At the end of the story, the narrator, in reference to Jim and Della, says, "Of all who give gifts these two were the wisest." Why does the narrator think that Jim and Della are wise? Support your answer with text.

In the final paragraph of the story, the narrator describes the original magi, the wise men in the story of the Christ child's birth. They gave wise gifts, expensive gifts, though it cost them nothing to do so because they were rich. Jim and Della, however, are not ric, and they have to give up a lot in order to give generously to each other. The narrator says, using verbal irony,

I have lamely related to you the uneventful chronicle of two foolish children in a flat who most unwisely sacrificed for each other the greatest treasures of their house. But in a last word to the wise of these days let it be said that of all who give gifts these two were the wisest.

The second of these sentences lets us know that we are not to take the first of these sentences seriously. The narrator does not actually think that Jim and Della are unwise; rather, he knows that they are very wise because they understand that love is worth sacrificing for. Giving gifts for them is more difficult than it was for the magi because they have so little, and this is what makes them more wise: they understand the value of sacrifice.

Capulet responds to Juliet's refusal to marry Paris with anger. His anger and ultimatum push Juliet to her rash decision. What emotions caused Lord Capulet to act rashly, too?

This is a great question in an often overlooked scene. When we think of Juliet's progress through the play, we see a young woman who is incrementally let down by everyone who should be her support system. In the scene you mention, we see her father become cruel and tyrannical to her, where we had once thought him otherwise.
In this play, we find few villains, but there are many emotionally broken characters. Digging into the many ways the play hints at this opens the play to nuance. We learn early that Capulet married Juliet's mother when she too was very young—about Juliet's age. Their marriage was filled with multiple childbirths and only one surviving child, Juliet. Death hangs over this play in multiple ways.
We can imagine Lady Capulet felt traumatized by this too-early marriage and has learned to cope by shutting off much of her emotional life. She refuses to take Juliet's part, not because she disagrees with Juliet but because she is emotionally unable to access that empathy and plead with her husband for more time. No doubt, Lady Capulet has rarely crossed her husband's will.
Lord Capulet is a pleasant enough man who is used to having his way, and he has largely been rewarded for it. As he considers Juliet's marriage, he is excited that his family will be making a social move upwards by marrying Juliet to the Count. One senses that the work of his life has been to groom her and the family name for such a socially aspirational move. Juliet's refusal to marry opposes Lord Capulet's entire plan for her life and for the family's name. In rejecting his choice in marriage, Juliet presents a dangerous threat to all he has worked for.
When Juliet's parents find her "dead" on her wedding morning, we may rightly be struck by the seemingly cliche words of grief. This seems an intentionally awkward scene compared to Juliet's earlier authenticity. One senses that the Capulet parents have both learned to distance themselves from a reflective inner life as well as from a habit of attention to others that Shakespeare so often says is essential in a well-lived human experience.

Why did Doug smile when Lucas ripped his art?

Doug smiles because Lucas didn't notice that Doug was wearing Joe's jacket.
Doug is given a gift of a New York Yankee's jacket that belonged to Joe Pepitone. He's immediately worried that his brother will see it. He thinks to himself that Lucas will steal it if he realizes who the jacket belongs to. Doug also thinks to himself that Lucas will definitely find out because his brother always manages to ferret out secrets.
One day, Lucas comes in and sees Doug drawing. He starts to comment on the jacket before his attention is pulled away by the puffins that Doug is drawing. Lucas mocks him and rips up his art, but he doesn't notice the jacket. Because of this, Doug is smiling when he goes to hide the jacket under the stairs again.

My homework question is: "The suffering experienced by the tragic protagonists always evokes pity in the readers and audiences." To what extent do you agree with this view? Remember to include in your answers relevant comments on the way writers have shaped their meanings. (This is referring to Death of a Salesman and two Keats poems and how the characters suffer.) I struggle mostly on writers' methods and wanted some help on how to approach this question.

The best way to approach this question is to read Death of a Salesman and two Keats poems (Lamia and Isabella may be good options) and think about how these works make you feel. Tragedy, like comedy, is intimately linked to emotions, so the best way to understand whether tragedy invokes pity in the reader is read these works and see if you feel pity for the protagonist.
An important thing to analyze when determining why characters can bring feelings of pity from the audience is how the characters are conceived. Tragic characters tend to be neither villains nor perfectly virtuous heroes. Characters tend to not be villains because it is difficult for audiences and readers to empathize with the suffering of villains. We are culturally conditioned, and have been for a long time, to support and possibly enjoy the suffering of villains as a way of maintaining social cohesion. Perfectly moral heroes are also difficult for audiences to empathize with because the audience will have difficulty relating to these characters.
Instead, successful tragedies tend to focus on characters somewhere in between these extremes. When the character is closer to the hero archetype, he/she will also tend to suffer from a tragic flaw which will cause, directly or indirectly, the downfall of the character. The causes of suffering among tragic characters also tend to be based on experiences that might be common among audiences, such as the inability to fulfill dreams, failing to meet the expectations of family, etc.
In summary, the best way to approach the question is read the three sources for your assignment and see whether you feel pity for the protagonists. If so, think about what aspects of the protagonists' personalities or actions evoke the most pity. This should give you a good idea of the authors' methods.

Who helped the Pilgrims survive?

It was the Powhatan tribe which helped the pilgrims survive through their first terrible winter. The new settlers weren't use to working the kind of soil they found in Virginia, so they were unable to grow enough crops to feed themselves. Without any emergency supplies from England, and facing a harsh, desperately cold winter, the settlers began to starve. That more people didn't suffer was down to the assistance of the Powhatan, who provided the settlers with food, and even more crucially, expertise on how to grow crops.
Unfortunately, the Jamestown settlers didn't return the favor, still seeing the natives, despite the help they'd provided, as heathen savages occupying land which they believed rightfully belonged to them by the grace of God. This attitude of racial superiority, manifested in increasingly brazen incursions into Powhatan territory, led to a full-scale war between the English settlers and the Powhatan, which claimed many lives.

In a narrative format, discuss Papa John's from a strategic perspective. Information concerning recent changes in the firm is readily available online and should be accessed. Strategic issues should be discussed in “real time.”

John Schnatter, the former owner of Papa John's pizza chain, was removed from his position in the company in the middle of 2018, amid revelations of racist comments and inappropriate behavior. This sent a shock wave through the company that has left them reeling and forced to pick up the pieces and rebuild their brand in its wake. Papa John's is doing everything it can to distance itself from Schnatter without actually changing their name and is attempting to rebrand and rebuild.
The pizza chain spent the latter half of 2018 investing heavily in marketing, as well as finishing the buyout of Schnatter's contract. They gave Schnatter the opportunity to select a successor, which helped smooth over tensions and create an easier transition for leadership. After those actions were complete, however, Papa John's has gone into full marketing mode to mitigate the fallout.
If you have watched television recently, you'll notice a large amount of Papa John's advertising. They are emphasizing their high quality ingredients, have updated their loyalty program, and are doing highlights on local franchises. All of this is to distance themselves from Schnatter's image, which they had previously used to promote the company as a familial, inviting place.
https://table.skift.com/2019/03/07/papa-johns-hopes-its-new-marketing-strategy-will-bring-it-all-the-way-back/

How does Shakespeare show unexpected love between Titania and Bottom?

Titania and Bottom's love is presented by Shakespeare as completely absurd, as indeed it is. The Queen of the Fairies has fallen head over heels with a man with a donkey's head. This is, of course, the work of the mischievous Puck, whose crazy magic has brought about this unlikely romance.
Titania is supposed to be the epitome of all that's beautiful, gracious, and regal. And yet just look at her now, fawning all over a weaver with a donkey's head. Strange things happen in this forest, but none stranger than this. It says something about the unspoken class system in this part of the world that the only way that a queen can end up falling for a "rude mechanical," that is to say, a common artisan, is if she's been enchanted by a magic spell. Otherwise, the very idea of a romantic relationship taking place between a queen and a humble weaver would simply be too absurd to contemplate.