Intermediate Algebra, Chapter 5, 5.2, Section 5.2, Problem 2

Determine the numerical coefficient and degree of the term $3r$
The degree is the sum of the exponents of each variable in the expression. In this case, the degree of $3r$ is 1.
A polynomial consists of terms, which are also known as monomials. The leading term in a polynomial is the highest degree term. In this case, the leading term in $3r$ is the first term, which is $3r$
The leading coefficient in a polynomial is the coefficient of the leading term. In this case, the leading term is $3r$ and the leading coefficient is 3.
The polynomial degree is 1, the leading term is $3r$, and the leading coefficient is 3

Why does granulated sugar dissolve faster than sugar cubes?

The reason granulated sugar dissolves faster than a sugar cube has to do with surface area. A sugar cube is tightly compacted granulated sugar, meaning it has less surface area exposed to the solvent. Granulated sugar has a significantly higher surface area exposed to the solvent, allowing it to dissolve faster. The solvent could be water for example. When the sugar is granulated, each individual granule is touching the water. This allows the water to act on all of the sugar granules at the same time. In a sugar cube, only the outside granules are exposed to the water, so only those ones can be dissolved. As the sugar cube dissolves, more granules are exposed, allowing them to be dissolved. This process takes longer than dissolving all the granules at once. In summary, the more surface area exposed, the faster the solute (sugar) will dissolve.

What are Scout's weaknesses in the book To Kill a Mockingbird?

In To Kill a Mockingbird, Scout demonstrates a weakness by attempting to solve problems by fighting. For example, Scout explains to her teacher, Miss Caroline, that Walter will not accept the money Miss Caroline offers because he is a Cunningham. Miss Caroline becomes frustrated with Scout and punishes her. In retaliation, Scout proceeds to beat Walter up. Fighting is a preferred method of dealing with conflict in Scout's mind, especially when she is defending her family. She attempts to fight Cecil Jacobs on one occasion and her cousin Francis on another after he makes remarks about Atticus.
Another arguable weakness Scout demonstrates is her inability to understand the ways of women. In chapter 24, Scout admits that she "wondered at the world of women." Much to her Aunt Alexandra's dismay, Scout prefers playing outside and wearing overalls. While Alexandra hopes to have some "feminine influence" on Scout, it proves to be a difficult task. Alexandra invites Scout to participate in her social gatherings but often ends up disappointed as Scout is most likely "mud-splashed or covered with sand." However, Scout does make some progress. When she finds out that Tom has been shot, Scout says, "if Aunty could be a lady at a time like this, so could I."

Scout has several weaknesses throughout the novel, which primarily pertain to her childhood innocence and inability to control her emotions. Towards the beginning of the novel, Scout has trouble controlling her temper and continually lashes out at others physically. She beats up Walter Cunningham Jr., punches Francis in the face, and even wrestles with Jem when he upsets her. Scout's inability to control her anger is typical of children her age, who have yet to develop adequate coping skills to settle themselves.
Scout's narrow, naive perspective could also be considered a weakness. For the majority of the novel, Scout is unable to recognize the overt prejudice throughout her community and does not understand various social situations. In chapter 15, Scout fails to comprehend the gravity of the situation outside of the Maycomb jailhouse, and she does not grasp the seriousness of her father's defense of Tom Robinson. Her lack of insight can, once again, be attributed to her age. 
In addition to Scout's narrow perspective, she also struggles to articulate her thoughts. On her first day of school, Scout cannot appropriately explain Walter Cunningham Jr.'s background and ends up getting punished for giving Miss Caroline attitude. Scout is also depicted as gullible throughout the novel and believes nearly everything her brother says. Despite Scout's weaknesses, she matures and gains a valuable perspective on life. By the end of the novel, Scout is a perceptive, sympathetic child, who offers a unique insight into the small town of Maycomb.

"The Sniper" by Liam O'Flaherty takes place during the Irish Civil War. What do you think O'Flaherty is trying to say about the war in this story? What is his tone?

Tone is the attitude of a writer toward a subject.  Tone is generally conveyed through the choice of words that the author uses for a particular subject.
"The Sniper" is a story about civil war.  It is a story that shows the horrors and brutality of war.  O'Flaherty is not romanticizing war in this story.  His word choice conveys his overall pessimistic and negative attitude about civil war.  Let's look to the first paragraph for an example.

The long June twilight faded into night. Dublin lay enveloped in darkness but for the dim light of the moon that shone through fleecy clouds, casting a pale light as of approaching dawn over the streets and the dark waters of the Liffey.

Notice the night setting and the emphasis on darkness.  The moon is shining, but it doesn't even have full brightness, because of the cloud cover.  It's literally a dark setting about a dark and negative topic. O'Flaherty's description of the sniper further deepens the pessimistic tone. 

They were deep and thoughtful, the eyes of a man who is used to looking at death.

The Republican sniper is not new to killing.  He's experienced at dealing death through a rifle scope.  The pessimistic tone continues once the sniper begins fighting for his life.  Enemy combatants are not described or named.  This creates detachment for readers and the sniper.  The old woman, soldier, and enemy sniper are simply faceless targets.  It's as if O'Flaherty is attempting to show readers how war dehumanizes people. The ending of the story is the most pessimistic and negative part of the entire story.  Readers realize that while the sniper succeeded in securing his own survival, it was at the cost of killing his own brother.  War is bad, but civil war tears apart families.  
 

What is the fundamental argument that Calhoun is making in "Slavery: A Positive Good"? What evidence does he use to support his points? How do documents such as these help us undertand American society in the 1830s?

Calhoun's fundamental argument in "Slavery: A Positive Good: is that the south must not make any concessions to the abolitionist north to defend the institution of slavery, which is, he writes, "a positive good." Calhoun predicts (accurately, as it turned out) that the abolitionist sentiment in the north, if left unchecked, would lead to conflict with the south. He writes, "the conflicting elements would burst the Union asunder, powerful as are the links which hold it together." In other words, abolitionism would go on to cause a rift between the north and the south.
Calhoun defends slavery with different points of evidence. He writes that slavery is a condition that has existed throughout history. In his words, "I hold then, that there never has yet existed a wealthy and civilized society in which one portion of the community did not, in point of fact, live on the labor of the other." He thinks that southern slaves are treated better than the laboring classes in other nations and that less is expected of them. He also contends that slaves are treated more kindly if they are sick or old than are the laboring classes of other countries. He also believes that the relationship in the south between the slave and master provides for a freer state than the conflict between labor and capital in the north. 
Documents such as this one help us understand the conflict between the north and south and the deep-rooted nature of their tensions. How do you think this document shows the economic, philosophical, and sociological differences between the north and south in the 1830s?

Calculus of a Single Variable, Chapter 5, 5.2, Section 5.2, Problem 13

int (x^2+2x+3)/(x^3+3x^2+9x)dx=
We will use the following formula: int (f'(x))/(f(x))dx=ln|f(x)|+C
The formula tells us that if we have integral of rational function where the numerator is equal to the derivative of the denominator, then the integral is equal to natural logarithm of the denominator plus some constant. The proof of the formula can be obtained by simply integrating the right-hand side.
Since (x^3+3x^2+9x)'=3x^2+6x+9=3(x^2+2x+3) we will first have to slightly modify the integral in order to apply the formula. We will both multiply and divide the integral by 3.
1/3int (3x^2+6x+9)/(x^3+3x^2+9x)dx=
Now we apply the formula to obtain the final result.
1/3ln|x^3+3x^2+9x|+C

Why does Proctor remind Mary of the angel Raphael?

When John Proctor compels Mary Warren to testify, he isn't fully cognizant of the fear that Mary has with regard to Abigail's murderous threat. As Mary begins to weaken as she waits in the courtroom, John attempts to strengthen her by referring to the angel Raphael.
In John 5:7, it is the angel Raphael who stirs up the waters; the first one to enter the waters afterward would be healed. Perhaps John Proctor is alluding to the idea that in exposing Abigail and the other accusers as frauds, Mary would be metaphorically troubling the waters at the court in Salem. But in doing so, Mary would bring healing to the troubled community of Salem as a result.
More generally, Raphael is credited with being a healer. Perhaps Proctor is trying to subtly remind Mary that when she reveals the truth about Abigail, she will heal Salem.
In either case, Proctor is trying to instill courage in Mary so that she will do the right thing.

In act 3 of The Crucible John Proctor is trying to get Mary Warren to tell the truth about Abigail Williams in court. Not surprisingly, Mary is quite intimidated by Abigail's presence, so Proctor needs to stiffen her resolve. He does this by citing the words of the angel Raphael:

Do that which is good, and no harm shall come to thee.

Proctor is telling Mary not to be afraid and to do the right thing. If she can't do it for him and she can't do it for herself, then she should remember her faith and the words of holy scripture. Strictly speaking, though, Proctor is prevented from saying his piece because Abigail interrupts him to claim that Mary's evil spirit is swooping down on her in the shape of a yellow bird. Proctor's intervention is ineffective, as a thoroughly petrified Mary turns on him, leading to his being taken away to jail.

College Algebra, Exercise P, Exercise P.4, Section Exercise P.4, Problem 54

Simplify the expression $\displaystyle \left(2u^2 v^3 \right)^3 \left( 3u^{-3}v \right)^2$ and eliminate any negative exponents.

$
\begin{equation}
\begin{aligned}
\left(2u^2 v^3 \right)^3 \left( 3u^{-3}v \right)^2 &= \left[ 2^3(u^2)^3(v^3)^3 \right] \left[ 3^2(u^{-3})^2 v^2 \right] && \text{Law: } (ab)^n = a^n b^n\\
\\
&= \left( 8u^6 v^9 \right) \left( 9u^{-6} v^2 \right) && \text{Law: } (a^m)^n = a^{mn}\\
\\
&= (8) (9) u^6 u^{-6} v^9 v^2 && \text{Group factors with same base}\\
\\
&= 72 u^{6+(-6)} v^{9+2} && \text{Law: } a^m a^n = a^{m+n}\\
\\
&= 72u^0 v^{11} && \text{Simplify}\\
\\
&= 73v^{11}
\end{aligned}
\end{equation}
$

The following sentence's meaning is ambiguous. Provide two explanations that illustrate the different meanings of the sentence: Visiting relatives can be problematic.

Ambiguity is created because the function of the word "visiting" is unclear in the sentence. The intended meaning depends on whether the word "visiting" is being used as a gerund (a verb functioning as a noun) or an adjective.
If "visiting" is meant as a gerund, then it is the act of visiting relatives that is the problem. In this case, "visiting relatives can be problematic" is an observation that the act of visiting one's relatives can create difficulties for the visitor. For example, the relatives might live in a place that is inconvenient to get to or uncomfortable to occupy. It could also refer to the relationship one has with the relatives; perhaps your personalities are incompatible and the visit will be filled with tensions, misunderstandings, or other difficulties that create problems. It could also mean the time spent visiting relatives is time one needs or wants to spend differently.
If "visiting" is meant as an adjective that modifies "relatives," then the problem is the relatives who are visiting. For example, your relatives may impose on you by making inconvenient demands or overstaying their welcome.

Who is Julian English in Appointment in Samarra?

Julian English is the protagonist in John O'Hara's Appointment in Samarra. As inferred from the title, Julian fears that death is on his trail. Even after he has moved to a different town, unusual events put Julian’s life in a draconian state, which ends in his untimely self-destruction.
While at the Lantenengo Country Club, Julian’s behavior is quite unbecoming. To everyone’s dismay, he throws a drink in Harry Reilly's face for no good reason. Julian’s wretched behavior almost had him kicked out of the Christmas Eve gathering. Later, it hits Julian that the man he had just disrespected (Harry Reilly) was a significant investor in his car dealing business.
On a similar occasion during Christmas, Julian’s heavy drinking places him in yet another surreal situation. The drama starts when he and the flirtatious Helena hit the dance floor and soon vanish into Julian’s car. It is implied that Julian has just made love with the local gangster’s girlfriend (Helena). This incident is considered scandalous, and Julian is in trouble.
Furthermore, Julian becomes suicidal soon as his marriage starts to collapse. His infidelity and uncontrolled drinking make him lose Caroline, his wife. Things get worse when Julian fails to win over a local reporter in the community. As such, Julian resorts to excessive alcoholism while he contemplates his another romantic failure with Mary, a woman who had rejected him due to poor his financial status. He concludes that no woman in Gibbsville can love him, owing to his despicable social behavior, and poisons himself.

Julian is the thirty-year-old protagonist of the novel. A member of the WASP elite of Gibbsville, Julian is the head of a car dealership but isn’t really cut out for business. He is married to Caroline Walker English, an attractive and highly esteemed woman of his community. A heavy drinker of impulsive and reckless tendencies, Julian embarks on a self-destructive journey that ends in suicide. His relationship with his parents, particularly with his father, is distant and plays a key role in Julian’s self-destructive inclinations.

The last section of the book is called "Burning Bright." What is burned in the last section and in what way is it relevant to Montag's journey?

Much burning goes on in the last section of the novel, and all of it is relevant to Montag's journey, for all of it frees him to start a new life.
First, Montag drives with Beatty to a fireman call, only to find out the house to be burned is his own. Beatty sends him in to incinerate his home because it harbors illegal books. Second, Montag turns his fire hose on Beatty and burns him to a cinder. Finally, shortly after Montag flees his city, it goes up in the biggest fireball of all as a nuclear attack destroys it.
Montag is liberated from his home, which represented his unhappy life in his culture. Montag is also freed of an oppressive and bullying father figure who tried to impose orthodox thinking on him when Beatty dies. Finally, Montag and the other outsiders are freed to rebuild civilization on a firmer foundation once the city goes up in flames. They will preserve knowledge and use it as they band together to start over. Perhaps the most significant burning of all is the fire in a oil drum that the renegade readers gather it around. Montag marvels to see fire used not to destroy but to warm people and draw them into community.

In part 3, which is entitled "Burning Bright," Montag begins by burning his home and his book collection at Captain Beatty's command. Montag then burns Captain Beatty by shooting him with flames. After Montag flees the city, he meets up with Granger and a group of traveling intellectuals, who preserve knowledge by memorizing entire books in hopes of rebuilding a literate society once the dystopian nation is destroyed.
Towards the end of the story, the city is destroyed by an atomic bomb, which burns each structure to the ground. After the city is destroyed, the intellectuals sit around the fire and listen as Granger talks about a Phoenix, which is a mythical bird that builds a funeral pyre, burns itself, and rises from the ashes every few hundred years. The image of a Phoenix rising from the ashes corresponds to the title "Burning Bright." The title also corresponds to Montag completely burning his past and altering his life. Montag's new desire to pursue knowledge and rebuild a literate society also corresponds to the title of part 3.

How are Holden's internal conflicts a source of his external conflicts?

Holden Caulfield's internal conflicts stem from the traumatic death of his younger brother Allie, who dies of leukemia at eleven years old. Holden tells the reader he ended up missing Allie's funeral because he was in the hospital with a broken hand after punching out the windows in his parent's car. Throughout the novel, Holden mentions he continually thinks about Allie whenever he becomes depressed and begins saying, "Allie, don't let me disappear. Allie, don't let me disappear. Allie, don't let me disappear. Please, Allie" (106). Allie's death has had a dramatic impact on Holden's life that manifests in his pessimistic view of the world. He has never developed the proper coping skills or sought therapeutic help to deal with his anxiety and depression. Holden also does not seem to have a close relationship with his parents and resents the fact that his brother moved to Hollywood. His lack of social etiquette and immaturity also prevent him from forming meaningful relationships at Pencey. The boys at school view him as an ignorant outcast with too much energy, and his teachers worry about his lack of direction. Holden's terrible work ethic, pessimistic view of the world, and poor social skills can be attributed to his difficult, traumatic experiences as a child. In addition to Allie's death, Holden has also witnessed his classmate commit suicide and implies after leaving Mr. Antolini's apartment that he has been sexually accosted by several adults before.

How does the value of life in Bradbury's fictional society become the way it is? How did the public lose any value of human life?

In Bradbury's dystopian society, books are censored, and intellectual pursuits are considered illegal. The population is completely ignorant, and the citizens are addicted to mass media and violence. In part 1 of the novel, Captain Beatty has a conversation with Montag in which he describes the dystopian society and explains how it developed. Captain Beatty essentially tells Montag the public lost interest in novels and was sick of being offended by intellectual critics. Society adjusted accordingly, and the majority of citizens stopped reading and engaging in intellectual pursuits. Schools ceased to teach children anything worthwhile and only physical activities were encouraged. Beatty describes society's trajectory by telling Montag,

Out of the nursery into the college and back to the nursery; there's your intellectual pattern for the past five centuries or more (Bradbury, 26).

In the absence of the literary arts, humans became less introspective and developed into callous beings whose only care was how long they were able to stare at a parlour wall each night. Since the literary arts are an expression of life and humanity as a whole, citizens began to lose value in human life. In Bradbury's society, everything became replaceable, even humans. In a society without substance and expression, the value of each human becomes irrelevant, which is why teenagers drive through the night at high speeds attempting to run people over. Individuality is not cherished and conformity reigns throughout Bradbury's dystopian society.

What does the word "cardboard" suggest in "A Photograph"?

The word "cardboard" appears in the very first line of the poem:

The cardboard shows me how it was.

This can be interpreted in one of two ways, but each will lead to the same overall meaning.
First, the "cardboard" can be used to describe the thicker paper upon which old photos were printed. Unlike the glossy and flimsy photo papers often used today in quick and convenient printing, old photos were often printed on a thicker, more sturdy backing—much like a thin cardboard.
Another interpretation is that the photograph is framed by a simple piece of cardboard. Through this cardboard frame, the photograph emerges to show the speaker the significance of the joy of these little girls.
Cardboard helps to establish setting and tone. First, the setting is in the fairly distant past, in a time when a cardboard was commonly used to either back or frame photos.
Second, the cardboard helps to establish a simple tone. It conveys a simplicity in the usage and shines the spotlight on the image it captures, the one that reflects the joy of her mother who has been dead now for as long as this girl in the photo had lived when the photo was taken.

An author’s diction (word choice) can reveal much about the emotions represented in the poem. Shirley Toulson is no different in her poem “A Photograph.”
In order for you to understand what the word “cardboard” suggests, it essential that you take a look at the context. The word “cardboard” appears in the first line of the poem:

The cardboard shows me how it was / When the two girl cousins went paddling / Each one holding one of my mother’s hands, / And she the big girl - some twelve years or so.

Cardboard here literally refers to a photograph of the narrator’s mother and her mother’s cousins. The photograph shows the narrator her mother at the beach--“how it was” when her mother was young and alive. The ideas associated with the word are just as important as the literal meaning of the word. Cardboard is a very neutral and mundane word, so the word suggests a very mundane object and a very mundane moment in her mother’s life. At this point in the poem, the narrator seems emotionally detached from the picture through the very matter-of-fact diction she presents. The narrator keeps the feeling of loss at a distance by maintaining a factual description of the picture.

What does “protecting each other, right in the center a few pages glow a long time” mean?

The poem "Burning a Book," by William Stafford, is interesting in that its moral is not what we might perhaps expect, and its outlook is somewhat bleak--"truth, brittle and faint, burns easily." However, the opening lines, with their statement that "right in the center, a few pages glow a long time," suggests that the very core of any truth will be the last to disappear, no matter what is done to it. While a story can be manipulated and censored, its core tenets will "protect each other," glowing in the embers for a long time before they are finally forgotten. Even when the fire has completely burned out, some element of most stories will remain--"you can usually find a few charred words in the ashes."
Ultimately, what Stafford's poem indicates is that the truths that are really worth knowing do not need to be written down: likewise, many lies, both written and unwritten, flourish. Meanwhile, there are libraries' worth of truths that have not only never been committed to paper, but have gone "unthought."

The leaders of the US, USSR, and Great Britain said they wanted to cooperate, so why were negotiations at the Yalta and Potsdam conferences so difficult?

Actually, the three great superpowers at Yalta did want to cooperate, because they wanted to ensure peace for the postwar world.  However, they all had different agendas to promote.  Stalin acted on his own and was not responsible to the people of the Soviet Union.  Stalin wanted to ensure a buffer zone between the West and his country, because the Soviet Union lost heavily in terms of men and material in this war.  Churchill openly distrusted Stalin and there was still some animosity between Britain and the Soviet Union over the Nazi-Soviet Non-Aggression Pact in 1939.  Stalin wanted to see the prewar government of Poland restored, but Stalin wanted his regime to remain in place.  When Churchill complained that Stalin was expanding his borders, Stalin pointed an accusing finger at British colonies and asked why the British could have a sphere of influence and the Russians could not.  Roosevelt, on the other hand, needed an assurance that the Soviet Union would stay in the war to fight the Japanese, who were already retreating in January 1945 but were still quite strong.  Roosevelt was willing to agree to almost anything to get this assurance, even if it meant that Eastern Europe would be occupied by the Soviet army, which was already a reality on the ground at the time of the conference anyway.  Roosevelt thought that he could negotiate a deal with Stalin to get the Soviet Union to acknowledge the prewar territorial boundaries, but the American president died in April before the war's end.  

What is the Jolly Roger?

The Jolly Roger is the name given to a pirate flag. Most people are familiar with it—a black flag with a white skull and crossbones, guaranteed to strike the fear of God into anyone who has the misfortune to encounter it on the high seas. In Treasure Island, it becomes a symbol of Israel Hands's usurped authority. When Jim Hawkins sees the Jolly Roger flying from the shore, he knows that he has to get rid of it and reassert the authority of the Captain's crew. After a swift but brutal fight, in which Jim kills Israel Hands, that's precisely what the young lad does. Jim cuts the anchor line and lets the Hispaniola drift across the bay, then tears down the Jolly Roger, replacing it with the Union Jack.

Who does the tribe seem to respect the most in Chapter 2 of William Golding's Lord of the Flies?

During their first official assembly, Ralph takes the lead and begins to explain the island to the boys. He grabs the conch and sets forth several rules on the island. Initially, the boys seem to respect and obey Ralph whenever he speaks. After Ralph explains that his father was in the Navy, Golding writes, "The assembly was lifted toward safety by his words. They liked and now respected him" (Golding 51). Then, Ralph suggests that the boys make a signal fire and Jack quickly yells, "Come on! Follow me!" (Golding 52). All of the boys immediatly ignore Ralph, who is holding the conch, and run after Jack. Ralph even drops the conch and follows Jack. After a failed attempt to make a fire, Jack begins to make fun of Piggy and comments that the conch doesn't count on the top of the mountain. When Ralph takes the conch and makes the rule that the conch has power on the mountain as well, Jack quickly agrees with Ralph and tells him that the hunters will take care of maintaining the fire. The boys even applaud Jack for his generous offer. Whenever Piggy begins to speak, Jack continues to insult him without any repercussions. Although Ralph is still the leader, the tribe seems to have an affinity for Jack and respect him more than Ralph. The fact that they follow Jack when Ralph is still holding the conch and applaud Jack for offering to maintain the fire are sigificant pieces of evidence which suggest that the tribe respects Jack more than Ralph.

What are operating system functions?

When most end-users encounter computers, they are working on what are sometimes referred to as "virtual machines." In other words, when you interact with a computer or smart phone, there are many layers of software between you and the device you are using. Computers are actually very simple devices, that can store binary data (bits that can have the value of 0 or 1) and perform a very limited set of operations on those bits. What enables computers to perform such operations as accepting input from keyboards and mice and displaying output on monitors is a combination of software and firmware (firmware is basically software hardwired into a system). 
The operating system of a computer is a type of managerial software that handles many of the computer's administrative functions, such as switching between tasks. The key function of an operating system is actually to execute a wait loop, a sequence of code in which it looks for interrupts or signals from various devices (keyboard, mouse, internal clock, etc.) to see if anything needs to be done. Then, if the operating system sees that it has received one or more such signals, it responds by transferring control to an appropriate piece of software (either an operating system module or an application) to deal with the interrupt. Operating systems also provide standard interfaces for application software and handle issues such as memory management, allocating resources among various tasks, resolving conflicts among tasks, and handling interfaces with external devices, so that people writing application software such as word processors or spread sheets can focus on application functionality, and simply use standard commands to write something in a specific font to the screen, for example, rather than dealing with the mechanics of displaying every single pixel in each letter a user will see. 

In the novel, "The Dispossessed," the inhabitants of both Urras and Anarres are “Cetian.” However, despite being the same “race,” the inhabitants of Urras are clearly viewed as an ideological “other” by those on Anarres. Examine how the fear of the ideological other is used by those in power on Anarres to maintain hegemony. What is the medium through which this hegemony is protected (military, rules, laws, something else) and how does it function? [Write two paragraphs: one examining the question regarding fear, one examining the medium]

The government and ruling social class of Annares use the fear of the ideological other to reinforce the group think that is already inherent on Annares. Despite the fact that Urras and Anarres are populated by the same "race" of Cetians, the Anarrestis use the significant cultural differences between cultures to create an ideological divide that makes it easier to maintain the hegemony on Anarres. This is accomplished by sharing often exaggerated stories of what life of Urras is like, from the decadence to the disregard for the lower classes. By inciting fear against the decadence of the Urrasti government, Anarres is able to maintain hegemony by warning its people that the only alternative to communal life and abnegation on Anarres is the wildly unchecked plutocracy of Urras.
The primary medium through which Anarres preserves its hegemony is its social and labor systems. The Anarrestis are true pacifists, foregoing the use of military might to accomplish their goals. Instead, the close-knit society is set up in such a way that Anarresti citizens keep one another in check. While it is not explicitly outlawed to express individuality, as Shevek does by taking a committed life partner, excelling in the sciences and leaving to visit Urras, the social pressure to preserve hegemony is so strong that few Anarrestis are willing or able to overcome it. Similarly, the labor system reinforces this hegemony by humbling the ranks of Anarres through shared labor during times of hardship. Even brilliant men like Shevek are forced to endure lengthy periods of harsh physical labor, ensuring that the lower ranks of Anarresti society do not rise above the dominant group.

What obstacles must Buddy and his friend overcome to make their gifts?

Buddy and his friend must overcome numerous obstacles as they make the fruitcakes they give as gifts each year.
In Truman Capote’s story “A Christmas Memory” the friends must devise ingenious ways to obtain or purchase the ingredients to make and deliver the gifts. Buddy and his friend live in poverty with little adult support or intervention, therefore they are basically penniless except for the small amounts they raise.
Throughout the year, Buddy and his friend save small amounts of change given to them by relatives, raise money by doing odd jobs, and staging neighborhood activities to raise money for the fruitcake ingredients.

But before these Purchases can be made, there is the question of money. Neither of us has any. Except for skin-flint sums persons in the house occasionally provide (a dime is considered very big money); or what we earn ourselves from various activities: holding rummage sales, selling buckets of hand-picked blackberries, jars of home-made jam and apple jelly and peach preserves, rounding up flowers for funerals and weddings. Once we won seventy-ninth prize, five dollars, in a national football contest.

Pecans are gathered from a neighbor’s property after most of the nuts are harvested. One of their major obstacles is obtaining whiskey to soak the cakes since is illegal. But, Buddy and his friend visit the local distiller who donates the whiskey asking only for one of the cakes.
Despite these difficulties, Buddy and his friend make 30 fruitcakes each year and send them off to a wide variety of recipients.

What do the poems "To Sylvia" by Leopardi and "We are Seven" by Wordsworth have in common in terms of writing style, content, and form?

Both these poems are concerned with the same two major themes: childhood, or youth, and premature death. However, the attitudes of the poems towards these themes are fairly disparate. This can be discerned not only from the content, but also from the rhyme-schemes, tone, and mood of the poems. 
Leopardi's "To Sylvia" is an elegy lamenting the premature death of a girl, Sylvia, "ere the grass was touched with winter's frost". It is composed of six-line stanzas in the Romantic style, and its mood is melancholy. The narrator does describe the "bright color" of life as a child--it is evident that he and Sylvia had grown up together--but to him, this speaks only of "treachery" in nature, because Sylvia was taken by "fell disease" before her time. To this narrator, then, it only increases his "bitterness" to remember the wonder of youth with Sylvia, knowing that she was never able to fulfil her potential--"the flower of thy days thy never did'st see." 
Wordsworth's "We Are Seven" takes a quite different approach in its discussion of children and death. It discusses a meeting between the narrator and a cottage girl, aged eight, who insists that "we are seven" (of herself and her siblings), even though two of their number lie in the churchyard. The tone is far lighter than that of Leopardi's poem, indicated immediately by the structure: the four-line stanzas, in abab rhyming couplets, do not set the scene for a lament or elegy. 
As in "To Sylvia", the poem reflects on the fact that children know nothing of what is to come in terms of what death means--"A simple child...what should it know of death?" The subject of death in Wordsworth's poem, however, is treated as, rather than a tragedy, a sad but simple fact of life. The child's proximity with death is indicated as she describes how she sits by the graves of her siblings to knit her stockings, whose "graves are green". Though the narrator insists "They are dead, those two are dead! Their spirits are in Heaven!" the little girl still feels she is one of seven siblings, and is not troubled by the fact that two are no longer on earth -- "O Master, we are seven!" 
There is a certain sadness in the fact that the child here does not understand what death really means, but if the narrator in "To Sylvia" seems to have brought his life to a halt in a mire of bitterness because of premature death, the family in "We Are Seven" seem to approach death quite differently, whether or not they fully understand it. To them, it is accepted as a natural part of living, and of being a family. In both poems, premature death is saddening, and children are portrayed as innocent of its true meaning, but the effect of the deaths in each case is quite dissimilar. 
 
https://americanliterature.com/author/giacomo-leopardi/poem/to-sylvia

https://www.bartleby.com/145/ww124.html

According to Jonathan Edwards in "Sinners in the Hands of an Angry God," what is the only reason one of these unsaved men is not currently burning in hell?

According to Jonathan Edwards in “Sinners in the Hands of an Angry God,” the only reason that unsaved men (or anyone else) have not been cast down into hell to burn eternally is God’s mercy. These people are only saved from damnation by God’s will.
In this sermon, Edwards is trying to emphasize to his listeners that they deserve to be damned. He tells them over and over that their sins are offensive to God. He reminds them that God is very disappointed in them and that he has every right to be. He says that all people “have deserved the fiery pit.” In one of the most famous passages from this sermon, Edwards tells the people that

The God that holds you over the pit of hell, much as one holds a spider, or some loathsome insect, over the fire, abhors you, and is dreadfully provoked; his wrath towards you burns like fire; he looks upon you as worthy of nothing else, but to be cast into the fire; he is of purer eyes than to bear to have you in his sight; you are ten thousand times so abominable in his eyes as the most hateful venomous serpent is in ours.  

This is what Edwards thinks of humanity. He thinks that they (we) all deserve to be cast into hell because we have sinned against God. So why are we not in hell? The only reason for this is that God has, for some reason, chosen not to let us fall. It is not because of anything we have done. We cannot really deserve God’s mercy. God has been good enough to give us that mercy so far, though. As Edwards says,

‘tis nothing but his hand that holds you from falling into the fire every moment; 'tis to be ascribed to nothing else, that you did not go to hell the last night; that you was suffered to awake again in this world, after you closed your eyes to sleep: and there is no other reason to be given why you have not dropped into hell since you arose in the morning, but that God's hand has held you up.

From this, we can see that the only reason that unsaved men and women are not in hell is because God has spared them. God did not have to spare them. People do not deserve to be spared. Instead, it is simply God’s own mercy, freely given, that has prevented unsaved people from being dropped into hell.

Whose portrait sits on an easel by Miss Emily's fireplace, and what material was used to make it?

Miss Emily's father's portrait sits on a gilt easel by the fireplace, and it is a crayon portrait.
In the story, the text mentions the portrait when a deputation of aldermen call on Miss Emily to discuss her tax obligations. Accordingly, after Miss Emily's father passed away, Colonel Sartoris had given Emily a dispensation that released her from her tax responsibilities to the town of Jefferson. To coax Miss Emily into accepting his premise for the dispensation, Colonel Sartoris had craftily invented an elaborate story of the town being beholden to Miss Emily's father for a business loan.
After Colonel Sartoris passed away, however, a new generation of mayors and aldermen refused to continue to indulge Miss Emily. By the time the deputation arrived at Miss Emily's home, the neglected home had been free of visitors for at least eight to ten years. Miss Emily used to give china-painting lessons, but she has since stopped. The house itself smells of "dust and disuse." The men are led into the parlor, where the furniture is covered in heavy leather. Here, the chairs are also dusty. However, the prized crayon portrait of Miss Emily's father sits proudly before the fireplace.
Despite their carefully prepared arguments, however, the men are not able to convince Miss Emily to pay her taxes. She stubbornly orders the council men to refer to Colonel Sartoris whenever the subject of her tax responsibilities come up. So, defeated by an old lady's irrevocable will, the aldermen must accept that no taxes will be paid by Miss Emily for the duration of her life on earth.

What was the woman's initial reaction when the boy tried to snatch her purse in the short story "Thank You, Ma'am?"

When the boy in the short story “Thank You, Ma’am” tries to steal Mrs. Luella Bates Washington Jones’ purse, Mrs. Jones’ first reaction is physical.  She uses physical force against him, apparently to punish him and to prevent him from getting away.
At the beginning of the story, the young man tries to take Mrs. Jones’ purse but falls down while doing so.  Her reaction is to turn around and kick him in the behind.  She then picks him up and shakes him vigorously.  Here is the passage in the story that shows this.  It says that, after he fell down,

the large woman simply turned around and kicked him right square in his blue-jeaned sitter. Then she reached down, picked the boy up by his shirt front, and shook him until his teeth rattled.

Presumably, she kicks him out of anger since kicking him will not necessarily prevent him from escaping.  I assume that she then picks him up and shakes him partly to punish him further and partly to prevent him from escaping.  This physical reaction is her first reaction when he tries to steal her purse.

in the book unwind, how would the world change if it was outlawed

The question is a bit unclear. I believe that "it" refers to the process of unwinding. In the book, unwinding can be done on a teenager as a form of retro-active abortion. The child's body parts and organs are completely harvested and donated to other people. The book's introduction states that this process appeased the demands of the people that are opposed to abortion as well as the people that are for abortion.

The Second Civil War, also known as "The Heartland War," was a long and bloody conflict fought over a single issue.
To end the war, a set of constitutional amendments known as "The Bill of Life" was passed.
It satisfied both the Pro-life and the Pro-choice armies.

Apparently, the debate between Pro-life people and Pro-choice people got so heated and so critical that an entire war was fought over which belief system should be put into place. If the "Bill of Life" was repealed, the process of unwinding would stop. It is likely that the debate would once again rage, and another war would probably follow.

What is the mood and tone of "Winter Dreams"?

In "Winter Dreams," Dexter longs to obtain the favor of a girl named Judy Jones. But in every meeting and every opportunity with her, she seems to draw him just close enough—and then run in a different direction. Judy has a hypnotic effect on Dexter, creating a wistful tone in the story as he chases her for years:

There was a pause. Then she smiled and the corners of her mouth drooped and an almost imperceptible sway brought her closer to him, looking up into his eyes. A lump rose in Dexter's throat, and he waited breathless for the experiment, facing the unpredictable compound that would form mysteriously from the elements of their lips. Then he saw—she communicated her excitement to him, lavishly, deeply, with kisses that were not a promise but a fulfillment. They aroused in him not hunger demanding renewal but surfeit that would demand more surfeit . . . kisses that were like charity, creating want by holding backnothing at all.
It did not take him many hours to decide that he had wanted Judy Jones ever since he was a proud, desirous little boy.

But Judy does hold back in the end. She shares her affections with many young men in town, and then she drops them all every time new guy moves in. Dexter waits for her, always hoping for a more solid commitment, but this is not something Judy is willing to give. She comes in and out of his life for years, at one point convincing him to break up with his fiancée so that they can be together. Not surprisingly, it doesn't last. There is an understanding that Judy is forever an ideal that is out of Dexter's grasp, but he wistfully holds on to the idea of her until the very end of the story.
The mood, therefore, is gloomy. Time after time, Dexter allows himself to be used and discarded by Judy. He lets a hope for happily ever after with Irene slip between his fingers when Judy returns once more. And in the end, all of his waiting amounts to nothing when he realizes that Judy has married someone else and has even lost her youthful beauty and the charms that he so admired. He has spent his youth chasing a dream that could not be obtained, and Fitzgerald ends the story on a hopeless note: "Now that thing is gone, that thing is gone. I cannot cry. I cannot care. That thing will come back no more." The story shows disillusionment and the futility of chasing dreams.

In "Winter Dreams" by F. Scott Fitzgerald, the tone is one of melancholy. Fitzgerald paints a dim picture of Dexter's loss of the American Dream so well embodied in Judy Jones, a thoughtless, shallow woman who becomes Dexter's obsession throughout this short story. From the first time Dexter sees Judy at age eleven until the last time he is with her, giving up a chance for real happiness with Irene Scheerer, having Judy becomes his one goal, his one dream. This dream is shattered at the end of the story when Fitzgerald allows the reader to understand just how Dexter's world crumbles by following the wrong dream.
The mood in "Winter Dreams" is one of disillusionment and discontent. Dexter begins as a confident, young man and amasses a great deal of wealth on his own through his laundry business. He is discontent with his social status and wants to rise above his mother's humble beginnings. Enchanted by Judy Jones, Dexter sets out to win her over; she represents everything he has ever wanted: status and beauty. However, Judy does not appear to know how to love. She is concerned with money and flirtation, not relationships. At the close of the story, Dexter discovers that Judy is married to an abusive man and has children; she has "faded" at the age of twenty-seven. Just as he is disillusioned by his image of Judy, he becomes discontent with life: "Even the grief he could have borne was left behind in the country of illusion, of youth, of the richness of life, where his winter dreams had flourished (IV).

F. Scott Fitzgerald's short story was written in 1922, and believed by Fitzgerald scholars to be the forerunner of The Great Gatsby because of its theme of class differences and how they factor into matters of the heart and the sadness of a misspent life.
The overall mood and tone of the story could be called lamenting or discontented. Dexter Green never seems to find happiness: not as a young man when he dreams of financial success, not in his relationship with Irene, not in his acquisition of wealth, career success and consequent social access, not in his on-again off-again relationship with Judy, and certainly not when he learns of Judy's sad fate as a betrayed wife who has lost her beauty.  
Dexter is mournful at the story's end as realizes that, in many ways, he has wasted his youth chasing after illusions.
 
 

Who is Selma Thurmer and what does Holden say about her?

At the beginning of the novel, Holden Caulfield is standing on the top of Thomsen Hill overlooking the football field where Pencey Prep is playing their rivals, Saxon Hall. Holden begins describing Pencey Prep and mentions that only seniors were allowed to bring girls to the home football games. Holden's attention drifts into thinking about girls, and he begins talking about a friendly girl named Selma Thurmer. Holden says that Selma Thurmer is the headmaster's daughter and that she shows up to most of the football games. Holden goes on to mention that he sat next to Selma on a bus ride from Agerstown once and struck up a conversation with her. Holden admits that he liked Selma and felt sort of bad for her because she had a big nose and chewed-down fingernails. Holden also says,

What I liked about her, she didn't give you a lot of horse manure about what a great guy her father was. She probably knew what a phony slob he was (Salinger 2).

Selma is depicted as a vulnerable, honest girl who Holden identifies with and likes. As the novel progresses, the reader learns that Holden cannot stand popular individuals who act "phony" and have inflated views of themselves. Selma Thurmer is an authentic, genuine girl who has flaws and gets along with Holden.

Selma Thurmer is the daughter of Holden's headmaster at Pencey Prep. As with just about everyone else in the novel, Holden regards Selma's old man as a phony. What he likes about Selma is that she seems to feel the same way. She often shows up to the school's football games, and although Holden says she isn't exactly the kind of girl to drive you wild with desire, he still thinks she's a pretty nice girl all the same. In terms of looks, however, Holden's none too impressed. He observes, somewhat ungallantly, that Selma has a large nose, badly bitten nails, and wears false breasts. Yet ironically, Holden still likes her, because she doesn't give him a load of bull about what a great guy her father is. She probably knows what a phony slob he really is, and for Holden, that's a definite plus.

How is suspension of disbelief not essential in the natural sciences?

Suspension of disbelief refers to someone’s ability to look beyond what they can see or experience in real life. It typically refers to elements of fantasy and surrealism. For example, when we watch Star Wars, we suspend our disbelief and accept that other space communities and creatures exist even though we currently do not have any proof.
When scientists study the natural sciences, they are dealing with elements you can actually experience. For example, when studying biology, you have the ability to dissect an animal and examine how the digestive system is connected. You can look through a telescope and see the stars and planets. You can experience a meteorological event. Suspension of disbelief is removed from the equation through evidence gathered during experiments and observations. Science is based on repeated results and peer reviews to solidify its validity. The premise of scientific knowledge is that it has been tested and proven to be true. There is a high confidence level in the accuracy of the information. You are not expected to accept science with blind faith.

College Algebra, Chapter 3, 3.1, Section 3.1, Problem 30

Evaluate the piecewise defined function $f(x) = \left\{
\begin{array}{c}
3x & \text{if} & x < 0 \\
x+1 & \text{if} & 0 \leq x \leq 2\\
(x-2)^2 & \text{if} & x > 2
\end{array}\right.
\quad
$
at $f(-5), f(0), f(1), f(2), f(5)$



$
\begin{equation}
\begin{aligned}
&\text{Since } -5 \leq 2, \text{ we have } f(-5) = 3(-5) = -15\\
\\
&\text{Since } 0 \leq 0 \leq 2, \text{ we have } f(0) = 0+1 = 1\\
\\
&\text{Since } 0 \leq 1 \leq 2, \text{ we have } f(1) = 1 + 1 = 2\\
\\
&\text{Since } 0 \leq 2 \leq 2, \text{ we have } f(2) = 2 + 1 = 3\\
\\
&\text{Since } 5 > 2, \text{ we have } f(5) = (5-2)^2 = 3^2 = 9\\
\\
\end{aligned}
\end{equation}
$

In Ancien Regime France, what were the states?

In the Ancien Régime in France before the French Revolution, the populace was divided into three "estates". The monarchy was considered its own category, related to the second estate but not identical to it. These three were:

First Estate: The first estate were the Roman Catholic clergy. These included bishops, priests, monks, and nuns. This was divided hierarchically into "higher" and "lower" clergy, with the higher clergy including bishops and abbots who normally were required to be members of the nobility, or second estate.

Second Estate: This was divided into the noblesse d'épée ("nobility of the sword") and noblesse de robe ("nobility of the robe"). The noblesse d'épée was the old hereditary nobility and the noblesse de robe the newer nobility who often earned their titles through positions in the judiciary or civil service. Members of the nobility were exempt from many forms of taxation.
Third Estate: The rest of the population consisted of the third estate, or commoners.

Single Variable Calculus, Chapter 3, 3.5, Section 3.5, Problem 17

Determine the derivative of the function $g(x) = (1+4x)^5(3+x-x)^8$


$
\begin{equation}
\begin{aligned}
g'(x) &= \left[ (1+4x)^5 \cdot \frac{d}{dx} (3 + x - x^2)^8 \right] + \left[ (3+x-x^2)^8 \cdot \frac{d}{dx} (1+4x)^5\right]\\
\\
g'(x) &= \left[ (1+4x)^5 \cdot 8(3+x-x^2)^7 \frac{d}{dx} (3+x-x^2)\right] + \left[ (3+x-x^2)^8 \cdot 5(1+4x)^4 \frac{d}{dx} (1+4x) \right]\\
\\
g'(x) &= \left[ (1+4x)^5 \cdot 8(3+x-x^2)^7(1-2x)\right] + \left[ (3+x-x^2)^8 \cdot 5(1+4x)^4 (4)\right]\\
\\
g'(x) &= \left[8(1+4x)^5(3+x-x^2)^7(1-2x)\right] + \left[20 (3+x-x^2)^8(1+4x)^4 \right]\\
\\
g'(x) &= (3+x-x^2)^7(1+4x)^4 \left[ 8 (1+4x)(1-2x)+20(3+x-x^2) \right]\\
\\
g'(x) &= (3+x-x^2)^7(1+4x)^4 \left[ 8 (1-2x+4x-8x^2) + 20(3+x-x^2)\right]\\
\\
g'(x) &= (3+x-x^2)^7(1+4x)^4 \left[ 8 (1 + 2x - 8x^2) + 20 (3+x-x^2)\right]\\
\\
g'(x) &= (3+x-x^2)^7(1+4x)^4 ( 8 + 16x-64x^2 + 60 + 20x -20x^2)\\
\\
g'(x) &= (3+x-x^2)^7(1+4x)^4 (68 + 36x - 84x ^2)\\
\\
g'(x) &= 4 (3+x-x^2)^7(1+4x)^4 ( 17+9x-21x^2)
\end{aligned}
\end{equation}
$

Describe the long-term consequences of the Black Plague in the social, economic, and intellectual development of Western civilization.

The Black Plague killed about one third of the European population in the 1300s. The result was an improvement in the conditions for most European peasants who survived, as there was more land available and the population decline resulted in worker shortages that improved wages. As people had more land to raise crops and cattle—and had more food, including beef and butter, available to them—their standard of living and health conditions improved. The long-term result was the eventual disintegration of feudalism, as lords could no longer keep peasants tied to their lands. 
The plague also resulted in the need for new types of technology to make up for missing workers. In addition, the study of anatomy and medicine improved in the wake of the plague. The plague also resulted in the religious persecution of groups such as the Jews and the Romani. There were waves of anti-Semitic attacks following the plague, as people sought to scapegoat Jews for having caused the plague. 

Where does the plane crash in Hatchet?

Unfortunately, the answer to this question has to be fairly broad and vague. The plane crashes into a lake somewhere in the Canadian wilderness. Readers are not told the exact heading of the aircraft other than a vague "northwest," but the plane is likely to have crashed in either Quebec or Ontario. New Brunswick is also a possibility but not likely based on the initial heading; however, readers do know that Brian veered off course.
If I had to pick one, I would favor Quebec simply because there are more large lakes in Quebec than Ontario. The reason that the Canadian provinces are the most likely crash-points is because of the plane's departure point. The plane left from a small airport in Hampton, New York which is right on the border of Vermont.
This is where things get tricky to figure out, because Paulsen didn't give readers accurate information regarding the airplane. The second sentence of the story tells readers that the plane is a Cessna 406. A paragraph or so later, the text tells readers that Brian had never been in a single-engine aircraft before. The Cessna 406 is a twin-engine aircraft. The Cessna 406 is called the Caravan II. The Caravan I (Cessna 208) is a single engine variant.
Both aircrafts have a range of about 1,200 miles, and that could put Brian all the way into Manitoba (because he ran the aircraft until it was out of fuel). The problem is that readers are told that the plane's cruising speed was 160 miles per hour. Both the 208 and 406 have cruising speeds well over 200 miles per hour:

Many hours, at maybe 160 miles an hour. Even if it was only a little off course, with that speed and time Brian might now be sitting several hundred miles off to the side of the recorded flight plan.

The plane that fits the description in the book is the Cessna 206. It's a common bush plane and/or float plane because it is quite rugged. It's cruising speed, according to specifications, is 163 miles per hour. It has a range of almost 850 miles, and that easily puts Brian deep into either Quebec or Ontario by the time the fuel ran out.

In the novel Hatchet, Brian is flying to the Canadian north woods from New York City to visit his father.  While in flight, the pilot of the plane has a heart attack and died.  Brian must then take over the controls of the plane.  He is able to crash-land plane somewhere in the Canadian woods, stranding Brian alone in the wilderness.  As the novel unfolds, Brian must learn to hunt and gather his own food, build shelter and other survivor skills.  Luckily, Brian is able to adapt and survive in the Canadian wilderness until being rescued.

In the novel Hatchet, Brian Robeson's parents get a divorce, and he flies to visit his father, who is an engineer, in the Canadian oil fields. While Brian is flying from New York to Canada in a small bush plane, the pilot has a heart attack and dies mid-flight. Brian is forced to land the bush plane in the Canadian wilderness, somewhere in the Northwoods, where it crashes and sinks into a lake. Brian, who is not an experienced outdoorsman, is forced to brave the elements and survive in the uninhabited forest by himself. As the novel progresses, Brian learns where to find edible berries, masters the ability to hunt wild animals, and even builds a shelter to protect himself from the elements. Fortunately, Brian is able to adapt to his environment and survives in the Northwoods before being rescued.

What is an example of the third-person omniscient narrator in Steinbeck's book The Pearl?

An omniscient or third-person narrator is a voice that tells the story and that knows everything that happens in the story, beyond the knowledge of the characters. For example, when Kino and Juana bring their baby, Coyotito, to the doctor for his scorpion bite, the narrator tells the reader about the doctor: "The doctor had once for a short time been a part of the great world and his whole subsequent life was memory and longing for France" (page 12). This background about the doctor is something only an omniscient, or all-knowing, narrator would know--as it is not necessarily information that the characters who meet the doctor have. 
The narrator also knows how news flows through the town before Kino and Juana do. For example, the narrator says:




"Before Kino and Juana and the other fishers had come to Kino's brush house, the nerves of the town were pulsing and vibrating with the news - Kino had found the Pearl of the World" (page 21).

The narrator has access to the way people are behaving about Kino's discovery of the pearl even before the characters do, as the narrator knows things beyond what the characters know. Many parts of the story are told by the omniscient narrator. 

What was the effect that the point of view had on the meaning and emotional impact in the story?

This story seems to begin with a third-person limited omniscient point of view.  This means that the narrator knows the thoughts and feelings of one character.  We do not get much of the cop's thoughts and feelings, but we do get a bit.  In the first paragraph, for instance, the narrator says that the cop looked "strong and important.  This was the way he always moved.  He was not thinking of how he looked."  After this, we do not hear about what the cop is thinking or feeling specifically, but we do seem to get details that he, a police offer, would notice: the shape and complexion of the waiting man's face, his distinctive scar, as well as the "large jewel in his necktie" and the "fine watch, covered with small jewels."  The shift from a limited omniscient perspective to a more objective point of view is, I think, purposeful.  It feels strange to get the cop's thoughts at first, and then not again—it is as though they are purposely being kept from us when he meets and speaks to the waiting man.  It is, in the end, a clue to the story's surprise ending.  
The waiting man says something pretty ironic when speaking with the cop.  Of himself and Jimmy Wells, he says, "'We thought that in twenty years we would know what kind of men we were, and what future waited for us.'"  However, this is not what actually happens.  Bob thinks of himself as "a great success," someone who "had to fight for [his] success," someone who takes pride in having "done well."  In reality, however, Bob is a criminal, and he is probably going to prison for a long time.  Thus, he does not know "what kind of [man he is]" or "what future waited for [him]."  
Jimmy, we might be inclined to think, has fared a lot better: he is a cop.  However, he is not brave or strong enough to arrest a known criminal when given the opportunity.  He probably does not think of himself as a coward, just as Bob does not realize he is a crook and not "a success."  Ultimately, then, not even twenty years is enough to know who they truly are.  The point of view allows us to come to this realization—neither man is truly honest with himself about what he is.

With the point of view as third person objective, the narrator of "After Twenty Years" is a detached observer of the action and any dialogue. This narrator never reveals anything about what the characters feel and think. Therefore, O. Henry's story ending with a reversal of fortune is effective in surprising the reader.
Despite having this detached observer as the narrator, there are some clues that Jimmy's friend who waits for him in the shadows of a doorway may not be an upright citizen. For instance, this man has a "little white mark near his eye," a scar. He also has "a large jewel in his necktie." Additionally, the waiting man takes out a "fine watch, covered with small jewels." Because of these details, the reader is not too surprised when this man is arrested. 
However, because the narrator simply refers to the other main character as "the cop," there is no indication that this character has an integral part in the plot, or that he is connected in any way to the man who waits to meet his old friend. Therefore, at the story's end, there is a considerable surprise. For when the letter is presented to the man known as 'Silky Bob' that informs him that Jimmy was at the meeting place on time, but because he did not want to be the one to arrest him he asked another policeman, and the reader experiences a surprise ending.

What do you think would be a good alternative title for Lysistrata that reflects its theme? How does the theme relate to contemporary issues and life? What is your personal response to the theme?

The first thing you need to do in order to complete this assignment successfully is to think about the major ideas of Aristophanes's Lysistrata. Although some modern critics think about the play in terms of female empowerment, that is probably anachronistic. For Aristophanes, the idea of females acting in unison to affect affairs of state was inherently comic, rather like the idea of a man flying to Olympus on a dung beetle or birds and humans allying together against the gods. Much of Aristophanes's literary technique involves portraying the fantastic or absurd for comic effect while nevertheless making an important political or social point.
The central point of the play, as of many other plays by Aristophanes, was to oppose the Peloponnesian wars. An important aspect of this opposition, and again something consistent across several works by Aristophanes, was that war tended to harm ordinary citizens, especially farmers and people who were not members of the political elite. 
While you are the only person who can determine your own personal response to the play, the key issue you might look at is the effect of constant war on the citizens of countries in which the fighting is occurring. For example, you might look at news reports about daily life in Somalia, Libya, or Syria. You might also look at Lysistrata's actions and think about what sort of actions private citizens can take to oppose wars. 
While actually writing a title for you would be a form of academic dishonesty, I would suggest that you think about something related to this major theme of war and what ordinary women (or average citizens in general) can do to prevent or end wars.

Calculus of a Single Variable, Chapter 9, 9.4, Section 9.4, Problem 20

Limit comparison test is applicable when suma_n and sumb_n are series with positive terms . If lim_(n->oo)a_n/b_n=L where L is a finite number and L>0 , then either both series converge or both diverge.
Given series is sum_(n=1)^oon/((n+1)2^(n-1))
Let the comparison series be sum_(n=1)^oo1/2^n=sum_(n=1)^oo(1/2)^n
The comparison series is a geometric series with ratio r=1/2<1
A geometric series with ratio r converges, if 0<|r|<1
So, the comparison series sum_(n=1)^oo(1/2)^n converges.
Now ,let's apply the limit comparison test with a_n=n/((n+1)2^(n-1)) and b_n=1/2^n
a_n/b_n=(n/((n+1)2^(n-1)))/(1/2^n)
a_n/b_n=((2n)/((n+1)2^n))/(1/2^n)
a_n/b_n=(2n*2^n)/((n+1)2^n)
a_n/b_n=(2n)/(n+1)
lim_(n->oo)a_n/b_n=lim_(n->oo)(2n)/(n+1)
=lim_(n->oo)(2n)/(n(1+1/n))
=lim_(n->oo)2/(1+1/n)
=2>0
Since the comparison series sum_(n=1)^oo1/2^n converges, so the series sum_(n=1)^oon/((n+1)2^(n-1)) as well ,converges by the limit comparison test.

SCENARIO: You are a poor but respectable young woman from East Anglia. You are intelligent, literate and a good worker but there are no good opportunities for employment at home or even in London. You want more out of life and hope to get ahead in the world. Therefore, you have decided to take your chances as an indentured servant in the English colonies. After your period of indenture, you hope to settle down and get married. Which colony do you choose? Why? (Note: you should consider social, economic, and political reasons and mention how your colony is different/better than the others) Massachusetts Bay Pennsylvania Maryland Virginia

Perhaps the best choice for this young woman is Pennsylvania. Its climate was more salutary than that of Maryland and Virginia, as the swamps of the Chesapeake resulted in malaria and in high death rates. Massachusetts was ruled as a Puritan theocracy, so if the woman were not Puritan, she would not find this colony particularly welcoming and would not necessarily find someone to marry (as people married within the church). In addition, the crops grown in Maryland and Virginia, such as tobacco, were labor-intensive, while the climate in New England was cold and snowy. The soil of New England was rocky, making growing crops difficult. The crops grown in colonial Pennsylvania, on the other hand, included grains such as wheat and rye, and this area would be a good place for this young woman to settle down after her period of indentured servitude. In addition, the redemptionist system in Pennsylvania allowed indentured servants to buy themselves out of their contracts more quickly than the established time of 3–7 years. Some immigrants to Pennsylvania (including many German immigrants) were able to pay for their passage and were released from servitude immediately upon arrival in the colony (see the source below).

Source:
The German Element in the United States, Volume 1, by Albert Bernhardt Faust, page 66.

y = x^2 + 1 , y= -x^2 + 2x +5 , x=0 , x=3 Find the volume of the solid generated by revolving the region bounded by the graphs of the equations about the x-axis.

We can use a rectangular strips to represent the region bounded by y=x^2+1 ,y=-x^2+2x+5 , x=0 , and x=3 revolved about the x-axis. As shown on the attached graph, we consider two sets of rectangular strip perpendicular to the x-axis (axis of revolution) to be able to use the Disk Method.  This is the case since the upper bound of the rectangular strip differs before and after x=2 .
 In this method, we follow the formula: V = int_a^b A(x) dx since we are using a vertical orientation of each rectangular strip with a thickness =dx .
Note: A = pir^2 where r= length of the rectangular strip.
 We may apply r = y_(above) - y_(below) .
For the region within the boundary values of x: [ 0,2] , we follow r = (x^2+1)-0=x^2+1
For the region within the boundary values of x: [ 2,3] , we follow r = (-x^2+2x+5)-0 =-x^2+2x+5
Then the integral set-up will be:
V = int_0^2 pi*(x^2+1)^2dx+int_2^4 pi*(-x^2+2x+5)^2dx
Expand: (x^2+1)^2 =(x^2+1)(x^2+1)=x^4+2x^2+1
and (-x^2+2x+5)^2=(-x^2+2x+5)(-x^2+2x+5)=
x^4 - 4x^3 - 6x^2 + 20x + 25
The integral becomes:
V = int_0^2 pi*(x^4+2x^2+1) dx+int_2^3 pi*(x^4 - 4x^3 - 6x^2 + 20x + 25)dx
To evaluate each integrals, we may integrate each term separately using basic integration property: int c f(x) dx = c int f(x) dx and Power rule for integration: int x^n dx = x^(n+1)/(n+1) .
For the first integral:
int_0^2 pi*(x^4+2x^2+1) dx =pi [int_0^2 (x^4+2x^2+1) dx]
=pi*[x^5/5 +(2x^3)/3+x]|_0^2
Apply definite integration formula: int_a^b f(y) dy= F(b)-F(a) .
pi*[x^5/5 +(2x^3)/3+x]|_0^2=pi*[(2)^5/5 +(2(2)^3)/3+(2)]-pi*[(0)^5/5 +(2(0)^3)/3+(0)]
= pi[32/5+16/3+2] - pi[0+0+0]
= pi[206/15] - pi[0]
=(206pi)/15
 
For the second integral:
int_2^3 pi*(x^4 - 4x^3 - 6x^2 + 20x + 25)dx= pi[int_2^3 (x^4 - 4x^3 - 6x^2 + 20x + 25)dx]
=pi[x^5/5-4*x^4/4-6*x^3/3+20*x^2/2+25x]|_2^3
=pi[x^5/5-x^4-2x^3+10x^2+25x]|_2^3
Apply definite integration formula: int_a^b f(y) dy= F(b)-F(a) .
pi[x^5/5-x^4-2x^3+10x^2+25x]|_2^3
=pi[(3)^5/5-(3)^4-2(3)^3+10(3)^2+25(3)]-pi[(2)^5/5-(2)^4-2(2)^3+10(2)^2+25(2)]
=pi[243/5-81-54+90+75] - [ 32/5-16-16+40+50]
=(393pi)/5 - (322pi)/5
=(71pi)/5
Combing the two definite integral, we get the volume of the solid as:
V =(206 pi)/15+(71pi)/5
V=(419pi)/15  or   87.76 (approximated value.

What were George Washington's contributions to the divided nation as well as the foundation he set for future presidents?

George Washington made many contributions to the country when he became President of the United States. Other countries were pushing the US around by interfering with its trade and encouraging the Native Americans to attack the settlers. Instead of going to war with these countries, Washington sent people to negotiate treaties with Great Britain and Spain to stop these events from occurring. He knew the US was not ready to go to war with any European country. Jay’s Treaty and Pinckney’s Treaty resulted from these negotiations.
George Washington also kept order at home. When the Whiskey Rebellion began, he sent federal troops to end the uprising to send a message that the federal government was strong and wouldn’t tolerate internal rebellion.
President Washington also knew that the debt of the country had to be paid. He supported his Secretary of the Treasury, Alexander Hamilton, who had a plan to deal with the debt.
When President Washington left office, he made it clear that he felt two terms were enough. He didn’t want to set a precedent that somebody could be a leader for many, many years. He also suggested that the country avoid developing political parties, stay neutral in foreign affairs, and avoid making long-term agreements.
https://www.history.com/topics/us-presidents/george-washington

According to Kaleidoscope what makes a good death?

It looks like you are referring to the short story "Kaleidoscope" in the collection.
According to "Kaleidoscope," a good death is a meaningful death and a testament to a life lived without regrets.
In the story, Hollis (the lead character) engages in deep self-contemplation after the rocket he shared with 7 other astronauts explodes. The destruction of the spacecraft propels the men into space.
It is very evident that none of the men will survive such a catastrophe. The story centers on how the men handle the inevitability of death. The names of the astronauts are Hollis, Woode, Stimson, the Captain, Stone, Lespere, Applegate, and Barkley.
Because they did not have time to connect their force units, the astronauts float away in different directions. Each experiences feelings of helplessness, anger, fear, and disbelief as death approaches. Two of the men begin screaming in panic, and Hollis kills one of them. He rationalizes that he is sparing his fellow astronaut from further misery.
The most interesting conversation occurs between Hollis and Lespere. During their exchange, Lespere maintains that he is going to "rest easy" until death claims him; he will not become "mean" like Hollis. Lespere tries to comfort Hollis, but the latter is inconsolable. Hollis does not want to die, and the thought of his previous behavior distresses him. In the end, Hollis acknowledges that his placid manner had always been a facade; however, he had never felt it socially acceptable to admit this.
In the last moments of his life, Hollis wonders how he can do "good" by himself.

And I? thought Hollis. What can I do? Is there anything I can do now to make up for a terrible and empty life? If only I could do one good thing to make up for the meanness I collected all these years and didn’t even know was in me! But there’s no one here but myself, and how can you do good all alone?

In the end, Hollis consoles himself that his dead ashes will enrich the earth, thus contributing something of value to the world. So, according to the story, a good death is a meaningful one, a benefit to others, and a testament to a life well lived.

Identify the narrator's variety of emotions surrounding the discovery of the snake at the well. Explain your reaction.

When the narrator first sees the snake in his water trough, he is mildly irritated. He reasons that, since the water trough belongs to him, he should not be made to feel like a "second comer." 
However, the narrator is also amused that the snake demonstrates little fear of him. The reptile alternately drinks and inspects him with the mild gaze of a curious bystander. The tone of the poem takes on a menacing quality, however, when the narrator decides that the snake must die. According to the narrator's voice of "education," golden Sicilian snakes must be killed because they are venomous. The narrator does not elaborate on the nature of this "voice of education," so we can only speculate on its origins. 
Perhaps, the voice of "education" refers to the narrator's gleaned knowledge about the snake, acquired through either formal or informal means. Another interpretation is that the narrator's "education" may have been acquired through painful experience. An additional interpretation rests on the biblical interpretation of the snake as a malevolent and dangerous symbol of temptation and evil.
The voice of the narrator's "education" is mingled with a condescending, contemptuous voice that goads him to execute the snake with a stick. This new voice suggests that the narrator's masculinity is in doubt. Interestingly, the narrator ignores both voices; he decides that he rather likes the fact that the snake has chosen to grace his water trough with its presence. His bravado is replaced with self-doubt, however:

Was it cowardice, that I dared not kill him? Was it perversity, that I longed to talk to him? Was it humility, to feel so honored?I felt so honored.

The narrator feels numerous emotions; however, he cannot quite decide whether he is a coward, a maverick, or merely a meek host. Once more, the contemptuous voice taunts him, suggesting that his cowardice is behind his decision to spare the snake's life. The narrator then admits that he is afraid of the snake. However, he is also strangely honored by the snake's presence. As he contemplates his conflicting emotions regarding the snake, the creature finishes drinking and begins to slither back into a hole in the garden wall.
Roused from his reverie, the narrator grabs a log and throws it in the snake's direction in the water trough. He immediately regrets his "paltry," "vulgar," and "mean" act. He confesses his disgust with the voices of his "accursed human education" and concludes that his "pettiness" needs to be "expiated." The narrator is clearly repulsed by his fear of the snake, and he characterizes this fear as an irrational one. 
As for your reaction to the snake, you will have to decide whether it is wise to kill a venomous snake or wiser still to leave a dangerous snake alone.

What major characteristic of Romanticism is evident in the first 20 lines of the poem "Elegy Written in a Country Churchyard"?

Although Thomas Gray's "Elegy Written in a Country Churchyard" is not considered to be part of the Romantic canon, its first twenty lines do advance some classic Romantic themes. Most notably, the first twenty lines of Gray's poem describe the kind of isolated world of natural beauty favored by most Romantics.
Though the first twenty lines develop this characteristic, it's pretty completely developed in the first stanza:

The curfew tolls the knell of parting day, 
         The lowing herd wind slowly o'er the lea, 
The plowman homeward plods his weary way, 
         And leaves the world to darkness and to me. (1-4)

Already in this first stanza, we can see that Gray is setting his poem within a world of pastoral beauty. With a wandering herd, an open grassland (the definition of a "lea") and a plowman, Gray skillfully develops a world of natural beauty and hard-working farmers. Moreover, since the world is left to the speaker of the poem, it's suggested that he is alone in this picturesque natural setting. A beautiful and isolated natural setting is a typical characteristic of Romantic literature, as it cultivates an ideal place for the Romantic imagination to become manifest. By using the first twenty lines of his poem to develop this setting, Gray also utilizes a feature that was to become a key part of the Romantic aesthetic.
https://www.owleyes.org/text/elegy-written/read/text-poem

Single Variable Calculus, Chapter 7, Review Exercises, Section Review Exercises, Problem 58

Determine the equation of the tangent line to the curve $y = x \ln x$ at point $(e, e)$

Solving for the slope


$
\begin{equation}
\begin{aligned}

y' =& \frac{d}{dx} (x \ln x)
\\
\\
y' =& x \frac{d}{dx} (\ln x) + \ln x \frac{d}{dx} (x)
\\
\\
y' =& \cancel{x} \cdot \frac{1}{\cancel{x}} + \ln x
\\
\\
y' =& 1 + \ln x

\end{aligned}
\end{equation}
$


We know that $y' = m( \text{slope})$, so


$
\begin{equation}
\begin{aligned}

m =& 1 + \ln x
\\
\\
m =& 1 + \ln e
\\
\\
m =& 1 + 1
\\
\\
m =& 2

\end{aligned}
\end{equation}
$


Using Point Slope Form


$
\begin{equation}
\begin{aligned}

y - y_1 =& m (x - x_1)
\\
\\
y - e =& 2 (x - e)
\\
\\
y - e =& 2x - 2e
\\
\\
y =& 2x - 2e + e
\\
\\
y =& 2x - e \qquad \text{ Equation of the tangent line at } (e, e)

\end{aligned}
\end{equation}
$

Why might it be construed as “poetic justice” that Victor’s worst catastrophe comes just as he is to be married?

Well, the thing that the creature wants most in the world is a companion. When he looks at Mrs. Frankenstein's picture and sees Justine Moritz's smile, he thinks that no one will ever smile at him that way because of the way his creator made him. He wants a female companion with whom he can run away from the world of humankind—someone who will accept him despite his appearance because she will look like him. He convinces Victor to create this female companion for him, and then, just as Victor is nearly finished, the creature watches as Victor destroys the female as a result of his own second thoughts. In other words, Victor denies his creature love and acceptance and the comfort of a companion, and so it seems only fair (to the creature, at least) that the creature would deny Victor those same things.

What has happened to Sandy? How does Soda feel about the situation?

Sandy, a minor character in S.E. Hinton's The Outsiders, has gotten pregnant. Like many young women of this time period in history, Sandy is sent away to live with a relative for the duration of her pregnancy; in this case, Sandy goes to Florida to live with her grandparents.
Sodapop, the most charming and handsome of the Curtis brothers, is a generally relaxed and happy fellow. It is ironic that he is the one who experiences heartbreak, because Ponyboy describes him as a "girl magnet" of sorts. Though Soda attracts the attention of many young women, the one he loves is now going away, and he is left behind, overwhelmed and saddened by the knowledge that the baby is proof of Sandy's unfaithfulness, as the baby she is going to have is not even his.
This piece of news hits Sodapop hard. The timing of the event is poor, as he learns of Sandy's move the same week as Ponyboy and Johnny disappear after the murder of Bob in the park. The resulting anxiety and fear, as well as a deep sense of loss, impact Sodapop deeply. His happy-go-lucky exterior manner conceals his sensitive and emotional inner world.

Ponyboy spends most of the book deep in his own problems, from the Socs to Bob's murder to the fire at the church. Because of this, he takes his brother Soda for granted. Soda acts as the glue between his two other brothers, and he seems to take life in stride and is a source of encouragement for his brothers and friends. As it turns out, Soda is quietly dealing with his own problems—namely Sandy.
When Pony comes home from Johnny's loss, he and Darry break out into their typical fight. Since Soda is hurting, he leaves the two of them, which he typically doesn't do. Darry then fills his little brother in on Soda's situation with Sandy.
Sandy has gotten pregnant—and not by Soda. Because he loves her so much, he offers to marry her even though he is not the father. Her parents don't approve of this idea, though, and Sandy is sent to Florida for the foreseeable future.
Teenage pregnancies were certainly much more stigmatized in this time period, and Sandy doesn't have options. She leaves Soda during the same week that Pony also heads into hiding following the murder, so Soda faces doubly difficult losses in addition to the knowledge that his great love hasn't been faithful to him.

Ponyboy describes his brother, Soda, as handsome and "happy-go-lucky." Early in the story, Soda announces plans to marry his girlfriend, Sandy. Although Soda rarely shows anything other than positive feelings and emotions, it becomes clear later in the novel that Soda is struggling in his relationship with Sandy.
In chapter 12, Ponyboy notices that Soda seems troubled. When Ponyboy and Darry begin to argue, Soda becomes upset and runs out of the house. Darry and Ponyboy discover an unopened returned letter written by Soda to Sandy. Darry then explains that Sandy has gone to Florida. He implies that she is pregnant by saying, "it wasn't Soda, Ponyboy." Soda had plans to marry her although the baby was not his. Darry explains to Ponyboy that Sandy must not have the same feelings for Soda that he has for her. Ponyboy and Darry witness the emotional pain that Soda experiences through his heartbreak.

In chapter 7, Sodapop receives the unopened letter he sent to his ex-girlfriend Sandy and loses his emotions after witnessing Ponyboy and Darry fighting. Apparently, Sandy has moved to Florida to live with her grandparents after her parents discovered that Sodapop plans on marrying her. They were not enthused about the idea of Sandy marrying a sixteen-year-old boy and sent her to live with her grandparents in Florida. When Sodapop receives his letter returned and unopened, he is full of emotions. After Sodapop runs out of the house, Darry explains to Ponyboy that Sodapop planned on marrying Sandy and was brokenhearted to discover that she did not feel the same way. Sodapop is devastated that the love of his life moved to Florida and no longer has strong feelings for him. Despite his negative feelings and broken heart, Soda does a good job of covering his emotions until he can no longer repress his feelings.

Single Variable Calculus, Chapter 7, 7.2-1, Section 7.2-1, Problem 14

Use the graph of $y = e^x$ to find the equation of the graph that results from

a.) Reflecting about the line $y = 4$.

To acquire the equation from $y = e^x$, we first multiply it by $-1$ to reflect the graph from $x$-axis then we need to find the appropriate number that will shift our graph upwards. To figure it out, let's look at the $y$-intercepts. The graph crosses $y$-axis at $1$ from $y = e^x$. in our current form $y = -e^x$, the graph crosses $y$-axis at $-1$. If we want to reflect about the line $y = 4$, then we want 4 to be in the middle between our $y$-intercepts. Thus, we add $8$ to our function so that..

$y = -e^x + 8$







b.) Reflecting about the line $x = 2$.


To achieve this, we first multiply the exponent of $y = e^x$ from $y$-axis. Then we need to find the appropriate number that will shift our graph to the right.

Thus,


$
\begin{equation}
\begin{aligned}

e^x =& e^{-(x - n)}
\\
\\
x =& -x + n
\\
\\
n =& 2x

\end{aligned}
\end{equation}
$


So if $x = 2$, then

$n = 2(2) = 4$

Therefore,

$y = e^{-x - 4}$

How is the relationship between Watson and Holmes presented throughout the novella?

Watson is a foil, or contrast, to Holmes throughout the novella. Watson's own inability to puzzle out rationally what is going on with the mystery highlights the power and logic of Holmes's superior intellect. As Holmes says to Watson:

"How often have I said to you that when you have eliminated the impossible, whatever remains, however improbable, must be the truth?"

Watson also acts as an emotional foil to Holmes, who remains wedded to the rational throughout. Watson, in contrast, falls in love with Mary Morstan, the woman who comes to Holmes hoping he will help her solve the mystery of what happened to her missing father, as well to help her discover the meaning of the pearl she receives every year. While Holmes focuses his laser sharp mind on analyzing what has happened, Watson deals with a dizzying array of emotions about Mary. Although he is in love with her, he hesitates to declare himself when he thinks Mary is the heiress to a fortune, for fear she will think he is after her for the money. But when he finds out she will not inherit the bulk of the Agra treasure, he proposes to her. Holmes, meanwhile, stays aloof from love entanglements. 

What is Robert Frost's message in his poem "The Runaway"?

Robert Frost's "The Runaway" is a short poem that describes the specific scene of a young horse being first exposed to snow. The horse appears to be running away because he is afraid. The two speakers in the poem who encounter the colt judge the colt's owner for not taking better care of him.
Frost describes the speaker's and his companion's ("We") encounter with the colt using simple diction, dialogue, and imagery. The poem begins,

Once when the snow of the year was beginning to fall, We stopped by a mountain pasture to say "Whose colt?"A little Morgan had one forefoot on the wall, The other curled at his breast. He dipped his head And snorted at us. And then he had to bolt. We heard the miniature thunder where he fled, And we saw him, or thought we saw him, dim and grey, Like a shadow against the curtain of falling flakes. (1–8)

The two speakers are walking along when they see the colt and ask whose it is. The horse's actions are then described in detail. He is acting erratically and attempting to escape. Eventually, "he had to bolt." That verb "had to" indicates that the colt is acting out of necessity. His flight creates "miniature thunder," and the speaker describes the colt using a simile: "Like a shadow." The horse stands out in the landscape, making him seem even more out of place. The "thunder" adds more sensory detail to the scene and suggests the colt's speed, which also indicates how afraid he is.
The poem continues,

"I think the little fellow's afraid of the snow. He isn't winter-broken. It isn't play With the little fellow at all. He's running away. I doubt if even his mother could tell him, 'Sakes, It's only weather.' He'd think she didn't know! Where is his mother? He can't be out alone."And now he comes again with a clatter of stone And mounts the wall again with whited eyes And all his tail that isn't hair up straight. He shudders his coat as if to throw off flies. "Whoever it is that leaves him out so late, When other creatures have gone to stall and bin, Ought to be told to come and take him in." (9–21)

The speaker includes dialogue between himself and his friend as they consider why the young horse is acting so strangely. They infer that the horse isn't being playful; instead, "He's running away." The speaker doesn't even believe the colt's "mother could tell him" that he's worried only about a natural phenomen. This leads the two to wonder where the mother is and why the horse is out alone. More imagery describes the colt's crazed behavior. The colt has "whited eyes" that reflect fear, and "He shudders." The colt is obviously not one with the environment around him. The final thought of the poem is a simple one: that the colt's owner should put the colt in the stable with all of the other horses.
The poem allows Frost to reflect on the strange behavior of the colt and also to ponder the relationship between humans and nature, both the animal world and the environment in which we all live.

Intermediate Algebra, Chapter 2, 2.7 summary exercises, Section 2.7, Problem 30

Evaluate the inequality $5x - (3 + x) \geq 2(3x + 1)$. Then give the solution in interval notation.

$
\begin{equation}
\begin{aligned}
5x - (3 + x) &\geq 2 (3x + 1)\\
\\
5x - 3 - x &\geq 6x + 2
&& \text{Apply Distributive Property}\\
\\
4x - 3 &\geq 6x + 2
&& \text{Combine like terms}\\
\\
4x - 6x &\geq 2 + 3
&& \text{Simplify}\\
\\
-2x &\geq 5
&& \text{Evaluate}\\
\\
x &\leq -\frac{5}{2}
&& \text{Divide each side by $-2$ and solve for $x$ and remember that if you divide or multiply negative numbers, the inequality symbol reverses.}
\end{aligned}
\end{equation}
$


Thus, the solution set is $\displaystyle \left( -\infty, -\frac{5}{2} \right]$

Did Hoover and Franklin Roosevelt disagree or agree on ways to end the Great Depression?

Hoover and Roosevelt disagreed fundamentally on how to tackle the Great Depression. Hoover was very much wedded to the prevailing economic orthodoxy, which held that periodic slumps were inevitable and that there was very little that the government could do in terms of direct involvement in the economy. That's not to say that Hoover believed that nothing could or should be done. He authorized indirect aid to local banks and local public works projects, but the scale and scope of such government intervention were severely restricted and proved wholly inadequate to the sheer size of the task. Hoover believed that individual initiative and private enterprise would ultimately get the country out of its economic difficulties and that too much government intervention would undermine the ability of people to stand on their own two feet.
Roosevelt, on the other hand, was committed to a much more extensive program of government involvement in the running of the economy. Many of the New Deal agencies he established to tackle the Great Depression were modeled on those already attempted by Hoover, but they were much more ambitious in scope. Unlike Hoover, Roosevelt supported the provision of Federal funds directly as well as government control over large sectors of the economy. Private philanthropy and charity were not enough to deal with the unprecedented crisis; for the first time in American history, the Federal government needed to take a direct, active role in managing the economy. Under Roosevelt's New Deal the role of American government fundamentally changed.

What change can be seen in Piggy when he fights with Ralph in the water?

Chapter 9 is the place to look for this particular sequence. The chapter begins with Simon discovering the dead man and parachute. After that, readers get an interesting and short sequence about Ralph and Piggy getting ready to head up to Jack's party. Ralph decides that they need to take a bath, so he jumps into the nearby water. Ralph playfully shoots some water at Piggy, and Piggy tells Ralph to knock it off. He doesn't want his glasses getting wet, because he doesn't want to have to clean them.

"Mind my specs," said Piggy. "If I get water on the glass I got to get out and clean 'em."
Ralph squirted again and missed. He laughed at Piggy, expecting him to retire meekly as usual and in pained silence. Instead, Piggy beat the water with his hands.
"Stop it!" he shouted. "D'you hear?"
Furiously he drove the water into Ralph's face.

Ralph, being a typical teenage boy, doesn't listen to Piggy. Piggy has never really stood up to anybody and defended himself, so Ralph thinks it's good fun to keep pestering him. Unexpectedly to readers and Ralph, Piggy lets it be known through his voice and his actions that he isn't going to stand being pestered and bullied anymore. He's demanding respect from Ralph, and the brief scene shows that Piggy's character is changing from somebody that the boys assume can be pushed around to somebody that is finally going to push back.

In Chapter 9, Ralph and Piggy jump into a pool of water to bathe, and Ralph squirts water into Piggy's face. Piggy then tells Ralph, "Mind my specs...If I get water on the glass I got to get out and clean ’em" (Golding 211). Ralph doesn't listen to Piggy and squirts him in the face again. Ralph laughs at Piggy and expects him to meekly swim away without saying anything. Instead of taking Ralph's abuse, Piggy retaliates by yelling, "Stop it!" and shoves water into Ralph's face (Golding 211). Ralph is shocked and immediately stops squirting Piggy with water. Piggy's response indicates that he is becoming more protective of his glasses, which symbolically represents his feelings towards maintaining civility on the island. At this point in the novel, Piggy realizes the importance of remaining civil and defending himself against the impending barbarism.

In FDR's first inaugural address what did he think was wrong with the country?

In his first inaugural address, President Franklin D. Roosevelt believed the main problem with the United States was the actions of bankers and investment brokers. He refers to these people as money "changers."
President Roosevelt believed that the money changers were greedy. He felt they were only interested in bettering themselves, even if that meant destroying the lives of many people. He said that when their lending practices failed, they wanted to lend more money. He believed they pleaded for sympathy when their profit-making schemes were exposed.
President Roosevelt believed their actions had to be regulated. He called for regulation of the banking industry. He wanted to prevent banks from speculating with the money investors had placed in the banks. He also wanted to put people to work and to help people who were facing foreclosure on their farms and homes. He wanted to see the value of agricultural products increase.
President Roosevelt felt the United States could overcome the obstacles that the country faced. He believed that the American people had to overcome the fear of the enormous task ahead of them. He believed the only thing that the American people had to fear was fear itself.
http://historymatters.gmu.edu/d/5057

https://www.bartleby.com/124/pres49.html

I need help finding examples of classical thinking, those of Neoclassicism/Enlightenment, evident in Book 9 of Paradise Lost. In what ways does John Milton present Neoclassical thought in Book 9?

Strictly speaking it isn't correct to use the terms "Neo-Classicism" and "Enlightenment" in relation to Paradise Lost. Neo-Classicism is a term used to describe a creative movement that emerged in the 18th century, long after Milton's death. And while aspects of Enlightenment thought were certainly in the air during Milton's lifetime it would be somewhat misleading to suggest that he was part of that developing current of ideas.
Nevertheless, Milton was undoubtedly a Christian humanist, a Renaissance man steeped in classical learning. In writing Paradise Lost, he consciously set out to create an epic worthy of the ancient Greeks and Romans, especially Homer and Virgil. At the same time, he wanted his work to be a Christian epic, one that dealt with the theme of man's first disobedience, the primal sin of Adam of Eve. Milton regards this theme as much more worthy of epic treatment than the tales of mortals and gods written by his ancient forebears. But as a Renaissance humanist, Milton still wants to connect his work to the world of antiquity, to place it firmly and securely within a cultural tradition he so deeply venerates.
At the start of Book IX, then, he once more invokes the name of Urania, the celestial patroness and muse of Christian inspiration, to help him tell the story of Adam and Eve's disobedience. One example of the influence of classical literary models on Milton comes in the form of an epic simile, an extended simile in which two dissimilar things are compared using "like" or "as." This is from Book IX lines 634-644:

as when a wondering fire, Compact of unctuous vapour, which the night Condenses, and the cold environs round, Kindled through agitation to a flame, Which oft, they say, some evil spirit attends Hovering and blazing with the delusive light, Misleads the amazed night-wanderer from his way To bogs and mires, and oft through pond or pool, There swallowed up and lost, from succour far. So glistened the dire snake.

So in Book IX the form of the classical epic is still being used by Milton. But crucially the substance is wholly Christian. Milton's take on the Fall of man is being expressed in the style of the ancient poets he so much admires. Book IX epitomizes Milton's Christian humanism, in that it illustrates the way in which the inherited traditions of classical learning can give shape and new life to elements of Christian thought.

Neoclassicism refers to Greek and Roman influences in art, literature, and philosophy. Milton's subject for Paradise Lost, of course, is Biblical, but the tone and the structure of the epic poem harkens back to the Iliad, Odyssey, Aeneid, and other epic poems. In Book Nine, Milton repeatedly makes classical references. He says that he will need the inspiration of the Muse that helped Homer, because the story of the Fall of Man is "not less but more heroic than the wrath of stern Achilles." The Book, as indeed the play in general, is full of other classical allusions. There are references to "Ammonian Jove," "Scipio," and "Circe" among many others.  More broadly, Milton is deliberately trying to write an epic poem, a form usually reserved for classical subjects, about an event that is central to Christian theology--the Fall of Man, and he is especially overt about this project in Book Nine.
https://www.bartleby.com/4/409.html

In "The Open Window," why does Vera have to deceive Mr. Nuttel?

Vera doesn't have to deceive Framton Nuttel, but she does so anyway. She's a fifteen year old girl, and she still has a certain youthful exuberance and sense of fun about her. As we discover in the very last line of the story, she has a real gift for making up tall tales on the spot. In order to make such tales convincing it's essential to have someone around who's quite gullible and prone to believing just about anything. Enter Framton Nuttel. He's the perfect mark for Vera's cruel little prank; he's nervous, he's a hypochondriac, and he's totally unfamiliar with the local area. Vera can't believe her luck, and she simply cannot resist this golden opportunity to take her legendary yarn-spinning talent onto the next level. As she quickly gets the full measure of the unfortunate Mr. Nuttel, she knows that she's in for a lot of fun.

Intermediate Algebra, Chapter 4, 4.2, Section 4.2, Problem 16

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

\frac{2}{3}x - \frac{1}{4}y + \frac{5}{8}z =& 0 \\
\\
\frac{1}{5}x + \frac{2}{3}y - \frac{1}{4}z =& -7 \\
\\
- \frac{3}{5}x + \frac{4}{3}y - \frac{7}{8}z =& -5

\end{aligned}
\end{equation}
$.


$
\begin{equation}
\begin{aligned}

\frac{14}{3}x - \frac{7}{4}y + \frac{35}{8}z =& 0
&& 7 \times \text{ Equation 1}
\\
\\
- \frac{15}{5}x + \frac{20}{3}y - \frac{35}{8}z =& -25
&& 5 \times \text{ Equation 3}
\\
\\
\hline

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{5}{3}x + \frac{59}{12}y \phantom{- \frac{35}{8}} =& -25
&& \text{Add}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{2}{3}x - \frac{1}{4}y + \frac{5}{8}z =& 0
&&
\\
\\
\frac{1}{2}x + \frac{5}{3}y - \frac{5}{8}z =& - \frac{35}{2}
&& \frac{5}{2} \times \text{ Equation 2}
\\
\\
\hline

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{7}{6}x + \frac{17}{12}y \phantom{ - \frac{5}{8}z} =& - \frac{35}{2}
&& \text{Add}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{5}{3}x + \frac{59}{12}y =& -25
&& \text{Equation 4}
\\
\\
\frac{7}{6}x + \frac{17}{12}y =& - \frac{35}{2}
&& \text{Equation 5}

\end{aligned}
\end{equation}
$


We write the equations in two variables as a system


$
\begin{equation}
\begin{aligned}

- \frac{85}{3} x - \frac{1003}{12} y =& 425
&& -17 \times \text{ Equation 4}
\\
\\
\frac{413}{6} x + \frac{1003}{12} y =& - \frac{2065}{2}
&& 59 \times \text{ Equation 5}
\\
\\
\hline

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{81}{2}x \phantom{\frac{1003}{12}y} =& - \frac{1215}{2}
&& \text{Add}
\\
\\
x =& -15
&& \text{Multiply each side by } \frac{2}{81}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{5}{3} (-15) + \frac{59}{12}y =& -25
&& \text{Substitute } x = -15 \text{ in Equation 4}
\\
\\
-25 + \frac{59}{12}y =& -25
&& \text{Multiply}
\\
\\
\frac{59}{12}y =& 0
&& \text{Add each side by $25$}
\\
\\
y =& 0
&& \text{Multiply each side by } \frac{12}{59}

\end{aligned}
\end{equation}
$



$
\begin{equation}
\begin{aligned}

\frac{2}{3} (-15) - \frac{1}{4} (0) + \frac{5}{8}z =& 0
&& \text{Substitute } x = -15 \text{ and } y = 0 \text{ in Equation 1}
\\
\\
-10 - 0 + \frac{5}{8}z =& 0
&& \text{Multiply}
\\
\\
\frac{5}{8}z =& 10
&& \text{Add each side by $10$}
\\
\\
z =& 16
&& \text{Multiply each side by } \frac{8}{5}

\end{aligned}
\end{equation}
$



The ordered triple is $\displaystyle \left( -15,0,16 \right)$.