In Medea, are lines 1080-1115 considered a choral song (even though they do not possess the usual strophe/antistrophe structure)?

Yes, these lines 1080 to 1115 are sung by the chorus, though these lines do not exhibit the characteristic strophe/antistrophe structure. The chorus (though a corporate body made up of a group of individuals) played the role that a narrator would in a modern play; its job was to inform the audience of elements such as backstory, context, or activity happening offscreen (as the audience was often spared the gruesome action of a play). But apprising the audience was not the only role of the chorus; it was also the chorus' job to urge other characters to do things (as occasionally the chorus does in Euripides's Medea). The chorus may be male (as in Sophocles's Antigone and Aeschylus's Agamemnon) or female (as in Euripides' Medea and Hippolytus). Scholars often discuss the different functions of an (ideal) male chorus and a (passive) female chorus.
The structure of a choral piece is a strophe followed by an antistrophe (which translate to "turn" and "turning back," respectively). Occasionally, there is a third piece added, called an "epode," which exhibits a slightly different meter, as is often omitted. This overall structure taken together is called a "stasimon." "Stasimons" (strophe-antistrophe pairs sung by the chorus) alternate with "episodes" in which one or more characters address the audience.
In Euripides's Medea, lines 1080-1115 are where the stasimon is expected from the chorus. Because this portion does not meet this structural expectation, these lines are sometimes called "astrophic." Other editors call this an "anapestic interlude," because the feet are anapests (two short feet followed by a long one). Suffice it to say that these lines represent a changes in the typical alternation between stasimons and episodes. This exceptional structure demonstrated here in Euripides' Medea likely owes to the unique subject matter. In the lines immediately preceding these, Medea has resolved to kill her children. Within these lines, the chorus rather surprisingly claims that children are invariably difficult for parents, who are forced to care for and worry about their children incessantly. On top of these burdens, claims the chorus, is the risk that one's children die (as will be the case with Medea's). Rather than (as elsewhere) the chorus dissuading Medea from killing her children, here, the chorus proclaims how difficult children are.

Why did Jess think that the people in the old Perkins place wouldn't last there?

The answer to this question can be found at the end of chapter 1.
Jess is picking beans when May Belle comes to him and tells him that there are some new people "moving into the Old Perkins place." Jess wipes the hair from his eyes and looks over to the Old Perkins place to see a large moving truck parked outside—with (what he assumes is) "a lot of junk" in it.
Jess thinks that these people won't last very long at the Old Perkins place because the Old Perkins place was "one of those ratty old country houses you moved into because you had no decent place to go and moved out of as quickly as you could." Jess doesn't think much more about who these people might be; instead, he drops his beans into the basket, swats away the flies, and heads home to help his mother put the beans into cans.
What he of course doesn't know at this point is that one of the people who has moved into the Old Perkins place is Leslie Burke, who, thankfully for him, does stay around for longer than he initially expects.

How do I write an essay discussing the goals of Pan-Africanism, and the steps Pan African leaders took to achieve them?

Pan-Africanism is a worldwide movement that aims to improve the lives and strengthen the people of African descent, many of whom left their homeland in chains to be enslaved in the United States and the islands of the Caribbean. The philosophy that drives the movement is the importance of unity among these people who share a common history and a common destiny, as the lives of Africans all over the world were affected by the transatlantic slave trade. A paper on Pan-Africanism might discuss how the movement developed or how it manifested itself in different areas of life. From the time they first arrived in the Americas as slaves, Pan-Africanism promoted communion among the people and helped them maintain their cultural heritage in the face of slavery and oppression. They established their own churches, for example, and their own religious organizations, such as the Free Africa Society that helped establish the churches. They also established their own political organizations, and held conferences to promote unity and support.
The African Diaspora refers to African Americans all over the world that have been displaced through the transatlantic slave trade and formed their own communities in other countries. The African Diaspora refers to these people as a collective group. The presumption is that they share a common history of oppression and racism and a common destiny because of it. In addition to discussing the steps to promote Pan Africanism on a global scale, your paper could focus on the effect of these institutions on the Diaspora. Have the efforts to promote unity been successful? And how did they improve the people’s lives? I’ve included a couple of resources that provide a general overview of these issues and should help you find a focus for your paper.
https://www.britannica.com/topic/Pan-Africanism

https://www.thoughtco.com/what-is-pan-africanism-44450

Pan-Africanism is the movement to unite in solidarity and uplift all individuals of African descent. When developing an essay on the topic you should probably include some of the following goals of Pan-Africanism. One goal is the end of imperialism and colonization among African nations. The movement also focuses on the end of oppression and calls for justice for all Africans. Within the essay you may want to include these steps taken by the movement. For instance, Pan-African supporters held conferences and created organizations to promote their cause. A flag was even created and adopted in the 1920s. Some universities offer studies in Pan-Africanism, and you may even want to talk about how the creation of hip hop helps promote the Pan African cause.

What happens in the end of the story The BFG?

Starting in chapter 21, Sophie, the BFG, and the military travel into giant country. The goal is for the soldiers to tie up and immobilize all of the terrible people eating giants. They successfully accomplish this goal and then transport all of these giants back to England and place them in a large, deep pit. The BFG gives the royal gardener seeds from a snozzcumber, so that all of the captured giants will have a disgusting food supply.
After this, the Queen of England makes the BFG the "Royal Dreamblower." She also has a giant sized house built for him with a regular sized house for Sophie nearby. As book closes, readers find out that the BFG learned to write and that he was the person that actually wrote the book that readers have been reading.

How did the first political parties form?

The first two political parties to emerge in the United States were the Federalists and Anti-Federalists. This division came about essentially over the ideology forging the new nation. Federalists, such as Alexander Hamilton, favored a stronger, centralized government. It was a party focused on the power of the federal government. They wanted strong relationships with Britain and supported the idea of "implied powers" in the Constitution.
The Anti-Federalists, or Jeffersonian Republicans, favored an approach more aligned with states' rights. They focused primarily on the rights of the individual and believed the Federalists to be aristocratic. You can imagine their viewpoint having substantial support because the American Revolution was still fresh in the mind of the young nation. It had just escaped the stranglehold of an aristocracy and did not need to return.
https://www.constitutionfacts.com/founders-library/first-party-system/

What theme(s) is reflected in Act 3, Scene 1, when Mercutio is stabbed, and he says "A plague o' both your houses!" And he goes onto say, "Ask for me tomorrow, and you shall find me a grave man."

Mercutio's final lines in Romeo and Juliet represent several themes. On the surface, he is angry with the Montagues and Capulets because their feud has led to his death. He tries to hide the severity of his injury at first, but this turns when he says, "Ask for me tomorrow, and you shall find me a grave man." He is mortally wounded, and he knows he will be dead by the next day. The Black Plague, which struck at its worst not long before Shakespeare lived, could lead to a fairly quick death--though not as quick as being stabbed. The feud is the plague, in this case. It devours everything in its path, good, bad, or neutral.
The other piece requires an understanding of what the bubonic plague outbreak of the 1300s led to in England and elsewhere in Europe. The Black Death, as it was also known, killed almost two thirds of Europe's population (History Today). This left a vacuum which was ultimately filled by the rising middle class, ultimately leading to the prosperity, invention, and artistic/architectural boom known as the Renaissance, which was Shakespeare's era. The Renaissance was a rebirth; that's what the word actually means in English. So, in a way, Mercutio is not only foreshadowing and cursing the devastation of this plague, this feud, but also the rebirth that stems from it. At the end of the play, after Romeo and Juliet have claimed their own lives, Montague and Capulet end their feud and fair Verona grieves, but peace and hope are reborn. This is what Shakespeare promises with his Chorus, and Mercutio reminds the audience/reader of that promise when he dies in the middle of the play. It's as though he's saying, "I'm really angry that your ridiculous fight cost me my life, but I won't be the only one. At least though, after all this death and destruction, this world will get a little brighter."

Mortality is a strong theme in Shakespeare's Romeo & Juliet. Mercutio's famous words "A plague o' both your houses!" foreshadows the outcome. The two houses he references are the Capulets and the Montagues who have been locked in an endless feud. And where go the Capulets and Montagues, death follows. Mercutio blames both families for his death. Because he was Romeo's friend, he was Tybalt's enemy by default. His dying wish is for something terrible to happen to both families. He even blames Romeo for his death because Romeo distracted him by trying to quell the argument. He says, "you shall find me a grave man" because he knows that he is dying--one more victim of the long feud. The plague that soon after falls on the houses of Capulet and Montague is the deaths of Romeo and Juliet. Though they both committed suicide, their deaths are still a result of the feud between their families, and the grief that follows is no doubt the plague that Mercutio wished on them.

At the bottom of page 7, he enters a room where he finds Daisy and Jordan. What do we learn about Daisy from the descriptions and dialogue on pages 7-9? What is revealed here about Daisy's relationship with Tom?

At the bottom of page seven, Tom leads Nick inside to a "rosy colored space," a room with French windows at either end. We learn on these pages, as Nick reconnects with his cousin Daisy, that she is charming, beautiful, alluring, and speaks in a murmur, which, Nick has heard, is meant to get people to lean towards her.
We hear about Daisy's thrilling voice, an important part of her allure. It's low and musical and holds a promise that "gay, exciting things" are about to happen soon. It is exciting to men, the "kind of voice that the ear follows up and down." We also learn that her face is both bright and sad. She is introduced as both a charismatic and slightly mysterious figure; why, after all, we might wonder, is her face sad?
Daisy and Nick flirt gallantly, and we find out at the bottom of page nine that she has a "baby" (actually a child), when she suggests that Nick see it.
On these pages we don't learn much about Tom. It's significant, however, that the room is rosy and that there is a "wine-colored rug" on the floor, "making a shadow on it as the wind does on the sea." The two women, Daisy and Jordan, are seated on an enormous couch and their white dresses ripple and flutter in the breeze. The breeze also lifts and blows the white curtains, so that they whip and snap. All of this is an allusion or reference to Homer's Odyssey, in which Odysseus travels on what Homer calls a wine dark sea (like the wine colored rug), while the white sails of his vessel billow and blow like the white curtains and the women's white dresses.
This opening suggests the women and Nick are embarking, like Odysseus, on a voyage of discovery. Tom, however, is the one who shuts the windows, deflating the breeze, foreshadowing his role as the buzz kill of the novel.
At the end of page nine, Daisy demands in a joking, childlike way that she and Tom return to Chicago tomorrow, showing (although she is joking) that she is not one to act independently of him.
To find out more about Tom and Daisy's relationship, you could turn to pages 12 and 13. There, Daisy displays her bruised finger and calls Tom brute, then puts him down for his racial theories about Nordics, mocking him as "very profound." From the start, we realize there are strains in this marriage—a little later Nick will discover that Tom is having an affair.