Monday, October 31, 2011

What is the definition of diffusion?

Diffusion is the random motion of molecules from an area of higher concentration to an area of lower concentration.


Molecules tend to move constantly in solution and spread out randomly. When the concentration of particles in solution is spread evenly throughout, the solution is at an equilibrium. 


In a cell, the membrane creates a selectively permeable barrier between the interior of the cell and the exterior surroundings. If there is a difference in concentration of a solute on one side of the membrane, diffusion will occur from high to low concentration until equilibrium is achieved. This explains how oxygen (in higher concentration outside the cell) enters the cell by diffusion through its membrane.


It is important to note that the cell doesn't expend any additional energy for diffusion to occur. It is an example of passive transport.


I have included a link which has an excellent diagram showing diffusion.

Sunday, October 30, 2011

While it is a common assumption that Moses wrote the Torah, most scholars argue that the Torah was compiled from different documentary sources many...

According to the Documentary Hypothesis, also called the Wellhausen Hypothesis, the Torah (the first five books of the Bible) were drawn from four separate narratives and were later combined into a whole by redactors, or editors. The evidence for this hypothesis comes from the literary analysis of the Torah, including an analysis of the different names used in the Torah for God ("YHWH" or "Yahweh" or "Elohim") and repeated stories, or "doublets." Many scholars have come to believe that there were four sources of the Torah--"J" or the "Yahwist" source; "E" or the "Elohist" source; "D" or the Deuteronomist; and "P," or the Priestly source. These sources are thought to have written in order, from "J" to "P," in the period c. 950 BCE to c. 500 BCE. Each source is thought to have a different style. One of the doublets in Genesis is the creation story in Genesis 1 and the repeated story of creation along different lines in Genesis 2. In Genesis 1, the story of creation is described in seven days, but in Genesis 2, the story of creation is described with Adam and Eve's fall from grace in the Garden of Eden. In addition, the narrative of the flood, in Genesis 6-9, is given in different and at times contradictory accounts and described in repetitive ways.


Genesis 1-11, therefore, cannot be read as a coherent narrative, as it has many contradictions and duplications. The benefit of literary analysis applied to the Torah is that it allows scholars to understand the history of Judaism, including its changing nature. For example, many scholars have hypothesized that there was a growth in priestly power over the course of time, as "P" is thought to be the last source. However, many religious figures and institutions continue to believe in Mosaic authorship of the Torah--that is, that Moses wrote the Torah when he received it by God. Believing otherwise is contrary to Orthodox Jewish faith and to the beliefs of some Christian churches. 

Can you help me paraphrase "She Dwelt Among the Untrodden Ways" by William Wordsworth?

Despite its compact form, William Wordsworth's "She Dwelt Among the Untrodden Ways" is a dense poem that incorporates many layers of meaning. As such, it can be quite difficult to paraphrase, especially if you're feeling unsure about the meaning of the poem. Though there's a great deal going on here, for our purposes I think it would be fine to focus on one aspect of the poem: the recognition of the ways in which the most ordinary being can still be existentially significant.


With this idea in mind, here's an example of a very short paraphrase of this poem:


Lucy, a young, relatively unknown girl, lived alone in nature far from conventional human society. Her dwelling place abounded with a great deal of natural beauty. Since she lived alone and had few connections to society, her death went more or less unnoticed. Even so, Lucy's death is considered to be highly significant for the narrator and (it's implied) an immense source of grief.


This quick paraphrase hardly does Wordsworth's excellent verse justice; however, it does highlight an important theme in the poem: the idea that even the most common person can achieve great significance. With this idea in mind, read the poem again and try to come up with your own paraphrased version.

Saturday, October 29, 2011

How do you calculate the surface area of a rectangular prism?

You would add area of all the sides up.  Now, that's literally the formula I like to consider.  And, that will work for any non-circular prism, period.  


Now, special formulas do exist for specific types of prisms, for instance, a rectangular prism, you could consider the formula for the area of one side, length x width, then consider there is another one of those sides, so two of them, so 2 x length x width.  Then, pick another side and find that area, like width x height.  And, there is another one of those, so 2 x width x height.  And, likewise for length x height.  There would be 2 x length x height.  So, adding those up, you would have:

total area rectangular prism = 2LW + 2LH + 2WH


where L = length, W = width, and H = height

Thursday, October 27, 2011

How is Eric Birling presented in An Inspector Calls?

Eric Birling is first presented as the ne'er-do-well son of the wealthy and hardheaded businessman Arthur Birling, but later he proves his worth as an honest man.


Eric is an alcoholic, whose behavior has been dissolute and irresponsible, but his mother pretends that there is nothing wrong with her son. In the end, unlike his parents, Eric, along with his sister, demonstrates that he does possess a moral compass and a worthy conscience, by not excusing his guilt in the death of a poor young woman.


While the Birling family enjoys a celebratory dinner for their daughter Sheila and her fiance Gerald Croft, a police inspector arrives to question the family about a young woman named Eva Smith, who later calls herself Daisy Renton, who has committed suicide. The inspector shows each person separately a photograph, and he describes the poor girl's history.


At first, he talks to Mr. Birling and Gerald. However, as the drama develops, it is demonstrated all of the Birlings are involved in the tragic events that lead poor Eva to taking her life. The inspector also reveals that both Gerald and Eric have been romantically involved with Eva after her firing at the Birling factory and another job.


When Eva, who calls herself Mrs. Birling, appears before Mrs. Sybil Birling's charity group to appeal for financial help, the outraged Mrs. Birling prevents Eva from obtaining anything. She insists, ironically, that the father of the child must be held responsible. Eva tells her that this young man has given her some money, but she suspects that it has been stolen, so she cannot accept anything from him. (The young man, of course, is Eric and his impregnating Eva is why she has called herself Mrs. Birling.)


After all the inspector's revelations, Eric and his sister Sheila, who caused Eva's firing from a dress shop, admit their guilt. Further, Eric confesses to his father that he did, in fact, steal fifty dollars which he gave to Eva. Arthur Birling's first reaction is how to cover up the loss of the fifty dollars so no one will know. He tells his children that "a man has to mind his own business and look after himself and his own."


Further, Birling says there is reason to excuse his and his wife's behavior, but he is ashamed of Eric. On the other hand, Eric replies that he is ashamed of them, as well, as his father began her misfortunes and his mother directly caused her and his child to die. Nevertheless, in the end, the parents justify their actions because the inspector has performed a ruse and is not a real policeman. Only Eric and his sister accept their social responsibilities.

Wednesday, October 26, 2011

Under what conditions does a convex mirror form a real image?

A convex mirror is made by applying a reflective coating on the outside of a piece of a curved surface. The center of curvature of and the focal point of the mirror are thus on one side of the mirror, but the object is on the other side. (Please see the attached reference link for the illustration.) 


When the light rays hit the mirror, they are reflected back in a way that that the angle of reflection (the angle the reflected ray makes with the normal to the surface) is equal to the angle of incidence (the angle the incident ray makes with the normal.) Because the mirror is convex, the reflected rays point away from the focal point of the mirror, or diverge. Therefore, the rays do not intersect, but their extensions do intersect, forming a virtual image. This is true no matter how far away the object is located from the mirror. Again, please see the reference link for the diagram of the image formation by a convex mirror.


As discussed above and can be seen from the diagram, it is impossible to obtain a real image in a convex mirror. The convex mirrors always form virtual images.

In "The Dead" by James Joyce, what is the significance of Gabriel seeing himself in the mirror?

Here are the passages that describe the moment that Gabriel sees himself in the mirror (they don't have page numbers because they're taken from ' excellent online version of the text): 



As he passed in the way of the cheval-glass [Gabriel] caught sight of himself in full length, his broad, well-filled shirt-front, the face whose expression always puzzled him when he saw it in a mirror, and his glimmering gilt-rimmed eyeglasses. 



Later, Gabriel muses on this experience in a fairly negative way: 



[Gabriel] saw himself as a ludicrous figure, acting as a pennyboy for his aunts, a nervous, well-meaning sentimentalist, orating to vulgarians and idealising his own clownish lusts, the pitiable fatuous fellow he had caught a glimpse of in the mirror. 



All of this happens around the time Gretta, Gabriel's wife, tells him about Michael Furey, the young man she loved in her youth in Galway. The story is a romantic one, and Gabriel quickly realizes that he is not his wife's true love after all and that he has never captured her affection the same way this young man did. Within this context, Gabriel's bitter evaluation of his reflection becomes very important. Gabriel's reflection in the mirror becomes a physical manifestation of his realization that he is not as important as he seems. Indeed, the reflection underlines Gabriel's sudden recognition of his own ridiculousness and relative insignificance. In that case, Gabriel's sight of himself in the mirror becomes a pivotal turning point in the text, as it is the beginning of the epiphany that ultimately destroys Gabriel's illusions about himself and forces him to reassess some of the most significant aspects of his life.  

Tuesday, October 25, 2011

How does Doyle build tension in Chapter Ten of The Sign of Four?

Ah, I think modern readers must find this chapter especially exciting! Are you familiar with the trope of a car chase in films, where the "good guys" must rush to catch up with the "bad guys?" Chapter Ten has very much the same content, except Mr. Holmes and Dr. Watson are chasing down their bad guys in a boat!


Doyle opens the chapter with Holmes and Watson enjoying a meal before they must do their work for the evening. They and their police fellow, Jones, set off to the wharf. Here, they get into a police boat that has been disguised by removing its identifying green lamp. Already, we can sense the seriousness of what is about to occur. 


En route to their destination, Holmes explains why they are headed there. He knows that the man they are after uses a nearby dock, and Holmes has guessed that it is most likely Jacobson's Yard. Holmes also explains that the man they are looking for has acquired a boat from a local drunkard. While they are waiting in the dark just near the docks of Jacobson's Yard, the very boat they are waiting for zips behind them! 


The Aurora is fast, but so is the police boat Holmes and Watson are in! On both boats, men are furiously shoveling coal into the steam-engines. As the police boat closes in on the Aurora, Dr. Watson fires at one of the men they are chasing and he falls overboard. Holmes, Watson, and their police fellows are able to rope the boats together and board the Aurora


The sense of excitement and tension drawn from two well-matched means of transport is certainly nothing new, and it was just as powerful to Doyle's readers in 1890 as it is to us watching a car chase today!

Monday, October 24, 2011

How does author Harper Lee demonstrate the following in To Kill a Mockingbird: How has hatred changed its focus throughout time? How do those in...

In To Kill a Mockingbird one way in which author Harper Lee demonstrates that hatred changes its focus over time is by pointing out hypocrisy. One example of hypocrisy is seen during Aunt Alexandra's missionary circle meeting in Chapter 24.

During the meeting, the ladies speak out against the conditions suffered by an African tribe called the Mrunas, who, according to Mrs. Grace Merriweather, live in "nothing but sin and squalor." But, at the same time, they complain about the African-American laborers grumbling about unjust treatment after Tom Robinson's trial. After Mrs. Merriweather speaks about how much the Mrunas need to be saved, she immediately turns to Mrs. Farrow and says the following very racist and hypocritical remark:



Gertrude, I tell you there's nothing more distracting than a sulky darky. Their mouths go down to here. Just ruins your day to have one of 'em in the kitchen. (Ch. 24)



Author Lee uses Mrs. Merriweather's remarks to show that Southern Christians, like the people of Maycomb, are willing to speak of the need to bring Christian aid to Africa while at the same time hypocritically refusing to see the need to give Christian aid to African Americans right their in Maycomb. Their hypocritical attitude shows us that their racist hatred has changed over time so that hatred is no longer applied to those in need in Africa while still being applied to Christian African Americans right there in their own hometown.

Aside from racist hatred making individuals behave hypocritically, Lee shows that racist hatred also makes people in positions of authority behave incorrectly. One example can be seen in the behavior of Sheriff Heck Tate. During his testimony at Tom Robinson's trial, Sheriff Tate states that there was no doubt in his mind Robinson was guilty when he made the arrest, simply because the white Ewells said he was guilty. However, while still on the witness stand, Atticus makes Sheriff Tate realize that Mayella had been bruised on the right side of her face, which would have been impossible for Robinson to accomplish with his crippled left arm and hand; the impossibility of Robinson to have committed the crime means that Sheriff Tate made a wrongful arrest based solely on racist judgement. We see Sheriff Tate begin to realize the wrongfulness of his arrest in the following:



Mr. Tate blinked again, as if something had suddenly been made plain to him. (Ch. 17)



By the end of the book, Sheriff Tate expresses genuine guilt for having made the arrest that cost Robinson his life when he persuades Atticus not to pursue the cause of Bob Ewell's death, the man truly responsible for Robinson's death:



There's a black boy dead for no reason, and the man responsible for it's dead. Let the dead bury the dead this time, Mr. Finch. Let the dead bury the dead. (Ch. 30)



As sheriff of Maycomb, Tate is in a position of power that could enable him to assist the downtrodden like Robinson. However, Sheriff Tate's expression of guilt shows us that he too lets racist hatred cloud his judgement from time to time, thereby making himself one of the enemies of the downtrodden.

Sunday, October 23, 2011

Do you think leadership is more important or less important in today's flatter, team-based organizations?

The answer to this question is going to change depending on who answers it.  The support is the most critical part of the answer, since either answer can be potentially correct.  


Personally, I think having a good leader is just as important as it ever was.  Whether a company is structured around a "team" based concept or not, that team needs to be led.  That's why sports teams still have coaches and aren't run by the players deciding who is going to play when and where.  The coach has the big vision in place, and a good coach knows how to get the most out of each player for the benefit of the entire team.  Businesses and companies are the same way.  


Take Valve for example.  By all appearances, the company is as team structured as a company gets.  Employee desks all have wheels on them, so that employees can move from coworker space to coworker space in order to teamwork on whatever project that they feel like working on.  If somebody has a good idea, and other people want to help with the project, then they are free to do that.  The company doesn't track vacation days or sick leave either.  Each employee is expected to operate for the benefit of the company as a whole, but the company does have a leader.  Gabe Newell is the CEO and founder of the company, and he is considered one of the strongest leaders in the entire video game industry.  He is absolutely monitoring the progress of his company, and he steers it toward success as necessary.  His vision and leadership created his highly successful company, and his company falls apart if the other leaders in it aren't hiring the kind of employees that can operate within Valve's unique business model.  


Yes, absolutely, a leader is still crucial in today's team-based organizations.  

Friday, October 21, 2011

According to the beloved, what may change the minds of the lovers in "Sonnet XIV" by Elizabeth Barrett Browning??

Certain emotions and thoughts, even ideas, may easily change the minds of the lovers and then love may be lost.


The speaker of Sonnet 14 by Elizabeth Barrett Browning urges the lover to not feel love for her because of the sweetness of her smile, or for her beauty, her manner of speaking, her voice, or for a special turn of thought that "falls in well" with his own. Nor should he love her out pity as she may in time weary of such pity and "forget to weep," thus losing his love. For, all these qualities are temporal and subject to change. Instead, the speaker suggests, he should love her for love's sake alone; that is, for the joy that the ideal of love brings to one's own heart, the fulfillment that genuine emotion can bring.



But love me for love’s sake, that evermore
Thou mayst love on, through love’s eternity.



The speaker desires that her lover reach to the ideal. The words of the first line--"If thou must love me"--suggest that it is fated that the lover feel the way he does. Since this is so, she urges him then to attain the highest ideal of love, and love for love's sake alone. In this way, his love can be eternal, not temporal, as when there is an object of the love.

Thursday, October 20, 2011

What is the difference between theme and motif?

Theme and motif are not the same concepts, but they do work together to convey the writer's message. A theme is the central idea or main message that unifies the entire work. It is the main idea the author is trying to convey through his or her writing. The theme is what the author is trying to say. A work may have one or more themes. All other elements of the work contribute to solidify and communicate the overall theme(s).


Motifs are events, actions, symbols, and ideas that recur often throughout the work. They are images or elements that you will see or hear over and over again throughout the work. Motifs help to emphasize the main theme of the work.


For instance, one of the themes of Charlotte’s Web by E.B. White is friendship, or sacrificial friendship. A spider, Charlotte, attempts to save her pig friend, Wilbur, from certain death and is willing to sacrifice her own life to do so. That is the theme, the main idea or central message, of the book. That is main idea the author is trying to communicate. Motifs of the book include recurring elements that contribute to the theme. Spider webs are a recurring element in Charlotte’s Web and help to emphasize the sacrificial love Charlotte has for Wilbur. Charlotte is using her own means of life (the web, which is used for her sustenance) to preserve Wilbur’s life. Words are another motif of the book. Charlotte repeatedly uses words in her attempt to secure Wilbur’s salvation. So, while theme and motif are distinct concepts, motif works to emphasize the main themes of the work.

Oedipus Rex is considered the most perfect of Greek tragedies and Sophocles the definitive Greek tragic playwright. How could I prove this is a...

First, there is an issue here with the passive voice. While you might claim that certain people have considered Oedipus Rex the most perfect of Greek tragedies and Sophocles the definitive Greek playwright, you could not prove that everyone who has ever written about the topic considers this to be the case, as it is not true. As is clearly shown by the evidence of Aristophanes' Frogs, opinions about the relative merits of different playwrights differed even in antiquity, and the Alexandrian canon includes three tragic playwrights.


The argument you can make is that Aristotle, in his Poetics, frequently mentions Oedipus Rex as a positive example, but he also mentions other tragedies, as in the statement: 



Now, the best tragedies are founded on the story of a few houses, on the fortunes of Alcmaeon, Oedipus, Orestes, Meleager, Thyestes, Telephus, and those others who have done or suffered something terrible.



You can certainly argue that Oedipus Rex has all the elements of a great tragedy outlined by Aristotle, including a noble hero who undergoes a reversal of fortune, an action of a certain magnitude, and the ability to evoke fear and pity. Thus it is easy to show that Oedipus Rex contains all the elements Aristotle considers essential to a great tragedy. However, not only did Sophocles himself write other plays containing these elements, but so did other playwrights. Thus "most perfect" would probably be an overstatement.


Oedipus Rex was considered a very important example of Greek drama in the Renaissance, but neoclassical critics felt that its construction was flawed. Among speakers of English, Richard Claverhouse Jebb, a nineteenth-century classicist was important in elevating the reputation of Sophocles in general and Oedipus Rex in particular. 

Wednesday, October 19, 2011

In "The Old Man at the Bridge," does Hemingway tell you directly what you should think about the old man?

In the story, Hemingway does not tell us directly what we should think about the old man. He does, however, hint indirectly that the old man will die if he chooses to stay in the area.


The narrator tells us it is his job to "cross the bridge, explore the bridgehead beyond and find out to what point the enemy had advanced." From his words, we can deduce the narrator is a soldier or army scout who has been sent out to determine the direction of the enemy's advance. When the narrator notices the old man, he questions him.


The old man says he was the last to leave his hometown of San Carlos. In the rush of leaving, he was ordered to leave behind the animals under his care. The old man admits he worries about the safety of the cat, two goats, and the four pairs of pigeons he had to leave behind. The narrator, a little distracted, assures him the animals will probably come through fine. He strongly advises the old man to move on if he can.


Meanwhile, the old man tries to stand up but finds he cannot quite keep his balance. At this stage, we get the impression that the old man is too worn out to travel any further. We recognize the inevitability of his death, as he mutters to himself about taking care of his animals. The last paragraph indirectly reinforces our immediate verdict and intuition about the old man's possible fate:



There was nothing to do about him. It was Easter Sunday and the Fascists were advancing toward the Ebro. It was a gray overcast day with a low ceiling so their planes were not up. That and the fact that cats know how to look after themselves was all the good luck that old man would ever have.


Why do suppliers of goods and services still rely on the services of middlemen?

Middlemen are an important aspect of the distribution process. They connect sellers to buyers and earn commissions for their efforts. Middlemen take products and services closer to the customer and provide the products in quantities required by the consumer.


Suppliers continue to rely on middlemen to get their products to the market effectively and efficiently. Agents understand the market better because they receive direct exposure and feedback from stakeholders. Suppliers transfer the costs and risks associated with product handling to the middlemen, giving producers adequate time and resources to focus on the core business. Middlemen store products and ensure consistent availability in the market. The supplier benefits because inventory is controlled and supply pressure is reduced during periods of high demand.

What is the theme of "The Truly Great" poem by Stephen Spender? What are two literary devices that contribute to the theme?

The main theme of the poem centers on the necessity of remembering, celebrating, and cherishing the "truly great" among us. The narrator doesn't specifically state who these "truly great" people are, but they might be famous writers and poets the narrator knows.


The narrator praises these "truly great" individuals with highly laudatory words. During his life, Stephen Spender was infatuated with the idea of fame and greatness. He yearned for success and dreamed about it; as a rule, he thoroughly enjoyed being surrounded by successful writers, authors, and poets. It's no surprise, then, that he lavishes high praise on the "truly great."


He likens these individuals to essentially superior beings, born from divinity:



What is precious, is never to forget


The essential delight of the blood drawn from ageless springs


Breaking through rocks in worlds before our earth



Here, the "blood" of the "truly great" is of divine origin. It is "drawn from ageless springs," meaning God himself has infused his divine essence into the bloodstreams of the "truly great." So, "ageless springs" are a metaphor describing God or Providence, whose power is ageless and eternal. This "ageless spring" is formidable enough to break through "rocks in worlds before our earth." Essentially, the narrator may be intimating that the "truly great" have charted new territory in areas beyond the average citizen's comprehension. Because of this, we should remember them with deep gratitude and strive to emulate their wisdom and nobility of spirit.


Besides using metaphors to reinforce his points, Spender also uses synecdoche to warn us against letting our busy lives crowd out what's truly important:



Never to allow gradually the traffic to smother


With noise and fog, the flowering of the spirit.



In the above, Spender mentions the "traffic" that smothers "the flowering of the spirit." Traffic is part and parcel of bustling, modern lifestyles. Traffic, along with grueling work schedules and demanding familial responsibilities, often robs us of time to contemplate the achievements of the "truly great" and emulate them.

Tuesday, October 18, 2011

After he learns of the laundry scheme, what does the warden tell the children will happen if they get into any more trouble in Al Capone Does My...

In the book, Piper (the warden's daughter) has hatched a money-making scheme using the prison's laundry service. Moose doesn't really want to get involved with the specifics of the scheme, but Piper forces him to talk up the laundry-service to their classmates. Moose tells tall tales about living at Alcatraz, prompting his classmates to want to have some of their clothing laundered by the supposedly infamous convicts at the prison.


Piper makes the laundry scheme work by stuffing her classmates' clothing in other families' laundry bags.


In time, however, the warden gets wind of the scheme when Mrs. Del Peabody (Del Junior's mother) writes a scathing letter of complaint to him. When he discovers the kids made money from the scheme, he demands they put the money on his desk. After they do so, he accuses them of acting out of "greed," "silliness," and "incredibly poor judgment." For their part, Moose and Theresa aren't guilty of actual participation in the scheme, but the warden includes them in his threat to have their fathers fired (without severance pay) if they ever participate in such a scheme again.


Meanwhile, Piper (the warden's daughter) remains silent about her culpability in the laundry scheme. When the warden demands the children hand over their profits, Piper makes no move to hand over her money. Subsequently, the warden lectures Annie for disappointing her mother, and he accuses Jimmy of not considering how hard things will be if his father loses his job at Alcatraz. Next, the warden lectures Moose about getting involved in such a dishonest project.


As a last word, the warden warns the children that, if they break any more rules or even give the impression that they have done so, they and their families will be asked to leave Alcatraz.

What do Roger and Mrs. Jones learn from each other in Langston Hughes's "Thank You, M'am"?

In Langston Hughes's short story "Thank You, M'am," Roger learns for the first time in his life that there truly are caring, compassionate people in the world, whereas Mrs. Jones is reminded of her past. Through her memories of her past, Mrs. Jones learns that there is often a need to show care and compassion.

At the start of the story, Mrs. Jones reacts the same way any woman in her position who has the upper hand would react. Since she is much larger than Roger, she is able to kick him, drag him to his feet, and shake him "until his teeth rattled." Her actions show that, like anyone in her position, she is angry. However, the more she gets a closer look at Roger, the more her attitude changes. Specifically, the moment she notices that his "face is dirty" and learns that he has no one at home to remind him to wash his face, she realizes he is neglected and, though he may have a home, his real home is largely the streets. Mrs. Jones knows that, like many impoverished kids, Roger is doing his utmost to survive on the streets. The moment she has this realization, her attitude changes from anger to understanding and compassion.

Mrs. Jones demonstrates her understanding and compassion by bringing him home to get him cleaned up and give him dinner. She further shows compassion by confessing that when she was young, she, too, "wanted things [she] could not get" and did things she is ashamed of, a memory that reminds her there is a need to show people just like her compassion and mercy.

When Roger hears this, he learns he is not really as alone as he thinks he is, that others have been in his same position. But Roger learns his greatest lesson from Mrs. Jones the moment she hands him a ten dollar bill and tells him to go buy the blue suede shoes he wants. It's at this moment he learns that there truly are caring, compassionate people in the world, people willing to help, a realization the reader can predict will change his life.

Monday, October 17, 2011

The value of 50! is the product of all the whole numbers from 1 to 50 inclusive, i.e. 50! = 1x2x3x...x49x50. Find the maximum number of divisions...

I assume we are asked to find the maximum number of times we can divide 50! by 2 and still get an integer, or how many times is 50! evenly divisible by 2:


This is equivalent to asking how many 2's are in the prime factorization of 50!.


There are 25 even terms each contributing a 2.
There are 12 terms that are multiples of 4 contributing another 2.
There are 6 terms that are multiples of 8 contributing another 2.
There are 3 terms that are multiples of 16 that contribute another 2.
There is 1 term that is a factor of 32 contributing another 2.


Thus there are 25+12+6+3+1=47 2's in the prime factorization of 50! so we can evenly divide by 2 47 times.

What is a summary of the second chapter of Hellen Keller's The Story of My Life?

The second chapter describes young Helen’s adaptation to being blind and deaf.  The condition was a result of an illness when she was a toddler.  Helen could not communicate with people in the regular way.


Helen was able to make her will known, because she was intelligent and curious.  Although she was blind and deaf, she was aware of the world around her in ways big and small.



I understood a good deal of what was going on about me. … I was always sent for when there was company, and when the guests took their leave, I waved my hand to them, I think with a vague remembrance of the meaning of the gesture. (Ch. 2)



Helen's family had developed some signs of their own, and she knew a few words and bits of language picked up from her hearing days.  She was accompanied by Martha Washington, the daughter of the cook, who was a few years older, and a dog.  She was annoyed that she could not teach it sign language.


Little Helen had a pretty normal childhood otherwise.  She did become more and more incorrigible.  She accidentally burned herself in a fire.  After she discovered keys and started locking people out of the house, her parents decided she needed a teacher.  


Little Helen had a baby sister, which did not thrill her.



For a long time I regarded my little sister as an intruder. I knew that I had ceased to be my mother's only darling, and the thought filled me with jealousy. She sat in my mother's lap constantly, where I used to sit, and seemed to take up all her care and time. (Ch. 2)



Helen tried to throw the baby out of the cradle one day, but fortunately her parents found a teacher to teach Helen language soon afterwards.  Before Anne Sullivan arrived, it was difficult for them to control little Helen because they could not communicate with her efficiently.  After Anne Sullivan came, that changed quickly.

Sunday, October 16, 2011

In the novel, "The Dispossessed," the inhabitants of both Urras and Anarres are “Cetian.” However, despite being the same “race,” the...

The government and ruling social class of Annares use the fear of the ideological other to reinforce the group think that is already inherent on Annares. Despite the fact that Urras and Anarres are populated by the same "race" of Cetians, the Anarrestis use the significant cultural differences between cultures to create an ideological divide that makes it easier to maintain the hegemony on Anarres. This is accomplished by sharing often exaggerated stories of what life of Urras is like, from the decadence to the disregard for the lower classes. By inciting fear against the decadence of the Urrasti government, Anarres is able to maintain hegemony by warning its people that the only alternative to communal life and abnegation on Anarres is the wildly unchecked plutocracy of Urras.


The primary medium through which Anarres preserves its hegemony is its social and labor systems. The Anarrestis are true pacifists, foregoing the use of military might to accomplish their goals. Instead, the close-knit society is set up in such a way that Anarresti citizens keep one another in check. While it is not explicitly outlawed to express individuality, as Shevek does by taking a committed life partner, excelling in the sciences and leaving to visit Urras, the social pressure to preserve hegemony is so strong that few Anarrestis are willing or able to overcome it. Similarly, the labor system reinforces this hegemony by humbling the ranks of Anarres through shared labor during times of hardship. Even brilliant men like Shevek are forced to endure lengthy periods of harsh physical labor, ensuring that the lower ranks of Anarresti society do not rise above the dominant group.

What did Gulliver's conscience not allow him to do?

Gulliver's conscience will not let him participate in the total destruction of Blefuscu, or, as he puts it, he cannot allow himself to "be an Instrument of bringing a free and brave People into slavery."  He had already greatly pleased the emperor of Lilliput (and done great damage to Blefuscu) when he thwarted and seized most of the Blefuscudian fleet, cutting them free from their anchors and pulling them back to Lilliputian shores.  Gulliver had been shot with some two hundred arrows in his face and hands, and he was rewarded for his pains by being named a Nardac, the highest title of honor among the Lilliputians, by the emperor.  However, when the emperor asked him to come up with a way to seize the remainder of the Blefuscudian ships, hoping to force the country into submission to Lilliput, Gulliver refuses because his conscience will not allow him to be a party to the emperor's greed.

In The Bronze Bow by Elizabeth George Speare, who is the narrator?

The Bronze Bow centers on Daniel bar Jamin, a young Galilean boy growing up during the time Jesus was on the earth.


This story is told in third person, which means the narrator is an observer, and not necessarily a character in the story (see this breakdown of narrator types). However, the narrator here is an omniscient observer, since he/she knows Daniel’s inner thoughts and feelings (The Narrator). 


So in this case, the narrator is technically an unnamed observer. However, you could say that Daniel is the narrator in a sense, since the entire book is told from his perspective, and the reader has complete access to his emotions, thoughts, struggles, and beliefs—which would not be the case unless you were inside the person’s head, or unless he sat down and told you every thought he had.


But to be completely accurate, you would say that the narrator is an omniscient observer. 


This site goes into detail about seven different types of narrators in a story, and this one mentioned earlier breaks down first, second, and third person narrators.

Saturday, October 15, 2011

Which passage from Frankenstein best illustrates the theme of the destructive power of revenge?

By the end of the novel, both Victor Frankenstein and his creature have been destroyed by their desire for revenge.  Victor has sought to avenge the deaths of all his loved ones -- William, Justine, Henry, Elizabeth, and Clerval -- and it has completely and utterly wasted him, physically.  On his deathbed, he asks Captain Walton to swear that he will not let the monster live, "'that [Walton] will [...] satisfy [Victor's] vengeance in [the monster's] death.'"  He begs Walton not to listen to the creature but to "'call on the manes of William, Justine, Clerval, Elizabeth, [Victor's] father, and the wretched Victor, and thrust [his] sword into [the monster's] heart.'"  Victor declares that he will "'hover near" and help to aim Walton's sword.  His desire for revenge surpasses even his desire to remain alive; Victor has given up on his own life and only cares about his revenge now: such is the destructive power of revenge.


Confronted by Captain Walton over the dead body of his creator, the creature says, "'[...] I was the slave, not the master of an impulse, which I detested, yet could not disobey [....].  Evil thenceforth became my good.'"  His desire for revenge changed him, made him a thrall so that he seems to have no agency of his own; he could only seek to satisfy his need for vengeance.  It has consumed him, and now there is no reason left for him to live.  He vows to end his life.  His need for revenge has destroyed him.

What was the significance of the Lucknow Pact?

The Indian National Congress and the Muslim League met in a joint conference for the first time in 1916 at Lucknow. The greatest significance of the Lucknow Pact is that it brought together these two groups: the Indian National Congress that claimed to represent all of India, and the Muslim League that was formed to counter the Congress's overarching claim. 


At that joint conference, the Hindu and Muslim leaders were able to resolve their own differences and agreed to jointly pressure the British government to allow India more home rule. At the time, the two groups fully expected the constitutional reforms they jointly presented to their British colonial rulers to be enacted after World War I ended. 


The pact was an important move toward Indian independence during the nationalist movement in Indian, but the unity between Hindus and Muslims was short-lived. Most of the Congress leaders who voted for the Lucknow Pact rescinded their support not long after it was passed. In 1918, the INC joined the Indian Franchise Committee (also know as the Southborough Committee), one of three committees led by British representatives, that worked out the details of post-World War I constitutional reforms for India.

What types of desire are illustrated in A Streetcar Named Desire by Tennessee Williams?

Each of the characters in the play has different desires.  Many of these desires are destructive.  Let's start with Stella.  Stella wants a peaceful existence, a family life, and her husband Stanley.  Blanche's arrival causes an uneasy tension for Stella, for she is constantly caught between her sympathy for Blanche and her love for Stanley.  When Stanley accuses Blanche of stealing because her clothes and jewelry look so fine, Blanche defends her sister.  When Blanche protests the way Stanley treats Stella, Stella makes excuses for him and even declares that she is attracted to his violent ways.  But there is no doubt that Stella desires Stanley more than she desires a relationship with her sister or a peaceful family life.  As she says, 






But there are things that happen between a man and a woman in the dark--that sort of make everything else seem--unimportant.






For Blanche, her sexual desire (and love) for Stanley overrules everything else.  These lines show the motive for her decision at the end of the play to ignore Stanley's rape of Blanche.  


Stanley is portrayed as a sexual, animalistic man.  He is threatened by Blanche's education, her sophisticated airs, and her mockery of him.  He has all he desires in his present life:  playing cards with his buddies from time to time and coming home from work to Stella. A hedonist, Stanley desires instant gratification.  He has strong sexual desires for his wife, but he also loves her too.  When Blanche makes him feel insecure, he reacts cruelly and violently.  He acts quickly to protect the life he desires.   


Blanche desires the past.  She wants to be young again, she wants the glamour of Belle Rive, she would like a second chance with her former husband--not a second chance in marriage, but a second chance to show him compassion.  She wants a new start, but she desires the ways of the past.   Because she desires what she cannot have, she drinks, is promiscuous, and is pretentious.  Blanche cannot go back in time, and this is the truth that she cannot accept.  Mitch presents the possibility, however, of a second chance.  His attraction to her is genuine, and she enjoys being adored, but more importantly, with Mitch, she would have financial security and a chance to be respectable again.  

What are the 3 basic memory processes? How does each work to permit memory?

This is a very basic look at the three processes of memory. There is a massive amount of highly technical information about this topic, and there are also many things we don't yet have a full understanding of. This just scratches the surface.


Encoding: The brain encodes when it receives sensory information. Short-term memories are not retained. Long-term memories are strengthened by the power of the perceived event and by repetition. Encoding can happen in four ways:


  • Visual encoding—what we see.

  • Auditory encoding—what we hear.

  • Tactile encoding—what we touch.

  • Semantic encoding—information we encode based on particular meanings or contexts.

Storage: Once encoding is complete, we have a memory stored in our brain. It is thought that a memory is not necessarily stored in just one place, but in multiple places in the brain, possibly to make it easier to avoid losing memories. The memory is stored in the form of neurons that behave in a way that recreates the original event—making us “remember” it.


Recall: Also sometimes called “retrieval,” this is the process of accessing the information that has been stored in our brains in the form of long-term memories. There are two ways to access memories: recognition (as when you see a familiar object or person, then remember what or who it is), and recall (as when you remember a fact or information you do not currently have before you). When we forget something or lose a memory, it is thought by many scientists that the recall process has failed, rather than the storage process.

Friday, October 14, 2011

What question is the speaker trying to answer in “Harlem” by Langston Hughes?

The speaker of this poem is trying to answer the question: "What happens to a dream deferred?" (line 1).  Deferred means delayed or withheld.  Typically, if one defers something, one puts it off until later.  Therefore, the question is really asking what happens to a dream if it is delayed or put off. 


The speaker then offers a number of possibilities or outcomes of this dream; they are all similes until the very last one, which is a metaphor.  First, he wonders if it dries up "like a raisin in the sun" (3).  Next, he considers the possibility that it will fester and run (with pus), like an untreated sore.  Next, he wonders if it will be comparable to food gone bad: will it "stink like rotten meat" or become inedible and crusted with sugar like a "syrupy sweet" (6, 8).  In the final simile, the speaker considers that the dream might simply weigh a person down, sagging "like a heavy load" (10).  Finally, in the only metaphor of the poem, the speaker asks, "Or does it explode?" Using a metaphor here, as well as italicizing the line, makes it seem as though this is the one the speaker considers to be the most truthful.  It is certainly the most dangerous.  While stinky meat or inedible raisins, or even a heavy load, might be inconvenient, they aren't terrible. 


However, what does explode?  A bomb: the speaker compares the "dream deferred" to an explosive.  And bombs aren't simply inconvenient; they don't put out just one person, they can damage a great many people.  Thus, the speaker seems to conclude that forcing someone to defer his or her dream will ultimately impact not just that person but many people, that doing so could actually be quite damaging for many.

In "The Summer of the Beautiful White Horse" by William Saroyan, how does Aram feel about the crazy streak in the family?

Aram accepts as a matter of fact the crazy streak in his family; he feels that every "family has a crazy streak in it somewhere..." Aram views as normal the capricious and strange behavior from some of his relatives; after all, he knows that the propensity for volatility runs in the Garoghlanian tribe, a tribe to which he belongs.


Aram discusses his Uncle Khosrove, a man so mercurial and forbidding that he can effectively silence someone with his characteristic roar. According to Aram, his cousin Mourad is descended from this Uncle Khosrove. Aram calls Uncle Khosrove the father of Mourad's spirit because Mourad effectively exemplifies Uncle Khosrove's resolute, headstrong attitude towards life and its difficulties. For example, Uncle Khosrove's son, Arak, once ran eight blocks to tell him that their house was on fire, only to be rebuffed with a roar of "Enough, it is no harm, I say" from his father.


In the same way, despite the possible injury to their reputation, Mourad manages to coolly appropriate John Byro's horse for his and Aram's use for a short period of time. Even when confronted by John Byro about the theft of his horse, Mourad is calm and dignified in his address. His force of character and larger-than-life attitude earns him Aram's respect. Since Aram also harbors much affection and admiration for his cousin's daring courage, he accepts the "crazy streak" in his family as a normal phenomenon.

What is one criticism of ethical relativism?

Since you have placed this question in the Business section, I assume that you are asking with regard to business ethics.  I will therefore use an example from the world of business in this answer.


In general, the major criticism of ethical relativism is that it says that there are no actions that are inherently good or bad.  Ethical relativism holds that an action is only good or bad if the society we live in says that it is.  What this means is that an action that is good, for example, in the United States could be bad in China, or vice versa.  The major criticism of ethical relativism is that it means that there is no such thing as absolute wrong or right.


Let us look at an example from the world of business.  In some times and places, people have thought that it was ethical to sell defective products to consumers.  If the consumers could not tell that the product was defective, that was their problem.  Imagine that you come from a country where this sort of thing is considered unethical.  According to ethical realism, it would be fine for you to go and sell defective products in some other country as long as the people in that country felt such a thing was actually ethical. 


This sort of thing is a reason why people criticize ethical relativism.  They think that some actions are wrong no matter what the people in a given country believe.  They criticize ethical relativism because it denies that some actions are wrong in all places.

Thursday, October 13, 2011

Why should we use alternative energy?

Before answering this question, it would be good to discuss the terminology we use in any discussion of energy. The term "alternate energy" describes some source of energy we are not using now, but that is too vague a term for the discussion.  For example, if we live in an area in which coal is the primary energy source and we move to the use of natural gas, we are using an "alternative energy," but not one that addresses the world's climate problems.  The terms generally used are renewable energy sources and non-renewable or carbon-based energy sources or sometimes fossil fuels. 


The reason we want to use precise language is because these terms help us to explain what the point is in having this dichotomy.  In order to stave off any worse climate change and in order to have a means of providing energy in the future, we need to use the alternative of renewable energy sources as opposed to non-renewable energy sources.  The carbon-based sources of energy, coal, gas, and oil are finite sources.  Once we use them up, there are no more.  These are the sources of energy that have either created or contributed to global warming and climate change. Thus, if we use renewable sources of energy, such as sun, wind, and water, we are at the very least not making global warming any worse than it already is, and we need not worry about depleting our sources because each of these alternates is renewable. 


If we do not make the change to renewable energy sources and continue as we are, global warming and climate change will continue to get worse, with dreadful consequences for the earth.  Islands will disappear under rising seas, while coastal areas will be either under water or severely damaged.  The agricultural implications are staggering. Wheat is grown in a temperate climate.  Cows cannot probably not thrive in very hot areas.  Animal and plant species that cannot adapt will disappear, harming entire ecosystems.  Some parts of the world in which people live now will become uninhabitable.  As I write, Arizona is experiencing 120 temperatures.  Within the last year, India lost hundreds of people to an extreme heatwave.  Business activities will be severely disrupted as well.  Insurance companies that have to pay out for an entire east coast under water will not have the wherewithal to do so.  Land that is used now for the production of goods may not be viable for use in the future because of warming or extreme weather. 


All of these are reasons that we should be focusing our efforts on renewable energy sources.  Continuing to use the carbon-based energy sources will result in a devastated earth. 

Wednesday, October 12, 2011

if y= log{cot(pi/4+x/2)}. find dy/dx

`y=log{cot(pi/4+x/2)}`


Let `u=cot(pi/4+x/2)`


Apply the chain rule,


`dy/dx=d/(du)(log_10(u))d/dx(cot(pi/4+x/2))`


Now apply the common derivative,


`d/(du)(log_10(u))=1/(u ln(10))`


Now let's evaluate `d/dx(cot(pi/4+x/2))` by chain rule,


Let `u=pi/4+x/2`


`d/dx(cot(pi/4+x/2))=d/(du)(cot(u))d/dx(pi/4+x/2)`


Use the common derivative `d/(du)(cot(u))=-csc^2(u)`


and `d/dx(pi/4+x/2)=1/2`


`d/dx(cot(pi/4+x/2))=-csc^2(pi/4+x/2)*1/2`


and `dy/dx=(1/(u ln(10)))(-1/2csc^2(pi/4+x/2))`


Substitute back `u=cot(pi/4+x/2)`


`dy/dx=(1/(cot(pi/4+x/2) ln(10)))(-1/2csc^2(pi/4+x/2)`


`=-1/(2ln(10))(csc^2(pi/4+x/2))/cot(pi/4+x/2)`


We can further simplify as `csc^2(theta)=1/(sin^2(theta))`


and `cot(theta)=cos(theta)/(sin(theta))`


`:.dy/dx=-1/(2ln(10)) 1/(sin^2(pi/4+x/2))(sin(pi/4+x/2)/(cos(pi/4+x/2)))`


`=-1/(2ln(10)sin(pi/4+x/2)cos(pi/4+x/2))`


This can be simplified combining terms.


` -1/(ln(10)2sin(pi/4+x/2)cos(pi/4+x/2)) `


`=-1/(ln(10)sin(2(pi/4+x/2))) `


`=-1/(ln(10)sin(pi/2+x))=-1/(ln(10)cos(x)) `


This is the answer: `(-sec(x))/ln(10) `

1. Compare or contrast one female character in one of Ann Beattie's stories from The Burning House with one female character in one of Amber...

Amy, the first-person narrator of Ann Beattie's short story "The Burning House," contrasts with the secondary character of the mother of the twins in Amber Sparks' short story "The Lizzie Bordon Jazz Babies."

Amy is married to Frank and surrounded by all his male friends. The mother of the twins (who is not named in the story) is widowed and remarried to "the mensware salesman." She is surrounded, in a manner of speaking, by her twins, Patty (the eldest by a minute with a splotch of a birthmark on her heel) and Cat (who always agrees with Patty, until she doesn't).

Amy occasionally smokes pot with Frank's brother Freddy; cooks; takes care of her son, six-year-old Mark; and has returned to college to earn herself an education. She is having an affair with Johnny to whom she was introduced by Frank's friend J.D., who tends toward obsession. She stares every morning at the early light refracted by the "twenty glass prisms" hung from an overhead beam above their bed. The twins' mother takes care of them and the mensware salesman, goes to church where she prays for sinners and her dead husband in "her nervous, insincere way." She always enjoyed watching her young twins dance and cavort on the front porch in their little girl way to Fats Waller jazz music until, on the threshold of puberty, the twins start gathering a crowd of overly interested men watching them, following them and sneaking into their windows.

Amy looks forward to having time with Johnny while being conflicted about Frank wanting to leave her and drift away from her like the prism lights overhead after morning light beams pass by. The mother looks forward to her girls giving up jazz and taking ballet like "nice girls do" while being mildly distracted by the sins of bathing suit wearers. Amy learns that Frank is "already gone" and "looking down on all this from space" because men think they are "Spider-Man and Buck Rogers and Superman" and are "going to the stars." The mother learns that her twins become ununited--Patty taking up the strengthening and grounding sport of tennis and Cat taking up graceful, gentle ballet--unaware that while Cat dates and falls in love, Patty continues to plot murder at the library.

Amy, despite her sorrow, depression, despondence and sense of being adrift, is alive, is perceptive, is interacting with other people's feelings and thoughts. The twins' mother, naive and gullible, is happy and fun loving and dutiful in caring for her family and in appreciating the house the mensware salesman has bought for them, but she is dull in sensibilities; praying, grieving and living insincerely, unaware of the feelings and thoughts of those closest to her, her own twins.

Tuesday, October 11, 2011

What kinds of behavior and folklore is Frank Stockton satirizing in the short story "The Lady or the Tiger?"?

This short story is very reminiscent of the ancient tradition of gladiator fights and justice dealt in arenas.  The text proclaims the king to be "barbaric"--he always has to get his way.  Typically, someone considered a barbarian is uncivilized, and any form of justice would be considered primitive.  In this story, this barbaric king believes that he has developed the best form of justice: he will put the accused in an arena and allow him to choose between two doors, one hiding a lady and one hiding a tiger.  If the accused chooses the door with the lady, he is innocent of the crime and will marry the lady.  If he chooses the door with the tiger, he will be considered guilty of the crime and eaten.  


There are many things at work here.  The punishment of being eaten by a tiger is barbaric, and allowing the accused to "choose" his fate leaves the king blameless.  The king believes this is a perfect system; he is a barbarian who believes his system elevates him.  


The author is mocking the belief that bad things happen to bad people, or that "karma" will correct the issue.  If the accused is guilty, they will choose the door with the tiger--it's like fate.  

Monday, October 10, 2011

How does Dorian Gray's outlook on the world change throughout the novel?

Throughout the novel, Dorian Gray's outlook on the world changes fairly drastically.  At the beginning of the story, Dorian is young and easily influenced.  He is beautiful, which makes him the perfect subject of a portrait by artist Basil.  Basil uses Dorian as a muse, and introduces him to Lord Henry.  Under Lord Henry's influence, Dorian learns that he can get away with a lot because of his beauty, and he also begins to feel that life is meant to be lived by taking what you want.  


This hedonistic world view causes Dorian to make a declaration that he would sell his soul to stay young and beautiful forever.  Dorian later learns that his fate has been tied to Basil's portrait of Dorian, leaving Dorian free to explore a world of excess and pleasure with no physical repercussions.   Dorian, throughout the rest of the novel, becomes increasingly hedonistic and arrogant, and he is constantly finding new ways to entertain himself.  He believes that the world owes him constant entertainment.

What is the Duke's motive to speak this monologue in "My Last Duchess" by Robert Browning?

The Duke's motive for speaking the monologue titled "My Last Duchess" is ostensibly to show his visitor part of his art collection, but it is actually to negotiate the dowry he can expect to receive when he marries "his next duchess." We do not find out the identity of his visitor or the Duke's true motive until the very end of the monologue, when the visitor has heard enough of the Duke's egotism, selfishness, greediness, and cruelty and jumps up to flee down the stairs without a word of thank-you or apology. The Duke hurries after him and tries to detain him. He says,



Will't please you rise? We'll meet
The company below, then. I repeat,
The Count your master's known munificence
Is ample warrant that no just pretence
Of mine for dowry will be disallowed;
Though his fair daughter's self, as I avowed
At starting, is my object.



The visitor is a servant of a Count and the Duke is engaged to marry that Count's daughter. The Duke brought the other man, who must be in the Count's service, upstairs to talk about money. We are only reading a part of their conversation. The Duke "avowed at starting" that he was only interested in the girl and not in money; nevertheless, he would like to have a clear understanding with the Count's representative about how much money he will receive. It looks as if he won't be getting the girl or the money, as the other man seems to intend to warn the Count against letting his daughter marry this monster at all.


That explains the Duke's motive in inviting the representative upstairs to see his art collection and talk about the dowry. It does not explain why the Duke shows his visitor the painting of his "last duchess" and spends so much time talking about that one object in his collection—especially when it sounds as if he had his young wife killed! The best explanation for this other motive is the Duke became carried away when he saw his dead wife in the portrait



Looking as if she were alive.



He sounds as if, while under the spell of his "last duchess's" beauty and the artistry of Fra Pandolf, he forgets his visitor and inadvertently confesses all his mixed feelings about the beautiful young woman in the painting. In doing this, he reveals his ugly, hateful character. All of Robert Browning's monologues are intended to reveal the character of the speaker. These include "Andrea del Sarto," "Fra Lippo Lippi," and "The Bishop Orders His Tomb at Saint Praxed's Church," which are all among Browning's most famous poems.

Friday, October 7, 2011

What are the most significant recurrent symbols in Paradise of the Blind? What do the symbols represent? Through what examples are the symbols seen?

Some of the most significant recurrent symbols in Paradise of the Blind are blindness, sickness, water and river. Another is sky; it is tied closely to the river symbol. Being fluid symbols, like the fluidity of life, these symbolic representations can vary with different uses: as symbols they can bend just as a river bends, "like there's no river without a bend."


  • Blindness: represents an unthinking, unseeing life devoid of analysis and examination ("blind obedience"); represents the way to go, the path to take (blind soothsayer, blind alleys).

  • Sickness: represents approaching death and loss of ability to thrive (psychological as well as physical); represents pretense ("Don't tell them I'm sick" "Uncle Chinh wasn't sick").

  • Water (a versatile symbol): represents destiny, muddy world condition, blindness (opaque, cinder manteled), cleansing (silk, rice), spiritual cleansing (death ritual), seeing and perceiving (reflection, "liquid mirror"), murder and death (silk worms boiled, suicide by water), philosophical perception ("reflections deepened with the pitching and tossing of the water").

  • River: represents life's course, physical and psychological orientation ("land of my birth"), diverted life courses (dike), ebb and flow of life (rhythm), life's storms (buffeted), life's tranquility (bobbing and drifting), finding your course ("walk eight miles"), intersection of paths (distant shore, near shore), changing courses (motorboat), the route of life and death ("Follow the river").

Looking at the two symbols of water and river in more detail, a couple of examples illustrate their dynamic representations.

River: The features and activity on the river show the different symbolic representations of the river. The journeys show the various directions of life courses. The intersection of life courses is shown by things being on the near shore and the distant shore and by travelers going upstream and downstream and by the changes affecting the river, such as the loss of the old boat and the introduction of a motorboat: "[I looked for] the old boat with the white sail, but all I could see was a motorboat leaving the other bank of the river." An example of life courses is Hang's father's journey away from home and love and out into exile and a strange new life upstream. Another example of life courses through the potent representation of the river symbol is the journey Tam compels Hang and Que to undertake.  



[Tam] didn't leave until the barge reached the middle of the river. In the dawn light ... to the east, the clouds glowed like the color of plum blossoms before fusing into a radiant yellow. A swarm of wasps and bees swirled in the air over ... a drowned cat. A fetid odor hung in the air.



Water: Contrasting examples of the versatile nature of the water symbol are when water is used to wash and cleanse rice and new silk in contrast with when water is used to boil newly "plucked" silkworms and again when it is used for purification in the death ritual. Other contrasting examples are when a journey takes place over water that is "opaque and mysterious under its mantle of cinders. [Where] [w]aves shimmered like mercury" in contrast with water's description as showing "a reflection in water; a liquid mirror of the silhouette of trees." These illustrate the opposite symbolic representations of water whereby one symbol points to life and death as well as to blindness and perception with equal magnitude.

"Heart of Darkness" has been called both a justification for imperialism and an indictment against it. How is it possible for one work to be...

"Heart of Darkness" by author Joseph Conrad is a complex work that deals with imperialism in a nuanced manner. The most common interpretation of the story is that it is a harsh indictment of imperialism. The conflicting opinions of the story largely stem from the fact that imperialism and racism are presented as a reality and in a matter-of-fact way. The author does not inject his own opinions into the narrative but rather strives to represent the opinions and ideas of the time through his characters. Many authors have been criticized for conveniently glossing over such topics with characters who are uncharacteristically forward thinking for their time. Conrad's narrative does not fall into this trap and it presents the imperialist zeitgeist of its setting with unapologetic honesty, which has often led to confusion among readers.


Despite Conrad's honest portrayal of imperialism, the narrative does not truly endorse this ideology. In fact, "Heart of Darkness" shows the natural results of imperialism through the lens of its often brutal characters. African natives are treated by multiple characters as if they are subhuman, which is a historically accurate representation of the way in which many native populations were treated during the colonial era. This realism should not be confused with the author's endorsement of such treatment.


Kurtz' writing, "International Society for the Suppression of Savage Customs" is often cited as an example of how the story endorses imperialism. However, it is more commonly interpreted as an example of the worldwide movement to suppress nonwhite races and cultures. Kurtz himself may not view the writing as racist or imperialist, but the tone of the story clearly indicates it as such. Kurtz is portrayed as a cruel antagonist and he himself is used to represent European imperialists.


There are many instances throughout "Heart of Darkness" in which Conrad issues anti-imperialist sentiments. A primary example of this is when Marlow witnesses a group of native men whom he perceives as wanting to live with the land rather than working against it as the imperialists do. These examples illustrate the anti-imperialist nature of the text.

Thursday, October 6, 2011

What were the main causes for the roaring twenties?

There were various aspects of the Roaring Twenties.  First, the 1920s did not "roar" for all Americans.  After the war in Europe ended, demand for American foodstuffs abruptly declined, which meant falling commodity prices.  Farmers went into debt before 1920 in order to by machinery and more land, and the lower farm prices meant that many of them lost their homes.  The 1920s also did not roar for Eastern European immigrants since Americans were afraid of the Bolshevik menace.  Many were tried unfairly as being Communist sympathizers and deported on the Buford, which was called in the newspapers the "Soviet Ark."  A. Mitchell Palmer, U.S. Attorney General, led the prosecution of these people. 


The 1920s were a time of rebellion.  Women got the right to vote and since many of them were able to work outside the home during the war, they sought more rights.  They began to dress like the "flapper" with shorter dresses.  Women also smoked and drank in public, which twenty years before would have been taboo.  Prohibition and the Volstead Act made alcohol illegal, but the federal government did not have the means to enforce this law, and many ordinary citizens who were otherwise law-abiding drank.  After the recession of the early '20s, wages and the stock market improved, and workers had more disposable income and leisure time.  They bought things such as cars and radios on credit, and this created a culture that thrived on entertainment.  This is probably the part of the '20s that people say "roared," as the family vacation, "talkies," and syndicated radio shows became popular for the first time in American history.  The main cause of the Roaring Twenties was the disposable income levels after WWI and Americans felt like they could relax.  There were also signs that morals were changing as a generation of young men returned from Europe with interests in psychology and science being their guides more than conventional Christianity--church membership dipped slightly during the 1920s.  

What is the difference between an attorney, lawyer, solicitor, and barrister?

A lawyer is a general term for someone in the United States who has graduated from law school and gives legal advice. A lawyer does not necessarily have to practice law. An attorney, or an attorney-at-law, is a lawyer who represents a client in courtroom matters, such as when pleading or arguing a case. In the United States, the terms lawyer and attorney are often used interchangeably, though there are some distinctions, noted above. A lawyer can use the word "esquire" after his or her name as an honorary title. A person can use this title without the approval of the American Bar Association, so some people use this name without the proper qualifications. 


In the United Kingdom, lawyers are divided into barristers and solicitors. A barrister, as the name suggests, can represent a client at the bar, meaning in court. Barristers often have areas in which they specialize, such as criminal law, chancery (trusts and estates), common law, and commercial law, among other areas. A solicitor, on the other hand, provides clients, who may be individuals, groups, or corporations, with legal advice. Solicitors work directly with clients and can provide them with representation in court in case of a dispute; however, they are more likely to refer the case to a barrister if it goes to court. 

Wednesday, October 5, 2011

In Shakespeare's Romeo and Juliet, what is Juliet's state of mind during act 4, scene 1?

Act 4, scene 1 of Shakespeare's Romeo and Juliet shows Friar Lawrence speaking with Paris when Juliet enters. She is not in the mood for games. She has come to speak with Friar Lawrence about her situation since Romeo has been banished for killing her cousin Tybalt. Once Paris leaves, Juliet reveals how desperate she is to Friar Lawrence. Juliet threatens to kill herself when she takes out a knife and says the following:



"Give me some present counsel; or, behold,


'Twixt my extremes and me this bloody knife


Shall play the umpire . . .


Be not so long to speak. I long to die


If what thou speak'st speak not of remedy" (IV.i.61-63, 66-67).



From the passage above it is obvious that Juliet is suicidal. She doesn't know which way to turn because she loves her husband, Romeo, but she has just come from a fight with her parents about marrying Paris. Her father just threatened to disown her and turn her out of his house if she doesn't marry Paris in a couple of days; so, she feels as though she has run out of options and patience due to the predicament she's caught in. Fortunately, Friar Lawrence speaks quickly enough to disarm Juliet and present her with a plan to escape her troubles. 

What are the benefits of using a one-group pretest-posttest design employing a non-probability sampling method for testing participants...

Quasi-experimental design is a research method that uses statistical controls as opposed to physical controls in an experiment. A statistical control is a variable used to test relationships between other variables in a social sciences study; it can also be called the control variable or the test variable. A difficulty in social sciences arises because human behavior is so complex that often we need to take into account three or more variables at a time, not just two variables as in the traditional scientific method of study. We call the need to test multiple variables multivariate analysis. Using a control variable in multivariate analysis allows us to see whether or not there is a relationship between variables, to see "how or why these variables are related," and to see if the relationship between variables holds for different people ("Chapter 3--Introducing a Control Variable (Multivariate Analysis)," Social Science Research & Instructional Center). The Dictionary of Sociology (1998) gives us the example of a study to find the relationship between unemployment and clinically diagnosed depression. A scholar might see that there may be a relationship between unemployment, depression, and social class as well; therefore, the scholar could use social class as the control variable by dividing the research data between working-class individuals and middle-class individuals. Results might show that, for all social classes, those who are depressed are also likely to be unemployed. Or, results may show that those of the working-class are no less likely to be depressed than those of the middle class; however, those of the working class have increased unemployment rates, and those who are unemployed have increased depression rates ("Statistical Control").

There are multiple quasi-experimental designs. One is the one-group pretest-posttest design. Using this method, one group of individuals is pretested, meaning tested before the actual experiment, on a dependent variable. A dependent variable is the variable that can be changed by the independent variable to see the relationship between the independent and dependent variable. In the case of participants of a support-group service, the participants would be considered the one group, whereas the support-group service would be considered the independent variable. Since the development of forgiveness is becoming accepted as an important healing tool for divorce support groups, one variable we might pre-test in a study of a divorce support group is levels of forgiveness. If all members of the group enter with low levels of willingness to forgive but develop higher levels as their group sessions continue, then we know it is the support group, as the independent variable, that is influencing the variable of willingness to forgive (Aysta, A. "A Quantitative Study of Forgiveness and Divorce Adjustment in Divorce Recovery Groups," Capella University). A post-test is a test of variables conducted after the experiment. In the above scenario, testing forgiveness levels after a number of support-group sessions would count as a post-test.

The one-group pretest-posttest design is useful as a quasi-experimental design because it allows for candidates to be tested both before and after treatment, which can better show the effect of the dependent variable; however, the method is still considered a weaker experimental design because it does not "control for potentially confounding extraneous variables such as history, maturation, testing, instrumentation, and regression of artifacts" ("Ch. 9: Experimental Research," University of South Alabama).

Ideally speaking, using random sampling in experiments is best for achieving reliable results; however, random sampling isn't always possible. As a consequence, scholars resort to using non-probability sampling in which samples are chosen based on what samples are available to the scholar and on the judgements of the scholar; judgements are based on what the scholar wants to achieve. Using non-probability sampling can be beneficial when the scholar does not plan to draw conclusions based on the results that can be generalized to the entire population. As an example, in the study above concerning the development of forgiveness in divorce support groups, using non-probability sampling would be very effective if the scholar wants to study what techniques are effectively being used by a particular support group.

Do you think O. Henry himself is the narrator of the story, "The Gift of Magi"? Why or why not?

There are several reasons to think that O. Henry is the narrator of his own story. One is that there is a great deal of authorial input. The author is commenting on his own story with interjections. For example:



There was clearly nothing to do but flop down on the shabby little couch and howl. So Della did it. Which instigates the moral reflection that life is made up of sobs, sniffles, and smiles, with sniffles predominating.



"The Gift of the Magi" is a Christmas story evidently intended to appear in the Christmas issue of a New York newspaper in the days when newspapers printed short stories on a regular basis, especially in their Sunday and holiday editions. O. Henry was a notoriously heavy drinker, said to consume two quarts of whiskey a day. He died at the early age of forty-seven of alcoholim-related diseases. He wrote many of his stories in saloons. The attentive reader will sense that O. Henry must have been half-drunk and writing this, his most famous story, under deadline pressure. He may have turned it in at the copy desk without proofreading it. He would have found that he repeated one bit of exposition several times.



ONE DOLLAR AND eighty-seven cents. 


One dollar and eighty-seven cents. And the next day would be Christmas.


Tomorrow would be Christmas Day, and she had only $1.87 with which to buy Jim a present.


Only $1.87 to buy a present for Jim. 


But what could I do—oh! what could I do with a dollar and eighty-seven cents?”



In addition to having to meet a deadline, O. Henry would have been required to fill up a certain amount of space with a minimum total number of words. He seems guilty of stretching his copy with the simple fact that Della had only $1.87 to buy her husband a Christmas present. His philosophical interjections would also help to stretch his story. 


Another lapse which could be overlooked by many readers occurs near the end, when Jim returns home from work. Della feels sorry for him. She thinks:



Poor fellow, he was only twenty-two—and to be burdened with a family!



What family? Why wouldn't Della think "...to be burdened with a wife" if she were his only obligation? It seems that O. Henry was thinking of introducing the fact that Della is pregnant! That might be appropriate for a Christmas story because it would be a strong allusion to the story of the birth of Jesus on Christmas day about nineteen-hundred years ago. But O. Henry must have had second thoughts. He wrote for a mass audience. Many of his readers might have gotten the notion that he was suggesting that Della's baby (if he said she was pregnant) was the promised second coming of Christ, which many readers would consider sacrilege. The magi were not poor and did not give presents to each other. They were rich kings and could give the baby Jesus gifts of frankincense, gold and myrrh. 


We can detect the workings of the author O. Henry's mind as he was writing "The Gift of the Magi." He might have written a somewhat different story if he had not been under the influence and under deadline pressure, probably writing in a noisy saloon on a cold winter night. 

Can you recall a fad that came and went during your lifetime? Did you participate in it? How long did it last? Why do you think it faded?

Pokémon Go is very popular now, but I have never taken part in this fad.  A fad is a trend that is usually short-lived.  When I was younger, there were many video game and card game fads, but I did not participate in any of them.  This is because my parents did not have much money when I was a kid, and when I was a teenager I had to work too hard to make my own money to spend it on things like that.  I had things that mattered more to me.  I was never much of a video game person.


One fad that I remember was the pet rock fad.  People actually paid for pet rocks! Often they would be decorated, and sometimes colorful hair would be glued to them, or clothes.  Faces would be drawn on them.  This is completely ridiculous.  It is the perfect example of how people will pay for anything when it is a fad.  People join in on fads just because they do not want to be left out.  The pet rock fad lasted a few months.   As soon as people move on to the next thing, the fad fades out.


While I never had a pet rock, I will admit that I did have a pet screw.  It was a screw in a little wooden box.  I had this pet screw ironically.  It was a joke about the pet rock fad.  I am not sure if that makes it better or worse!

Tuesday, October 4, 2011

How does one determine the level of public saving and the value of goods and services purchased by the government in the following scenario?The...

The level of government spending on goods and services is $3 billion because of the equation for GDP. As you can see in the link below, GDP is made up of four elements. Those elements are consumption, investment, government spending, and net exports. In this scenario, you have told us the country does not engage in trade. Therefore, there are no net exports. This means consumption, investment, and government spending have to add up to GDP. In this question, GDP was given as $20 billion, while consumption was $15 billion and investment was $2 billion. Consumption plus investment equals $17 billion, leaving $3 billion to reach the $20 billion level of GDP. Therefore, government spending is $3 billion.


The level of public saving is $-2 billion because public saving is, in essence, the level of the government’s annual surplus or deficit. What we have to do here is see how much the government takes in and how much it pays out. We can see the government takes in $4 billion in taxes. We can see the government spends $6 billion because it spends $3 billion on government transfers and $3 billion for goods and services it buys from people. If the government takes in $4 billion and spends $6 billion, it incurs a deficit of $2 billion, which means public savings are $-2 billion.

Monday, October 3, 2011

You need 14 kW of infrared laser light power with wavelength 1270 nm to bore a hole in a diamond. How many downward atomic transitions per second...

We know how much energy we need altogether: 14 kilowatts. So all we need to do is figure out the energy of each transition, and then that will tell us how many transitions we need.

The energy of the photon emitted by the transition is given by its wavelength according to this equation:


`E = {h c}/lambda `

Plug that in, and we have:

`E = (6.626 * 10^-34 J * s)(3.00 * 10^8 m/s)/(1.270 *10^-9 m) = 1.565*10^-16 J`

So now, we just divide that into 14 kW:

`(1.4*10^4 W)/(1.565*10^-16 J) = 8.946*10^19 s^{-1}`

So we need `8.946*10^19` atomic transitions per second.

Sunday, October 2, 2011

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. 

Saturday, October 1, 2011

In John Boyne's The Boy in the Striped Pajamas, how is Shmuel on a hero's quest?

The search for his father represents Shmuel's heroic quest in The Boy in the Striped Pajamas.


All heroic quests begin with an important mission.  Shmuel divulges this when he tells Bruno that he must find his father.  Shmuel tells Bruno that his father "went on work duty with some other men and none of them have come back."  Shmuel further informs Bruno that while he did "some exploration" to try to find him, he was not successful.


Like many heroic quests, Shmuel enlists help on his mission. When Bruno proposes to cross the fence into "Out-With," Shmuel recognizes that he could have assistance. Shmuel recognizes the value of having "someone to help him in the search for his papa." When Bruno crosses into "Out-With," he does not like what he sees and wants to return home.  As with many archetypal heroic voyages, the hero's focus does not deviate despite calls of protest or resistance.   When Bruno says he wants to stop looking, Shmuel reminds Bruno of the mission at hand:  "Shmuel stopped walking and starred at him.  'But Papa,' he said, 'You said you'd help me find him."  Upon being reminded of his promise and the importance of the quest, Bruno agrees and both boys continue to search until they are no longer able to do so.  


While it might not have been intentional, Shmuel sacrifices his life for the quest.  This shows a hero who gives everything they have to fulfill their quest.

find square roots of -1+2i

We have to find the square root of `-1+2i` i.e. `\sqrt{-1+2i}` We will find the square roots of the complex number of the form x+yi , where ...