What are race riots?

Race riots are violent conflicts resulting from animosity or tension between different racial or ethnic groups. Race riots have taken place in America since the early days of multi-ethnic immigration and are both a historic and on-going phenomenon in American society. Fights between Protestants and recently-arrived Catholic immigrants in the 18th and early 19th centuries gave way to race riots targeting African American communities, particularly in the wake of emancipation (1863). New York City’s 1863 Draft Riot, while initially designed to protest the draft, quickly became a race riot in which Irish Americans targeted African Americans throughout the city. The riot became one of the largest racial insurrections in US history, requiring President Lincoln to divert several regiments to restore order to the city after the Battle of Gettysburg. Race riots continued in the aftermath of the Reconstruction era as white Americans sought to uphold the color line well into the 20th century. In the 1900s, the Red Summer of 1919, resulting from a variety of postwar tensions, came to describe a series of race riots in more than thirty cities throughout the United States (particularly Chicago, Washington D.C., and Elaine, Arkansas) that resulted in the death of hundreds, only to be outmatched by the riots that accompanied the nearly two-decade struggle of the Civil Rights Movement. Race riots since the 1970s have often transcended the black-white binary common to American race relations, including Latinx and Asian American communities as well as African American ones. Some historians and commentators consider the 2017 "Unite the Right" rally in Charlottesville, which became violent when white nationalist protestors clashed with counter-protesters, to be America’s most recent race riot.
https://www.history.com/topics/black-history/chicago-race-riot-of-1919

What are some social issues present in Balzac and the Little Chinese Seamstress? How do these connect to the real world and what's going on right now? How are they addressed in the context of the story?

One of the social issues in Balzac and the Little Chinese Seamstress is the attempt by governments to force their people to believe certain ideologies by banning any work that opposes this ideology. In the book, Luo and the narrator live in a remote town near a mountain called Phoenix of the Sky to which they are banished during the Cultural Revolution in China. All Western music, such as Mozart, has been banned. Western literature has also been banned. The irony is that by banning the works, the government only makes them more powerful. For example, when the Little Seamstress hears Balzac (a French writer), she is taken by the power of his words. As Luo says, "This fellow Balzac is a wizard . . . He touched the head of this mountain girl with an invisible finger, and she was transformed, carried away in a dream" (page 65). Works that are not officially allowed become more magical and more meaningful to people, who know on some level that the government has banned them because they are powerful.
Many countries today still practice censorship, including China, North Korea, and others. In addition, some school districts in the United States ban books and do not allow their students to read certain titles, often for political or cultural reasons. In many countries that practice censorship, people find a way to read banned texts, and these texts and their ideas still circulate. Therefore what the author describes happening during the Cultural Revolution is still present today.

Please discuss the acquisition by Google of Admob, and the criticism of the FTC’s approval of the acquisition by those who believe it is in violation of the anti-trust laws. Please base your arguments on the information contained in your text, the lectures, and The New York Times’s article, “Google, Sure It’s Big, But Is That Bad?” http://www.nytimes.com/2010/05/23/technology/23goog.html?pagewanted=all&_r=0 Cummins, Suzanne: Black, White and Gray: Law and Ethics in Business, DZ Publishing

AdMob was and still is a mobile advertising company that operated for three years before it was acquired by Google for $750 million. The company is now a subsidiary of the larger Google family of companies.
Google’s acquisition of AdMob was approved by the Federal Trade Commission against criticisms by those viewing Google’s move to be against antitrust laws. The critics argued that Google’s agenda was in bad faith because they have been systematically eliminating any form of emerging competition. They further suggested that the company is positioning itself as a monopoly in the internet sphere, posing a risk to the free and open online marketplace.
According to the article published in the NYTimes, Google seems to favor itself to the detriment of other online businesses. The company’s search engine runs on a tightly guarded algorithm that can be tweaked by administrators with damaging impacts on other businesses. The company’s power and their continued acquisition of companies like AdMob are generating major criticism, which flies against their creed “Don’t be evil”. The situation suggests that their continued growth and recent moves are threatening free competition in the online sphere. 
https://www.nytimes.com/2010/05/23/technology/23goog.html?=_r=6&pagewanted=all&

One of the first successful satellites launched by the United States in the 1950's was essentially a large spherical (aluminized) Mylar balloon from which radio signals were reflected. After several orbits around Earth, scientists noticed that the orbit itself was changing with time. They eventually determined that the radiation pressure from the sunlight was causing the orbit of this object to change - a phenomenon not taken into account in planning the mission. Estimate the ratio of the radiation-pressure force by the sunlight on the satellite to the gravitational force by Earth's gravity on the satellite.

We can use the definition of pressure to express the radiation force on the balloon. We'll assume that the gravitational force on the balloon is approximately its weight at the surface of Earth, that the density of Mylar is approximately that of water and that the area receiving the radiation from the sunlight is the cross-sectional area of the balloon.
The radiation force acting on the balloon is given by:
F_r=P_rA
Where A is the cross sectional area of the balloon.
Since the radiation is reflected, the radiation pressure is:
P_r=2*(I/c)
Substituting for P_r and A yields:
F_r=(2I(1/4pi d^2))/c=(pi d^2I)/(2c)
d is the diameter of the balloon.
The gravitational force acting on the balloon when it is near-Earth orbit is approximately its weight on at the surface:
F_g=W_(balloon)
=m_(balloon)*g=rho_(mylar)*V_(mylar)*g=rho_(mylar)*A_(surface,balloon)*t*g
Where t is the thickness of the Mylar skin of the balloon.
The surface area of the balloon is A=pi*d^2 . Therefore:
F_g=pi rho_(mylar)d^2*t*g
Now express the ratio.
F_r/F_g=((pi*d^2I)/(2c))/(pi rho_(mylar)d^2*t*g)=I/(2rho_(mylar)*t*g*c)
Assume the thickness of the Mylar skin of the balloon to be 1 mm . The value for I can be found in the attached graph and the first source I provided. Now substitute numerical values and evaluate F_r/F_g .
(F_r/F_g)=(1.35 (kW)/m^2)/(2(1*10^3 kg/m^3)(9.81 m/s^2)(1 mm)(2.998*10^8 m/s))
(F_r/F_g) ~~ 2*10^-7
https://earthobservatory.nasa.gov/features/EnergyBalance/page2.php

https://www.webassign.net/

Comment critically on the relevance and limitations of the mythic-archetypal approaches to literature.

Mythic-archetypal interpretation contends that there are universal symbols and motifs encoded in all literature (and, unconsciously, in human minds) across time and place. For example, "the journey" is a repeated motif throughout literature. A staircase might be the universal symbol of the ascent to heaven. Bachelard, in his book The Poetics of Space, argues that all sorts of spaces and domestic items have a mythic, archetypal significance. For example, a light in the window of a cabin symbolizes safety and homecoming across cultures.
This way of interpreting literature has value in that we often can see archetypal structures throughout literary works, and this can help us understand the appeal of certain works and the way they use archetypes, even if unconsciously, to impart information about characters. For instance, Nick Carraway in The Great Gatsby wandering the streets of New York at night after work and looking longingly into lit windows fits the archetype of a search for safety and helps us to understand his loneliness.
Nevertheless, myths and archetypes have been criticized by theorists such as Roland Barthes for flattening history. We do not live entirely, or even mostly, in an unchanging universe but in a world that is in constant flux due to the influence of history. Mythic-archetypal criticism can overstate how different societies are alike. We may share common archetypes with the medieval world, for example, but we are not the "same" as the people of those times. Mythic criticism has therefore been attacked, especially by Marxists, as inherently conservative or even reactionary, implying that nothing can improve and that history does not really matter.

How was England different from France according to Charles Dickens in A Tale of Two Cities?

London is presented as a stable place where tradition and honor hold sway. There is a strict class structure, but all the classes seem to get along by and large.
Paris is the central place of the French Revolution and therefore, a hotbed of chaos and bloodshed. Even before the revolution, it is presented as a corrupt place, with the aristocrats mistreating the peasant populace, running over small children, abusing the poor, and even committing rape and murder without having to answer to the authorities for any of their monstrous behavior.
Miss Pross and Mr. Lorry are representative of the general London populace: straitlaced, dependable, and loyal. Madame Defarge represents the revolutionary Paris in her desire for vengeance and self-destructive craving to destroy anyone who gets in her way.

England is different to Revolutionary France in that the rule of law still prevails. In France, the Great Terror is in full swing, with thousands of unfortunate individuals hauled up before revolutionary tribunals, often on the flimsiest of charges. If they're found guilty, as most of them are, then they can look forward to being slung into a dark, dank prison cell or even worse, guillotined in front of a baying mob.
In England, it's different. Although the country is in the grip of fear and paranoia over events across the Channel, certain legal proprieties are still maintained. A prime example of this comes in the case of Charles Darnay. Darnay is on trial for sedition, a very serious offense which would well see him being executed. However, unlike the revolutionary tribunals, the defendant's fate isn't determined in advance; there's still a little matter of evidence to be considered first. And under the glare of minute legal examination, the evidence against Darnay simply doesn't stack up. For one thing, the eyewitnesses testifying for the prosecution can't be sure it was Charles they saw, as he bears such a staggering resemblance to Sydney Carton, a junior member of Charles's legal team. And so Charles Darnay is acquitted, something that would never have happened under similar circumstances in France.

The dichotomy of London and Paris is a central element of the setting of the novel. From the first paragraph, Dickens shows that the two are completely different in their rulers, people, and culture. This is symbolized in numerous instances.
London could be represented by Tellson’s Bank and Mr. Lorry’s attitude and personality of order, rules, and trustworthiness. In contrast, Paris is disordered and violent. When the emigrants from Paris arrive in London, they bring that chaos into the bank, causing trouble for Mr. Lorry.
The class system can also be seen in the vast gap between rich and poor in France. In London, however, the classes mix to a certain extent, such as Jerry Cruncher being part of the “family” of the Manettes. While there is obviously a class structure in England, the people in those classes interact more than those in France, where they are in conflict to the point of destruction.
The families represented in the story also symbolize the differences in the two cities. Charles Darnay and his uncle have a great deal of conflict and little love, as does France. In the Manette family, however, there is companionship and a great deal of love among the members of the household, including the servants and friends, which is how Dickens wants to portray London during the French Revolution.

How does Wilson create the time period of the play with his language? Could the play take place in a different decade? Why or why not?

Wilson creates a sense of time in his play by referring indirectly to the civil rights movement of the 1950s. It is a time when African Americans are fighting for rights. Though they have not yet gained some of those rights, they are still actively asking for them.For example, Troy asks his boss, "Why you got the white mens driving and the colored lifting?" "Colored" was a term for African Americans at that time, and Troy's pursuit of a job that is traditionally held by whites is a sign of the changing nature of the times during the civil rights movement. Though no African Americans are yet able to drive a truck, the fact that Troy feels as though he can ask without a fear of savage retaliation is a sign of the times.However, the times are still transitional. Rose tells Troy, "Times have changed since you was playing baseball, Troy. That was before the war." Rose is referring to the time before World War II, when African Americans were barred from playing in white leagues. Though the baseball league was integrated shortly after the war, Troy still feels that whites won't allow his son to play football in their leagues. The play could also take place in the early 1960s, but not before—when there was rigid segregation—or afterward, when the society became less segregated.