What is an analysis of the text of Act I, Scene 3 (lines 111-155) of Macbeth?

Because it is a drama of such a hallucinatory intensity, Shakespeare's Macbeth has been called a tragedy of the imagination (Harold Bloom). By his own admission, Macbeth's thoughts and imaginings overwhelm him, driving him to the commission of premeditated actions.
In Act I, Scene 3, the three witches discuss their plans to cause Macbeth much unrest as they await his and Banquo's arrival. In lines 111–155, Macbeth is both seduced by the pronouncements of the witches and frightened by their menacing natures. 
When Macbeth and Banquo encounter these witches, the greetings to Macbeth confuse him. The first witch calls him by his current title, then the second witch addresses him as Thane of Cawdor, and finally the third witch says, "All hail, Macbeth! that shalt be King hereafter!" (1.3.50) Finally, they foretell that Banquo will not be king himself, but he will beget kings.
Macbeth wants the "imperfect speakers" to tell him more and explain how all that they have said can be. Soon, however, Ross and Angus, two noblemen of Scotland, ride up and greet Macbeth, reporting that the king is delighted by Macbeth's valor and success on the battlefield. Further, Ross says that his admiration contends with his desire to praise Macbeth (1.3.93), but it is their duty to bring Macbeth to the king with the pledge of a greater honor. Finally, Ross reports to Macbeth that the king bade him to address Macbeth as Thane of Cawdor. 
Ross's words baffle Macbeth because he knows that the Thane of Cawdor lives. Angus then informs Macbeth that the Thane of Cawdor is a traitor who conspired with the Norwegians, and he has been stripped of his title and sentenced to die. Hearing this, Macbeth turns to Banquo and asks him if he does not now want his sons to be kings since the witches' prophecy about him has been proven true. But Banquo cautions Macbeth that "the instruments of darkness" (witches) often reveal part of a truth in order to seduce men and lead them to their destruction in the end (foreshadowing).
Banquo's words go unheeded by Macbeth, whose imagination has been stirred by the two truths told, and just as Banquo has observed of others, Macbeth is seduced by their predictions. It is at this point that the tragedy of the imagination begins in Macbeth. He begins to contemplate becoming king since the other title (Thane of Cawdor) is now his. Macbeth wonders why he covets the title of king: "Present fears/Are less than horrible imaginings" (1.3.141-142). Macbeth considers that he may have to do nothing and fate will simply take over. And yet, he is frightened by the blurring of reality and fantasy--"And nothing is but what is not." (1.3. 145 )
It would seem that Macbeth's tragedy of the imagination has begun: on one hand, he feels that his ability to act is stifled by his thoughts and speculations; on the other hand, he considers murder, and then he thinks that he may not have to do anything as fate will simply aid him:

Come what come may,Time and the hour runs through the roughest day
(1.3.152-153).

In other words, what is going to happen is, one way or another, going to happen. But, in truth, Macbeth's thoughts are running away with him as reality and fantasy are merging in his mind--as he has admitted in line 145. 
 
Additional Source: Bloom, Harold. Shakespeare: The Invention of the Human. Riverhead Books. 1998.

What was one important decision Thomas Paine made?

The most famous decision Thomas Paine made was his decision to write Common Sense. This book brought him fame in the American colonies when he claimed that the Americans were destined to win the Revolutionary War due to the righteousness of their cause. His work encouraged borderline patriots when the outcome of the war looked bleak for the revolutionaries. Thomas Paine's plain words and easy-to-follow arguments were popular throughout the colonies.  
Paine later went to France, where he was received as a champion of democracy. At first Paine and other liberal Americans cheered the overthrowing of the French crown and the execution of the royal family; this was considered a new era in government. However, when the Reign of Terror began and the executions did not stop, many Americans became critical. Paine was arrested as an enemy of the state and it took efforts on the US government's behalf to have him returned home and saved from the guillotine. Thomas Paine is best remembered for his work Common Sense; because of this, he achieved fame in his life and in history.  

Calculus of a Single Variable, Chapter 9, 9.10, Section 9.10, Problem 20

Recall binomial series that is convergent when |x|lt1 follows:
(1+x)^k=sum_(n=0)^oo (k(k-1)(k-2)...(k-n+1))/(n!)x^n
or
(1+x)^k = 1 + kx + (k(k-1))/(2!) x^2 + (k(k-1)(k-2))/(3!)x^3 +(k(k-1)(k-2)(k-3))/(4!)x^4+...
To evaluate the given function f(x) = 1/sqrt(1-x^2) , we may apply radical property: sqrt(x) = x^(1/2) . The function becomes:
f(x) = 1/ (1-x^2)^(1/2)
Apply Law of Exponents: 1/x^n = x^(-n) to rewrite the function as:
f(x) = (1-x^2)^(-1/2)
or f(x)= (1 -x^2)^(-0.5)
This now resembles (1+x)^k form. By comparing "(1+x)^k " with "(1 -x^2)^(-0.5) or (1+(-x^2))^(-0.5) ”, we have the corresponding values:
x=-x^2 and k = -0.5 .
Plug-in the values on the aforementioned formula for the binomial series, we get:
(1-x^2)^(-0.5) =sum_(n=0)^oo (-0.5(-0.5-1)(-0.5-2)...(-0.5-n+1))/(n!)(-x^2)^n
=sum_(n=0)^oo (-0.5(-1.5)(-2.5)...(-0.5-n+1))/(n!)(-1)^nx^(2n)
=1 + (-0.5)(-1)^1x^(2*1) + (-0.5(-1.5))/(2!) (-1)^2x^(2*2)+ (-0.5(-1.5)(-2.5))/(3!)(-1)^3x^(2*3) +(-0.5(-1.5)(-2.5)(-3.5))/(4!)(-1)^4x^(2*4)+...
=1 + (-0.5)(-1)x^2 + (-0.5(-1.5))/(1*2) (1)x^4 + (-0.5(-1.5)(-2.5))/(1*2*3) (-1)x^6 +(-0.5(-1.5)(-2.5)(-3.5))/(1*2*3*4)(1)x^8+...
=1 +0.5x^2 + 0.75/2x^4 + 1.875/6x^6 +6.5625/24x^8+...
=1 + x^2/2+ (3x^4)/8 + (5x^6)/16 +(35x^8)/128+...
Therefore, the Maclaurin series for the function f(x) =1/sqrt(1-x^2) can be expressed as:
1/sqrt(1-x^2)=1 + x^2/2+ (3x^4)/8 + (5x^6)/16 +(35x^8)/128+...

(2y-e^x)dx + xdy = 0 Solve the first-order differential equation by any appropriate method

Given (2y-e^x)dx + xdy = 0
=> 2y-e^x+xdy/dx =0
=> 2y/x -e^x/x +dy/dx=0
=> 2y/x +y'=e^x/x
=> y'+(2/x)y=(e^x)/x
when the first order linear ordinary Differentian equation has the form of
y'+p(x)y=q(x)
then the general solution is ,
y(x)=((int e^(int p(x) dx) *q(x)) dx +c)/e^(int p(x) dx)
so,
y'+(2/x)y=(e^x)/x--------(1)
y'+p(x)y=q(x)---------(2)
on comparing both we get,
p(x) = (2/x) and q(x)=(e^x)/x
so on solving with the above general solution we get:
y(x)=((int e^(int p(x) dx) *q(x)) dx +c)/e^(int p(x) dx)
=((int e^(int (2/x) dx) *((e^x)/x)) dx +c)/e^(int (2/x) dx)
first we shall solve
e^(int (2/x) dx)=e^(ln(x^2))=x^2     
So proceeding further, we get
y(x) =((int e^(int (2/x) dx) *((e^x)/x)) dx +c)/ e^(int (2/x) dx)
 =(int (x^2 *e^x/x dx) +c)/x^2
=(int xe^xdx +c)/x^2
=(xe^x -e^x +c)/x^2
=(e^x (x- 1) +c)/x^2
y(x) =(e^x (x- 1) +c)/x^2
 

Calculus and Its Applications, Chapter 1, 1.3, Section 1.3, Problem 16

For the function $\displaystyle f(x) = x^2 - 3x + 5$
(a) Determine the simplified form of the difference quotient
(b) Complete the table.

a.) For $\displaystyle f(x) = x^2 - 3x + 5$

$
\begin{equation}
\begin{aligned}
f(x+h) &= (x +h)^2 - 3(x + h) + 5 \\
\\
&= x^2 + 2xh + h^2 - 3x - 3h + 5
\end{aligned}
\end{equation}
$


Then,

$
\begin{equation}
\begin{aligned}
f(x + h) - f(x) &= x^2 + 2xh + h^2 - 3x - 3h + 5 - (x^2 - 3x + 5)\\
\\
&= x^2 + 2xh + h^2 - 3x - 3h + 5 - (x^2 - 3x + 5) - x^2 + 3x - 5\\
\\
&= 2xh + h^2 - 3h
\end{aligned}
\end{equation}
$


Thus,

$
\begin{equation}
\begin{aligned}
\frac{f(x +h)- f(x)}{h} &= \frac{2xh + h^2 - 3h}{h}\\
\\
&= \frac{h(2x + h - 3)}{h}\\
\\
&= 2x + h - 3
\end{aligned}
\end{equation}
$


b.)


$
\begin{array}{|c|c|c|}
\hline
x & h & \displaystyle \frac{f(x+h)-f(x)}{h} \\
\hline
5 & 2 & 9\\
\hline
5 & 1 & 8 \\
\hline
5 & 0.1 & 7.10 \\
\hline
5 & 0.01 & 7.01 \\
\hline
\end{array}
$

After reading the article below, what are your thoughts? https://www.nytimes.com/2017/04/17/business/dealbook/when-money-gets-in-the-way-of-corporate-ethics.html

This article is about how some companies have difficulty following ethical business practices, even when these practices are supposed to be part of their corporate culture, when being ethical prevents them from making money. For example, employees at Wells Fargo, a bank, opened fake accounts to meet sales targets. While the Wells Fargo CEO claimed that this was the behavior of individuals, not a system-wide practice, a report by new leadership at the company found that the CEO had ignored the serious nature of the problem. Other companies, such as Fox News, were (at the time the article was written) dealing with how to handle the sexual harassment charges leveled at TV host Bill O'Reilly (he was later fired).
You have to decide whether you think declarations of how to behave from management can actually curb unethical or illegal behavior. It's clear that top management not only has to dictate what the culture should be but also has to follow that culture themselves for it to be successful. If employees see the top brass engaging in cheating or other unethical and illegal behavior, such as sexual harassment, employees won't take company rules about ethical behavior seriously. It is especially important for corporations to enforce their laws about corporate culture, not only because, as the article states, it is ethical to do so, but because they must protect their reputations. Overlooking unethical behavior is not only wrong and potentially illegal, but it can also be very bad for business.

What rule does Ralph set for the tribe?

The first rule that Ralph establishes is introduced in chapter 2, "Fire on the Mountain." Ralph creates the rule that only a person who is holding the conch shell may speak; everyone else must listen.

And another thing. We can't have everybody talking at once. We'll have to have 'Hands up' like at school . . . I'll give the conch to the next person to speak. He can hold it when he's speaking.

This rule ensures that anyone who wishes to speak will be heard. The conch shell symbolizes law, order, and civility. Later in the text, when the conch shell is broken, this symbolizes the loss of law, order, and civility.
Other rules that Ralph establishes in the novel are that water should be stored in coconut shells underneath the leaves, that rocks (instead of the area near the fruit trees) should be used for the restroom, and that a boy must always be watching the signal fire on the mountain to make sure that it never goes out.

At the beginning of chapter 2, Ralph holds an assembly and explains to the boys that they are on an uninhabited island. Ralph then proceeds to set rules and establish priorities for the group. The first rule Ralph establishes is that whoever is speaking and addressing the group during the assemblies must hold the conch. The other boys who are not holding the conch during the assemblies must remain silent as the person with the conch speaks, which prevents everyone from talking over each other. Ralph then mentions that it is important to create a signal fire to increase their chances of being rescued. Unfortunately, the boys immediately break from the assembly and accidentally start a forest fire, which ends up killing the littlun with the mulberry-colored birthmark. Later on, Ralph establishes more rules regarding where to relieve oneself, having several coconuts full with water, and that there must always be boys at the top of the mountain to maintain the signal fire.

Explain why Hitler turned against Rohm and the SA in 1934.

Rohm and Hitler had completely different ideas as to the purpose and function of the SA within the new Nazi state. Rohm was intensely suspicious of the hierarchy of the German Army. He saw them as reactionaries who'd simply jumped on the Nazi bandwagon but weren't really committed to National Socialism. He wanted the SA to replace the German Army and for it to become an ideological armed force, something along the lines of the Red Army in the Soviet Union.
Hitler did not envisage the SA as performing this role. He knew that he needed the support of the German Army to consolidate his power and to fulfill his foreign policy objectives. The Army was the only institution left in Germany that could possibly have toppled Hitler from power, so it was crucial for him to try and keep the generals on his side.
The Army generals, in common with many Germans, looked upon the SA as a bunch of rowdy thugs undermining the stability and order that the Nazis had promised. To Hitler, they were becoming a growing embarrassment. The SA had proved useful in helping the Nazis achieve their fearsome reputation and in taking the fight to their political opponents. But now they were almost obsolete. And Hitler genuinely feared that Rohm and other leaders of the SA were about to stage a coup. Rohm was becoming a dangerous liability, and so it was decided that he had to be taken out.

Why does Bill ask Sam if they can lower the ransom demand in "The Ransom of Red Chief"?

It's at this point in the story where Bill and Sam start to realize that maybe it wasn't such a good idea to kidnap little Johnny after all. Ever since they snatched him, he's been nothing but trouble. He drives the two hapless criminals insane with his brattish behavior, taking control of a situation in which he's supposed to be the weak, helpless victim.
Johnny's becoming so much of a pain in the neck that Bill just wants him off his hands as soon as possible. That's why he asks Sam if he should lower the ransom; the lower the asking price, the quicker they can be rid of the annoying little brat once and for all. In the end, though, it's Bill and Sam who end up paying the boy's father to take him off their hands. Probably for the first time in criminal history, it's the kidnappers who pay the ransom.

Bill wants to lower the ransom amount because Red Chief, the boy who Bill and Sam have kidnapped, is terrorizing them, particularly Bill. Red Chief continually lets out blood-curdling war cries, and he also threatens to scalp Bill by sitting on his chest and holding a knife to his head. Later, the boy drops a hot potato down Bill's back and smashes it with his foot. Red Chief threatens to hit Bill with a rock, and then tosses a rock that hits Bill behind the ear. As a result, Bill falls into the campfire. Red Chief seems in no hurry whatsoever to get home, as he's having a grand time camping out with Bill and Sam. While Sam wants to ask for a $2,000 ransom, Bill begs him to lower the ransom to $1,500, as Bill doubts Red Chief's parents will want to pay the higher price to get their rowdy and troublesome son back.

Do you agree with the author's handling of the story and its conclusion? Why?

In order to form an opinion about the plot development and conclusion of Emily Bronte’s Wuthering Heights, you must first examine the author's purpose and message to decide whether the story teaches the reader a valuable lesson. Unlike many stories in which the protagonists live happily ever after, Bronte’s novel is a romance that ends tragically when Catherine and Heathcliff, two friends who are raised together in late 18th-century England, fall in love, but are not able to marry because of Heathcliff’s lower social status. How does the plot reflect the time period? Does social status play a part in who we choose to marry today?
To some critics, Bronte’s novel seems uber-tragic. Not only do the two lovers not end up together, but the story line continues after they both marry other people and Heathcliff manipulates the lives of their own partners and children to seek revenge, inadvertently leading to the misery and death of his beloved Catherine and later himself. Do you think this is realistic or too exaggerated? Why the author's need for so much pain and suffering for generations?
Ultimately though, in my opinion, the bittersweet ending is satisfying and justified. While it may seem tragic that Heathcliff does not succeed in (forcibly) marrying Catherine's daughter to his son (to make up for his own doomed love story), she does end up choosing to marry Hareton for love and not money, in spite of Heathcliff’s attempts to prevent this by turning him into his servant. To me, this ending serves a poetic justice, revealing that while we can’t always get what we want, we often get what we deserve. A wrong is still made right, although not exactly as Heathcliff had planned or could have foreseen. Now it’s time for you to decide: do you think this ending was satisfying and well-deserved? What other questions does this story and its conclusion bring to mind? Answering these questions will help you form your opinion about the novel.

I do agree with Emily Bronte's handling of the end of Wuthering Heights. The marriage of Catherine Linton and Hareton Earnshaw ends the estrangement and quarrel between the two families that began with Heathcliff's elopement. It brings unity and a new beginning.
We have been through a good deal of emotional upheaval and anguish in this novel. The reader is likely emotionally wrung out by the end. Heathcliff certainly is, saying he has lost the will to fight so will not try to wreak revenge on both families by ruining the match.
Allowing this young couple to marry provides the happy ending the earlier couple, Catherine Earnshaw and Heathcliff, were denied. This marriage gives a satisfying sense of closure to the novel, illustrating that wounds can heal and life does not have to be one tragedy after another.

Single Variable Calculus, Chapter 3, 3.9, Section 3.9, Problem 8

Check the Linear Approximation $\tan x \approx x$ at $a = 0$. Then determine the values of $x$ for which the Linear Approximation is accurate to within $0.1$.

Let $f(x) = \tan x$

Using the Linear Approximation/Tangent Line Approximation

$L(x) = f(a) + f'(a)(x - a)$


$
\begin{equation}
\begin{aligned}

f(a) = f(0) =& \tan (0)
\\
\\
f(0) =& 0
\\
\\
f'(a) = f'(0) =& \frac{d}{dx} (\tan x)
\\
\\
f'(0) =& \sec ^2 x
\\
\\
f'(0) =& \sec ^2 (0)
\\
\\
f'(0) =& \frac{1}{\cos ^2 (0)}
\\
\\
f'(0) =& 1
\\
\\
L(x) =& 0 + 1 (x - 0)
\\
\\
L(x) =& x

\end{aligned}
\end{equation}
$


So

$\tan x \approx x$

Accuracy to within $0.1$ means that the function should differ by less than $0.1$

$|\tan x - x| < 0.1$

Equivalently, we have

$\tan x - 0.1 < x < \tan x + 0.1$







This says that the Linear Approximation should lie between the curves obtained by shifting the curve $y = \tan x$ upward and downward by $0.1$. The graph shows the tangent line $y = x$ intersects both the upper and lower curve at A and B. We can estimate the $x$-coordinate of A which is $-0.63$ and the $x$-coordinate of B is $0.63$.

Thus, referring to the graph the approximation

$\tan x \approx x$

is accurate to within $0.1$ when $-0.63 < x < 0.63$

What does Victor study after his illness as a means of keeping his mind busy?

Victor Frankenstein has experienced what he calls a "nervous fever." He seems prone to such disorders, especially in the wake of traumatic events. The night before, he'd successfully completed his life's work—the creation of the Monster; but the beauty of his dream immediately gave way to horror and disgust. Under such trying circumstances, it's little wonder that Victor should experience a nervous breakdown.
Thankfully, however, Henry Clerval is on hand to act as nursemaid and companion to his stricken friend. Although Victor suffers one or two relapses, he eventually recovers, in no small measure due to Henry's kind ministrations. As he recovers his strength, Frankenstein needs to keep his mind busy, to satisfy his innate craving for intellectual stimulation. Science is out of the question, as Victor now cordially loathes his former studies. So he follows Henry's example and engages with the study of "Oriental" languages such as Persian, Arabic, and Sanskrit. He doesn't attempt to gain any in-depth knowledge; he just wants to pass the time. But he does find the study of these languages rather soothing, bringing him some much-needed joy amidst all his various troubles.

In what ways did the railroad industry reshape or change American life and business in the late 1800s? 2. What were the differences in lifestyle and opportunities for those in America’s middle and lower classes? What impact did the change have on Native Americans? 3. What was the cultural change due to the new Industrial Age in the Late 1800s?

The development of the American railroad, combined with other advances in technology of the late 1800s, generated huge changes in American life and business. Small business owners, whose markets had previously been limited to their nearby communities, could suddenly send the their goods to buyers all over the country. Further, factories in northern states that had been exporting goods overseas similarly had new opportunities to sell goods to buyers in western and southern states. In short, the American railroad caused a boom in the economy.
The impacts these changes had for Americans in the middle and lower classes were profound. The average individual experienced greater geographic mobility, which empowered people to exchange ideas and move in the hopes of finding better jobs or better educational opportunities. Many middle and low-income Americans were able to leave subsistence farming as the agricultural industry could produce and distribute enough food for the nation. This freed people to further their education and seek better-paying jobs in cities. Overall, American society shifted culturally from being rural and agrarian to urban and industrial.
These changes also had profound effects for Native Americans. During early United States expansion, Native Americans were relocated from the eastern territories to the Midwest using a mix of diplomacy, coercion, and violence. The expansion of the railroads infringed on these Native American reservations and forced another wave of relocation of Native Americans to still smaller reservations. The expansion of the railroad caused increased tensions and violence between settlers in western territories and Native Americans.

Calculus: Early Transcendentals, Chapter 6, 6.3, Section 6.3, Problem 17

y=4x-x^2, y=3
The point of intersection of the curves will be ,
4x-x^2=3
4x-x^2-3=0
-x^2+4x-3=0
-(x^2-4x+3)=0
x^2-4x+3=0
factorizing the above equation,
(x-3)(x-1)=0
x=3 , x=1
The shell has radius (x-1) , circumference 2pi(x-1) and height (4x-x^2)-3
Volume generated by rotating the region bounded by the given curves about x=1 (V)=int_1^3(2pi)(x-1)(4x-x^2-3)dx
V=int_1^3(2pi)(4x^2-x^3-3x-4x+x^2+3)dx
V=(2pi)int_1^3(-x^3+5x^2-7x+3)dx
V=2pi[-x^4/4+5x^3/3-7x^2/2+3x]_1^3
V=2pi[-3^4/4+5/3*3^3-7/2*3^2+3*3]-2pi[-1^4/4+5/3*1^3-7/2*1^2+3*1]
V=2pi((-81/4+45-63/2+9)-(-1/4+5/3-7/2+3))
V=2pi(9/4-11/12)
V=2pi(16/12)
V=(8pi)/3

In The Catcher in the Rye by J.D. Salinger, what happens to Holden after his afternoon in the park?

Quite a few things happen to Holden after he spends the afternoon in the park. In fact, one could say that his behavior becomes very erratic after he meets up with Sally, perhaps more so than usual. First, he decides during his date with her that he would like to marry her, and they fight when she seems less than enthusiastic about the prospect, which ends in Holden leaving. He decides to meet up with an older friend, Carl Luce, and they drink at Wicker Bar later that night after Holden sees a movie by himself. Holden gets pretty drunk there, and begins to grill Carl about his sex life, to which Carl responds unfavorably, reminding Holden that he had told him to see his dad, who is a psychiatrist.
After that, Holden drunkenly wanders around, later breaking into his house to see Phoebe, his little sister. He realizes that he has no place to sleep, so he calls up an old English teacher, who lectures him before putting him to bed on the couch. Later, he becomes freaked out when he wakes up to find the teacher petting him on the head. He leaves, and spends the entire rest of the morning walking around, fearing that he will disappear if he steps off of the curb. He may be having a psychotic episode at this point. 
Eventually, he decides to run away and tells Phoebe so in a note that he leaves for her. She meets him at the museum later with her suitcase, and pleads for him to take her with him. They argue over it, but make up and decide to go to the zoo together. He watches Phoebe ride the carousel twice, in the rain, and decides that he is happy. After that, he simply goes home, and the book ends with him taking therapy and feeling like he misses everyone. 

What are two main themes in the poem "Bullocky," and how has author conveyed them through use of various literary devices?

This poem is obviously rooted in biblical imagery and ideas. The two references to Moses, the "shouted prayers and prophecies," the "apocalyptic dream," of the journey—all these attest to the poem's being, at least in one sense, a reenactment of the story of Exodus and the finding of the promised land. The biblical exodus is used as a paradigm of later treks throughout history. Though Wright was Australian, Americans can just as easily identify with the poem's evocation of the exploration of the US West. But to nail the poem down to specifics in this way is to miss the point, I think.
If we are to identify two themes, I would choose, first, the need humanity has for change, for an endless striving forward for new things. The literary device Wright uses is, as stated, the metaphor of a man driving a team of bullocks or oxen across a vast plain. But beyond that is the theme that it is a trek enacted repeatedly, over many years:

While past the campfire's crimson ring
the star struck darkness cupped him round.
and centuries of cattle bells
rang with their sweet uneasy sound.
Grass is across the wagon-tracks
and plough strikes bone beneath the grass . . .

Obviously this road was traversed before, with new grass in the previous tracks, and someone has been here long before, because there is bone underneath. Wright's message may be that each new generation, each effort to strive forward and explore, is fed by those who have trodden the same path. She wishes that the "vine" should "grow close upon that bone." History is a continuous process of death and rebirth, seen here through the eyes of a lonely man driving a team across a wilderness.

A "bullocky" is a slang Australian expression for a cattle drover. The poem as a whole can be seen as a somewhat ambiguous tribute to the first white European settlers in Australia, who often made their living as cattle farmers in the hard, dusty outback.
One of the major themes of the poem is the sacredness of the land. By comparing the everyman persona of the cattle drover to Moses, Wright seeks to endow the relationship of the settlers to the land with a quasi-mythical status. The particular literary device being used here is an allusion. These hardy souls are not just making a living; they have crossed into the Promised Land.
There is a hint here that the land was already sacred before the white settlers arrived. For instance, the bullocky, sitting by a campfire at night, hears the sound of centuries of cattle-bells. As only the indigenous population of Australia had been driving their cattle for such a long time, we can hear the echo of their presence in the surrounding landscape. Such an inference would be entirely consistent with other poems in Wright's oeuvre, which often display an acute sensitivity to the land claims of indigenous Australians.
A second theme emerging from the poem is one closely related to the first, that of belonging. We must not forget to whom this land originally belonged. Returning to the faint echo of cattle-bells, it is instructive that Wright refers to the noise as an "uneasy" sound. The presence of the indigenous Australians echoes and haunts the land now occupied by the newcomers from Europe.
The plow "strikes bone beneath the grass." In the poem's overall context, this could be the bone of an indigenous Australian. If that is indeed the case, then the symbolism is striking. The white Europeans' technological advances are literally riding roughshod over ancient burial grounds, profaning the sacred land. However, Wright sees, nonetheless, some hope for a possible accommodation between the two cultures:

O vine, grow close upon that boneand hold it with your rooted hand.

Wright here employs the vocative, a device used for addressing a person or thing directly. It is a common trope used in rhetoric, which is appropriate here as the author tries to persuade others of the justness of her case. Wright's use of the vocative also relates to the first main theme, namely, the sacredness of the soil, for the vocative is often used in poetry for elevated subjects of great solemnity. 
The vine represents the culture of the white European settlers; the bone, as we have already seen, is that of the indigenous population. Wright is issuing a plea that the white settlers should remain respectful of the land, a land which, morally and culturally, is not really theirs.

In "Shooting an Elephant," why does the narrator hesitate to kill the elephant?

The narrator hesitates to kill the elephant because by the time he arrives at the place where the elephant has been on a rampage, the elephant is peaceful. The narrator realizes the animal no longer poses any threat. It would be an economic waste to kill such a valuable animal, it would be cruel to the animal, which would die slowly, and overall, there is no reason to destroy it.
Nevertheless, the narrator has asked that his elephant gun be brought to him for self defense. When it arrives, the narrator is willing to walk away from the elephant. However, he suddenly recognizes that he is expected to play a starring role in a drama unfolding in front of the eyes of a crowd of Burmese native people. If he does not kill the elephant, he will look weak to them. Therefore, he does so, even though it is unreasonable and inhumane. As he kills the peaceful beast, he has a moment of realization:

And it was at this moment, as I stood there with the rifle in my hands, that I first grasped the hollowness, the futility of the white man's dominion in the East. Here was I, the white man with his gun, standing in front of the unarmed native crowd—seemingly the leading actor of the piece; but in reality I was only an absurd puppet pushed to and fro by the will of those yellow faces behind.

In order to survive in an imperial system, the narrator must put appearances ahead of good sense and humanity. This way of life is repugnant to him.

The narrator clearly has no intention of killing the animal when he first gets the order that a loose elephant is ravaging the village. He mentions that he brought an old .44 Winchester, a weapon much too small to kill an animal of that size, in hopes that the noise from the rifle would startle the elephant. When the narrator finally receives a more powerful rifle from an orderly, a crowd begins to follow him. The narrator again mentions that he has no intention of killing the elephant and is simply carrying the rifle for self-defense. As soon as he sees the elephant, the narrator knows that he should not shoot it. He says,

"It is a serious matter to shoot a working elephant—it is comparable to destroying a huge and costly piece of machinery— and obviously one ought not to do it if it can possibly be avoided" (Orwell, 3).

The narrator also mentions that the elephant looks perfectly harmless and says that it is no more dangerous than a cow. However, the narrator feels pressure from the natives to shoot the elephant, and he ends up reluctantly killing the animal as a way to avoid being perceived as weak in front of the crowd.

In short, the narrator hesitates to kill the elephant because he does not, in fact, want to go through with it. For one thing, killing an elephant is in and of itself a serious matter, since elephants are so valuable. Shooting an elephant is akin to "destroying a huge and costly piece of machinery." More importantly, by the time the narrator encounters the elephant, it is no longer rampaging, but is peacefully and calmly eating grass near the edge of town. But the problem for the narrator is that a crowd of Burmese people has followed him, and they expect him to shoot the beast. He realizes that, although he does not want to kill the animal, he has to in order to, in his words, avoid "looking a fool." He is a representative of the British Empire to the Burmese people, and they expect him to act violently. Shooting the elephant against his better judgment is one example of how imperialism has corrupted the narrator.

What are some descriptive words used?

You could look at just about any line in "The Raven" and find descriptive language. The poem is packed with adjectives, imagery, and words that create mood.
The opening lines say, "Once upon a midnight dreary, while I pondered, weak and weary, /Over many a quaint and curious volume of forgotten lore—" (lines 1-2). Already in these first two lines there are 6 adjectives used: "dreary," "weak," "weary," "quaint," "curious," and "forgotten." All of these words are descriptive language that tell the reader the night is dismal, the narrator is tired and weak, and the books he's reading are strange and obscure.
In line 11, the narrator uses "rare" and "radiant" to describe his lost love, Lenore. In contrast to his weak, sad existence, she was the thing that was beautiful and hopeful.
When the Raven arrives in the narrative, he is also given a lot of description. The narrator calls him "ebony" (line 43), "stately" (line 38), "grave and stern" (line 44), and "ghastly grim and ancient" (line 46). There is an abundance of adjectives about the Raven that emphasize his seriousness and creepiness.
You could find dozens of examples of descriptive language throughout this poem, but these are some of the words that describe the three main figures.
https://www.poetryfoundation.org/poems/48860/the-raven

int_2^3 (2x-3)/sqrt(4x-x^2) dx Find or evaluate the integral by completing the square

Recall  that int_a^b f(x) dx = F(x)|_a^b :
f(x) as the integrand function
F(x) as the antiderivative of f(x)
"a" as the lower boundary value of x
"b" as the upper boundary value of x
To evaluate the given problem: int_2^3 (2x-3)/sqrt(4x-x^2)dx , we need to determine the
 indefinite integral F(x)  of the integrand: f(x)=(2x-3)/sqrt(4x-x^2) .
We apply completing the square on 4x-x^2 .
Factor out (-1)  from 4x-x^2 to get (-1)(x^2-4x)
The x^2-4x or x^2-4x+0 resembles ax^2+bx+c where:
a= 1 and b =-4 that we can plug-into (-b/(2a))^2 .
(-b/(2a))^2= (-(-4)/(2*1))^2
              = (4/2)^2
              = 2^2
              =4
To complete the square, we add and subtract 4 inside the ():
(-1)(x^2-4x) =(-1)(x^2-4x+4 -4)
Distribute (-1) in "-4" to move it outside the ().
(-1)(x^2-4x+4 -4) =(-1)(x^2-4x+4) + (-1)(-4)
                          =(-1)(x^2-4x+4) + 4
Apply factoring for the perfect square trinomial: x^2-4x+4 = (x-2)^2
(-1)(x^2-4x+4) + 4 =-(x-2)^2 + 4
                                      = 4-(x-2)^2
                             
which means 4x-x^2=4-(x-2)^2
Applying it to the integral:
int_2^3 (2x-3)/sqrt(4x-x^2)dx =int_2^3 (2x-3)/sqrt(4-(x-2)^2)dx
To solve for the indefinite integral of int (2x-3)/sqrt(4-(x-2)^2)du ,
let u =x-2 then x = u+2 and du= dx .
Apply u-substitution , we get:
int (2x-3)/sqrt(4-(x-2)^2)dx= int (2(u+2)-3)/sqrt(4-u^2)du
                             =int (2u+4-3)/sqrt(4-u^2)du
                             =int (2u+1)/sqrt(4-u^2)du
 Apply the basic integration property: int (u+v) dx = int (u) dx + int (v) dx .  
  int (2u+1)/sqrt(4-u^2)du =int (2u)/sqrt(4-u^2)du +int1/sqrt(4-u^2)du
For the integration of the first term: int (2u)/sqrt(4-u^2)du ,
let v = 4-u^2 then dv = -2u du or -dv = 2u du then it becomes:
int (2u)/sqrt(4-u^2)du =int (-1)/sqrt(v)dv
Applying radical property: sqrt(x) = x^(1/2) and  Law of exponent: 1/x^n = x^-n , we get:
(-1)/sqrt(v) =(-1)/v^(1/2)
                  
Then,
int (-1)/sqrt(v)dv =int(-1)v^(-1/2) dv
Applying Power Rule of integration: int x^n dx = x^(n+1)/(n+1)
int (-1)v^(-1/2) dv = (-1)v^(-1/2+1)/(-1/2+1)
                         =(-1)v^(1/2)/(1/2)
                        =(-1)v^(1/2)*(2/1)
                         =-2v^(1/2)
                         = -2sqrt(v)
Recall v =4-u^2 then-2sqrt(v)=-2sqrt(4-u^2) .
Then,
int (2u)/sqrt(4-u^2)du =-2sqrt(4-u^2)
 
For the integration of the second term:  int1/sqrt(4-u^2)du ,
 we apply the basic integration formula for inverse sine function:
int 1/sqrt(a^2-u^2) du = arcsin(u/a)
Then,
int1/sqrt(4-u^2)du=int1/sqrt(2^2-u^2)du
                    = arcsin(u/2)
 For the complete indefinite integral, we combine the results as:
int (2u+1)/sqrt(4-u^2)du =-2sqrt(4-u^2) +arcsin(u/2)
 Then plug-in u=x-2 to express it terms of x, to solve for F(x) .
F(x) =-2sqrt(4-(x-2)^2) +arcsin((x-2)/2)
For the definite integral, we applying the boundary values: a=2 and b=3 in F(x)|_a^b= F(b) - F(a) .
F(3) -F(2) = [-2sqrt(4-(3-2)^2) +arcsin((3-2)/2)] -[-2sqrt(4-(2-2)^2) +arcsin((2-2)/2)]
       =[-2sqrt(4-(1)^2) +arcsin(1/2)] -[-2sqrt(4-(0)^2) +arcsin(0/2)]
        =[-2sqrt(3) +arcsin(1/2)] -[-2sqrt(4) +arcsin(0)]
          =[-2sqrt(3) +pi/6] -[-2*(2)+0]
        =[-2sqrt(3) +pi/6] -[-4]
         =-2sqrt(3) +pi/6 + 4

Does Aristotle's schema of the elements of tragedy have any relevance today?

In order to discuss the relevance of Aristotle's definition of tragedy, we should first review that definition and break it down into its key parts: 

Tragedy, then, is an imitation of an action that is serious and complete, and which has some greatness about it. It imitates in words with pleasant accompaniments, each type belonging separately to the different parts of the work. It imitates people performing actions and does not rely on narration. It achieves, through pity and fear, the catharsis of these sorts of feelings. (Poet. 1449 b21–29)

Aristotle defines tragedy as a genre in which a significant part of the main character (tragic hero) is dramatized ("imitates people performing actions and does not rely on narration"). Through watching the drama, the audience experiences "catharsis," a purging of emotions, which is felt while watching the downfall of the tragic hero. 
We can take as a sort of case study the very famous Greek tragedy Oedipus the King by Sophocles. Oedipus is a tragic hero who begins the play as the respected King of Thebes; he became king by saving the city from the Sphinx. However, it turns out that Oedipus fulfilled the prophecy given to his parents at his birth: he would kill his father (Laius, former King of Thebes) and marry his mother (Jocasta, Queen of Thebes). This significant act occurred before the play begins, but we see Oedipus vow to find the murderer of Laius in order to end the plague in Thebes, inadvertently cursing himself. The action of the play revolves around Oedipus investigating and then learning the horrible truth of his past. As a result, the audience (and the Chorus) experiences pity and fear. The audience feels bad for Oedipus because it seems he has been cursed by the gods unjustly. We fear what will happen when he discovers his past actions. We pity him when he learns what he has done, when he blinds himself, and when he is exiled from the city. Oedipus experiences one of the most dramatic falls in the history of tragedy. After the play, the audience returns to their average lives, purged of the emotions felt during the play through the experience of watching Oedipus's downfall.
In some ways, this story may not seem relevant to us today because we are not as attached to ideas of fate as the ancient Greeks were. However, we do still experience tragedy and loss. We are aware in our own lives of falls from greatness or power. We suffer, and we are sometimes unjustly tasked with overcoming experiences that we feel we should not have to face. We also still feel catharsis when we watch tragic stories, whether real ones (news, documentaries) or dramatized ones (plays, television shows, movies). In more ways than one, the definition of tragedy posited by Aristotle applies to our lives and the forms of entertainment that we enjoy today. 
Tragedy definition is quoted from Stanford Univeristy: https://plato.stanford.edu/entries/aristotle/#RheArt

What are the consequences, in literature and in art, of Roland Barthes's affirmation of "the death of the author"?

Roland Barthes changed the face of criticism with his theory that works should be considered alone, in a vacuum, for their own merits, rather than as extensions of their authors. For example, prior to Barthes, the poetry of Oscar Wilde would usually have been viewed in the context of the biography of Wilde as we know it: that is, we could often assume the voice of the poems to be that of Wilde, known to be homosexual and to have suffered through a criminal trial.
However, Barthes's theory requires works to be viewed alone, without superimposing the biography of the author onto the work itself. Thus, post-Barthes literature is permitted to be interpreted in multiple ways, with every possibility allowed by the text entitled to equal consideration, whether or not the author would have approved of or endorsed it. A modern example could be the casting of Hermione as a black actress, because although the text by JK Rowling (who is white) in her Harry Potter series does not explicitly say she is black, it also does not say she is white.

Why is the baby water buffalo scene more disturbing than the death of one of O’Brien’s platoon mates, Curt Lemon?

In "The Things They Carried", the baby water buffalo undergoes a significantly more traumatic experience than Curt Lemon. One of the unspoken points of the text is that Curt Lemon signed up to potentially lay down his life, and the baby water buffalo had no part in it. Additionally, the baby water buffalo is a young animal, completely innocent of the conflict.
Beyond that, however, the baby water buffalo suffers terribly in its experience while Curt Lemon dies immediately. The animal is shot repeatedly in non-life-threatening ways, which just cause pain and anguish until it sinks down and waits for death. Curt Lemon, however, dies a swift, painless death that ends his suffering without even realizing what happened. The baby water buffalo has to feel every bullet and ends up sinking down in quiet despair. This makes the scene with the baby water buffalo significantly more disturbing than Lemon's demise.

I agree that the baby water buffalo's defenselessness certainly plays a role in how disturbing its death is. In addition, the fact that it is an animal that cannot possibly understand what is happening to it is only augmented by the description of it as a "baby" animal. Such a word carries heavy emotional connotations: we think of babies as innocent and beautiful, something to protect from harm—not something to which one does unspeakable harm. The fact that Rat is so vicious in his attack against this young and innocent creature adds to our impression of the scene.
Moreover, this creature is not to blame for Curt Lemon's death or his friend's rage. We might understand more if Rat raged against something or someone who could be held accountable or blamed, but taking it out on a defenseless baby animal who had no part in Curt's death seems especially unwarranted and cruel.

The baby buffalo scene is likely more disturbing because the animal is defenseless against the onslaught of Rat Kiley's bullets.
The text tells us that, unlike Curt Lemon, the baby buffalo does not die immediately. While Lemon dies an instantaneous death after stepping on a booby-trapped mortar round, the baby buffalo dies in stages.
First, Rat Kiley shoots the baby buffalo through its front right knee. Then, he shoots off an ear and pumps bullets into the animal's hindquarters, hump, and flanks. Still in a state of anguish over the loss of his friend Curt Lemon, Rat continues by shooting off the baby buffalo's mouth, nose, and tail. He also shoots the animal in the ribs, stomach, butt, and throat. 
The text tells us the baby buffalo does not make a sound throughout its torturous ordeal. Instead, it sinks down into the ground and lies still, patiently waiting for its deliverance from pain. By this time, the only thing capable of moving is the animal's enormous black eyes. 
So, the baby buffalo scene is infinitely more disturbing because the defenseless animal suffers an excruciating death, one it does not deserve. Although one can argue that Curt Lemon also did not deserve to die, his death was instantaneous.

In part 3 of the story why do you think that Scratch agrees to the trial at this point?

By this point in the story, Jabez Stone is starting to realize that he made a bad deal when he agreed to sell his soul to the devil. But a deal is a deal, says Scratch, and so poor old Jabez Stone will just have to like it or lump it. Stone doesn't give up, however, and does what many people do when they want to get out of a bad contract: he hires a lawyer to argue his case. And it's not just any lawyer, but none other than Daniel Webster, Senator from New Hampshire and the best attorney in the country.
Webster approaches Scratch and insists on a trial. Scratch agrees, but only on condition that Webster will forfeit his own soul to the devil if he loses the case. Taking control of any man's soul is a coveted prize for the Prince of Darkness, but to have in his possession the soul of such an important man as Webster is beyond his wildest dreams. So he figures that if the trial goes ahead—especially if it's presided over by the judge at the Salem witch trials and with a rigged jury of disreputable characters like Benedict Arnold—then he's sure to get his Satanic claws round the soul of one of America's most admired men.

How does Edgar Allan Poe create suspense using narrative structure?

Traditionally, "narrative structure" refers to the framework that a story is built with. Most teachers will teach a 5 piece narrative structure. It's often accompanied with a diagram in the shape of a triangle/pyramid. The 5 parts of the narrative structure are exposition, rising action, climax, falling action, and conclusion.
The question asks how Poe creates suspense in the narrative structure. Without knowing which specific story by Poe that the question refers to, it's hard to dial in a specific answer; however, Poe consistently uses some of the same techniques in many of his stories. For my answer, I will focus on the exposition part of the narrative structure. The exposition of a story is going to introduce readers to characters and setting. Poe will often immediately begin building suspense from this first moment. Take setting for example. Poe likes to set his stories during the night. Things are scarier at night time. In "The Raven," we are told that the narrator is pondering at midnight.

Once upon a midnight dreary, while I pondered, weak and weary,

The same night time setting occurs in "The Cask of Amontillado" as well.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend.

The room in "The Pit and the Pendulum" is so dark that the narrator can't even see the pit.
Another way that Poe builds suspense right from the exposition is to introduce readers to scary, weird, and/or unreliable narrators. Montresor tells readers in the first sentence that he has vowed revenge. The narrator of "The Pit and Pendulum" tells readers that he is "sick unto death with that long agony," and the narrator of "The Tell-Tale Heart" is trying to convince his readers that he's sane (all while admitting he hears voices from Hell).

I heard many things in hell. How, then, am I mad? Hearken! and observe how healthily—how calmly I can tell you the whole story.
https://alockie.files.wordpress.com/2014/03/20140321-124805.jpg

Should marketers use sex to sell products?

I would argue that marketers should use whatever they think will help them to sell their products, as long as they are not doing something that would break the law, like directly lying about what their product can do.  I have three main reasons for thinking this.
First, it would be exceedingly difficult to write any law or any policy that banned the use of “sex” in selling goods or services.  Imagine, for example, an advertisement with a beautiful woman (or a handsome man) who is fully clothed and holding up a tube of toothpaste.  Does the fact that the person in the ad is desirable make this an example of using sex to sell?  Now imagine an ad that shows men and women wearing bathing suits and playing in the water on a beach in Hawaii.  Is this ad using sex to sell Hawaiian vacations or is it simply giving an honest depiction of what a tourist might do when on vacation in the islands?  How are we to prohibit the use of sex in selling goods and services when it is so difficult to specify what constitutes using sex to sell?
Second, when we say that marketers should not use sex to sell, we are implying that sex (and/or the desire for sex) is a bad thing.  Not all people share this attitude.  For example, many people might think that the desire for status (the desire to make people think that you are important) is more shameful than the desire for sex.  Others might feel that the desire to be rich is more shameful than the desire for sex.  By singling out sex as an improper tool for use in ads, we stigmatize sex and label it as an undesirable and improper thing.
Finally, marketers would not use sex to sell if it were not effective.  What this means is that consumers like such ads.  If we ban such ads, we are essentially saying that we need to save people from themselves.  We are saying that the people do not really know what is good for them and must be protected by the government.
Marketers should be able to use whatever means they want to sell their products.  As long as they are not lying about the product, they should be able to make whatever ads will appeal to people.  We should not try to make rules about advertising that A) are impossible to write, B) single out one human desire as improper, and C) go against what people manifestly want.

How did Mrs. Freeman come to Detroit as a little girl?

In Christopher Paul Curtis's Elijah of Buxton, Elijah is an eleven-year-old black boy growing up in a settlement for escaped American slaves in Buxton, Canada. He has never known the horrors of slavery, having been born free in the settlement after his parents, the Freemans, had already been living there.
When Elijah's mother Sarah was a young girl living in slavery her master took her with him to Detroit, Michigan, which is just across the border from Buxton. When she came back to her master's home, her mother was upset that Sarah didn't try to escape to freedom in Canada. The next time young Sarah was taken to Detroit, she knew that freedom was close and that she would not let the opportunity to run slip away from her again.

Compare "Goblin Market" by Christina Rossetti with "God's Grandeur" by Gerard Manley Hopkins in terms of the function of imagination, female independence, and religious perspectives.

Although both of these two works are examples of Victorian religious poetry, they are quite different in theme and subject matter.
Rossetti discusses women, with two sisters being the protagonists of the poem, while Hopkins does not mention women at all except as part of humanity in general (the term "man" in his poem is used to refer to both men and women). Hopkins was a member of the Jesuit order and while Rossetti did have suitors, she never married and often wrote about convents.
In both poems we have a strong sense of human failings, but in Rossetti's case sin involves sensual temptation, and in Hopkins's poem it involves failing to see God in the sensual beauty of the world. For Rossetti, the hallucinatory world of the market and the fruit peddled by the goblins is a form of temptation; imagination is what leads Laura to taste the fruit and to wither away when the real world pales in relation to the imaginary world peddled by the goblins. The world of the imagination is like a painting by Bosch, abundant and creative but ultimately a temptation that draws us away from God and duty and which, when observed closely, is filled with horror. For Hopkins, the imaginary world and the arts and their beauties function as allegories of the grandeur of God and can serve to draw us from the mundane and practical nature of our daily lives to contemplation of the divine.
The main religious distinction underlying this is that Hopkins was Roman Catholic and Rossetti Protestant. In Roman Catholic theology, art and images of the saints and earthly beauty can lead us to imagine heavenly beauty; theologically, this material embodiment of divine beauty is grounded in the notion of transubstantiation, where the Host becomes the flesh of Jesus. In Protestantism, generally God is seen as more transcendent, and the world of the senses as one of temptation leading us astray, as we see in "Goblin Market." 

What caused Joetta to leave the church early?

In chapter 14 of The Watsons Go To Birmingham, being too hot at church protects Joetta from the bomb. Since the novel is told to us from Kenny's point of view, he tells us about that Sunday and its events. He tells the reader that he knows it was a Sunday, because he saw Joey getting ready for church and remembers her dress, lacy socks, and shiny black shoes. That morning he is taking a nap in the backyard when the noise wakes him. Kenny hears from Byron that someone dropped a bomb on the church, so he runs to the church to see what happened. Once he arrives there, he sees the chaos and people everywhere. In horror, he sees a shiny black shoe just like the one she was wearing that morning. He believes the worst: that she is a victim of the bomb.
Kenny goes home and tries to remember how he treated her that morning. He doesn't believe it when he looks up and sees that Joey is alive. Once he realizes that she is alive, he explains what happened, and she explains that she had to leave the church early because she was too hot. She tells Kenny, “It was so hot in there that I went and stood on the porch and saw you."

What was the outcome of Malcolm's boxing matches with Bill Peterson?

Malcolm's career as a boxer turned out to be fairly brief. Like many young African American males at the time, he'd been inspired by Joe Louis's becoming heavyweight champion of the world. Malcolm was also envious of his brother Philbert, who was a pretty good boxer himself. Philbert was a natural, and, as Malcolm comes from the same family, he figured that maybe he'll be one too.
Unfortunately, that turns out not to be the case. In his very first fight, Malcolm was pitted against another novice, a white boy by the name of Bill Peterson, who proceeded to give him a sound thrashing. The worst thing for Malcolm was not the pain inflicted by the countless punches but rather the hurt of being humiliated in front of the whole neighborhood. Malcolm's reputation was shot to pieces; he couldn't hold his head up in public after being whupped by a white boy. To add insult to injury, his younger brother Reginald looked at him in a certain way that mad it clear just how much contempt he had for him.
To restore his damaged reputation among his family and community, Malcolm took on Bill Peterson once again. The rematch was scheduled to take place in Bill's hometown of Alma, Michigan. The new location had the advantage that no one Malcolm knows would be there to see the fight. And it was just as well, because the rematch was an even bigger fiasco than the original bout. After the bell rang for round one, Peterson immediately landed a punch on Malcolm, sending him crashing to the canvas. The fight, like Malcolm's short boxing career, was over.

Tort Law: In the following scenario, what framework should I go about using in identifying business/legal issues to identify, explain and provide a solution this: Example: A delivery driver is completing his daily route and is approaching an intersection which signals a red light for him to stop. He does so, but when the light turns green, the vehicle ahead of him does not proceed. The delivery truck driver becomes agitated and accelerates, hitting the vehicle ahead of him, causing personal injury to the driver of that vehicle.

It is clear in the case that the driver intentionally accelerated and hit the car in front of him causing physical harm to the driver of that car. It should be noted that the driver decided to drive recklessly, which resulted in the injury of a third party. Based on the intent and the results of the situation, the issue falls under vehicular assault. The driver of the delivery truck was agitated and tried to drive the other car off the road. 
The conduct of the delivery truck driver was reckless because the individual did not consider the situation in the other car. It is possible that the car in front had developed mechanical failure or the driver had suffered a heart attack. However, if the car in front was deliberately blocking the car behind then the best course of action for the delivery truck would be to report that vehicle for obstruction but not ramming into it.
If the driver of the delivery truck was an employee, then the doctrine of Respondeat Superior would come into effect. This doctrine shifts responsibility from the employee to the employer as long as the employee committed the offense or accident while on official duty for the employer. The doctrine also covers negligent acts of employees. Although it was within the driver's scope of duties to drive the delivery truck, ramming the vehicle in front after losing their temper is not part of their duties. Thus, the doctrine might not apply.
In court, the actions of the delivery truck driver will be determined first, and the employer may be brought in through Respondeat Superior in the interest of justice for the claimant.
https://legaldictionary.net/respondeat-superior/

The answer above is completely inadequate if not wrong. First crime isn't even in the question. Second, the question appears designed to discuss the issue of respondeat superior liability. As a practical matter it is the employer who has the deep pockets. The driver has squat. So can we bring employer liability into this equation is the question. Was employee using the company owned truck while performing employee duties. Was the employee acting within the scope of his employment. Is willfulness or malice an issue? Can the driver use respondeat superior as a defense? Can the employer shift any liability? And so on. Ask questions explore the answer one way and then the other.

This case is simple: This is vehicular assault. It is entirely the driver's fault, there is no excuse for this behavior, and there is basically no chance the driver will be able to foist the liability off on the company or the other driver. Indeed, they may actually be subject to criminal penalties (in addition to civil penalties) for their reckless and harmful action. In fact, if anyone dies in the other vehicle, they could probably be charged with second-degree murder.The fact that the light was actually green at the time the driver accelerated might mitigate their liability slightly, but not very much. Unless they can successfully argue that they thought the other vehicle was moving and were mistaken (and even then, the burden of proof would be on them, since it is generally the responsibility of drivers to ensure that they do not collide with vehicles that are stationary for any reason---including stalls and other emergency stops), they are going to be held responsible based on intent---they caused the collision willfully and on purpose.
https://injury.findlaw.com/car-accidents/fault-and-liability-for-motor-vehicle-accidents.html

https://www.criminaldefenselawyer.com/resources/vehicular-assault.htm

Did immigrants own the triangle factory? if so, what impact did that have?

Two Jewish immigrants, Max Blanck and Isaac Harris, owned the Triangle Shirtwaist Factory, where 146 employees died in a horrific blaze. Some of the young women killed in the fire were recent Jewish immigrants, and all were European immigrants being exploited for low wages.
The Jewish community was horrified by the tragedy, which cut close to home, and rallied to help the families of the victims. Partially as a result of Triangle fire, Jewish candidate Meyer London of the Socialist Party was elected to the US Congress in 1914, showing that the disaster helped galvanize Jewish support for the labor movement. The owners, however, though immigrants who went on trial, were not held responsible for the fire or loss of life.

What is the Iliad about?

The Iliad is an epic poem written by Homer. Its subject is the Trojan War, a war between Ilium (or Troy) and the Greeks (often referred to throughout the poem as Achaeans). The conflict starts because Paris, one of the sons of Priam, King of Troy, takes part in a competition to judge who is the most beautiful goddess. Aphrodite, goddess of love, offers Paris a woman named Helen, the most beautiful woman in the world, if he chooses Aphrodite. He subsequently complies. Unfortunately, Aphrodite neglects to mention that Helen was already married to Menelaus, King of Sparta.
Paris, overcome with lust, abducts Helen from Menelaus's palace and takes her back to Troy. Menelaus, not surprisingly, is outraged. His wife has been taken and his kingly honor impugned by this young Trojan upstart. Also, Helen's many suitors took a vow to defend her when she was married. So kings and warriors from across the Greek world join forces to converge upon Troy, ultimately to do battle there for ten long years.

What are all the differences between "good" and "bad" knights in Le Morte d'Arthur?

To ascertain the difference between "good" and "bad" knights in Le Morte D'Arthur, we must look at the standard knights were measured by during Arthur's time. This standard is referred to as the medieval code of chivalry. Today, we think of chivalry as courteous behavior, but in Sir Thomas Malory's time (and in Arthur's as well), chivalry constituted specific behaviors that substantiated a knight's loyalty to his king.
For example, you may have noticed that Sir Thomas Malory includes considerable examples of martial prowess in his story. This, by itself, is no accident. A chivalrous knight is a battle-ready warrior at all times, especially in service for his lord. Thus, characters such as Sir Launcelot, Sir Lamorak, and Sir Tristam exemplify the qualities of "good" knights when they engage in violent conflict against the king's enemies. Valor in service of the king constitutes service to God, an honorable work for a chivalrous knight.
Additionally, "good" knights are expected to have descended from great or noble families. In the book, Sir Launcelot expects that Sir Gareth Beaumains should be "of great blood" to deserve the privilege of knighthood. Indeed, some historians claim that Sir Malory himself was a knight from the lower nobility.
Despite this definition of the "good" knight, however, the corruptible influence of courtly love soon turned many a virtuous knight into a "bad" knight in Sir Malory's time. By the 15th century, the French concept of chivalry had utterly upended the chivalric code of conduct in English courts. One can conclude that the French corruption of the English chivalric code led to knights like Sir Launcelot and Sir Gawain losing their way as they navigated the treacherous waters between loyalties.
In the book, Launcelot struggles to reconcile his allegiance to his king with his loyalty to his lovers. As a knight of the new (French-influenced) chivalric order, Launcelot is impeccable in his veneration of women. Additionally, he is a force to be reckoned with in any jousting tournament:

When Sir Launcelot saw his party go to the worst he thrang into the thickest press with a sword in his hand; and there he smote down on the right hand and on the left hand, and pulled down knights and raced off their helms, that all men had wonder that ever one knight might do such deeds of arms.

Within the French tradition, the glamor and accoutrements of warfare are considerably worshiped. Thus, in any tournament, the "good knight" must concentrate on impressing favored ladies in the audience rather than to focus on the intricacies of savage warfare.
This new principle of impressing beautiful women soon leads "good" knights like Sir Launcelot to commit acts incompatible with the Christian tradition of chivalry. In the story, Sir Launcelot falls in love with Guinevere (or Gwenyvere), Arthur's queen, and by all indications, commits adultery. In the meantime, Mordred (King Arthur's illegitimate son) and Sir Agravain (one of Sir Gawain's brothers) plot to capture Launcelot and Guinevere in the heat of passionate love.
The two knights (with twelve additional knightly companions) corner Launcelot in the queen's bedchamber and demand that he surrender to them. Launcelot refuses and proceeds to kill every knight except Mordred, who manages to escape. He begs the queen to run away with him, but she is hesitant. Eventually, Guinevere is sentenced to be burned at the stake for her adulterous relationship with Launcelot. Despite this verdict, the knight-errant manages to save Guinevere and to bring her to his castle.
In Sir Launcelot, we see the interplay between the "good" knight and the "bad" knight persona. The dichotomy of the "good" and "bad" knightly attributes exemplify the conflict between the French and English chivalric codes. Essentially, no knight in Sir Malory's story can reconcile to any sort of acceptable degree the demands of the Christian chivalric code and the demands of courtly, adulterous love. For more, please refer to the links below.
 

Single Variable Calculus, Chapter 3, 3.7, Section 3.7, Problem 6

Below are the graphs of the position functions of two particles, where $t$ is measured in seconds. When is each particle speeding up? When is it slowing down? Explain.















Since the position of the particle is relevant, we must graph first the velocity and acceleration functions. And we know that the particle is speeding up when the velocity and acceleration have the same sign (either in positive or negative direction). On the other hand, the particle is slowing down when the velocity and acceleration have opposite sign.







Hence, the particle is speeding up at interval $1 < t < 2$ and $3 < t \leq 4$ while the particle is slowing down at interval $0 \leq t \leq 1$ and $2 \leq t \leq 3$.








Based from the graph, the particle is speeding up at intervals $1 \leq t \leq 2$ and $3 \leq t \leq 4$ while it shows down at interval $0 \leq t < 1$ and $2 < t < 3$

If you read the top of the meniscus, would the density be too high or too low?

Scientists utilize measuring equipment that is calibrated for accuracy. This minimizes the margin of error and therefore enables accurate comparisons of matter. The ability to accurately evaluate the qualities of matter through measurement is the basis by which meaningful inferences can be made.  
A graduated cylinder is a tube calibrated with even increments of measurement. A common unit of measure for liquids is the Liter. A small graduated cylinder may hold 100 mL, or one hundred milliliters. The length of the cylinder is demarcated with tick marks in increments of 10 mL, with smaller tick marks in between. This can be compared to a ruler. When a liquid is poured into the graduated cylinder, you will observe that the top forms a parabola. This is called a meniscus. 
When measuring the volume of a liquid using a graduated cylinder, it is important to read the bottom of the meniscus rather than the top. The distribution of liquid at the top of the meniscus is thin, and contains air from the atmosphere that fills the hollow of the parabola. A calculation of the density of a liquid including this portion would be inaccurate because it includes a portion of gas, which is less dense than liquid. A density calculated by dividing the amount of liquid measured from the top of a meniscus by its mass would therefore be less than the density calculated using the measurement of liquid from the bottom of the meniscus.
 

What was Mr. Larson's reputation as a teacher?

Mr. Larson is known for being lazy and not caring about his job at the beginning of The Landry News. By the end of the book, he is involved with his students again.
At the beginning of the book, Clara writes a paper and puts it up for everyone to read. In it, she says that Mr. Larson doesn't actually teach. He just has the kids teach themselves because he's lazy and doesn't care about actually instructing them. Mr. Larson is also seen as troublesome and unmotivated by the principal, who wants to fire him.
Mr. Larson is very upset by the article and tells his wife what was written. She consoles him and says that it seems like his students just want a teacher. So he decides to change his ways. Years ago, Mr. Larson was an excellent teacher who was well regarded by his students and peers.
As Mr. Larson works with his students to start and publish a paper, he regains his spark for teaching. He defends his students when a controversial story causes them to have to attend a hearing about their activities. By the end of the year, he is an active and involved teacher who is respected and cared for by his students.

At marker 50 on page 319, when Mama calls Hakim-a-barber “the barber,” what is revealed about her attitude toward him?

Mama calls Hakim-a-barber “the barber” because she does not understand how to say his name. This could also show that she feels as if his name is unusual or funny. Also, it could show that Mama feels disconnected to Hakim-a-barber (and Dee as well). Similar to Hakim-a-barber, Dee has taken on a traditional name. When Dee arrives, she informs Mama that she’s changed her name to a traditional African name (Wangero) because she was named after people who oppress her—referring to the fact that Dee is traditionally a name for a white person. Mama is confused by this and reminds Dee that she was named after her aunt. Dee changing her name is another source of disconnect between her and Mama. While Dee has left her traditional heritage behind, wanting to move on and preserve it, Mama continues to honor tradition by living it.

What does "darkest evening of the year" mean in the poem "Stopping by Woods on a Snowy Evening"?

In Robert Frost's "Stopping By Woods on a Snowy Evening," line 8 of the poem mentions that the events of the poem take place on the "darkest evening of the year."
There are two possible meanings here: a literal meaning and a figurative meaning.
Literally, it seems that "Stopping By Woods on a Snowy Evening" takes place on the evening of the winter solstice. The winter solstice in the Northern Hemisphere takes place around the 21st of December each year. The winter solstice is the 24 hour period when the Northern Hemisphere has the shortest amount of daylight for the year and the longest amount of darkness. We can guess this because the poem takes place in the winter, when the woods are snowy and the lake is frozen. The solstice would literally be the "darkest evening of the year," because it would be longest night of the year.
Figuratively, Frost also has a tendency to pair what he sees in nature with spiritual or emotional occurrences. If we were thinking of a metaphorical meaning here, the "darkest evening" for a person might be the time when they felt the worst. Perhaps this person is struggling with depression, sadness, anger, hatred, etc. The rider in the poem chooses not to stop and stay beside the snowy wood because he has "miles to go before I sleep" (line 15). You could interpret this sleep as death, so perhaps the rider has decided to not give into depression/suicidal thoughts etc.
Depending on how you read this poem, you might see this as a poem about someone who is tempted to stay and watch the beauty of nature, but must return to his human responsibilities, or about someone who is on the brink of suicide or depression and who chooses to continue his struggle for life.
https://www.poetryfoundation.org/poems/42891/stopping-by-woods-on-a-snowy-evening

How does Rosencrantz and Guildenstern's betrayal affect Hamlet?

Rosencrantz and Guildenstern, Hamlet's school chums, are summoned by Claudius and Gertrude to the Danish court to spy on the student prince. Hamlet's initially glad to see his old pals, but his happiness does not last too long because he soon realizes what they are really up to. Hamlet feels betrayed by them because he thought they were his friends. Their treachery is indicative of the general level of moral corruption ("something rotten in the state of Denmark") that has infected the country since Claudius murdered his way to the throne.
His act of revenge against Rosencrantz and Guildenstern foreshadows his ultimate revenge against his hated stepfather. By sending Claudius's proxies to their death in England, he is indirectly attacking him; Rosencrantz and Guildenstern are collateral damage in Hamlet's battle of wits with Claudius, and they go to their deaths oblivious of Claudius's wicked intentions. In some respects, Hamlet's devious ploy is a substitute for dispatching Claudius with the same degree of ruthless efficiency. There is certainly no procrastination when it comes to getting rid of Rosencrantz and Guildenstern. Perhaps this is a reflection of just how hurt Hamlet felt at his former friends' betrayal. He expected better of them; he never liked Claudius.

What is Helen’s relationship with her sister Mildred like?

Although Mildred, Helen Keller's younger sister, could not understand Helen's finger language, they were close when they were little. Even at a young age, Helen wanted to communicate with Mildred and wrote her a letter in Braille (which Mildred then tried to eat, much to Helen's consternation). Mildred served as Helen's eyes and even once saved her from an oncoming train. They spent a lot of time together, and Helen wrote Mr. Anagnos letters about playing with Mildred, stating, "I love to play with little sister." She described her sister in a letter to Miss Moore as blue-eyed, golden-haired, and sweet-natured. When she studied in Boston, Helen intended to teach Mildred the languages she had learned when she returned home. She was also thrilled to learn how to speak, in part so she could speak with Mildred. Later, Mildred came to Cambridge to study with Helen at Mr. Gilman's school. As time went on, Helen learned new ways to communicate, and she was motivated in part to do so to better communicate with her beloved sister. 

Helen's relationship with her sister, Mildred, changed over time. When Helen was a little girl and still unable to communicate, she almost injured her baby sister in a fit of anger. Helen usually kept her doll in a cradle. One day, she discovered her infant sister sleeping in it instead of her doll. Helen was enraged, and she tipped the cradle over. Her mother caught Mildred before she fell to the floor.
After Miss Sullivan came and Helen learned to communicate, her perception of life changed entirely. She saw the world in a new way. Helen began spending more time with Mildred. They enjoyed exploring the outdoors together.
When Helen was at the Cambridge School, Mildred joined her there for six months. During that time, they were inseparable. Helen later reflected on her relationship with her younger sister: "When I was restored to my human heritage, Mildred and I grew into each other's hearts, so that we were content to go hand-in-hand wherever caprice led us" (The Story of My Life, Chapter II).

How did Calpurnia learn how to read in To Kill a Mockingbird?

Calpurnia learned how to read when she was at Finch's landing. A Miss Buford taught her to read using the Bible and a primer.
One Sunday when Atticus is called to Montgomery, the children go to church with Calpurnia. While there they experience what it is like for the poor blacks of Maycomb: The church is without a ceiling and painted walls; pine benches are set out in rows instead of the pews to which the children are familiar. There are no pianos or organs, no church programs, no hymn-books. Zeebo, Calpurnia's son, leads the congregation in the hymns by first reading the line and the others follow, singing the line.After the service, the children ask Calpurnia about this technique of "lining." Then, Jem remarks that perhaps the congregation could save the collection money for a year and purchase some hymn books. When she hears this, Calpurnia laughs: "Wouldn't do any good...They can't read." Scout and Jem are shocked, but Calpurnia says she is one of only four there who can read."Where'd you go to school, Cal?" asked Jem.

"Nowhere. Let's see now, who taught me my letters? It was Miss Maudie Atkinson's aunt, old Miss Buford--" (Ch.12)

Further, Calpurnia explains that there was no school for the children to attend, so she taught her son Zeebo herself. Scout asks if she taught him "out of a primer, like us?" Calpurnia says that she made Zeebo read a page from the Bible every day, and then read from a book from which Miss Buford taught her.  "...bet you don't know where I got it," she said. The children do not know. Calpurnia said, "Your Granddaddy Finch gave it to me." (Ch. 12)
Calpurnia explains that she grew up between the Buford Place and the Landing. She adds that she worked for both the Finches and the Bufords, and she moved to Maycomb with Atticus and their mother after they married.
This history is not unlike those of others like Calpurnia who grew up on one family's land where they were cared for in other ways than what was necessary for servants. The interest in Calpurnia's education was not uncharacteristic of these families. Later, when Atticus talks to his sister Alexandra, he alludes to the bonds of his and Calpurnia's youth when he says that Calpurnia is a part of his family.

How does this author develop and/or support the thesis?

In his treatise, Paulo Freire supports his thesis with four arguments. His thesis, of course, is that problem-posing education is far superior to conventional "banking" education, in which the teacher "deposits" knowledge into the minds of students.
In each of his arguments, Freire contrasts traditional banking education with problem-posing education. He states that banking education is ineffective because it promotes a sterile "teacher-knows-all" paradigm and by extension, rote-memorization. Instead of critical analysis, students just regurgitate the facts their teachers give them.
Freire's four supporting arguments are:
1) Conventional banking education promotes a myth of reality. The teacher presents reality as "motionless, static, compartmentalized, and predictable." Instead of discovering truths for themselves, students are forced to accept (without question) the teacher's definition of reality. Freire argues that this forced indoctrination of students is inauthentic and dehumanizing.
2) Freire argues that conventional banking education is stifling, sterile, and oppressive. Instead of inhibiting creative power, problem-posing education releases the consciousness and allows it to accept new truths. To Freire, a deepened consciousness leads to inquiry and transformation (or a full humanization of the individual).
3) Conventional banking education stymies dialogue. On the other hand, problem-posing education welcomes dialogue, which enriches the learning experience of students. Additionally, problem-posing education contributes to the intellectual and emotional development of both students and teachers. Freire maintains that it is dialogue that promotes cognitive ability and unveils reality in an organic fashion.
4) Conventional banking education basically robs students of their individuality and cripples their ability to develop their critical thinking skills. Freire argues that this type of education makes students passive observers of life. He also asserts that paternalistic, authoritarian education destroys the kind of critical reflection that facilitates the discovery of knowledge.

How could you compare The Importance of Being Earnest by Oscar Wilde and C Above C Above High C by Ishmael Reed?

We can compare both plays by analyzing the importance of appearances and the constraints of morality within the plays.
1) The deception of surface appearances.
In The Importance of Being Earnest, Jack Worthing uses his alter ego to escape the constraints of Victorian morality; with his alter ego, Earnest, Jack is able to keep up appearances before his ward, Cecily Cardew. The notion of hypocrisy as a form of self-preservation and personal agency was a means to an end within the structure of Victorian society. Keeping up appearances allowed one to preserve one's image of respectability and integrity before one's servants, family, and community.
In the story, Jack becomes Earnest when he wants to have a bit of fun in London. It's a convenient excuse that works splendidly, until he realizes that his deceptive alter ego could cost him Gwendolyn's love. Meanwhile, his best friend, Algernon, has his own alter ego as well, the hypochondriac Bunbury. Bunbury allows Algernon to bypass his social obligations, responsibilities he finds boring and uninspiring. Two other characters in the play, Lady Bracknell and Miss Prism, also have to keep up appearances in order to appear virtuous and morally unassailable.
The aristocratic Lady Bracknell's rejection of Jack Worthing/ Earnest as a desirable suitor for her daughter, Gwendolen, is predicated on Jack's lack of an acceptable pedigree. As a daughter from an aristocratic family, Gwendolen is expected to conform to particularly restrictive social norms. Honor and reputation must be preserved at all costs. Meanwhile, Miss Prism, Cecily's governess, must teach her young charge all the expected virtues the ward of a respectable man must have.
In The C above C above High C, appearances are a form of deception as well. All must conform to required expectations in order to fit into a narrow and restrictive culture. In the play, J. Edgar Hoover appears in drag and he's black, quite a stunning and unconventional portrayal of the ebullient and combative FBI director. According to Mamie Eisenhower (in the play), Hoover has never been accepted as a white man; as a form of self-preservation, he tells people that he has a tan so they will trust him to fulfill his prescribed role in society.
Meanwhile, President Eisenhower is portrayed as a lecher and adulterer in the play. His lover is Kay Summersby, who uses embarrassingly poetic language to describe her sexual ecstasies during trysts with her presidential lover. Meanwhile, General Douglas MacArthur is described as a sex-obsessed and abusive philanderer. In the play, Mamie tells Lil (Louis Armstrong's wife) that MacArthur had abused a Chinese teenager "into bad health." Louis Armstrong himself does not escape unscathed; his wife, Lil, describes him as a man sexually fixated on his mother.
The commonality between both plays is the importance of appearances as a tool of self-preservation and personal aggrandizement. In C above C above High C, respected men in political and military circles must conform to outward expectations of manhood, masculinity, and respectability. Their material success depends on this. Likewise, in The Importance of Being Earnest, members of the aristocracy and the lower classes must adhere to outward conventions of morality, honor, and dignity. Any variation from the norm threatens to disrupt the hierarchical equilibrium so prized by Victorian society.
2) The definition of morality is in the eye of the beholder.
In The Importance of Being Earnest, Gwendolen exemplifies the perfect Victorian young lady. She is dignified, virtuous, and cosmopolitan; in short, a young lady beyond reproach. Her ideas about morality are vastly antithetical to true happiness, however; Wilde satirizes her fixation on the name "Earnest" as a way to comment on the hypocrisy of Victorian morality, a morality encased in sanctimonious piety and patronizing noblesse oblige (an implied social responsibility by the aristocratic class to demonstrate nobility and compassion towards the lower classes).
Despite the social obligations of the upper classes, the lower classes also have to fulfill certain expectations. They sometimes fail desperately in this area. In the play, it is revealed Miss Prism left Jack in a leather handbag in the cloakroom of the Victoria Station when he was a baby. As Cecily's governess, however, she maintains an outward appearance of primness, integrity, and civility. Yet, the truth is that Miss Prism is a repressed woman, a caricature of the respectable working-class employee in an aristocratic household. She pines after the priest, Dr. Chasuble, but must hide her less-than-savory desires from the public eye. This she does through pompous diction and supposedly didactic discourse.
In C above C above High C, we find the definition of morality is again in the eye of the beholder. As described in (1), the perception of an individual's morality can vary depending on who is doing the judging. Characters from both plays demonstrate a fear for exposing their individual desires, personalities, and ambitions. Perhaps the natural propensity for humans to judge each other cruelly distorts truth and prevents genuine self-contemplation.

Calculus of a Single Variable, Chapter 8, 8.6, Section 8.6, Problem 18

From the table of integrals, we have a integration formula for inverse sine function as:
int arcsin(u/a)du = u*arcsin(u/a) +sqrt(a^2-u^2) +C
It resembles the given integral problem: int arcsin(4x)dx or int arcsin((4x)/1)dx where u =4x and a=1 ,
When we let u = 4x , we solve for the derivative of "u" as: du = 4 dx or (du)/4= dx .
Plug-in u = 4x and (du)/4=dx on the integral problem, we get:
int arcsin(4x)dx =int arcsin(u) * (du)/4
Apply the basic properties of integration: int c*f(x) dx= c int f(x) dx .
int arcsin(u) * (du)/4 = 1/4int arcsin(u) du or 1/4int arcsin(u/1) du
Applying the integral formula for inverse sine function, we get:
1/4 int arcsin(u/1)du = (1/4) *[u*arcsin(u/1) +sqrt(1^2-u^2)] +C
= (1/4) *[u*arcsin(u) +sqrt(1-u^2)] +C
= (u*arcsin(u))/4 +sqrt(1-u^2)/4 +C
Plug-in u =4x on (u*arcsin(u))/4 +sqrt(1-u^2)/4 +C , we get indefinite integral as:
int arcsin(4x)dx =(4x*arcsin(4x))/4 +sqrt(1-(4x)^2)/4 +C
=(4x*arcsin(4x))/4 +sqrt(1-16x^2)/4 +C
= x*arcsin(4x) +sqrt(1-16x^2)/4 +C

What kinds of public amenities were separate for people of different races?

Just about every public amenity you can think of was segregated under the notorious Jim Crow laws. Schools, restaurants, water fountains—they were all used to separate people on racial grounds. There weren't separate buses for different races, as it would've been a hit to bus companies' profits, but buses were still segregated in that African Americans were confined to specific areas at the back. Rosa Parks famously defied segregation on buses by refusing to get up and move from her seat at the front to make way for white passengers.
It was the same with lunch counters. Certain lunch counters were reserved for white patrons, while African Americans were expected to eat elsewhere. Segregated lunch counters in places such as Birmingham, Alabama became the focus of the civil rights movement. Activists would sit down in whites-only areas and stage protests until they were forcibly removed by the police. The protesters were campaigning against not only the separate provision of facilities but the fact that facilities for African Americans were either decidedly inferior or, in the case of segregated buses, led to their being treated as second-class citizens.

The United States had legalized segregation for many years. During this time, there were a series of laws known as the Jim Crow Laws that created separate facilities for blacks and for whites.
For a period of time, segregation existed in almost all aspects of society. The Plessy v Ferguson Supreme Court case legalized this segregation. This specific case dealt with railroad cars. Homer Plessy sued because he had to sit in the railroad car reserved for African-Americans. The Supreme Court ruled that this was legal as long as the facilities were equal. This was known as the “separate but equal” doctrine.
Other aspects of public life that were separated by race included drinking fountains, schools, seating sections on buses, restaurants, and bathrooms. It wasn’t until the 1950s and the 1960s that this began to change. The Brown v Board of Education case in 1954 made this concept illegal in public schools. The Civil Rights Act of 1964 ended segregation in public facilities.
The struggle to deal with segregation has been a long and difficult process.
http://www.pbs.org/wgbh/americanexperience/features/freedom-riders-jim-crow-laws/

https://www.history.com/topics/black-history/plessy-v-ferguson

I need help understanding deforestation and a reliable reference.

Two of the references below would be good sources to cite in an undergraduate paper on deforestation.
Deforestation is not just a modern issue, but has had a major effect on human ecosystems since the development of slash and burn agriculture, in which forests are cleared and then burned to create farmland. Unfortunately, this type of agriculture is extremely inefficient, as the soils left behind by this process are rarely suitable for sustainable agriculture once deprived of their forest canopies. In areas of the western United States such as Utah, pinyon-juniper forests are also destroyed to create grazing land, leading to rapid desertification. Logging is perhaps the major cause of deforestation, with urbanization and development also being major issues.
The first global negative effect of deforestation is that it reduces wildlife habitat and biodiversity, leading to species endangerment or extinction. An even more globally important issue is the way it disrupts climate cycles and contributes to global climate change. The main solutions are development of sustainable logging practices, tree planting initiatives, and creating global reserves of virgin forests. 
https://www.nationalgeographic.com/environment/global-warming/deforestation/

https://www.worldwildlife.org/threats/deforestation-and-forest-degradation

What influence does the novel Praisesong for the Widow have over present-day black culture in the USA?

Paule Marshall's novel, published in 1983 but set in the mid-1970s, remains relevant particularly due to its engagement with the black diaspora -- that is, the population of people of West African descent throughout the West and, especially, in the Americas. It is significant that the novel takes place in the seventies, as, for black people, this was a consciousness-raising era. There was a pressing urge to connect blacks to their roots, and the field of Black Studies entered academia.
Avey Johnson is a widow in her mid-60s. Her husband, Jerome, died about four years before the novel is set. She lives in White Plains, New York and was raised in Harlem, but traces her origins to South Carolina.
Her great-aunt Cuney visits her in a dream, asking her to follow her down a road in Tatem, South Carolina, the town that Avey's family comes from. Avey resists. Aunt Cuney's urging is a metaphor for an ancestral journey that Avey, in the moment, is unprepared to take. However, on a cruise, she finds herself in Carriacou, an island in Grenada, where a festival is taking place.
The journey to Carriacou allows Avey to come to terms with the death of her husband. On the island, she is confronted by her sense of isolation. Oddly, the people of Carriacou only speak a local patois. Their esoteric use of language mirrors their rootedness. Avey, on the other hand, does not understand their language and feels disconnected from the island's traditions, despite the fact that she has a shared history with the people of Carriacou. On the boat from Grenada to Carriacou, she has a dream in which she imagines a slave ancestor on the Middle Passage. Avey's affinity with the island through her slave ancestors contends with her assimilation into American culture, which often refutes or attempts to forget its slave-owning past. 
Thus, Marshall's novel remains important due to its themes of diaspora and cultural disconnectedness.

Calculus: Early Transcendentals, Chapter 5, 5.4, Section 5.4, Problem 15

You need to evaluate the indefinite integral, such that:
int f(theta)d theta = F(theta) + c
int (theta - csc theta* cot theta)d theta = int theta d theta - int (csc theta* cot theta)d theta
Evaluating integral int theta d theta, using the formula int theta^n d theta = (theta^(n+1))/(n+1) + c , yields:
int theta d theta = (theta^2)/2 + c
int (csc theta* cot theta)d theta = int (1/(sin theta)* (cos theta)/(sin theta)) d theta
You need to use substitution to solve the indefinite integral int (csc theta* cot theta)d theta , such that:
sin theta = t => cos theta d theta = dt
Replacing the variable, yields:
int (dt)/(t^2) = int t^(-2) dt = -1/t + c
Replacing back sin theta for t yields:
int (csc theta* cot theta)d theta = -1/(sin theta) + c
Gathering the results, yields:
int (theta - csc theta* cot theta)d theta = (theta^2)/2 + 1/(sin theta) + c
Hence, evaluating the indefinite integral yields int (theta - csc theta* cot theta)d theta = (theta^2)/2 + 1/(sin theta) + c.

What is the propaganda in Squealer's speech?

Propaganda is information that a person or group uses to promote its ideology and ideas. Propaganda tends to be biased and/or based upon distortions of the truth. Napoleon uses Squealer to change the commandments and spread lies about Snowball.
At the end of Chapter 5, Squealer is giving his justification for some of Napoleon's new policies. He concludes by saying that they are better off under Napoleon than Snowball, the traitor. In truth, Snowball was loyal to the cause of Animalism and certainly was not a traitor. Napoleon and Squealer are using their propaganda to tarnish Snowball's reputation.
When the animals counter this by saying that Snowball fought bravely at the Battle of the Cowshed, Squealer replies, "And as to the Battle of the Cowshed, I believe the time will come when we shall find that Snowball’s part in it was much exaggerated." Squealer attempts to downplay Snowball's heroism.
Squealer makes propaganda speeches throughout the novel. Every time Napoleon changes the commandments, Squealer is there to trick the animals into believing that no changes have been made. Every time Napoleon hoards more of the food (i.e., hens' eggs), Squealer is there with a biased justification.
In Chapter 7, Squealer continues the false accusations about Snowball:

Snowball has sold himself to Frederick of Pinchfield Farm, who is even now plotting to attack us and take our farm away from us! Snowball is to act as his guide when the attack begins. But there is worse than that. We had thought that Snowball’s rebellion was caused simply by his vanity and ambition. But we were wrong, comrades. Do you know what the real reason was? Snowball was in league with Jones from the very start! He was Jones’s secret agent all the time.

What are Stanley's character traits?

Stanley Yelnats is the main character of Holes by Louis Sachar. He is a fourteen-year-old boy with a good heart but a history of bad luck, which runs in his family. This bad luck is to blame for his being accused of a crime he did not commit and sent away to Camp Green Lake.
Physically, Stanley is described as overweight—a trait which earns him the nickname "Caveman" at camp. Over the course of the novel, due to the grueling work of digging holes and the emotional trauma of surviving Camp Green Lake, Stanley loses weight and toughens up, learning to stand up for himself. Ultimately, he breaks his family's curse, ending his streak of bad luck with a stroke of good fortune.

Describe how a pearl is formed inside of an oyster.

The creation of pearls occurs as a defense mechanism in oysters, and in order to understand this process, it is important to understand the structure of an oyster. Oysters are soft-bodied water animals that are covered with two hard and roughly textured shells, which are connected by abductor muscles. The shells are produced by the mantle, which is a thin film of tissue found between the outer shell and the inner soft body. The mantle produces a shiny substance known as nacre, which is used to make the shell.
Pearl creation is triggered when a foreign particle gets trapped between the mantle and shell, which irritates the mantle. In turn, the mantle reacts by producing layers of nacre which coat the particle resulting in a pearl. Cultured pearls are created in the same manner but with human intervention. A pearl farmer manually slits the oyster’s mantle and introduces a foreign particle, which ultimately triggers the pearl creation process. However, it is important to note that natural pearls are very rare and consequently much more expensive when compared to cultured ones.
https://www.livescience.com/amp/32289-how-do-oysters-make-pearls.html

https://www.thesun.co.uk/news/1659183/how-is-a-pearl-formed-how-long-does-it-take-and-how-much-are-they-worth/amp/

A type of Mollusk is an oyster. The oyster has two shells that close to protect the Mollusk's organs. When a foreign object, such as a grain of sand, slides in between the shells it begins to irritate the interior, also known as the mantle. The mantle is the interior layer that protects the mollusk's organs. The oyster identifies this object as a foreigner.
The oyster must defend itself from the foreign object. It begins to cover the grain of sand, or any other invader, with many layers of nacre (also called mother of pearl). This is also what the oyster's shell is made of. This process takes place until the pearl is formed.
This is the natural process of pearl development. The synthetic process is when a pearl farmer implants a foreign object into the mollusk.

y = e^sinhx , (0, 1) Find an equation of the tangent line to the graph of the function at the given point

The tangent line must go through the given point (x_0, y_0) and have the slope of y'(x_0). Thus the equation of the tangent line is
(y - y_0) = (x - x_0)*y'(x_0).
To find the derivative we need the chain rule and the derivative of sinh(x), which is cosh(x). Therefore y'(x) = (e^sinh(x))' =e^sinh(x)*cosh(x). For x = x_0 = 0 it is e^0*1 = 1.
So the equation of the tangent line is  y - 1 = (x - 0)*1, or simply y = x + 1.
We have to check that y(x_0) = x_0.  Yes, y(x_0) = y(0) = 1 and x_0 = 1.
 

Why is the Magna Carta important?

Although it was written just over 800 years ago, Magna Carta remains important today largely because it was the first statement of the idea of limited government in the modern world. 
Before Magna Carta (and, in many places, for a long time afterwards) governments were above the law.  Governments were controlled by monarchs who had absolute power.  There were no laws that monarchs had to obey.  A monarch and his or her government had no limits.  They could do anything that they wanted to do and there was nothing that could stop them. 
Magna Carta was, in a sense, the beginning of the end of this idea.  Among other things, Magna Carta set out a number of rules that the king of England agreed to obey.  Most famously, it established that no “free man” (though this was a small group at the time) could be punished for any crime unless they had been tried and convicted by a jury of their peers. 
Even after Magna Carta, monarchs had much more power than we would let our governments have today.  However, Magna Carta started the trend toward limited government.  It set out the idea that even the government has to obey laws.  This is a very powerful idea, one that has shaped the world in which we live today.
 
https://www.bl.uk/magna-carta/articles/magna-carta-an-introduction

Based on the poem how might Ozymandias be described?

The first description of Ozymandias that the reader is given is one of desctruction. The speaker says that he or she heard from a traveler that "Two vast and trunkless legs of stone/ Stand in the desert" and that "Near them, on the sand,/ Half sunk a shattered visage lies,..." Two big legs and one decaying face are all that remains of a once-impressive statue.
The second hints of Ozymandias' character are given when the speaker of the poem hears about the face of the statue. The lines "whose frown/ And wrinkled lip, and sneer of cold command,/ Tell that its sculptor well those passions read" speak to the cold, calculated power of Ozymandias.
It is certainly worth noting that in the first two descriptions, the speaker does not even reveal the statue's name. This lack of a name further illustrates the point that this destroyed statue has little lasting value to either the traveler or the speaker of the poem, and consequentially to us as readers.
The speaker of the sonnet then describes the pedestal of the statue, on which is revealed Ozymandias' view of himself. He says "My name is Ozymandias, King of Kings;/ Look on my Works, ye Mighty, and despair!" This epithet to himself is interesting because it speaks to the intense pride of Ozymandias. He describes himself as the "King of Kings" (a title which is often reserved as a Biblical allusion to God) and then challenges the "Mighty" to view his works and be ashamed at their own worthlessness compared to him.
In Shelley's sonnet, Ozymandias is a ruined king who is represented by nothing more than a ruined statue amidst a backdrop of empty desert. This is the central irony of the poem: a king who thought so highly of himself has fallen. The half-sunk and shattered visage must now look up to those who happen to come across its path, whether they be mighty or not.

Shelley takes a couple lines in his sonnet to describe the face of Ozymandias. His visage has been sculpted with a "frown", "wrinkled lip" and "sneer of cold command". Imagine you're taking a class photo and the face you make will be the face that people remember when they look back, years later. Would you frown, smile, make a silly face? Ozymandias, the self described "king of kings", approved this sneering statue as the image that would be remembered forever. It would not be a stretch then to describe him as a contemptuous man. He wants people to look upon his achievements after he is gone and when they view what he has built, "despair" in the knowledge that they will never be as mighty as he was in life. Here is a leader who does not want his legacy to inspire or encourage, but rather to evoke feelings of despair. He is so confident in the permanence of his "works" that he should also be described as a deeply prideful individual, a king affected by hubris. The Ozymandias of Shelley's sonnet is not satisfied with ruling only those around him; he wanted people who had not yet been born to witness his power.

Shelley takes a couple lines in his sonnet to describe the face of Ozymandias. His visage has been sculpted with a "frown", "wrinkled lip" and "sneer of cold command". Imagine you're taking a class photo and the face you make will be the face that people remember when they look back, years later. Would you frown, smile, make a silly face? Ozymandias, the self described "king of kings", approved this sneering statue as the image that would be remembered forever. It would not be a stretch then to describe him as a contemptuous man. He wants people to look upon his achievements after he is gone and when they view what he has built, "despair" in the knowledge that they will never be as mighty as he was in life. Here is a leader who does not want his legacy to inspire or encourage, but rather to evoke feelings of despair. He is so confident in the permanence of his "works" that he should also be described as a deeply prideful individual, a king affected by hubris. The Ozymandias of Shelley's sonnet is not satisfied with ruling only those around him, he wanted people who had not yet been born to witness his power.

The Ozymandias of Shelley's poem is, ultimately, a testament to men's hubris. Such was his pride that Ozymandias declared himself "King of Kings" (an allusion to the Bible, in which the King of Kings is, of course, God, who stands alone in the Judeo-Christian reckoning). Having set himself up as a god among men, then, Ozymandias demands that onlookers "look on my works . . . and despair." The irony is that now there is nothing to look upon but bare sand, lending a different kind of despair to the words. Now, the onlooker is not despaired by Ozymandias's might but despaired instead by the fact that a man could be so proud and yet so mistaken: "nothing beside remains."
As a king, Ozymandias evidently wanted to portray himself as a figure of cold, almost cruel power: he has himself depicted with a "sneer of cold command," his statue wearing a "frown." And yet, there is now nothing left of his "works," and Ozymandias's attempts to elevate himself through cruelty to the realms of legend have come to naught.