"The Murders in the Rue Morgue” is a tale reliant on realism rather than supernatural, as a means to confront the unknown. How did this same approach in "The Fall of the House of Usher" lead to the creation of detective fiction—a subgenre of the mystery story which focuses on observation and analysis of evidence?

It’s true that the menace in “The Murders in the Rue Morgue” is one of heightened naturalism and isn’t supernatural in origin, however exotic or unreal. A Poe story more commonly cited as the birth of the investigative detective tale, “The Gold-Bug,” features a resolution of apparently unrelated phenomena as revealed through mathematics. In all cases, including that of “The Fall of the House of Usher,” the author (and thus narrator) means to pull back the veil of initial perception to allow us to better grasp aspects of enigmatic human behavior.
"The Fall of the House of Usher" is well grounded in the Gothic, a genre which consists of highly ritualistic markers—the gnarled landscape, various ruined edifices, meteorological violence, and so on. But it is a mystery story in essence, an investigation (if vague in terms of its resolution). Does human corruption, in some literal way, taint all that it touches? Is some supernatural agent at work in the pollution of the tarn or the plague upon the house? The narrator is compelled to apply logic to evidently irrational or erratic events as he moves through them.
In this case, the setting itself, which should evoke stability, seems to have taken on a different character.

. . . how familiar was all this. I still wondered to find how unfamiliar were the fancies which ordinary images were stirring up.

The environment is oppressive and unwholesome.

An air of stern, deep, and irredeemable gloom hung over and pervaded all.

This funk can be seen to radiate outward from Roderick Usher himself: he who “suffered from an acuteness of the senses,” and, from a psychological standpoint, a co-morbidity (multiplicity of diseases). Poe draws a parallel between the compromised material organism that is the house and the psychosomatic sufferings of Roderick's racked body and naked soul. To a great degree, the mystery here is existential, or metaphysical. We are shown the house’s physical dissolution. Does that mirror Roderick’s numerous pathologies? Can that be?
So, within the categorization of these as detective stories, it could be argued that Poe’s narrators, in a Gothic framework and with an emphasis on deduction, must rely on their analytic powers to plumb the insolvable mysteries of the human soul. Their investigations concern that which motivates our organic existences—and, by extension, our place within a hostile cosmos.
https://www.britannica.com/topic/The-Murders-in-the-Rue-Morgue

Discuss the ideas of diffusion and politeness in Democracy in America.

In this passage from Alexis de Tocqueville’s 1840 survey of American society, Democracy in America, he predominantly draws on Michael Warner’s model of “diffusion,” although there are still emergent aspects of “politeness” within the text.
Within Warner’s Letters of the Republic, there is a prominent focus on the idea that diffuse letters create equality of rank, and this focus percolates throughout this passage of de Tocqueville’s text. “As soon as land began to be held on any other than a feudal tenure, and personal property could in its turn confer influence and power, every discovery in the arts, every improvement in commerce of manufactures, created so many new elements of equality among men.” During the era of early national discourse, when feudalism had died out, all components of art and capitalism worked to create equality. They were “steps towards a general leveling.” De Tocqueville speaks of the “pages” of history, which “promoted equality of condition.” This reference to literary pages which uphold equality supports the prevailing themes of “diffusion” in the passage.
Another idea of “diffusion” that features prominently in this Democracy in America passage is the accessibility of diffuse letters to all citizens. “From the time when the exercise of the intellect became a source of strength and of wealth, we see that every addition to science, every fresh truth, and every new idea became a germ of power placed within the reach of the people.” Information, the in form of diffused letters, becomes the source of power that every individual person, theoretically regardless of ranking, can access. This passage can be seen as congruent to Benedict Anderson’s idea about “horizontal comradeship” (Anderson 4). The social organization of egalitarianism is correspondent with “diffusion” in Anderson, as it is for De Tocqueville and Warner. De Tocqueville discusses the point when “literature became an arsenal open to all.” This is a clear understanding of literature in terms of diffusion.
In the model of “diffusion,” there is no distinction between politics and print. This point is extremely evident in the passage. De Tocqueville’s passage presents literary art as “turned to the advantage of democracy.” Warner asserts that diffusion is a “politicized understanding of letters” (Warmer 123). The “political utility of letters” does not impart significance on “great literary acquirements,” but rather on their social distribution (Warner 123). Warner exemplifies several acts of legislation to show how “republican categories of literature and diffusion were finding their way into law” (Warner 127). Lawmakers understood the power that newspaper circulation had over the public arena. Thus, the emphasis in this passage on the facilitation of democracy by the distribution of ideas is impeccably in sync with Warner’s model of diffusion. In the republican ideology of literature, “its conquests spread, therefore, with those of civilization and knowledge.”
The emphasis in diffusion is on public participation rather than private appropriation – and the passage thoroughly supports this mode of thought. De Tocqueville imagines literature as “an arsenal open to all.” Warner’s model of “diffusion” likewise examines letters as widespread throughout citizens. This is Anderson’s “mass ceremony” of reading (Anderson 35). “Literature is possessed not just by persons, but by peoples” (Warner 122). Therefore, diffusion sees literature as a tool of the public citizen rather than the private person. According to Warner, the value of literature is “distributive rather than proper, general rather than private” (Warner 122). Unlike politeness, in which personal and exclusive modes of reading are accentuated, diffusion gives merit to the public contribution and utilization of letters. “The values of literature were defined in opposition to private appropriation and distinction” (Warner 131-2).
This passage also corresponds with the conception that the diffusion of letters renders the prevalence of civic virtue. Warner writes about the ignorant, whom “are necessarily minds without letters,” and details the existence of an anxiety over this idea (Warner 126). This anxiety exposes a concern “that the public sphere be identical with the realm of letters” (Warner 126). The virtue of the community is highlighted over the virtue of the individual. “The emphasis is on ‘useful’ knowledge and on the socializing influence of letters” (Warner 127). Literature in terms of diffusion is social, broad, and general, rather than individualized.
On the other hand, there are also spots of the model of “politeness” in de Tocqueville’s text, although they are minimal in in comparison to the dispersion of “diffusion.” The passage speaks of “poetry, eloquence, and memory, the graces of the mind, the fire of imagination, depth of thought, and all the gifts which Heaven scatters at a venture.” These are all ideas of fine writing, which is against the “antiaesthetic tendency” of “diffusion.” Politeness uses literature as a standard of artistic appreciation, with an emphasis on luxury and leisure. The value of letters is so intertwined with public benefit that it is easy to see how “fine writing could come to be associated with the dangers of luxury” (Warner 127). This section of the passage seems to draw upon the polite model of stylistic achievement and artistic finesse, despite the overriding prevalence of “diffusion.”
This passage of Alexis de Tocqueville’s Democracy in America is therefore an amalgamation of a preponderant idea of “diffusion” and a lesser but still extant idea of “politeness.” It compellingly demonstrates Michael Warner’s portrayal of “diffusion” as equalizing, accessible, political, and communal. Although this passage also touches upon the contrasting model of “politeness” in its aesthetic tendency, it is effectively relevant to “diffusion.”

In the story "Schrodinger's Cat," analyze what the controlling metaphor (entropy, the cat, etc.) says about the author's vision of postmodern America.

To respond to this question, you will first need to understand how to identify the controlling metaphor. A metaphor is an object that symbolizes something else. A controlling metaphor is a metaphor that is seen throughout the work.
Schrodinger’s Cat alludes to the famous Schrodinger thought experiment developed to identify flaws in quantum theory. The box represents a very fixed way of looking at events. When the box is opened to reveal the cat is no longer inside, a third unconsidered option, is introduced. When the lid is opened in the story “the roof of the house is lifted off just like the lid of the box, letting in the unconscionable, inordinate light of the stars.” This passage symbolizes the expanded thinking of the characters.
Entropy is also used as a metaphor in the story. It is defined as the level of disorder and disorganization in a system which can cause a shift in energy and heat. In the story, the narrator talks about the world getting hot and even mentions Hell. The author directly mentions politics as related to entropy in the passage, “When the water came out of the cold water taps hot one morning, however, even people who had blamed it all on the Democrats began to feel a more profound unease.”
To respond to this question, examine how these metaphors relate to current politics and events in the world. Does the author view America as a disorganized system? What enlightenment does our country need? When you create your response, you will want to use direct quotes from the story.

How is Anne’s courage and determination revealed in section 4?

Anne narrates her harrowing experiences of the Holocaust and World War II in The Diary of a Young Girl. In section 4 (October 14, 1942–November 20, 1942), the readers get insight into Anne’s growth and maturity as an individual. Anne grapples with problems of puberty, the pressure of confinement in the annex, rebellion, and identity.
Mr. Dussel tells her about the atrocities inflicted on the Jews ,and Anne expresses her inability to deal with the harsh realities of genocide. Anne’s unshakeable hope of survival is accompanied by survivor’s guilt as she constantly thinks of the deaths of her friends and acquaintances. The threat of running out of food, lack of medical care, and the fear of being discovered make Anne question the chances of their survival, but she continues to stay optimistic in the face of adversity.

In the first paragraph, how does Kathy feel as she heads past American Point and Buckete Island?

In the paragraph that opens the novel In the Lake of the Woods, the author doesn't talk about how Kathy feels about passing American Point or Bukete Island, but how "they" (the author mentions no names in the paragraph, but the reader later finds out he is referring to Kathy and John Wade) rented a cottage in the middle of nowhere where "there were no roads at all" and "there were no towns and no people." The chapter is entitled "How Unhappy They Were" and the suggestion is that, after experiencing a tough time during the "primaries" (John had been running for senator), they have come for a well-earned rest.

They needed the solitude. They needed the repetition, the dense hypnotic drone of woods and water, but above all they needed to be together.

As the chapter continues, the reader learns that John and Kathy are trying desperately to forget the crushing loss of the election. Instead, they talk about buying a house and having children. They want to make love, but don't quite feel ready for it.

Enumerate the conquests achieved by the Prince of Morocco with his scimitar.

In Act II, Scene I, the Prince of Morocco enters. Displaying his scimitar, the Prince states several things he has achieved, as well as several others he would do to win Portia. While the Prince is carrying his scimitar, not all the achievements correlate directly to sword-fighting. This list includes all his achievements and mentions proposed actions that would impress Portia. She has actually only asked him to open a casket, not to fight anyone with the scimitar, so he seems to be misjudging the criteria.
The feats he has achieved are directed toward other rulers of comparable status to his own: the Sophy, a prince, and a sultan. He then presents two human characteristics he would outdo, the eyes and the heart. Finally, he mentions two ferocious animals, the bear and the lion.
1. “That slew the Sophy” – this is an archaic version of “Sufi,” formerly used for the Shah of Persia, and last known to be used by Ismael in the late 15th century.” Both are roughly equivalent to King
2. “…and a Persian prince.” He says he also “slew” him. This is a reference to a lower ranking ruler of Persia.
3. “That won three fields of Sultan Solyman…” Here he refers to Suleiman I, often known as Suleiman the Magnificent, was the tenth Sultan of the Ottoman Empire. The longest-reigning sultan, he ruled from 1520–1566. As Persia and the Ottoman Empire were two of the largest conquest states known in the Elizabethan period, the Moroccan prince is inflating his status by claiming to have bested them in battle.
The last set of warrior-like actions are things he would do in the future rather than achievements he has already done. Two pertain to the qualities of warriors. In both statements, the Prince is emphasizing the qualities of warriors such as the three he just mentioned: stern eyes and a daring heart. In these cases, he is describing personal actions and attitudes, achievements that would not need the scimitar. “I would o'erstare the sternest eyes that look/ “Outbrave the heart most daring on the earth,…”
Finally, he states two more things he would do for Portia. “Pluck the young sucking cubs from the she-bear, / Yea, mock the lion when he roars for prey.” Here, the Prince is comparing two animals known to be fierce—a bear and a lion—and thus equating their qualities with those of the warriors in the two preceding lines. “Pluck” and “mock” also do not refer to the sword, although he probably would want to have it for backup.
https://www.britannica.com/biography/Suleyman-the-Magnificent

https://www.britannica.com/topic/Safavid-dynasty

Hoping to win Portia's admiration with tales of his courage and martial prowess, the Prince of Morocco brags to her about his feats with his scimitar. A scimitar is a Middle Eastern sword that is short and has a curved blade.
The Prince of Morocco says he has done the following with his scimitar:
He has killed the "sophy," or ruler, of Persia.
He has killed a Persian prince.
He has defeated the Sultan Solyman three times in battle.
The Prince also claims that he would be willing to stare down the fiercest foe, grab cubs from a nursing bear, and brave lions with his scimitar in order to win Portia's heart.
However, as we get to know Portia better, we realize that she is unlikely to be impressed with this kind of bragging about savagery and would much prefer a man with a merciful heart.

At the beginning of "The Necklace," why is Madame Loisel constantly unhappy?

Despite hailing from a long line of humble clerks, Mathilde has got it into her head that she's actually descended from aristocrats. As far as she's concerned, this entitles her to better things. She compares her ideal life as a lady of quality with the actual life she leads as the wife of a minor government official, very much to the latter's detriment. Simply put, Mathilde wants so much more out of life than she's currently getting. She aspires to wealth and social prominence, which is why she sees the forthcoming Education Ministry ball as a potential entrée into the upper echelons of French society. Mathilde is convinced that if she can only get her hands on some fancy jewelry then she'll make a lasting impression, allowing everyone to see her for the natural aristocrat she believes herself to be.

Madame Loisel is unhappy with her lot in life. She lives comfortably well as the wife of a public clerk, but she constantly wants more grandeur in her life. She always felt that she should have been born into an aristocratic and wealthy family. That way she could have beautiful clothing, fancy furniture, and could attend the most important social events. She feels entitled to the finer things in life, but due to her middle-class status, these things are forever out of her reach. Every time she encounters a reminder that some people live more glamorous lives than her, Madame Loisel enters a deep depression that lasts for days. She wants other people to envy her, but she knows that few people of means are jealous of the wife of a bureaucrat. In short, wanting a life she could not have with all its luxuries instead of being satisfied with the comfortable life she already has fills Madame Loisel with constant unhappiness.