What are the strengths of “Girl” being written in the second person? In other words, what was the story able to accomplish specifically because it was told in the second person? Then, describe a weakness that the second person created, and describe why you see it as weak.

The choice of the second person as a narrative voice is an unusual one which is always deliberate. Second person gives a text a very particular feel: the reader is necessarily the person being addressed by the text. In the case of "Girl," the effect of this is that the reader is now the recipient of the barrage of information and instruction that is delivered to the girl in question on a moment by moment basis. As the recipient of all this instruction, we can clearly sense how inexorable it feels: the long sentences, broken by semi-colons, add to this sense of continuous instruction and command without pause. The story is exhausting to read; we can only imagine, then, how exhausting this life must be for the girl herself to lead.
There are, of course, weaknesses and downsides to this type of narrative. The chief among these is that we have no idea how the girl feels about all this, other than what we can assume based on our own feelings. However, this may also be seen as a positive thing—we are forced to place ourselves in the girl's position and feel with a true immediacy, rather than being told how this feels. We understand the girl's life directly, rather than at a remove.

Writing "Girl" in the second-person point of view places the reader in the position of the "girl" who is evidently being educated about many different aspects of life. When she is accused of something, like singing benna on Sundays or in Sunday school, we feel her defensiveness. We also sense more easily how the "girl" really does not seem to get an opportunity to get a word in edgewise. We feel her relative powerlessness because we read the text as if it were directed at us—instead of at someone else in front of us.
One potential weakness of writing the story from this point of view is that imperative sentences end up dominating the story. We don't get much description or any background information (called exposition). This really just reads like a list of things the "girl" is expected to memorize and know, going forward. We don't know much about what she thinks or feels at all, and this could be considered a weakness.

Dostoevsky employs two different strategies to represent individual psychology. In Part One, he uses "stream of consciousness," in which the narrator theoretically express whatever comes into him mind without censor. In Part Two, he has the narrator engage others in behavior that is both self-destructive and destructive to others but leaves the narrator's motivations open to interpretation, which compels the reader to try to enter the narrator's mind. Which of these two techniques better expresses psychological realism?

Great question! Ultimately, the answer to your query is rooted in opinion but here are some thoughts that might help guide you answer this prompt.
Psychological realism is a literary style that aims to replicate the inner thoughts and hidden motives of a character as precisely as possible. Authors who employ psychological realism, such as Fyodor Dostoevsky, are frequently more concerned with inward characterization than they are with the plot. The result is often a gritty examination of human nature that is unflinching in its portrayal of the ugliness that can grow in the human soul.
Dostoevsky’s novel Notes From The Underground is written in the first person by a bitter former Saint Petersburg civil servant. The unnamed narrator is caustic and unreliable in his narration; Dostoevsky clearly expects the reader to question the sanity of the narration! The novel explores this ailing man’s mental state and his twisted, incomprehensible motives for his actions.
Part I, or “Underground”, is relayed in a stream of consciousness and is much more philosophical than Part II. The narrator expounds his varied philosophies, rants about events from his past, complains of his social status and acknowledges that many readers will find his ramblings bewildering. In Part I, the reader is introduced to the narrator and exposed to his contradictory value systems.
Part II, or “Apropos the Wet Snow,” is a narrative that displays how the narrator lived out his bitter philosophy with former friends and lovers. Most readers are repulsed by the narrator’s treatment of others, particularly his savaging of Liza.
I feel that Part I is the best example of psychological realism in Dostoevsky’s novel. This is because Part I mirrors the thought processes of the deranged protagonist and offers the audience a clear, accurate window into the mental depravity of the narrator.

What is the significance of Farquhar's heightened attention to detail?

I think the answer to this question depends on the reader. On one hand, I think his vivid and heightened attention to detail helps sell the idea to the reader that Farquhar's escape is actually happening. People often say that in the midst of some harrowing experience, like a car accident, everything slows down and they notice the oddest details. Anecdotally, I can confirm this. I remember the most odd and vivid details from a car crash that I had earlier in my life.
On the other hand, Farquhar's heightened attention to detail might clue certain readers into the fact that Farquhar isn't experiencing anything. He is imagining it all in vivid detail. This should also resonate with readers, because many people are likely to be able to claim that they have had a dream that seemed so real they weren't sure it was a dream. Scientifically speaking, there is hardly any difference in brain activity between actually seeing something and imagining it. The same brain centers are triggered in both cases. The significance of Farquhar's heightened awareness is that it makes the story believable and suspicious sounding at the same time.
https://www.nytimes.com/1993/08/31/science/seeing-and-imagining-clues-to-the-workings-of-the-mind-s-eye.html

Readers are often shocked by the conclusion of Bierce’s story when they realize that Peyton Farquhar’s escape and journey home existed only in his mind. The abrupt conclusion jolts them, just as Farquhar’s body is jolted when the rope plays out, ending his free fall. The truth of what occurred at Owl Creek Bridge is confronted quite suddenly, even though Bierce provides plenty of clues to the illusory nature of Farquhar’s experience after he falls between the railroad ties.
Many specific details in Part III of the story describe that which simply could not have happened. After fighting his way to the surface of Owl Creek, Farquhar could not have observed the veins on each leaf of the individual trees by the stream. He could not have seen “the very insects upon them: the locusts, the brilliant-bodied flies, the gray spiders stretching their webs from twig to twig,” nor could he have seen the “prismatic colors in all the dewdrops upon a million blades of grass.” Also beyond the realm of possibility is Farquhar’s hearing, in the midst of the fast-moving creek, the “audible music” of gnats humming and dragonflies beating their wings or the sound of “the strokes of the water-spiders’ legs.” His head above water, he very well could have heard rifle shots and seen the Union troops at the bridge, but in the distance, the soldiers’ forms would not have appeared “gigantic,” and he could not have seen “the eye of the man on the bridge gazing into his own through the sights of the rifle.” The rifleman’s eye is gray, Farquhar notes, another specific detail that indicates the illusory nature of his escape.
Numerous other details of Farquhar’s escape defy belief, especially toward the end of Part III as he makes his way home through a landscape both foreign and peculiar. The road he follows is “as wide and straight as a city street” but seems untraveled, and it takes him through a land with no signs of human habitation. The trees are black and form “a straight wall on both sides, terminating on the horizon in a point, like a diagram in a lesson in perspective.” That his experience is surreal is emphasized when he sees “great golden stars” shining overhead, “looking unfamiliar and grouped in strange constellations.” Reading Part III carefully makes it obvious that Farquhar’s escape is a fantasy.
Why, then, are readers so often shocked when they arrive at the final sentence in the narrative? Perhaps they respond to the conclusion of the story for reasons that have nothing to do with literary analysis. Many readers sympathize with Farquhar as he faces death. They identify with his love for his family and understand his desperate desire to go home. While reading Part III, they simply want Peyton Farquhar to survive. Consequently, many readers fail to consider, or choose to ignore, the evidence that his escape is not real. Thus the sight of Farquhar, his neck broken, swinging “gently from side to side beneath the timbers of the Owl Creek Bridge” shocks and disturbs, ending very abruptly what readers hoped for him, despite the impossibility of his escape.

What are the three hardships the people of Copenhagen must endure because of the war in Number the Stars?

The citizens of Copenhagen must cope with a constantly lessening supply of things they need. In the first chapter, readers are told that coffee and tea have long disappeared and that women sip hot tea with herbs. Then readers learn that fuel is in short supply and that the "winter nights were terribly cold." Electricity is rationed, and they often use candles for light. This doesn't even provide enough light for Ellen's father, a teacher, to see well enough to grade his students' papers.
They must also live in fear of the soldiers who walk their streets, ready to sneer at them and terrorize them at any moment. When the girls are walking home from school one day, they are stopped by soldiers questioning how well they do in school. Soldiers don't engage in small talk, so the girls are left to wonder the real purpose of the confrontation. Later soldiers burst into their home and demand to know how two blonde sisters could have a brunette sister as well. Annemarie's father must quickly devise a plan to hide the real truth and then sell this lie to the officers. There is no room for error in dealing with the ongoing threat of these confrontations.
They must leave their homes to survive. People falling into classifications established by Hitler were actively sought out and sent to concentration camps—or killed. Many people live in terror that their lives will soon end, so they are forced to flee their homes in hope of survival. With the brave assistance of those in the Resistance, some of these people found this hope—but at great risk to all involved. Annemarie finds that the fewer details she knows about how all this happens, the better she is in dealing with soldiers' inquiries.

What does Alexander Pope mock in his poem An Essay on Man, and what techniques does he use?

An Essay on Man, unlike many of the other works for which Pope is best known, is not a satire. Mockery is thus not a prime feature of the poem, as it is in The Rape of the Lock or The Dunciad, for example. The ideas in the Essay, however, are put forward partly by showing the falseness of opposing kinds of thought, which Pope does hold up to ridicule, but not with the kind of sardonic or acerbic expression we find in the satires. It's more in a sad or regretful way that Pope demonstrates, or attempts to do so, that those who disagree with his views are misguided.
Though the "best of all possible worlds" philosophy of Gottfried Wilhem Leibniz was later much ridiculed (sometimes in a caricatured version) by Voltaire, for example, in Candide, this forms the basis of much of Pope's thinking. Pope's view is that it is wrong to regard the negative aspects of the world, the imperfections of life, as evidence that God is unjust—or worse, that God does not exist. To Pope, it is a sign of naivete or foolish pride for anyone to expect the world to be perfect, without problems and challenges for man to solve. It's also a sign of narcissism for man to think the universe was created for his personal benefit or comfort, because we have no way of knowing exactly what God's larger plan or overall purpose was in creating it. It's the self-centered, prideful view that Pope holds up to ridicule, through striking metaphors and, as with all great poets, his brilliant and beautiful word choice.

Ask for what end the heavenly bodies shine,
Earth for whose use? Pride answers, "'Tis for mine:
For me kind nature wakes her genial power,
Suckles each herb, and spreads out every flower . . .
Seas roll to waft me, suns to light me rise,
My footstool earth, my canopy the skies."

Pope's language is so striking that even those who don't agree with his views find it difficult to avoid quoting him once they have read his work. This is why Samuel Johnson (who disliked the Essay on Man despite his view that "if Pope be not a poet, where is poetry to be found?") referred to the "blaze of embellishments" with which Pope had expressed a philosophy Johnson himself considered absurd. Pope does not so much mock as express in sublimely powerful verse his view of those who disagree with him as unfortunately misguided and unrealistically prideful. As noted, there is a sad, regretful tone that dominates much of the poem in contrast to the slashing, merciless style of Pope's satiric works.

Translate act 2, scene 2, lines 85–127, between Romeo and Juliet into modern-day text messages that you would send via phone, but leave readers able to recognize some of the famous lines from the text.

There are a few ways we can tackle this assignment! One option is to look at each line of Shakespeare's text and directly translate the words and phrases into words and phrases that teens would use today. Another option is to review a summary of the scene and then write your own exchange based on the summary and without directly "translating." This version may end up being shorter, as you will get to the heart of what they are saying, but text messages do tend to be shorter than Shakespeare's lines.
Something else to make your writing stand out is to consider the characterization of Romeo and Juliet. Your task is to turn their lines into text messages, so consider their texting styles. Does Romeo have spelling mistakes in his rush to get his words out? Does Juliet use emojis as symbols for her words? Do they both use abbreviations, or just one of them, or neither of them? Consider what you know about their characters, and then try to imagine how this would come across over text.
Finally, your assignment is to make sure the famous lines are still recognizable, so before beginning your translation, you may want to highlight these so you make sure they stand out.
Let's review the context of this exchange. Romeo and Juliet have met at Capulet's party. This is the first time they interact, and it seems to be love at first sight. Their families are enemies, but this does not seem to stop them. Romeo sneaks into Juliet's backyard, where he gives a soliloquy about how much he loves her. He overhears Juliet's soliloquy about how she loves Romeo despite the fact that he is a Montague. Romeo calls out to Juliet, which startles her, and she asks how he got there.
In lines 85–127, Romeo says love led him to her balcony. Juliet admits she is blushing in the darkness. If he says he loves her, she'll believe it—but she also recognizes that he might be lying. She admits she has feelings for him too. Romeo swears that he loves her, and she stops him from swearing.
Here's an example of what I imagine their text exchange might look like. Yours will be different, based on what texting style you ascribe to them.
JULIET: How'd you get this number?
ROMEO: Love, bby <3
JULIET: aw, I'm blushing. Do you love me?
JULIET: don't answer, I know you'll say yes, and I believe you, but what if you're lying?
JULIET: I like you too. I think I like you too much. omg i'm triple texting you how embarrassing!
ROMEO: girl i swear by the moon i love u
JULIET: lol don't swear by the moon it's always changing!!!
ROMEO: wat should I swear by?
JULIET: Don't swear at all!
JULIET: on second thought, if you're gonna swear, then swear by yourself because that's what I hold highly, then I'll believe you <3
ROMEO: (...)
JULIET: wait this is all so sudden!
JULIET: i like you, but this is moving too fast, so i'm gonna sign off for the night :3

What an interesting question! I’m having trouble thinking of two forms of English more dissimilar than Shakespearian English and the vernacular used in texting and on social media! The first thing I would recommend is that you exclude or reword the instances where the characters imply that they can see each other. For example,

Thou knowest the mask of night is on my face,Else would a maiden blush bepaint my cheek

Here, you might say,

im blushing, lucky its dark here.

Or, where they talk about their physical location—

Lady, by yonder blessed moon I vow.

You might say,

I swear on the moon I can see out the window.

Unaltered, such references don’t make sense in text conversations, where we should assume that the participants are in different places.
A second technique you might think about using is abbreviation. You could take a word like “love” and transform it to “luv.” Since the language used in texts is a dynamic language which people are adding to all the time, you can be really inventive here. As one more example, each time a character uses the word “too,” as in

It is too rash, too unadvis’d, too sudden,

You might substitute the number 2 in its place.
Shakespeare’s dialogs are typically written in long iambic lines meant to express elaborate ideas, a style of writing that does not lend itself at all well to texting. One solution to this disjunction might be to take ideas that, due to the elaborate language he used to express them, Shakespeare had to put on different lines, and simplify them so that they fit into single sentences:

Dost thou love me? I know thou wilt say, “Ay,”And I will take thy word; yet, if thou swear’st,Thou mayest prove false: at lovers’ perjuries.

Here Juliet does three things. Firstly, she poses Romeo a question when she asks him if he loves her. Then, she states her belief that he will say yes and that she will believe him when he says it. But then she backtracks by saying that, in fact, if he does say he loves her, he might not be speaking honestly. By moving things around, I can make these three things fit neatly into one comparatively short sentence:

Do you love me? I think you’ll say yes, and I’ll believe you if you do, but you might not be telling the truth.

See how Juliet’s words, which would take far too long to express in the form of a text message, can be reduced into a far more manageable form?

Communications Theory in Therapy

Communication theory, adapted from the field of cybernetics or systems theory, was formulated by Bateson, Jackson, Haley, & Weakland (1956). The idea was that schizophrenia in one patient arose because of the communication style that was characteristically carried out by the family over time. In this style of communication, family members communicated with the individual with schizophrenia in a way that used a "double bind." In this style of communication, individuals in the family communicated in a way that involved confusion and contradictions and in which there was no way of winning. Essentially, communication in these families resembled a catch-22 situation. For example, a parent might tell a child to be sure to tell people how she feels, but the child might be punished for admitting her true feelings. In this style of communication, the person simply can't win. Though schizophrenia has been shown to be likely be caused by genetic and other factors, this theory has affected family therapy and has emphasized the model of a family as a closed system.
The idea behind the communication theory, which has been a central tenet of family therapy, is that the family is a system. Therefore, dysfunction in one part of the system—such as confusing or unclear messages—can cause dysfunction in other parts of the system. In a more functional family, messages are clearer, and they are used in a consistent manner. However, in a family with dysfunctional communication, one or more family members may develop psychological or other problems.
Sources:
Bateson, G., Jackson, D., Haley, J. & Weakland, J. (1956). Toward a theory of schizophrenia. Behavioral Science, 1, 251-264.
Nichols, Michael P. Family Therapy: Concepts and Methods, 10th Edition. Pearson, 2012.