What are some examples of propaganda in Animal Farm in chapter 8?

With Snowball now banished for good from Manor Farm, Napoleon busily consolidates his dictatorship. But a good dictator needs good propaganda, something vaguely plausible to keep the other animals in check and maintain Napoleon's iron grip on power. Thanks to Napoleon's ineptitude and mismanagement of the farm, the animals are beginning to starve. But Napoleon believes the Animalist revolution must live forever; it simply cannot be allowed to fail or be sabotaged by the forces of reaction.
So up pops the loathsome Squealer, Napoleon's propagandist-in-chief. There are lies, and then there are Squealer's phony statistics. He rattles off a list of "facts," which allegedly prove that there really is no hunger on the farm. The animals' rumbling tummies must be mere figments of their imaginations.
Good propaganda needs to construct useful myths to hold society together through thick and thin—noble lies that will lead the inhabitants of the farm to a higher Animalist virtue. The so-called "Battle of The Windmill" provides Squealer with a propaganda gift. He convinces the animals that they won this epic encounter between the heroic revolutionary forces of Animalism and the reactionary hordes of humanity. After all, didn't the animals successfully send Frederick and his men packing from the farm? The fact that the men blew up the windmill, leading to growing hunger among the animals, is completely ignored. In any case, this simply demonstrates to Squealer, Napoleon, and the rest of the true believers that if anything goes wrong in this Animalist utopia, it is always as the result of deliberate sabotage by hostile forces, both internal and external. It is never their fault.

What are some specific cultural differences in The House on Mango Street?

The House on Mango Street is a series of coming-of-age vignettes about the childhood and growth of Esperanza, a young girl of Mexican descent who lives in a poor Latino neighborhood of Chicago. The author, Sandra Cisneros, based this fictionalized childhood on her own experiences in Chicago in the late 50s and early 60s. Cisneros drew upon her exposure to classism, sexism, racism, and nationalism to tell Esperanza's story, and almost every vignette reflects at least one of these ideas.
The very first tale, "The House on Mango Street," starkly illustrates the differences between the culture that Esperanza was raised in and that of the surrounding, wealthier neighborhood. Before Esperanza moves to Mango Street, a nun from Esperanza's Catholic school happens to be in her old neighborhood. They have this conversation:

Where do you live? she asked.
There, I said pointing up to the third floor.
You live there?

Esperanza recognizes that her living situation, a broken-down, boarded-up hovel, doesn't live up to the standards of the homes she sees on television. But beyond that, nothing about her living conditions strikes her as unusual. To the nun, however, the conditions are shocking—she looks at Esperanza's home with disbelief, completely unused to a culture that considers such buildings acceptable abodes.
Ironically, the same disdain for Esperanza's home leads the nuns to dismiss its redeeming features. In "A Rice Sandwich," a different nun points out an apartment building that "even the raggedy men are ashamed to go into." To the nuns, a bad neighborhood is a bad neighborhood, but to someone of Esperanza's cultural upbringing, even slums are stratified.
It's worth reiterating that the nuns are her teachers, because education highlights another major culture clash—this time, a generational one within her own neighborhood. The late 50s and early 60s represented major leaps forward in the American feminist movement, and the characters in Cisneros's story are caught up in the tide. In "Alicia Who Sees Mice," Esperanza's friend Alicia travels on "two trains and a bus" to go to school, even though her father thinks a woman should be happy to get up with the "tortilla star" to cook for her family.
Finally, Esperanza's identity as Latina is a cultural difference in and of itself. It's simply and briefly explained in "Those Who Don't," in which Esperanza tells readers about the fear of the unknown that outsiders face in her "brown" neighborhood and how her neighbors feel the same when they leave their comfort zone. The same issues of race are explored in more depth in "Geraldo No Last Name," where the doctors and police are dismissive of the death of a "wetback." But from within the Latino community, Esperanza and her friend Marin have a different perspective:

They never saw the kitchenettes. They never knew about the two-room flats and sleeping rooms he rented, the weekly money orders sent home, the currency exchange. How could they?

As members of Geraldo’s culture, the girls understand him in a way that outsiders cannot (or will not, depending on your point of view).

Are the protagonist and antagonist of the Gospel of Matthew dynamic or static, round or flat characters? How do these characters change or remain the same throughout the story? What happens to make the character change or remain static?

First, one should note the Gospel according to Matthew is not a literary work, but instead a religious text in the form of a biography. This means it doesn't really follow the conventions of traditional literary works and many of the terms of literary criticism are inappropriate to it. Instead, Biblical scholars tend to prefer rhetorical analysis, as biography, in the period in which this work was composed, was considered part of epideictic rhetoric. 
The protagonist of the work is Jesus. Although he appears as a baby in the beginning of the work and an adult at the end, he is not a traditionally dynamic character, as he is treated as the incarnate logos, who exists eternally, takes human form, and then returns to his heavenly origins. Although as the Son of Man, he does exhibit human form and occasional elements of humanity, his divine nature makes him neither a fully rounded nor flat character in a conventional literary sense, but rather something different than either because he has a divine or metaphysical interiority rather than a human psychology. His choices are ordained in advance by various prophecies, and as such are not really choices; they are often accounted for simply as necessary to fulfill prophecies. Since Jesus has complete and perfect foreknowledge of all of the events in the text, one can't really think of his being affected by experiences in the way a purely human character would be. 
The series of antagonists Jesus encounters, including Herod and Satan, are mainly flat characters, emblems of pure evil. Pilate is an interesting character, neither fully good nor evil, but rather an overworked bureaucrat. Pilate appears too briefly to be considered fully rounded, though. Peter is among the most fully rounded of the disciples in the way he struggles with doubt and pride.

Do plants need oxygen to process glucose?

Yes, plants need and use oxygen to process glucose.  
Not every plant cell has access to sunlight energy in order to perform photosynthesis.   In order to make energy in those cells, the plant must burn sugar.  This process is called cellular respiration, and it is the same process that humans do in order to make ATP energy.  The process occurs in the mitochondria of a cell, and plants do indeed have mitochondria in their cells.  Cellular respiration has a lot of steps within it, but the basic formula is the following:
sugar + oxygen --> carbon dioxide + water + energy
That formula is basically the reverse formula from photosynthesis.  The photosynthesis formula is the following:
carbon dioxide + water + sunlight --> sugar + oxygen
As you can see, the products of photosynthesis are the raw materials needed for cellular respiration.  Plants don't eat in order to consume glucose, because the plant produces it.  The plant then takes the sugar that it produces and burns it during cellular respiration, and the plant needs oxygen to make that reaction take place. 
https://sites.google.com/site/mochebiologysite/online-textbook/photosynthesis

When is the journey more important than the destination?

I would argue that Odysseus's journey as a whole is more important than his ultimate destination. The word "odyssey" meaning a personal journey of some kind has passed into common usage. Implicit in this definition is the very idea that an odyssey transforms us, shapes us, tells us about ourselves and others, and provides unique insights into what it means to be human.
That's certainly what happens to Odysseus in his own particular odyssey. From his encounter with the Cyclops Polyphemus, he learns the dangers of arrogance and boastfulness; from his extended stay on the island of Ogygia with Calypso, his homesickness teaches him the value of home and family; and from the shade of Achilles in the Underworld, he learns humility—that it is better to be a lowly farmhand on earth than it is to reign over the Land of the Dead. Thanks to all these experiences, when Odysseus returns to Ithaca he is a very different man from the warrior who fought at Troy twenty years before.
But of course the journey itself is ultimately determined by the final destination. And the most important lesson that Odysseus learns is that he belongs on Ithaca as king, surrounded by his family and his loyal, faithful servants.

In Captains Courageous how does Harvey change from the beginning to the end?

Fifteen year-old Harvey Cheyne is the protagonist and central character of Rudyard Kipling's 1897 novel Captains Courageous. At the beginning of the story he is marooned in Newfoundland, and is eventually discovered by the crew of a fishing vessel who take him aboard. During the course of the fishing season, Harvey must earn his keep by assisting with the ship's operations, a far cry from the privileged life he formerly knew.
At the beginning of the story, Harvey—the son of a wealthy industrialist—is spoiled, selfish, and arrogant.
As a result of Harvey's experiences working aboard the fishing vessel We're Here, however, he ends the story as a rugged, disciplined, and industrious young man who has learned and understands the value of hard work.

Harvey is a spoiled, arrogant, and self-centered young boy when the story begins. He has lived a life of privilege, and he has been conditioned to believe that his wealth and status will get him everything he wants. Harvey’s father devoted his time solely to his business. He had no time to teach his son the value of hard work. As a result, Harvey’s main role model in life is a man who valued his work only as a means to obtain wealth.
The crew on the ship take the time to teach Harvey the values that his father neglected to teach him. They invest time in teaching him honor and respect, and they help him develop his skills as a fisherman. At first, Harvey looks down on the fisherman, as he considers himself better than them. As he works alongside them, however, he begins to respect them for their values. The fisherman treat Harvey as an equal, not as a person of wealth, and it is as their equal that he learns to respect others for their actions and not for their means. Harvey adopts a code of ethics based on honor and hard work. He learns how to work as part of a team for a mutual goal—not a self-serving one. He learns how to treat others with respect, but more importantly, he learns to respect himself.

When readers first encounter Harvey Cheyne, Jr., he is the arrogant and privileged son of a wealthy railroad magnate who has suffered the misfortune of falling overboard from a transatlantic steamship. At fifteen, he is rebellious and undisciplined. He has no conception of work or patience for situations outside his control.
His months aboard We're Here teach him patience; he is not returned to port, as he initially insists, and he learns much about hard work and conquering one's fears. Disko Troop, the owner and captain of the schooner that rescues Harvey, is at first unimpressed with him, and for good reason. Harvey is insolent and used to his father's money to get himself out of trouble.
Harvey endures corporal punishment from Captain Troop and Long Jack and soon learns the work of commercial fishing. His world view is broadened because of his natural intelligence and the time he spends with men unlike himself: Portuguese, Irish, working class, and black.
Harvey eventually earns both the respect of the captain, who sees him develop skills and understanding of the value of acquiring knowledge and experience through hard, hands-on work, and his father, a man who has prospered despite coming from humble roots.

Place in the correct order the structures which inhaled air passes through on the way to the blood stream: alveoli, nasal cavity, larynx, pharynx, bronchi, trachea, alveolar duct.

When humans breathe in air, most of the time it is through the nose, though we can also breathe in through our mouths. Assuming air comes in through the nose, the correct order is:
Nasal cavity. This is a hollow portion of the skull containing hairs and mucus, and both warms and adds moisture to the incoming air, and removes foreign matter such as dust. This cleaning by mucus continues throughout the respiratory system.
Pharynx (throat). Both air to the lungs, and food to the gut, pass through the pharynx; the epiglottis, a flap of tissue, helps keep food and water from entering the lungs.
Larynx (voice box). Air passes over vocal folds in this area, enabling speech.
Trachea (wind pipe). This tube has supporting cartilage; it stays open so that air may easily pass through.
Bronchi. These airways split from the trachea and enter each lung; they become increasing small, and are termed secondary and tertiary (3rd) bronchi in the lobes of the lungs.
Alveolar ducts. These connect the bronchioles with the alveoli.
Alveoli. These are very small sacs in the lungs that are in such close contact with the capillaries of the bloodstream that oxygen and carbon dioxide can diffuse across the membranes; higher oxygen content of the inhaled air allows oxygen to enter the blood, and higher carbon dioxide level in the blood allows it to diffuse back to the alveoli so that it can be exhaled.