Tuesday, May 20, 2014

What do we know for certain about Boo Radley in To Kill a Mockingbird?

Boo Radley is a mysterious character. We know that he is a neighbor of the Finches; we know that he seldom comes out of doors; we know that people think there is something "not right" about him. Miss Stephanie tells the children about the a story that Boo once stabbed his father with a pair of scissors. Another rumor was that rather than send Boo to an insane asylum, the Radleys kept him locked up in his own house.
As the story progresses, we learn other things about Boo. Boo is the one who leaves presents for the children in the knothole. On the night of the fire at Miss Maudie's house, Boo is the one who puts a blanket around Scout's shoulders to keep her from shivering. And of course Boo is the one who ultimately saves Scout from Burris Ewell.
It's not clear what is different about Boo, but the book shows him to be a kind and courageous person.


Towards the beginning of the novel, Jem and the other children believe the many unfounded rumors about Boo Radley, which portray him as a malevolent, nefarious individual. Many of these rumors are spread by the neighborhood scold, Miss Stephanie Crawford. In Chapter 5, Scout asks Miss Maudie some questions about Boo Radley, and the reader gains insight into the reclusive life of Boo. The reader learns that Boo's real name is Arthur and that he is still alive. The reader also learns that Boo was a polite child and his father was a strictly religious man. Miss Maudie tells Scout that Boo's father was a "foot-washing" Baptist who believed that any type of pleasure was considered a sin. As the novel progresses, the reader learns that Boo is a compassionate, sympathetic individual who cares about the Finch children. 


Boo Radley was primarily known to those in Maycomb by the rumors about him.  Miss Stephanie Crawford was notorious for spreading sensational rumors about Boo.  Miss Stephanie told the children the story about Boo Radley and the scissors:

Boo was sitting in the livingroom cutting some items from The Maycomb Tribune to paste in his scrapbook.  His father entered the room.  As Mr. Radley passed by, Boo drove the scissors into his parent's leg, pulled them out, wiped them on his pants, and resumed his activities (To Kill a Mockingbird, Chapter 1).

Stories like these created fear in the minds of Scout, Jem, Dill, and other Maycomb children.  There were few people who offered any real information about Boo Radley.  Atticus was sensible about Boo, but he preferred not to talk about the Radley family.  Scout asked Miss Maudie for information, and she shared what she knew.  Scout asked if Boo were still alive, and Miss Maudie told her that yes, he was.  She also informed Scout that Boo's real name was Arthur.  Boo stayed in the house all the time, but Miss Maudie recalled him as a young boy.
Later in the novel, it was revealed that Boo Radley was kind.  He mended Jem's pants and covered Scout with a blanket on a cold night.  He even rescued the children from Bob Ewell.
 

On pages 75–77, why are the animals becoming uneasy?

The pages 75–77 are located in chapter 7 of Animal Farm. In this chapter, the animals are facing very difficult times because the potato harvest has failed, and Napoleon has cut rations to the animals. In the meantime, he has decided to import grain, and he turns to Mr. Whymper to make a deal. Whymper agrees to buy four hundred eggs a week from the farm, and the proceeds will be used to purchase grain from outside farms. This caused unrest on the farm, particularly amongst the hens, who will have to give up their eggs just before they hatch. In protest, they break the eggs, and Napoleon cuts off all rations in a brutal retaliation. By the end of page 77, a terrible rumor spreads around the farm—Snowball has been seen skulking around. The rumor is a pretext for a brutal crackdown by Napoleon on many innocent animals who are accused of having associated with Snowball and conspired against the farm. This paves the way for the very public executions of many animals and the further consolidation of Napoleon's power. 

Monday, May 19, 2014

What is the tone of the story "The Use of Force"?

The story is told in the form of an anecdote. The narrator addresses the reader in an informal way, as if confiding in a colleague. The tone is not exactly humorous, but there is a sense that the narrator, as a doctor, has an easy sense of superiority to the parents and that his story is meant, at first, to assert this superiority. This is clear from his curt question to the mother about whether she had looked at her daughter’s throat. She says simply that she tried, helpless in the face of the girls stubbornness. At this point the tone shifts: the narrator realizes that he has to examine the throat and that what is required of his “professional” training is finding a way to get this child to open her mouth. It becomes a test of wills between the two. As the girl struggles against the doctor, the tone changes to one of brutality, anger, and disgust. Although the doctor is acting in his professional capacity, his desire to subject the girl has become a kind of personal challenge. Her final capitulation, and her fury, shows that the experience, for her, has been in fact a kind of assault.

What artists have impacted the modern world the most?

The possible answers to this question depend in large part on what you mean by "impact". Many artists who were popular in their time had a tremendous influence then, but their work went out of fashion later. Other artists labored in obscurity and were misunderstood or neglected during their lives but found fame after their deaths. Some artists work within the professional art world, with exhibitions in galleries, while others reject those confines as artificial or commercial.
A recent artist who had tremendous impact is Andy Warhol. He began his career as a commercial artist in advertising. When he made the switch to "fine" art, he often used common objects or commercial products as his subjects. Items like Campbell's soup cans that everyone could recognize and relate to, had not generally been considered suitable subjects for serious art. Warhol changed all of that and many would argue that the art world has permanently changed because of him.
Another factor to consider is the relative position of women and people of color in the art world. Achieving success in commercial and critical terms is difficult for every artist. The dominant image of the artist is still a white man but there are thousands of successful artists of other heritages.
One woman artist who has made a substantial impact is Frida Kahlo. During her life, physical injuries severely limited her mobility. Her career was also overshadowed by that of her husband, Diego Rivera. After her death, and largely as a result of feminist art historians' attention, Kahlo's work has become highly valued both in monetary terms and for her unique, perceptive visions. Powerful self-portraits are among her finest works.
In the U.S., the African American artist Jacob Lawrence achieved popular success at a time when very few African American artists had exhibitions in mainstream galleries. His Migration Series consists of 60 panels detailing the postwar migration of blacks to the northern United States, away from the segregated South.
https://lawrencemigration.phillipscollection.org/artist/about-jacob-lawrence

https://www.warhol.org/


A tricky question, particularly dependent upon which kind of art you're referencing. Because music is such an integral part of the fabric of our lives, I would start there. 
 
The first musical artist to make an impact on our modern times would be George Handel (1685-1759). The ostinato bass treatment, that is used throughout his work, can be found in most popular music today. From Pink Floyd to Cardi B's Bodak Yellow the listener can track a very clear, short pattern of notes that are repeated over and over again. While not the creator of the ostinato bass line, Handel used his bass lines in a driving, passionate way that propels his music forward--not dissimilar to hip-hop artists today. In fact, the driving bass lines found in most arias from his masterpiece Ariodante can rival those of the most influential hip-hop artists of today. 
Jonathan Larson single handedly transformed the landscape of Broadway and American musical theater with his composition Rent. The way the vocal lines were written demanded a new style of singing from its actors. No longer were traditional tessitura taken into account. The music instead took on a rock/pop sensibility that relied more on the emotion of the moment than the physical limitations of the vocal mechanism. This piece has influenced all musical theatre writing that has come since, and has forced a new style of belting from women looking to make a career for themselves on the stage. 
 
I would be remiss if I did not mention Richard Wagner's contribution to the musical landscape. This man not only broke opera as we once knew it, but he bent the laws of music. His compositions departed from the traditional operatic structure to create their own. He created large, sweeping, through-composed epics that took the art form and stood it on its head. He built a theater specifically designed to perform his works, where the orchestra was primarily hidden underneath the stage. This created an immersive environment for his singers and audience that had never been explored before. He wrote in a new way for the voice that allowed and demanded the extremes of the vocal apparatus be tested. All the while, playing with harmony in ways that had never been explored. He created a chord so mysterious that still, to this day, its harmonic purpose is only referred to as 'The Tristan Chord.'
 
Artistic impact is hard to pin down and it all truly depends upon your chosen reality. For my money, these men were the ultimate influencers to the soundtrack of our lives. 


This is a challenging question, but three artists jump out: Claude Monet, Vincent Van Gogh and Pablo Picasso. All three helped move painting away from a strict realism in which the artist tried to reproduce the most accurate possible stylized imitation of objects in the real world, to art that pushed the boundaries of perception in different ways. It's important to note that all three artists worked after the camera made it possible to capture the kind of realistic images that before had been the realm of painting and sculpture in the Western world. They are influential because they changed the way people see. 
Claude Monet would have argued strongly that his approach, called impressionism, was scientific, and that he strove to capture an accurate and authentic depiction of a landscape or scene. What Monet did was to go outside and paint whatever he actually saw. He would frequently paint the same object over and over again at different times of day, in different seasons and in different weather. What he showed was that our impression of an object can be almost entirely different based on when and how we see it. For example, he famously painted haystacks at different times of year, in different weather and at various times of day. A haystack looks different in the fog or the rain than it does in the snow and different at dusk then mid-day. Sometimes my students will say: any four-year-old could have painted that haystack. But what Monet painted was what he saw, and if the weather made the haystack look like a wavy blob, that's what he recorded. What Monet did was establish the subjectivity of seeing. When we paint a haystack from memory, we paint an idealized haystack, not necessary the haystack as it appears in front of us in a particular moment: Monet helped break that way of seeing apart.
Van Gogh used vivid colors and laid paint thickly on his canvasses to achieve emotional, rather than realistic, effects. He famously said "real painters do not paint things as they are ... they paint them as they themselves feel them to be." For example, unlike Monet, he painted his famous canvas, Starry Night, from memory and used it to convey a spirit of emotional tumult in the swirling sky.
Picasso is an extraordinarily influential painter whose long life spanned two world wars. He is most famous as one of the inventors of cubism, a method of painting that broke objects into their geometrical parts and reassembled them without necessarily paying attention to creating something representational but often overlaying one point of view on top of another: thus a human being might be reduced to geometric shapes representing his front, back and side views and then all the shapes placed together. This abstract or non-representational art went far beyond Monet or Van Gogh's work in separating a painting from its subject, revolutionizing the art world in the twentieth century. 

Define what anomie is according to Durkheim and "strain theory" as developed by Robert Merton (1957)?

Emile Durkheim (1858-1917) came up with the term “anomie” while investigating the nature of suicide in human societies. He defined it as “the absence of norms,” or normlessness; a state of “instability in the society or individual that arises from a breakdown of standards and values.” In such a state, individuals despair, as they lack standards to strive towards. In his definition of anomic suicide, he gave two instances. One occurs when an individual despairs as a result of his or her complete inability to achieve set goals due to a lack of resources. The other occurs when an individual is unable to set goals for himself or herself because of an abundance of resources.
Later on, Robert Merton, an American sociologist, further analyzed the causes of anomie. He discovered that anomie most affects those without acceptable ways of achieving whatever goals they may have set for themselves. Acceptable, in this context, means that which is considered correct by the society. The pressure to achieve regardless of the method used to do so may lead to increased focus on the end rather than the means. The state of anomie then arises when afflicted individuals resort to illegitimate means to achieve their goals, resulting in a general disregard for societal standards and values. Thus, Merton’s version of anomie theory (also called strain or means-ends theory) focuses on the disparity between a society’s definition of success and the society’s norms on the proper means of achieving success.
https://www.britannica.com/topic/anomie


Anomie
Émile Durkheim’s (1912) “Elementary Forms of Religious Life” offers an early sociological theory of deviance. According to Durkheim's proposal, anomie (social alienation) is an innate “organic function” (social mechanism) within everyday life. A functionalist explanation of "deviance,” alienation is a circumscribed social condition. Essential to sustained collective consciousness are ritual acts of inversion, or what Durkheim calls a dynamic of “social cohesion.” This functionalist view of conflict suggests social values, beliefs, customs, norms, and mores derive meaning from deviance sourced in the persistence of anomie.
Strain Theory
Following French Functionalist Durkheim, Robert King Merton's (1957) “Strain Theory” is an American Functionalist theory that examines the sociological explanation of criminal deviance from the perspective of the individual. Pressure to achieve socially accepted goals, suggests Merton, leads to the commission of crimes by individuals. Pressures induced by an individual’s pursuit of goal-oriented “conformity” with social expectations, participation in goal-oriented “ritualism” as part of a collective, or even “retreatism” (i.e., goal substitution) may foster criminal behavior. Furthermore, where the combined pressures of what Merton calls "inadequate means," "prejudice," and "discrimination" are present, the conditions of strain are optimal for criminal commission of deviant acts.
Criticism
Critics of Durkheim and Merton’s theories point to the suggestion that weak empirical evidence and neglect of class relations, structural differences, gender relations, and other inter- or intra-personal relations that contribute to "deviance" and the real circumstances surrounding crime fail to adequately and fully explain social problems such as “white collar” crime, where opportunities are abundant, thus delimiting deviance to the lower classes.
https://ei.marketwatch.com/Multimedia/2017/01/12/Photos/ZH/MW-FD606_madoff_20170112123439_ZH.jpg?uuid=6521e8e6-d8ed-11e6-9dba-001cc448aede

https://www.thoughtco.com/structural-strain-theory-3026632

Single Variable Calculus, Chapter 2, 2.5, Section 2.5, Problem 28

Explain using theorems of continuity why the function $F(x) = \sin(\cos(\sin x))$ is continuous at every number in its domain. State the domain


We can rewrite,
$\quad F(x) = f(g(h(x)))$

Where,
$\quad f(x) = \sin x, \quad g(x) = \cos x \quad \text{ and } \quad h(x) = \sin x$


The functions $f(x) = \sin x$ , $g(x) = \cos x$ and $h(x) = \sin x $ are all trigonometric functions that are continuous on every number in its domain according to the definition.
Also, from the definition, the composite function $F(x)$ will be continuous on every number on its domain as well.

Therefore,

$\quad $The domain of $F(x)$ is $(-\infty, \infty)$

Sunday, May 18, 2014

In "Hills Like White Elephants," how can Hemingway’s writing be considered masculine and as presenting "just the tip of the iceberg"? What is the procedure that the couple is discussing? How is interpreting the setting fundamental for our understanding of the issues this couple is facing? How is it symbolic?

1. Writing style is not something that is based on gender, so to consider Hemingway’s prose “masculine” is problematic. However, he has popularly been portrayed as a “man’s man,” someone who hunted, got in bar fights, and was popular with the ladies. Likely for this reason, some may consider his spare writing style an extension of his masculine persona. In this story, Hemingway uses a third-person objective point of view that reveals “just the tip of the iceberg.” This fly-on-the-wall narrative technique makes the reader feel like they are watching the events unfold through a camera without knowing what the characters are thinking.
2. The reader can infer that the couple in the story is discussing the woman's getting an abortion.
3. The setting of this story is a train station in northern Spain on a hot day. The title “Hills Like White Elephants” comes from the long white hills the couple can see as they talk, waiting for their train. When the woman says the hills look to her “like white elephants,” this description has a deeper significance. The couple avoids directly saying what procedure the woman will have. The topic is the proverbial elephant in the room. Additionally, white hills can conjure the image of a woman’s pregnant belly. The train-track imagery may signify the tracks the couple will soon follow. Just as they are physically stuck at the train station, the couple is “stuck” in not being able to explicitly communicate about their relationship and pregnancy and “stuck” in not yet having had the abortion they talk in circles around.

Summarize the major research findings of "Toward an experimental ecology of human development."

Based on findings of prior research, the author, Bronfenbrenner proposes that methods for natural observation research have been applied in ...