Would America have existed without the Middle Ages?

An aspect that characterized the Middle Ages of Europe was that of exploration and the expansion of trade routes. Wealthy individual Europeans and European nations started becoming interested in trade routes throughout Asia and the Indian subcontinent (though there was not an understanding of this geography at the time). Coupled with this economic desire was a Christian religious belief that Europeans were destined to dominate the globe. This belief became particularly strong during the fifteenth century, particularly in Spain, Portugal, Italy, and, later, France, England, Belgium, and Germany. The European lust for wealth, coupled with arrogant religious beliefs of superiority and destiny, was a direct cause of what eventually became European colonization of Africa, Asia, and South and North America. The rifle and the Bible—God, gold, and glory—these are the cornerstones of Middle Ages Europe that catalyzed the beginning of European colonization. Given this, I believe the Middles Ages of Europe were crucial to the creation of the racist, genocidal founding of the land now known as "America."

Why is giving up the lottery a bad idea?

Traditions are an important part of any culture, and people throughout history have clung to their traditions because they define who they are as a group and give them a sense of place. The people in the quiet suburban town in The Lottery cling to tradition because they find the idea of change threatening. Conversely, they find tradition comforting. The setting of the story is an ordinary and, in fact, idyllic town where everything is neat and orderly and everything runs smoothly. The townspeople have been conditioned to believe that this idyllic life is because of the lottery. Therefore, giving up the lottery would be like discarding a government that keeps order in the community. It takes a revolution to overturn a government, and a revolution is nowhere in sight for Shirley Jackson’s community. The idea of a lottery suggests that the winner will receive an award, and the townspeople view the winner of the lottery as a martyr that, in effect, rewards the town with continued prosperity.Tessie Hutchinson expresses horror at the tradition when she realizes that her family has been singled out and that one of her family members will be murdered. However, until she is personally affected, she was as complicit as everyone else to the idea of murder. This attests to the fact that, throughout history and all over the world, people have always been complicit in performing rituals grounded in their cultural traditions; many of those rituals were arguably as barbaric as the lottery. The people in these communities cannot explain why the tradition is important, just that it is. It is ingrained in the consciousness of the people that things are done this way because they always have been done this way. Change is more frightening to them than continuing the tradition.

What was Owen Meany’s dream and why was it so significant

Owen Meany has a recurring dream. We don't know the specifics of that dream, but we do know that Owen regards it as a religious vision. Unfortunately for him, no one else does. John Wheelwright, for one, dismisses it as just a dream, nothing more. It's notable that none of the other characters in the story share Owen's vision, not least because of the fanaticism with which he expresses his deep conviction that he's some kind of divine messenger.
Owen's dream/vision is important because it highlights the spiritual hole at the heart of contemporary society, a hole that cannot be filled either by embracing a thoroughgoing secular worldview or subscribing to the teachings of the established churches. The conflict that Irving presents us with is not the old false dichotomy between faith and reason, but the much more complex, more interesting battle between meaning and meaninglessness. Owen and his visions are a part of that battle, representing an attempt, however imperfect, to give meaning to life in a society that seems to have lost all understanding of it.

Explain why Buck is called the "undisputed master" of Judge Miller's place.

Buck is not the only animal owned by Judge Miller and his family, but he's definitely the most beloved, the most important. The big old hound has the run of Judge Miller's enormous estate. He can go anywhere he likes, exploring the extensive grounds to his canine heart's content. Buck is truly master of all he surveys. None of the other animals have anything like the same degree of freedom: not the fox terriers that live in kennels, and certainly not the pampered house-pets.
Unfortunately, as Buck soon discovers, there's a downside to being such a strong, masterful dog. He becomes an obvious target for unscrupulous men like Manuel, Judge Miller's gardener, who sees Buck's potential as a sled dog in the frozen Klondike. But at the same time, Buck's status as undisputed master of the ranch makes it easier for him to adapt to his new life on the trail. Even before he's kidnapped, he already has more of the wild wolf in him than the other dogs on the ranch, which will stand him in good stead for his subsequent adventures.

How is Odysseus a flawed hero?

Odysseus is a flawed hero because he is human and imperfect. For example, his pride can get the better of him, causing some errors in judgment that endanger his own life and the lives of his men. When they sail away from the Island of the Cyclopes, Odysseus's pride and desire for glory compels him to tell Polyphemus his real name. He wants credit for having bested the monster. Armed with this information, the Cyclops is able to pray to his powerful father, Poseidon, god of the seas, and render Odysseus's journey home to Ithaca nearly impossible and certainly painful (out of his crew, everyone but Odysseus dies). Further, Odysseus so angers the man-monster that the Cyclops rips off mountaintops and hurls them at the ship, nearly driving it back to shore where he can set upon the men. Later, Odysseus is too proud to tell his men what Aeolus, the king of the winds, gave him in the sack, and so his men wait until he falls asleep and then open it, hopeful that it will contain riches which they can parcel out among themselves. Had he saw fit to tell them it was simply full of winds which would drive them from their home, they would likely have reached home. In short, Odysseus is flawed because he has flaws, like pride, that render him imperfect and human.

In Odysseus, Homer has created a multi-dimensional Greek hero, and not all of those dimensions are great. In the Iliad, Odysseus is depicted as brave, resourceful, intelligent, and skilled in debate, but there are episodes in which Odysseus exhibits some anti-Homeric-hero traits. For example, at one point in a battle, Nestor, one of the oldest and ablest of Greek warrior-kings, is trapped in his chariot's rubble as Trojan warriors descend upon him. Another Greek warrior-king, Diomedes, attempts to help Nestor, and as Odysseus passes by, Diomedes calls for his help. Odysseus, believing that Nestor cannot be saved, rushes on to the safety of the Greek ships. This is a practical response to the problem, but not a heroic one. In the Odyssey, when he is describing the Sirens to his men, he neglects to tell them that the Sirens pose a fatal threat despite his goal of telling his men that he wants them to go into this danger with "their eyes open," that is, fully understanding the dangers. In other instances, Odysseus's pride puts him and his men at risk. Undeniably, Odysseus is a Homeric hero, whose best traits are worthy of imitation, but he is also arguably the most complex of Homer's warrior-kings, whose flaws and strengths make up the whole man.

In the beginning of The Maze Runner, why does Thomas feel so strongly about Gally?

Thomas doesn't like Gally because he regards him as an arrogant, domineering bully. He takes exception to the fact that Gally introduces himself as the real leader of the Glade and insists on being called "Captain Gally." Thomas responds to Gally's vainglorious outburst by giving him an exaggerated salute, hoping to show him up in front of the other boys.
Thomas doesn't yet know his way around the Glade, and so it's understandable that he doesn't want to appear weak in the presence of such an intimidating boy as Gally. In challenging Gally, Thomas is putting down a marker, making it abudantanly clear to Gally and to everyone else that he's not someone to be pushed around, even if he is a newbie in this neck of the woods.

What does this work have to do with high society?

Americans were fascinated with all aspects of high or higher society up until a certain point in history. Many stories and books dealt with the subject of "getting into high society." Probably the most famous novel on the subject is "The Great Gatsby" by F. Scott Fitzgerald, who also deals with it in his "Tender is the Night" and "The Beautiful and Damned." The theme figures prominently in Theodore Dreiser's greatest novel "An American Tragedy" and in "The Rise of Silas Lapham" by William Dean Howells. A great many short stories featured the pleasures and problems of the rich, including perhaps the majority of those written by F. Scott Fitzgerald and the comical stories of P. G. Wodehouse. Virtually every newspaper in America carried a "Society" section in which the doings of the most important people in the area were chronicled. But one could argue that the American public has lost some interest in the subject and the people. What happened was that the movies came along and stole the spotlight from the old rich and the new rich and from the bourgeoise in general. The movie stars were better looking and more glamorous and led more interesting lives. Coincidentally, talking pictures came along at about the same time as the stock market crash of 1929 and the beginning of the Great Depression. Many little Americans were financially and psychologically devastated by this disaster. They tended to blame their troubles, rightly or wrongly, on the rich businessmen who had been their heroes and idols in the past. Americans did not want to read about the parties and travels of the upper class while they themselves were frightened and struggling for survival. The upper class in America has never recovered its charisma. The same applies to what is left of the aristocracy in Europe, who used to hold such fascination for democratic Americans.

In the movie American Beauty (1999), identify and explain the types of parenting styles demonstrated. Discuss how these parenting styles have affected the children's emotions as well as how the children's behavior in turn affects the parents.

The famous film American Beauty includes two parenting couples. Lester and Carolyn Burnham have a teenage daughter named Jane. Colonel Frank Fitts and his wife Barbara have a teenage son named Ricky.
The Burnhams are neglectful parents. They are completely self-centered, and though they make a show of arguing about who is the better parent and vie for Jane's attention, they are both caught up in their own angst and depression due to their unsatisfactory careers. Lester hates his job, eventually quits, develops a crush on one of Jane's underage friends named Angela, and begins to run and work out to try to impress Angela. Carolyn experiences extreme frustration trying to sell real estate and starts an affair with a more successful real estate agent. Jane, who witnesses their selfishness and hypocrisy, despises them both. She initiates a relationship with her neighbor Ricky to assuage her loneliness. When Lester finds out that Jane is in love with Ricky, he is happy for her.
Colonel Frank Fitts is a domineering parent. His wife, Barbara, has withdrawn into a near catatonic state. Fitts treats his son, Ricky, as if he were a Marine Corps recruit, demanding obedience and that Ricky call him "sir." When Ricky steps out of line, Fitts beats him. Fitts's overriding concern is that his son should behave properly, according to the norms of society, and his greatest fear is that his son should turn out to be gay. When Rickie begins spending time with Lester, Colonel Fitts interprets their relationship to be a romantic one, disowns him, and tells him to get out of the house. In reaction to Fitts's oppressive behavior, Rickie has created a secret life of his own as a drug dealer and filmmaker.
By the end of the movie, the neglectful self-absorption of the Burnhams as well as the violence and strictness of Colonel Fitts cause Rickie and Jane to try to run away together to build a life for themselves in another city.

How did the other Wes Moore respond when he was punched?

Wes runs to get a knife to send the kid who punched him a message by threatening or possibly cutting him.
When Wes is eight, he's playing football when an opponent punches him in the face. Wes had been guarding him closely and refused to let up when the boy told him to. The boy then pumps his chest against Wes and they argue; the boy then punches Wes in the face. It was the first time he was ever punched in the face.
His friend Woody tries to stop Wes from retaliating, but when Wes tastes his own blood, he runs home to get a knife. He remembers the words of his brother Tony, who said:

If he ever slackened, Tony would pull an exhausted Wes to the side, get within inches of his face, and say, "Rule number one: If someone disrespects you, you send a message so fierce that they won’t have the chance to do it again." It was Murphy Homes law and Wes took it to heart.

The police catch him approaching the boy with the knife and take him in. It's his first arrest. He ends up calling his dad to pick him up because he doesn't want his mom to know what happened.

What are some current challenges Asian and Arab Americans face? Please provide statistics to support your discussion. Next, research and identify at least two organizations for Arab and Asian Americans that fight for equality, confront the challenges your groups face, and/or provide support to individuals within your chosen groups. Identify the group, their mission statement, campaigns or programs they are involved in, and their current work.

Both Asian American and Indian Americans face discrimination in America, even if its not targeted (i.e. inadvertent) discrimination. Once unemployed, Asian Americans are about 25% more likely to remain unemployed, though the overall unemployment is lower than non-Asian American minority groups.

Arab Americans face somewhat different problems. Like Asian Americans, they face discrimination, but this has been exacerbated since the 9/11 terrorist attacks. Despite the fact that 82% of Arabs are U.S. citizens, many face discrimination owing to the strict religiosity of many Arabs who are Muslim, which promotes a conspicuously different set of behavioral standards and dress codes.

Organizations to help these groups include the Asian American Civic Association (headquartered in Boston), whose mission is to “provide education, occupational training, and social services to all immigrants and disadvantaged individuals enabling them to attain lasting economic self-sufficiency.” The analogous National Network of Arab Communities has as its mission, “the development of Arab American community-based nonprofit organizations that understand, meet the needs, and represent the concerns of Arab Americans at a local level, while also addressing those issues at a national level.”

What impact could a terrorist have on the nation through the use of biological war on our agriculture?

Bioterror attacks on America’s agricultural system are capable of inflicting varying degrees of economic and environmental damage depending on the target and method of the attack.
Consider an attack that destroys a storage facility or deploys a toxic agent over agricultural fields. Such a localized attack would have a serious impact on the affected area and the people, animals, and crops therein, but would be unlikely to impact the larger agricultural system nationwide unless the scale of the attack were enormous.
By contrast, a more systemic attack affecting one or more major components of the food chain would ripple throughout the country. For example, an attack that managed to swiftly kill all or most pollinators would cripple the agricultural system nationwide because most of America's crops rely on pollinators.
The American agricultural system is already under considerable strain due to shifting patterns of precipitation, temperature, disease, and drought as a result of climate change and resource mismanagement. Further, the economics of farming have become increasingly hard, with rates of foreclosures and suicide high among farmers. In this context, attacks that hit already weakened farmers could be truly devastating to both the farmers and those they supply.

Biologically based attacks on agriculture, or food produced from it, is called agro-terrorism. The effects could range from slight to apocalyptic, depending on the severity, scope, and number of attacks. Clearly, multiple attacks on multiple types of targets would compound the damage, but even a select few attacks could create big problems by sowing panic and destroying the public's confidence in food and its suppliers.
If a pathogen were introduced against a targeted crop, the resulting disease or damage might necessitate the destruction of huge amounts of food destined for humans or animals. If animals were infected or ate infected food, they might have to be slaughtered and their bodies safely disposed of. The economic effect on agribusiness, from giant corporations down to family farms, would be severe. Another problematic effect and related target is the water supply, as farm runoff would poison the water. Additionally, as U.S. farmers sell much of their product overseas, international commerce would suffer, and people overseas could also be sickened by tainted food.
The direct interference with crops already harvested is also possible, in storage facilities before processing. If the affected foods and beverages were consumed, resulting epidemic diseases could also overwhelm hospitals and, worst case scenario, the morgues.

Compare and contrast three Civil War battles in 1863: Gettysburg, Vicksburg, and Chattanooga. Which of these three was more of a turning point in the Civil War?

All three of these battles were Union victories during the American Civil War. The Siege of Vicksburg spelled disaster when Ulysses S. Grant attacked the Confederate stronghold in Western Mississippi. Grant sent gunboats down the Mississippi River in order to choke the troops holed up in Vicksburg from their sources of food and ammunition in Jackson, Mississippi, which the general captured in 1863. By effectively starving out the troops at Vicksburg, Grant was able to cut the Confederate army in two by holding the Mississippi River. To relieve the pressure on Vicksburg, the Confederate general Robert E. Lee decided to take the fight to a Union city in the North to convince public opinion to end the war. More by luck than by design, the Confederates found themselves fighting against Union soldiers in Gettysburg, Pennsylvania. Lee put all of his eggs in one basket, so to speak, when he ordered one massive assault on the Union fortification at Cemetery Ridge. The result was a bloodbath, and hundreds of Lee's and Confederate general George Pickett’s men were cut down as they charged uphill in the open field against the Union encampment. The loss effectively wiped out Pickett’s entire division, and Vicksburg still had not been relieved. By July 4, 1863, the Confederates had fully occupied Vicksburg and controlled the Mississippi River, in large part because of the Gettysburg debacle. The third great Union victory took place in September of that same year in Chattanooga, which sat at a railhead of eastern Tennessee just north of the entry into Georgia. Though the Union soldiers were outnumbered by almost 15,000 men, they were able to occupy the city and prevent a Confederate counter-invasion. Demoralized and weakened by their lack of supply, the Confederate army retreated into southern Georgia, and the Civil War had all but been concluded.
Though it is a subjective question, I would argue that the Battle of Vicksburg was the most significant Union victory of the war. Grant’s success in both cutting the Confederate army in two and choking out the movement of supplies from Mississippi was paramount in precipitating Lee’s desperate attempt to eke out a victory at Gettysburg. A weakened, poorly supplied, and reduced Confederate force at Chattanooga similarly faced odds much worse than might have been the case if it were not for Grant's capture of Vicksburg. Therefore, it seems that the latter two battles owed much of their successful circumstances to this initial Union victory.

Does Hiro die in East is East, and if so, how?

In T. C. Boyle’s novel, Hiro dies at the end. His death comes as the culmination to disillusion and what he perceives as his disgrace. He is finally apprehended by the police and ends up in the hospital. He understands that in one way or another, Ruth and the other Thanatopsis guests have betrayed him. Hiro’s dream of America will never become reality. He copes with his hospital stay by planning how to take his own life, bolstered by his attachment to the samurai code, as interpreted in the 20th century, which he had learned about through reading the novels of Yukio Mishima. He gradually transforms the handle of a plastic spoon into a shiv, a home-made stiletto, and uses it to commit seppuku—ritual suicide by disemboweling.

Explain how the concept of “who is my neighbor” has changed in the history of Judaism.

views the concept of chosenness in this way: "Throughout the ages it has been Israel's mission to witness to the Divine in the face of every form of paganismand materialism. We regard it as our historic task to cooperate with all men in the establishment of the kingdom of God, of universal brotherhood, Justice,truth and peace on earth. This is our Messianic goal."


Another point of dispute in Leviticus 18,19 concerns the dichotomy between Neighbour and Self. The familiar Christian interpretation, which stems to some degree from other passages from Jewish scripture holds that the commandment requires the subjection of ones own needs beneath those of another. This has been contested, particularly by medieval Jewish figures such as Rabbi Akiva, who taught that one’s own life should be considered first, before those of others. Such views are especially understandable in medieval contexts, where Jews were scattered across Europe and suffered persecution from the continent’s Christian majority.

What influenced Shakespeare to write The Tempest?

Throughout his career as a poet and playwright, William Shakespeare was no stranger to utilizing various forms of real-life (Richard III, Julius Caesar) and artistic inspiration for his work. Of all his works, The Tempest has perhaps the most mysterious and undeterminable origin; there is no clear real-world parallel, nor is there an obvious play preceding The Tempest that Shakespeare clearly reworked.
Critics have many different suggestions as to where Shakespeare's inspirations from The Tempest originate. One possible source is a play by the German playwright Jacob Ayrer, titled His Fair Sidea. The Tempest and His Fair Sidea share a number of plot similarities, though minor, that seem noteworthy. However, His Fair Sidea did not receive publication until well after The Tempest's premiere, and as a result, it can be surmised that Shakespeare's knowledge of the play would have been minimal at the time of his writing of The Tempest.
Another possible source is the real-life shipwreck of two English ships in the Bermudas in 1609. After running into a massive storm (similar to the titular Tempest), these ships were essentially lost at sea for several months. Eventually, the ships were located and all the passengers aboard were found alive. Interestingly, several seamen aboard these ships were acquaintances of Shakespeare and quite likely gave lurid descriptions of their shipwreck.
As always, Shakespeare's work was influenced in part by the culture and society in which he lived. This can be seen clearly in his careful characterization of Prospero as a rational and scientific magician. By avoiding making Prospero an occultist or a black magic-practicing wizard, Shakespeare avoided significant controversy.
As a whole, The Tempest is perhaps Shakespeare's play of the most mysterious origin. It seems as though Shakespeare had a wide number of influences while writing The Tempest, with no single source standing out significantly over the others.

How would you describe Prudence?

Prudence Winterbottom is quite the interesting character despite her somewhat small role in the novel. She is Phoebe Winterbottom's older sister. Perhaps her most defining characteristic is her domineering personality. She loves bossing people around, especially her mother. For example, Prudence often demands that her mother give her assistance, but when Mrs. Winterbottom reaches out and attempts to help her, she is dimissive, rejecting her love and advice about life and the world around her, things that would certainly be beneficial if Prudence had the desire to think of someone other than herself. Prudence is incredibly self-absorbed, meaning she cares mostly about herself and the idea of caring for others and showing empathy is not a thought that often crosses her mind.

What is Winston Churchill's argument in the speech "We Shall Fight on the Beaches"?

To understand the argument Winston Churchill made in his famous speech to the House of Commons, we need to understand the context of the surrounding days.
At this early point in the war, England was one of the few countries refusing to appease Nazi Germany's conquest of Europe. Many in the House of Commons believed that Churchill should not have been made prime minister on May 10, 1940, and disagreed with him on key issues. One of these key issues was Churchill's refusal to surrender to Germany's advancing military. On the same day Churchill became prime minister, the battle of France began and quickly turned tragic for the British and Allied armies. On the beach in Dunkirk, France, the Allied forces were surrounded on all sides by the German army. This was Churchill's first test as prime minister, and he believed that it would result in catastrophic loss of life for the British Army. What ended up happening was far different. The British were able to rescue approximately 338,000 men from Dunkirk, despite their initial belief that they would only be able to rescue some thirty to forty thousand men. This victory was a massive one for the Allied forces, as it held off the Nazi war machine for just long enough for the Allies to regroup. It is important to remember that this was before the United States entered the war. With the information that hundreds of thousands of more men were rescued than Churchill initially believed, he gave his famous speech to the House of Commons on June 4, 1940.
In the speech, Churchill essentially talked of the victory at Dunkirk and the consequences of this victory on the immediate future of England. The Battle of Britain was a little over a month away; through his speech, Churchill prepared the House of Commons, the people of England, and the rest of the world for what was to come. Churchill spoke of what the people of England had faced in centuries before as a way to show that they had been tested in similar ways in the past:

Turning once again, and this time more generally, to the question of invasion, I would observe that there has never been a period in all these long centuries of which we boast when an absolute guarantee against invasion, still less against serious raids, could have been given to our people. In the days of Napoleon the same wind which would have carried his transports across the Channel might have driven away the blockading fleet. There was always the chance, and it is that chance which has excited and befooled the imaginations of many Continental tyrants.

Churchill reminded the people of England that the threat of invasion always existed from tyrants similar to Hitler—yet England had always fought and remained. He argued that England would carry on and survive. With this reminder, he also reminded the entire world of what England had endured and overcome.
Churchill began to lead the fight against Nazi Germany's invading armies; thus, he called to arms all those who wished to resist Hitler's tyranny. At the end of the speech, Churchill made clear reference to England's most powerful ally, which had not yet entered the war:

We shall go on to the end, we shall fight in France, we shall fight on the seas and oceans, we shall fight with growing confidence and growing strength in the air, we shall defend our Island, whatever the cost may be, we shall fight on the beaches, we shall fight on the landing grounds, we shall fight in the fields and in the streets, we shall fight in the hills; we shall never surrender, and even if, which I do not for a moment believe, this Island or a large part of it were subjugated and starving, then our Empire beyond the seas, armed and guarded by the British Fleet, would carry on the struggle, until, in God’s good time, the New World, with all its power and might, steps forth to the rescue and the liberation of the old.

This speech is most famous for the initial lines in this conclusion; however, the last lines are the ones that made the greatest call for help. The "New World" is a clear call to the original colonies, now the United States. The "old" is a reference to the "Old World" that is England. Churchill believed that, with this victory at Dunkirk and his people's willingness to fight, the United States would come to England's and the world's aid—and they finally did on December 11, 1941.

What does the experience of being a merlin teach Arthur about self-reliance, might, and right in The Once and Future King?

Arthur learns that might is not right and that he must rely on his brains—not his physical strength—to survive as a merlin among the birds.
Arthur recognizes that the birds have a strict sense of military ranking and aristocratic hierarchy among them when he joins their ranks. They are a militaristic, bloodthirsty, rigid, and dangerous group to be among, if not too bright. In fact, they are a parody of the British upper classes who ruled the Empire in the nineteenth and early twentieth century.
They sing a song that expresses their worldview: "Life is blood, shed and offered."
Although Wart doesn't want this, they force him to face an "ordeal" to show his worth. They insist he stand beside the crazed and bloodthirsty hawk Colonel Cully, who will feel compelled to kill him if he can. As Wart copes with this ordeal, he realizes he must use his wits to survive, so he tricks and distracts the Colonel:

"There is a cat behind you," said the Wart calmly, "or a pine-marten. Look."

This ruse works, and Wart lives. He also learns he has the stuff of kings, though he does not really absorb this truth yet:

Mark my words," cried the beautiful Balan, "we shall have a regular king in that young candidate."

Wart says of the birds: "What a horrible, grand crew!"

How did Holden imagine he would get back at Maurice?

Holden finds himself way over his head in this set of scenes, having been set up with a sex worker, Sunny, by her pimp (and elevator man) Maurice. Maurice tells Holden that he will have Sunny take care of him for five bucks. When she arrives, Holden finds that he would much rather just talk than anything. This isn't the job Sunny has signed up for, and she becomes incredibly frustrated with this turn of events. Eventually, she demands her money, and Holden offers her the five dollars he was quoted by Maurice. Not surprisingly, Sunny changes the terms and ups the fee to ten dollars. Holden refuses to pay, and Sunny storms out but returns with Maurice. After Holden calls him a "dirty moron" (with the addition of a colorful modifier), Maurice punches him in the stomach, takes the money, and leaves.
It is at this point that Holden imagines himself in some movie, having taken a shot to the stomach and taking revenge on Maurice by shooting him as well. In reality, he lies in the floor crying and contemplating suicide.

Which event in The Story of a Shipwrecked Sailor do you think is the most tragic? Why?

In The Story of a Shipwrecked Sailor, several events could be considered tragic. The greatest tragedy is the loss of lives because of greed. Seven of the sailors died who were thrown overboard from the overloaded ship. The sole survivor was Luis Velasco, who could not keep the others from getting swept away. The underlying causes of the ship's difficulties may also be considered tragic, in that the vessel was not only overloaded but also carried no life-saving equipment.
The political attempts at a cover-up are tragic in a similar vein: after Velasco was rescued, the government restricted him to speaking only with journalists who favored the ruling regime, thereby trying to prevent the truth from coming out. The official story was that a storm had caused the problems, but Velasco revealed that there had been no storm and that the sailors were thrown rather than swept off the deck.

What are some quotes and analysis for All Creatures Great and Small?

Here are two important quotes rom the beginning of the book, as well as an analysis of these quotes:

No, there wasn’t a word in the books about searching for your ropes and instruments in the shadows; about trying to keep clean in a half bucket of tepid water; about the cobbles digging into your chest. Nor about the slow numbing of the arms, the creeping paralysis of the muscles as the fingers tried to work against the cow’s powerful expulsive efforts. There was no mention anywhere of the gradual exhaustion, the feeling of futility and the little far-off voice of panic.

In this quote from the first chapter of the book, Herriot tries to help a cow give birth, and he reflects on how different the practice of veterinary medicine in a rural area is from what he learned at school. His academic preparation did not ready him for the difficulty and exhaustion of real-life practice in relatively primitive conditions with actual animals and farmers.

"Not much small animal work in this district." Farnon smoothed the table with his palm. "But I’m trying to encourage it. It makes a pleasant change from lying on your belly in a cow house. The thing is, we’ve got to do the job right. The old castor oil and prussic acid doctrine is no good at all. You probably know that a lot of the old hands won’t look at a dog or a cat, but the profession has got to change its ideas.”

In this quote from Chapter 3, Siegfriend Farnon, who runs the veterinary practice that Herriot goes to work at, speaks about the way he plans to modernize the practice. While small animals are not yet a large part of the practice, Farnon wants to make them more of the practice. He plans to use more modern methods of treatment in his practice, though these ideas could take some time to catch on in the rural area where they work.

What does Ellie look like in If You Come Softly?

Like many characters in literature, Ellie mostly just "looks" the way you picture her. However, Woodson does provide some information and clues to her appearance.
Ellie is white. This is important to the plot since much of the story revolves around her interracial relationship with Jeremiah. Ellie is also Jewish. Jeremiah views her as beautiful, which the reader can also easily picture when considering her from his point of view.
In the cover art of a current publication of the novel, Ellie is pictured as a slender girl with long, dark hair and dark eyes. She is a teenager and can often be seen in her prep school uniform, which is pictured as a white polo and gray pleated skirt, typical of the kind of high school she attends.

What is the setting of the novel Dogeaters?

Dogeaters (published 1990) takes place in the Philippines during the dictatorship of the fictional, unnamed ruler—called simply the President—based on Ferdinand Marcos. Much of Jessica Hagedorn’s novel is set in Manila, the capital, and the events presented occur during the 1950s–1980s. Further comparison to the Marcoses is the nickname Iron Butterly for the First Lady, as Imelda Marcos was called the Steel Butterfly; the character is depicted as having almost equal power to that of her husband. The fictional leader of the opposition, Senator Domingo Avila, is assassinated, as was the real-life Benigno Aquino. Along with organized political opposition, numerous popular resistance movements are also presented in contrast to the corrupt, Western-style nightlife with its ties to organized crime. The author also shows the social problems arising from a colonial racist mentality of Spanish superiority and related discrimination against Filipinos of indigenous heritage.

To what extent is Victor's creation a victim of a society that has abandoned and rejected him? Is his violence and vengeance justifiable?

The creature in Mary Shelley's Frankenstein has been thrust into a world he does not understand, a world that rejects him over and over, leaving him isolated and miserable. In rage and profound unhappiness, he commits despicable acts of violence, taking innocent lives in retaliation for his suffering. Despite the unforgivable nature of his crimes, readers persist in asking whether or not he is really at fault; the mere fact that it is possible he could be justified in his actions is just one of many factors that makes this novel so remarkable.
The answers to these questions are really up to each and every reader of Frankenstein. Ample evidence for both perspectives are observable in the novel, so both sides of the argument are viable. To see the creature as a victim suggests that the creature has little control over his situation, which works for believers in fate and destiny; free-will proponents may be more likely to see the creature as a perpetrator who cannot be excused for his actions.

Is Assef in The Kite Runner most like Mary Carson or Luke O'Neil in The Thorn Birds?

Deciding on Assef’s resemblance to Luke O’Neill or Mary Carson will depend on the particular characteristics you think are more important, as he has similarities to both (as they do to each other).
Assef is portrayed as a person with few redeeming characteristics. Hostility and lust for power seem to guide all his actions. Even when he has a chance to take the high road, he instead chooses a path that is more likely to damage the other person. The only mitigating factors that the author suggests are Assef’s deep-seated anxiety over his racial and cultural heritage, and the effects of being imprisoned and tortured. He not only identifies with his German side but also reaches back into the country’s Nazi history, apparently believing that this heritage makes him superior. Assef comes across as a sadistic bully, rapist, and killer. Although he claims his political activities are “God’s work,” he seems to be using them to mask his personal ambitions.
Luke’s many negative characteristics include untempered ambition combined with sexual predation. Manipulative, coercive, greedy, and selfish, he is also irresponsible toward his child. Even during his marriage, he lives apart from his family for much of the time, preferring male company and what he perceives as manly activities in the Outback.
Mary is presented as more complex in her motivations and actions. From misguided sexual passion, she makes a priest the object of her obsession. Manipulative in the way she steers Father Ralph’s ambition, she is hypocritical in her alleged support of the Church as her true aim is to control him. Mary values power and material wealth, and seems detached from true emotion.
A comparison of either Thorn Birds character with Assef is complicated by the fact that, despite the numerous complexities with which the author endows him, he nonetheless seems irredeemably evil. In his hypocrisy and love of power, he resembles Mary more. In his sexual sadism and excessively masculine persona, he seems closer to Luke.

Why are parts 2 and 3 particularly important for understanding the message of the story?

The second and third sections are important because they relate the progress of Marlow’s journey upriver into the heart of darkness. Section II emphasizes the physical voyage on the boat moving up the river until he reaches Kurtz’s station, while Section III tells of his meeting Kurtz, efforts to understand what has befallen the man, and final efforts to make sense of the entire journey.
In Section II, as Marlow moves upriver and approaches the station, he learns more about Kurtz and the effects of the illness he had suffered. The physical aspects of the journey grow increasingly difficult. Sometimes the river is nearly impassable, and the African “cannibals” must push the boat. Farther upriver, surrounded by forest and a dense fog, unseen assailants shoot arrows at the boat, killing the helmsman. Everyone on the boat assumes Kurtz is dead, but when they finally reach the station, the Russian manager emerges; the native attackers were trying to protect Kurtz, who is still alive.
In Section III, Marlow finally meets Kurtz and sees the macabre spectacle he has made of his camp, with decapitated heads atop wooden posts. Obviously quite ill, Kurtz is emaciated and weak. At first well spoken, he soon makes little sense to Marlow, who tries to persuade him to leave immediately for Europe. Kurtz soon dies, after handing over his report on “Suppression of Savage Customs.” Marlow stops in Brussels on his way back to England. In the report he reads Kurtz’s terrifying recommendation, “Exterminate all the brutes.” Marlow can neither forget Kurtz’s dying reflection on “the horror” nor conclude if he referred to what he had seen or what he had done. The horror or darkness will unquestionably stay with Marlow.

Discuss the evolution of film scoring in films from the 1950s moving forward. What are some of the ways in which scoring changed? What resources did composers avail themselves of to accomplish this, including new musical styles, changes in ensembles/instrumentation utilized, changes in perspective, and new commercial opportunities?

In the 1950s, film scoring began to reflect the new seriousness and frankness in the subject-matter of the films themselves. Two key films from this period, both from 1955, were Rebel Without a Cause, and The Man with the Golden Arm. The former features a dissonant, often atonal score by Leonard Rosenman that reflects the huge tensions in the story and the anguish of the characters. In the latter, the first serious Hollywood film about drug addiction, Elmer Bernstein combines similar elements of the twentieth-century avant-garde with jazz, used extensively for the first time in mainstream film scoring. From this point, through the 1960s, although more traditional, neo-Romantic background music continued to be used, composers more and more often employed styles reflective of modernism, using highly dissonant atonality but also more subdued styles when appropriate. Among many examples, some of the most striking are Bernard Hermann's score for Hitchcock's Psycho (1960), Quincy Jones's for The Pawnbroker (1965) and Jerry Goldsmith's for Planet of the Apes (1968).
The 60s also saw a new trend in which films began to employ popular songs as background rather than classical-sounding orchestral music or even jazz. The pathbreaking film in this regard is Mike Nichols's The Graduate (1967) with its Simon and Garfunkel songs. Most of these were songs that Paul Simon had written earlier and that the duo had already recorded; only one of them, "Mrs. Robinson," was written specifically for the film. This is a seminal technique which has been used more and more frequently in both the cinema and television over the past fifty-plus years. But at the same time, much of filmmaking in the 1970s returned to the use of lush, neo-Romantic orchestral scoring, as in Nino Rota's music for The Godfather and Godfather II (1972 and 1974). This throwback trend was continued, perhaps ironically, in films of that period and the following decade which were pathbreaking in subject, film technique, and special effects. John Williams's music for the Star Wars films was in many ways a rethinking of the work of early twentieth-century classical composers such as Gustav Holst (appropriately, the composer of the orchestral cycle The Planets).
What has largely occurred from 1980 up to the present is an increasing diversity of technique in film music. Unlike prior to 1960, there is no single, mainstream type or style of background music. Some composers, such as Williams, Howard Shore, and James Horner, continued to write full-orchestral, classically oriented music. In the 1980s, electronic and synthesizer music came to be employed more and more. Pathbreakers in this technique were Giorgio Moroder in his scores for Midnight Express and Scarface, and Vangelis in Chariots of Fire and Blade Runner. In Moroder's scores both electro-pop instrumentals and vocal numbers are used. Along with the continued use of often preexisting popular songs and the traditional, classically oriented symphonic background score, a new tendency beginning in the 2000s has been a deceptively simple, scaled-down type of film music in which one hears merely a quiet, sustained bass with little change over long periods of the film. This tends to be used in thrillers and horror films. But in general, filmmakers, as stated, avail themselves of a huge variety of types of music. Eclecticism seems to be the ruling principle in film music, as in so many aspects of modern artistic attempts.

Do firms earn accounting profit under perfect competition? Do firms earn economic profit? Viewing yourself as a firm, would you say that most of your career choices will be made in a competitive market? Explain.

Firms receive an accounting profit but not an economic profit under perfect competition. Accounting profit is the simple financial calculation of total money in minus total money out. If there was no accounting profit, no businesses would enter the market in a perfectly competitive environment. Economic profit, however, is always zero in a state of perfect competition, because you factor in opportunity cost—which, in perfect competition, is exactly equal to the potential earnings.
I would say that most of my decisions would be made in a competitive market. I figure that if I don't apply for a job then that position will still be filled, so my services are exchangeable with another individual's service and skills. It may not be a state of perfect competition, because I have strategic advantages and my competitors do as well (be it for a job or when selling a product), but it is competitive nonetheless.

Who will recite the added monologues that Bottom suggests?

In Shakespeare's comic masterpiece, A Midsummer Night's Dream, Nick Bottom, a weaver, is one of the local skilled craftsmen in the play who Puck calls the "rude mechanicals" [3.2.10].
In act 1, scene 2, Bottom is meeting with the other "rude mechanicals" to discuss the casting of a play that they're going to perform in four days at the celebration for the wedding of Theseus, Duke of Athens, and Hippolyta, Queen of the Amazons.
Peter Quince, a carpenter and director of the play, tells the group that they're going to perform The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbe, which Bottom assures them is "A very good piece of work, I assure you, and a merry" [1.2.13–14].
Quince assigns the role of Pyramus to Bottom.

BOTTOM: What is Pyramus? A lover, or a tyrant?
QUINCE: A lover, that kills himself most gallant for love. [1.2.19–20]

Bottom says that he'll play Pyramus remarkably well but that he would be better suited to play a tyrant, and he composes a monologue for the tyrant:

BOTTOM: That will ask some tears in the true performing ofit. If I do it, let the audience look to their eyes; I willmove storms; I will condole in some measure. To therest: yet my chief humor is for a tyrant. I could playErcles rarely, or a part to tear a cat in, to make allsplit.‘The raging rocksAnd shivering shocksShall break the locksOf prison gates;And Phibbus' carShall shine from far,And make and marThe foolish Fates.'This was lofty! Now name the rest of the players. [1.2.21–35]

When the merry band of actors meet later in the woods outside Athens to rehearse Pyramus and Thisbe, Bottom finds fault with the play and suggests ways that he could improve it by adding a monologue—what Bottom calls a "prologue"—that he will perform:

BOTTOM: There are things in this comedy of Pyramus andThisbe that will never please. . . .
I have a device to make all well. Writeme a prologue; and let the prologue seem to say we willdo no harm with our swords, and that Pyramus is notkill'd indeed; and for the more better assurance, tell themthat I Pyramus am not Pyramus, but Bottom the weaver. [3.1.8–9, 15–19]

Bottom also suggests that the ladies in the audience will be frightened by the Lion in Pyramus and Thisbe, so another "prologue" should be written for Snug, who plays the part of the Lion.

BOTTOM: Nay, you must name his name, and half his facemust be seen through the lion's neck; and he himselfmust speak through, saying thus, or to the same defect:—‘Ladies,’ —or ‘Fair ladies,—I would wish you’—or ‘Iwould request you’ —or ‘I would entreat you,—not tofear, not to tremble. My life for yours! If you think Icome hither as a lion, it were pity of my life. No, I amno such thing; I am a man as other men are.’ And there,indeed, let him name his name, and tell them plainly heis Snug the joiner. [3.1.33-42]

Bottom also has concerns about the moonlight and the wall where Pyramus and Thisbe meet, and through which they converse, but he doesn't suggest any other "prologues" be added to improve the play.
Once the actual rehearsal begins, Bottom makes his first entrance and says his first lines without incident, then leaves the "stage," followed by Puck, who happens upon the rehearsal, and decides to cause trouble.

PUCK: What hempen home-spuns have we swagg'ring here,So near the cradle of the fairy queen?What, a play toward! I'll be an auditor;An actor too perhaps, if I see cause. [3.1.70–73]

While Bottom is offstage preparing to return as Pyramus, Puck transforms Bottom's head into an ass's head. When Bottom returns, his head frightens off the other actors, and the play of A Midsummer Night's Dream continues.

What did Stephano says about the music on the island?

In Act III, Scene 2 of The Tempest, Caliban, Stephano, and Trinculo are drinking alcohol and conversing. Ariel arrives and, while staying out of sight, interjects comments into their conversation. Caliban knows that Ariel is doing this, but does not want the others to know that the sprite is there. As Caliban finishes convincing the sailors to “destroy” Prospero and take his books of magic spells, he asks the others if they would like to resume singing the song that Stephano had recently taught him; he uses a fishing metaphor, “troll the catch,” for singing.
As Stephano begins to sing, Ariel joins in but plays a different tune on their drum and flute (“tabour and pipe”). Stephano immediately notices that it is not the same and asks what tune it is. Trinculo says it is their tune, as played by some unseen entity, “the picture of Nobody.”
Stephano freaks out a bit, demanding that this Nobody appear if he is “a man” or do as he please if he is “a devil.”
To assuage his fears, Caliban then tells him about the island’s delightful magical sounds and music, which will not hurt them.

Sometimes a thousand twangling instruments
Will hum about mine ears, and sometime voices
That, if I then had waked after long sleep,
Will make me sleep again….

Stephano seems convinced, stating that in this “brave kingdom . . . I shall have my music for nothing.” As Ariel continues to play, they decide to follow the drum’s loud sound.
http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=tempest&Act=3&Scene=2&Scope=scene

The drunken servant Stephano has set himself up as ruler of the island, with Caliban as his willing slave. Caliban's so desperate to be free of Prospero's yoke that he's prepared to conspire with his new master to kill Prospero and steal the magic books which he uses to consolidate his power.
But Prospero's loyal servant, the ever-faithful Ariel, is listening in to the treacherous conversation of Stephano, Caliban, and Trinculo. And with a pipe and drum he provides a musical accompaniment to the traitors' premature song of victory. Stephano is immediately unnerved by the sound of music:

What is this same? (Act III, Scene ii).

In other words, he wants to know what this strange song is. Stephano's too drunk to realize that it's the melody of the freedom song he'd just started to sing. A line from that song states that "thought is free." But the presence of Ariel is a surreptitious reminder that the would-be conspirators are not really free not all, not with Prospero's loyal servant hanging around, eavesdropping on their conversation.

What type of special education placement and services should an Admission, Review, and Dismissal (ARD) consider for a student who was in an automobile accident resulting in a closed head injury with many changes in physical, cognitive, and language skills? What type of interventions might be addressed, and how can the school and the family help assist this student in his transition in going back to school?

Without knowing the specific cognitive, physical, and language needs of the student, it is difficult to know which interventions might apply. Also be aware that the services considered "standard" in one school district or state may not even be available in other districts or states. Special education services vary greatly across the United States.
That said, hopefully the initial testing given by the school district will shed some light on the specific needs to be addressed. Almost always, districts will test in each of these areas and will also consider medical evidence provided by parents and medical professionals in their determination of services.
Here are some areas to consider, but again note that all services may not be available within any particular school or district:
Physical Therapy: In addition to any therapies covered by insurances, the student may qualify for physical therapy services provided in the school. These therapies would be geared in helping the child navigate his or her school successfully (climbing stairs, walking over curbs, standing in line, participating in physical education, etc).
Occupational Therapy: These therapies would focus more on the fine motor tasks associated with working in schools. Can the student hold his pencil effectively? Can he cut using scissors? Can he cut in a straight line? Can he pick up small objects as needed in his biology labs? The occupational therapist works with teachers to determine the needs of the student in the classroom and then works to strengthen those skills through therapies.
Speech Therapy: Noting the changes in language skills, the speech therapist works to make speech more intelligible and relevant. Speech therapists work to improve all skills, from forming the sounds of letters, to forming words that can be easily understood by non-family members, to creating sentences that make logical sense.
Note: Due to a lack of resources nationwide, these three therapists are usually in high demand and have incredibly packed therapy schedules. Parents may find that there isn't enough availability in the therapists' schedules to provide the level of care they need and may feel led to seek additional therapies outside their school districts.
There are also things that can be done inside the classroom:
Additional time: From providing additional time on assignments to providing additional time on tests, students can be allowed more time to show their content knowledge.
Additional materials: Students may need to be allowed a dictionary, a calculator, a speech-to-text app, or any other number of aides to help them be successful. Parents and teachers should look together at the student's goals to determine which aides may prove beneficial in mastering content.
Modified grading: If a student's primary writing goal, for example, is to respond appropriately to a prompt, it may not be appropriate to penalize this student's spelling or grammar. These types of modifications can be implemented into his IEP and re-examined as the student progresses.
Adjusting the length of assignments: If maintaining focus is a struggle or if working for extended periods of time is counterproductive to learning, students can be allowed modifications in the length of their required work. Perhaps students complete 50% of their math assignments (or 80%—all depending on the child's needs). In this case, parents and teachers need to work together to determine the goals of each assignment and the abilities of the child in order to ensure the child is progressing in all needed areas.
An instructional aide: In some cases, a student qualifies for an instructional aide. This person remains with the student for the duration of the school day, assisting with all needed tasks. This is especially helpful for students who have limited physical abilities and need help with restroom or feeding skills, for example. It is also helpful for students whose fine motor skills may prevent them from taking notes in class; this person then records all notes for the student. Or in math, the student dictates the math work to the adult, who transcribes the student's work.
An alternate placement: This one really varies greatly around the nation. In some areas, there are schools for children with special needs that exist to serve only those students. In other areas, students with special needs attend one multi-age, multi-ability classroom led by a special education teacher, all housed in the same school as the general population of students. In this case, it is typically a goal that students with special needs will learn, work, and play with typical students as appropriate (lunch, art, even classes like science—depending on the student).
There are more services that exist, but overall the goal is to help provide the needed supports to help this child reach his highest potential possible. The most successful programs are possible because of excellent communication between parents and the child's teachers. With ongoing, informal evaluations and the ability to have an open dialogue about progress and struggles, the plan for success can be modified as needed, as the child's needs are always being reshaped.

How does the poet bring out the feeling of separation between the place of his childhood and his present dwelling in "Far in a western brookland"?

Throughout the various poems of A Shropshire Lad, Housman engages in wistful reminiscence of his formative years. The Shropshire that Housman so vividly evokes is almost entirely a product of his imagination; he didn't grow up there and hardly ever visited the county. In that sense, there is inevitably an unbridgeable gap between the life he now leads and the romanticized existence of his youth.
Though the speaker of poem 52 may now live in London, his spirit still resides among the far-off Western brook land where he claims to have been born. There, he was never truly alone; he always had the poplars he knew so well for company. In his native fields, he was truly in his element; he was "known," completely at one with his natural surroundings. The contrast with London is stark. In the atomized world of the big city, he is isolated and anonymous, and when he lies down to sleep at night, he is always alone.
https://www.poetryfoundation.org/poems/58269/a-shropshire-lad-52-far-in-a-western-brookland-

What was going on in Japan in the 1960s?

Japan experienced rapid change during the 1960s, just as much of the rest of the world did. During this pivotal decade, the Japanese economy continued its rapid development, becoming one of the world's strongest. A key component of the so-called Japanese economic miracle was the country's thriving export markets. Japanese consumer goods, especially electronics, were exported all over the world. In the West, especially, Japanese electronics became a familiar sight in shops and stores (they remain so to this day). In addition, the Japanese reputation for technological advancement was cemented by the introduction of the high-speed bullet train network.
In the first full decade of post-occupation Japan, the country became more integrated into the international community. A symbol of Japan's greater openness to the wider world came with Tokyo's hosting of the Summer Olympics in 1964. Japan also developed closer relations with its near neighbor South Korea, which the Japanese had conquered and occupied during World War II. In 1965, Japan and South Korea signed the Treaty on Basic Relations that normalized diplomatic relations between the former enemies.

What is the method in which each victim was murdered in And Then There Were None?

In And Then There Were None by Agatha Christie, eight strangers are lured to a remote island by a mysterious stranger. On their arrival, the strangers meet two other guests: a husband and wife who have also been invited to the island to work as butler and cook. The host is known only to the guests by his name U. N. Owen (Unknown). In each of their rooms is a poem by the name of "Ten Little Indians," and, in the dining room, there are ten Indian figurines on the table.
Following their dinner on the first night, the guests gather together in the drawing room. A voice suddenly resonates around the room and accuses each of the guests of murder. It tells them they have been brought to the island to face punishment. None of the guests know what to make of what they have heard until Tony Marston takes a drink from his glass and dies. He has been poisoned with cyanide.
Like the poem "The Ten Little Indians," the guests die in the same manner and in the same order.

Ten little Indian boys went out to dine;One choked his little self and then there were nine.Nine little Indian boys sat up very late;One overslept himself and then there were eight.Eight little Indian boys traveling in Devon;One said he'd stay there and then there were seven.Seven little Indian boys chopping up sticks;One chopped himself in halves and then there were six.Six little Indian boys playing with a hive;A bumblebee stung one of them and then there were five.Five little Indian boys going in for law;One got in Chancery and then there were four.Four little Indian boys going out to sea;A red herring swallowed one and then there were three.Three little Indian boys walking in the zoo;A big bear hugged one and then there were two.Two little Indian boys sitting in the sun;One got all frizzled up and then there was one.One little Indian boy left all alone;He went and hanged himself and then there were none.

Tony Marston dies of cyanide poisoning. Mrs. Rogers does not wake up. General MacArthur is killed by a blow to the back of his head. Thomas Rogers is killed with an axe. Emily Brent is killed with an injection. Judge Wargrave is supposedly killed with a gunshot to the head. Blore is crushed by a clock. Dr. Armstrong is drowned in the sea. Phillip Lombard is shot with his own gun. Vera Claythorne hangs herself.

What 13 colonies fought in the American revolution?

All of the Thirteen Colonies fought in the American Revolution. Each one of the colonies declared its independence from Great Britain in 1776. This is evidenced by there being signatories from each of the colonies on the Declaration of Independence. It was very important to the leaders of the Revolution to have the participation of each of the colonies in this conflict. If the colonies were not united in this fight, it would likely have ended in failure.
The Revolution had to be seen as an American cause, not just a local fight. Several of the leaders of the cause, such as John Adams and Thomas Jefferson, were worried that the Revolution would be seen as just the fight of the New England colonies. They also knew that the cause would fail without the participation of all the colonies. It could not be a mere local rebellion. Therefore, they heavily lobbied the other colonies, particularly the southern ones, to join the cause for liberty from Great Britain.
It should be noted that although each colony signed on to the Declaration of Independence and provided soldiers and support, they all had a significant number of loyalists who refused to break their allegiance to Great Britain.
The following are the 13 Colonies: Delaware, Pennsylvania, Massachusetts, New Jersey, Georgia, Connecticut, Maryland, South Carolina, New Hampshire, Virginia, New York, North Carolina, and Rhode Island.
https://historyofmassachusetts.org/13-colonies-revolutionary-war/

What happens in chapter 5?

There are several significant events in chapter pertaining to Asher’s art, his school life, and his home life. In the previous chapter, the issue of Asher’s increasing immersion in his art was causing tension. In addition, the family’s move to Vienna had created a conflict, as Asher did not want to go and asked to stay with his uncle.
Chapter 5 shows Asher continuing to paint and draw, even in the Torah. His behavior causes concern to his parents, who consult doctors about possible ailments including eye trouble. He also gets upset while meeting with the religious instructor at school, or mashpia, who suggests that he draw while in the office. Asher understands what other people want him to draw, and obliges.
Asher’s felt need to continue his art turns to the materials and their costs, and results in him actually stealing some art supplies from the store where the owner has been friendly to him. He seems disoriented and wanders the streets, which worries his parents.
When his father returns home from a trip, the subject of their upcoming move comes up again. The idea of staying with his uncle had been considered, but abandoned. The family decides that Asher and his mother will stay in New York, and his father will go alone.

Describe the trust Prospero had for Antonio.

Prospero's trust in his brother, Antonio, is the reason that Prospero and Miranda are stranded on their island in Shakespeare's The Tempest.
Prospero, the rightful Duke of Milan, entrusted Antonio with ever-increasing responsibility for administering the day-to-day affairs of Prospero's dukedom. Thus, Antonio began to believe that he, not Prospero, was (or should be) the actual Duke of Milan. Ultimately, this caused Antonio to betray Prospero's trust in him.
The word "trust" appears only twice in the play, both times spoken by Prospero within four lines of each other. Prospero wants Miranda to understand (and Shakespeare wants his audience to understand) the limitless trust that Prospero placed in Antonio and the depth of Antonio's betrayal of that trust.

PROSPERO: . . . and my trust,Like a good parent, did beget of himA falsehood, in its contrary as greatAs my trust was, which had indeed no limit . . . (1.2.110–113)

Antonio conspired with the King of Naples to overthrow Prospero and seize his dukedom. Antonio caused Prospero and Miranda to be cast adrift to die in a leaky excuse for a boat that even the rats had deserted, but somehow, Prospero and Miranda managed to make their way to the remote island that has been their home for the past twelve years.
Even more than that, Prospero's misplaced trust in his brother is the reason for the play itself. If Prospero had not trusted Antonio so explicitly, and if Antonio had not betrayed that trust so completely, Prospero and Miranda would not have been cast adrift at sea. They would never have come to this island; the ship bearing Antonio and the King of Naples would not have been passing by Prospero's island; the tempest which nearly destroyed their ship would never have occurred (or had any reason to occur); and Prospero would not have been able to right the grievous wrongs committed against him by his brother twelve years ago.

What is the symbolic meaning of " mould " in the poem?

Mould or, as the Pearl Poet calls it in his dialect of Middle English, "moul," has a meaning both literal and figurative. This mould, or "clot," is literally imagined as dirt coating, and therefore marring and dirtying, a pearl. However, in the context of the poem, the pearl is a representation of the speaker's lost daughter.It is a pure symbol signifying a dead female child. As such, the mould or "clot" is representative of grave dirt and, by further analogy, death itself. Where previously the pearl was "wythouten spotte," or without any blemishes, now it is "clad in clot," or deteriorated by dirt.
The implications of this are slightly macabre—note the reference to "rot" in line 26. The poet is here describing the natural process by which plants break down, but its closeness to the comments about the pearl being covered by mould directs the reader to imagine how a "pearl" might be deteriorated by grave dirt. The pearl is a "jewel," but the earth breaks it (her) down through the natural process of decay.

More than 3,000 people were killed, thousands more were wounded, and the loss of property was unprecedented in the worst terrorist attack in history. The events horrified people around the world who understood that two symbols of American global financial and military dominance had been singled out in a carefully planned and executed mission of destruction. The event was immediately compared to the Japanese attack on Pearl Harbour in 1941. Reference: Civilization in the West, Fifth Edition, by Mark Kishlansky, Patrick Geary, and Patricia O’Brien How has the writer used connection? How has the writer using implied meaning? How has the writer used hint and suggestion? What conclusions have you made from reading the passage?

In the example from Civilization in the West, which links two devastating attacks on the United States, the authors have carefully and concisely placed the attacks on the World Trade Center on 9/11/2001 and the U. S. Naval Base at Pearl Harbor within the same cultural framework.
The two attacks are explicitly connected by the first and last sentences, and the connection is a natural one to make. The attack on Pearl Harbor on 12/25/1941, as was the attack on 9/11/2001, a complete surprise to those effected. In the case of Pearl Harbor, the attack occurred at a time when most of the U.S. military understood that negotiations with Japan to avoid hostilities were in progress, and very few U.S. government and military personnel suspected that Japan had already prepared its navy for the attack on Pearl Harbor. In 2001, even though the U.S. government suspected that terrorist activity was a growing threat, no one actually expected that U.S.-bound aircraft would be used as weapons or that terrorists had trained themselves in the U.S. The attacks are also connected in that the number of killed in each attack is similar—about 3,000 killed on 9/11 and a slightly lesser number for Pearl Harbor, about 2,800, most of whom were naval personnel.
Although the writers do not identify the 9/11 attack as such, their suggestion of "the worst attack in history" is so culturally ingrained in Americans that no one needs to be told the date of the attack. They also do not bother to name the two primary targets of the attack—the World Trade Center in New York City and the Pentagon in Washington, D.C.—because these, as with the date, are etched in everyone's memory. From a rhetorical standpoint, suggestion is often more powerful than an explicit statement because it allows each reader to summon his or her emotions relating to the attacks more easily.
The primary implication of the passage is that the U.S., often considered by the world at large to be eminently powerful and immune from significant destruction, proved to be truly vulnerable. In WWI and WWII, aside from the attack on Pearl Harbor (which was a territory), the U.S. had remained invulnerable to attack. The destruction on 9/11 reminded us, and the rest of the world, that the U.S. could be significantly damaged on our own soil, a new and psychologically devastating realization that governs our behavior today.
This short passage, which recounts the most disastrous single attack—both materially and culturally—in the history of the U.S., reminds us that we are truly vulnerable, especially in the asymmetrical war of terrorism where our own strengths (freedom and material wealth) can be used against us. From a strategic perspective, the passage also must remind us that the world no longer views our material and military strength in the same light as it did before 9/11 because these advantages were turned into weapons that we did not even recognize as weapons until it was too late. Also, in the final analysis, the linking of the two attacks is a telling example of the axiom that history repeats itself.
https://www.theguardian.com/world/2002/aug/18/usa.terrorism

Compare and contrast the various ways that the experimental and theoretical parts of science interact (relating to Feynman) in Genius.

For Nobel Prize-winning physicist Richard Feynman (famous for his work in quantum mechanics), the theoretical and the experimental are inextricably linked. Each gains validation by the other, and so they are mutually dependent. Richard Feynman was a strong proponent of the scientific method, and he gave a popular lecture in 1964 in which he famously declared that "If it disagrees with experiment, it's wrong. In that simple statement is the key to science."
An alumnus of MIT, Feynman has authored several books, such as Surely You're Joking, Mr. Feynman! (1985), a collection of autobiographical anecdotes. He also published The Pleasure of Finding Things Out (1999), a collection of interviews and lectures.
Feynman contends that a theory starts with a simple guess. For Feynman, the theoretical is given relevance only by experimentation. Newton's laws about planetary motion are his examples of theories that began with a guess and continued for a long time by virtue of not having been proved wrong for a long time. Feynman also explains that vague theories cannot be proved wrong; a theory needs to be sufficiently detailed in order to be able to be tested. Thus, the possibility of experimentation, according to Feynman, is a qualifying feature of sound theory.
Feynman explains the scientific theory as first guessing (or proposing) a theory, then computing the consequences of that guess, and then comparing those consequences to experience and observation. In this way, experiment is the litmus test for a theory. Feynman also proposes that the most likely theory is usually right and should be tested first; however, if this theory is proven wrong by means of experimentation or observation, it must be discarded.
The scientific method is such a touchstone for Feynman that he coined the phrase "cargo cult science" in a commencement address at Caltech in 1974. Feynman uses this term to refer to phenomena that constitute pseudoscience (not real science), as they are untestable by means of the scientific method. Such phenomena include mind-reading, astrology, and UFOs.
Feynman avers that theories cannot be proved right by experimentation, only proved wrong. In brief, the scientific method includes both theory and experiment, and only the applicability of this method renders a field a properly scientific one.

How did Schindler's List shape the cultural identity of the Jewish people?

The 1993 movie Schindler's List raised significant awareness of the atrocities that were committed by Nazi Germany against the Jewish people during World War II. These atrocities are commonly referred to as the Holocaust.During the Holocaust, the Nazi regime initiated what it referred to as its "final solution," which involved the imprisonment and extermination of the Jewish people. Approximately six million Jews were killed during this period. Many were executed, but many others died from disease and malnutrition from their imprisonment.Schindler's List is set in Poland during World War II. Oskar Schindler, a member of the Nazi Party, runs a factory in the city of Krakow and hires local Jews to work in it because they work for lower wages than other locals.After witnessing the massacre of a ghetto by a Nazi SS officer, Schindler is shocked and profoundly disturbed, thus changing his perception of the war. To save Jews from being sent to Auschwitz for extermination, Schindler bribes officials into sending them to a factory instead. His "list" consists of approximately 850 people who are saved from certain death. Schindler spends the vast majority of his personal savings on these bribes, leaving him nearly penniless at the war's end. Ultimately, the movie's contribution in shaping the cultural identity of the Jewish people was in how it made people vastly more aware of the horrors of the concentration camps and extermination chambers.
http://oskarschindler.com/

https://www.jewishvirtuallibrary.org/oskar-schindler

How long were typical 15th or 16th century sea voyages?

There were a lot of factors that went into calculating the length of a 15th and 16th century sea voyage. Weather, wind, and the quality of the ship are among the most important. However, let us discuss the common voyages between Europe and North America as a starting point. Most research says that these voyages took anywhere from a month to 6 weeks or more. The Mayflower, for instance, left England on September 6th, 1620 and arrived on November 9th in America. This was a total of 66 days for the voyage—around two months.
Another example was with Columbus. His first voyage to the New World set sail on August 3rd, 1492 and landed in Latin America on October 12th. This was nearly two months at sea, which falls in line with most voyages in the 15th and 16th century. Keep in mind that these lengths could easily be extended based on the conditions at sea.
http://mayflowerhistory.com/voyage

https://www.gilderlehrman.org/user/login?destination=node/81744

https://www.newworldexploration.com/explorers-tales-blog/life-at-sea-in-the-16th-century

How does David describe his mother physically?

The author, David J. Pelzer, does not offer too many details regarding the physical description of his mother. He recalls in an early chapter that his mother had an average appearance and size. Before the abuse began, he referred to her as a "woman who glowed with love for her children." Pelzer shares that when his mother put effort into her appearance, she seemed to be more relaxed. When she was more relaxed, this typically meant that David was less likely to be abused. It is as if her appearance and her treatment of her son were related. Pelzer's mother drank heavily, and eventually she ceased to put effort into her appearance. In chapter 1, Pelzer provides an account of the day he was finally saved from the abuse. As his mother dropped him off for school, he remarked that "Her once beautiful, shiny black hair is now frazzled clumps." He described her as being overweight and wearing no make-up. It would not be unusual for him to be aware of her weight, since a great part of her abuse toward him was denying him food.

Which character is the most heroic, and what ultimately does the story say about the ideal of heroism?

This is a challenging question because Modernism complicates how we define heroism, and Faulkner tends to be rather tricky in how he presents character. In a traditional sense in which the hero sacrifices personal interest for the greater good, Cash seems to be the obvious choice for the novel's hero. He dutifully makes Addie's coffin, allowing her to watch him make sure it is a well-made casket but also one in which the workmanship is beautiful (chapter 18). In his quiet and methodical way, this seems to be Cash's way of expressing his relationship to his mother. Similarly, he risks himself in trying to get the wagon bearing the family and the coffin across a flooding river. Breaking his leg a second time, Cash quietly suffers the pain and the then the indignity of his father's inept approach to dealing with the broken leg. Cash is the model of stoic duty. This is likely misplaced, given the quality of the family and the cause to which Cash dedicates himself. On the outside, he may present himself as a Hemingway-esque hero, though nothing in this novel rises to the level of the ideals Hemingway would engage in his novels.
If we see the novel as a parody of the Odyssey, then the goal is to bury Addie in her home county and to successfully return home. As a comedy and a quest story, self-interest and cleverness in outwitting others to overcome obstacles would be the higher value. In this case, we see most of the characters seeking their own interests apart from the group. Here, we would have to see that Anse is the comic hero, for he gets what he wants (new teeth) as well as a new wife, and the completion of his quest cost him nothing. He had already lost the respect of his children and acquaintances, and he seems unbothered by the distress his children experience.
Placing these two very different characters in contrast, it seems that the message about heroism is clear. Faulkner seems unimpressed, or unbelieving, of conventional notions of masculine heroism. This novel should be read as a dark and ironic comedy; as any other type of story, it is too dark to enjoy. Faulkner's portrayal of human character—from the farmers who lend their help to the family on the foolish journey but do nothing to protect the children from these parents to the store clerks who rape Dewey Dell, to the minister who fathers the illegitimate Jewel, to each of the characters in the Bundren family—is bleak and best appreciated in terms of the ability to survive. Anse, who survives without doing any sweat-inducing work, who is able to remarry within days of his first wife's death, is able to use his children to further his own interests.

What makes Krebs decide to leave home?

Krebs decides to leave home because he can no longer relate to the people around him. This is an all-too-common experience among war veterans. Krebs witnessed a lot of death and suffering at first hand while serving at the front, and his experiences have changed him forever.
Among other things, this means that he feels isolated from those around him in his home town. They haven't had the same experiences as him; they can't begin to comprehend the sheer scale of the horror that Krebs was forced to witness on a daily basis. So they can't understand what he's going through.
For all the deep trauma he suffered at the front, Krebs was at least able to develop a sense of camaraderie with his fellow soldiers. But such a sense of solidarity is completely unavailable in his home town. The townsfolk are simply not interested in the terrible truth about conflict; they'd much rather hear romantic lies and fabrications about the alleged glory of war. But Krebs is sick of lying, and his decision to leave home can be seen as an unequivocal declaration of his fidelity to the truth.

How is education portrayed in The Lion and the Jewel?

Wole Soyinka’s play primarily presents education, in the sense of schooling, through the character of Lakunie. In the independent, modernizing society, schools play a vital role in creating the nation’s new citizens, providing them with the tools they will need to succeed and promoting the progressive values that challenge the traditional ways of life. Lakunie, the schoolteacher, is passionately devoted to these goals of formal education; obtaining the teacher’s position is an important step in his own social ascent.
In contrast, we could look at education more broadly as the experience and knowledge that undergird an adult’s chances of success in life. In that regard, Lakunie gets some schooling from the standard-bearer of traditional society, Baroka, and from the apparently young and impressionable Sidi. Both of them have a broader understanding of the ways of the world. Convinced that his modern ideas are superior, Lakunie conveys that he believes Sidi is ignorant and he must teach her; instead, his condescending attitude backfires and alienates her.

What is the theme of "Half-Hanged Mary"?

Margaret Atwood wrote "Half-Hanged Mary" about her famous ancestor who was accused, convicted, and hanged for witchcraft—but miraculously survived and lived for another 14 years. The poem captures the hour-by-hour suffering of Mary and shows her resolve to live. There are several themes that run through the poem, but one is that in spite of impossible circumstances born out of fear and lies, people can persevere.
Atwood uses vivid imagery in the actual hanging to show the merciless way Mary was hanged. She says that due to their haste and poor planning, they used a rope; if they had thought about it further, they would have found an axe. And—

Up I go like a windfall in reversea blackened apple stuck back onto the tree.

Using the Biblical allusion of an apple and then pairing it with the color black, the reader understands that her accusers see her as only a physical representation of sin itself. She follows by noting that the safe place is in the background and in those who are pointing fingers at her. These people are those she has helped in crises of their own. But to help Mary is too risky, and no one dares move from the safety of the circle of accusation.
As she hangs there for hours, she struggles with God, asking if it was her free will to end up hanging from a tree for crimes she didn't commit. But she comes to one resolution in her prayers:

Call it Please. Call it Mercy.Call it Not yet, not yet,As heaven threatens to explode inwards in fire and shredded flesh...

Here we find the core of Mary's desires on the tree. In spite of the betrayal, in spite of the false accusations, in spite of being hung and left to die for horrific crimes she hadn't committed, Mary wants to live. She wants to persevere over her accusers.
And persevere she does. Her spirit does not fail her, and when they cut her down, Mary is alive. In spite of lies born in fear, Mary triumphs over seemingly impossible circumstances and uses that experience to restructure the way people treat her in the years that follow.

What is a summary of Landscape?

The one act play Landscape is unique in that it essentially has no plot. The entire story is a “dialogue” between a man and wife. I say “dialogue” because, while the characters address one another, they aren’t really speaking to each other. The play is more of them individually speaking about their own separate subjects in the same room.
Beth relates a romantic escapade she once had while the two are sitting in the room. However, it is never explicitly stated whether this adventure occurred with Duff or with another man. Duff discusses strictly practical matters and cares little for romance or dialogue. The entire story is just their separate tales. The point is to show a marriage with communication so pitiful that they essentially act out individual conversations without interacting with each other. They are incapable of connecting or communicating.

A summary is surprisingly difficult to provide, as the defining feature of Harold Pinter’s 1968 play Landscape is that there is no plot! Set in a simple house, the two married characters, Beth and Duff, sit facing one another throughout the play. In their speech, they do not directly address each other. As a result, the play consists of a series of seemingly unrelated dialogues and memories voiced by the two characters. For example, Beth muses about an affair while Duff recalls scattered conversations with a stranger. The sum of these monologues shows how deeply disconnected and isolated the two characters are, even though they are married and sit in the same room.
Literary critic James Eigo describes Pinter’s play as “a triumph of non-communication between characters.” Pinter’s unique approach to theater in Landscape means that, although there is not much of a plot to summarize, there are still many themes to examine.
I hope this helps!

What have the husband and the wife discovered about each other by the end of "The Train from Rhodesia"?

By the end of Nadine Gordimer's short story "The Train from Rhodesia," the husband has learned that his new wife does not trust him and that she expects him to be able to read her mind. Meanwhile, the wife has learned that her new husband does not value her happiness above everything else. They have both implicitly learned that marriage is going to demand a whole new level of communication for both of them.
The husband, for his part, thought that his wife meant it when she said that the carved lion was too expensive, but although she did not say so, she wanted him to buy it for her anyway, despite the cost. The wife wanted her husband to treat the lion as something precious and valuable, in keeping with her own opinion. She wanted the exchange with the vendor to reflect this high sense of value for her taste, judgement, and desire.
The passage in which Gordimer details the marital misunderstanding is faintly comic, as the pair sound like two bewildered, tired, fretful children. But the tone is more dark than it is comic—we sense that the dispute over the lion is a portent of a series of much more serious misunderstandings:

"If you want the thing," she said, her voice rising and breaking with the shrill impotence of anger, "why didn’t you buy it in the first place? If you wanted it, why didn’t you pay for it? Why didn’t you take it decently, when he offered it? Why did you have to wait for him to run after the train with it, and give him one-and-six? One and six!"
She was pushing it at him, trying to force him to take the lion. He stood astonished, his hands hanging at his sides.
"But you wanted it! You liked it so much?"
—"It’s a beautiful piece of work," she said fiercely, as if to protect it from him.
"You liked it so much! You said yourself it was too expensive—"
"Oh you—" she said, hopeless and furious. "You . . ." She threw the lion onto the seat.

The figure of the lion has become a symbol of the illusions that they each brought with them into the marriage.

Are the characters Scout, Jem, and Atticus from To Kill a Mockingbird similar to any other characters in another book?

It might be interesting to explore connections between To Kill a Mockingbird and Harper Lee's posthumously published Go Set a Watchman. Many fans of Mockingbird, a beloved classic, were shocked at the portrayal of Atticus Finch as a racist in Watchman. The grown up Scout (now going by her given name, Jean Louise) is shocked to see that her father is resistant to the civil rights movement, expresses oppressive and bigoted views, and that he even once participated in a clan meeting.
You will probably see many parallels between the child and grown up versions of Scout, but like many readers, it might be more difficult at first to reconcile the Atticus of Mockingbird with the the Atticus of Watchman. However, consider the different facets that make humans such complex individuals and think about what social or political message Lee might have been trying to get across by revealing this other side to Atticus Finch. What understandings and perspectives about race could realistically be expected from a white man born of Atticus Finch's generation, social class, and geography? Can the two depictions of him be reconciled?
You might also approach this question by thinking about what "coming of age" stories you have read. A "coming of age" story is a broad category of narrative in which a young protagonist goes through an experience that leaves them wiser, more enlightened, and more emotionally mature than they were before. It usually involves gaining some difficult or painful knowledge of the world or of human nature but is a necessary step in the growing up process. Think about any novel you have read where a young protagonist (Scout) goes through this process. Maybe they are guided by someone older and wiser (Atticus) and maybe they are accompanied on this journey by a companion (Jem) who grows and changes with them, but perhaps doesn't gain quite the same level of nuanced insight by the end.
Consider these options. Hopefully, you've encountered at least one of them or are interested in reading one of them: for example, "The Lesson" (Toni Cade Bambara); The Adventures of Huckleberry Finn (Mark Twain); Great Expectations (Charles Dickens); and The Kite Runner (Khaled Hosseini).

Need homework help with the following: Barlow's "The Hasty-Pudding" is a mock-heroic poem. What characteristics illustrate this? Provide examples from the poem.

The mock-heroic, or mock-epic, is a type of satire that assumes a lofty style, which was generally reserved for praising great heroes in classical epic poetry, and applies it to a humble subject. It can be used to poke fun at the empty rhetoric of epic poetry, or it can cleverly show the virtues of an ordinary person, a very trivial object, or a quotidian event.
"Hasty-pudding," also known as cornmeal mush, was a simple dish that was a staple of the eighteenth-century American diet. Joel Barlow sings its praises by drawing a comparison between hasty-pudding and other objects that are conventionally considered "great." He waxes eloquent on the dish’s virtues, linking it to American (especially Yankee) identity. The association with heroic poems is strengthened by these high praises as well as the evocation of certain figures—such as deities—often used in heroic poetry. The tongue-in-cheek attitude with which these conventions are used is accentuated by the aura of deep sincerity Barlow conveys.
In canto I, Barlow does not mention the pudding itself until line 17. He establishes the epic scope by first evoking the Alps, but then admits, "I sing not you." Referencing the feelings of terror, joy, and rapture that poets usually celebrate, he claims that his subject is equally "well suited to inspire / The purest frenzy of poetic fire."
Tracing the history of the pudding, he describes at length how Native American women made it; he compares the woman he calls a "lovely squaw" to the Greek goddess Ceres. When he elaborates on the Peruvian domestication of maize, he evokes the Inca goddess "Oella," daughter of the sun God "Sol."
Barlow also makes use of poetic apostrophe: he directly addresses the pudding, and tells it how much he appreciates and needs it. As a Yankee, he found Paris and London unbearable without it:

Dear Hasty Pudding, . . .
For thee through Paris, that corrupted town,
How long in vain I wandered up and down,
. . .
London is lost in smoke and steep’d in tea;
No Yankee there can lisp the name of thee;

Barlow goes on to sing its praises and refute accusations of baseness that others make against it. He prefers it to all other food, no matter how fine:

Not all the plate, how famed soe’er it be,
Can please my palate like a bowl of thee.

In canto II, he expounds, in great detail, the growing stages of corn, linking his praise for the pudding to the virtues of maize as an agricultural product. He follows these stages through to the delivery of the ground corn meal, extending his conceit of a bard singing praises:

Ah, who can sing what every wight must feel,
The joy that enters with the bag of meal,
A general jubilee pervades the house,
Wakes every child and gladdens every mouse.

Canto III is concerned primarily with the end of the growing season, as the husks dry in the field. The poet then turns to eating the pudding, which he states must be done with milk when done properly. He praises the cow in the same heroic vein as the hasty-pudding and the corn—as worthy of worship:

Blest cow! thy praise shall still my notes employ,
Great source of health, the only source of joy;
Mother of Egypt’s god,—but sure, for me,
Were I to leave my God, I’d worship thee.

Barlow concludes with a lengthy discourse on spoons and bowls and how best to eat the pudding. Choosing the right bowl is matter of superior discretion, even higher than artistic craft:

The shape, the size,
A secret rests, unknown to vulgar eyes.
Experienced feeders can alone impart
A rule so much above the lore of art.
https://books.google.com/books?id=JwcuAAAAYAAJ&dq=goddess+oella&source=gbs_navlinks_s

https://www.bartleby.com/400/poem/608.html

In what ways is Lady Macbeth good/not evil?

This is an interesting question because most people definitely categorize Lady Macbeth as evil. I've even heard it defended that Lady Macbeth is more evil and more to blame for Duncan's death than Macbeth is to blame. This argument makes sense when you consider that Macbeth had decided not to kill Duncan, and Lady Macbeth verbally abused Macbeth enough for him to change his mind and go through with the assassination.
This question specifically wants to know "in what ways" is Lady Macbeth good. This doesn't mean that the question is asking you to prove that Lady Macbeth is a good and moral character. I really don't think that is possible. The question is simply asking you to find character traits of hers or things that she does that are good.
One thing that I think is good about Lady Macbeth is that she has ambition. So does Macbeth, and the play is making a statement about unrestrained ambition; however, the play isn't making a statement that having ambition is wrong. Lady Macbeth wants better things for her and her husband, and I think that is a good thing. It shows that she cares about the family unit that she exists in. She isn't only selfishly concerned about herself. She's willing to do the unthinkable to achieve her goals, but simply having high goals isn't evil.
I also think it is worth noting that she is a caring wife. She knows that Macbeth has ambitions of his own, and she knows that he doesn't have the courage to do whatever it takes.

Glamis thou art, and Cawdor, and shalt be What thou art promised. Yet do I fear thy nature; It is too full o' th' milk of human kindnessTo catch the nearest way. Thou wouldst be great,Art not without ambition, but without The illness should attend it.

This shows deep insight on her part, and it shows that she is capable of some empathy on some level. I think it could be argued that this knowledge of her husband is what causes her to taunt, coax, and flatter Macbeth into killing Duncan.

Art thou afeardTo be the same in thine own act and valorAs thou art in desire? Wouldst thou have thatWhich thou esteem'st the ornament of life,And live a coward in thine own esteem,Letting "I dare not" wait upon "I would,"Like the poor cat i' th' adage?

Again, her efforts are directed at a terrible cause, but it does show that she is capable of being and becoming what her husband needs. That's part of being a healthy couple. Each person is strong in different ways, and those strengths work together to form a better marriage instead of working to tear it apart. She completes Macbeth, and he completes her. That's a good thing.
Finally, I think it has to be said that Lady Macbeth experiences guilt. That's actually great news. She does a terrible thing, but she feels guilty about it. That shows audiences that her moral compass is still active. It hasn't been completely destroyed or ignored. Knowing that there is still morality present in Lady Macbeth means that there is still goodness within her.

In "Before the End of Summer" by Grant Moss, what do you think the grandmother means when she says to Dr. Frazier, "He'll have to go to the Stewarts'"?

She means that Bennie isn't able to live on his own yet; he's only ten and can't live without proper guidance. His grandmother is the one who takes care of him. Since she's going to die, he's going to need oversight and guidance from a different person to make sure that he grows up happy and healthy.
Grannie is trying to make plans to ensure that everyone in her family is taken care of before she passes away. For example, she wants to make sure that her daughter marries Joe so that she will have a good life. She tries to take care of all the problems herself, even suffering through the knowledge of her impending death alone. However, before she dies, she finds out that Bennie knows the truth and has been working to make her life easier.
Miss May, Grannie's friend, was going to take care of Bennie. However, she died before Grannie and that meant that Grannie needed to make alternate plans. She's a woman who believes that she can help guide her family through life even after she's gone. Part of this includes making sure arrangements are made for her family.

Bennie's grandmother has been informed by the doctor that she doesn't have long to live; she'll most probably pass on before the summer is over. This doesn't give her a lot of time to get her affairs in order. But Grannie's a very strong, practical woman and immediately starts making plans. One of the things she has to take care of before she dies is what will happen to Bennie. The young boy is only ten years old; as Bennie's grandmother is his sole guardian, it's important to find someone who will take on the responsibility for taking care of him when she passes away. The old lady suggests that Bennie will have to go and live with the Stewarts. She clearly feels that they will be able to take care of him.

What is a quote in which Candy is alienated in Of Mice and Men by John Steinbeck?

Candy is isolated and alienated for various reasons. He's old and he's missing a hand. His age might be overlooked if he still had the use of both hands; however, the missing hand causes Candy to be less useful than he once was. In this sense, Candy is alienated because he's not as useful as other ranch workers. Candy is also isolated because he doesn't have any family around him. He has other workers, but that's not the same as having a loving and supportive family. Chapter 3 gives readers a good quote about his alienation. We see that Candy is so much on his own and by himself that he doesn't even have any relatives to will his money to.

George half-closed his eyes. "I gotta think about that. We was always gonna do it by ourselves." Candy interrupted him, "I'd make a will an' leave my share to you guys in case I kick off, 'cause I ain't got no relatives or nothing . . . "

To make the lack of family even worse, Candy no longer has the company of his dog:

"I shouldn't ought to of let no stranger shoot my dog."

Prejudice is a theme present in the book, and prejudice seeks to alienate people from each other for one reason or another. Take Crooks for example. He's alienated because of his skin color, but that kind of racism and prejudice works both ways. White people are alienated from black people too. It's not just blacks being alienated from whites. Chapter 4 has a good quote showing how this happened to Candy.

Candy leaned against the wall beside the broken collar while he scratched his wrist stump. "I been here a long time," he said. "An' Crooks been here a long time. This's the first time I ever been in his room."
Crooks said darkly, "Guys don't come into a colored man's room very much."

At first glance, Anne describes her husband, John, as careful and loving. Aside from this, is there another perspective?

As the story begins, readers take the first-person narrator's statements at face value, but when they learn that she is being treated for mental health issues, they should realize that she is an unreliable narrator and that her words must be evaluated critically. The statements the narrator, Jane, makes about her husband provide excellent examples of both dramatic and verbal irony. Dramatic irony occurs when the reader knows something that a character doesn't, and verbal irony occurs when the words mean the opposite of what is stated.
One early clue is, "John laughs at me, of course, but one expects that in a marriage." This tips us off in the fifth paragraph that the narrator's husband doesn't always respect her. After explaining how John denied her choice of a sleeping room in the "vacation home," Jane states, "he is very careful and loving," which readers might question based on his actions just described.
Later she relates an incident where she pleads to visit her cousin and his wife, but John denies her request. Yet she still says, "He loves me very dearly, and hates to have me sick." He brings her to her room, gives her a pep talk, and reads to her. From his actions, readers can infer that he is not intentionally malicious, yet he takes a very paternalistic and controlling approach with her. We suspect that he is also embarrassed and does not want others to see her in the condition she's in, which is probably one reason why he took the place in the country.
In the following section, we see that their marital relationship is worsening. Jane writes, "It is so hard to talk with John about my case, because he is so wise, and because he loves me so." Her inability to express her thoughts to someone is making her worse, but John, being a doctor, is so convinced of his own approach and also so embarrassed by Jane's "nervous condition" that he isn't giving her what she needs or allowing her to speak her mind.
As the story progresses, Jane writes, "I am getting a little afraid of John." This the reader must take as Jane's growing paranoia and not a sign that John is being intentionally cruel or would physically harm his wife. She states that he asked her many questions about not sleeping at night, but by this time, she says he "pretended to be very loving and kind." We doubt her suspicions here because she attributes his actions to the influence of the wallpaper. When John faints at seeing Jane's final deterioration, we know that he is seriously concerned about her and wants her well.
The narrator's perspective changes from believing John is loving to being afraid of him, reflecting her worsening mental state. By the end of the story, the perspective readers have on John is that he is loving but misguided.