Find the derivative if `y=e^(2x)tan(2x) ` :
Let u=2x and rewrite as:
`y=e^utanu `
Use the product rule noting that `d/(du)e^u=e^udu,d/(du)tanu=sec^2udu ` :
`(dy)/(du)=e^udutanu+e^usec^2udu `
Since u=2x, du=2 so we can rewrite as:
`(dy)/(dx)=2e^(2x)tan(2x)+2e^(2x)sec^(2)2x `
` (dy)/(dx)=2e^(2x)(tan(2x)+sec^2(2x)) `
In "America," written as a sonnet in 1921, Claude McKay, a poet born in Jamaica, compares America in an extended metaphor to a woman who is energetic but cruel. She "feeds me bread of bitterness" and "sinks into my throat her tiger’s tooth." These images are striking contrasts with the way America is often portrayed in poetry, as a noble Lady Liberty who stands for freedom and equality.
McKay has mixed emotions about America. While she is cruel, there are parts of America he loves, such as her "vigor." In a simile, he compares America's energy to the forceful flow of tides. She gives him strength to combat her own hatred, and her size is compared, in another simile, to a flood. Then, McKay compares himself to a rebel who stands before a king, and he finds himself suddenly without hate or fear when he does so. In the last few lines, he gazes into America's future and sees her, in a metaphor, like statues sinking into the sand.
The America that McKay presents represents a duality. The country has both energy and power, as America did during the 1920s, but it also was filled with racism and hatred for African Americans. In the end, McKay predicts that America's promise will be unfulfilled, describing its statues sink into the sand and decay.
Harper Lee illuminates the importance of receiving a moral education from good parents as opposed to learning at a rigid school system. Throughout the novel, Lee portrays school to be a boring atmosphere where hypocrisy is evident and talented children work well below their abilities. Scout absolutely hates school; rather than praise her already well-established reading and writing skills, Scout's first-grade teacher discourages her from reading and writing at home. Scout's classmates are rural children who have no interest in education and Scout tries her best to stay home. Despite Lee's negative depiction of the education system, she enthusiastically supports good parenting by including scenes where Atticus teaches his children important lessons on courage, tolerance, race, and morality. Both Scout and Jem listen to their father and watch as Atticus leads by example. Scout and Jem mature and develop new perspectives and empathy for others by listening to Atticus. Jem changes from being a naive child who fears Boo Radley and doesn't realize the predominant racism present in his community to a young man who seeks to change and better the world. Scout also changes from a naive child who solves problems with her fists to a kind, compassionate individual. Scout and Jem grow into understanding, morally upright individuals like their father and sympathize with society's outcasts. Towards the end of the novel, Jem understands the importance of protecting innocent beings and develops into a thoughtful, courageous young man. Scout also grows up and develops a sense of understanding. She shares Atticus' tolerant attitude toward others and realizes Boo is simply a kind, shy individual and not the "malevolent phantom."
In the Declaration of Independence, Thomas Jefferson wrote that all people have certain unalienable rights that can’t be taken away. These rights include the rights of life, liberty, and the pursuit of happiness. One of the main jobs of the government is to protect the rights of the citizens.
Thomas Jefferson stated that when the government fails to protect the rights of the people, the people have no option but to replace that government with one that will protect their rights. In the Declaration of Independence, there is a long list of grievances that the colonists had against the King of England. This list included examples of how the King of England abused the rights of the colonists. For example, the British taxed the colonists without allowing the colonists to have representatives in Parliament that could vote for the proposed taxes. As a result, Thomas Jefferson wrote in the Declaration of Independence that the colonists had to rebel against the British government in order to establish a new government that would protect the rights of the people.
Through these case studies, we learn that the health of the environment is directly proportional to the actions of individuals. Even though Urras and Anarres thrive on seemingly contradictory principles, the citizens of both worlds have evolved effective means of working within their ecological structures. As he traverses the fertile plains of Urras, Shevek finds himself admiring the beauty of the land; he comes to the conclusion that the Urrasti know how to use their world to their advantage. On Urras, "the lure and compulsion of profit" seems to be as much of an incentive as the "natural initiative" and "spontaneous creative energy" on Anarres. Like the Anarresti, the Urrasti people know how to cultivate and work their farmlands to their advantage.
Despite the arid nature of Anarres' landscape, the people thrive in egalitarian, socialist communities. The interchange of ideas, crops, and technology benefit a network of inter-connecting regions; thus, the people of Anarres are able to leverage social and natural ecology to their advantage. In Abbenay (the capital and center of Anarres), they cultivate Old World grains to balance the general staple crops of ground holum and mene-grass. Economy is practiced as an environmental ethic: the wind-turbines and earth temperature-differential generators are not used for heat when outside temperatures reach above 55 degrees Fahrenheit. The prevailing philosophy is that "excess is excrement."
On the other hand, Terra is used as an example of what Urras and Anarres could become if excess materialism and ensuing centralization are adopted:
We saved what could be saved, and made a kind of life in the ruins, on Terra, in the only way it could be done: by total centralization. Total control over the use of every acre of land, every scrap of metal, every ounce of fuel. Total rationing, total birth control, euthanasia, universal conscription into the labor force. The absolute regimentation of each life towards the goal of racial survival.
On Terra, the people despoil their natural environment for their own gain and then usher in an oppressive bureaucracy to reign over the ensuing chaos. To summarize, the examples of Terra, Urras, and Anarres support the hypothesis that the well-being of the environment is directly proportional to the actions of individuals.
The events that take place in Boyne's work happen because people do not take action to fully prevent them. This becomes the cautionary tale behind The Boy in the Striped Pajamas.
While Boyne's work deals with a vast topic, its focus is a very human one. The work does not look at the rise of Nazism and the Holocaust from social, political, or economic dynamics. Rather, its presentation focuses on the actions of human beings. For example, Bruno's father is excited about the career advancement opportunities at being placed in charge at "Out- With." When he rejects the pleas from Bruno's grandmother to stop participating in brutality, it is clear that he is making a conscious choice, one he comes to regret upon finding out the truth of what happened to Bruno. This same element applies to Bruno's mother. She knows what is happening in Auschwitz and wants to protect her children. However, when she leaves with Gretel back to Berlin, it is clear that her action was taken too late. Her opposition in the form of departure is what she should have done when Bruno was alive. Once again, a person's action is a critical entity when explaining the presence of human suffering. Bruno represents the ability to take action on the opposite side of the equation. In standing up for Shmuel, he does what he believes is right. Nazism and the Holocaust might have been averted if more people acted like Bruno did. Boyne is suggesting that human beings can take action that either stands up for the rights of others or increases the suffering of other people.
Such a message is the reason why the novel operates as a cautionary tale. Throughout the world, there are situations where people have the power to stop human suffering or perpetuate it. While we might suggest that there are elements outside of our control, Boyne seems to be arguing that on the smallest of levels, we can take action to either stop injustice or increase its presence. Such a revelation is what reminds the reader that events such as what was shown in the book could happen again if human beings are not vigilant and mindful of the role they play.
The judicial branch of the federal government is made up of the Supreme Court and other appellate courts throughout America. The Supreme Court was created by Article III of the U.S. Constitution. It handles whether or not a law is constitutional through a practice called judicial review. The precedent of this was created with the case of Marbury v. Madison (1789) in which Jefferson's Secretary of State James Madison sued to keep John Marbury off the federal court bench. Marbury was part of John Adams's "midnight justices," a group appointed in the last days of the Adams administration to keep Federalist laws in place. It was really Supreme Court Justice John Marshall, who would go on to serve over thirty years past this ruling, who created the process of judicial review. Cases are argued in appellate courts and they can be appealed all the way to the Supreme Court. Supreme Court justices are appointed by the President with Senate approval, and the appointment is a lifetime position unless the judge voluntarily retires.
Since that time, the Supreme Court has been part of famous if not controversial hearings. They ruled in favor of slaveowners in the case of Scott v. Samford, when Chief Justice Taney ruled that slaves could not sue in court. They also ruled in favor of integration in the case Brown v. Board, which ended segregation in schools and was used as a precedent to promote integration throughout America.
Looking up at Juliet's balcony, Romeo asks, "But soft, what light through yonder window breaks? / It is the East, and Juliet is the sun" (2.2.2-3). This metaphor, comparing Juliet to the sun, shows just how important she has already become to him, how intense his love for her is. We need the sun in order to survive; it makes human life possible. Therefore, Romeo equates her with one of the most vital necessities we have; it is as though he requires her to live -- this is how strong his love feels already.
Later, when Juliet sends her nurse to Romeo after he's been banished for slaying her cousin, Tybalt, she says, "Give this ring to my true knight / And bid him come to take his last farewell" (3.3.155-156). Despite the fact that he has murdered Tybalt, Juliet's love for him remains strong. In fact, she sends a ring to help lift his spirits, and she calls him her "true knight," implying that she only sees him as chivalrous and virtuous and good. Her love is so intense that even Romeo's terrible error in judgment cannot damage it.
In Juliet's tomb, believing her to be dead, Romeo says, "Shall I believe / That unsubstantial death is amorous, / And that the lean abhorred monster keeps / Thee here in dark to be his paramour? / For fear of that I still will stay with thee / And never from this palace of dim night / Depart again" (5.3.102-107). Romeo's love of Juliet is so strong that he doesn't even want her to exist in death without him. If she is dead, then he wants to be dead too. It is as though he would protect her no matter what, and so he must stay with her forever -- whether in life or in death. Their love is so intense that neither one can conceive of a life without the other.
Jonas’s problem is that his community is overly restrictive and after he begins his training as Receiver of Memory he realizes this and wants to do something about it, so he runs away.
The situation in Jonas’s community is not something that he is aware of until he begins his training as Receiver of Memory. Like everyone else in his community, he thinks that his community is perfect. Once he becomes the new Receiver and begins training, he realizes that his community has made a lot of compromises and trade-offs for this perfection.
Jonas’s community wants everyone to be happy. In the pursuit of this goal, the community has instituted a policy of Sameness. This means that there are strict rules for every aspect of life, and most decisions are made for the citizens. They have common property and relationships are created for people.
Jonas's training gives him, and only him, access to memories of how things used to be. As Jonas continues his training, he feels more and more isolated from people. He starts to understand that they are living a life that is outside of what humans are meant to experience. They do not live a full life.
They have never known pain, he thought. The realization made him feel desperately lonely, and he rubbed his throbbing leg. He eventually slept. Again and again he dreamed of the anguish and the isolation on the forsaken hill. (Ch. 14)
Jonas’s community does not know pain, but they also do not know love. There is no romance, because the population is controlled and people take special pills to prevent puberty. Because of this, there are also no families in the sense that we know them. No one knows affection. Jonas realizes that people are missing out on a large part of the human experience.
When Jonas realizes that his community has an even darker side, he decides to take action. This comes when he sees his father give a lethal injection to a newborn baby. His community calls this release, and it is fairly common.
He killed it! My father killed it! Jonassaid to himself, stunned at what he was realizing. He continued to stare at the screen numbly.
… Then he picked up a small carton that lay waiting on the floor, set it on the bed, and lifted the limp body into it. He placed the lid on tightly. (Ch. 19)
Jonas decides to address this problem by running away. He has the help of his mentor, The Giver. When Jonas runs away, the community's memories will return to them, and they will no longer be able to maintain the Sameness than they have been trapped in.
Horses are sensitive and in some ways fairly delicate animals; whoever cares for them must have knowledge that they are different from other common domestic animals.
Anna Sewell said herself that she wrote the tale of Black Beauty "to induce kindness, sympathy, and an understanding treatment of horses" Sewell's intention in writing Black Beauty was not primarily to write a children's novel, but to inform readers specifically about the evils of the bearing rein. In addition to this issue, Sewell hoped to teach others about the care and feeding of horses, and, especially, the humane treatment of horses since they were the primary means of transportation in her time.
Some lessons:
Some teachings on horses:
J. is the narrator. As such, he is an astute observer of life. He likes to tell stories, that’s for sure. Everything he sees or comes into contact with reminds him of a relevant incident from the past. We don’t know if he has a “real” job. He sometimes appears to be lazy, and he’s probably a hypochondriac. But he also seems to be the leader of this little circle of friends. This trip would probably not have taken place without his involvement. He packs the equipment and the clothing for the trip in Chapter IV.
William Stanley Harris is known as simply “Harris” for most of the book. We’re not sure if he has a “real” job, either. According to J., Harris is the kind of person who boasts about being adept at a certain task, and thinks to himself he can do that task very well, but always falls short and causes misery to those around him. In Chapter III, J. equates his friend with his own Uncle Podger, who acts the same way. Another story to support this trait comes in Chapter VI, when Harris tells the story of once getting lost in the Hampton Court maze. For this trip, J. and Harris start off together before picking up George.
George works at a bank—although, according to J., his friend sleeps on the job and doesn’t really do anything at all. He and Harris tend to poke fun at George. The man does get confused at times. At the beginning of this trip, J. and Harris pick George up along the way (as detailed in Chapter VIII). He has a banjo and instruction book with him. He intends to learn the nuances of the instrument on the trip. Uh-oh.
What an interesting assignment. Shakespeare's Othello offers many choices. You can choose an incident that is a turning point in the play--when the incident results in a character's or characters' change in fortune, such as Othello succumbing to Iago's persuasion in Act 3, scene 3, or Cassio getting drunk in Act 2, Scene 3. In this case, you would analyze the causes and effects of the scene and how Shakespeare constructed this scene to show these causes and effects. You might analyze each character's motivations as portrayed in the scene, and the various conflicts that are present. Don't forget to include a discussion of the staging techniques used--which characters are on stage, what they are doing, what tone is created.
Another approach might be to choose a scene that you think is especially key in understanding a particular character's situation or plight. You might discuss such a scene as Othello spying on Iago and Cassio in Act 4. This one works so nicely because it shows a stark contrast to the Othello we saw in Act 1. Instead of standing tall, self-assured of himself and his love, we see him literally hiding and spying on who he thinks is his wife's lover. They dynamics between Othello, Cassio, and Iago have completely changed, and this change is reflected in not only their words, but also their positions on stage. Instead of Cassio being Othello's chosen one, Othello now believes that he deserves to die, and Iago has now become Othello's eyes, ears, and interpreter, as Othello hides and watches as Iago interacts with Cassio. The dramatic irony in this scene intensifies the audience's reaction to these characters. We KNOW that Cassio is discussing Bianca, not Desdemona, and we watch in horror as Iago makes Othello believe what would have been inconceivable to him in the first act. There are more aspects of this scene to discuss-- Othello's changed speech patterns, his feelings of loss and betrayal, Iago's mastermind and methods, Othello's intense and explosive reactions.
When you choose your scene, think first what the purpose of this scene is. Or what would be lost if this scene were omitted. Then look more closely to see how Shakespeare crafted the scene to achieve this purpose. Good luck with this assignment.
Charles C. Mann's book 1491 is considered groundbreaking because he looks at American history from an indigenous point of view. The book states that indigenous societies were older than already thought and that they were every bit as strong and diverse as contemporary societies in Africa and Europe. Many academics have praised Mann's work as adding to the historical conversation about Native American tribes, as most of the work done in this field has been based on the natives' relationship to the European.
Mann's work does have some bias, however. He discounts most of the work done over the last two hundred years by previous native historians as being biased towards Europeans and, in many cases, racist. While this is a valid point in many cases, it would be a mistake to throw out all of the work done in this field over the last hundred years. Also, Mann is not an anthropologist by trade, so his arguments would carry more weight if he included some work done by leading anthropologists. Mann's 1491 is most valuable in that this is one of the first mainstream history books that looks at Native American achievements pre-Columbus; hopefully other books will find a way to combine earlier historical studies with Mann's.
Creating a visual representation of a character can be difficult. Good for you for undertaking this challenge!
When you read the book "An Ember in the Ashes" first look for hints from the author as to what Elias might look like. Perhaps the author mentions an item of clothing Elias wears or his hair or eye color.
Next, consider the character's age and maturity. Elias is young but he has faced many difficulties in his life that might make him look older than expected.
Make a note of key scenes in the book that you think really define Elias's character. What or who is important to him? What is he afraid of? What are his goals? How does he change throughout the book? These things can help you create a mental picture of the character.
A crucial piece in creating a visual representation of a character is considering your character's context. For example, it would be important in illustrating a historical novel to accurately represent the hairstyle and dress of the specified cultural time period.
Likewise, a character's occupation, social background, and economic standing all influence his or her visual representation. In "An Ember in the Ashes" Elias has trained to be an assassin at a military academy so you could research clothing styles that reflect his occupation.
Finally, don't be afraid to try many ideas until you find one that is a good fit for you. The process of creating multiple representations of one character is useful in developing your skills in visual art. Good luck!
Hello!
This differential equation is a separable one, it is possible to separate `y` from `x.` For this, simply divide both sides by `(y^2+4):`
`(y')/(y^2+4) = 1/(x^2+16).`
`y` is at the left side only, `x` is at the right side only. Moreover, both sides are integrable in elementary functions:
`1/2 arctan(y/2) = 1/4 arctan(x/4)+C,`
or `arctan(y/2) = 1/2 arctan(x/4)+C.` (1)
Now use the given boundary condition, `y(4)=1,` to find `C:`
`arctan(1/2) = 1/2 arctan(1) + C,` or
`C =arctan(1/2) - 1/2 arctan(1) = arctan(1/2) - pi/8.`
If we take `tan` of the both sides of (1), we obtain
`y(x)=2tan(1/2 arctan(x/4)+arctan(1/2)-pi/8).`
This is the only solution.
The ghost of Jacob Marley, Scrooge's former business partner who died seven years before, appears before Scrooge in chains on the anniversary of his death. He tells Scrooge this same fate awaits him if he does not dedicate himself to his fellow men and women but instead only cares about making money. Scrooge makes many feeble defenses of Marley that he, Scrooge, would also apply to himself, including that Marley was a good man of business and that he was a good friend to Scrooge. To Scrooge's protestation that Marley was good at business, Marley replies, "Mankind was my business," intimating Scrooge should have dedicated himself to other people, not just to making money (23). Scrooge is clearly afraid of Marley's ghost, but he doesn't yet heed his message. After Marley leaves, Scrooge immediately goes back to sleep.
The theme of "To Autumn" is the transitory quality of nature.
In one of the marvelous letters written by Keats to friends, he explained that he composed "To Autumn" because
Somehow a stubble plain looks warm--in the same way that some pictures look warm--this struck me so much on my Sunday's walk, that I composed upon it.
The three stanzas of Keats's ode depict this tempered warmth of Autumn with its own beauty, although like the other seasons it is transitory.
In the first stanza Autumn has "conspired" with Summer, its "close-bosomed friend," a personification with suggests the mating process since fruit is then produced. Then, in the second stanza, the bounty of nature is harvested and Autumn sleeps after all her work, her
hair soft-lifted by the winnowing wind....Drowsed with the fume of poppies....
Finally, in the third stanza Keats underscores the importance of the role of Autumn and harvest time: "thou hast thy music too." For, there is a ground choir of gnats that "mourn among the river sallows," along with the robins, grasshopper, and crickets, who sing while the"twittering swallows" gather in the sky. These creatures express the melancholy in delight which Keats often felt. Autumn is the most bountiful of seasons, rich in its fruitfulness and the music of its sounds; however, winter does approach, signaled by the gathering swallows in the skies. Like all seasons and all life, it is temporal.
The answer would depend on what one means by the "outcome." It is vital to the division of Europe into NATO and the Soviet Union as the Allies progress on the Western Front was important in determining that division. However, if the outcome simply means that Germany and the Axis losing the war, DDay is not necessarily that important.
The economic and strategic trends that led to the defeat of the Axis in both Europe and the Pacific were well on their way by the time the Allies landed in Normandy. The growth of industry in the United States that would produce the massive material advantage in the Pacific would combine with the overwhelming manpower and eventual technical parity on the Eastern front brought to bear by the Russians.
So D-Day served to hasten the end of the war in Europe but had it happened at a different time or not necessarily happened at all, Germany was still on its way to defeat.
"On Kiley's Run," "Brothers and Sisters," and "South of My Days" are all poems about Australia's past, including its settlement by the English--a process in which hopeful dreams met with bare reality. "On Kiley's Run" by Paterson is a poem about Australia's past and early settlement in the bush. The poem uses the central image of the run of sheep to show how times have changed in Australia. Written in a rhyming form, the poem is narrated by a settler who remembers the "good old station life." This refers to the types of settlements that Australians who raised livestock would live in. They were generally granted leases to the land by the British crown. The life he describes is pastoral and communal, and the sheep use the run to feed themselves. He says of watching the racehorse, "the sport was free." Kiley, the ranch owner, did not charge people for watching racehorses, and they lived together peacefully.
However, droughts destroyed this carefree way of life, and "Old Kiley died--of broken heart." In the second half of the poem, Patterson sets up a contrast between the free and lively times when the ranch was run by the station to the more modern times when it is run by an absentee landlord who lives in England. The main concern of the new owner is "how to dock/Expenses." He cuts the wages of the people who live on the ranch, and the sheep that pass by can't use the land to graze on. The ranch does not have a neighborly feel now, and "All life and sport and hope have died." This poem is about the death of the early and what in retrospect was an exuberant settler's life in Australia and the turning over of ranches to private interests. Aboriginal people are not referred to in Kiley's poem, though the stations were built on land that the Aboriginal people lived on.
Like Paterson's poem, Wright's "Brothers and Sisters" also deals with the decline of the dreams of English settlers in Australia. The road where they settled "turned out to be a cul-de-sac," and this image is a metaphor for the settlers' lost dreams, as they realize that "the plans were lost" to build a bridge to the coast. Instead, they live on in a situation of gradual decay. Wright's poem, like Paterson's, uses a series of images to portray this decay, such as the pianola that "has lost a note." The idea of the "bush coming near" means that the Australian wilderness where the Aboriginal people live is reaching the settlers' land and reclaiming it. The theme of this poem is very similar to that of "On Kiley's Run," though it uses a more modern poetic form without rhyming and with stanzas of different lengths (Paterson's stanzas are of equal length).
"South of My Days" by Wright also talks about Australia's past through the voice of a narrator who grew up near the tableland. The narrator speaks about Dan, an old ranch hand who can narrate 70 years of stories about the past, including one about the drought in "nineteen-one." These stories are in the narrator's past, and she dreams about them as she thinks about "the lean high country/full of old stories that still go walking in my sleep." This poem is also similar to Paterson's in theme, though it also uses non-rhyming lines and a more modern form. For more information about aboriginal poetry, see the link below. There are poems by Oodgeroo Noonuccal, an Aboriginal poet and activist. You can compare her poems, such as "No More Boomerang," to those of Wright. Her poems deal with Aboriginal people and the Australian landscape.
Your question can be considered two ways.
1. First, I'll assume you're talking about the business term “marginal revenue.” Marginal revenue is the money a business makes by increasing its sales by one unit. It can be a complicated economic concept to understand. A company's goal, of course, is to keep marginal revenue above marginal cost—this means they are making a profit. Some health care organizations are for-profit companies. To stay in business, they are going to have to keep marginal revenue high enough, or marginal cost low enough, to keep making a profit. Once revenue falls below cost, it is no longer a financially viable business. They are also going to have to make enough profit to make shareholders happy and help their company expand and develop.
2. It is possible, however, that you mean “some revenue” by the using the term “marginal revenue” in your question. In other words, you might be asking why a health care organization needs to be making at least some money, or be at least a bit profitable. The answer is similar to the answer in the first paragraph, with an important difference. A non-profit health organization exists to provide a service, not to turn a profit. But to keep operating, they still probably need to generate a little bit of profit—after all, they need to be able to hire people, buy equipment, buy supplies, pay for expensive insurance, etc.
So, although they are not tasked with making money for shareholders or for a parent company that is trying to expand, they can only continue to exist if they make enough money to stay afloat. Due to the nature of competition and inflation, that means making a little more money over time than they did previously. It also means making at least a little more money than they spend.
Two quotes about how the conch demonstrates civilization on the island include the boys coming when the conch is blown or listening to the person who is holding the conch.
The conch is a special shell that makes a loud sound when you blow into it. Ralph and Piggy find it, and Piggy tells Ralph to blow into it. When he does, all of the boys come to join him. The conch is the thing that brings them all together.
Signs of life were visible now on the beach. The sand, trembling beneath the heat haze, concealed many figures in its miles of length; boys were making their way toward the platform through the hot, dumb sand. (Ch. 1)
The boys use the conch from then on to run their meetings. The person who has the conch is the one who talks, and the other boys are supposed to obey the conch and listen. It works pretty well for a while.
When the little kids are afraid that there is a Beastie on the island, one of the littlest kids speaks up at the meeting, which is unusual because they are normally dominated by older kids. This shows that the conch allows the boys to be more democratic, giving everyone a chance to speak.
“Let him have the conch!” shouted Piggy. “Let him have it!”
At last Ralph induced him to hold the shell but by then the blow of laughter had taken away the child’s voice. Piggy knelt by him, one hand on the great shell, listening and interpreting to the assembly. (Ch. 2)
The conch allows for civilization because it symbolizes order and power. It is what brought all of the boys together, so it has great meaning. The boys come when called. They raise their hands. They listen to the person who has the conch, no matter how small.
Shakespeare's Julius Caesar is a depiction of the downfall first of Julius Caesar, and then of the conspirators who assassinated him, including Cassius and Brutus. Mark Antony, however, does not actually experience a downfall in this particular play. Indeed, he uses his considerable rhetorical skills to both engineer and end up on the winning side of the later conflict with the conspirators. As a matter of fact, at the end of the play he seems poised to acquire more power.
That said, Antony does experience a downfall; it's just not in Julius Caesar. Instead, Antony's downfall occurs in another play, Antony and Cleopatra, which depicts events after the assassination of Caesar and the defeat of Cassius and Brutus. In the play, Antony is a member of a triumvirate (three men ruling the Roman world). Many things contribute to Antony's downfall, but one of the most important is his obsession with Cleopatra. Antony's infatuation with Cleopatra causes him to become blind to the tenuous nature of his situation, and also to neglect his duties as a leader. For instance, when Cleopatra's ship flees the battle of Actium, Antony follows suit, leaving his army to suffer defeat at the hands of Octavius, Antony's former ally in Julius Caesar and the future emperor of Rome. As such, though his obsession with Cleopatra is not the only quality that leads to Antony's downfall, it's certainly one of the most important.
This quote, of course, is from 1984, Orwell's other and equally famous dystopian novel. It is found when O'Brien explains the purpose of power to Winston during his torture and re-education at the Ministry of Love near the end of the book, and it is intended to show that dictatorships are never really established in order to bring about some sort of social change (as was argued by Communists, for example.) In reality, dictatorships were all about power, and O'Brien is telling Winston that the Party will continue to increase its power, in increasingly subtle ways, over the people.
So what does this have to do with Animal Farm? As the book goes on, we see that the revolution the animals have carried out, motivated initially by the teachings of Old Major and the horrors of human rule, has become perverted by its leaders, the pigs. Napoleon and the other pigs are using their leadership of Animal Farm to enrich and arrogate power to themselves, and by the end of the book they are scarcely different from their human rulers at all. They have, through a series of lies perpetuated by Squealer, continued to justify the dictatorship they have established by referring to the original ideals of Animalism, but the reader sees that it is all a sham. The animals are no better off than they were under Jones, and they can envision a sad future not unlike the grim vision described in the quote from 1984.
At the same time, the critique of power offered in Animal Farm is perhaps a little less nuanced than 1984. The pigs are motivated by naked self-interest. They do not wield power just for the sake of power, but rather enrich themselves through dealings with the humans. It is unclear that the Party has such interests (indeed O'Brien says, in not so many words, that they do not.) Their goal is to control all of human behavior for the sake of power itself, whereas Animal Farm portrays the pigs as simply greedy and self-interested, if equally ruthless and brutal. Exploring these similarities and differences would make for a strong essay on the theme of power revealed in the quote, and any strong thesis should focus squarely on this theme.
Gulliver describes the dress of the people of Lilliput in quite flattering terms in part because he found much to admire about them and in part because they were so small that everything about them seemed very fine (consider his encomiums on their perfect skin, etc.). Gulliver describes the dress of the emperor of Lilliput as being "very plain and simple, the Fashion of it between the Asiatick and the European." Gulliver means plain and simple to be compliments, as the emperor is dressed simply but smartly. He wears a gold helmet, studded with many jewels, and crowned with a feather plume. Gulliver says that both the male and female courtiers are dressed "magnificently," all embroidered with gold and silver, so that when they all stand in a group, it looks like a beautiful petticoat has been spread out on the ground.
In “Where Are You Going, Where Have You Been?” by author Joyce Carol Oates, Connie is the main character, a fifteen-year-old girl leading a relatively normal life. Connie appears superficial towards the beginning of the narrative, focused on many of the trivial problems that are associated with youth, from vanity to her infatuation with boys. Connie begins the narrative as a selfish and rebellious teenager who thinks little of the consequences of her actions on those around her, such as her family. She has a strong romantic side and is in love with the idea of love, even if she does not exhibit the emotional maturity required for a successful relationship.
Connie is often shown to be careless of the feelings of others, especially the boys who have demonstrated an interest in her. Once a boy makes it known that he likes her, she admits losing interest in him. Connie's friend, Arnold, puts these weaknesses to use in his attempt to manipulate her and gain control of her emotions. Arnold plays on Connie's superficiality, pulling her deeper into his world of lies, threats and menace through her own naivete. Arnold is able to exploit Connie's desire to be seen as attractive and to fit in, but he ultimately serves as the reason for her character's development. When Arnold threatens Connie's family, she goes along with his plans in order to protect them, demonstrating self-sacrificial characteristics she does not initially seem capable of.
Connie is a two-dimensional character on the surface, consumed with vain pursuits and concerns, but as the plot of “Where Are you Going, Where Have You Been?” deepens, so does her character. In summary, Connie is really a multi-dimensional character capable of alternating selfishness and selflessness, when the occasion calls for it.
Graphic elements can have two slightly different meanings, and while I see this is posted under "Literature," I am not sure which context is being asked about. I will address both. As a general matter, something that is graphic is something that is visual, and that definition is the underpinning for both contexts I will discuss.
In literature, we call graphic elements those that have a vivid enough description to allow the reader to see what is being described. Sometimes I hear this term applied to a passage that is quite violent or sexual in nature, and you will hear parents complain from time to time that they do not want their children exposed to graphic elements. Nevertheless, this term is applicable to any description that allows us to easily visualize. This could be a description of a person, natural phenomenon, building, or action. One book that immediately comes to my mind when I hear this term is Young Men and Fire by Norman Maclean. He goes deep into the heart of a fire, and when you are done reading, the images you are left with are vivid and seared into your memory.
In poetry, graphic elements have a bit of a more specialized meaning. There is a strong visual aspect to poetry: the layout of the words on the page (haikus are a good example), or the use or absence of capitalization, as seen in e.e. cummings's poetry. Poets takes care with the graphic elements, which can contribute to the understanding and enjoyment of the poem. Otherwise, the poet could just write in paragraphs. Lines are broken up into the units they are can be just as much due to graphics as they can be done for rhythm or rhyme. Found poetry, certainly, is dependent upon its graphic elements.
No matter whether you are discussing literature in general or poetry in particular, remember that either way, graphic elements are visual elements—either those you can visualize because of the narrative or those you can appreciate because of their particular layout on the page.
According to Freud's tripartite model, the psyche consists of three parts: the id, ego, and superego. The id operates under the pleasure principle; regardless of the consequences, the id wants to satisfy every desire immediately. On the other hand, the ego operates under the reality principle; it is primarily concerned with pragmatic considerations in satisfying the id's demands. It should be noted that the ego considers societal norms and etiquette in its deliberations. The superego consists of the ideal self and the conscience, which are both determined through upbringing and parental influence.
In Le Guin's book, Odonian idealism has to exist with an equally opposing force: gratuitous self-interest. As a character, Sabul exemplifies what happens to individuals who are influenced by it.
Accordingly, Shevek learns Sabul is actuated by a personal desire for aggrandizement; the older man orders Shevek to hide his newly-acquired knowledge of Urrasti physics and Iotic from other scientists. The truth is that, without fluency in Iotic, no Anarresti scientist can delve into the concepts of Urrasti physics. For his part, Sabul wants to preserve this status quo of affairs. In desiring to use his knowledge of Urrasti physics as a source of power over his colleagues, Sabul is operating under the pleasure principle. With Sabul, the id's demands take precedence over the ego and superego's demands. By appropriating other scientists' work for his own, Sabul rejects the traditional Anarresti concepts of mutual reliance, solidarity, and disinterested benevolence.
Sabul is definitely an example of how this oppressive force influences individuals adversely.
Proteins are polymers consisting of amino acids linked together by peptide bonds. The genetic code for building any protein is located in an organism's DNA in the cell's nucleus.
Messenger RNA is able to copy the DNA code in a process called transcription and this transcript travels out of the nucleus to the cytoplasm where a ribosome attaches to it and decodes the transcript in a process called translation. Every three nitrogenous bases is a triplet known as a codon. Each codon is the instructions to form a particular amino acid to be added to the growing polypeptide chain.
Human insulin is a small protein molecule which has two chains attached by disulfide linkages. The first chain has 30 amino acids and the second has 21 amino acids. Since three nitrogenous bases are in each amino acid, there are 90 nitrogenous bases to code for the first chain and 63 to code for the second chain. The sum total of nitrogenous bases to code for the protein insulin is 153.
I have included a link to show insulin's structure and information on how the DNA code is used to produce insulin using recombinant DNA technology.
Macbeth goes into the courtyard where Lady Macbeth is waiting after killing King Duncan. Lady Macbeth is surprised because he is flustered from the deed and he is still holding the daggers.
Lady Macbeth is in the courtyard waiting for her husband to kill King Duncan according to their plan, so that he can become king instead. She is fretting a bit. She comments about the fact that she made the plan and laid everything out so that he couldn’t possibly mess up. She couldn’t do it herself, though. Duncan looked too much like her father.
LADY MACBETH
Alack, I am afraid they have awaked,
And 'tis not done. The attempt and not the deed
Confounds us. Hark! I laid their daggers ready;
He could not miss 'em. Had he not resembled
My father as he slept, I had done't.Enter MACBETH
My husband!
MACBETH
I have done the deed. Didst thou not hear a noise? (Act 2, Scene 2)
Macbeth is all upset because he thought he heard one of the sleeping grooms talking about murder and using his name. He did manage to kill Duncan and the grooms, but he is flustered and confused.
She notices that Macbeth took the daggers from Duncan’s chambers instead of leaving them there to frame the grooms. Upset when she sees Macbeth come back with the daggers, Lady Macbeth chides her husband for not following the plan.
Why did you bring these daggers from the place?
They must lie there: go carry them; and smear
The sleepy grooms with blood.(Act 2, Scene 2)
Lady Macbeth is annoyed that her husband didn't follow their plan to frame the grooms. She takes the daggers and tells him to wash his hands. Later, Lady Macbeth will be just as haunted by this deed and the blood on her hands.
In this scene, Romeo and Juliet bid each other farewell after spending their first night together as husband and wife in Juliet's bedchamber. Romeo has been banished to Mantua for killing Tybalt, and the audience knows this scene will be the last time they see each other alive (of course, Juliet is technically alive when Romeo encounters her lifeless body in the Capulet crypt, but he doesn't know that). As they reluctantly part, Romeo reassures his wife that they will see each other again soon, but Juliet fears otherwise, and tells her husband of a chilling vision:
O God, I have an ill-divining soul!
Methinks I see thee, now thou art below,
As one dead in the bottom of a tomb.
This exchange, like several others in the play, foreshadows the tragic end that the audience has known since the Prologue is imminent. As it turns out, Juliet's vision is sadly prophetic; she does, in fact, eventually find Romeo dead in a tomb. When Romeo encounters her body, he believes she is dead, and kills himself out of grief. Juliet awakes to discover him dead and takes her own life.
There are three major places of importance in the novel The Absolutely True Diary of a Part-Time Indian by Sherman Alexie. The first place that is important to understanding the story is the Rez, or the Indian reservation where the protagonist Junior and many of the main characters live. This is a place which is essential to the story, because it symbolizes the struggle of Junior's tribe but also of Native Americans in general, as they work to find a place to fit in in a country which has attempted to cast them aside to make it easier to ignore them. Junior, the main character, is very aware of this fact, and thus views the Rez as both a blessing and a curse. He sees it as a place which prevents him from finding a better life and a better opportunity for happiness. In Chapter 2, on page 13, Arnold says, "But we reservation Indians don't get to realize our dreams. We don't get those chances. Or choices. We're just poor. That's all we are."
However, he also sees the Rez as a place where he finds a lot of support and unconditional love, which are necessary ingredients for living a full life and growing into a well-rounded person capable of dealing with adversity. There, he sees a lot of bad things; he witnesses racism, violence, death, self-destruction, and the consequences of living in extreme poverty. He also sees people come together in beautiful and moving ways as a community, and this is something that Alexie wants us as the readers to take into account. To see both sides of the Rez is to understand the duality of the experience of being Native American in a country which can be cruel and unforgiving.
The second important place is Junior's school on the Spokane Indian Reservation. This school is important because it is where Junior has two of the most profound experiences of his young life. The first is when he attempts to be positive about his studies and open his extremely old textbook, only to discover that it was the same textbook that his mother used when she was his age. Rather than be happy about this, Junior realizes the implications of being forced to use such an outdated textbook. He realizes that he is not getting the best education possible on the reservation and he feels very bitter about that. In Chapter 4, he says "My school and my tribe are so poor and sad that we have to study from the same dang books our parents studied from. That is absolutely the saddest thing in the world."
In a fit of anger, he chucks the book at his teacher, Mr. P, and breaks his nose. This is the second important thing which happens to him and influences his actions for the rest of the book. Because of the talk which occurs between himself and Mr. P about leaving the reservation and the opportunities that would be available to him if he did, he decides to attend Reardan High School, a white school which is located outside of the reservation: "Son," Mr. P said. "You're going to find more and more hope the farther and farther you walk away from this sad, sad, sad reservation" (43).
Reardan is the third important place that Junior visits. This place is important to our understanding of the story because it is a place in which Junior learns to both appreciate the Rez and to realize how his own assumptions about the world were serving to hold him back more than just the assumptions of others about him. It is also a place where he feels "too Indian," just as the Rez is now a place where he feels too "white": "Traveling between Reardan and Wellpinit, between the little white town and the reservation, I always felt like a stranger. I was half Indian in one place and half white in the other" (143).
In the story itself, Giovanni never truly does reflect on himself and his own actions and responsibilities. Once he realizes that his nature has become imbued with the same poisons as Beatrice, he storms on, in a rage, wounding her irrevocably with his accusations. Once over, the narrator says, "Giovanni's passion had exhausted itself in its outburst from his lips." Giovanni feels too great a passion, and it prevents him from truly considering Beatrice's goodness and her loving nature. Then, he becomes so focused on "redeem[ing]" her, altering her nature so that she can be a part of the world, that he fails to consider how his own pride could actually damage her.
I'd like to believe that Giovanni would reflect on himself and realize his role in Beatrice's death, but nothing in the story leads me to believe that this might actually happen. I'm sure Giovanni will blame Rappaccini for making Beatrice poisonous in the first place, or Baglioni for offering him the potion which was to alter Beatrice's nature, because he seems unable to accept responsibility for anything.
A good argumentative thesis about "Blighters" by Sassoon is that it critiques the shallow way in which people in England saw World War I when they had never experienced the fighting at the front. A "blighter" is an English term for a pathetic person, and in this poem, the blighters at home are at a dance hall watching the chorus girls sing a humorous patriotic song that goes "We're sure the Kaiser loves the dear old Tanks!” This lighthearted song does not capture the harsh reality of the war, and the poet feels like he would like to see a real tank roll through the dance hall. The poem captures the disparity between the reality of the war and the way in which people treat the war in a shallow way at home.
An argumentative thesis statement for the poem "Haunted" is that it presents nature as an evil and horrific force. In this poem, a man is walking through the woods in the evening. He goes on a "sudden race to leave the ghostly trees," and he is desperate to escape to the open fields. However, before he can escape, an evil creature attacks him. Clearly, the woods are a place of great menace in this poem.
Mona Lisa is the title of a painting created by the Italian artist and polymath Leonardo da Vinci.
Born on April 15, 1452, Leonardo da Vinci was the illegitimate son of a minor bureaucrat. He was born in Tuscany and first lived in the countryside and then in the city of Florence. Despite his illegitimacy, he was acknowledged by his father and raised in his father's household.
In this period, Florence under the rule of the Medici family, was a great center of the Renaissance in arts and learning. Leonardo was probably apprenticed to the distinguished painter Andrea del Verrocchio, and later set up his own workshop in Florence in 1472. He moved to Milan where he worked from 1482 until 1499, and then spent time in Hungary, returned to Florence, and also worked in Rome. He moved to France in 1516, where he worked for King Francis I, and he died there on 2 May 1519.
One of Leonardo's best known paintings is Mona Lisa (also called La Gioconda) which is a three-quarter length seated portrait, most probably of Lisa Gherardini, wife of a wealthy Tuscan merchant.
There are definitely examples of situational irony in the story. In The Daydreams of a Drunk Woman, Maria Quitera is a bored housewife who despises her life.
Because of her inner discontent, Maria is hypercritical of her husband. Her constant focus on her unhappiness causes her judgment to become increasingly flawed as the days go by, but she's unaware of her danger. At the beginning of the story, she addresses herself "coquettishly with her hand on her hip." Her solipsism escapes her notice. Maria is too busy dreaming about a better life with a more sophisticated man at her side to recognize the danger of her apathy. When her husband reaches over to kiss her before he leaves for work, Maria rebuffs him angrily and accuses him of pawing her like an "old tomcat."
Her husband firmly proclaims that she's "ill," and the reader is similarly aware that Maria's self-absorption is enervating and destructive. Maria doesn't seem aware her constant focus on her misery is self-defeating; this is an example of dramatic irony, where the reader knows something about a main character that the character seems oblivious to.
When Maria accompanies her husband to a tavern at the invitation of a wealthy businessman, she ends up getting drunk. Her inebriation clouds her judgment, but again, she's oblivious to the results of her actions. Here, we have a bit of situational irony. This is when a character's actions result in a completely different outcome than he/ she expected. Instead of appearing sophisticated and elegant, Maria essentially makes an embarrassing spectacle of herself at the tavern. While she believes she can preserve her self-respect in the face of her intoxication, we know this isn't the case.
Maria becomes so drunk she can barely stand; her husband (who she despises and who she thinks looks foolish in his suit) must physically support her. Maria is determined to prove she's no "provincial ninny," but her lack of self-control obliterates any semblance of elegance and refinement in her. Her judgment of other people becomes more crass and disparaging as she becomes more inebriated. She imagines another female patron is "flat-chested," a "pious ninny," and one of a number of "shameless sluts" and that she's "nothing more than a fishwife trying to pass herself off as a duchess."
The irony is that Maria is inwardly criticizing the other woman for something she's guilty of herself. Maria wants her husband's client to be attracted to her, and she thinks that, by appearing sophisticated, she's capable of attracting a better man into her life. She's not actually very confident in her ability to do so, though. This causes her to drink copiously in a social setting to mask her inadequacies. Her actions only make matters worse; instead of appearing elegant and refined, she embarrasses herself. Sadly, she only recognizes this the next day when she reminisces about the previous evening. That's situational irony: when events don't turn out the way a character imagines they will.
When her husband's friend saw her so plump and pretty he had immediately felt respect for her. And when she started to get embarrassed she did not know which way to look. Such misery! What was one to do? Seated on the edge of the bed, blinking in resignation.
Markus Zusak's I Am the Messenger tells the story of teenage taxi driver Ed Kennedy, who is labeled a hero by the media after accidentally foiling an attempted robbery. Soon after this occurs, he receives an envelope in the mail with three addresses, dates, and times, as well as the ace of diamonds. He decides to go to the addresses at the times listed and finds a man raping his wife, a senile widow, and a young girl who runs every morning but consistently loses her track meets. In response, he kidnaps the rapist, encourages the young runner, and begins visiting the widow every week because she believes he is her late husband. After completing this list he begins receiving even more cards and addresses in the mail, and continues visiting people and solving their problems for several more cycles. The story ends with Ed meeting the man who claims to be responsible for everything that has happened, strongly implied to be the author, Markus Zusak. The book closes with Ed stating that he is "not the messenger at all—I'm the message."
Essentially, what this means is that Ed navigated his own story viewing himself acting on the will of others, delivering aid and justice because he was ordered to by those sending the cards. However, it was Ed himself who made the decision to help those people, and he was the one who carried it out. This is why the book ends with Ed realizing he is not just a "messenger," sent to deliver a predetermined message to people—he is the one creating the message himself, by choosing how to respond to the problems he sees.
To solve, use the formula of energy level of harmonic oscillator.
`E_n = (n + 1/2)hf`
where
`E_n` is the energy level of harmonic oscillator in Joules
n is the quantum level
h is the Planck's constant `(6.623 xx 10^(-34) Js)`
and f is the frequency of oscillator.
To be able to apply this formula, convert the given energy to Joules. Take note that `1eV = 1.602xx10^(-19)J` .
`E_n=5.45 eV * (1.602xx10^(-19)J)/(1eV)`
`E_n = 8.7309xx10^(-19) J`
Plug-in this value of En to the formula of energy level of harmonic oscillator.
`E_n = (n+1/2)hf`
`8.8309 xx10^(-19) J= (3+1/2)(6.623 xx 10^(-34) Js)f`
`8.7309 xx10^(-19) J=(2.31805 xx10^(-33) Js) f`
Then, isolate the f.
`f = (8.7309 xx 10^(-19)J)/(2.31805xx10^(-33)Js)`
`f=3.76648476xx10^14``/ sec`
`f=3.76648476 xx 10^14Hz`
So the frequency of the oscillator is `3.76648476xx10^14Hz` .
To determine the angular frequency, apply the formula:
`omega = 2pif`
`omega =2pi * (3.76648476xx10^14 Hz)`
`omega=2.366552170 xx10^15` rad/s
Rounding off to two decimal places, it becomes:
`omega =2.37 xx10^15` rad/s
Therefore, the angular frequency of harmonic oscillator is `2.37xx10^15` radian per second.
In the second paragraph of the story, we learn that when George stays cooped up in his room all alone, he's sometimes listening to sports on his radio, but he's mostly reading. More specifically, he's reading easy, nonfiction content: a reference book, plus some magazines and newspapers. Here's how the narrator describes what George does during all those solitary hours:
But most of the time he sat in his room. In the afternoons he listened to the ball game. Otherwise he had a couple of old copies of the World Almanac he had bought long ago, and he liked to read in them and also the magazines and newspapers that Sophie brought home, that had been left on the tables in the cafeteria. They were mostly picture magazines about movie stars and sports figures, also usually the News and Mirror.
Because George is only reading the things that he happens to already own, or the things that happen to be in the house, it's clear that although he's intelligent enough to read and be interested in some things, he definitely hasn't taken charge of his own life. He's basically hiding from the world and hiding from his own shame of not having finished school. Fiction gets on his nerves, possibly because it's all about adventures and excitement that he'll never have, so he doesn't read that. And "worthwhile books" are difficult for him and frustrate him, so he doesn't read those, either.
All this sounds rather bleak, doesn't it? But keep in mind that this is just the first few paragraphs of the story; they're revealing George's problem. As the story unfolds, he'll have a chance to change his habits, and to change his life for the better.
Hello!
The uncertainty principle (one of them) states that it is impossible to exactly measure the speed and the position of a body. This inexactness is called uncertainty. Of course it is significant only for very small particles of matter, for example for electrons.
The main formula for the speed-position uncertainty is
`Delta p*Delta x gt= bar h/2,`
where `Delta p` is the uncertainty of the momentum, `Delta x` is the uncertainty of the position and `bar h` is the reduced Plank's constant `h/(2pi).` ` `
The momentum is the mass multiplied by the speed and `10%` is `0.1.` Thus we obtain the inequality
`0.1*m_(el)*v*Delta x gt= h/(4pi),`
and therefore
`Delta x gt= h/(4pi)*10/(m_(el)*v) =(6.626*10^(-34))/(4pi)*10/(9.11*10^(-31)*2*10^6)=`
`=(6.626)/(4pi*9.11*2)*10^(-8) approx0.0289*10^(-8) = 2.89*10^(-10) (m).`
In nanometers it is `0.289 nm.`
The answer: the minimum uncertainty in position is about 0.289 nm.
There are nine owners of Black Beauty recorded in the fictional novel. However, there are many more who come into contact with him throughout his life and have a dramatic impact upon him.
Black Beauty is born to Dutchess and owned by Squire Gordon of Birtwick Manor. He lives there until his mistress grows ill and must move away.
Beauty is sold to the Earl of W--- of Earlshall Park, where he is well-tended until Reuben Smith enters the story. Smith ruins Beauty's knees through careless riding. The Lady of W--- cannot abide by a horse with such knees in her stables and he is sold again.
His next owner is unnamed and referred to only as the master of livery stables where horses are available for rent. For the first time in his life, he is subject to continued substandard treatment until bought by a kind-hearted man who rented him once, Mr. Barry of Bath.
Jeremiah Barker, a cab driver, is the fifth owner of Beauty. Barker treats him quite well and may have owned him throughout his life if not for his catching cold during a long evening wait. Unable to continue the business, Barker passes Beauty on to another unnamed owner.
The corn dealer and baker cares little for horses and sells Beauty to Nicholas Skinner, a harsh coachman. Skinner abuses his horses and nearly kills Beauty with exhaustion and an overloaded coach. Forced to sell him or allow him ample pasture time to heal, Skinner sells him at a London horse fair.
Farmer Thoroughgood, a kind fellow, and his grandson take a liking to Beauty and purchase him for a good sum. Beauty is once again on the mend and when healed is brought around to his final home. He is offered to the Ladies of Birtwick Manor, specifically to Miss Ellen. The groom, Joe Green, recognizes Beauty's markings and everyone associated with the Manor is happy to see his return.
Both stories turn on the importance of the exact text of a bizarre legal document, and both involve Portia.
The Caskets
In the casket story, the legal document is Portia's father's will, which stipulated that each of her suitors must choose one of three mysterious caskets (small chests). If the suitor chooses the one that turns out to have Portia's picture inside, he is free to marry her.
Each casket (gold, silver, or lead) also comes with a riddle, presumably also written by Portia's father. The riddles are very ambiguous, e.g., "Who chooseth me shall get as much as he deserves." Their meaning could be construed very differently depending the reader's expectations. This gives us a glimpse into Portia's father's mind, and his possible reasons for writing his will the way he did. He wanted Portia's suitors to be sorted out by their interpretations of the challenge. The one with the best character would choose the right casket.
It is up to Portia to explain the rules of the challenge to each suitor. Then, though she knows which is the right casket, she has to keep her mouth shut. She must refrain from misleading suitors she doesn't like, and from giving a hint to the suitor she really does like (Bassanio). This is a very hard task, and the fact that she is able to do it shows how great a respect she has for her father and for the letter of his will (though she does not really like the will). It also shows her willingness not to show off, to keep her knowledge hidden.
The Bond
Unlike the will and the riddles, the bond that Shylock draws up with Antonio is not carefully designed. It is drawn up in haste. Antonio thinks it a joke and foolishly signs it. Shylock is in a flurry of secret excitement because here is his chance to get even with Antonio, and like any con man he is eager to get a signature before the victim changes his mind. Thus they end up with the bond saying that if Antonio does not pay on time, Shylock is entitled to "a pound of flesh" from Antonio.
Despite being poorly thought out, the bond is legal, just like Portia's father's will. When Antonio is not able to pay on time, Shylock demands what he is entitled to in "my bond," as he calls it. Antonio's friends offer to pay the amount owed, or even two or three times its value, but Shylock will accept only a pound of flesh, and the bond does not say that the pound of flesh may be waived in exchange for repayment. Everyone, even the judge, is distressed by the situation.
Enter Portia, disguised as the young lawyer Balthasar. In her argument before the court, she holds up the legality of the bond. We cannot cast it aside, she says, because it would go down for a precedent, and soon everyone would feel free to break their contracts, all over Venice. In doing this, she earns the trust of Shylock and of the judge. But Portia does not uphold the bond simply because it will win her the game. She has great respect for the letter of the law.
But Portia also knows, from her experience with the caskets and probably from her training under her father before his death, that documents when examined closely do not always say what we thought they said. So she takes the bond very literally, and finds that it says nothing about blood. Therefore it is not legal for Shylock to shed any of Antonio's blood. Thus she turns the words of the bond back on Shylock, just like the words of the riddles were turned back on her unlucky suitors.
Notice also that in her role as Balthasar, Portia has to use again her skills of keeping her mouth shut and not showing her knowledge. She does not show who she is. She does not immediately blurt out her winning argument, but leads up to it slowly and even allows Shylock to prepare to cut into Antonio's flesh. Afterward, when Bassanio thanks her, she still does not blurt out who she is. She has learned to live and die by the law, to be cool under pressure, and to keep her own council. That is why she is such an amazing heroine.
Squeaky has a very important job in “Raymond’s Run” by Toni Cade Bambara, and it is not doing housework. Each member of the family has his or her own responsibilities. Her mother takes charge of the housework while Squeaky attends to her developmentally disabled brother, Raymond. This allows her mother to complete her daily chores, and allows Squeaky to continue with her running practice routine.
All I have to do in life is mind my brother Raymond, which is enough.
Caring for Raymond takes time, dedication, and loyalty. In order for Squeaky’s mother to care for the household, she requires her daughter to care for Raymond, who needs constant attention. In the past, George, Squeaky’s other brother, had the task of caring for Raymond but he was not as fierce at defending him as Squeaky is. Although Raymond is chronologically older than Squeaky, he is not as developmentally advanced. Squeaky takes her job seriously to the point of fighting with anyone who questions Raymond’s appearance or abilities. Sometimes she has to run interference for him when he upsets the people relaxing in the park. In order to keep him safe, she instructs him to walk closest to the buildings on Broadway so he does not run into the busy street or play in the puddles next to the street while pretending the curb is a tightrope.
And sometimes after a rain he likes to step down off his tightrope right into the gutter and slosh around getting his shoes and cuffs wet. Then I get hit when I get home. Or sometimes if you don’t watch him he’ll dash across traffic to the island in the middle of Broadway and give the pigeons a fit. Then I have to go behind him apologizing to all the old people sitting around trying to get some sun and getting all upset with the pigeons fluttering around them, scattering their newspapers and upsetting the waxpaper lunches in their laps. So I keep Raymond on the inside of me, and he plays like he’s driving a stage coach which is OK by me so long as he doesn’t run me over or interrupt my breathing exercises, which I have to do on account of I’m serious about my running, and I don’t care who knows it.
Caring for, and defending Raymond is difficult job which Squeaky performs with heartfelt diligence. This allows her mother to accomplish the household chores. Although taking care of Raymond is a constant job, Squeaky manages to practice her ever important breathing exercises.
Maniac doesn’t want to go to Mars Bar’s house because he has been moving from home to home, but he realizes he belongs with the Beales.
Maniac Magee has been homeless since he ran away from his foster parents (his aunt and uncle), except for a couple of brief stints with people who took him in. He lived with the Beales, and then in the buffalo pen at the zoo, and then with Grayson, the old groundskeeper until he died. After Grayson died, Maniac resumed sleeping in the buffalo pen. This is where Mars Bar found him.
Mars Bar tells Maniac about saving Russel from the trestle. Maniac explains that he wasn’t able to save the boy because he was reminded of how his parents died. The boys understand each other better after this. Although Mars Bar and Maniac have not always seen eye to eye, this conversation helps. Mars Bar tells Maniac that sleeping with the buffalo has not been good for him.
"Magee!"
"Yeah?"
"I had to ask you something. Now I gotta tell you something."
"What's that?"
"You smell like a buffalo."
Ears of a hundred different shapes prickled at the long, loud laughter of the boys. (Ch. 45)
Maniac may seem to not know or care what other people think of him, but he has been having a very hard time finding a home. At this point, he just isn’t ready to go to Mars Bar’s house. Smelling like a buffalo is a good excuse.
Having made a full circle of the zoo, they were back at the pen of the American bison. Maniac said, "I can't."
"Why not?” said Mars Bar. "My house not good enough? My mother?"
Maniac struggled for words. "I didn't say I didn't want to. I don't know...things happen… I can't..." (Ch. 45)
Luckily, Amanda Beale knows where to find Maniac, and tells him to come home. The Beales are Maniac’s real family at this point. He allowed himself to be run off from there because of the troubling race relations between the East and West End. However, by this point, he is ready to return “home” for good.
Without personally knowing you, this is a very tough question to answer. If I knew you, I could tailor my answer to focus on which of your personality traits could help you become a better educator.
I've been teaching for thirteen years, so I do consider myself an expert in my field; however, there is always room for improvement in my own pedagogy. I would also like to say that there is no single best mold for a teacher. Different teachers of different ages and different subjects all have different styles. What works for one teacher may or may not work for a different teacher, but I do believe all good teachers share some personality traits. I will discuss a few of those, and you can compare those to your own personal qualities.
One trait I believe is integral to being a teacher is patience. Regardless of the age group you teach, patience is going to be important. You will need patience when a class doesn't understand the lesson you are teaching. You will need patience when dealing with students who misbehave. You will need patience when dealing with parents who think they know more about how to do your job than you do.
I also believe most good teachers are creative thinkers. That doesn't necessarily mean being creative with arts, crafts, and bulletin boards. Creative thinking is necessary when a class of students flat out doesn't understand the concept you are teaching. You will need to come up with a different way of teaching the content, and what works for one class might not work for other classes. You can't possibly hope to plan out everything in advance, which is why creative thinking skills are necessary.
Third, good teachers like kids. If you don't like young people, don't be a teacher.
Fourth, good teachers know how to accept failure and shake it off. There are going to be times when you design a lesson you believe will work flawlessly, and every student will learn amazing things because of the brilliant way you designed it. Then, for one reason or another, it will all blow up in your face. Don't beat yourself up. Laugh it off and make it better.
Good teachers are honest with their students. If students catch you in a lie, you lose all credibility for a very long time. If you don't know something, it's okay to admit it.
Good teachers have a flexible attitude. There are going to be times when a lesson is going great. Kids are learning and having fun, and everything is on schedule. Then the fire alarm will ring. Everything will be thrown off, and you will have to adapt to the new situation you could not have possibly planned for in advance.
Respiration is a complex series of reactions which occur in all living cells to release energy from food. Oxygen is generally required for respiration as this releases more energy per glucose molecule. This type of respiration is referred to as aerobic respiration.
Plants in waterlogged soil do not have adequate oxygen for aerobic respiration and yet they have to release energy from food in order to survive. So, they resort to the second form of respiration referred to as anaerobic respiration.
Anaerobic respiration is a form of respiration that does not utilize oxygen. This form of respiration (anaerobic) involves incomplete oxidation of carbohydrate into some carbonic compounds such as ethyl alcohol and carbon dioxide. The amount of energy released is much less when compared to aerobic respiration but this still makes it possible for them to obtain the energy they require to survive.
The United States was expanding in several ways in the 1800s. One way the United States expanded was by gaining control of more land. In 1803, the United States made the Louisiana Purchase with France. This doubled the size of our country. In the 1840s, the United States annexed Texas and obtained sole control over the Pacific Northwest. We also added the lands in the southwest part of our country including California, Nevada, and New Mexico as a result of winning the Mexican-American War in 1848.
The United States was also growing economically. As new inventions were developed, our businesses were able to produce more products. The steam engine allowed factories to be located anywhere, and it helped transport products quicker. As more people came to our country, our businesses produced more products to meet the growing demand. The building of the transcontinental railroad also helped the country’s economy grow.
The number of immigrants coming to the United States increased during the 1800s. There were two waves of immigration from Europe. From 1820-1860, many immigrants came from North and West Europe. From 1880-1920, many immigrants came from South and East Europe. There was also increased immigration from Asia during most of the 1800s.
Slavery grew during part of the 1800s. With the invention of the cotton gin, the need for slaves increased. As more cotton was being produced, slavery expanded throughout much of the South. The expansion of slavery was a key factor leading to the start of the Civil War.
The United States grew in many ways in the 1800s.
In Chapter 1, Keller recounts the story of her birth in 1880 in Alabama and gives an account of her family's genealogy. She also recalls her memories of her childhood before her illness, and at the end of the chapter, she gives an account of the illness at age 18 months that resulted in her blindness and deafness. In Chapter 2, she speaks about what happened before her teacher, Anne Sullivan, came to her house and recounts her childhood adventures with her friend Martha Washington, the daughter of the cook, and her dog. Keller often played tricks, such as locking her mother in the pantry.
In Chapter 3, Keller's parents take her for treatment to an oculist in Baltimore, who then sends the family to Dr. Alexander Graham Bell in Washington, D.C. Dr. Bell suggests that they contact the Perkins Institute for blind people in Boston. In Chapter 4, Anne Sullivan, Keller's teacher, arrives at Keller's house from the Perkins Institute, and Keller describes how Sullivan begins to teach her words that she spells on Keller's hand. In Chapter 5, Keller continues to experience a wider world under Sullivan's tutelage, and she climbs up a tree in which she is caught during a storm, thereby learning about the occasional cruelty of nature.
