Why was King such a controversial figure in the 1950s and '60s?

Martin Luther King was a controversial figure for a number of reasons, but mainly because of his commitment to unlawful, yet nonviolent, resistance. Many of those normally sympathetic to the cause of civil rights criticized King for staging unlawful protests and demonstrations against racial oppression and its legal foundations. They argued that the civil rights struggle should be conducted purely through the courts, not on the streets or in segregated lunch counters.
It was this criticism, voiced by a group of white Southern clergymen, that inspired King to respond with his famous "Letter from Birmingham City Jail," in which he justified the civil rights movement's approach to securing justice and racial equality through unlawful means. The courts were part of an apparatus of racial oppression and couldn't therefore be relied upon to secure civil rights. That being the case, it was necessary to resort to the kind of direct action seen on the streets of Birmingham and other cities throughout the Deep South.
From another direction, King was criticized by more militant black civil rights campaigners, who argued that some degree of violence was not just unavoidable, but necessary to advance their cause. They claimed that passive resistance was all very well, but unless African Americans actually rose up in anger, using whatever means necessary to gain equality, then they wouldn't be taken seriously by the powers that be and would remain trapped in a state of oppression. For such radical voices, King's approach was too riddled with compromise to be embraced; they believed direct action needed to be combined with violence to make white society sit up and take notice.

To what extent was Lord Byron's Don Juan a satire written as means for social change? Could you please give examples from the text?

In Don Juan, a satirical poem by Lord Byron, Byron uses the well-known character of Don Juan in reverse: instead of a womanizer, he is passive, pursued instead of pursuing. Byron allows Don Juan to take on many of his own thoughts and viewpoints, and the result is a thinly veiled attack on society and politics, which Byron was cautioned against publishing by friends. Against the backdrop of a man who encounters many adventures, Byron demonstrates what he sees as the wrongs in the world. In an article titled “An introduction to Don Juan,” Dr Stephanie Forward points to Byron’s depiction of war:

. . . the glow Of burning streets, like moonlight on the water,Was imaged back in blood, the sea of slaughter. (canto VIII, stanza 122)

The Poetry Foundation also notes Don Juan’s satirical take on “War, tyranny, and the retense and corruption in society”:

So much for Nature:-by way of variety,Now back to thy great joys, Civilization!And the sweet consequence of large society,War, Pestilence, the despot’s desolation,The kingly scourge, the Lust of Notoriety,The millions slain by soldiers for their ration.

Further on, Forward writes, “For example, in stanza 22 of Canto I the narrator pokes fun at intellectual women (known as ‘bluestockings’). The stanza ends: “Oh ye lords of ladies intellectual, / Inform us truly, have they not hen-peck’d you all?”
Even with the sometimes biting words chosen by Byron, the general tone of the poem is upbeat, optimistic. Its comedic value makes it approachable to the masses, which makes it more likely to be digested and, hopefully, learned from.
https://www.bl.uk/romantics-and-victorians/articles/an-introduction-to-don-juan

Why is Juliet anxious?

Juliet suffers from much anxiety in the play. First, at the beginning of the balcony scene, Romeo overhears her talking aloud about loving him. When she realizes he is there, she becomes anxious that, knowing her heart, he is pretending to love her so that he can take advantage of her. He has to reassure her this is not true.
Later, after Juliet sends her nurse to meet with Romeo about their plans to secretly marry, Juliet is very anxious to know what the nurse has found out—an anxiety the nurse milks for all it is worth by keeping Juliet in suspense.
After Romeo kills Tybalt and is banished, Romeo and Juliet spend their wedding night together. In the morning, as she hears the lark sing, Juliet is very anxious that Romeo leave before he is discovered and killed.
When her father then decides she must marry Paris, Juliet becomes very anxious. She is already married to Romeo, so this would be bigamy. Also, she doesn't want to marry Paris. At the same time, she is afraid to tell her father she secretly married a Montague. In her high state of anxiety, she agrees to a risky plan to feign death.

Please explain the theme, message, and literary devices in the poem "White Comedy" by Benjamin Zephaniah.

The theme or message of this poem is to show, humorously, the many ways the word black has been attached to other words to create negative connotations. Zephaniah's poem highlights these negative connotations by changing common words or phrases that use the word black to use the word white instead: such as white-mailed instead of black-mailed. The poem shows that the language we use matters and that there are many negative meanings attached to the word black, so that this is no longer a neutral term.
A main literary device Zephaniah uses, which springs naturally from his subject, is imagery. Imagery is description using any of the five sense of sight, sound, taste, touch, and smell. Leaning heavily into visual imagery, the poem's speaker nudges us to imagine normally black objects and concepts as white: what mental picture does being "whitelisted" rather than blacklisted, for example, conjure? Is it purer, more positive? Conversely, what kind of image is conveyed when we picture the White House as the Black House?
Zephaniah uses dialect and repetition to make his point. He also uses the literary device of a first-person narrative in which he tells a light hearted story of how, in the second stanza, he is radicalized by what he is subjected to in the first stanza.
The poem encourages us to stop and think more concretely about words we are often quick to brush over.

A black comedy is a text that addresses a sad or upsetting subject in a funny way.
In naming this poem "White Comedy," Benjamin Zephaniah parodies this type of literature. His text certainly does address a tragic and upsetting subject—the racism that is an inextricable part of not only American culture but also the English language—and it might even strike the reader as somewhat amusing.
However, the comedy is very pointed and harsh and much more wry that humorous (in the typical laugh-out-loud sense). His continued substitution of the word "white" in phrases or idioms that typically include the word "black" draws attention to the myriad ways in which we demonize blackness. To be a "black sheep" is to be the family disgrace; to be "blacklisted" is to be deemed unacceptable or untrustworthy and thus excluded; to see a "black spot" is to identify something as a flaw or mistake; to be a "blackguard" is to behave dishonorably or contemptibly. All of these words and phrases are idioms which have developed meaning that cannot be deduced from the individual words. In using them all, and many more, Zephaniah points out how blackness is associated with things that are flawed, bad, or even evil.

The theme of "White Comedy" centers around the inherent prejudices that are embedded within language.
The message is developed from a black perspective, noting how conventionally-used terminology, used by most whites without a second thought, has a degrading and dehumanizing effect on the black population when added cumulatively. Black Death. Black magic. Blackmail. A black spot. Over and over, we hear his message: black is associated in our language with negative thinking. Thus, to be black is to be inextricably linked to the connotations found within language.
This message is further amplified in the final line as the speaker says that he will take his complaints to the Black House, shifting the color to black for the first time in this poem, to reflect the color which represents the ultimate source of authority in our country. By switching the colors black and white throughout the poem, the author also hopes to shift the perspective of white readers, forcing them to consider the implications of race which they typically do not encounter in American phrasing.
The speaker employs colloquialism in phrasing such as "I waz" to reflect his natural dialect and to further emphasize the differences in languages that can present as barriers between ethnic groups.
The substitutions the speaker uses throughout the poem create an ironically bitter tone, urging the reader to self-examine his own use of language and how it reflects inherent prejudices.
Repetition of the word white is used throughout the poem and in numerous examples to illustrate just how commonly the word black is linked to negative imagery or feelings in our language.
Thus, the inherent symbolism of the ways white is used in our language to connote goodness, innocence, and authority is ultimately contrasted with the inherent symbolism of the word black, which connotes evil, death, and wrongdoing.
The contrasts between the inversion of the two colors shows how our language reflects deeper societal values and begs for a reexamination.

In this poem, Zephaniah draws attention to the negative connotations which are attached to the word "black" in our language by deliberately subverting a succession of words and phrases in which it features. These inverted words, coinages of the author, are juxtaposed with the phrase "White House" at the end, the only example of a phrase in which the word "White," rather than black, is actually the common usage.
This technique, combined with the dialect features of Zephaniah's non-standard English ("I waz in de white book") force the reader to re-examine the way "black" is used and what it actually means. Some of the phrases substitute "white" for "black" where the color is meant literally—such as "blacksmith," which has become "whitesmith," or "white sheep" instead of "black sheep." In most instances, though, it is clear that the word "black" is used to mean "bad"—black magic; black arts; black death. Why, Zephaniah asks, is this? And what impact does it have upon black people, whose dialect features are suggested by the poet's language?
For white readers, the poem serves as a shocking indictment of how it might feel to be described using a term whose primary meaning in our language is something negative, less-than, or immoral.

I want to start a company that produces documentary films. I have $10,000 that I can use to start the business, I don't own a home, and I have no other significant assets. I have a friend who wants to be my partner. She has no money, but she's a creative genius. I live in NYC and she lives in Casey, Illinois. The way this industry works is pretty much like this: freelance producers like us come up with an idea, pitch it to money people, produce the film, and sell the rights to the film to a major network (like The History Channel or A&E or ABC, etc.). Once we sell, we move on to the next idea/film. What business form should I use to start my company and why? What are the issues you can see that I will have to deal with or that I should be thinking about?

As a new business owner operating in the United States, there are several forms your company can take. Most common are sole proprietorship, limited liability company, or limited liability partnership (LLC or LLP, respectively), or C corporation.
Sole proprietorship offers a businessperson relative ease in set-up and operation; however, the legal risks one assumes when operating this way usually do not outweigh the inconvenience of organizing as an LLC or LLP. A sole proprietorship makes partnership logistically and legally difficult, and it can expose your personal assets to liability as the business and you are one and the same.
Operating as an LLC—or, in the case of a partnership, an LLP—limits your liability by shielding your personal assets in the event the business is sued or defaults on debt. Further, organizing as an LLC (or LLP) can be done inexpensively and with less investment of time or money than organizing as a C corporation.

Issues that need to be considered when starting any type of business are numerous, but among the key factors are market research (are you certain there is a demand for the service you're seeking to provide?), startup money (few businesses are instantly profitable; is sufficient cash available to sustain the initial capital investment required for equipment and operating expenses like a telephone and internet access?), and marketing (what plan for contacting and pitching commissioning companies, like television networks, exists?).
https://www.entrepreneur.com/article/191788

https://www.usa.gov/state-business/new-york

https://www.videomaker.com/article/c7/15423-starting-a-production-company-what-you-need-to-know

How did John F. Kennedy implement his belief that the Cold War was a test of America’s toughness and strength?

John F. Kennedy, who served as the 35th president of the United States (1961–63), believed strength and toughness were needed to win the Cold War. Although his presidency was brief, JFK faced numerous foreign policy challenges.
The first foreign crisis he faced was the Bay of Pigs fiasco in April 1961. The CIA trained Cuban exiles and landed them in Cuba to overthrow Fidel Castro. It was an embarrassing failure for the United States. Although Kennedy had not planned the invasion, he did approve it.
Kennedy's determination to fight Communism was evident. In 1963, he gave his "Ich bin ein Berliner" speech in West Berlin. In this famous speech, he pledged his support for the beleaguered people of West Berlin. He also sent advisers to Vietnam and deepened America's involvement in that nation.
Kennedy also created the Peace Corps to assist poorer nations throughout the world. It remains as one of his most important legacies.
The most dangerous event of his presidency was the Cuban Missile Crisis (1962–63). Satellite photos revealed that the Soviet Union had placed missiles in Cuba. Kennedy demanded that Moscow remove the missiles, and the world came closer than ever to a nuclear war. Moscow finally agreed, and war was averted.

What are important quotes relating to themes in part one of Life of Pi?

In part one of Life of Pi there are two themes. The first theme is Pi's belief in God. This belief is not a straight line, with hard facts and childish stories to prove those facts, but rather a winding road. Pi sees religion as light in the world and a path to follow.

"Religion will save us," I said. Since when I could remember, religions had always been close to my heart."Religion?" Mr. Kumar grinned broadly. "I don't believe in religion. Religion is darkness."Darkness? I was puzzled. I thought, Darkness is the last thing that religion is. Religion is light. Was he testing me? Was he saying, "Religion is darkness," the way he sometimes said in class things like "Mammals lay eggs," to see if someone would correct him? ("Only platypuses, sir.") (1.7.9-11)

However he doesn't see one religion as the source of light but finds peace in several. For those in his life that question religion, who find it restrictive he says

I don't mean to defend zoos. Close them all down if you want (and let us hope that what wildlife remains can survive in what is left of the natural world). I know zoos are no longer in people's good graces. Religion faces the same problem. Certain illusions about freedom plague them both. (1.4.14).

What Pi means is, you may find zoos and religion restrictive, but do the animals worry about being hunted when safely in a zoo? And do people fret about life and meaning when safely within a religion? There is peace in God.
The second theme in part one is innocence. He has yet to experience the true harshness the world has. His belief in God is not yet tested. Part two of this book will shift his thinking and take his innocence.

What happens during the final scene at the quay?

In the final scene at the quayside, Frank bids Eveline to follow him aboard a ship bound for Buenos Aires. But Eveline chooses not to go with her lover. As with many characters in Joyce's stories, she is caught in the grip of paralysis, unable to forge a meaningful life for herself. Though Eveline has an unhappy home life where she's treated like a maid by an abusive father, her sense of family loyalty as well as her lack of imagination conspire to keep her rooted to the spot, as Frank's plaintive calls melt into the distance. But then, perhaps Eveline never really loved Frank in the first place, and so it would've been a huge risk for her to have traveled all that way with him to Argentina:

He rushed beyond the barrier and called to her to follow. He was shouted at to go on but he still called to her. She set her white face to him, passive, like a helpless animal. Her eyes gave him no sign of love or farewell or recognition.

Does the diagnosis of depression medicalize "normal sadness"? (Anthropology)

That is a great question. Even though everyone experiences minor bouts of depression or sadness at different points in their life, clinical depression is a medical illness. Major depression is more than sadness. Sadness is typically a reaction to events in life or stress that is situational, whereas major depression may occur without any reason(even though it can be triggered by life events as well). The DSM-V outlines the criteria to receive a medical diagnosis. In some cases depression is life threatening and extremely intrusive to ones life over an extended period of time. Whereas sadness may occur for a short period of time, one is still able to function, and the feeling goes away on its own. Along with these facts there are various brain scans that show how the brain is "depressed" during a depressive episode. This is further evidence to support the notion that depression is a true medical condition that requires medical intervention. Please look at the link below as further information to answer your question.

Several recent articles by interdisciplinary researchers have suggested that the DSM-5’s diagnostic criteria for Major Depressive Disorder (MDD) are so broad that at least 10% of the population would be affected by it. Depression is categorized as a mood disorder, falling among a group of conditions that share the defining characteristic of a labile emotional state. Among the symptoms that can lead to a diagnosis of MDD are diminished interest in pleasurable activities (in severe states, this is called anhedonia), fatigue, slowing of thought processes and physical movement, inability to concentrate, depressed mood that lasts for most of the day almost every day, loss of appetite and consequent weight loss, feelings of worthlessness or guilt, and suicidal ideation. In theory, the individual would experience at least five of these symptoms over a two-week period. In practice, the diagnosis is likely applied even more generously.

What is happening? Is depression more prevalent in modern society, or are people becoming less tolerant of “normal sadness”? Increasingly, studies by social science researchers (as opposed to clinicians) have supported the latter. The conclusions of these studies share a general theme: popular culture has changed the way people view normality. Self-perception has been greatly affected by social media presentations of reality. Television and movie portrayals of depression have abounded—as have advertisements that suggest that you, too, could have a psychosocial problem.

This is not to say that depression is not a serious condition when the diagnosis is fairly applied. Researchers, including the duo that coined the term “medicalization of sadness,” Allan Horwitz and Jerome Wakefield, suggest that not only are many people overtreated, many are undertreated. So, what makes for a fair application of an MDD diagnosis? Above all, context. Was there a precipitating factor to the shift in mood, such as complicated grieving or trauma? How long has the person been experiencing these feelings, and are the feelings expected to endure in the absence of treatment?

“Medicalization” assumes that some level of clinical intervention is required, either pharmacological or psychotherapeutical. Those who believe that the former is used with too little restraint argue that the latter should be best practice, at least initially. Before sadness is redefined as depression, we must first try to understand its context.

What is the theme of the poem "The Shapes Of Death" by Stephen Spender?

The key theme of this poem by Stephen Spender is death, particularly the way that "shapes of death haunt life." Spender's concern is that the darker parts of the human character, such as greed and ambition, are actually elements of our own death which dog us through life if we allow them to do so.
Spender describes the act of feeding ambition, like a flame, as an act of contributing to the shadow of one's own death. By trying to build up something that will last after we are gone, we are effectively spending our lives planning for our death—we are trying to do something which will "prevent . . . death's industry," not recognizing that this is impossible. Those who ordered the building of the pyramids did so in order that they would still be remembered after death, but this did not prevent them from dying—it only meant that they spent their lives thinking about their deaths rather than in the act of living.
The themes of this poem, then, might be encompassed in the concepts of ambition, reputation, death, and the idea that putting all of one's life into building up a reputation is to set aside true living in favor of a fruitless attempt to stave off death.

The central theme of "The Shapes of Death" by the early twentieth century British poet, Stephen Spender, is that unrequited love can warp a character and that ambition serves only to prevent love. This is a theme explored in other poetical works by Spender as well. The idea in "The Shapes of Death" is that life should be the act of living and enjoying oneself. This is an almost Epicurean realization: all we have is the present moment and wasting it in planning for the future (ambition) can erode away at any possibility of joy in the present; similarly lamenting over a past love that could not be serves to do nothing but embitter us in the present. One must, like the swallows he discusses in the third stanza, live a natural, unperturbed life that is consumed neither by anxiety about the future nor sorrow about the past.

What are the principal components and aspects of culture as traditionally viewed by anthropologists?

The scientific field of anthropology is the study of human beings and their societies; it is generally divided into two disciplines, cultural and physical anthropology. Physical anthropologists typically concentrate on the biological aspects of humans, while cultural anthropologists focus on the culture of human groups.
Anthropologists generally consider culture to encompass beliefs, customs, values, and traditions, as well as the way all of these function in a society.
To further focus on aspects of culture, the principal components include symbols and language; religious and secular beliefs and social mores; food ways; gender; race; family and kinship organization; the governance of cities, states, and nations; medicine; sexuality; art; work; recreation; economic systems; technology; and so on.
Within each of these components, there are further divisions. For example, the cultural component of family or kinship organization includes the division of labor along gender lines; patrilineal versus matrilineal organization; marriage rites and traditions; child-rearing; clothing; and traditions surrounding birth, coming of age, and death.

In Call It Courage, how did Mafatu feel about the sea in his new canoe?

In Call It Courage, Mafatu had a great fear of the sea. The reason is because his mother was killed while out at sea. A hurricane destroyed his mother's boat, and she ultimately died. Mafatu witnessed this as a young child, and it served as a painful memory in his life.
A courageous Mafatu decides to build a canoe. He burns a tree and pulls it down. He is able to build a raft to use in the meantime before his canoe is complete. Once his canoe is complete, he takes it out to sea. As he drifts farther and farther away, he begins to feel lonely, isolated, and afraid in the desolation of the large surrounding sea and sky. He also worries about what others would think if they realize that he has disappeared. Everything around him seems intimidating and powerful.
His fear climaxes when a storm developed and approached. A big wave comes upon him and the canoe. He feels that he may die in the ocean all alone, but he survives, and the storm disappeares.

How does the play deal with masculinity?

One can answer your question partly by recognizing that, in the 60 years since Look Back in Anger premiered, our ideas on what actually constitutes masculinity have changed. Jimmy Porter seems driven to express himself as a man through aggression and abusiveness. Though he's an educated man, he prefers to make his living running a market stall. There is, of course, nothing wrong with this, but one senses that Jimmy chooses it chiefly in defiance of his wife Alison's middle-class background. Thus, to him, "masculinity" is somehow demonstrated by independence from or resentment of his wife's values. Jimmy also lords it over his friend Cliff, who functions as a good-natured sidekick to him. This is another way of Jimmy proving his "alpha male" status.
At the root of these factors, and of Jimmy's contempt for (and subsequent seduction of—another demonstration of his "masculinity") Alison's friend Helena, is anger. Jimmy Porter, of course, is the archetypal Angry Young Man of postwar theatre. Various elements converged in the 1950s to create this phenomenon: class conflict, post-WWII economic factors and disillusionment, and resentment against the changing status of women in society. Jimmy's assertion of masculine values seems, from our vantage point today, a kind of caricature. To some extent, Osborne probably intended it that way, because even from the perspective of his own time, Jimmy does not come off very well. Far from glorifying Jimmy, Osborne simply reports things as they were, and in looking back on Look Back in Anger today, we can understand that the dysfunctional dynamic of the Porter household, unfortunately, is not totally a thing of the past.

The characterization of Jimmy represents one of the most distinctly modern visions of masculinity. The "angry young man" is how Jimmy responds to life and how life responds to him. He is a man who is disenfranchised, the perpetual outsider to a world that is denying him a change. This is not the man of Homer's Hector, or Cervantes' Quixote, or even Joyce's Stephen Dedalus. Rather, Jimmy is the modern man who feels challenged at every turn. He recognizes that he is "better" than his job at the candy stall, and yet he cannot find his "foot in the door" for advancement. He recognizes what he sees as phoniness and inauthenticity around him and yet there is little he can do to change it. He believes that he could do better, while he is unable to really demonstrate anything to show this. He rails on about the need to view consciousness in a more "real" light, but he himself is unable to turn that high powered precision lens of criticism upon his own being. Jimmy is angry, and yet there is not a direct target of his anger.
In many respects, Jimmy represents the male who has been emasculated in different forms by the world around him. The vision of the triumphant, alpha male is not reinforced in this drama. Cliff and Colonel Redfern both represent men who are stunted by the world in which they live. The drama depicts masculinity in the modern setting as being poised between the past constructions of what was and a new world of what is. The result is men trying to find a path that is not illuminated for them. In large part, Jimmy's anger is directed at this vision of reality. Jimmy's struggle with the world in which he lives is reflective of what it means to be a man in the modern setting. It is a condition where the questions are many, the answers are few, and the only constant is insecurity amidst a world that constantly preaches that there is nothing about which to be insecure.

What is the central claim of Joyce's "Araby"?

The central claim of "Araby" is that if you want to escape your present situation, then you should change it instead of retreating into a fantasy world. This is the common refrain of all the stories in Dubliners, which together constitute a withering critique of the cultural paralysis of contemporary Ireland.
The unnamed boy in the story wants to escape his humdrum, shabby-genteel existence. The Araby bazaar, with its exotic-sounding name and the promise of wonderful gifts, appears to provide just such an escape for the boy. The young man has developed a massive crush on Mangan's sister; she too is a part of this fantasy world that he's built for himself. The bazaar and the young girl come together in the boy's dream world, holding out the tempting prospect of hope and excitement for a life devoid of either. By heading off to the bazaar to buy Mangan's sister a gift, the boy hopes to make all his dreams come true at once.
Sadly, that doesn't happen. The boy arrives at the bazaar too late, just as it's about to close. He feels like a fool; all his hopes and dreams suddenly lie in ruins. His fantasy world was just that—a fantasy, not in the slightest bit real. This sudden realization isn't just a source of utter disillusionment; it makes the boy's eyes burn with anguish and anger.

What are some of the plants referred to in the book Lab Girl?

There are numerous references to plants in the book Lab Girl by Hope Jahren. Jahren is a scientist who studies plant biology and botany, and the book acts as her memoir. It is constructed to oscillate between her life and an explanation of plant biology, usually weaving the two subjects together somehow.
Jahren refers to oaks, coconuts, and lotus plants at various points, discussing seeds, travel, and offspring. She also refers to her favorite tree (the Blue-Tinged Spruce) and many others, including some trees that are self-grated and planted elsewhere. Her son's favorite tree is the foxtail palm.
One of her laboratory experiments include work on hackberries, trying to break down their pits and understand their composition. She also works with wheatgrass.

What do you learn about Dills character?

We learn that Dill's a very adventurous and imaginative young boy. Dill runs away from home because he isn't very happy there; he doesn't think he gets enough attention from his mother and new stepfather. Many children run away from home, but they tend not to wander quite as far as Dill. His journey from Mississippi to Alabama indicates someone who's restless and prepared to take big risks to try and change his life. Even most adults would think twice before doing this.
Dill also uses his vivid imagination to come up with exciting new games whenever he plays with Jem and Scout. It's Dill who invents the famous Boo Radley game where the children act out scenes from what they imagine is the Radleys' crazy home life. The most exciting part of the game for the children is when Boo—played by Jem—stabs his father—played by Dill. This is based on the urban legend that Boo once attacked his old man with a pair of scissors.

When and where was this story published?

Guy de Maupassant's story, "La Parure" was first published in La Gaulois, a French newspaper, on 17 February 1884. The title means a matching set of jewelry in French and is usually translated into English as "The Necklace" or "The Diamond Necklace." It has been widely republished, translated into several languages, and adapted to film. The setting is contemporary to its date of publication, i.e. late nineteenth century France.

What is the context for this work?

Shanghai Girls is a novel published in 2009 by American author Lisa See. It is set in Shanghai, with the first chapter taking place in 1937, when the city was one of the richest and most fashionable in Asia. It is set against the background of World War II and the Second Sino-Japanese War, in particular the Battle of Shanghai, in which Japan invaded China. Later, as the two girls escape via Hong Kong to the United States, it addresses the lives of Chinese immigrants to California and the tensions between Chinese and Western traditions.

Why do the community Elders seek the help of The Giver?

The Giver is the sole repository of the community's memories. He is effectively the custodian of the community's past. Although the Elders of the community wanted to banish the past forever to fit in with the general policy of Sameness, they realized that, for practical purposes, they would need to draw on specific memories to help them deal with various problems, especially those arising from unfamiliar situations. For everyone to have such memories would be destabilizing to the whole community, so only one individual can be entrusted with them, and that individual is The Giver.
The memories make The Giver wise, which is why the Elders of the community constantly seek his advice. In one such case, The Giver advises the Elders not to increase the population. He doesn't tell them why, as they don't want to hear unpleasant things. But The Giver has delved into the past and seen for himself the starvation and warfare to which an increase in population could lead.

Choose a significant short passage from "To His Coy Mistress" that captures the essence or theme of this work. You may choose dialogue, a descriptive passage, or a narrative excerpt. First, cite the quote, and then briefly (in one sentence) explain its relevance to the meaning of the work.

In "To His Coy Mistress," Andrew Marvell sets out to convince his beloved that they should begin immediately to consummate their love because life is short.
He begins by saying that things would be different if they had more time and could travel the world. To show that he is sincere about the idea of taking all the time in the world for their love to grow (including him singing her praises), he mentions specific features of hers and the amount of time that his wooing would correspond for each one. He begins with them walking together and passing just one day, and then adds amounts of time from ten years to thirty thousand years. By this humorous exaggeration, he aims to show not only his devotion to her but to entertain her with his wit:

We would sit down and think which way
To walk and pass our long love’s day.
. . . I would
Love you ten years before the Flood,
And you should, if you please, refuse
Till the conversion of the Jews.
My vegetable love should grow
Vaster than empires, and more slow;
An hundred years should go to praise
Thine eyes and on thy forehead gaze;
Two hundred to adore each breast;
But thirty thousand to the rest.

Which statement shows how irony is used in this passage? The year was 2081, and everybody was finally equal. They weren't only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.

Verbal irony occurs when a writer says the opposite of what he or she means. It is hard at work in this passage from Vonnegut's short story "Harrison Bergeron." The part of the passage quoted here is ironic:

They weren't only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else.

The sentence below is what makes it clear that the above sentences are ironic. This sentence shows that people are only "equal" because the law orders that they must be:

All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General.

That final sentence about enforced equality is the ironic clincher that shows all the preceding sentences mean the opposite of what they say. In fact, the people of this dystopian state are not equal before God, and they are only equal because of the law.
As the rest of the story goes on to show, some people are smarter than others, just as some are better looking, and some are stronger and quicker. The so-called equality this passage talks about is only possible because the state forces talented people to handicap themselves so that they can't excel over other people.
For example, George, Harrison's father, has higher-than-average intelligence. For that reason he is forced to wear a transmitter in his ear that sends out noises every twenty seconds to keep him from having sustained thoughts and therefore taking advantage of his superior brainpower.
Harrison is so intelligent and talented that he has to wear heavy earphones and wavy glasses that not only make it difficult for him to see but give him headaches. He has to wear three hundred pounds of "junk" on his body to weigh him down. He is so good-looking that he has to wear a rubber ball on his nose and have his eyebrows shaved. Ballet dancers have to wear weights so that they don't dance well.
The story illustrates the absurdity of trying to make sure everyone in a society is "equal." As Vonnegut shows, all the enforced "equality" achieves is to make everyone miserable and unable to use their gifts. As we can see in the story, society as a whole suffers when people are restricted from using their gifts. Ironically, enforced equality becomes not the great moral and ethical leveler that people are taught it is, but a form of oppression that harms everyone.

Why does Enkidu's death affect Gilgamesh so strongly in the Epic of Gilgamesh?

At the beginning of the epic, Gilgamesh rules as a ruthless tyrant who is both revered and feared by his subjects. As a semi-divine king, Gilgamesh does not fear death and never contemplates his own mortality. After hearing the cries of Gilgamesh's subjects, the god Anu creates Enkidu to rival the brutal tyrant. Gilgamesh ends up defeating Enkidu, and the two become inseparable friends. Together, Gilgamesh and Enkidu travel to the Forest of Cedar, where they defeat the monster Humbaba. On their way back to Uruk, the heroes end up killing the Bull of Heaven, which incites the wrath of the gods, who decide to end Enkidu's life.
Enkidu's death significantly impacts Gilgamesh's outlook on life and forces him to acknowledge his own mortality. Before the death of his best friend, Gilgamesh thought nothing of his own mortality, but he suddenly becomes fixated on his own impertinence after Enkidu dies. Gilgamesh then seeks Utnapishtim in hopes of discovering the secret to immortality. Eventually, Gilgamesh is forced to come to terms with his own fate and acknowledges that he will one day die. Gilgamesh begins to reflect on his own legacy and is motivated to become a better person and king in order to leave a positive, lasting legacy. Gilgamesh finally accepts his place in the universe and understands the importance of behaving as a benevolent, revered king. Enkidu’s death enhances Giglamesh’s outlook on life and motivates him to leave a positive, lasting legacy.

Enkidu is Gilgamesh's closest friend. Before meeting Enkidu, Gilgamesh was cruel and selfish, abusing his power constantly. Enkidu's first battle with Gilgamesh tames the latter—since he now has someone just about as powerful as himself. The two bond as they fight monsters together. In fact, they are so close that some readers and critics have argued there is a romantic component to their relationship. Even if one does not agree with such an interpretation, Giglamesh's love for Enkidu is greater than his love for anyone else in his life.
When Enkidu dies, it is an emotional shock for Gilgamesh. He has never cared about anyone else so deeply before, and now this person is gone. But Enkidu's death is significant for Gilgamesh in another way: it makes Gilgamesh realize that he too will one day die. This inspires Gilgamesh to go on a quest to find a way to become immortal so that he will never have to face the terror of death.
Of course, he learns that such a quest is futile and all must die. The point is to enjoy one's life and to cherish loved ones while one is still alive.

Enkidu’s death affects Gilgamesh so strongly because it forces him to confront his own mortality.
Gilgamesh’s position of King of Uruk affords him the ability to sleep with brides on their wedding nights and force labor upon the men of Uruk. This position of power allows Gilgamesh to feel superior to his subjects and perhaps not fully comprehend the pain he imparts on them through his actions.
After traveling and battling alongside Enkidu, Gilgamesh begins to see Enkidu as more of an equal. When Enkidu dies, the death hurts Gilgamesh more than the death of one of his subjects would. This powerful moment is portrayed through Gilgamesh’s clutching of Enkidu’s body and refusing to believe he has died until a maggot falls from the corpse.
While grieving, Gilgamesh realizes that he too may someday die and confronts it by starting on a journey in an attempt to unlock the key to eternal life. This will ultimately prove futile for Gilgamesh, but Enkidu’s death serves as a catalyst for it.

Enkidu's death has a profound impact on Gilgamesh's life (and this impact is shaped by two different factors which come into play). First, you should take into account the close friendship that existed between Enkidu and Gilgamesh himself. Enkidu is the closest thing Gilgamesh has to an equal, and theirs is the closest relationship Gilgamesh possesses. They have adventured together and fought together, and with Enkidu's death, this deep and powerful connection has been broken. Gilgamesh's grief is intense.
In addition, however, Enkidu's death leaves Gilgamesh increasingly aware of his own mortality and creates within Gilgamesh a great dread about his own eventual death. In his attempt to overcome this fate, he will go on a journey, seeking to attain immortality. This journey will end in failure.

Before his close friend Enkidu came into his life, Gilgamesh was proud, boastful, and arrogant. A cruel, ruthless tyrant, he thought nothing of committing rape and murder whenever he felt like it. Thanks to Enkidu's loving friendship, however, Gilgamesh becomes a better person, developing skills of empathy and understanding.
Enkidu's death changes Gilgamesh, bringing about a dramatic moral transformation in the Sumerian king. All of a sudden, Gilgamesh understands the fragility of life and how incredibly precious it is. The death of a close friend has touched him personally in a way that the death of a stranger never could. For all his wealth, power, and physical strength, Gilgamesh now realizes that it could all be taken away from him at the drop of a hat, leaving nothing behind but a lasting reputation for cruelty and brutality.
Enkidu's death leads Gilgamesh to embark upon a quest for everlasting life. This is a sign that Gilgamesh is still in denial about his own mortality; he still thinks he can somehow avoid the fate of his friend. But as he proceeds on his journey, Gilgamesh eventually comes to realize that death is the ultimate truth and must one day come to everyone, rich or poor, beggar or king.

Branagh’s interpretation of Much Ado About Nothing depicts Hero and Claudio as very much in love. Do we know this from the text of the play itself? Note particularly how many lines Hero actually has in the first few acts and the concern Claudio himself expresses to the Prince about not wanting to seem too forward in his attentions to Hero (act 1). Of great interest is the fact that Branagh removes act 3, scene 4 entirely from his movie. Reread that scene and think about why Branagh might want to do that. How does having that scene in the play change the way we view the wedding at the beginning of act 4 and possibly the resolution of the play in act 5?

The text of Shakespeare's Much Ado About Nothing depicts the romance of Hero and Claudio as a characteristically adolescent affair that is founded upon instant attraction, cemented by conventional approval of the heroine's ostensible virtue, doomed by the supposed revelation of the heroine's lack of virtue, and restored when her virtue is at last proven fit to be surrendered in matrimony. Claudio "feels" rather than "knows" that he loves Hero. Much humor is spent upon the the notion of virtue understood as chastity. In scene 4 of act 3, Hero expresses her sense that she has an exceedingly heavy heart. Margaret crudely remarks that Hero's heart will soon be made heavier still by the weight of her future husband. Its ribald comedy notwithstanding, this scene hints at an element of potential tragedy that does not suit the narrow dramatic conventions employed in Branagh's adaptation.

Why is reserving judgements a "matter of infinite hope"? What does "infinite hope" mean?

First of all, it's important to understand what Nick does not mean by reserving judgment. He doesn't mean that we should never confront people over unacceptable behavior. What he means is that we should reserve final judgment on someone—that is, we should always be prepared to give them a chance to change their ways. In other words, we have infinite hope—hope that never dies—that people can change, even if it seems that they're incapable of it.
Judging people too harshly too quickly can have the exact opposite effect of what we intend, making it less likely that they will learn where they have gone wrong and what they need to do to make things right. Infinite hope can also refer to the belief we have in ourselves to be able to help others change for the better.

What is the vegetation of the Himalayas?

The mountain range in Asia known as the Himalayas is 1,500 miles long and spread out over five countries: India, Pakistan, Nepal, Bhutan, and China. It has 50 mountains that are over 23,600 feet in elevation, including Mount Everest, the world's highest mountain. You can imagine that in such a vast area, a wide variety of vegetation can be found.
In the eastern and central foothills are tropical and subtropical broadleaf forests. Due to the varied soil, topography, and rainfall levels, these contain an abundant variety of plant life including bamboo, Ceylon ironwood, oaks, and horse chestnuts. On steeper slopes at slightly higher elevations are alders and Himalayan screw pines.
At middle elevations, temperate broadleaf, conifer, and mixed forests can be found. Predominant trees include oak, maple, cedar, chir pine, blue pine, fir, and morinda spruce. There is also an abundance of smaller plants such as ferns, lichen, and orchids.
At higher elevations, the alpine zone has shrublands and grasslands. Widespread vegetation includes moss, lichens, juniper, and rhododendrons.
The Himalayas are particularly known for an abundance of rhododendrons and orchids. There are over 30 sub-species of rhododendron, the national flower of Nepal, in Nepal alone. Additionally, Nepal is home to almost 400 varieties of orchids.
http://www.pbs.org/wnet/nature/the-himalayas-himalayas-facts/6341/

https://www.britannica.com/place/Himalayas/Plant-life

What are the main points of argument in "Broken on Purpose: Poetry, Serial Television, and the Season"?

In “Broken on Purpose; Poetry, Serial Television, and the Season,” Sean O’Sullivan explores the formal relationship between serialized television and poetry. In considering this relationship, O’Sullivan suggests that a season of serial television constitutes a new “unit of meaning” (43).
Although authors and critics often compare the use of episode in serialized television to the use of chapters in a novel, O’Sullivan feels that the use of fragmentation in episodic television has a closer relationship to poetic fragmentation. O’Sullivan suggests that a key difference between serial television and the novel is television’s tendency to emphasize multiple narratives rather than a singular narrative. He notes that before 1999, television programs often varied in number of episodes, fragmented by commercials and promotions in a relatively arbitrary way. O’Sullivan believes that HBO’s The Sopranos altered this narrative mode by employing a thirteen-episode format without commercials, allowing serialized television to use fragmentation more intentionally. This intentional use of sequential fragmentation makes serialized television more akin to poetry than prose:

Think of those thirteen episodes as lines of verse, and this new model of the season is something like a sonnet—a clear but flexible shape that both hews to established protocols and breaks those protocols when necessary. (43)

When considered this way, the thirteen-episode sequence becomes a new “unit of meaning” rather than a less than intentional grouping of episodes. This shorter season duration encourages the viewer to consider the season as a whole rather than a set of vaguely connected episodes. O’Sullivan goes on to link the advent of DVD technology to the popularity of the season as a “unit of meaning” in the mainstream culture, and expands upon other ways The Soprano’s echoes elements of the sonnet.


O'Sullivan, Sean. "Broken on Purpose; Poetry, Serial Television, and the Season." Literary Theory: An Anthology, Third Edition. Edited by Julie Rivkin and Michael Ryan, John Wiley & Sons, Ltd., 2017, pp. 42-54.

Why is Australia called a country and a continent?

Australia is the name of both a country and a continent. A country is a political construct. It is a territory that is ruled by a specific government. All the people in that territory are ruled by the laws of that government and are supposed to be protected by that government.
The boundaries of a country can change. For example, the United States changed markedly during the nineteenth century, growing from thirteen colonies on the East coast to a huge land mass that went from the Atlantic to the Pacific. In the twentieth century, the boundaries of Germany kept changing, depending on war and international political developments. As boundaries change, people in the same place can find themselves citizens of a different country.
A continent's boudaries, however, do not change. The word continent is a geographic description of a large mass of land that is distinct from other large land masses. Australia is a continent because it is a large land mass surrounded by the Pacific Ocean.
The country of Australia happens to comprise the entire continent of Australia. However, if the political situation changed, there is no reason why the continent couldn't be divided into several different countries. However, it would never stop being a continent, since that is its geographical designation.

Describe the economy of the Middle Colonies.

The Middle Colonies had the most diverse and successful economy of all the colonial regions. The Middle Colonies were successful in agriculture, and the region became known as the breadbasket of colonial America. The region produced grains and vegetables and had a significant population of livestock. These foodstuffs were exported back to England as well as traded with the other colonies.
The region also produced many finished goods. Quakers were known for their handiwork. In order to clear land, the region also produced a great deal of timber. The region also had many cities which facilitated trade. New York and Philadelphia were the two most successful cities in colonial America, and after the Revolutionary War they would serve as the first two seats of government for the early United States.
Due to the Navigation Acts, the region would be closely tied to Britain. While there were some smugglers who operated successfully out of port cities, the region had many English loyalists who followed the rules of Parliament, paid their taxes, and used British ships for trade.

How are Mrs. Burnell and Mrs. Kelvey described in "A Doll's House"?

In Katherine Mansfield’s story, the characterization of the two mothers is primarily indirect. Mrs. Burnell is not described physically at all. We learn about her through a few phrases and from the narrator’s information about the family’s attitudes and choices. Isabel, the eldest, claims that her mother authorized her to choose the first girls to come and see the doll house. The narrator says that the Burnell children were not allowed to speak to the Kelveys, but later, Lil tells Kezia that Kezia’s mother had told Lil’s mother of this decision. When Kezia asks her mother if the Kelvey girls can come see the house, Mrs. Burnell tells her that she cannot and adds, “you know quite well why not.” Mrs. Burnell is a snob and is encouraging her daughters to have superior attitudes as well.
There is a tiny amount of physical description of Mrs. Kelvey, but she is given no dialogue. The narrator calls her “a spry, hardworking little washerwoman.” She goes to the houses of the well-to-do families. They apparently give her their old, discarded clothes and textiles, from which she makes her daughters’ clothes. Lil, for example, is described as wearing a dress made in part from a tablecloth that had belonged to the Burnells. She is a single mother and other people circulate rumors that her husband is in jail.
https://americanliterature.com/author/katherine-mansfield/short-story/the-dolls-house

What are the 13 colonies's names, and what are they named after?

The thirteen colonies were New Hampshire, Massachusetts, Connecticut, Rhode Island, New York, Pennsylvania, New Jersey, Delaware, Maryland, Virginia, North Carolina, South Carolina, and Georgia. They were mostly named after people or places in England, but a few were named after the Native Americans.
New Hampshire was named for a county in England, Hampshire, but both Massachusetts and Connecticut were named for Native American words. Massachusetts was named after the Algonquin tribe, Massachusett, which translates to "people of the great hill." Connecticut comes from the Native American word Quinnehtukqut, which means "beside the long tidal river."
The origination of Rhode Island’s name is a little more complex. In 1524, the Italian explorer Giovanni da Verrazzano wrote about an island in Narragansett Bay that resembled the island of Rhodes in Greece. The pilgrims assumed the island he mentioned was what we know today as Rhode Island and gave it that name.
New York was originally called New Netherland under the Dutch, but when the British took it over in 1664, they renamed it to honor of King Charles II’s brother, who was the Duke of York and Albany.
Pennsylvania was named after the founder of the colony, William Penn. Sylvania means "woods" in Latin, so Pennsylvania translates to "Penn’s woods." It is the only colony that was named after its founder.
New Jersey was simply named after Jersey, which is an island in the English Channel, and Delaware was named after Sir Thomas West, who was Lord de la Warr.
The remaining colonies were all named to honor English royalty. Maryland received its name from Queen Henrietta Maria, known as Queen Mary, the wife of King Charles I. Virginia was named for the Virgin Queen, Queen Elizabeth I. Based on Carolous, the Latin equivalent of "Charles," both North and South Carolina are named for King Charles I, and Georgia was named after King George II.

Were colonists illegal immigrants to Native Americans?

The concept of illegal immigration is a modern one: it requires a state to legislate immigration. As such, illegal immigration is a product of modern statehood. Seen in this way, European colonists were not illegal immigrants. There were no laws banning them from coming to the Americas.
In the United States, immigration was relatively unrestricted until the late 1800s–early 1900s. American immigration policy became more restrictive over time, with ebbs and flows. See the first link below.
To provide a more nuanced answer to the question, one would need to explore Native American perceptions of the colonists. The colonists were not illegal immigrants, but were the settlers unwanted guests? How did native perceptions vary from tribe to tribe, region to region, and over time? There is an extensive corpus of scholarly literature on this topic (see the second link below for an example); however, owing to the cultural gap between natives and Europeans and the paucity of extant native sources, many questions remain unanswered.
https://www.history.com/news/the-birth-of-illegal-immigration

How did westward migration in the later nineteenth century contribute to the maintenance of continuity in the United States?

Westward migration maintained continuity in the sense that it added to American strength. The mining booms in Arizona and Colorado after the Civil War provided jobs for millions. People taking advantage of the Homestead Act found lots of land available for their farms. Immigrants from Germany and Russia did not see a treeless plain; rather, they saw an opportunity to grow wheat and turn the United States into a major grain producer. The United States was able to add several new states after the Civil War thanks to emigration. Railroads and telegraphs also helped people in their movements west because the technologies enabled them to feel culturally and economically tied to the rest of the country. Many African Americans and poor white Southerners moved west after the Civil War looking for a fresh start in life; in this respect, they were very similar to those who moved west before the war, often for the same reasons.

Why did Priam insist on staying in the Greek camp before departing with Hector's body in the Iliad?

As Priam explains to Achilles, who has finally agreed to give him the corpse of his son Hector, he is very tired. He has not slept for days, because he has been weeping and mourning for his son. Now that he has eaten a big meal and knows he will get his son's body back, he is overcome with exhaustion. Therefore, he says he will stay and sleep in the Greek camp.
The risky action shows that Priam feels safe with Achilles, despite the two being mortal enemies. They have connected, albeit momentarily, as Priam is able to persuade Achilles to imagine how his own father might feel were he, Achilles, is killed and his father not able to bury his corpse. Achilles understands that and, urged as he is by the gods, relinquishes Hector.
However, as Hermes reminds Priam when he wakes him up at night, the idea of safety is an illusion. Hermes tells Priam to leave the Greek camp immediately, before a great deal of trouble comes his way.

What are four topic points to how United States became superior to other nations after the Spanish American War from the changes in foreign policy?

"Superiority" is a relative term to use in this case. In what ways is the United States superior? I can point out how the Spanish-American War led to distinct changes in American policy.
First, the Spanish-American War demonstrated the growth of the American navy. While the Spanish fleet did not have quite the strength it had in previous centuries, it was still a European fleet that was recognized by other major powers. The United States destroyed the Spanish fleet in the Pacific in a brief battle, with little damage to its own ships. Overnight, the American fleet grew in power, since before the Spanish-American War it ranked far behind European powers.
Secondly, the acquisitions after the Spanish-American War placed the United States on a footing with other major powers, especially in the Pacific. Alfred Thayer Mahan stated that the United States needed ports in order to reach potential markets in Asia. Overnight, the United States gained Guam and the Philippines. The United States would also annex Hawaii in the same year of the Spanish-American War. This meant that American production had an outlet. The United States also was active in keeping Chinese markets viable by writing the Open Door policy.
The United States also created a reputation for projecting force abroad during this war. A lot of this stems from the man who would succeed McKinley, Theodore Roosevelt. Roosevelt gained his fame during the Spanish-American War as the leader of the Rough Riders. Before the war, Roosevelt was an academic, adventurer, police reformer, and assistant secretary of the navy, but he was not yet a household name all over the country. Roosevelt authorized the voyage of the Great White Fleet as a projection of force in the Pacific. He also brokered a peace that ended the Russo-Japanese War, an act which gained him the Nobel Prize. While the nations of Europe knew the United States as an industrial powerhouse, they now had to be aware that the United States had the capacity to project its force abroad.
The Spanish-American War also led to a strengthening of the Monroe Doctrine. After the war, the United States was willing to use force to ensure a pro-American government in Cuba, much to the consternation of many Cubans who hoped for independence. The United States also helped to create the independent state of Panama in order to build the Panama Canal. All of these actions made Central America a sphere of American influence.
While "superiority" is hard to measure, one can see how American foreign policy transformed due to the Spanish-American War and its immediate aftermath. While the United States could not claim moral superiority over the colonizing powers of Europe, as its policies during the Filipino War were quite brutal, the United States demonstrated its willingness to project force in the name of what it considered "Manifest Destiny" and a responsibility to bring American values to places where they did not already exist. While much of this was a guise to support American military and commercial interests, the people who insisted on the war claimed moral superiority over colonizing European powers. Likewise, the anti-imperialists claimed that the new acquisitions were a blemish on the national record.

This question makes two assumptions: firstly, that the United States is superior to other nations, and secondly, that this superiority was caused by changes in foreign policy after the Spanish-American War. Both assumptions are subject to debate.
Yes, the United States has been the world's leading economy, but it had already become the world's largest industrial economy (surpassing Great Britain's) decades before the Spanish-American War. It also had a reputation for non-interference in the sovereign affairs of other nations and for avoiding foreign wars. One could argue that that was the real American greatness, before over a century of imperialism, foreign military adventurism, unprecedented expansion of Federal power, high taxes, and record levels of debt resulted from endless foreign wars.
Be that as it may, here are four potential topic points:
The United States, it was argued, must make the world safe for democracy by extending its Manifest Destiny beyond its borders. This argument was trumpeted to the American public by yellow journalists like William Randolph Hearst, because lurid tales of alleged Spanish atrocities in Cuba (ignoring the acts of terrorism by the separatists) sold more newspapers than honest reporting. It also supported the new "large" foreign policy of advocates of imperialism, like William McKinley, Theodore Roosevelt, and Henry Cabot Lodge. Woodrow Wilson famously became a leading advocate of this moral interventionist line of reasoning, showing that it crossed party lines.
The United States must seek new markets and greater market access for our capital investments abroad (i.e., American economic security requires and justifies imperialism). Some nations unfairly closed off their markets to foreign capital investments or foreign imports, and these backward nations must be integrated into the world economy for their own good and for the good of the world (the argument goes).
The then-popular theory of Social Darwinism was developed when Herbert Spencer applied Charles Darwin's evolutionary theory to human affairs and argued that, because nature was a struggle resulting in the survival of the fittest (those that adapted best to the current environment), the United States had a right to assert its struggle for its interests around the globe, like other nations were doing.
"Civilizing" the world and bringing an end to barbarism, slavery, oppression, and tyranny was held to be a moral duty. Was it not manifestly true that the world was full of barbarism, slavery, oppression, and tyranny? Would it not be morally irresponsible for the United States, with its unmatched power to do good, to isolate itself instead of fighting for the oppressed around the world?
These were the main points used to justify American imperialism and intervention in foreign wars (a complete reversal of American foreign policy since 1789).

Comment on Lawrence's frank treatment of sexual desire in his novel The Rainbow.

Lawrence took the topic of sex very seriously indeed. (A little too seriously, perhaps.) He saw it as the expression of our most fundamental being, a powerful, subconscious drive that transcends the merely animalistic desire to propagate the species. Indeed, for Lawrence, sex for the purposes of procreation is a sideshow, representing as it does a crudely reductive understanding of one of life's great mysteries.
In The Rainbow, Lawrence portrays sex as the gateway to the eternal. According to Lawrence, who draws extensively on the philosophy of Schopenhauer, it is only through the act of sex that we can briefly take leave of our material selves and enter into a higher world. In engaging in sexual relations, we participate in the eternal, which is where we originally came from and where we will return once we die.
For Lawrence, women have greater power than men to apprehend the mysteries of the eternal and establish an earthly bridge to them. Sex is one way, and indeed the most important way, of establishing such a connection between this world and the next. That would explain why it's the female characters in The Rainbow who are the most overtly sexual. An especially telling line in the book expresses this point neatly:

He was nothing. But with her he would be real.

This refers to Tom's meeting Lydia. The implication is that Tom, like all men in the modern world, has forgotten how to think with his blood, as it were, to partake of those mysterious forces to which women are always in such clear proximity. The modern world, with its reductively scientific view of everything, including sex, has drained all the mystery from men's lives. Yet the mystery of life in all its fulness still exists—only now it's women, like Lydia and Ursula, who act as keepers of the flame. The primary means by which they keep the flame of mystery alive is through the power of sex.

Does the French Revolution show that people can be trusted to govern themselves?

The French Revolution of 1789 ushered in ten years of chaos, violence, and- ultimately- a Bonapartist monarchy equivalent to that of the House of Bourbon the revolution sought to overthrow. While the revolutionary epoch in France set that nation on course for an eventual democracy, and introduced important concepts such as those found in the Declaration of the Rights of Man and the Citizen, its immediate objective of introducing popular governance was a short-term failure.
However, conclusions as to whether or not the French Revolution is an example of counterexample of the efficacy of self-governance must be examined in the light of the situation found in France in the late 18th century. In contrast to the American War of Independence, in which rebelling colonists had experience with self-governance that grew out of the English tradition, French revolutionaries had no such background. Indeed, in North America, colonists enjoyed experience with many of the hallmarks of the modern liberal democracy which include, not just voting, but also rule of law and the protection of individual liberties. The continued application of these last two ideals in the American context may have served as a hedge against the manifestation of excesses such as those that occurred in France during the Reign of Terror.
In their important, 1963 text The Civic Culture, Gabriel Almond and Sidney Verba argue that an existing "culture of consensus and diversity" is critical to effective and judicious self-governance. The immediate failure of the French Revolution, therefore, does not necessarily prove that people are incapable of self-governance, but it does suggest that certain social and cultural criteria must be present for its effective realization.

How does Wordsworth describe nature in his poem "Lines Written in Early Spring"? Why does he feel sad?

As the speaker relaxes in a lovely grove, they imagine the feelings of the other, non-human creatures around them. In this “green bower,” there are countless flowers, including primrose and periwinkle. The speaker imputes agency to these plants:

. . . 'tis my faith that every flower
Enjoys the air it breathes.

Similarly, the birds that flit and hop all around, and the “budding twigs” all show “pleasure.” However, this enjoyment not only emanates from the flora and fauna themselves but is evidence of God’s intentions as he perceives them: he has a “heaven sent” belief in “Nature's holy plan.”
The speaker’s deep appreciation for nature extends to distress over its being despoiled by humans. Their enjoyment of the sylvan bower is marred by knowing that such locales are becoming harder to find. The effects of human greed and neglect are destroying the natural world to which the speaker is so devoted, which causes him grief. The speaker first states and then asks rhetorically,

And much it grieved my heart to think
What man has made of man . . .
Have I not reason to lament
What man has made of man?
https://www.poetryfoundation.org/poems/51001/lines-written-in-early-spring

Describe the main characters.

The Face on the Milk Carton is a 1990 novel by Caroline B. Cooney. The titular "face on the milk carton" refers to the protagonist, Janie Johnson (or Jennie Spring), a fifteen-year-old girl who is, ironically, lactose intolerant. She has a wild mane of bright red hair—which no one else in her family has—and lives a relatively protected and privileged life.
One day, however, she sees herself on the milk carton and begins wondering if her parents are truly her biological parents. She is curious and persistent as she begins to hunt for evidence about her parentage. This journey sends her on an emotional rollercoaster, and she moves through phases of distrust, wondering if her parents are actually her kidnappers; loyalty, when she grapples with protecting her parents; and uncertainty, especially when considering her romantic relationship with Reeve Shields. Janie is also brave and determined; she wants to know the truth about who she is, regardless of how painful or upsetting that truth may be.
Reeve is the "boy next door" (literally), and has been a friend of Janie's since their childhood. Two years older than Janie, Reeve has his driver's license and often drives her to school in the morning or to her house at the end of the day. Reeve finds school to be harder than Janie does; although, throughout the course of the book, he begins committing more diligently to his schoolwork and starts to address the inferiority he feels in relation to his siblings. He becomes Janie's boyfriend and supports her search to find out the truth about her past. Additionally, his sister, Lizzie, used to babysit Janie and helps Janie call her biological parents at the end of the novel.
Mr. Frank Johnson and Mrs. Miranda Johnson, as we learn by the book's end, are the parents of Janie's kidnapper—a fact that explains why they are older than the parents of Janie's friends. Their daughter, Hannah, kidnapped Janie. Mr. and Mrs. Johnson dote on Janie, loving her fiercely, and are very concerned about her safety; for example, Mrs. Johnson won't let Janie go out alone and always wants to know where Janie is and who she's with. They feel they "lost" their first daughter (Hannah) and so they guard Janie and her well-being with ferocity.
Sarah-Charlotte Sherwood is Janie's best friend. The book tells us that she's very pretty and has bright blonde hair. Like Janie, she loves talking on the phone—especially about boys, as she's looking for a steady relationship. Towards the end of the book, Sarah-Charlotte gets mad at Janie for being so involved in her search for her parents that she never has time to talk to Sarah-Charlotte on the phone anymore.
Hannah, the daughter of Mr. and Mrs. Johnson, is the person responsible for abducting Janie. Hannah joined a cult and married its leader. One day, she arrived on her parents' doorstep holding a baby and asked her parents to raise the child; she had kidnapped Janie from a shopping center.
The Springs are Janie's biological parents. When she learns who they are, she wants to get to know them, and the novel ends with her calling them.

How does revenge in The Merchant of Venice relate to the present day?

Revenge is a timeless subject; the desire to exact vengeance on someone who has done you wrong has existed for as long as humans have, and the desire for revenge in The Merchant of Venice is still as poignant today as it was when the play was written.
The central vengeance in the plot focuses on Shylock the Jew getting revenge on Antonio, who is both a competitor and also a Christian. Shylock is an outsider in his society, and although he is written by Shakespeare to be a loathsome villain, many modern commentators have seen him in a more empathetic light. Jews in medieval and Renaissance Europe were the only ones who could lend money and receive interest because Christians were not allowed to participate in usury. Usury was one of the main reasons that people in Europe despised and mistreated the Jews who lived there, and it is one of the leading social crimes that Shylock commits in the play.
The revenge that Shylock seeks is not justified in the play, because it is explicitly leveled at Antonio. The reality is that Shylock is justified in how he feels, to some extent. During the trial at the end of the play, Portia explains that Jews are outsiders in their society and are not given the same rights as citizens:

It is enacted in the laws of Venice,If it be proved against an alienThat by direct or indirect attemptsHe seek the life of any citizen,The party 'gainst the which he doth contriveShall seize one half his goods; the other halfComes to the privy coffer of the state;And the offender's life lies in the mercyOf the duke only, 'gainst all other voice. (act 4, scene 1)

Shylock has no real power in Venice. He is not a citizen, and he doesn't have the right to seek the life of a citizen. His religion and race are used against him, and he stands before the law at the end of the play without any real protection. Ultimately, his desire for revenge is his undoing.
Shylock, in seeking the life of Antonio, has misplaced his anger. He goes too far in trying to attack just one person, because Antonio is not the cause of his problems. Antonio is a perfect stand-in for the society that oppresses Shylock because he is both a Christian and someone who loans money without interest. However, the revenge that Shylock takes doesn't solve his problem, and it does nothing to create real justice.
The situation of Shylock is similar to many of the atrocities carried out by isolated or oppressed groups in the world today. Groups and people attempt to cause social change through violence in the world. That violence often takes the form of acts of revenge against people who the perpetrators believe have wronged them. Those acts of violence, usually against innocent people, don't bring about societal change, and they don't bring justice: but people still do it because their anger is misplaced.
Shylock is similar in the way he takes revenge. He seeks to take revenge against someone that has done nothing wrong. That is why Shylock is considered a villain—because his actions and aggression are misplaced. How he feels can be understood; he is persecuted for his job, his race, and his religion in the play, but the actions he takes for vengeance are not justifiable.

Did the astrologer really possesses the skill of telling the future?

In general terms, the answer to your question rather depends on one's view of astrology. For my own part, I don't believe that it is possible to predict the future using astrology, but many others do. With regards to "The Astrologer's Day," one would also have to express skepticism. We don't know much about the astrologer's success at predicting the future. The fact that people regularly beat a path to his door is not necessarily an indication of his skills in this regard. Technically speaking, he is indeed completely accurate in the advice he gives to the stranger, but that's only because he knows for certain that it was him who threw the man down a well all those years ago and left him for dead. The astrologer can also be fairly certain that the man who committed this heinous act is indeed dead, though not in a literal sense.

What is the rhyme scheme and metre in Hardy's "The Spell of the Rose"?

Let's look at the language of the first stanza; I will put stressed syllables in a bold font and use the "|" symbol to separate metrical feet:

I mean | to build | a hall | a nonAnd shape | two tur | rets thereAnd a | broad new | elled stairAnd a | cool well | for cry | stal wa | terYes; I | will build | a hall | a nonPlant ro | ses love | shall feed | u ponAnd ap | ple trees | and pear

The first line has four feet, each consisting of one unaccented syllable followed by one accented syllable: these are called iambs. This meter is called iambic tetrameter. The second line, however, only has three iambs. This is called iambic trimeter. The third line has three iambs as well, but then the fourth line not only has four iambs (like the first line), but it also has an extrametrical syllable at the end "("ter"). The fifth line has four iambs; the sixth line has four as well, and the the final and seventh line of the stanza has only three. We would go with the meter used most frequently in the poem, so we can call this a work written in iambic tetrameter: four feet per (most) lines and the foot is an iamb.
The rhyme scheme is as follows: abbcaac. This means that lines 1, 5, and 6 have end rhyme. Lines 2 and 3 also have end rhyme, and so do lines 4 and 7.

Why does Nick get so angry with Leo in Breathing Underwater?

Nick agrees to volunteer at the carnival with Leo and his girlfriend Neysa. Neysa is late meeting up with Leo, and so he gets mad at her for the rest of the day, so much so that he acts incredibly mean towards her. Nick tells Leo to cool it, but he's not listening. So on he goes, yelling at Neysa and ordering her around; at one point he even raises his hand to her.
Nick's very angry at Leo's behavior. The main reason for this is that, for the first time, he can now see exactly how he used to behave towards Caitlyn. Leo's abusive and disrespectful behavior towards Neysa provides Nick with an uncomfortable insight into his own troubled past. This sudden realization scares Nick, and he vows never to see Leo again.

In Lincoln in the Bardo, who was Roger Bevins III?

Roger Bevins III, along with Hans Vollman and the Reverend Everly Thomas, work together to convince the spirit of Willie Lincoln to leave the Bardo. Bevins is sympathetic toward the distressed Willie and his devastated father. He even inhabits Lincoln's body in order to will the man away from visiting the boy's grave.
Before entering the Bardo, Roger Bevins III committed suicide by slitting his wrists with a butcher knife. He had been heartbroken after his lover, Gilbert, had ended their homosexual affair, which was deemed unacceptable by society. Roger Bevins III ended up in the Bardo because right after slitting his wrists, he realized that life is a beautiful gift that should not be wasted.
In the story, many of the spirits are preoccupied with the circumstances surrounding their deaths. In this case, Bevins thinks he is still lying in a pool of his own blood waiting to be found and believes he is still alive for most of the novel. His new-found appreciation for life shortly before his death is reflected in his poetic phrases about the sensuously beautiful world, which causes his body parts to comically multiply.

How is the relationship between Holmes and Watson presented in the first chapter?

In chapter 1, the relationship between Holmes and Watson is presented as mostly a friendly one, but with some less friendly feelings of irritation and insensitivity. It's important to remember that the story is narrated from Dr. Watson's perspective, so we really only have his interpretation of the relationship to go by.
When contemplating whether to say something about Holmes' drug habit, Watson says, "there was that in the cool, nonchalant air of my companion which made him the last man with whom one would care to take anything approaching to a liberty." This suggests that while Watson cares about Holmes enough to feel that he should intervene, the two are not close enough that Watson feels he is able to easily do so. To some extent, Watson also feels in awe of Holmes and "his many extraordinary qualities."
The fact that Watson does, after much hesitation, say something to Holmes about the latter's drug habit, is an indication of how much Watson cares about Holmes. Or, alternatively, his intervention is an indication of how irritated he is by Holmes' habits. It's probably most accurate to interpret Watson's intervention as a sign both of his concern and his irritation.
When speaking to Holmes, Watson calls himself "one comrade (speaking) to another." The implication here is that there is, at least on Watson's side, a brotherly connection between the two.
Later in the chapter, Watson becomes "annoyed" with Holmes when Holmes criticizes his account of a previous case, which Holmes considers too romanticized. Watson is particularly annoyed because he had written the account in such a way as was "designed to please" Holmes. This compounds the impression that Watson rather idolizes Holmes, and also implies that Holmes is, in return, somewhat insensitive, or careless about hurting Watson's feelings.

In The Call of the Wild, how does London manipulate the reader's feelings?

In The Call of the Wild, the most obvious technique London uses to manipulate readers is to anthropomorphize the dogs in the story. Ironically, he gives Buck a human-like personality and motivations as he sheds all traces of civilization to return to his natural state as an animal in the wild. Take, for example, the passage where Buck learns about the violent kill-or-be-killed ways of living in the wilderness:

[Buck] had learned well the law of club and fang, and he never forewent an advantage or drew back from a foe he had started on the way to Death. He had lessoned from Spitz, and from the chief fighting dogs of the police and mail, and knew there was no middle course. He must master or be mastered; while to show mercy was a weakness. Mercy did not exist in the primordial life. It was misunderstood for fear, and such misunderstandings made for death. Kill or be killed, eat or be eaten, was the law.

These are very human ways of expressing such ideas and a great example of how Buck is anthropomorphized.
London also uses vivid imagery to show the terror and majesty of the wilderness, reflecting Buck's changing feelings regarding it. At first, he is scared of what lies beyond civilization, but soon he feels its beauty and the freedom it promises enticing him. Check out the following passage describing Buck as he is in the wilderness at the end of the novel:

But he is not always alone. When the long winter nights come on and the wolves follow their meat into the lower valleys, he may be seen running at the head of the pack through the pale moonlight or glimmering borealis, leaping gigantic above his fellows, his great throat a-bellow as he sings a song of the younger world, which is the song of the pack.

London's language here is very lovely, showing Buck's fulfillment in the beauty of the wild. Because London has described things such as pale moonlight and the glimmering borealis, we get a sense of the wild as beautiful and, furthermore, a sense that it is good for Buck to be there and not pampered in a human household.

How can I write a detailed summary and analysis of the poem "Love's Alchemy" by Metaphysical poet John Donne?

John Donne gives us the first hint of the poem's meaning with the title. Alchemy was a precursor to modern day chemistry. Those who performed alchemy believed they could change substances into other substances, most notably changing worthless substances into gold. Of course, no one was ever able to accomplish their goals. So alchemy is seen as something that was striven for, but never obtained.
The speaker of the poem tells the audience that he has loved passionately, but that he still does not understand love. He feels that no one can ever understand love to the point of being able to explain it completely. He states, "should I love, get, tell, till I were old, I should not find that hidden mystery."
In the second stanza, the speaker goes on to say, "That loving wretch that swears 'tis not the bodies marry, but the minds," is still not completely grasping or articulating the true nature of love. He points a finger at these people, saying they, "hope not for mind in women." This is the speaker saying that they do not want intelligent women, just women who have, "at their best, sweetness and wit."
Ultimately it seems John Donne's speaker has little patience for those who claim they can write and explain love because he feels that those same men would never love a woman with any true depth.

Malaria has had a profound influence on ancient Greek history. Describe what this disease is and discuss this influence, especially the reasons for its impact.

In the early 20th century, a doctor and a classicist (controversially) argued that the decline of Ancient Greek civilization was caused by malaria.
Malaria, Italian for “bad air,” is a parasitic disease spread by the female Anopheles mosquito. A mosquito is infected when it bites an infected human. The parasites it ingests with its blood meal replicate and grow in the mosquito. After 10–18 days, the parasites can be found in the insect’s saliva. The parasites are injected with the saliva when the mosquito takes a blood meal from another human. Mosquitos and malaria thrive in tropical and subtropical climates—warm, humid regions without much temperature variation. In humans, malaria causes flu-like symptoms: fever, chills, fatigue, and mental-status changes.
Sir Ronald Ross, a physician awarded the Nobel Prize in Physiology or Medicine for identifying the mosquito as a malaria vector, believed the mountain valleys, fountains, and streams that surrounded villages in Ancient Greece were ideal breeding grounds for the Anopheles. In his introduction to classicist W.H.S. Jones’s 1909 book, Malaria, a Neglected Factor in the History of Greece and Rome, Ross supports Jones’s theory that the decline of Ancient Greek civilization was predicated on the spread of malaria throughout the region.
Jones believed that malaria was brought to the Mediterranean in the fourth century B.C. by “soldiers, merchants, or slaves coming from Africa or Asia” (9). He argues that symptoms of the disease led to less activity in cities, a decrease in intellectual vigor, decaying patriotism, sentimentalism in art and pessimism in philosophy (15). “By 300 B.C.,” he writes, “the Greeks had lost much of their manly vigour and intellectual strength” (15). The fall of a great civilization, all because of a mosquito.
https://archive.org/details/malarianeglected00jonerich

https://www.cdc.gov/parasites/malaria/index.html

Mrs. Putnam says that there “are wheels within wheels in this village, and fires within fires!” Explain what she means.

Mrs. Putnam has been completely unhinged by the loss of her infant children. She's as devout a Puritan as anyone in Salem, and yet she still hasn't been blessed with a child; all her babies have died within a day of being born. Mrs. Putnam cannot believe that this is God's work; after all, her husband is one of nine sons. So she figures that there are dark forces at work; the Devil is responsible for her loss.
But the Devil can't work alone; he needs human helpers. Mrs. Putnam gets it into her head that there must be a gigantic conspiracy between the Prince of Darkness and some of the supposedly God-fearing folk of Salem. That's what she means when she says "There are wheels within wheels in this village, and fires within fires!" She's emphasizing how Satan's accomplices are hiding in plain sight, masquerading as godly Puritans, when in actual fact they're actively in league with the Devil.

Would you consider Beowulf to be a proud or boastful person?

The short answer is: yes. Beowulf is indeed a proud and boastful man. But that's not because he's a conceited, arrogant man; it's more that he's living up to the expectations of his society. In the Nordic culture that Beowulf inhabits, it's not enough for warriors to perform noble and heroic deeds; they're expected to brag about them as well. They're expected to let everyone know just how incredibly brave, daring, cunning, and strong they are.
One such example occurs shortly after Beowulf first arrives at Heorot; no sooner has he been introduced to Hrothgar than he starts boasting about his "awesome strength." Later on, he goes one better and brags about how he'll face off against the fearsome Grendel without the need for weapons. He positively dares the monster to challenge him.
Even when Beowulf becomes king of the Geats he feels the need to assert his strength and skill as a warrior at every available opportunity. When a large, deadly dragon threatens his people, Beowulf doesn't hesitate to strap on his armor and get ready to do battle. But this isn't because he wants to stop the dragon from killing people; it's because he wants to win, to prove himself once more on the field of battle. For Beowulf, as with all Nordic warriors, it's all about achieving glory and boasting loudly about it afterwards.

What are some important quotes from the book Monster in reference to social issues?

Walter Dean Myers's book Monster is a great read that brings up a variety of social issues to readers. One such social issue is the issue of racism. There are a few quotes in the book that speak to this particular social issue. For example, the following quote works well:

You're young, you're Black, and you're on trial. What else do they need to know?

The character O'Brien she says this to Steve. The quote sounds harsh because deep down readers want to believe that justice is blind. Steve wants to believe this too, and he responds that way:

I thought you're supposed to be innocent until you're proven guilty?

Unfortunately, racism exists. O'Brien knows this, and she knows that her case is made a lot harder because of Steve's race and how that will play out in front of a judge and jury. Even Mayor Giuliani brings up the fact that racism exists and that he and law enforcement officials try to be completely neutral to race:

The idea that we're just trying to stop crime in white or middle-class areas is nonsense. Everyone living in the city deserves the same protection.

What are the techniques and quality of naturalism in Greek pottery development?

The Greeks were humanists, which means that they believed that the thoughts and concerns of mankind should be society's principal worry; this belief system influenced everything in Greek society from how communities were established to how pottery was designed.
Greek pottery developed over many centuries and many different time phrases and periods including the Geometric Period (900–700 BC), the Corinthian Period (700–600 BC), the Archaic Period (750–480 BC), during which red figure pottery was created, and the Classic Period (480–300 BC), when black figure pottery was designed.
Early pottery featured fairly simple decorations, such as lines, shapes, and crude figures. It was during the Corinthian era that the first evidence of animals used as decorative forms was noted. Sometime around the beginning of the Archaic period, the first narrative scenes were depicted on Greek pottery.
Around 500 to 470 BC, there was a surge of creativity in Athens and an upswell in the quality of materials and production. Artists became adept at perspective foreshortening, which allows for more more realistic representation of bodies. Another change was the decision to focus on fewer subjects per vessel in order to demonstrate more representational detail per piece.

How does the poet show in the poem "Lines Written in Early Spring" that objects of nature enjoy each other's company and are very happy?

Wordsworth mostly uses personification in order to show that flowers and other entities in nature are happy. Personification is the attribution of human qualities or feelings or actions to something that is not human. The speaker says,

And 'tis my faith that every flowerEnjoys the air it breathes.

Here, Wordsworth gives the flowers the ability to "enjoy" something, and because the thing that they enjoy is breathing the air, it sounds as though the flowers are simply happy to be alive. Further, the speaker states that "The birds around me hopped and played," personifying them by giving them the ability to play with one another, as if they truly do enjoy one another's company.
He also personifies the twigs on the trees, saying that they

[. . .] spread out their fan,To catch the breezy air;And I must think, do all I can,That there was pleasure there.

They are given the ability to spread out, to have purpose and intention, and the speaker believes that it gives the twigs pleasure to catch the breeze in this way.

What is Starr's point of view, or perspective, on Dorothea Lange's compassion for others? Cite two or more details that show his perspective.

In Endangered Dreams, Kevin Starr presents Dorothea Lange as having great compassion for others. He supports this idea by discussing her now iconic 1936 photograph, which has become known as “Migrant Mother.” It is a photographic portrait of Florence Thompson, which Lange took in California while working for the Farm Security Administration. Her name was not known for decades, however. Overall, Starr finds compassion both in the photograph itself and in Lange’s interactions with Thompson.
Starr calls the portrait “astonishing,” far beyond an observation of a pea picker, which is what Thompson was doing for a living. Rather, for Starr, the portrait is a quintessential expression of motherhood: it speaks about “motherhood itself,” in part by capturing “every mother’s anguish.” The photograph’s staying power lies in its lack of sentimentality. The way Lange framed the subject, with the mother’s face clearly shown but not the children’s, draws in the viewer.
In addition, Starr discusses what Lange learned about Thompson. He quotes from Lange’s writings, in which she said she felt “‘drawn by a magnet’” to the “‘hungry and desperate mother.’” He speaks about their interactions, including details of her life that she shared with Lange, such as that they sometimes had to eat birds the children killed. A factor often cited that would detract from the interpretation of compassion is that Lange did not ask her name. Starr, however, gives the follow-up story: Lange told her editor that the photo mattered because the pea pickers were starving, which led to the federal government sending 20,000 pounds of emergency food.
https://books.google.com/books?id=7GvgN0y7yI4C&printsec=frontcover

What was the request made by the Chief of Ulva's isle to the boatman in "Lord Ullin's Daughter"?

"Lord Ullin's Daughter" is a ballad by Thomas Campbell. The poet narrates the tragic love story of the Chief of Ulva and Lord Ullin's daughter. The opening lines of the poem evoke a vivid image of an anxious Chieftain requesting a boatman to row him and his beloved across Lochgyle. The Scottish Chieftain promises a silver pound to the boatman for the latter's service and asks him to take them without any delay.
The restlessness and uneasiness of the Chieftain make the boatman curious about the identity of the people, who are willing to risk their lives in the stormy weather. Then the Chieftain introduces himself as the Chief of Ulva's isle and his beloved as Lord Ullin's daughter. The Chieftain further describes their woeful situation; the lovers have been running from Lord Ullin and his men for three days. Lord Ullin doesn't approve of their romance and plans to capture and kill him. The boatman agreed to ferry them for the sake of the charming lady, despite the impending storm.

What are examples of the "muse" in Keats poetry?

John Keats both addresses human muses as well as treats nature and inanimate objects as sources of inspiration. Some of his finest poems combine the two, as he addresses natural and cosmic phenomena but merges themes of eternal love into his admiration for them. The great love of Keats’ life was Frances (Fanny) Brawne, whom he met in 1818 and to whom he was engaged at the time of his death in Italy.
A number of poems, collectively referred to as the “Fanny lyrics,” are dedicated explicitly to her or implicitly evoke her. One is titled simply, “To Fanny.” The group includes "I Cry Your Mercy, Pity, Love—Ay, Love!" In this anguished poem, Keats speaks first to Love itself and then to his beloved, asking for her love and saying life is not worth living without it.

Yourself—your soul—in pity give me all,
Withhold no atom’s atom or I die
Or living on perhaps, your wretched thrall,
Forget, in the mist of idle misery,
Life’s purposes….

One of Keats’ most outstanding works, which brings together these two strands, is “Bright Star.” In it, he combines his reverence for the star always shining in the heavens with the constancy of true love, which he wishes always to maintain. The poet establishes this in the first line, “would I were steadfast as thou art.” From the heavens, the star would look down on earth’s glories, such as the waters on the shores, and the snow on the mountains. The poet, in contrast, would steadfastly lie with his beloved, “Pillow'd upon my fair love's ripening breast….” That would be all the constant perfection he ever needed:

Still, still to hear her tender-taken breath,
And so live ever—or else swoon to death.
https://www.poetryfoundation.org/poems/44468/bright-star-would-i-were-stedfast-as-thou-art

https://www.poetryfoundation.org/poems/50326/i-cry-your-mercy-pity-love-aye-love

What are the rhyme scheme and meter of the poem "Ozymandias"?

"Ozymandias" is written in iambic pentameter. This is a meter in which a line has five pairs of two syllables, for a total of ten syllables. In an iambic meter, the stress falls on the second syllable in the pair. For example, the opening line reads as follows:

I met a traveller from an antique land

The bolded words indicate where the stresses fall. Critics have noted that some of the lines in the sonnet don't appear to follow iambic pentameter precisely (unless you read them in an unnatural way), but in general, the poem has the "da-DUM da-DUM" meter of iambic pentameter—and we can only quibble as to where the stresses fall because we don't know how Shelley would have read the poem.
As for rhyme scheme, the first four lines follow the pattern of the Shakespearean sonnet: A-B-A-B, with "land" and "sand" and "stone" and "frown" rhyming: however, stone and frown don't exactly rhyme. This is called a slant rhyme. Some scholars argue that "stone" and "frown" rhymed more closely in Shelly's day, but again, we don't know, as there's no way to know how Shelley would have read it.
After this, the next quatrain or four line group rhymes A-C-D-C: "command" rhymes with "land" and "sand", and then "read" and "fed" rhyme. In the next quatrain, lines 9–12, the rhyme is E-D-E-F. Usually a sonnet ends on rhyming couplet, meaning the last two words rhyme with each other, but in this case, the rhyme is E-F: "bare" rhymes with "despair" and "away" with "decay." To me, this is very effective, because it slows down the end of the poem and gives it a hollow, desolate sound.
Despite some possible variants, this sonnet is written in a traditional iambic pentameter meter and with end rhymes that vary a bit from traditional sonnet patterns but still work effectively.

Explain the concepts of reliability, validity, and utility. Do you consider them to be important? Why?

In business and marketing researches, the key goal is to collect certain data and determine whether it is accurate, or reliable and valid. The concepts of reliability, validity, and utility are most commonly used as important elements and techniques which help with the development of measurement scales and instruments for various social, scientific, psychological, and marketing researches.
Reliability alludes to the consistency of a measurement. It determines whether or not measures are free from error and therefore capable of producing consistent results; more consistency means higher reliability. If an instrument has fewer and fewer changes and variations in the results of the repeatedly analyzed data, then it means that it is more reliable. Reliability can be assessed and evaluated in three ways: test-retest reliability (the process of measuring is repeated with the same instrument and the same subjects), internal consistency reliability (using the instrument to measure different subjects, items, and samples in each scale), and equivalence (in which reliability is tested by devolving another instrument and using it to measure the same subject and samples).
Validity is closely related to reliability. Once an instrument has been determined reliable, we need to see and establish whether or not it’s reliably and correctly measuring what it’s supposed to be measuring. This is basically the instrument’s validity. There are four ways to assess validity: free validity (the researchers determine whether an instrument is valid or not), content validity (the researchers try to see whether the instrument has evaluated all aspects of the measured content), predictive validity (researchers determine if a measurement can predict future actions), and construct validity (this is more theoretical than practical and determines if a measurement truly tests what it’s supposed to test and applies the results to the researchers’ theories). There are more ways to evaluate validity; however, these four are most commonly used when it comes to marketing and business researches.
Aside from determining the reliability and validity of an instrument or a measurement scale, we also need to determine whether or not that measurement can be used in actual researches and analyses; in other words, the researchers need to see whether that measurement is practical. This means that the researchers are examining the instrument’s utility.
All three techniques are very important, as they help researchers get accurate results and apply those results to their theories, thus enabling them to examine more subjects or objects and try to improve the quality of people’s lives. If the results are not reliable or valid, then the research itself holds no relevant meaning.