What is an interesting point that I could start with for generating new ideas which link to the article "The Coming Anarchy" by Robert D. Keplan from The Atlantic Monthly(1944)?

This article, which is from 1994, discuses the effects of what the author calls "demographic, environmental, and societal stress" caused by disease, overpopulation, crime, the emergence of private armies, the decline of the nation state, and other factors in the developing world. The author starts by analyzing crime in West Africa, which he thinks is an outgrowth of these factors. 
In West African countries such as Sierra Leone, environmental and societal degradation, as well as political situations that give rise to a large number of refugees, is taking its toll. This pattern has been replicated in other developing countries. The author predicts that as nation-states fail, Africa will descend into a state of chaos.
To generate ideas related to this article, you might start by thinking about how correct the author's predictions, made in 1994, were. Was he correct in predicting that Africa and other developing areas would descend into chaos and that private armies would clash in the absence of state power? How were his predictions correct, and how were they wrong? In addition, you might think about how international organizations such as the United Nations and non-governmental organizations might deal with these issues. If environmental degradation and the excessive use of resources are at the root of the problem, how could organizations help developing nations establish more peaceful, coherent societies without interfering with their cultural values?

Calculus of a Single Variable, Chapter 5, 5.2, Section 5.2, Problem 30

Solving indefinite integral by u-substitution, we follow:
int f(g(x))*g'(x) = int f(u) *du where we let u = g(x) .
By following the instruction to let "u" be the denominator of the integral,
it means we let: u = root(3)(x) -1
Find the derivative of "u" which is du = 1/(3x^(2/3))dx
Then du =1/(3x^(2/3))dx can be rearrange into 3x^(2/3)du =dx .
Applying u-substitution using u =root(3)(x)-1 and 3x^(2/3)du =dx .
int root(3)(x)/(root(3)(x)-1) dx = int root(3)(x)/u*3x^(2/3)du
= int (x^(1/3)*3x^(2/3))/udu
=int (3x^(1/3+2/3))/udu
=3 int x/udu
Note: x^(1/3+2/3) = x^(3/3)
=x^1 or x
Algebraic techniques:
From u = root(3)(x)-1 , we can rearrange it into root(3)(x)=u+1 .
Raising both sides by a power 3:
(root(3)(x))^3 =(u+1)^3
x = (u+1)*(u+1)*(u+1)
By FOIL: (u+1)*(u+1) = u*u +u*1+1*u+1*1
= u^2+u+u+1
= u^2+2u+1
Then let (u+1)(u+1) = u^2 +2u +1 in (u+1)(u+1)(u+1) :
(u+1)(u+1)(u+1) = (u+1)*(u^2+2u+1)
Applying distributive property:
(u+1)(u^2+2u+1) = u *(u^2+2u+1) + 1*(u^2+2u+1)
= u^3 +2u^2+u +u^2+2u+1
=u^3+3u^2+3u+1
then x = (u+1)*(u+1)*(u+1) is the same as
x =u^3+3u^2+3u+1
Substitute x=u^3+3u^2+3u+1 in 3 int x/udu :
3 int x/udu = 3 int (u^3+3u^2+3u+1 )/u du
= 3int (u^3/u+(3u^2)/u+(3u)/u+1/u) du
=3int (u^2+3u+3+1/u) du
Evaluating each term in separate integral:
3 * [ int u^2 *du+ int 3u*du+int 3*du+ int 1/u du]
where:
int u^2 *du = u^3/3
int 3u*du =(3u^2)/2
int 3*du = 3u
int 1/u du= ln|u|
3 * [ int u^2 *du+ int 3u*du+int 3*du+ int 1/u du] becomes:
3*[u^3/3 +(3u^2)/2 +3u+ln|u|] +C= 3u^3/3 +(9u^2)/2 +9u+3ln|u|+C
Substitute u = root(3)(x)-1:
3u^3/3 +(9u^2)/2 +9u+3ln|u| +C = (root(3)(x)-1)^3 +(9(root(3)(x)-1)^2)/2 +9(root(3)(x)-1)+3ln|(root(3)(x)-1)| +C

How is Romeo's view of punishment different than Friar Lawrence's?

Romeo and Friar Lawrence disagree about the fairness of Romeo’s punishment for killing Juliet’s cousin Tybalt in Act 3, scene 3 of Romeo and Juliet.
At the beginning of the scene, the Friar returns to his cell where Romeo has been hiding out to give him news of Prince Escalus’s verdict: Romeo will be banished from Verona. Friar Lawrence is relieved that the punishment is only banishment when the Prince could easily have called for Romeo’s death. He sees this ruling as the Prince showing mercy and counsels Romeo to look on the bright side, saying, “Be patient, for the world is broad and wide.”
Romeo strongly disagrees, protesting that, “There is no world without Verona walls/But purgatory, torture, hell itself.” Romeo’s view of his punishment is different from Friar Lawrence’s in that his first thought on hearing the ruling is that being banished from Verona is the same thing as being banished from Juliet’s side, saying:

“Tis torture, and not mercy: heaven is here,
Where Juliet lives; and every cat and dog
And little mouse, every unworthy thing,
Live here in heaven and may look on her;
But Romeo may not: more validity,
More honourable state, more courtship lives
In carrion-flies than Romeo”

Friar Lawrence is relieved Romeo will be allowed to live, but in these lines, Romeo makes it clear that he considers being alive but unable to be with the one he loves to be a fate worse than death. The knowledge that others, even varmints like mice and flies, are allowed to be close to Juliet while Romeo is exiled is torturous, so in the Prince's ruling he sees cruelty, not mercy. His reaction is so extreme partly because Romeo and Juliet have only just been married and have not yet even had the chance to spend the night together, so the idea of being separated from her so soon is especially upsetting.
Romeo’s heightened emotional state is evidenced in the text by his many exclamations and his use of violent metaphor, telling the Friar he “cutt'st my head off with a golden axe,/And smilest upon the stroke that murders me.”
In response to Romeo’s ranting, the Friar calls him a “madman” and tries to get him to listen to reason, saying, "this is dear mercy, and thou seest it not." His advice in this scene reflects the friar’s role as an older, wiser presence in Romeo’s life throughout the play, urging impulsive young Romeo to have some perspective and to think before he acts. Their difference of opinion about Romeo's punishment is a perfect incapsulation of their characters: Friar Lawrence reacts rationally; Romeo reacts emotionally.
Halfway through the scene, Juliet’s Nurse arrives with news of Juliet’s despair at hearing of her cousin’s death and her husband’s banishment. When he learns of his wife’s unhappiness, Romeo reaches the height of his desperation. He draws his sword and threatens to take his own life, foreshadowing the events of the end of the play. To stop him, Friar Lawrence delivers an impassioned speech, finally driving his points home to Romeo and getting him to listen by laying out a definitive plan of action:

“For then thou canst not pass to Mantua;
Where thou shalt live, till we can find a time
To blaze your marriage, reconcile your friends,
Beg pardon of the prince, and call thee back
With twenty hundred thousand times more joy
Than thou went'st forth in lamentation.”

Friar Lawrence’s point here is the same as it was in the beginning of the scene when he told Romeo “the world is broad and wide,” namely that as long as Romeo is still alive he still has time to fix things, whereas if he were dead there would be no hope at all.
Though Romeo is still unhappy about being banished, by the end of the scene he agrees to the Friar’s plan and seems to have come around to his way of thinking about his punishment.

It's act 3, scene 3 in Romeo and Juliet. Friar Lawrence brings Romeo the news that he's been banished from Verona by the Prince for killing Tybalt. The Friar appears somewhat relieved that Romeo hasn't been condemned to death, which would be the normal punishment for such a heinous crime:

A gentler judgment vanished from his lips:
Not body’s death, but body’s banishment.

But Romeo is having none of this. As far as he's concerned, exile is a much worse punishment than death. For if he were dead, then at least he could be with Juliet:


Ha, banishment! Be merciful, say “death,”
For exile hath more terror in his look,
Much more than death. Do not say “banishment.”



Verona is all Romeo knows. It's where he was born and raised; it's where his family lives; and, most importantly of all, it's home to his beloved Juliet. To be banished from Verona is truly a fate worse than death for Romeo:


There is no world without Verona walls
But purgatory, torture, hell itself.
Hence “banishèd” is banished from the world,
And world’s exile is death.



Friar Lawrence is older and wiser, however. He cannot believe that Romeo could be so ungrateful at this display of gracious mercy by the Prince. Romeo has had a very lucky escape and the Friar is incredulous that the young man doesn't realize this:


O deadly sin! O rude unthankfulness!
Thy fault our law calls death, but the kind Prince,
Taking thy part, hath rushed aside the law,
And turned that black word “death” to “banishment.”
This is dear mercy, and thou seest it not.

Beginning Algebra With Applications, Chapter 2, 2.3, Section 2.3, Problem 28

Translate the phrase "the difference between the square of $c$ and the total of $c$ and fourteen" into a variable expression.

$
\begin{equation}
\begin{aligned}
& \text{The unknown number: } c && \text{Assign a variable to one of the number quantities}\\
\\
& \text{The square of $c$: } c^2 && \text{Use the assigned variable to write an expression for any other unknown quantity.}\\
\\
& \text{The total of $c$ and fourteen: } c +14 && \text{Again, by using the assigned variable to write an expression for any other unknown quantity.}\\
\\
&= c^2 - (c +14) && \text{Use the assigned variable to write the variable expression.}\\
\\
&= c^2 - c - 14
\end{aligned}
\end{equation}
$

What is the first main point of the story "The Yellow Wallpaper"?

The first main point of the story is about the unhealthy understanding of women according to the male perspective. The woman in the story is dealing with postpartum depression, and the husband, who happens to be a doctor, suggests that what the woman needs is rest. This was a common diagnosis called the "Rest Cure". Women were thought to have minds that could not handle thinking at such levels, and the only way to "cure" the issue was for them to rest. So, the wife was set up in her room where her psychosis was allowed to fester. The yellow wall paper then became a fragmented part of her own mind, one in which she felt the need to tear away in order to rescue the woman trapped behind.
The Rest Cure, unfortunately, had a similar fate to many women to whom it was prescribed to. Because of this novel, and other stories on the horrific practice, the "cure" was reexamined and done away with later on.

In this story, we see how the narrator's health rather rapidly declines as a result of her husband's (who is a doctor) treatment of her mental illness.  He essentially confines her in a house that seems to be used as a sanatorium, prohibits her from working or meeting with other people, and takes away all means to read or write.  She is to have no mental stimulus whatsoever.  These conditions slowly drive her from an illness which is probably postpartum depression toward a total dissociative break in which she imagines that she is no longer herself, but rather a woman who has been trapped in the wallpaper of her room.  We see, then, that late 19th-century methods of treating "hysteria" are not only ineffectual, they sometimes make the illness worse.  I believe that this is one of the most significant points that Gilman wishes to make because the circumstances of the narrator's mental decline are so great that they are tantamount to tragedy: a young woman literally goes mad because her husband has imprisoned both her body, in the top floor of this house, and her mind, by banning her from any intellectual activities that once gave her pleasure and purpose.

What is disclosed in chapter 15 of The Hound of the Baskervilles?

"Chapter 15: A Retrospection" is the final chapter of The Hound of the Baskervilles by Sir Arthur Conan Doyle. In this chapter, Holmes and Watson are back in London, approximately a month after the major action of the story and the presumed death of Stapleton and rescue of his wife, Beryl. Sir Henry and Dr. Mortimer are passing through London on their way to taking a sea voyage. In this chapter, the four men meet, and Holmes explains in some detail his detection procedures and additional information about the case.
The most important thing that is disclosed is family history. The most crucial thing Holmes reveals is that Stapleton was a pseudonym and that the man calling himself Stapleton was actually the son of Sir Charles's younger brother. This explain Stapleton's motivation for the murders. He was attempting to kill off his older relatives in order to inherit the Baskerville estate, to which he felt entitled. He ties up a few other loose ends, including the theft of the boot being something Stapleton did to give the dog Sir Henry's scent. Beryl is shown in some detail to be an abused wife who deserved to be rescued.

Why did Silas take away some of the memories of Scarlett and her mother?

After Scarlett witnessed the Jacks being attacked in the graveyard, Silas likely knew that both her trauma and the risk of her speaking about the event was too great a danger to Bod. He changes her mother's memories to help convince her to move—which means that Scarlett won't be close enough to visit the graveyard anymore.
Bod finds out that Mr. Frost, the man dating Scarlett's mother, is the one who killed his family. He and his group, the Jacks, believed that Bod would be the end of them. They attack him and Scarlett in the graveyard and Bod deals with them in multiple ways, including having one break an ankle and fall in a pit. Another is pulled through the ghoul-gate.
After Scarlett sees the last man taken by the Sleer, she panics and says that humans don't do what Bod did. Since she can't see the Sleer, all she sees is Mr. Frost hanging in midair trying to get away from something. It looks like he is being "forced through the wall, pulled into the rock, was being swallowed up by it."
Silas arrives and says that he's going to decide what she should remember and what she should forget. Bod argues, but Scarlett says she only wants to go home. Silas says forgetting is likely safer for everyone but most definitely safer for Scarlett. Then he takes her home, explains things to her mother—that her mother can't quite remember later—and Scarlett and her mother move back to Scotland.
When Silas returns to the graveyard, he tells Bod that people want to forget the impossible because it makes their worlds safer.