What are Mildred's indifferences to life and Montag in Fahrenheit 451?

When the novel opens, neither Mildred nor Montag are living life fully. Mildred spends most of her time watching mindless television on giant view screens. She doesn't experience nature or real relationships with other people. Her life has become so empty that she tries to commit suicide.
Likewise, Montag's life as a fire fighter is largely empty, as he realizes when he meets Clarisse on the way home from work one evening. Like Mildred, he has become numb and unaware. He doesn't look at the sky or the moon. Unlike Clarisse and her family, Montag seldom has a real, engaged conversation with another human being. He doesn't think about ideas.
Both Mildred and Montag have become victims of a highly technological society that bans books and uses technology to keep people from thinking deeply and relating to one another.

Why does Athena favor Odysseus in Book 1 of the Odyssey?

When Athena appeals to Zeus on behalf of Odysseus, she says:

But my heart breaks for Odysseus, that seasoned veteran cursed by fate so long.

Odysseus has been cursed by being kept a prisoner in Calypso's hands too long, under the spell of her enchantment. Calypso holds him in the proverbial gilded cage of a soft life, but nevertheless Odysseus wishes, after seven years, to return home to Penelope. Athena feels a great deal of sympathy for his desire to see his wife and homeland. She appreciates Odysseus' humane and domestic side: it is his desire to be with his wife and family that moves Athena most deeply.
Athena persuades Zeus to send Hermes with the command to Calypso that she must give up Odysseus. Athena then stands beside Odysseus all the way, always in his corner (sometimes invisibly literally standing in a corner). It can seem odd to us moderns how intimately and personally a goddess can be involved in the life of a human, but the Odyssey shows the Greek belief that the gods were close to their people.

There is not a point in Homer's epic The Odyssey in which the mighty Zeus's daughter, Athena, states the reason or reasons for her determined efforts on Odysseus's behalf. Throughout The Odyssey, Athena champions Odysseus's cause--his return home to his wife and son--and thwarts Poseidon's equally determined efforts at sabotaging the mortal hero of the Trojan War's journey home. What can logically be surmised, however, is that Athena greatly loves and respects Odysseus, and ample evidence of this affection is offered at the outset of Book I. Early in The Odyssey, Athena appeals to her father, the most powerful of all the gods, for Zeus's support for Odysseus. Note, in the following passages, Athena's obvious devotion to and love for Odysseus:

". . .my heart breaks for Odysseus, that seasoned veteran cursed by fate so long — far from his loved ones still, he suffers torments off on a wave-washed island rising at the center of the seas. . .
"Olympian Zeus, have you no care for him in your lofty heart? Did he never win your favor with sacrifices burned beside the ships on the broad plain of Troy? Why, Zeus, why so dead set against Odysseus?"

As Zeus responds to his beloved daughter's entreaties on Odysseus's behalf, he rejects any notion of hostility towards the mortal hero of the Trojan War. On the contrary, he professes a certain fondness for Odysseus--a fondness evident in his willingness to allow Athena to battle Poseidon's efforts at denying Odysseus the latter's goal, to return home to Penelope and Telemachus. 
As noted, Athena's interest in Odysseus's welfare is pervasive throughout Homer's story. She respects Odysseus, and gives every indication of loving him. She does not say outright why she wants to help him, but her words are so filled with admiration for Odysseus that one can easily conclude that aids him in his voyage because she loves him.
 

Athena's favor towards Odysseus is a major theme throughout the Odyssey. In fact, she is his "guardian goddess." As the goddess of battle and wisdom, Athena shows favor towards Odysseus because he exemplifies many of the qualities that are most important to her. Throughout the Odyssey, all of Athena's words and interactions revolve around Odysseus in some way, further illustrating the degree to which she favors him.
One of the primary reasons why Athena favors Odysseus is that she admires his character. Despite being a "mere mortal," Odysseus never gives up in the face of the many challenges presented to him. He is a strong leader and exercises wisdom on many occasions. Odysseus also appreciates Athena's favor and influence, which encourages her to grant him more favors in return. Athena's admiration is evident when she allows Odysseus to fight the suitors rather than intervening directly. This shows she trusts him and has faith in his skill as a warrior.
Another reason why Athena shows favor to Odysseus is his heroism. Despite the fact that he does many un-heroic things throughout the story, he is a strong character with an equally strong will. His reputation precedes him, so the goddess Athena is already well aware of his character by the time the story begins. Although he has the favor of the gods, Odysseus delivers justice with his own power.

What is the literal meaning of the metaphor “The sunlight that brought life and healing to you has brought stripes and death to me"?

What Douglass means is that the birth of freedom—the "sunshine"—that white Americans enjoyed when they declared independence from the British was not extended to slaves. The "unalienable rights" of man remained a mirage for people like them, trapped as they were in a condition of bondage, subject to the whims of their masters. Enslaved people were regularly whipped, often for no reason at all, and this is what Douglass is referring to when he talks about "stripes"—meaning the severe lacerations caused by whipping.
What Douglass hopes to do in this speech is to persuade his audience that the love of liberty expressed with such eloquence in the Declaration of Independence cannot just be an empty expression; it must be realized in practice. And for that to happen, slavery must be abolished once and for all. Then, and only then, will the promise of liberty for all contained in the Declaration be truly and fully realized.

When Frederick Douglass made the statement that the sunlight that brought health and healing to the whites has not done so for the blacks, he was speaking on July 4, 1852. Slavery had not been abolished in the United States. The people he addressed were free, but the slaves still toiled in the sun.
By "sunshine" Douglass refers metaphorically to the freedom and independence that whites wrested from British rule when they signed the Declaration of Independence and fought the Revolutionary War. Whites were literally freed from unjust laws and taxes. This gave whites in America a new lease on life and a sense of health or healing.
However, Independence Day can mean nothing to the black slaves, for they are not yet free. All the fourth of July is to them is literally another day to toil under the hot sun and be beaten—which is what Douglass means by being "brought stripes." Independence from England has meant continued enslavement for blacks. He wants whites to think about that as they celebrate "freedom."

This quote comes from Frederick Douglass's Independence Day Speech at Rochester in 1852, where he answered the question, "What to a slave is July 4th?" Frederick Douglass acknowledges the fact that the celebration of liberty by free white Americans reveals the "immeasurable distance" to the plight of enslaved African Americans living in the same country. He examines the concept of liberty celebrated by white Americans and exposes it as a fraud.
When Frederick Douglass contrasts the lives of white and black people in America, he says "The sunlight that brought light and healing to you has brought stripes and death to me." Douglass is literally speaking on the way that sunlight gives life to plants, which in turn provides sustenance to humans that nourishes their bodies. While the white citizens benefit from the sunlight, the enslaved African Americans suffer under its rays as they are exposed to the extreme heat when they toil in the fields. The metaphorical interpretation of this statement compares how one race benefits from America's liberty while the other race suffers under its oppression.

What is each of the three shepherds complaining about as the play opens?

All three of the shepherds complain about the weather. When the third shepherd enters, he says that the level of rain they are currently experiencing has not been seen "since Noah's flood."
The other two shepherds have additional complaints besides the weather. The first shepherd complains that the weather is very cold, and he isn't well dressed to protect against it. Then he goes on to complain about overtaxation and the fact that he is a poor man who is oppressed and taken advantage of by the rich.
The second shepherd complains that it's so cold and frosty that his eyes are streaming. Having complained about the weather, he goes on to say that "poor wedded men suffer such woe" and complains that his wife has him "in shackles" so he can't make his own decisions in life but must be led by her.

How is Watson portrayed throughout the novella (include quotations)?

From the very beginning of the story, Watson is portrayed as having enormous respect for Holmes. The Sign of Four starts with Holmes injecting himself with cocaine, as is his normal habit. Yet, no matter how many times he witnesses this elaborate ritual, Watson continues to find it an unpleasant sight:

Three times a day for many months I had witnessed this performance, but custom had not reconciled my mind to it.

Watson feels that he really should say something about Holmes's drug addiction, but he is much too respectful of Holmes to contemplate doing so:

His great powers, his masterly manner, and the experience which I had had of his many extraordinary qualities, all made me diffident and backward in crossing him.

As well as being a considerate friend to Holmes, Watson also proves to be a profoundly honorable man. He falls deeply in love with Mary Morstan, but he worries that people will think he is after her money. He does not want Mary to have to deal with their snide insinuations. However, when the treasure is lost, the question of Mary's inheritance is no longer an issue. Now Watson can express his true feelings for Mary:

Because I love you, Mary, as truly as ever a man loved a woman. Because this treasure, these riches, sealed my lips. Now that they are gone I can tell you how I love you. That is why I said, "Thank God."

This leads us to another characteristic of Watson: his romanticism. In this respect, Watson is very different from Holmes, with his cold reason and unerring logic. Accordingly, it comes as no surprise that Holmes chides Watson for his romantic style in writing "A Study in Scarlet":

Honestly, I cannot congratulate you upon it. Detection is, or ought to be, an exact science, and should be treated in the same cold and unemotional manner. You have attempted to tinge it with romanticism, which produces much the same effect as if you worked a love-story or an elopement into the fifth proposition of Euclid.

Finally, Watson is presented as being incredibly loyal. One dark, foggy night, Watson finds himself with Holmes and Miss Morstan in a hansom cab rattling through the streets of London. He has no idea where they are going or even why they are going there. However, Watson trusts Holmes implicitly. However strange and potentially dangerous a situation may be, Watson knows that he can always count on his famous friend:

I lost my bearings, and knew nothing, save that we seemed to be going a very long way. Sherlock Holmes was never at fault, however, and he muttered the names as the cab rattled through squares and in and out by tortuous by-streets.

What is the symbolic meaning of Giles Corey being pressed to death in Act IV of The Crucible by Arthur Miller?

The symbolic meaning of Giles Corey being pressed to death in Act IV of The Crucible reflects how he will not acquiesce to deceit.
Giles Corey is one of the most stubborn characters in The Crucible. Miller's physical description of Corey reflects many of the traits he shows throughout the drama:

Knotted with muscle, canny, inquisitive, and still powerful. . . He didn't give a hoot for public opinion, and only in his last years did he bother much with the church. He was a crank and a nuisance, but withal a deeply innocent and brave man.

Corey does not hesitate to speak his mind, as he does not "give a hoot for public opinion." Motivated by bravery and courage, Corey is passionate about truth. For example, he constantly challenges Putnam's motivations. Corey suggests Putnam's intentions are driven by greed for land more than spirituality. In his time in front of the court, Corey refuses to give into the pressure Danforth and Hathorne exert on him, acting as his own legal counsel. Corey is also pure of heart. He sincerely asks Hale questions about his wife's reading habits out of curiosity. He has no idea such questions could be manipulated into accusations against her. Throughout the drama, Corey actively avoids peer pressure. He will not be forced to do something unless he believes in it.
Corey's death symbolizes what he embodied throughout the play. Elizabeth's description of his death communicates how he represented his beliefs until the very end:  

He were not hanged. He would not answer aye or nay to his indictment; for if he denied the charge they’d hang him surely, and auction out his property. So he stand mute, and died Christian under the law. And so his sons will have his farm. It is the law, for he could not be con-demned a wizard without he answer the indictment, aye or nay. 

To compel Corey to talk, he was pressed to death. When he insists on "More weight," Corey challenges social pressure. Corey defiantly confronts authority's desire to get him to do something he refuses to do. By insisting on "more weight," Corey emphasizes that he will not lie or embrace deceit. His challenge for more stones emphasizes this refusal.
Corey was a devoutly Christian man. This is reflected in how Elizabeth says he wanted to die with his faith. In this way, Corey acts as a Christ-figure. His sacrifice shows the transgressions within the world around him. Corey's death symbolizes the injustice of the Salem Witch Trials and how resistance in the face of unrighteousness is the only appropriate response. By refusing to speak, Corey shows how goodness and one's word do not have to be sacrificed upon the altar of public pressure.

What are 3 physical characteristics of Connor with page references?

The first chapter is a good place to look for some physical descriptions of Connor.  My text might have slightly different page numbers, so I'll try to give a bit more information.  The second paragraph of the first chapter about Connor has information about his eye color.  Readers are told that Connor's eyes are brown.  We are also told that Connor has never changed his eye color with pigment injections.  In the next few sentences of the same paragraph, readers are told about Connor's skin.  He is tattoo free, and his skin is "tan" during the summer, but it is currently white and faded looking.  This paragraph closes with information about Connor's age.  He is 16.  
The next time that readers get a good physical description of Connor is in chapter 3.  This is Lev's introductory chapter.  The Connor description is near the end of the chapter.  That's when Connor physically removes Lev from the car and uses him as a human shield.  Readers are told that Connor hits Pastor Dan with a "quick powerful punch."  This hints to readers that Connor is either big or strong, or even both.  Next, readers see that Connor is strong enough to drag Lev away from the car, and Lev can't break free, because Connor is "much bigger."  

Lev is pulled to his feet again by the kid, who grabs Lev's arm and drags him off. Lev is small for his age. This kid is a couple of years older, and much bigger. Lev can't break free.

What does Lyman refer to when he says, “By then I guess the whole war was solved in the government's mind"?

Lyman is simply saying that in the government's mind the Vietnam war had finished and they wanted nothing more to do with it. That included, it seems, having to deal with the many psychologically damaged veterans that had come back to the country. As Lyman continues to say, for his brother, the war "would keep on going."
When Henry returns after three years in Vietnam, he is unrecognizable from his former lively, humorous self. All he does is sit in front of the TV. One time he is so engrossed in a program that he doesn't notice that he has bitten all the way through his lip.
Towards the end of the story, Lyman and Henry go on a road trip where Henry finally begins to open up. Lyman starts to think he has his old brother back, but it proves a false dawn. The story ends with Henry jumping into a river and disappearing.

Lyman is talking about the Vietnam War. His brother, Henry, was a marine in Vietnam; he returns from the war clearly suffering from post-traumatic stress. The fact that the government might “decide” that the problem of Vietnam was “solved” stands in contrast the the problem the war created for Henry, which he cannot solve. One of the themes of the story is the idea of freedom. The car, of course, symbolizes that freedom; their road trip, which takes them all the way to Alaska on a whim, is an expression of what personal freedom means, and is contrasted with Henry’s military service. Although the story does not explain what happened to Henry in the war, the psychological damage is profound. He can’t “decide” that he will go back the way he was before the war. As he puts it, shortly before his drowning, “I know it. I can’t help it. It’s no use.”

Precalculus, Chapter 9, 9.3, Section 9.3, Problem 44

You need to write the following formula such that:
a_5 = a_2*q^3
You need to evaluate q and a_1 , such that:
q^3 = (a_5)/(a_2) => q^3 = (3/64)/3 => q = 1/4
a_2 = a_1*q => a_1 = (a_2)/q => a_1 = 3/(1/4)=> a_1 =12
Hence, evaluating a_1 yields a_1 = 12.

Rukmani describes her garden in vivid detail in the story. Why might she do this? What does this tell readers about how she feels about her garden, and about her character in general?

Nectar in a Sieve is a novel written by Kamala Markandaya. It is narrated by Rukmani who tells us her life story through a series of flashbacks covering the most impactful parts of her life. Rukmani's story begins when, at twelve years old, she was given in marriage to a farmer named Nathan. The two eventually have one daughter and six sons. Much of the rest of the story covers their struggles living as farmers in poverty and the places that this life takes them.
Rukmani spends a lot of time telling us about her garden—and for good reason. She tends to her garden and helps it blossom through her hard work and dedication. Rukmani becomes very proud of her garden and the work that she put into it. Markandaya uses Rukmani's love for her garden as a metaphor for Rukmani's growth as a woman. Although she was scared when she first went to live with Nathan, Rukmani soon starts blossoming. The journey that Rukmani goes through with her garden is indicative of the journey she went through as a person. She uses the garden to show us how she has grown and what traits led to her growth.

The garden in this story is very much symbolic. A significant reason behind the rise and fall of fortunes in this novel is the growth, or failure to grow, of crops. When times are good, it is because crops are thriving and there is no famine. When things fail to grow, everything else runs into trouble. The garden is connected to this.
When Rukmani reminisces about the early years of her marriage, she is remembering a time when things were flourishing: not only Rukmani and her love for her husband, but also her hopes. The title of the novel refers to Samuel Taylor Coleridge; the rest of the quote states that "hope without an object cannot live." In her thriving garden, we can see Rukmani's hopes flourishing. She has begun with nothing but a dirt patch—much as she has come to her marriage poor and without expectations—but through her love and hard work, she has succeeded in building something which is alive and vibrant. The garden is a visual representation of a time in Rukmani's life when she was able to foster and grow her hopes through the work of her own hands and her own commitment to her ideals and desires.

In the story, Rukmani reminisces about her young married days. She describes her garden in vivid detail and recalls how proud her husband was of her industry. In describing her garden in detail, Rukmani illustrates her diligent and persevering nature.
When Rukmani married, she was a young girl of twelve. Then, fearful of what marriage would hold for her, Rukmani remembers how lonely she had felt. She had married an impoverished farmer and had been disappointed when she first saw her married home. It was merely a mud hut and small for its size. However, her husband, Nathan, had been full of love for her. Rukmani remembers how grateful she was to have married a man who thought her beautiful despite her plain looks.
Under Nathan's loving care, Rukmani blossomed into a woman who enjoyed her nights of passion with her husband and who was thankful for the life she led. She describes her garden in great detail to illustrate how, under Nathan's encouragement, she was able to step beyond her comfort zone. Essentially, her garden became a symbol of her personal growth and of her contributions to their welfare. Her industry and tenacity were further exhibited through her ability to grow pumpkins, brinjals (eggplants), chilies, beans, and sweet potatoes for their own use. As she remembers, her garden was a point of pride for her, and it was partly made possible through Nathan's lavish praise and encouragement.

Calculus: Early Transcendentals, Chapter 6, 6.2, Section 6.2, Problem 39

The formula provided represents the volume of the solid obtained by rotating the region enclosed by the curves y = sqrt(sin x), y = 0, about y axis, using washer method:
V = pi*int_a^b (f^2(x) - g^2(x))dx, f(x)>g(x)
You need to find the endpoints by solving the equation:
sqrt(sin x) = 0 => sin x = 0 => x=0, x = pi
V = pi*int_0^(pi) (sqrt(sin x) - 0)^2)dx
V = pi*int_0^(pi) sin x dx
V = pi*(-cos x)|_0^(pi)
V = pi*(-cos pi + cos 0)
V = pi*(-(-1) + 1)
V = 2pi
Hence, evaluating the volume of the solid obtained by rotating the region enclosed by the curves y = sqrt(sin x), y = 0 , about y axis, using washer method, yields V = 2pi.

Which bacteria can fix atmospheric nitrogen?

A bacteria that can survive in an area without fixed nitrogen is called a Diazotroph. These organisms use an enzyme called nitrogenase to fix their own nitrogen into the soil. Most have a symbiotic relationship with a plant, forming nodules in the roots of their partners. 
The most studied nitrogen fixing bacteria are Klebsiella pneumoniae and Azotobacter vinelandii. The Klebsiella is an anaerobic bacteria, meaning it is adverse to oxygen, while the Azotobacter is aerobic, meaning it needs oxygen to survive.
Rhizobacteria grow in the rhizomes of symbiotic plants like those found in the legume family. These nodules grow on the roots of the plants.
Some cyanobacteria can fix nitrogen, and are known for fertilizing rice patties.
Most nitrogen is fixed in the form of ammonia (NH3), nitrites (NO−2) or nitrates (NO−3).

What three factors contributed to the start of the Renaissance in Italy?

The three main factors leading to the start of the Italian Renaissance are: 1) Government; 2) Banking; and 3) Intellectual Development.
The Proto-Renaissance period between 1200 and 1400 A.D. marks the transition from Medieval Europe and the power of the Catholic Church as the main political authority in Italy. Depicted in Ambrogio Lorenzetti’s 14th century fine art painting, “Effects of Good Government in the City and in the Country” exhibited in the Sala della Pace, Palazzo Pubblico in Siena, the transition to the Italian Renaissance lasting to the 17th century, restored civis (civic life) to polity after ten centuries of Medieval life.
Government
Lorenzetti’s work reflects the first factor creating the conditions for the start of the Italian Renaissance, illustrating the social and political scenario that culminated from centuries of warring between the city-states of Ferrara, Florence, Genoa, Mantua, Milan, Pisa, Siena, Verona, Venice, and finally, the Vatican. By the 15th century, the Duchy of Milan, Florence and Venice had annexed smaller communities nearby to consolidate power, emerging as the most powerful political and military forces of High Medieval Northern Italy and enjoining in a final successful battle for separation from the Papacy.
Banking
The 1454 “Peace of Lodi” truce between Florence, Milan and the international port city of Venice opened the door to a future of secular government, and with it, the expansion of mercantile trade. The Medici Bank, a financial institution established by the Republican Medici family in the 15th century presents the second factor in the historical developments promoting the Italian Renaissance. Creating a vital instrument for deposit and withdrawal of an extracted exchange value, the banking system enabled Italian merchants to no longer be reliant on the bartering of goods and services for exchange, resulting in individual prosperity, and eventually a robust economy throughout Europe.
Intellectual Development
Under the control of founder and politician, Giovanni Medici, and later son, Cosimo di Giovanni de’ Medici, the Medici Bank was also largely responsible for the third factor of the Italian Renaissance: the commission of many great artistic and scientific works. The Medici and other wealthy patrons offered artists, philosophers, and scientists, such as Leonardo da Vinci, Masaccio, and Donatello, an opportunity to advance their knowledge and technical skill beyond the Medieval patronage of the Vatican.
http://arthistoryteachingresources.org/wp-content/uploads/2014/12/14-161358475045068.jpg

https://www.history.com/topics/renaissance/renaissance-art

https://www.historytoday.com/archive/rise-and-fall-medici-bank

What was John Locke’s view of the education of women?

Locke's views on women's education, indeed his views on women in general, were remarkably enlightened for the time. In his Second Treatise of Government Locke criticized the political theory of Robert Filmer, which justified absolute monarchy on biblical grounds, and stated that the authority of kings was the same as that of fathers over their wives and children. In counter to this, Locke avers that the authority that fathers have is temporary, not permanent. Furthermore, he adds that parental authority is shared between men and women.
Locke holds that women are possessed with the same capacity for rational behavior as men. As such, Locke advocated what we now call "no-fault" divorces, based on individual choice. It's hard to underestimate just how radical this concept was in the late 17th century, especially as such divorces did not become available in the United States and Europe until the mid-20th century.
Locke's radical views of women's rationality and autonomy feed into his pedagogical theories. In his Some Thoughts on Education Locke argues that girls should receive the same education as boys, with some minor differences. The chief aim of education for Locke is the inculcation of virtue, a quality which is as important for girls as it is for boys. Locke also argues against children of either sex being sent to school; they should receive their education at home.
At the time that Locke wrote Some Thoughts on Education such schooling as was available for girls took place within the home. In advocating home schooling Locke was essentially arguing that boys should be educated in the same way that girls already were. The implications of such a theory are quite radical. The home and hearth would no longer be seen as the unique province of women; by extension, the public world would be more freely accessible to both sexes, instead of solely men.
https://ndpr.nd.edu/news/feminist-interpretations-of-john-locke/

Discuss the main idea/theme of the play Pygmalion.

There is another way of interpreting Eliza Doolittle’s transformation by Professor Higgins.
After she passes Higgins’s test, the Professor and his partner Pickering treat her coldly, not even bothering to congratulate or thank her. Offended, Eliza disappears without saying anything to the two men. When they discover she is in Mrs. Higgins’s home, the Professor is irritated that she is not more grateful for making Eliza into a proper lady.
He sulks and pouts, annoyed that Eliza would expect gratitude after what he sees as the hard work he had to put into changing her ways so that she could play the part of a convincing lady. He continues to mock her, joking about her suggestion that she will marry Freddy and hand over Higgins’s phonetic techniques to his rival. The play ends ambiguously with no clear indication as to what is going to happen to these characters.
Rather than exalting the ability of the lower classes to fit in with the upper classes through hard work, Shaw is making a comment about the frivolity and emptiness of English high society. Eliza thanks Pickering for always treating her like a duchess, even when she is still a lowly flower girl. She says that his treatment of her is what allowed her to really embody a lady. She gained self-respect and belief that she never had before because of Pickering’s kindness and gentility.
Contrary to what Higgins believes, his experiment was successful in spite of him—not because of it. As he walks offstage in the final act, Higgins laughs hysterically about Freddy. The lack of seriousness with which he treats Eliza, a member of the lower class, is indicative of his prejudice and shallowness. Regardless of how much training and education she receives, Higgins will never see Eliza as anything more than a flower girl.
Of course, Shaw fills in the ambiguous ending with a lengthy epilogue that confirms Eliza’s marriage to Freddy and Higgins’s continued judgment.

Shaw wanted to puncture the idea that genetics or a person's family background "naturally" fitted them to be upper- or lower-class. He believed that people from any class could be born with brains and talent and rise to the top if given the opportunity.
To highlight his idea that lower-class people in England could get ahead if they were given the right education, Shaw centered his play on a lower-class Cockney woman from the slums of east London. Eliza Doolittle has little education, never has had a full bath, wears terrible clothes, and speaks with a Cockney accent. Professor Higgins bets that if he cleans her up, teaches her how to behave, and trains her to speak English with an upper-class accent, he can pass her off in any social group, no matter how grand.
The plan works. With the right accent, manners, and clothes, Eliza Doolittle passes muster among royals and aristocrats. Shaw thus shows that denying lower-class people the opportunity to improve themselves is wrong.

In an experiment on petri dishes, what purpose does plating the yeast serve?

Yeast can be easily plated or grown in petri dishes. Plating of yeasts can serve a number of purposes:
1) It allows one to demonstrate that yeast can grow in petri dishes. This would be especially relevant to students.
2) It allows one to demonstrate the proper protocol for yeast plating (or streaking).
3) It allows one to isolate a particular strain of yeast (through successive plating) from a mixture of microbes.
4) It allows one to create a yeast bank (growing a large amount of yeast and storing it for future use).
5) It allows one to calculate the amount of yeast present in a sample. This is done by using a definite volume of sample for plating and counting the resulting yeast colonies.
6) It allows one to isolate single colonies for further plating.
7) It allows one to calculate the doubling time (time required to double the number of cells).
8) It allows one to draw the growth curve, including the lag phase, exponential growth phase, stationary phase, and death phase.
Thus, plating of yeast can be done for a number of reasons. Students, researchers, and brewers also routinely plate yeasts for their specific purposes. Interested people can also grow yeast at home.
Hope this helps.

What are the three domestic macroeconomic policy goals? Explain each in detail.

The three domestic policy goals of macroeconomic theory are full employment, stability in business cycles, and economic growth through increasing national production. Macroeconomic domestic policy is concerned with:

how labor, and all types of national resources, are utilized for production.
the stability of economic business cycles.
increasing growth in national production.

Full employment, inversely related to the unemployment rate, has the objective that all persons 16 years and older who are able and willing to work should be working. Full employment of the labor resource is important because then all types of resources—labor, capital, land, and knowledge—are engaged in national production, supplying the goods and services people want or need and reducing scarcity.Stability in business/production cycles means that there are limitations to disrupting variations in stable economic conditions. Disrupting economic expansions occur with inflation, and disrupting economic downturns occur with recession. Stability in economic conditions—neither inflation nor expansion—leads to stability in full employment, in price levels, and in national production. This circles back to full utilization of all types of national resources.Economic growth is the result of increased production of goods and services. Increases in production are directly tied to stability in business cycles and to full employment. Economic growth accompanies labor, and other types of resources, being utilized for increasing national production and resulting in reduction of scarcity.
You'll notice the unifying objective seen in the three macroeconomic domestic policy goals is maximization of national production. This objective is accomplished through full employment, economic stability, and economic growth.
REFERENCE SOURCE
Macroeconomic Goals
https://www.economicsonline.co.uk/Managing_the_economy/Macro-economic_policy_objectives.html

Domestic macroeconomic policy goals are often set as part of a larger political agenda and can vary depending on the particular political parties in power and the ways in which they respond to popular sentiment. Three of the most common domestic macroeconomic policy goals are listed below.

Full employment (or low unemployment): Full or close to full employment is a common and popular macroeconomic goal. Countries and individuals flourish when all the people searching for work can find jobs. High unemployment leads to dissatisfaction and political unrest, and it negatively impacts morale and the well-being of citizens.

Fair or equitable distribution of income: Although absolute economic equality is rarely a goal in liberal democracies or even in state capitalism such as that found in China or Russia, highly unequal wealth distribution has a negative impact on human relations and political stability. Most governments use taxation and some forms of redistribution as a way to reduce income inequality.

Non-Inflationary Growth: Most countries want to increase GDP, which is something that ideally benefits all citizens. However, monetary policy is used to ensure that GDP increases do not lead to excessive inflation, which can erode purchasing power and have a negative impact on balance of trade.

There are three goals that macroeconomic policymakers are generally trying to accomplish.  These three goals are: 1) economic growth, 2) low inflation, and 3) low unemployment.
Economic growth is the first of these goals. Economic growth can be defined as an increase in the country’s ability to produce goods and services.  Policymakers will want to help the country’s economy increase the amounts of resources that it has available for use.  Economic growth is good because it means that people in the country have more goods and services and, thereby, a higher standard of living.
A second goal is low unemployment.  This goal generally goes along with economic growth.  When the economy grows, unemployment is generally low.  Low unemployment is good partly because it means that more of the people who want work will have it and partly because it means that more people are making goods and services to increase the standard of living in the country.
Finally, macroeconomic policy tries to keep the rate of inflation low.  This can be difficult in times of economic growth and low unemployment because economic growth and low unemployment can bring about inflation.  Inflation is the increase in the average price level in the economy.  When the prices of goods and services in general rise, the economy experiences inflation.  Policymakers try to keep inflation low because high inflation harms people who are on fixed incomes and because high rates of inflation make it less likely that people will want to lend money.
Macroeconomic policymakers, then, attempt to achieve all three of these goals, even though the goals can be hard to achieve simultaneously.
http://econperspectives.blogspot.com/2008/03/13-three-primary-macroeconomic-policy.html

http://www.amosweb.com/cgi-bin/awb_nav.pl?s=wpd&c=dsp&k=macroeconomic+goals

Was Beowulf a typical epic hero?

Beowulf, the main character of the Old English poem Beowulf, fulfills many, but not quite all, of the usual characteristics of the epic hero.
Most importantly, he exhibits the qualities esteemed by his culture. When Beowulf was composed, England was primarily an Anglo-Saxon area. The Anglo-Saxon culture was significantly influenced by warfare. This warrior-based culture fostered values like courage and loyalty, both traits that Beowulf possessed in abundance.
Epic heroes often battle supernatural enemies, as Beowulf did with Grendel, Grendel's mother, and finally the dragon that terrorized his kingdom.
A long and dangerous voyage is also a hallmark of the epic hero's experience. We don't really see a lot of this in Beowulf, although his journey to and from Hrothgar's kingdom is briefly referred to.
Epic heroes often have a noble birth. While Beowulf is not born to a king, and is therefore not a prince, he is related to the Geat king Higlac. When Higlac dies in battle, Beowulf ascends to the Geat throne.
Some sort of exceptional ability is often attributed to the epic hero. Beowulf is probably the strongest warrior in the world. He can defeat Grendel single-handedly. He kills sea monsters by himself. He even battles a dragon as an old man.
The one characteristic of the epic hero that Beowulf most certainly does not possess is humility. In terms of our modern sensibilities, Beowulf looks like an arrogant braggart as boasts of his many feats of bravery and strength. However, he is telling the truth—he really is capable of doing all the things he says he can do and has done.
Taken as a whole, Beowulf is an epic hero, even if he does not meet all the criteria. Even Odysseus, the star of the Greek epic The Odyssey, was known to blow his horn about his exploits from time to time.
 

In “The Defender of the Faith,” what does Sergeant Nathan Marx mean when he says that he had “grown an infantryman’s heart, which, like his feet, at first aches and swells, but finally grows horny enough for him to travel the weirdest paths without feeling a thing”? What kind of figure of speech does Philip Roth use here? How does that figure of speech relate to the themes of the short story?

Nathan Marx has served in the army during World War II for over three years, and he has seen horrible things. He has raced with the rest of the Ninth Army across Germany. Later in the story, he recalls some of what he saw in the forests of Belgium and in Germany: people dying, soldiers burning books from German farmhouses to survive, and the destroyed cities of Europe. To survive, he has hardened his heart. In this quotation, which is a simile, he compares his hardened heart to his feet. At first, a soldier's feet are raw and become sore from marching; however, over time, they harden and become callused so that they feel no pain. Like his feet, his heart is immune to pain because he has become so tough.
This figure of speech relates to the rest of the story because Marx comes to disdain and then hate Sheldon Grossbart, who tries to carve a softer path for himself in the army. Grossbart thinks Marx will protect him because they are both Jewish, but Marx rejects Grossbart's pleas for sympathy when he realizes that Grossbart has lied to him. Marx's first priority is thinking about the goals of the army and winning the war. He thinks like a hardened soldier, not like a civilian who has the luxury of feeling pity. In the army, Marx is no longer capable of sympathy but can only feel vindictive. 

College Algebra, Chapter 1, 1.3, Section 1.3, Problem 78

Suppose that the equation $kx^2 + 36x + k = 0$, find the values of $k$ that ensure that the given equation has exactly one solution.


$
\begin{equation}
\begin{aligned}

kx^2 + 36x + k =& 0
&& \text{Given}
\\
\\
D =& b^2 - 4ac
&& \text{Discriminant Formula}
\\
\\
0 =& b^2 - 4ac
&& \text{$D = 0$, for exactly one solution}
\\
\\
0 =& (36)^2 - 4(k)(k)
&& \text{Substitute the values}
\\
\\
0 =& (36)^2 - 4k^2
&& \text{Solve for } k
\\
\\
4k^2 =& 36^2
&& \text{Divide by 4, them take the square root}
\\
\\
k =& \pm \sqrt{324}
&&
\\
\\
k =& 18 \text{ and } k = -18
&&



\end{aligned}
\end{equation}
$

What does Pearl Prynne need in The Scarlet Letter?

Hester's daughter, Pearl, needs her father to acknowledge her. Until he does, she exists only as a symbol: of her parents' love, their sin, their secret, her father's guilt, her mother's scarlet "A." She cannot really be a person because her lack of this link to the world leaves her somewhat untethered. It's as though her self is too open to interpretation until she is claimed. Once Dimmesdale, her father, finally publicly acknowledges her upon the scaffold before all his confused parishioners, only then can she become a real individual and lose her symbolic status. The narrator says,

Pearl kissed his lips. A spell was broken. The great scene of grief, in which the wild infant bore a part, had developed all her sympathies; and as her tears fell upon her father's cheek, they were the pledge that she would grow up amid human joy and sorrow, nor forever do battle with the world, but be a woman in it. Towards her mother, too, Pearl's errand as a messenger of anguish was all fulfilled.

Therefore, in order to have a real life, a life in which Pearl no longer fights society as an enemy, real or imagined, Dimmesdale had to acknowledge her. In order for Pearl to become a person instead of a symbol, she had to be publicly claimed by him.

How would I write a one page essay on the microskills of writing?

The question isn't clear on what kind of essay needs to be written. Is it an informative essay explaining what microskills in writing are, or is the essay a persuasive essay about the importance of those microskills in writing? Regardless of the essay's type, be sure to grab your reader's attention right from the first sentence. Bored readers don't keep reading with any kind of engagement. As for the specific microskills to discuss, I would be sure to emphasize the importance of using acceptable grammatical systems. This could mean a lot of things, but one definite microskill that students tend to mess up quite a bit is subject and verb agreement. Singular subjects require singular verbs. Most people don't mess this up until a prepositional phrase is thrown in there. For example: The team of boys are doing quite well. This is an incorrect subject and verb agreement. The sentence is not about the boys doing well. The sentence is about the team. It should be written as follows: The team of boys is doing well. Other microskills to discuss could be about pluralization, varying sentence types, and writing at an efficient rate of speed to fit the purpose of a piece of writing.
https://opensiuc.lib.siu.edu/cgi/viewcontent.cgi?referer=&httpsredir=1&article=3022&context=theses

If a hypothesis is not testable, does that mean the hypothesis is wrong?

The successful use of the scientific method depends on constructing clearly-stated, testable, falsifiable hypotheses. Assuming your hypothesis is correct, what should we expect to see? And what sorts of things should not happen if the hypothesis is correct?
Being testable is about being able to answer these questions. It has nothing to do with the truth value of the hypothesis. If a hypothesis is not testable, that doesn't imply that it's false. 
Testability means that there is a way to settle a question based on evidence; there is a way to obtain evidence against an idea. If I claim that the moon is made of green cheese, that's testable. It's an idea that gives rise to predictions that we can operationalize (define in terms of concrete procedures and measurements) and test. Astronauts can collect samples; the samples can be analyzed for the presence of cheese.
But if I claim that the moon is inhabited by a supernatural, ethereal being -- one that can't be detected by our senses or by any technological device -- then my proposition is untestable. There are no observations we can make that would be inconsistent with my hypothesis. There is no test we can construct that has the potential to disconfirm my claim.
Does this mean that my hypothesis about the ethereal moon-dweller is false? No. It means only that the hypothesis is untestable, and, therefore, not a question that can be answered by the scientific method.
There are many questions or hypotheses that can't be answered by science because they are not testable. Some, like the moon-dweller hypothesis, are intrinsically not testable. What is the meaning of life? Will all creation be destroyed in the next century by an unknown, cosmic power? Is all reality merely the product of an elaborate dream? There seems no possible way to test these hypotheses, no matter what sort of technology we might develop in the future.
Other questions might be testable under certain conditions, but those conditions don't currently exist. They are not testable in practice. Such cases can help you appreciate the difference between being not testable and being false. In the 19th century, hypotheses about the composition of the moon were not testable. We lacked the technology to answer them. If someone back then proposed that the moon had rocks on its surface, there was no practical way to confirm or refute it. The hypothesis was, at that time, not testable. But it wasn't false.
https://undsci.berkeley.edu/article/0_0_0/whatisscience_05

Does Bella Cullen turn into a vampire after Edward bites her during Renesmee's birth in Breaking Dawn by Stephanie Meyer?

Yes, Bella does turn into a vampire following Renesmee's birth. Throughout the novel, we see how the growing baby affects Bella on the outside. Her health rapidly deteriorates because she is a human carrying a baby we can assume is at least part vampire. The baby's supernatural attributes are too much for a human like Bella to withstand. She loses weight, needs to drink blood, and shows signs of physical exhaustion.
During Renesmee's birth, complications arise. Bella is dying, and Edward decides to use his bite or saliva to mend Bella's wounds. Following the birth, Edward's bite is able to heal Bella and turn her into a vampire. Faced with the possibility of losing Bella, Edward makes a choice that allows Bella to stay in his life. Despite his original reluctance to "turn" Bella, he changes her into a vampire to prevent her human death.

Single Variable Calculus, Chapter 5, 5.5, Section 5.5, Problem 24

Find the indefinite integral $\displaystyle \int \frac{dt}{\cos ^2 t \sqrt{1 + \tan t}} dx$


$
\begin{equation}
\begin{aligned}

\int \frac{dt}{\cos ^2 t \sqrt{1 + \tan t}} =& \int \frac{1}{cos ^2 t \sqrt{1 + \tan t}} dt
\\
\\
\int \frac{dt}{\cos ^2 t \sqrt{1 + \tan t}} =& \int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt

\end{aligned}
\end{equation}
$



If we let $\displaystyle u = 1 + \tan t$, then $\displaystyle du = \sec^2 t dt$. And


$
\begin{equation}
\begin{aligned}

\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& \int \frac{1}{\sqrt{1 + \tan t}} \sec ^2 t dt
\\
\\
\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& \int \frac{1}{\sqrt{u}} du
\\
\\
\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& \int u^{\frac{-1}{2}} du
\\
\\
\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& \frac{u^{\frac{-1}{2} + 1} }{\displaystyle \frac{-1}{2} + 1} + C
\\
\\
\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& \frac{u^{\frac{1}{2}}}{\displaystyle \frac{1}{2}} + C
\\
\\
\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& 2u^{\frac{1}{2}} + C
\\
\\
\int \frac{\sec ^2 t}{\sqrt{1 + \tan t}} dt =& 2 (1 + \tan t)^{\frac{1}{2}} + C

\end{aligned}
\end{equation}
$

What do each of the characters represent in The Faerie Queene?

The subject matter of the epic poem The Faerie Queen, by Edmund Spenser, stems largely from Arthurian legends, so we can take some of our cues from there when we look for insight into what Spenser’s characters might represent. The poem contains supernatural elements and figures in order to convey allegory, which contains layers of hidden meaning. Spenser utilized these “pastoral” elements as a framework for his characters. It’s important to note that Spenser also used elements of the Protestant religion alongside classical mythology and pagan symbolism, which were used harmoniously to impart these deeper meanings. Thinking about this will help us to better understand what the figures, or characters, represent.
There are three categories to consider when defining Spenser’s allegorical representations: moral, religious, and political. For example, the Lion represents reason (moral) and reformation (religious) as embodied by Henry VIII (political). The Dragon represents sin (moral), Satan (religious), and Rome and Spain (political). We begin to see a theme present itself in the characters, which are based on Spenser’s interpretations of the moral, religious, and political climate in England during the Edwardian era.
In another example, the strong anti-Catholic movement in England during Spenser’s lifetime is referenced, in addition to the social and political unrest in Ireland. The characters Corceca, Abessa, and Kirkrapine are all based on Irish Catholic figures and represent what the author and most of his contemporaries believed about the Irish clergy. Together they embody the unseemly qualities of sin, superstition, blind devotion, robbery, and immorality. In contrast, the characters who represent the higher virtues are based on English religious and political figureheads.

The Faerie Queen is an allegorical story about the abuse of power and excess. Spencer is amplified in literature canons because his poem is one of the longest written in the English language and because he developed a storyline that includes multiple levels of allegory. Each story within the poem. The characters are the most intriguing pieces of the allegory because Spencer uses them to keep the reader on their toes. He briefly names a character before he introduces the character, and his character names are not real characters as much as they are comparisons (see Stanza 44). The poem follows many characters through a journey and each reader through life lessons.
There are several characters with normal names who stand for more. Sir Guyon is the knight of the Faerie Land and is on a typical knight-like quest to destroy the Bower of Bliss; he is the picture of temperance of drink, sex, and lust. Redcrosse is the hero of Book 1; he has to kill a dragon to win his bride, but he stands for holiness. Britomart, a female knight, represents chastity.
Then, there are the characters named for what they represent. Genius (Stanza 47) actually turns out to be bad, and even though knowledge is a presiding spirit, it is not always a good thing to have an abundance of 'genius.' Excess (Stanza 57) is an immodestly dressed lady who we see crushing grapes into a goblet; she represents the excess of lust and drinking.
All of the characters that Sir Guyon encounters present a test for him on his quest. Therefore, ultimately, each character represents something familiar in day to day life that we have to overcome and decide the difference between acceptable and excessive.

For further reading and references:
https://www.poetryfoundation.org/poems/45192/the-faerie-queene-book-i-canto-i

Spenser’s epic poem is a religious allegory, so its characters embody various virtues or stand as archetypal representations of their opposites. For instance, the knights Redcrosse and Britomart represent holiness and chastity, respectively. Britomart’s disguised femininity actually makes her the ideal representation of chastity, since it protects her from succumbing to the temptations that lead many of her male counterparts astray. Una, Redcrosse’s love interest, represents ultimate truth, while her opposite, the witch Duessa, is the embodiment of duplicity: lies and deceit. The sorcerer Archimago, who is capable of altering his appearance, could be seen as the ultimate trickster or devil. Other names within the work contain broader hints about the individual virtues or traits of a particular character. The name, Arthegall, means “like Arthur,” while the names of the three women Redcrosse encounters in the House of Holiness literally mean “faith,” “hope,” and “charity.”
Some of the work’s characters have real-life counterparts. Redcrosse, for example, ultimately is revealed as St. George (England’s patron saint). Arthur, the story’s hero, was an actual historical figure, although the legends that grew around him promised a Golden Age with his eventual return. This made him the ideal consort for Gloriana, the Faerie Queene, an embodiment of Queen Elizabeth I.

Please help me to analyze Charlotte Turner Smith's sonnet "Written in October."

Knowing that the poem is written by Charlotte Turner Smith is actually a big help in understanding this sonnet.  Smith pioneered a new sonnet form called the "elegiac sonnet."  This sonnet form is also a bit of an amalgamation of previous sonnet forms in that Smith uses the rhyme scheme made famous by Petrarch; however, she doesn't always stick to it exactly.  She will occasionally blend in Shakespeare's rhyme scheme or even make use of "eye rhymes."   
"Written in October" is an elegiac sonnet.  It is a fourteen-line poem written in iambic pentameter.  That means each line contains five separate iambic feet.  An iambic foot is a poetic unit made up of an unstressed syllable followed by a stressed syllable.  The word "allow" is a word with this kind of rhythm.  Line 5 is a good example of iambic pentameter.

Are well / attuned / to my / dejec / ted mood....

Smith's rhythm and meter are not perfect, though.  Remember, this sonnet form is intentionally mixing things up.  Line three is not written in pentameter.  It has too many syllables.  

And muttering many a sad and solemn sound....

"Written in October" also has a rhyme scheme that is different from Petrarch and Shakespeare. Petrarch's rhyme scheme is ABBAABBA CDECDE.  It's typically divided into two stanzas, too.  The first stanza is eight lines (an octet), and the second stanza is six lines (a sestet). Shakespeare's rhyme scheme is ABAB CDCD EFEF GG and is divided into three quatrains that end with a couplet. Smith's poem doesn't follow either form.  It begins with an ABAB rhyme scheme, but then it moves to a CDDC rhyme scheme.  Lines 9–12 are EFFE, and the poem does end with a couplet.  
As with the meter not being perfect, the rhyme scheme isn't perfect in this poem either.  It only looks that way upon first glance.  Lines 5 and 8 are "eye rhyme" lines.  Eye rhymes are words that look like they should rhyme because of spelling, but they are pronounced differently.  Line 5 ends with "mood" and line 8 ends with "wood."  They differ in spelling by only a single letter, but they are pronounced quite differently.  The final couplet is an eye rhyme as well. Smith definitely messes with reader expectations about sonnets just by diverting from traditional forms of rhyme and meter.
This sonnet is about the narrator's dejected mood. The first four lines tell readers about the depressing parts of the fall season.  Leaves are dead, fallen, and faded, and other things are pale and dried out.

The blasts of Autumn as they scatter round


The faded foliage of another year,


And muttering many a sad and solemn sound,


Drive the pale fragments o'er the stubble sere....

Line 5 then tells readers that the dying image of fall is perfect for the narrator's mood. Line 6 further stresses this point by saying that the fall mood is by far better than the hopeful outlook of spring.

(Ah! better far than airs that breathe of Spring!)

In lines 7–12, the narrator sets up a comparison.  The narrator says that he/she would rather listen to hoarse-sounding birds seeking shelter in leafless forests than listen to sounds that are typical of May.  
The final couplet is quite depressing.  

Nature delights me most when most she mourns,
For never more to me the Spring of Hope returns!

The lines echo the poem’s beginning by reminding the reader that the sorrowful effects of fall are much more appealing to the speaker than other seasons—an unconventional view that also defies reader expectations.  It’s the poem’s final line that is extremely depressing.  The narrator admits that hopeful feelings will never again return to him/her.  

What government regulations affect the fashion retail industry and retail clothing stores in particular?

For purpose of this question, we will discuss regulations separate from any general criminal law. Regulation of business usually serves the purposes of protecting the customers (consumers) of that business, protecting the employees of that business, and/or protecting society in general from potential adverse impacts arising from that business’s operation.
To keep it simple, consumer protection regulation requires that (a) products be safe to use, (b) key information about the product is accurately provided to the consumer before they buy, and (c) terms for payment, refund, and defect or problem resolution be considered “fair.” In fashion retailing, the most salient regulations require proper labelling (both in terms of fiber content, care instructions, and place of manufacture; see the link for OTEXA requirements below) and product safety (in terms of the dyes and fibers and their safety for use). This latter point may include flammability standards, especially for apparel marketed for infants and small children. Note also that the place of manufacture information may be used by some consumers to avoid supporting textile industries in foreign countries which engage in practices which those consumers may consider inappropriate or unethical (e.g. child labor). In this latter capacity, the regulation is furthering the aim of protecting the societies in which the apparel is manufactured.
As far as employee protection is concerned, fashion retailing in most US locations is governed by the same laws and regulations covering any retail business. For the most part, these regulations are national in scope, and cover such things as working hours, minimum and overtime pay, and worker safety (OSHA standards).
Finally it is important to note that many of the purposes of regulation are in fact accomplished through the adoption of industry standards and practices. That is, fashion retailing, like most other major industries, works to avoid overt government regulation by “self-regulating” through trade associations and industry SOP. An example of this is industry moves to foster use of sustainable fiber technologies (such as sustainability in cotton agriculture).
https://www.cpsc.gov/content/file-error

How does the poet use symbolism to represent a shift in the speaker's attitude?

Throughout the poem, Longfellow uses descriptions of the weather conditions—"The day is cold, and dark, and dreary," for example—to symbolize the speaker's sorrowful and sad frame of mind. It is raining, the wind blows, and the dead leaves fall from the trees, and these negative descriptions parallel how the narrator feels about his life; he cannot stop thinking about the long-dead past, and he realizes that all of his youthful hope is gone. However, in the third stanza, there is a shift into something more like optimism. He says,

Be still, sad heart, and cease repining;Behind the clouds is the sun still shining;Thy fate is the common fate of all,Into each life some rain must fall,Some days must be dark and dreary.

In other words, the rain still symbolizes sadness or sorrow, but behind the clouds, he says that the sun is still there. The sun seems to symbolize hope, and the happy times that will inevitably be interspersed with the "dark and dreary" days. Thus, the final stanza achieves a hopefulness that the first two stanzas lack. Yes, we must accept some sad times, but we will have happy times too.

Create a line that is tangent to f(x)=3-5x^2 and goes through point (-1,-2).

The given point (-1, -2) lies on the graph of the given function:  f(-1) = 3 - 5 = -2.
In this situation, the equation of the tangent line at this point is
y = f'(-1)(x - (-1)) + f(-1).
Because  f'(x) = -10x,  we obtain  f'(-1) = 10  and the equation becomes
y = 10(x + 1) - 2 = 10x + 8.
The graph is attached.
 
[the math editor is broken, says "f(x)=x^2" for many formulas]

We are going to make a tangent line of the form
eq. (1): y(x)=m*x +b
Such that y(x) goes through point (-1,-2). Therefore y(-1)=-2 must be satisfied.
Here m is the slope that is tangent at point (-1,-2) and b is the y-intercept.
First lets find m. 
We need to find the derivative f'(x) which will give the slope of any point x on the line f(x). Hence, m=f'(-1) since that is the point we are interested in.
f'(x)=(3-5x^2)'=-10x
m=f'(-1)=-10(-1)=10
Now plug m into eq. (1). Solve for b such that x and y go through the point of interest.
y(x)=mx +b
-2=10(-1)+b
8=b
You now have your line that is tangent line at the point (-1,-2).
y(x)=10x +8

What are some quotes from Part 1 that show what Atticus Finch carries in his briefcase?

Atticus brings Scout a book home in his briefcase in part 1 of To Kill a Mockingbird.  When he arrives home from work, Jem takes his briefcase and Scout asks her father if he has brought a book for her:

Jem, forgetting his dignity, ran with me to meet him.  Jem seized his briefcase and bag, I jumped into his arms, felt his vague dry kiss and said, "'d you bring me a book?'" (Chapter 13)

Scout enjoys reading with her father.  Together, they read a variety of texts.  They read informational books, law, the Bible, and newspapers.  When Miss Caroline tells Scout that she can no longer read with her father, she realizes how special their time together is.
On two separate occasions later in the novel, it is revealed that Atticus carries papers in his briefcase.  These papers have to do with the legal matters he is working on, such as the trial of Tom Robinson.  The following is a quote from the one of the courtroom scenes in Tom's trial:

[Atticus] had evidently pulled some papers from his briefcase that rested beside his chair, because they were on his table (Chapter 20).

When did Helen Keller write The Story of My Life?

Helen Keller's autobiographical work, The Story of My Life, was first published in 1903.  Helen Keller began writing the autobiography a year earlier.  At that time, 1902, Helen Keller was still a student at Radcliffe's College.  The book did not start out as an entire autobiographical novel.  Originally, Helen Keller wrote it in segments to be published in different issues of the Ladies Home Journal. She completed all of that work in 1902, but in 1903 Doubleday, Page & Co. published Helen Keller's work as a novel.  The novel was, and still is, very successful.  It has been adapted into both a Broadway play and a Hollywood film.  The Story of My Life is also not Helen Keller's only novel.  She wrote two other novels following the success of her autobiography.  Those novels are Midstream and My Later Life. 

Intermediate Algebra, Chapter 3, 3.2, Section 3.2, Problem 76

State whether the lines with equation $3x = y$ and $2y - 6x = 5$ is parallel, perpendicular, or neither.

We find the slope of each line by solving each equation for $y$

Equation 1


$
\begin{equation}
\begin{aligned}

y =& 3x
&& \text{Given equation}

\end{aligned}
\end{equation}
$


Equation 2


$
\begin{equation}
\begin{aligned}

2y -6x =& 5
&& \text{Given equation}
\\
\\
2y =& 6x + 5
&& \text{Add each side by $6x$}
\\
\\
y =& 3x + \frac{5}{2}
&& \text{Divide each side by $2$}

\end{aligned}
\end{equation}
$


We know that the slope is given by the coefficient of $x$ and since the slopes are equal, the two lines are parallel.

int e^x/((e^(2x)+1)(e^x-1)) dx Use substitution and partial fractions to find the indefinite integral

inte^x/((e^(2x)+1)(e^x-1))dx
Apply integral substitution:u=e^x
=>du=e^xdx
=int1/((u^2+1)(u-1))du
Now let's create partial fraction template for the integrand,
1/((u^2+1)(u-1))=A/(u-1)+(Bu+C)/(u^2+1)
Multiply the equation by the denominator,
1=A(u^2+1)+(Bu+C)(u-1)
=>1=Au^2+A+Bu^2-Bu+Cu-C
=>1=(A+B)u^2+(-B+C)u+A-C
Equating the coefficients of the like terms,
A+B=0    -------------------------(1)
-B+C=0  -----------------------(2)
A-C=1       -----------------------(3)
Now we have to solve the above three linear equations to get A, B and C,
From equation 1, B=-A
Substitute B in equation 2,
-(-A)+C=0
=>A+C=0    ---------------------(4)
Add equations 3 and 4,
2A=1
=>A=1/2
B=-A=-1/2
Plug in the value of A in equation 4,
1/2+C=0
=>C=-1/2
Plug in the values of A,B and C in the partial fraction template,
1/((u^2+1)(u-1))=(1/2)/(u-1)+((-1/2)u+(-1/2))/(u^2+1)
=1/(2(u-1))-(1(u+1))/(2(u^2+1))
=1/2[1/(u-1)-(u+1)/(u^2+1)]
int1/((u^2+1)(u-1))du=int1/2[1/(u-1)-(u+1)/(u^2+1)]du
Take the constant out,
=1/2int(1/(u-1)-(u+1)/(u^2+1))du
Apply the sum rule,
=1/2[int1/(u-1)du-int(u+1)/(u^2+1)du]
=1/2[int1/(u-1)du-int(u/(u^2+1)+1/(u^2+1))du]
Apply the sum rule for the second integral,
=1/2[int1/(u-1)du-intu/(u^2+1)du-int1/(u^2+1)du] ------------------(1)
Now let's evaluate each of the above three integrals separately,
int1/(u-1)du
Apply integral substitution:v=u-1
dv=du
=int1/vdv
Use the common integral:int1/xdx=ln|x|
=ln|v|
Substitute back v=u-1
=ln|u-1|    -------------------------------------------(2)
intu/(u^2+1)du
Apply integral substitution:v=u^2+1
dv=2udu
int1/v(dv)/2
Take the constant out and use standard integral:int1/xdx=ln|x|
=1/2ln|v|
Substitute back v=u^2+1
=1/2ln|u^2+1|    ----------------------------------------(3)
int1/(u^2+1)du
Use the common integral:int1/(x^2+a^2)dx=1/aarctan(x/a)
=arctan(u)  ------------------------------------------(4)
Put the evaluation(2 , 3 and 4) of all the three integrals in (1) ,
=1/2[ln|u-1|-1/2ln|u^2+1|-arctan(u)]
Substitute back u=e^x and add a constant C to the solution,
=1/2[ln|e^x-1|-1/2ln|e^(2x)+1|-arctan(e^x)]+C
 

What nationality is Miss Brill in Katherine Mansfield's short story? What is the setting of the story? Why is it important?

Katherine Mansfield was born and raised in New Zealand but moved to England at the age of 19, and the central character in her short story "Miss Brill" can be presumed to be from Great Britain, although she could just as easily be from any of the other English-speaking nations, such as the author's native New Zealand or the United States. She does seem, however, decidedly English, but she is living in France. The setting of "Miss Brill" is primarily the central square of an unnamed French town or city. Mansfield specifies the Jardins Publiques, which translates simply as "public gardens," which could refer to an area like the Luxembourg Gardens in Paris, but could also apply to any number of other public gardens or parks in France. The other center of activity in "Miss Brill" is her apartment, a "little dark room" to which the titular figure retreats in defeat and sadness at the story's end. A bench, Miss Brill's favorite, at the public garden, however, is the main setting. From the bench there is a view of the bandstand.
The setting of "Miss Brill" is important because it allows for a dramatic contrast between the scale of human activity that takes place in this public area and the isolation and loneliness of the story's protagonist. The gardens are a vibrant, colorful area in which little children play, a band performs, and young and old couples alike share space and time. It also allows for a description of the protagonist's perspective and how Miss Brill observes the world around her. Note, for instance, the following passage, in which the narrator describes Miss Brill's regular Sunday pastime, people-watching while sitting on the bench:

"Other people sat on the benches and green chairs, but they were nearly always the same, Sunday after Sunday, and--Miss Brill had often noticed--there was something funny about nearly all of them. They were odd, silent, nearly all old, and from the way they stared they looked as though they'd just come from dark little rooms or even--even cupboards!"

This passage is important. It illuminates Miss Brill's perspective. She silently observes others, oblivious to the fact, as will be revealed, that she herself is equally observed and found wanting. Miss Brill is a sad, lonely figure, and, it turns out, an anachronism--a character from an earlier, perhaps more genteel era. That is why Mansfield placed so much emphasis on the old fur Miss Brill takes out of a box and lovingly tends and puts on before going outside. The Jardins Publique may once have been a welcome environment to someone of Miss Brill's ilk, but no more. Time has passed her by.

Miss Brill seems to be an English woman who now lives in France and teaches English. At one point, she references her "English pupils" and considers telling them what she does on Sundays. 
The story is set in France, and the action takes place at Miss Brill's home as well as the Jardins Publiques (or the public gardens, a large park). The story begins in her apartment, and then she walks to the park on a brisk and bright Sunday morning.
These facts are important because they help us understand that Miss Brill is very much alone. She clearly worries that no one would miss her if she disappeared, and this is why the fantasy of being in a play is so attractive to her. Believing that she plays a role allows her to think that she would be missed if she didn't show up one day. Miss Brill doesn't fit in at the most basic cultural level—she's a foreigner—and this undercurrent of alienation helps us to understand just how completely untethered by relationships she is. It helps us see why she creates a fantasy world in which she becomes important.

What are the major achievements of Rabindranath Tagore?

Rabindranath Tagore was a Bengali writer and artist who was born on May 7, 1861, in Calcutta and died there on August 7, 1941. Born to a wealthy Brahmin family, he was tutored at home and traveled and read widely; despite limited formal schooling, he was widely educated in many disciplines. He is best known for his work as a writer and artist and for being the first person from India to be awarded a Nobel Prize, which he won for literature in 1913. During the period from 1901 to 1932, he founded and ran an ashram, an experimental school. Although from an upper-class family himself, he was aware of the injustice of the caste system and advocated for an end to discrimination against dalits.
Tagore is best known as a writer for his poetry, which was influenced by Sanskrit literature. Gitanjali or Song Offerings (1910) was the poetry book for which he won the Nobel Prize. Some of his other well-known works were Manasi, Sonar Tori ("Golden Boat"), and Balaka ("Wild Geese").
As well as poems, he wrote numerous songs, including "Jana Gana Mana," the national anthem of India. He also wrote numerous essays and short stories and traveled and lectured widely. He was a strong voice supporting world peace.

Great question—and a difficult one to answer succinctly, as Tagore (1861-1941) was considered a polymath (a person who is an expert in many fields, not just one).
For the sake of simplicity, let us narrow down his expertise into a few categories: literature, music, and art. We will go over his key achievements in each of them.
LITERATURE
Tagore was the author of eight novels, four novellas, and several collections of poetry. His subject matter ranged from political topics to his personal life. He won the Nobel Prize in Literature in 1913. He was the first non-European to earn this honor.
MUSIC
Tagore was also a prolific songwriter. He wrote approximately 2,230 songs in his lifetime, and he is considered a major force in changing the style of Bengali music by incorporating influences from a wide range of musical traditions. His compositions were chosen as the national anthems of two countries: India and Bangladesh.
ART
Tagore was an artistic revolutionary. He rejected rigid structures that were commonplace at the time and experimented with naturalism and other elements he liked from a wide range of sources. In the latter part of his life, he started drawing and painting. However, when we talk about his "art," we are mainly talking about his larger contributions to the field of music and literature.

What is Chapter 4 of Billy Budd about?

Chapter 4 of Billy Budd is a digression from the main narrative of the novel, something the narrator acknowledges at the start of the chapter. The narrator mentions that it is acceptable to hold both the advances of present times (or the time of the novel's narrative) in esteem while also appreciating the past.
In this chapter, the narrator discusses Admiral Horatio Nelson and the Battle of Trafalgar which occurred in 1805. The narrator discusses Admiral Nelson's choice to wear his dress uniform and all his many medals during the battle. This made him a target of enemy sharp-shooters and caused his death. Some people say he might have survived the battle if he chose not to draw such attention to himself. The narrator dismisses this line of thinking as being built on "boggy ground." The narrator points out that Admiral Nelson's fame comes from his brashness and pride, even though it led to his death.
Melville includes this digression about Admiral Nelson to describe his view of the model sailor. Admiral Nelson was awarded many medals and gave his life in service of this country. Nelson's pride is not a fault, according to Melville, but something to be admired and emulated. When Captain Vere is introduced in Chapter 6, the reader is meant to draw instantaneous comparisons between him and Admiral Nelson.

The chapter is about Lord Nelson and his death at Trafalgar. Melville writes about the story of how Nelson chose to wear all his military decorations on his coat in battle, making him easily identifiable to enemy marksmen. Some have suggested that Nelson’s death was a result of vanity. Melville’s point is that Nelson was right to do so, from a poetic point of view. His choice to “dress his person in the jewelled vouchers of his own shining deeds” arose not from “foolhardiness” but from his identity as a true hero, equal to Achilles or Ulysses or any hero from the “great epics.”
This digression is meant to be a gloss on the beauty of Billy Budd. Melville is implicitly comparing the “handsome sailor” (Budd) with the “great sailor” (Nelson). In the same way that Nelson could not help but wear his honors into battle, Billy cannot suppress his natural nobility and beauty.

What are some court cases and laws mentioned in The New Jim Crow?

The New Jim Crow tracks the ways that United States' law and custom has evolved from the Civil War to the present to maintain what Michelle Alexander calls America's "racial caste system" in various iterations. The thesis of the book is that the history of race relations in America can be divided into thee major periods corresponding to three such iterations:
1) slavery, which was foundational to American society and culture and persisted in its classical form until the Civil War and reconstruction in the 1860s;
2) Jim Crow, which emerged in the wake of reconstruction as a way to keep the "racial caste" system intact and persisted until the civil rights movement; and
3) mass incarceration, which emerged in response to the civil rights movement just as Jim Crow emerged in response to reconstruction.
The laws and court cases that Alexander tracks in the book are meant to help her tell the story of how these transitions took place in order to prove her overall thesis: mass incarceration is the current way that America maintains its "racial caste" system.
Two important pieces of legislation serve as examples in her analysis of the transition from slavery to Jim Crow in response to Reconstruction. One is the Civil Rights Act of 1866, which was intended to "bestow full citizenship upon African Americans" (29). This law, as well as the 14th Amendment, was passed to counter the "black codes" passed at the state level, which returned black Americans to a state close to slavery. The impact of this legislation, however, was "largely symbolic," especially in light of language in the 13th Amendment that abolished slavery except as punishment for a crime. This brings me to the case Ruffin v Commonwealth (1871), in which the Supreme Court of Virginia "put to rest any notion that convicts were legally distinguishable from slaves" (31). Part of Alexander's point in recounting this history is to point out that the civil rights legislation of the 1960s was not the first time that the United States legally abolished one form of structural racism only to have it return in other forms.
This brings me to Alexander's treatment of the transition from Jim Crow to mass incarceration a century after Reconstruction. Much of this revolves around the so-called "War on Drugs." Alexander cites Supreme Court Justice Thurgood Marshall, who "felt compelled to remind his colleagues that there is, in fact, 'no drug exception' written into the constitution" (61). Alexander's point is that the war on drugs provided exactly the same kind of "exception" to civil rights legislation in the wake of the civil rights movement that the 13th Amendment did to reconstruction legislation a century earlier. The pattern is the same: abolish one racist system but create a zone of exception that you can then fit all the old forms of discrimination into.
Alexander cites a number of laws and Supreme Court cases having to do with the War on Drugs to demonstrate that this is the case. In California v Acevedo, for example, the court ruled in favor of warrantless searches and seizures of property in drug cases, creating the legal grounds for such racist policing tactics as "stop and frisk" that persist to this day. According to Alexander, "The first major sign that the Supreme Court would not allow the 4th Amendment to interfere with the prosecution of the War on Drugs came in Florida v Bostick," in which the court upheld the warrantless search of a man who had been sleeping in the back of a Greyhound bus and ended up being charged with trafficking cocaine.
The key idea is that these cases created "exceptions" to the rights supposedly universally granted to American citizens under the pretext of fighting the War on Drugs. Because of this, police were allowed to specifically target black and brown Americans so as to create a criminalized "under-caste" of people convicted of felony offenses—especially drug offenses—who, due to the provisions of the 13th Amendment, can be disenfranchised for life and put to hard-labor conditions in prison that resemble slavery, and they can be denied public housing and legally subjected to employment discrimination when they get out.

Among the laws and cases presented, those concerning the death penalty and education stand out.
In McKleskey v. Kemp, in 1987, the Supreme Court ruled that a death sentence be allowed to stand. Although there was statistical evidence showing racial bias in the way the state of Georgia implemented the death penalty, this sentence could not be overturned in McCleskey. The court ruled that there was no clear evidence of discriminatory "purpose." Racial discrimination would apply only when the prosecutor or jury was proved to have intentionally targeted him due to his race. The implications for future racial bias claims were that implicit bias or evidence of systemic discrimination does not in itself constitute violations of equal protection.
In McLauirin v. Oklahoma, the case concerned higher education and separate but equal facilities. George McLaurin, an African-American man, had applied to a doctoral program at the University of Oklahoma. In 1950, the university did not provide a way for McLaurin to attend classes separately from whites. The Supreme Court ruled against the university, saying it was required to make all facilities available to African Americans.

In The New Jim Crow, Michelle Alexander looks at several laws and court cases to analyze the ways in which the United States legal system disadvantages African Americans. Alexander identifies mandatory minimums and three-strikes laws as major contributors to the mass incarceration epidemic. Mandatory minimums are laws that attach mandatory prison sentences to certain kinds of offenses. These laws are controversial among judges, who tend to feel that they reduce judicial discretion and prevent them from handing down proportionate sentences. Nevertheless, the Supreme Court has often ruled in favor of mandatory minimum sentencing laws. For example, in the case Harmelin v. Michigan, a first-time offender was sentenced to life in prison for attempting to sell 672 grams of crack cocaine. The Supreme Court did not find this sentence to be “cruel and unusual” and ruled that it was proportionate to the crime. Three-strikes laws (which many states have implemented) are another form of mandatory minimum law. Under most three-strikes laws, after a third offense is committed, the defendant is given a mandatory harsh sentence—usually ranging from 25 years to life—regardless of nature or context of the three offenses. Alexander discusses the famous three-strikes Supreme Court case Lockyer v. Andrade. In this case, two defendants were attempting to challenge California’s controversial and severe three-strikes law. Under this law, one of the defendants received a sentence of 25 years without parole for stealing three golf clubs while the other defendant received 50 years without parole for stealing some children’s videotapes from Kmart. The Supreme Court ruled that while these sentences were harsh, they were not unconstitutional.

Which two adjectives does the narrator use to prove that he is not mad in the first paragraph?

The following are two adjectives the narrator uses to try to convince the reader that he is not mad.
First, the narrator calls himself nervous, insisting that to be nervous is quite different from being truly insane, or, as he says, "mad." He says,

True! — nervous — very, very dreadfully nervous I had been and am; but why will you say that I am mad?

He speaks as though he is responding to someone who is accusing him of being "mad," and he is trying to convince whoever that audience is that he is, indeed, in his right mind. He seems to mean, in this context, that he is easily excited, or even agitated. The narrator goes on to say that,

The disease had sharpened [his] senses — not destroyed — not dulled them. Above all was the sense of hearing acute.

Here, his word choice of acute seems meant to convey that his senses, especially his hearing, have become incredibly sensitive and that he perceives the world in a very intense way. Together, his quickness to agitate and his sensitive perception have, in his mind, combined to produce effects that might seem like madness but really are not.

Is Simon afraid of the forest?

Unlike the other boys on the island, Simon appears to be unafraid of the forest. The narrator tells us that Jack views the forest as “uncommunicative,” and Ralph opts to walk behind Simon when they enter into it. Jack’s first instinct upon discovering fresh animal droppings is to raise his spear, ready to kill whatever might be moving about. When the boys expect to find Simon at the bathing pool and he is not there, we find out that he had chosen to break off from the group and explore the forest, which further demonstrates how unafraid of the forest Simon is: he willingly goes into the forest to explore when it isn’t even necessary.
It could be argued that it was the fear of the forest felt by the other boys and Simon’s demonstrated connection with the forest that results in his death at the hands of the boys. He sees the beast as “harmless,” but in his disheveled state, the other boys see him as the beast, killing him while chanting, “Kill the beast! Cut his throat! Spill his blood!” The novel alludes to Simon’s connection with nature after his death, as the rain blows sideways and the ocean takes the corpse away.

Prove that magnetic forces do no work.

By definition, work is the scalar product of the force and displacement that occurred during the action of the force:
W = vecF*Deltavecx . The force, however, is not necessarily the cause of this displacement.
The scalar product of any two vectors equals the product of the magnitudes of the vectors and the cosine of the angle between them. So, if the force makes an angle theta
with the displacement vector, its work can be calculated as
W = F*Deltax*costheta . (In this expression, the force and the angle are assumed to be constant, but the expression for work and the reasoning that follows can be generalized for the varying force and angles as well - see the reference link.)
From this expression, notice that the work done by a given force can be zero if
1) there is no displacement. You could be exerting a lot of effort pushing on a heavy boulder, but if it does not move, the force with which you are pushing does no work.
2) the cosine of the angle is 0: cos(theta) = 0
This is the case when the angle equals 90 degrees, which means that the force and the displacement vectors are perpendicular. This leads to the conclusion that the forces perpendicular to the displacement do no work. Since velocity always has the same direction as displacement (vecv = Deltavecx/(Deltat) ), this also means that the forces perpendicular to the velocity do no work. For example, in a circular motion of a weight attached to a string, the tension force does no work, because it is directed towards the center of the circle, perpendicular to the velocity (and displacement), which is tangent to the circle.
Now let's consider magnetic force. The magnetic force on a moving electric charge q equals
vecF = q*vecv xx vecB , the value of the charge times the vector product of the velocity and the magnetic field. The result of the vector product, by definition, is a vector perpendicular to the both vectors being multiplied. So the magnetic force is always perpendicular to both velocity and magnetic field. Similarly, the magnetic forces are always perpendicular to the direction of the electric current.
As discussed above, the forces perpendicular to the velocity do no work. Therefore, magnetic forces, which are perpendicular to the velocity and displacement of charges, do no work.
 
 
 
 
http://hyperphysics.phy-astr.gsu.edu/hbase/magnetic/magfor.html

http://hyperphysics.phy-astr.gsu.edu/hbase/wint.html

Use the Lorentz force on a charge Q , when Q moves an amount dl . Then we also know that work is the dot product of force and distance.
dW_(mag)=F_(mag)*dl=Q(v xx B)*dl
But dl=v dt
dW_(mag)=Q(v xx B)*v dt
Let v xx B=v_(_|_ ) where v_(_|_) is a vector that is perpendicular to both v and B .
Then,
dW_(mag)=Q(v xx B)*v dt=Q(v_(_|_)*v)dt
The dot product of two perpendicular vectors is zero. Therefore,
dW_(mag)=Q(0)dt=0
Magnetic forces do no work.
https://www.britannica.com/science/Lorentz-force

By definition, cyber-crime occurs in "cyberspace.” Where, exactly, is "cyberspace"? What are some examples of cyber-crime? Is catching cyber-crime like lassoing a cloud?

1. Where, exactly, is "cyberspace"?According to U.S. government definitions of cyberspace as reported in the CRS report "Cybercrime: Conceptual Issues for Congress and U.S. Law Enforcement" (2015), cyberspace is the "virtual environment of information and interactions between people" ongoing in "the interdependent network of information technology infrastructures." This information technology infrastructure consists of "the Internet, telecommunications networks, computer systems, and embedded processors and controllers in critical industries." Cyberspace is a "constructed world" that can be "controlled or altered by man." It is "a fabrication ... a construct, cyberspace is mutable," an environment that can be "modified and transformed" (CRS report). In other words, cyberspace is the function of electronic activities and transactions involving communication and exchanges between people and modifications and transformations of the "interdependent network" proceeding at all times, via the inter-connectivity of cyber-infrastructures, and traversing across the street, across the state, across the nation, across the globe. Cyberspace is "where" the components of the infrastructure are; it is "where" a transaction begins in one electronic device and "where" it terminates in other electronic devices; it is "where" the electronic signal traverses during any electronically commanded action. Cyberspace is that virtual environment through which electronic command signals traverse, and it is bordered by the physical infrastructure components that begin, continue and end electronic actions. 6. What are some examples of cyber-crime? Is catching cyber-crime like lassoing a cloud?There are many types of cyber-crime, with the fastest growing one being identity theft, according to law enforcement. South African law defines cyber-crimes as "any criminal or other offence that is facilitated by or involves the use of electronic communications or information systems, including any device or the Internet or any one or more of them" (Electronic Communications and Transactions Amendment Bill, 2012). Crime-Research.org uses the definition "crimes committed on the internet using the computer as either a tool or a targeted victim." Some examples of cyber-crime are: point-of-sale (POS) skimming, online child pornography (CRS report), fraud and transferring proceeds of fraud, downloading disruptive programs such as viruses and spyware, online harassment and bullying (uslegal.com).Since cyber-crime has an agent and a victim in a physical, real, geographical location--even though the location of the cyber criminal may be disguised and routed through many electronic cyber-byways--catching cyber-crime is not like lassoing a cloud. Each cyber-crime and criminal falls under some definition of crime and some jurisdictional authority. While it is true, as governments agree, that specific universal definitions of cyber-crime are not yet established and that there are "jurisdictional challenges" (CRS report), the agent and the victim--whether a computer or a person is the victim in any given cyber-crime--have physical locations during the event of the crime. These locations provide groundwork for untangling jurisdictional authority and cyber-crime definition challenges on a case-by-case basis.

Despite criminals exploiting virtual space, the criminal actor and the victim(s) are located in the real world—though often in different cities, states, or even countries. Similarly, the digital technologies used to facilitate these crimes, such as Internet servers and digital communication devices, are located in physical locations that may not coincide with the locations of the criminal actors or victims. As such, law enforcement faces not only technological but jurisdictional challenges in investigating and prosecuting cyber criminals. (CRS report)

Single Variable Calculus, Chapter 4, 4.1, Section 4.1, Problem 2

If $f$ is a continuous function defined on a closed interval $[a, b ]$.

a.) Determine the theorem that guarantees the existence of an absolute maximum value and an absolute minimum value for $f$.

Extreme value theorem. If $f$ is continuous on a closed interval $[a, b]$ then $f$ becomes an absolute maximum value $f(c)$ and an absolute minimum value $f(d)$ at some numbers $c$ and $d$ in $[a, b]$

b.) Give the stops to find those maximum and minimum values.

First, determine all values of $x$ for which $f'(x) = 0$ or $f'(x)$ is undefined. Then evaluate $f(x)$ to those values of $x$ as well as the end points. And lastly compare the values of $f(x)$ to find the largest and smallest value.

Calculus of a Single Variable, Chapter 9, 9.4, Section 9.4, Problem 6

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 b_n converges ,then a_n converges.
If a_n diverges, then b_n diverges.
sum_(n=0)^oo4^n/(5^n+3)
Let a_n=4^n/(5^n+3) and b_n=4^n/5^n=(4/5)^n
4^n/5^n>4^n/(5^n+3)>0 for n>=1
sum_(n=0)^oo(4/5)^n is a geometric series with ratio r=4/5<1
A geometric series with ratio r , such that |r|<1 converges.
The geometric series sum_(n=0)^oo(4/5)^n converges,so the series sum_(n=0)^oo4^n/(5^n+3) converges as well , by the direct comparison test.

What are key literary features and themes explored in Bruce Dawe's poem "Homecoming"?

Bruce Dawes's poem "Homecoming" is about the Australian soldiers who returned from Vietnam in large numbers "in green plastic bags"—that is, they were fallen soldiers. The poem's key theme is the relentlessness and pointlessness of war; it also strongly conveys a sense of what a waste war is by repeatedly describing the dead as if they are disposable ("piled," "green plastic bags," "rolling them out," "tagging").
The structure of the poem helps to emphasize this relentlessness. The poem is comprised entirely of a single run-on sentence without periods or stanza breaks. Parallelism and repetition complement this structure to create a sense that the tide of the dead is overwhelming: "they're zipping them up . . . they're tagging them . . . they're giving them names." A semantic field pertaining to dogs helps create a sense that the "dogs in the frozen sunset," personified here, are mourning the dead. Their muzzles are raised "in mute salute" to greet the "noble jets whining like hounds" bringing the soldiers loyally home.
In the final four lines of the poem, Dawes's use of personification and simile ("telegrams tremble like leaves") alongside metaphor ("the spider grief swings in his bitter geometry," "wide web of suburbs") helps demonstrate how far-reaching an impact all this death has had.

Why does Bud keep the Dusky Devastators of the Depression poster?

The answer to this question can be found in chapter 1 of the book. Bud is telling readers what is in his suitcase, and he tells us about a flyer that has a picture of Herman E. Calloway and the Dusky Devastators. It's a flyer that is advertising an engagement that the band will be playing for. Bud keeps the poster for two reasons. One reason is that he knows the poster is somehow important to his mother.

I remember Momma bringing this flyer with her when she came from working one day, I remember because she got very upset when she put it on the supper table and kept looking at it and picking it up and putting it back and moving it around.

Bud isn't sure why the flyer or similar ones are important to his mother. She dies before he has a chance to ask her. All Bud knows is that if the flyers are important to his mother, they are important to him. The second reason that Bud keeps the flyer is because it has a picture of Herman Calloway on it. Bud believes that Calloway is his father. He believes this because of how his mom reacts to the posters, but Bud also sees himself as similar to Calloway. It turns out that there is a good reason as to why the two characters look similar. Calloway is Bud's grandfather.

How does Conan Doyle present London as a mysterious and sinister setting for a mystery in The Sign of Four?

In Chapter 3, "In Quest of a Solution," of The Sign of Four, by Arthur Conan Doyle, the famous detective Sherlock Holmes, his steadfast companion, Dr. John H. (for "Hamish," the Scottish version of "James") Watson, and Holmes's new client, Miss Mary Morstan, are put into a four-wheeled London cab, and are being taken to "an unknown place, on an unknown errand."

It was a September evening, and not yet seven o’clock, but the day had been a dreary one, and a dense drizzly fog lay low upon the great city. Mud-coloured clouds drooped sadly over the muddy streets. Down the Strand the lamps were but misty splotches of diffused light which threw a feeble circular glimmer upon the slimy pavement. The yellow glare from the shop-windows streamed out into the steamy, vaporous air, and threw a murky, shifting radiance across the crowded thoroughfare.

In his description of his journey through London, Watson does little to dispel the common perception of the city as foggy and dreary at the best of times, populated by a disconcerting range of unsavory characters, each with a story to tell. From his own experience, Watson knows that many of those stories end with lengthy prison terms or a hanging.

There was, to my mind, something eerie and ghost-like in the endless procession of faces which flitted across these narrow bars of light,—sad faces and glad, haggard and merry. Like all human kind, they flitted from the gloom into the light, and so back into the gloom once more.

This only adds to Dr. Watson's sense of unease and foreboding.

I am not subject to impressions, but the dull, heavy evening, with the strange business upon which we were engaged, combined to make me nervous and depressed.

As the journey through the London streets continues, Watson becomes increasingly disoriented and unsettled..

At first I had some idea as to the direction in which we were driving; but soon, what with our pace, the fog, and my own limited knowledge of London, I lost my bearings, and knew nothing, save that we seemed to be going a very long way.

A passing glimpse of the Thames adds a further sense of mystery to the journey.

We did indeed get a fleeting view of a stretch of the Thames with the lamps shining upon the broad, silent water...

Even after arriving at their interim destination, Watson is no less troubled and anxious by what he sees.

We had, indeed, reached a questionable and forbidding neighbourhood. Long lines of dull brick houses were only relieved by the coarse glare and tawdry brilliancy of public houses at the corner. Then came rows of two-storied villas each with a fronting of miniature garden, and then again interminable lines of new staring brick buildings,—the monster tentacles which the giant city was throwing out into the country.

In all, Conan Doyle brilliantly sets the scene for the mysterious and sinister events about to unfold.

In this second Sherlock Holmes novel, Arthur Conan Doyle uses various locations in and near central London as a setting for a two-fold mystery: what happened to Captain Morstan, and who has been sending his daughter, Mary, a pearl each year since his disappearance.
In Chapter Three, "In Quest of a Solution," Watson describes the London streets Holmes, Watson, and Miss Morstan pass through:

"The yellow glare from the shop-windows streamed out into the steamy, vaporous air, and threw a murky, shifting radiance across the crowded thoroughfare. There was, to my mind, something eerie and ghost-like in the endless procession of faces which flitted across these narrow bars of light,—sad faces and glad, haggard and merry... I am not subject to impressions, but the dull, heavy evening, with the strange business upon which we were engaged, combined to make me nervous and depressed."

Here, Doyle uses the gloom of the city on this September evening to deepen the unease that Watson feels; Holmes has pocketed a small revolver before setting out "to an unknown place, on an unknown errand." The trio are made to switch cabs halfway through their journey and glimpse the "broad, silent water" of the Thames before reaching "a questionable and forbidding neighborhood" where they encounter Thaddeus Sholto in his home "in the howling desert of South London," a newly finished and dimly-lighted home in a block of uninhabited terrace houses.
The South London home of Thaddeus's brother, Bartholomew, is forbidding; Pondicherry Lodge is described as having "a very high stone wall topped with broken glass" and "a single narrow iron-clamped door formed the only means of entrance."
Besides the sense of foreboding accomplished with the mysterious trips through sordid London streets to the homes of the Sholto brothers, in chapter seven,"The Episode of the Barrel," Watson describes his journey to the Pinchin Lane taxidermist, Sherman, as moving through "silent gas-lit streets" to his house with live and stuffed animals. 
 

Conan Doyle presents London as shrouded in fog and mystery in The Sign of Four. As Holmes and Watson drive to the Lyceum Theatre in Chapter 3 with Mary Morstan, they are surrounded by fog:

"The day had been a dreary one, and a dense drizzly fog lay low upon the great city. Mud-coloured clouds drooped sadly over the muddy streets. Down the Strand the lamps were but misty splotches of diffused light which threw a feeble circular glimmer upon the slimy pavement."

London is dreary, and the light in this type of weather is refracted in strange ways. Watson says about people in this type of light: "they flitted from the gloom into the light and so back into the gloom once more," and he says this movement from the gloom back to the light is "like all mankind."
This is a fitting setting for a mystery in which characters are cast into the darkness of doubt and then removed into the light of innocence, and vice versa. The setting in London, alternating between gloom and light, is also a metaphor for Holmes's moods, as he alternates between gloomy depression, when he takes cocaine and morphine, and periods of great energy, when he is solving mysteries.