Name the nutrients fish and seafood provide.

Seafood is a rich source of a number of nutrients, including vitamins, minerals, high-quality proteins, omega-3 fatty acids, and more. Here is a list of all the nutrients provided by seafood:
Vitamins A, B, and D;
Omega-3 fatty acids: EPA (eicosapentaenoic acid) and DHA (docosahexaenoic acid)
calcium
phosphorous
zinc
iron
iodine
magnesium
potassium
In addition, fish is beneficial to a low-fat diet as compared to red meats.
Vitamin A is needed to boost our immune system and protect our vision. Vitamin B-complex has a significant effect on metabolism and energy production. Vitamin D is essential for the healthy growth of bones, the absorption of calcium, and the efficiency of the immune system.
Omega-3 fatty acids promote a healthy cardiovascular system, aid brain function, and reduce the risks of a number of health conditions, including depression, ADHD, dementia, Alzheimer's disease, and diabetes. These acids are not produced in our bodies and hence must be obtained from external sources. Fatty fishes such as salmon, tuna, trout, and sardines contain high amounts of omega-3 fatty acids.

Describe the Artful Dodger in Oliver Twist. Why was he given his nickname?

In Oliver Twist, Charles Dickens introduces a young pickpocket named Jack Dawkins who most people refer to him as "the Artful Dodger" The nickname describes his skill at his trade: his mind is cunning, his fingers are sly, and he's quick on his feet—making an "art" out of thieving on the crowded London streets.
The Artful Dodger is the young leader in Fagin's gang of street urchins. Although he's only a child, like Oliver, he carries himself as someone much older, as Dickens describes:

He was a snub-nosed, flat-bowed, common-faced boy enough; and as dirty a juvenile as one would wish to see; but he had about him all the airs and manners of a man . . . He wore a man's coat, which reached nearly to his heels. He had turned the cuffs back, half-way up his arm, to get his hands out of the sleeves: apparently with the ultimate view of thrusting them into the pockets of his corduroy trousers; for there he kept them. He was, altogether, as roistering and swaggering a young gentleman as ever stood four feet six, or something less, in the blushers. (chapter 8)

Life on the streets has hardened the Artful Dodger, and he does what he must to survive. He befriends Oliver and attempts to train him as a pickpocket, though Oliver doesn't have the knack or the heart for it.
After betraying Oliver, the Dodger gets caught at last for a simple theft of a snuff-box. His reputation for being particularly adept at pickpocketing is demonstrated as his fellow thieves pay tribute to him; the Artful Dodger is going to be sent away to Australia, as many Victorian criminals were. Charley Bates expresses to Fagin his regret that the boy didn't get caught at a glorious crime more worthy of his name:

"To think of Jack Dawkins—lummy Jack—the Dodger—the Artful Dodger—going abroad for a common twopenny-halfpenny sneeze-box! I never thought he'd a done it under a gold watch, chain, and seals, at the lowest. Oh, why didn't he rob some rich old gentleman of all his walables, and go out as a gentleman, and not like a common prig, without no honour nor glory!"
With this expression of feeling for his unfortunate friend, Master Bates sat himself on the nearest chair with an aspect of chagrin and despondency.
"What do you talk about his having neither honour nor glory for!" exclaimed Fagin, darting an angry look at his pupil. "Wasn't he always the top-sawyer among you all! Is there one of you that could touch him or come near him on any scent! Eh?"
"Not one," replied Master Bates, in a voice rendered husky by regret; "not one." (Chapter 43)

The Artful Dodger earns admiration and respect from his fellow thieves due to his gift for pickpocketing, his swaggering attitude, and his defiance until the end.
At his court hearing, the Artful Dodger is deemed guilty of theft, but—believing England is to blame for his poverty and subsequent life of crime—he protests: "I am an Englishman; where are my privileges?" As he's led off to his fate, Dickens describes the Dodger as "grinning in the officer's face, with great glee and self-approval." Though he may be a thief, the Artful Dodger is proud of his skill and his trade.

Are readers supposed to feel sympathy for Bob Ewell?

This is an extremely subjective question, but, considering how Ewell abuses his children physically (and possibly sexually, given Mayella's statement that her father's kisses "don't count" as a first kiss when coming onto Tom), I don't think he is meant to be all that sympathetic a character.
Ewell is pitiable in his ignorance and hard heart, certainly, but he lashes out by hurting other people and terrorizing those closest to him. He also attempts to murder Jem and Scout, both of them children, just to get vengeance upon Atticus for standing up against him in court. He is a petty, cruel, vindictive man with no positive traits that we, the readers, are told about or shown. He is the closest thing the story has to an individual villain: more a personification of prejudice and ignorance than anything else.

Before 1865, where were most of the railroad tracks in the United States concentrated?

By far, most of the nation's rail industry was located in the North. This is not surprising, as most of the nation's industry and manpower were also there. Railroads linked the major cities of the North, and several rail lines were finding profits in moving farm products from the Midwest to the East. In many places, rails were even starting to replace canals as the preferred means to move goods.
Before the Civil War, Congress considered the best route for a transcontinental railroad. Jefferson Davis proposed a Southern route that would use Mississippi, his home state. Stephen Douglas used Illinois as the origin for a rival route. The war happened before construction could begin, thus making the northern route the obvious choice for the nation. However, since most of the major railroads were in the North, it is most likely that the nation would have chosen the northerly route for its longest railroad.

How can education help in achieving gender equity?

Here are a few examples of ways we can use education to further gender equity.
For one, women are often underrepresented in our government. By providing girls with knowledge of the historical foundations of our country and encouraging them to participate in things like debating and legislating, we can encourage much-needed women's voices to emerge in the politics of our country.
Women are also not well-represented in STEM careers. By providing high-level science and math classes to our girls and by recruiting teachers who can make that content highly engaging while bringing girls into the active conversation, we can encourage more girls can begin to see these careers as feasible career choices.
Education raises the aspirations of everyone. Students who are told often enough that they are intelligent and capable learn to believe it and to work harder for their goals. Students who are told that they have the grit and intelligence to go to college are more likely to go to college. Girls who continue their education after high school then have options to continue toward a master's degree. A lack of education ends many aspirations and thereby increases an equity gap.
Caring administrators in education talk to their students to get a gauge for equity issues. Through organic conversations with their teachers and administrators, female students are able to convey areas where they perceive equity discrepancies. Did they read any female authors in their literature class? Did they research any scientists who were women of color in biology? Are they expected to participate as often as their male counterparts in math?
Education provides so many opportunities for closing the gap in gender equity by showing people what is possible.

What does Duncan say about physiognomy?

Duncan says of the traitor the Thane of Cawdor whom he has ordered executed:
There's no art
To find the mind's construction in the face:
He was a gentleman on whom I built
An absolute trust.
Shakespeare himself did not necessarily believe what he has his character King Duncan say. In The Tempest, for example, Shakespeare has the character Gonzalo say something quite different during the big storm in the first scene of the first act.
I have great comfort from this fellow. Methinks he hath no drowning mark upon him; his complexion is perfect gallows. Stand fast, good Fate, to his hanging. Make the rope of his destiny our cable, for our own doth little advantage. If he be not born to be hanged, our case is miserable.
Gonzalo is speaking of the Boatswain, who has just been insolent. Later Gonzalo will repeat his prediction:
I'll warrant him for drowning, though the ship were no stronger than a nutshell and as leaky as an unstanched wench.
Gonzalo is assuming that if the ship sinks they will all necessarily be drowned together, so if the Boatswain survives to be hanged later on, as his face indicates to Gonzalo that he must, then they will all be saved from drowning.
Does an innocent and kindly face mean that a person has an innocent and kindly nature? Does a brutal face mean that a person must be brutal? It is an interesting speculation. We tend to judge people by their faces, and particularly by their expressions. But some wicked people are clever and skilled enough to look benign. Claudius in Shakespeare's Hamlet is always smiling although he is a sinister person with a guilty conscience. Hamlet says of Claudius in Act 1, Scene 5 of that play:
O villain, villain, smiling, damned villain!
My tables--meet it is I set it down
That one may smile, and smile, and be a villain; (I.5)

Many of Coleridge’s poems feature narrators who are part of the dramatic description of the scene. How does Coleridge influence our reading of his work by tracing his speaker's thoughts? In what ways does his style create a tone of immediacy?

Two Coleridge poems immediately jump to mind that illustrate the idea that narrators are part of the dramatic description of the scene—and in both cases, the narrator's voice seems to reach out of the poem toward the reader. This does increase our sense of immediacy by encouraging us to share the narrator's emotions. We are encouraged to put ourselves directly in his place.
In "Frost at Midnight," the narrator speaks to us from within the poem, metaphorically inviting us into his cottage, where the frost (cold weather) has kept others away. He is alone with his baby. He addresses us, the readers, in the first person:

My cradled infant slumbers peacefully. (emphasis added)
The first person voice makes the poem quite intimate. The narrator then moves from showing us his cottage home to sharing with us details of his childhood. He expresses his love for his infant son:

My babe so beautiful! it thrills my heart
With tender gladness, thus to look at thee

These simple words draw us into his emotional circle and help us share with him his hopes for his infant son's future.


Rime of the Ancient Mariner, a much longer poem, works within a frame narrative. A wedding guest recalls being stopped by the Ancient Mariner on his way into a wedding. He says to the Mariner:

Now wherefore [why] stopp'st thou me?

He goes on to say that "I am next of kin."
This first person narration also pulls us directly into the scene, as if we are part of it. When the imagery of the poem pulls away to speak of the wedding guest in the third person as "he," the guest is sitting as spellbound as a three year old, fixated on the Mariner's story.
This models the readers themselves—interrupted by the Mariner as much as the wedding guest and needing to drop everything and pay attention to the story the Mariner has to tell. At this point, when the Mariner takes over the narrative, we are already in our proper place as listeners and emotionally primed for his story.