it seemed like the breathing of some stupendous creature. Slowly the waters sank among the rocks, revealing pink tables of granite, strange growths of coral, polyp, and weed. Down, down the waters went, whispering like the wind among the heads of the forest. There was one flat rock there, spread like a table, and the waters sucking down on the four weedy sides made them seem like cliffs. Then the sleeping leviathan breathed out, the waters rose, the weed streamed, and the water boiled over the table rock with a roar. There was no sense of the passage of waves; only this minute long fall and rise and fall.

Before we talk about how to analyze this passage, it's appropriate to briefly discuss the atmosphere of the novel.  Additionally, in order to apply the passage to a theme, we need to discuss a theme that the passage helps illustrate.  
Atmosphere is a literary technique that authors use to give readers particular feelings.  Readers get those feelings from narrative details such as settings, backgrounds, objects, foreshadowing, etc.  While the novel starts out by presenting readers with a fairly idyllic tropical island, that atmosphere of calm paradise does not last long.  As the boys become afraid of the beast and more and more savage, the atmosphere of the novel becomes ominous, threatening, foreboding, and sinister.  
Those words are all fear-centered words, and I feel that fear is a major theme of the novel.  It's fear of the beast that motivates the boys to become obsessed with hunting it down and killing it; however, their fear eventually becomes more dangerous than the mythical beast.  The boys become afraid of each other; they fear standing up to Jack.  Once Simon figures out that the beast is in each of them, he learns to not only fear the other boys but perhaps even himself.  
Let's look at the passage now.  That passage comes from near the end of chapter 6.  Chapter 6 begins with Sam and Eric seeing something that scares them.  

Then as though they had but one terrified mind between them they scrambled away over the rocks and fled.

The two boys report back to Ralph and everybody else that they have seen the beast.  Naturally, Jack's reaction is to want to go hunt it down and kill it. After a bit of discussion, Jack, Ralph, and a few other boys head out to a section of the island called "the castle."  They assume that is where the beast must be.  
Once there, Ralph says that he should be the person to conduct the search for the beast.

Something deep in Ralph spoke for him.
“I’m chief. I’ll go. Don’t argue.”
He turned to the others.
“You. Hide here. Wait for me.”

Ralph heads out and gets to "the neck of land" where he is "surrounded on all sides by chasms of empty air."  This is where the passage in the question picks up.  The passage narrates what Ralph sees from his location.  In terms of narrative detail, the passage fits the book's overall ominous atmosphere and fear theme.  The first sentence tells readers that the lagoon is "troubled" and Jack "shuddered."  Those two words instantly put the reader on alert.  We do not get a happy, relaxed sensation from that opening sentence.  
The passage also describes the water's movement like a "stupendous creature."  Words like "sank," "whispering," "sucking," and "leviathan" all carry a connotation of evil, scary things happening.  The waters surrounding the island seem alive and evil.  They are ready to devour and destroy the island and all that are on it.  That's scary and ominous.
The sentence structure of this section helps to give this passage an overall ominous feel as well.  For the most part, the passage avoids simple sentences in favor of compound or complex sentences.  Normally, that kind of sentence structure lends itself to a smoother, flowing paragraph; however, the sentences in this paragraph are anything but smooth.  The paragraph has an interrupted and stuttering flow to it.  That's caused by the many commas in the paragraph as well as the semicolons and dashes.  Those punctuation marks force readers to pause, hesitate, and even stumble in their reading.  For example:

On the right hand was the lagoon, troubled by the open sea; and on the left—Ralph shuddered.

This sentence doesn't read quickly or smoothly, because the description of the lagoon comes after "lagoon."  It's like saying, "I saw a car, which also happened to be red" instead of just saying, "I saw a red car."  The constant interruption of flow heightens a reader's sense of foreboding because we simply aren't being allowed to easily move past this section.  We are forced to spend time in an ominous atmosphere.  
In another sentence, Golding uses repetition to build a tense atmosphere.  

Down, down, the waters went, whispering like the wind among the heads of the forest.

The repetition of "down" feels like a repeated hammer blow.  Ralph, and readers, get a real sense of the inevitable power of the water.  After trying to hunt down the beast and viewing this scene, it's no wonder that Ralph's palms are bathed in sweat. 

Calculus of a Single Variable, Chapter 5, 5.5, Section 5.5, Problem 56

First transform the given function using properties of logarithms. Also remember that xlt1.
g(x) = log_5(4) - log_5(x^2) - log_5((1-x)^(1/2)) =
= log_5(4) - 2 log_5(|x|) - 1/2 log_5(1-x).
Now it is easy to perform differentiation:
g'(x) = -2/ln(5)*1/x + 1/(2 ln(5))*1/(1-x).

Calculus of a Single Variable, Chapter 9, 9.4, Section 9.4, Problem 5

Direct comparison test is applicable when suma_n and sumb_n are both positive series for all n such that a_n<=b_n
If sumb_n converges ,then suma_n converges,
If suma_n diverges, then sumb_n diverges.
Given series is sum_(n=2)^oo1/(sqrt(n)-1)
Let b_n=1/(sqrt(n)-1) and a_n=1/sqrt(n)=1/n^(1/2)
1/(sqrt(n)-1)>1/sqrt(n)>0 for n>=2
sum_(n=2)^oo1/n^(1/2) is a p-series
The p-series sum_(n=1)^oo1/n^p , is convergent if p>1 and divergent if 0For the series sum_(n=2)^oo1/n^(1/2) p=1/2<1 so it diverges as per the p-series test.
Since the series sum_(n=2)^oo1/sqrt(n) diverges, so the series sum_(n=2)^oo1/(sqrt(n)-1) diverges as well by the direct comparison test.

How does Tom Sawyer describe school in The Adventures of Tom Sawyer?

Tom loathes going to school and dreads Monday mornings, even to the point of wishing on Mondays that there had been no holiday at the weekend, "it made the going into captivity and fetters again so much more odious." He will attempt to avoid school by any means at his disposal, and the chief reason he envies Huckleberry Finn is that he does not have to go to school.
Although Tom would much rather be outside fishing or swimming, when he does get to school, he generally finds a way to enjoy it. He does this by subverting the purpose of the school and turning it into something that amuses him. We first see him doing this when he begins his affair with Becky Thatcher in chapter 4.
A more typical activity, at the beginning of chapter 7, is joining with his bosom friend Joe Harper in playing with the tick he has captured. Though the games Tom plays in school generally have to be quieter and more furtive than the ones he enjoys at weekends, they are of a similar type and the element of danger in the master's restraining presence may even render them more enjoyable.
The other positive aspect of school, which Tom enjoys but does not acknowledge, is that it gives him a large audience for his clowning and allows him from time to time to play the hero in front of breathless admirers, as he does in chapter 18:

At school the children made so much of him and of Joe, and delivered such eloquent admiration from their eyes, that the two heroes were not long in becoming insufferably "stuck-up." They began to tell their adventures to hungry listeners—but they only began; it was not a thing likely to have an end, with imaginations like theirs to furnish material.

Tom hates school, both Sunday school and ordinary school. As Monday morning rolls around, he has the following thoughts:

Monday morning found Tom Sawyer miserable. Monday morning always found him so—because it began another week’s slow suffering in school. He generally began that day with wishing he had had no intervening holiday, it made the going into captivity and fetters again so much more odious.

School to an active, adventurous boy like Tom, who wants to be outside playing, is "slow suffering" and "captivity." Tom is the opposite of his half-brother, the angelic Sid, who loves school.
Tom pretends to a toothache to try to get out of school, but Aunt Polly pulls his tooth and sends him on his way. En route to school, Tom meets the "romantic" Huck Finn, who, to his envy, is free to play all day. Tom trades him his tooth for the dead cat Huck has found.
As a result, Tom is late, explains to the schoolmaster that it was due to talking to the dread Huck Finn, and gets a beating for his honesty. But none of this is anything compared to the slow, agonizing minutes sitting at a desk waiting for the time to pass. Luckily for Tom, an added penalty is having to sit in the girl's section of the schoolroom, where he gets to flirt with the new student, Becky Thatcher.
In creating a young hero who puts risk taking and active adventuring ahead of book learning, which Tom holds in contempt unless he can read stories about pirates and robbers, Twain continues the American myth building begun by authors such as Washington Irving. Tom is a direct descendant of "The Legend of Sleepy Hollow's" Brom Bones, the red-blooded, practical, socially adept, robust, masculine trickster who might never put his nose in a book but can outwit the scholars any day.

It's fair to say that Tom Sawyer's not really a big fan of school. His whole attitude seems to be that it's crazy to spend all day cooped up inside a schoolhouse being told what to do when there's a big old world outside full of fun and adventure just waiting to be explored. There are just so many better things to do than go to school—climbing trees, swimming, playing pirates—the list is endless. Though still quite a young boy, Tom has already learned a valuable lesson of life, one that's particularly relevant to his view of school: the difference between work and play:

If he had been a great and wise philosopher, like the writer of this book, he would now have comprehended that Work consists of whatever a body is obliged to do, and that Play consists of whatever a body is not obliged to do.

Tom only goes to school when he's obliged to; that's what makes it work, not play. And all work and no play makes Jack a dull boy, as the saying goes. But all play and no work makes Tom Sawyer.

Calculus of a Single Variable, Chapter 7, 7.4, Section 7.4, Problem 16

Arc length (L) of the function x=h(y) on the interval [c,d] is given by the formula,
L=int_c^dsqrt(1+(dx/dy)^2)dy , if x=h(y) and c <= y <= d,
Now let's differentiate the function with respect to y,
x=1/3sqrt(y)(y-3)
dx/dy=1/3{sqrt(y)d/dy(y-3)+(y-3)d/dysqrt(y)}
dx/dy=1/3{sqrt(y)(1)+(y-3)1/2(y)^(1/2-1)}
dx/dy=1/3{sqrt(y)+(y-3)/(2sqrt(y))}
dx/dy=1/3{(2y+y-3)/(2sqrt(y))}
dx/dy=1/3{(3y-3)/(2sqrt(y))}
dx/dy=1/3(3)(y-1)/(2sqrt(y))
dx/dy=(y-1)/(2sqrt(y))
Plug in the above derivative in the arc length formula,
L=int_1^4sqrt(1+((y-1)/(2sqrt(y)))^2)dy
L=int_1^4sqrt(1+(y^2-2y+1)/(4y))dy
L=int_1^4sqrt((4y+y^2-2y+1)/(4y))dy
L=int_1^4sqrt((y^2+2y+1)/(4y))dy
L=int_1^4(1/2)sqrt((y+1)^2/y)dy
L=1/2int_1^4(y+1)/sqrt(y)dy
Now let's compute first the indefinite integral by applying integral substitution,
Let u=sqrt(y)
(du)/dy=1/2(y)^(1/2-1)
(du)/dy=1/(2sqrt(y))
int(y+1)/sqrt(y)dy=int(u^2+1)2du
=2int(u^2+1)du
=2(u^3/3+u)
substitute back u= sqrt(y) and add a constant C to the solution,
=2(y^(3/2)/3+sqrt(y))+C
L=[1/2{2(y^(3/2)/3+sqrt(y)}]_1^4
L=[y^(3/2)/3+sqrt(y)]_1^4
L=[4^(3/2)/3+sqrt(4)]-[1^(3/2)/3+sqrt(1)]
L=[8/3+2]-[1/3+1]
L=[(8+6)/3]-[(1+3)/3]
L=[14/3]-[4/3]
L=10/3
Arc length of the function over the given interval is 10/3

I am having trouble understanding chapter 1 of Beauty by Roger Scruton. Can you give some ideas or a summary as to what points he is making?

In this chapter of Beauty: A Very Short Introduction, Scruton tries to understand what beauty is. He asks the following question: "Why do we call certain things beautiful, and what frame of mind are we trying to express by doing so?"
He first argues that beauty is not always the same as goodness or truth, as beauty can be a myth. While Plato and some elements of Christian thought equate beauty with truth, this is not always accurate, as beauty can have what he refers to as a "subversive nature" (2). The author also questions the conclusions of Aquinas, who also equated beauty with truth.
To test his own idea, Scruton uses various platitudes about beauty and examines what they say about beauty. He concludes that there is a comparative element of beauty and that beauty can be self-defeating, as one can have too much of a good thing. Beauty, he writes, is part of "another and more exalted realm" (11). Our attempt to describe beauty is to give a sense of its effect on people but not to describe the qualities that give rise to this effect.
The author then defines two aspects of beauty. He writes that these two aspects are aesthetic success (for example, a picture that makes us breathless with its sheer beauty) and "a certain kind of aesthetic success" (13). He writes that beauty is based on the individual object that one regards as beautiful (for example, if one finds a fruit beautiful in a bowl, the other fruit in the bowl may not seem as beautiful to us). He also writes that beauty is not always tied directly to the senses, and then he produces a tentative definition of beauty as something that we gain pleasure from when appreciating it as an object "for its own sake, and in its presented form" (21). That is, we look upon something as beautiful because we appreciate it for its own sake and not for its utility.
Finally, the author examines the theories of Kant to the effect that beauty involves a kind of disinterest; we look upon something of beauty with a kind of curiosity and attempt to understand it. When we declare something beautiful, we are making an objective rather than subjective decision because we are describing the object itself and not our feelings about it.

Single Variable Calculus, Chapter 3, 3.5, Section 3.5, Problem 21

Determine the derivative of the function $\displaystyle y = \left(\frac{x^2+1}{x^2-1}\right)^3$

$
\begin{equation}
\begin{aligned}
y' &= \frac{d}{dx}\left( \frac{x^2+1}{x^2-1}\right)^3\\
\\
y' &= 3 \left(\frac{x^2+1}{x^2-1} \right)^2 \frac{d}{dx} \left( \frac{x^2+1}{x^2-1}\right)\\
\\
y' &= 3 \left(\frac{x^2+1}{x^2-1} \right)^2 \left[ \frac{(x^2-1) \frac{d}{dx} (x^2+1) - (x^2+1)\frac{d}{dx}(x^2-1)}{(x^2-1)^2}\right]\\
\\
y' &= 3 \left(\frac{x^2+1}{x^2-1} \right)^2 \left[ \frac{(x^2-1)(2x)-(x^2+1)(2x)}{(x^2-1)^2}\right]\\
\\
y' &= 3 \left(\frac{x^2+1}{x^2-1} \right)^2 \left[ \frac{\cancel{2x^3}-2x-\cancel{2x^3}-2x}{(x^2-1)^2}\right]\\
\\
y' &= 3 \left(\frac{x^2+1}{x^2-1} \right)^2 \left[ \frac{-4x}{(x^2-1)^2}\right]\\
\\
y' &= \frac{-12x(x^2+1)^2}{(x^2-1)^4}
\end{aligned}
\end{equation}
$

List any five territories lost by Austria in the treaty of St. Germain.

The Treaty of St. Germain helped to bring about the end of the First World War and officially resulted in the dissolution of the Habsburg Empire, which had ruled the former Yugoslavian countries, the current Czech Republic, and what are now Austria, Hungary, Poland, and portions of other nations for over five hundred years.
The treaty was signed by representatives from Austria and by representatives of the Allied Powers, which won the war. Austria-Hungary fought on the side of the Central Powers, in an effort to maintain its empire. It is important that the catalyst for the war was the assassination of the Austro-Hungarian Archduke Franz Ferdinand, who was shot by the Serbian Gavrilo Princip.
Austria lost the following territories as a result of signing the treaty: Czechoslovakia, Hungary, Poland, and the Kingdom of the Serbs, Croats, and Slovenes (formerly known as Yugoslavia, but today known as Serbia, Croatia, and Slovenia). Austria also ceded eastern Galicia, Trento, southern Tirol, Trieste, and Istria, which are portions of Spain and Italy, respectively. Istria is a peninsula shared by Italy, Croatia, and Slovenia. The ethnic and geographic diversity of these regions gives some idea of the empire's broad reach and influence.
https://www.britannica.com/event/Treaty-of-Saint-Germain

https://www.britannica.com/topic/House-of-Habsburg

What happens to the two hawks in Toni Cade Bambara's short story "Blues Ain't No Mockin Bird"? Why?

Both hawks are killed by Granddaddy Cain in Toni Cade Bambara's short story "Blues Ain't No Mockin Bird." The first is hunted by Granddaddy for dinner, whereas the second is killed to keep it from attacking. The first hawk, the female hawk, is brought home for dinner by Granddaddy, who came home from the woods with the "chicken hawk slung over his shoulder," having just hunted it. The hawk is still partially alive and dripping blood. Meanwhile, the two men still stood in Granny's flowerbed, and Granny asks Granddaddy to drive them away. Granddaddy doesn't have to, though, because the mate of the hunted chicken hawk swoops in and tries to attack anyone in sight as revenge for the death of his mate:

And then this awful thing—a giant hawk—come wailin up over the meadow, flyin low and tilted and screamin, zigzaggin through the pecan grove, breakin branches and hollerin, snappin past the clotheslines, flyin every which way, flyin into things reckless and crazy.

In his state of craziness, the hawk begins attacking the cameraman and his partner. The two ridiculous men do what they can to protect themselves by jumping around, ducking, and trying to wave it away with their caps. Granddaddy Cain rescues them by calmly throwing a hammer at the bird, which falls dead, "silent and slow." After rescuing the men from the hawk, Granddaddy demands their camera, pulls out the film, hands it back to them, and tells them to leave.

How did the author get to know many of the people in the book?

Mathew Desmond is the author of Evicted: Poverty and Profit in the American City. His book details stories of eviction through the perspective of not only tenants, but also landlords as well. While most people see poverty as a cause of eviction, Desmond believes that “eviction is a cause, not just a condition, of poverty in America.”
According to Desmond, he got to know the tenants detailed in his book by living among them in a poverty-stricken rooming house and a trailer park in Milwaukee. Desmond spent time with families and attended eviction court with them. Eventually, he gained the trust of the families and was able to obtain their stories on the harsh realities of being evicted. In addition to the tenants, Desmond also won the trust of the landlords and was allowed to include their points of view on eviction.

What are the differences between Portia and Jessica as revealed in the play "The Merchant of Venice"?

The differences are subtle and come mostly from the different situations the two women find themselves in.
Portia and Jessica have much in common.  Both are beautiful, intelligent, and funny.  Both are bold and can be blunt (e.g. Jessica says, "Our house is hell," Act 2 Scene 3; Portia says, "There is not one among [my suitors] but I dote on his very absence," Act 1 Scene 2).  Both disguise themselves: Jessica as a page boy so that she can run away with Lorenzo, Portia as a lawyer so that she can save Antonio's life.  
The biggest difference between the two is that Portia saves the day by playing the part of "Balthasar," a "Doctor of Laws," so that through her brilliant and humane arguing in court, she saves Antonio from having to give a pound of flesh to Shylock, Jessica's father.  From this we can see that Portia is very well-educated, wise, and generous of spirit.  She is also very self-confident, willing to pull off this dangerous undertaking without even telling Bassanio what she is up to. 
Now, Jessica is not stupid, but we get no hint from the play that she is as well-versed in the law as Portia.  She is wise and kind, but her bold move (running away with Lorenzo) is done mostly for her own sake, not to save someone else.  She is brave, but not as bold as Portia.  She runs away with Lorenzo at night, and even then she does not want to hold a torch for fear she be seen in her pageboy's costume (Act 2, Scene 6).  
Jessica is a plucky woman trying to escape a bad home life.  We can infer that her life with Shylock did not offer as high a standard of living, nor quite as good an education, as Portia received.  She also has a graceless tyrant for a father, whereas Portia's father (now deceased) was apparently very wise.
Jessica is using her virtues to rise above the situation she was born into.  Portia, an aristocrat, was born with many privileges that allowed her to develop her natural gifts.  Now she is using her advantages to help others.  

Metal X conducts electricity when molten, has a high melting point, and reacts with dilute hydrochloric acid. Is it... A. ZINC B. SILVER C. COPPER D. POTASSIUM

Actually two of the answers are correct here.  Zinc, silver, copper, and potassium are all metals, so they all will have high melting points.  As metals, they will all conduct electricity in either the solid or liquid (molten) state.  But the final part of the question is really the key here.  Neither copper nor silver will readily react with dilute hydrochloric acid.  Zinc, however, will react with dilute HCl to form zinc chloride and hydrogen gas (H2).  The equation is given below:
Zn + 2HCl -gt ZnCl_2 + H_2
The hydrogen gas will bubble from the solution and will light a flame in a classic lab experiment.  Potassium (K) will also react with just plain water (found in dilute HCl) to also form H2:
2K + 2H_2O -gt 2KOH + H_2
So both A and D are correct here.
https://www.reference.com/science/metal-doesn-t-conduct-electricity-ddd6c5a32ea658dd

Describe the vertebrate vertebral column and list its functions.

The vertebral column, also called the spinal column, in vertebrates is composed of the bones, called the vertebrae, that go from the neck to the tail. The vertebrae are further differentiated into the caudal vertebrae (the bones in the tail), the sacral vertebra (often joined together to make the sacrum, which connects with the pelvic girdle), the lumbar vertebrae (in the lower back); the thoracic vertebrae (in the chest), and the cervical vertebrae (in the neck). In higher vertebrates, each vertebra has a centrum that is topped by a Y-shaped arch. The centrum and arch go around an opening, and the spinal cord goes through this opening. Each centrum is separated by the surrounding centrums by cartilage known as intervertebral disks. Vertebrae in the lower vertebrates are different and often have more complexity. The number of curves in the column varies by animal. Quadrupeds have one curve, though in humans there is also the sacral curve (which helps the sacra support the abdomen), the anterior cervical curve (to help raise the head), and the anterior lumbar curve (which forms as children walk and sit). 
The function of the vertebral column is to protect the spinal cord. In addition, many muscles and other parts of the skeleton, such as the pectoral and pelvic girdles, are attached to the column. It also allows animals such as humans to transmit their weight while walking or standing. 

Why should education be made a fundamental right?

If we want to live in a democracy with educated and participating citizens who each have a chance to succeed in life, then the way to accomplish that is to make education a fundamental right. In fact, in my opinion, that is the only way to achieve this goal.
A democracy is only as good as the people it represents, since the electorate makes choices about who will represent them. An uneducated and uninformed citizenry makes poor choices. This can result in a failure of democracy. It also explains why it is difficult to export democracy to countries and cultures where education is not a fundamental right. Good democracy is a skill that must be learned. 
A democracy should want a happy and self-actualized citizenry so the democracy will be productive and stable. People who are more educated tend to be happier and more productive because they have the wherewithal to solve problems and think critically, making better choices and finding pleasure in productive and challenging work. They also tend to be more self-actualized, as their education provided a good set of tools with which to become that way.
Finally, education is usually the best way up the socioeconomic ladder. It can break the cycle of generations of poverty, allowing young people to begin a new cycle of, if not prosperity, than at least not abject poverty. We all want our children to succeed more than we have, and education is a way to accomplish this. Without the right to education, this cannot happen very often.  
John Dewey, one of the greatest educational philosophers in modern history, wrote an entire book entitled Democracy and Education a hundred years ago. I have included the link to it below. You might want to read some of his ideas, too, about why education must be a fundamental right.  

What does the story say about the nature of marriage?

Kate Chopin's "The Story of an Hour" indicates that marriage can make partners, particularly women, feel constrained and oppressed.
In the story, Louise Mallard gets the tragic news that her husband, Brently, has been killed in a train accident. Louise has "heart trouble," so her family must break the news gently, and once they do, she weeps and then retreats to her room. Once she is in the room alone, she realizes that her husband's death, while sad, also ensures her freedom. Louise looks out the window and begins to notice the world outside:

She could see in the open square before her house the tops of trees that were all aquiver with the new spring life.

This description parallels Louise's epiphany, which is soon to follow, that her husband's death is also her own rebirth. She begins to feel strange, as

There was something coming to her and she was waiting for it, fearfully. What was it? She did not know; it was too subtle and elusive to name. But she felt it, creeping out of the sky, reaching toward her through the sounds, the scents, the color that filled the air.

The life of the world outside her window has now infiltrated her senses and her room. Her mind is gradually becoming aware of the independence her husband's death will provide her. When she finally is able to articulate the feeling that is, in the previous quote, "too subtle and elusive to name," she exclaims, "'Free! Body and soul free!"
Louise Mallard admits that she will mourn her husband and will cry at his funeral. However, she also understands now the ways in which marriage as an institution has held her back. She reflects,

There would be no one to live for during those coming years; she would live for herself. There would be no powerful will bending hers in that blind persistence with which men and women believe they have a right to impose a private will upon a fellow-creature. A kind intention or a cruel intention made the act seem no less a crime as she looked upon it in that brief moment of illumination.

In this important passage, Louise criticizes marriage rather than her husband as an individual. She believes in this moment that marriage makes her will subordinate to that of her husband, and she labels that "a crime." In other words, Louise has come to realize that a woman has no real independence in marriage and must always serve another's needs. Instead, "she would live for herself." Louise is excited by this potential as she leaves her room and "carried herself unwittingly like a goddess of Victory" to the stairs. Sadly, her exhilaration will be short-lived, as Brently walks through the door very much alive, and the shock results in Louise's death by heart attack. While the observers say she died of "the joy that kills," the readers know she dies not of happiness but of extreme disappointment: that free future she just dreamed of for herself will never be hers as soon as her husband returns to the house.

Calculus of a Single Variable, Chapter 3, 3.2, Section 3.2, Problem 71

You need to notice that if the derivative is a linear function, then the primitive is a quadratic function, such that:
f(x) = ax^2 + bx + c
Differentiating f(x) yields:
f'(x) = 2ax + b
You need to set equal 2x and 2ax + b , such that:
2ax + b = 2x
Comparing the coefficients of x both sides yields:
2a = 2 => a = 1
Notice that the free term b must be 0.
You should notice that c is not determined, yet. You may find out c using the information that the function passes through the point (1,0), such that:
f(1) = 0 => f(1) = a*1^2 + b*1 + c
a + b + c = 0
Replacing 1 for a and 0 for b yields:
1 + 0 + c = 0 => c = -1
Hence, evaluating the function under the given conditions, yields f(x) = x^2 - 1.

Would Trifles still appeal to modern audiences? Do you feel it was more powerful when it first came out many years ago? What was the most theatrical (most dramatic/interesting) moment in this one-act play to you?

The decision about whether the one-act play Trifles would still appeal to modern audiences is a matter of opinion. Certainly, some people, like Mrs. Wright in the play, still feel crushed in their relationships and are unable to experience any degree of freedom or love. This situation could be true of women or men.
However, the play, first performed in 1916, spoke to the situation of women at the time and may be considered somewhat less powerful today than it was at that time. At the time the play was first produced, women in many states did not have the right to vote, and they were largely considered the property of their husbands. Their career paths were limited, and most were expected to simply be wives and carry out the drudgery of taking care of the house. In addition, houses lacked the conveniences we take for granted today, such as dishwashers and electric washing machines. Women, like Mrs. Wright, often lived very difficult lives. 
One of the most dramatic moments of the play is when the neighborhood women, Mrs. Hale and Mrs. Peters, find a dead canary in Mrs. Wright's kitchen. They immediately make the connection that Mr. Wright might have killed Mrs. Wright's pet, leading her to strangle her husband. However, the men in the play do not make this connection, and the bird is a potent symbol of the way in which Mrs. Wright has been put in a cage. 

How did Nambi tell his story

There are certainly a few interesting ways to interpret (and answer) your question.
If you are referring to how Nambi structures his stories, the answer is that he tells them in installments. Each installment may last as long as three hours, and stories are often separated by the space of 2-3 days. Before he begins each epic tale, however, Nambi spends time meditating before his goddess. He claims that this is how he receives inspiration for his engrossing tales. It is said that Nambi is so talented that he never repeats his stories.
On the other hand, if you are referring to the source of Nambi's material for his stories, the answer is that he weaves whole stories from his imagination. Nambi credits his goddess for his superlative imagination and excellent story-telling skills. So, one answer to your question is that Nambi tells his stories from his imagination.
As for his last story, Nambi decides that he will tell it in the form of a parable. So, why does he come to this decision? The text tells us that, as Nambi begins to stumble in his story-telling endeavors, he decides to quit altogether. So, for his last story, he insists that all the villagers must turn up to hear him. He visits his neighbors and tells everyone that he has a "mighty story" to tell and that they must gather under the banyan tree to hear him.
On the day itself, Nambi speaks in a parable. This is what he tells them:

It is the Mother who gives the gifts ; and it is She who takes away the gifts. Nambi is a dotard. He speaks when the Mother has anything to say. He is struck dumb when She has nothing to say. But what is the use of the jasmine when it has lost its scent ? What is the lamp for when all the oil is gone ? Goddess be thanked. . . . These are my last words on this earth ; and this is my greatest story."

So, the meaning of the parable is that it is time for Nambi to stop telling stories. He also makes it clear that it is time for him to acknowledge the source of his inspiration and to accept the limitations of his advancing age. In other words, Nambi's last story is his humble acknowledgement of his human frailty and limitations.

int tan^3(3x) dx Find the indefinite integral

Before we can begin to find the integral, we must do some rearranging using some trig identities so that we have integrals that we can work with. We will need to remember the following identities as we work through this problem:
tan^2(x)=sec^2(x)-1
tan(x)=(sin(x))/(cos(x))
So, to begin, we will split up the tan^3 like so:
int tan^3(3x)dx=int tan(3x)*tan^2(3x)dx
Next, we will use the first identity above to rewrite tan^2:
int tan(3x)*tan^2(3x)dx=int tan(3x)(sec^2(3x)-1)dx
We will then distribute and separate it into two integrals:
int tan(3x)sec^2(3x)-tan(3x)dx=
= int tan(3x)sec^2(3x)dx-int tan(3x)dx
Now we can use the second trig identity above to rewrite the second integrand:
int tan(3x)sec^2(3x)dx-int (sin(3x))/(cos(3x))dx
We can now use u-substitution on each integral.  We will also need the chain rule on the 3x when finding du. So the u-substitution for the first integral is:
u=tan(3x)
du=sec^2(3x)*3dx
1/3 du=sec^2(3x)dx
For the second integral, we will use a v for our u-substitution so as not to confuse the two as we work through them.  So the "v"-substitution for the second integral is:
v=cos(3x)
dv=-sin(3x)*3dx
-1/3dv=sin(3x)dx
Now, we will substitute these back into the integrals and integrate, as shown below:
1/3 int udu-(-1/3)int (1/v)dv=(1/3)(u^2/2)+(1/3)ln|v|+C
We can now substitute back in for u and v to find our final indefinite integral:
int tan^3(3x)dx=1/6tan^2(3x)+1/3ln|cos(3x)|+C

In the Kite Runner, what is Ali and Hassan's relationship like? Is it healthy?

Ali and Hassan have a good, healthy relationship. Despite the fact that Ali never reveals Hassan's true parentage to him, the father and son make for a very positive pair of characters. More than likely, this was a consideration on Hosseini's part to emphasize just how much in life is up to our choice, not up to fate.
Baba and Amir, Pashtuns, are born with immense privileges and opportunities. They are in good health and wealthy. Ali and Hassan, Hazaras, are servants and are both plagued by physical deformities, which are ridiculed in their harsh society. Amir is Baba's real son, while Hassan is also the illegitimate son of Baba. Even so, Ali and Hassan are the kindest characters in the novel, while Amir and Baba are both deeply flawed, although they seek redemption in time.
In contrast to Amir and Baba struggling with their inner demons, Ali and Hassan are there to show that some people can face difficulties and hardships and rise above them. Neither father nor son ever complains about their physical flaws or lets the ridicule bother them. Although Hassan is not his real son, Ali does his absolute best to raise the boy to be a good person and encourages him in everything, unlike Baba, who disapproves of Amir's writing. With an example like Ali, Hassan grows up to be like his adoptive father: honest, hard-working, absolutely loyal, and kindhearted. It shows that the bond between them was strong and pure: he could have easily been influenced by Amir and Baba, but Hassan always chose to follow Ali's example.

Ali and Hassan have a healthy, close relationship, which is compared to Baba and Amir's unhealthy, difficult relationship. As Hazaras living in Kabul, Ali and Hassan relate to each other and share similar experiences. Both Ali and Hassan know what it is like to suffer, which only strengthens their relationship. They both endure criticism for being Hazaras and have physical blemishes that people ridicule. As a single father, Ali loves Hassan and he cares for him the best he can. Hassan also trusts and loves his father. After Hassan is tragically raped by Assef, he confides in Ali, who removes his son from Baba's estate in order to protect him. Even though Hassan is not Ali's biological son, Ali cares for him and treats him well. The two have a loving father-son relationship, which is considered healthy and supportive. In contrast, Baba and Amir have a difficult, distant relationship, which is strained by the fact that Baba knows Hassan is his real son.

Single Variable Calculus, Chapter 3, 3.8, Section 3.8, Problem 41

How fast is the distance from the plane to the radar station increasing after one minute?


Using cosine law,

$
\begin{equation}
\begin{aligned}
y^2 &= x^2 + 1^2 - 2 (x) (1) \cos (120^\circ)\\
\\
y^2 &= x^2 + 1 - 2x \left( \frac{-1}{2}\right)\\
\\
y^2 &= x^2 + 1 + x
\end{aligned}
\end{equation}
$


Taking the derivative with respect to time

$
\begin{equation}
\begin{aligned}
2y \frac{dy}{dt} &= 2x \frac{dx}{dt} + \frac{dx}{dt}\\
\\
\frac{dy}{dt} &= \frac{2x+1}{2y} \left( \frac{dx}{dt} \right) && \Longleftarrow \text{ Equation 1}
\end{aligned}
\end{equation}
$

The distance covered by the plane after one minute is
$\displaystyle x = \frac{300 \text{km}}{\cancel{\text{hr}}} \left( \frac{1 \cancel{\text{hr}}}{60 \cancel{\text{min}}} \right) ( 1 \cancel{\text{min}}) = 5 \text{km}$

So if $x = 5$,
$y = \sqrt{5^2 + 1 + 5} = \sqrt{31}$km

Now, plugging all the values we get in Equation 1

$
\begin{equation}
\begin{aligned}
\frac{dy}{dt} &= \frac{2(5) + 1}{2(\sqrt{31})} (300)\\
\\
\frac{dy}{dt} &= 296.3487 \frac{\text{km}}{\text{hr}}
\end{aligned}
\end{equation}
$

What is the aim or objective of the short story "How Much Land Does a Man Need?" by Leo Tolstoy?

The story should be understood against the historical backdrop of the emancipation of the serfs in 1861 by the Russian Tsar Alexander II. Once the serfs had been freed from control by their former masters, many of them naturally wanted to own land for themselves. Tolstoy supported emancipation, but at the same time he was worried that it would lead to peasants somehow losing their soul, severing their almost sacred connection to the soil by treating land as nothing more than an object, an economic commodity to be bought and sold.
That's precisely how Pahom comes to look upon the ground beneath his feet. His insatiable greed for land takes him far away from his ancestral homeland, both literally and metaphorically. Though the proud owner of many acres of valuable land, Pahom is spiritually homeless, and his greed causes the death of his soul long before it leads to his physical demise.

The story seeks to educate the reader about the dangers of greed and unchecked desires. According to Pahom, land was the answer to all his troubles. During the conversation with his wife and sister-in-law, he boasted that with more land, he would not fear the devil himself. Pahom did not consider that there were other important things in life, and the devil took advantage of his weakness. Pahom was unaware that wealth came at a price; in his case, the price was his soul. The devil gave Pahom the opportunity to acquire land, which he desperately wanted. Pahom was ungrateful for what he received, however, and became greedy. He wanted more land, and his desire led him to make the wrong decisions, which eventually led to his death.

How does Fitzgerald's story "May Day" relate to Naturalism?

Naturalism in literature focuses on depicting life realistically and adheres to an underlying philosophy that suggests people are products of their environments. F. Scott Fitzgerald's novella May Day describes in detail a period of a little more than 24 hours in the lives of young New Yorkers from different walks of life. Fitzgerald's use of detail in May Day captures his characters and the time period exquisitely. The descriptions of the clothes are tell-tale signs of social class and wealth:

"...his visitor’s dark eyes roved nervously around the room, resting for a moment on a great English traveling bag in the corner and on a family of thick silk shirts littered on the chairs amid impressive neckties and soft woolen socks."

By this description readers recognize the possessions of a rich young man. The visitor, on the other hand, "held his coat-sleeves down and worked the frayed shirt-cuffs up till they were out of sight." The visitor is down on his luck. Fitzgerald has a gift for dialogue. The flippant exchanges among the characters quickly reveal social class and education. When Peter Himmel encounters two soldiers hiding at a Yale dance, the following exchange shows the stark differences between Peter and the soldiers, Carrol and Gus.

"'And lastly,' finished Peter, 'will you tell me why, when you are in a building beautifully hung with enormous candelabra, you prefer to spend these evening hours under one anemic electric light?'Rose looked at Key; Key looked at Rose. They laughed; they laughed uproariously; they found it was impossible to look at each other without laughing. But they were not laughing with this man — they were laughing at him. To them a man who talked after this fashion was either raving drunk or raving crazy."

When Philip Dean stops by Gordon and Jewel's table and displays his disgust over Gordon's companion, Jewel's choice of words reveals the difference in social standing. "Let’s us get out of here. This fella's got a mean drunk on."The physical descriptions of the characters add to the great distance between wealth and poverty, education and ignorance.

"Dean was blond, ruddy, and rugged under his thin pajamas. Everything about him radiated fitness and bodily comfort. He smiled frequently, showing large and prominent teeth."

At the other end of the spectrum is Carrol Key, the army soldier:

"...one could stare endlessly at the long, chinless face, the dull, watery eyes, and high cheek-bones, without finding suggestion of either ancestral worth or native resourcefulness."

Fitzgerald uses detail, dialogue, and physical description to forge characters that are simultaneously individuals and representations of their social classes.
It is critical in May Day, however, that the characters are not just products of their environments, but bound by them. Two characters try to leave the confines of their upbringing with little success. The first is George Key, the elder brother of Carrol. When Carrol and Gus approach George, a waiter at the Delmonico, George is not happy to see them. In fact, he worries that Carrol will ask him for money. George has a family and steady job as a waiter. But blood ties prevail, and it isn't long before George hides Carrol and Gus in a cleaning closet and promises to bring them the liquor they've requested. Edith's brother, Henry, also attempts to leave his upbringing by becoming a left-wing journalist. Henry eschews his patrician background to serve the common man only to have his leg broken in a riot incited by a rough crowd of soldiers who consider his egalitarian politics un-American.

what is a good topic sentence for a research paper on hazing that is not so broad

In order to take a broad topic, like hazing, and make it into a focused topic for a research paper, there are a few brainstorming techniques you can use. The first technique is clustering -- also called mapping, webbing, or free association. This technique helps you to understand what you already know about the topic and organize your thoughts.
To begin, write the word "hazing" on a sheet of paper. Then, write a list of five words that come to your mind when you think of hazing. For this example, let's say you list terms like: college, Greek life, peer pressure, alcohol, expulsion. Which of these five words is most interesting to you, or would be most interesting to your reader? Choose only one. Take the word or phrase that most interests you and make a list for it. Again, choose the terms that are most interesting to you. Let's say you selected peer pressure as the term most interesting to you, under which you list the words: tribe, fun, homesick. Now you have a collection of ideas around the topic of hazing as it relates to peer pressure.
Now, take your small collection of terms and perform some preliminary research, to see what other reputable sources have to say. Preliminary research will help you to see if you are on the right track with your topic. If reputable sources have something to say about your search terms, you are likely on the right track and will be able to find sources to back up your thesis. For example, if you search "hazing + peer pressure + homesick," several articles come up that discuss how hazing is often a result of trying to fit in on a new campus (if you have trouble finding any reputable sources that relate to your topic, go back to your first word map and choose a new term).
After you've decided which terms relating to hazing interest you most and you have seen the research available about those terms, start to draft a topic sentence that incorporates those terms and your own point of view. The topic can be something simple, like: "Research suggests there is a strong link between homesickness and becoming the victim of hazing," or you can narrow the topic even more, like: "The correlation of reported homesickness in college freshmen and becoming a victim of hazing appears directly proportional to the size of campus."