What does "sol" mean in The Martian?

In The Martian, "sol" is short for "solar day," and is a term used by planetary astronomers to describe the duration of a solar day on Mars. A sol lasts for 24 hours, 39 minutes, and 35.244 seconds, slightly longer than the equivalent solar day on Earth.
Watney spends a lot of time constructing solar panels as a way of keeping to Martian time instead of the Earth time used by mission control. Mindy Park, a NASA employee who works at Satellite Control, monitors his movements, arranging her schedule according to what she calls "Watney time," i.e. a Martian solar day. This involves putting foil over her windows so she can sleep during the day—which is Watney's night—and watching him on the satellite feed during the night—which is Watney's day.

In chapter thirteen, how did Roy broach the subject of the owls?

By the time we reach Chapter 13 of Hoot, Roy's in a whole bunch of trouble. As well as giving Mullet Fingers his identity so that he could get treatment in hospital without his parents finding out, he's been stealing hamburger meat from home to feed the owls at the building site. When Roy gets back from the hospital after visiting Mullet Fingers, he realizes that he has to come clean to his parents.
Summoned into his dad's "den" for a talk, Roy carries with him a copy of The Sibley Guide to Birds. This gives him the chance to broach the tricky subject of the owls at the building site. He shows his dad a picture of a burrowing owl, the very same species that's under threat from the building of Mother Paula's All-American Pancake House. From then on, Roy spills the beans, telling his old man everything he's been up to. After their lengthy conversation, Roy's dad says that he'll think things over a little more. This indicates once more what a thoughtful individual he is and how he's not just Roy's father, but one of his very best friends.

Where is William Paley's theory of the existence of God found?

William Paley was a nineteenth-century philosopher and theologian. His writings explore ideas surrounding morality, utilitarianism, theism, and teleologism, especially in relation to the Christian faith.
Before delving into Paley’s assertions on the existence of God, it is important to understand a few key ideas. First, teleologism essentially rests on the notion that actions are best explained by their results. Secondly, leaders of the scientific revolution, including Sir Isaac Newton and Descartes, often compared the workings of the universe to a clock or watch. Descartes claimed that “the mechanical perfection of the workings of the universe” were similar to a watch and that the watchmaker of the universe was therefore God. It is within these two sets of ideas that Paley’s watchmaker analogy comes to fruition.
In Natural Theology or Evidences of the Existence and Attributes of the Deity, published in 1802, Paley wrote what is perhaps the most popular iteration and explanation of the watchmaker analogy. First, Paley claims that if you find a watch on the ground, it is safe to assume that someone dropped it there, and when you inspect that dropped watch, you can assume it was created by a watchmaker, because no ordinary person without such precise and technical training could produce a watch, as watches rely on intricate, delicate systems in order to run properly. Paley says,

Just as the watch has such complex means to an end, so does nature to a much greater extent. Just look at the complexity of the human eye. Thus we must conclude that nature has a maker too.

This means that because the universe resembles human artifacts (such as watches), the universe therefore implies intelligent design, but because the universe is more vast, complex, and expansive than any watch, it must have been created by God, because only He is powerful, creative, and intelligent enough to have done so.

Compare the “palace” complex of Knossos with the Mycenaean citadel.

At Knossos, Crete, the first palace was built around 1900 BCE on a previously settled site. This complex was destroyed, possibly by an earthquake, about 1700 BCE. The rebuilt, more elaborate complex is associated with the mythical labyrinth. Despite being damaged several times, it stood until destroyed by volcanic eruption in 1450 BCE. Following the Mycenaean invasion, the site became the Mycenaean capital of Crete until 1375 BCE.
At its largest, the complex occupied about 20,000 square meters and had dozens of multistoried buildings; the upper-story chambers were reached by elaborate staircases. During Minoan times, the palace was the center of the island’s administration and the site of ritual activities. Especially notable was the Throne Room. The complex featured numerous storage areas and workshops, and the walls held elaborate murals, often frescoes. The Bull panel from the east wing and the Dolphins from the queen’s megaron are among the most notable wall paintings. Other significant features were a large central courtyard and a theater.
The Mycenaean citadel above the Argolid plain in northeastern Peloponnese, Greece, is that civilization’s most significant center; its territory included Aegean islands and parts of Asia Minor as well as mainland Greece. Its mythical founder was Perseus. Construction and occupation were likely most significant from the seventeenth to the fifteenth centuries BCE, but the so-called Tomb of Atheus dates to about 1350–1250 BCE. The hilltop site shows a series of circular high walls protecting the palace.
The main access to the citadel is through the limestone Lions’ Gate. A monumental, triangular sculpture sits atop a wide one-piece lintel; the lions’ heads, which were probably metal, have disappeared. The large Cult Center area included five building complexes. On the citadel’s top is the palace, with numerous rooms around a central court, near the Megaron, which had four columns. The walls were once decorated with frescoes. Elaborate site engineering includes a highly developed cistern system to bring water from a natural spring.
In addition to several burial areas, called Grave Circles, are elaborate tombs associated with individuals. These are the so-called Tomb of Clytemnestra and the Tholos-style Tomb of Aegisthus. Burials at the site revealed the civilization’s significant achievements in material culture, including jewelry, often of precious metals and stones; ceramics; and weapons.
https://ancient-greece.org/archaeology/knossos.html

https://ancient-greece.org/archaeology/mycenae.html

https://www.ancient.eu/mycenae/

List at least three rhetorical devices that Patrick Henry used in his “Speech in the Virginia Convention.”

Patrick Henry makes use of several allusions—indirect references to an event, text, person, etc.—in order to borrow the weight and emotional tenor of the original. He asks the president,

"[...] I wish to know what there has been in the conduct of the British ministry for the last ten years, to justify those hopes with which gentlemen have been pleased to solace themselves and the House? Is it that insidious smile with which our petition has been lately received? Trust it not, sir; it will prove a snare to your feet. Suffer not yourselves to be betrayed with a kiss."

Henry refers to the disciple, Judas, who, in the Bible, betrayed Jesus Christ for thirty pieces of silver. He identified Jesus for his persecutors by kissing Jesus on the cheek; thus, we say "betrayed with a kiss" to describe a great and terrible act of betrayal. In using this allusion, Henry raises to a Biblical level that betrayal perpetrated by the English government of the colonists.
Henry also uses logos, appeals to the audience's logic, in order to convince them of his position. He says,

"For my part, whatever anguish of spirit it may cost, I am willing to know the whole truth—to know the worst and to provide for it. I have but one lamp by which my feet are guided; and that is the lamp of experience. I know of no way of judging of the future but by the past."

This is quite a logical position, that the best indicator of future behavior is past behavior. Therefore, if the British monarchy has been deceptive in the past, one's experience with it ought to prepare one for a similar deceptiveness in the future.
Henry also uses rhetorical questions, questions for which no answer is expected because it should be clear within the minds of hearers, to great effect. These questions are phrased in such a way that the audience will be inclined to answer in the way Henry would wish. For example, he asks,

"Has Great Britain any enemy, in this quarter of the world, to call for all this accumulation of navies and armies? No, sir, she has none. They are meant for us; they can be meant for no other. They are sent over to bind and rivet upon us those chains which the British ministry have been so long forging. And what have we to oppose to them? Shall we try argument? Sir, we have been trying that for the last ten years. Have we anything new to offer on the subject? Nothing."

This is quite effective because Henry knows that his audience will have to answer these questions for themselves in a particular way, and so they even begin to convince themselves of the truthfulness of his arguments as they listen.

What ignited the argument between Tom and Amanda?

The Glass Menagerie is a memory play by Tennessee Williams. It premiered in 1944. The term memory play was conceived by Williams, and it defines a play narrated by the lead character from his or her own memory.
The play is set in St. Louis in 1937 and is narrated by aspiring poet Tom Wingfield. Tom works in a warehouse during the day. He lives with his mother, Amanda, and sister, Laura. Mother and son argue frequently.
In Scene Three things come to a head for Amanda and Tom. Their relationship has been tense for a long time as Amanda believes that Tom should not be out of the house as much as he is. Tom is angry that his mother doesn’t respect his privacy. The argument begins when Tom says he is going out to the cinema. He sees the cinema as a means of escape whilst his mother believes that he is out doing something shameful. In a rage he says that she is right, he is out gambling and smoking opium. He ends by calling Amanda an “ugly - babbling old - witch…”
Although mother and son have fought before, the seriousness of this argument in scene three signals a breaking point between them. He throws his coat across the room where it lands on and smashes Laura’s menagerie of glass animal figurines.

What does Jacosta call Polybus’s death?

Unbeknownst to Oedipus, Polybus isn't his real father. The king of Corinth adopted Oedipus as his own son after he was left to die by his real parents—Laius and Jocasta—on Mount Cithaeron shortly after he was born. The oracle had prophesied that Oedipus would one day kill his father, so a horrified Laius decided to expose the baby Oedipus to the elements to ensure that this terrible prophecy would never be fulfilled. Years later, however, the prophecy comes back to haunt Laius, as indeed it haunts Oedipus and Jocasta.
But before it does, news arrives in Thebes that Polybus has died. Jocasta is overjoyed. She reasons that as Polybus has died from natural causes then the prophecy must not have been true after all; Oedipus has not killed his father. Oedipus rejoices with his wife—who unbeknownst to him is actually his real mother—as a huge weight appears to have been lifted from his shoulders. Or as Jocasta puts it, Polybus's death "lights out darkness much."