Where is the Forest of Arden in As You Like It?

According to "The Political Conscious of Shakespeare's As You Like It" by Andrew Barnaby, the Forest of Arden alludes to two different forests. Since the play is set in France, the forest evokes the French forest of Ardennes, a location far enough away from most Elizabethan theater-goers to seem exotic. It also, however, refers to the more nearby Forest of Arden in Warwickshire, England.
The main point, however, is that this forest is not meant to represent a literal place but rather a mythic, pastoral space that is supposed to evoke—and, at the same time, critique—an idyllic forest of the Golden Age.
In the Forest of Arden, the characters are freed from social constraints and are able to be who they truly are. Who people are—how they behave when they can do as they "like"—determines the nature of this space. If people behave well, it can be a paradise, but if not, the setting itself can not make the place heavenly.

How did chivalry play a role in manorialism during the Middle Ages?

Manorialism was a system in which a lord received a piece of land from another more powerful lord. As a vassal, he would own all that was on the land and pay his lord taxes in the form of a portion of what his land produced as well as a promise of loyalty. Loyalty was often demonstrated through military service.
This promise of loyalty was one of the central tenets of the code of chivalry. Knights were usually lower-ranking nobles who were given a piece of landed property in exchange for faithful service to the lord who provided the land. Chivalry served to reinforce this bond between lord and vassal. Chivalry required a knight to be loyal to his heavenly lord (God), his earthly lord, and his chosen lady. By abiding by chivalry, a knight was reinforcing the bond of loyalty in which manorialism is based by agreeing to heroically and loyally fight for his feudal lord.

What are some examples and quotes of Ralph betraying himself throughout the book?

Ralph is the elected leader of the boys. He desperately attempts to establish a civil community and maintain society's standards on the uninhabited tropical island. However, there are several significant moments in the novel where Ralph betrays his civility and morals by embracing his savage nature.
In chapter seven, the boys are searching for the beast, and Ralph follows Jack's lead as they come across a pig trail. Suddenly, Ralph spots a pig, and a hunt ensues. Ralph aims and throws his spears in the direction of the moving pig and manages to strike its snout. Ralph is thrilled by the hunt and enthusiastically announces to the other boys that he struck the pig with his spear. Golding depicts Ralph betraying himself by writing,

He sunned himself in their new respect and felt that hunting was good after all. (162)

Ralph is a proponent of civilization and opposes Jack's idea of hunting and playing on the island. Despite his affinity for civilization, Ralph experiences lapses in his civility during the hunt by embracing his primitive, savage nature and developing a brief bloodlust after striking the pig.
Another scene that depicts Ralph betraying himself takes place in chapter nine. When a severe thunderstorm hits the island, Jack and his hunters participate in a ritual dance on the beach. Ralph betrays himself by joining the group of dancing savages and enjoys the frenzied atmosphere. Golding writes,

Piggy and Ralph, under the threat of the sky, found themselves eager to take a place in this demented but partly secure society. They were glad to touch the brown backs of the fence that hemmed in the terror and made it governable. (217)

In chapter ten, Ralph, Piggy, and Samneric collect wood to build a new signal fire but struggle to keep it lit. As the boys lament their difficult, hopeless situation, Eric asks why it is necessary to maintain a signal fire. Ralph once again betrays himself by forgetting the fundamental necessity of a signal fire. Golding writes,

Ralph tried indignantly to remember. There was something good about a fire. Something overwhelmingly good. (235)

How is gender and identity reflected in "Yellow Woman" by Leslie Marmon Silko?

The question of identity is central to the story "Yellow Woman." The narrator is torn two realities: one based on her domestic life with her family as wife and mother and a second in which she is Yellow Woman, a mythic figure who lives in the mountains as the captive (or companion—it is not clear) of a ka'tsina spirit.
This question of identity influences how we understand what happens to her. In her role as wife and mother, the narrator has been kidnapped by Silvio, a cattle rustler, who takes her to a remote mountain cabin and rapes her. But as Yellow Woman, her "kidnapping" becomes a kind of enchantment; Silvio, as ka'tsina, chooses or makes her into Yellow Woman, and her time with him exists outside of history.
In this reality, Silvio and the narrator become mythic figures, idealized types of male and female. They exist outside of history in a way; their actions are predetermined by the myth they embody. Their lovemaking is at once tender and sexual assault—a kind of inevitable narrative fulfillment. The doubleness is perfectly expressed in Silvio's remark to the narrator when she tries to resist his advances: "You don't understand, do you, little Yellow Woman? You will do what I want."

“Yellow Woman” is a beautifully narrated tale that reflects sexuality, adventure, identity, and the want to experience something larger than life. The story revolves around a young woman who is identified as a mother, wife, and daughter with responsibilities and duties to her family. And yet, she seeks to have an affair with a stranger. But, she does not do it because she feels attraction to the man himself but more because she feels attracted to the mystical legends and stories that he seems to fit right into. Silva refers to her as “Yellow Woman,” a famous Native American character, and he himself resembles the mythical figure of the Ka’tsina spirit. The woman chooses to believe in an identity—Yellow Woman—as her reality seamlessly merges with the fantasy of the stories she heard while growing up. This story celebrates Native American culture while holding up a mirror to the feelings and experiences of the modern tribe members. The protagonist longs to escape from the modern world and dive into the time when nature, animals, spirits, and souls were intertwined, a time when she could assume the identity of the Yellow Woman and Silva the identity of the Ka’tsina spirit.
Gender representation can also be seen as one of the minor themes prevailing in the story. The Yellow Woman, although a “modern” woman, assumes the roles of a conventional woman without question—frying potatoes, running away from the scene of combat, and going along with Silva’s request and demands without much of a fight. However, these incidents add a fairytale-like touch to the entire narrative, which could be seen as the whole point of the story. Yellow Woman’s desire to melt into the primitive times of legend and fantasy maybe results in her assuming the character and behaving like a woman of the past, with princess-like notions about sexuality and love.

Summarise R. I. Moore's views about heretics, Jewish people, and lepers in the first and second chapters of The Formation of a Persecuting Society. What is his overall argument?

The heretics, Jewish people, and lepers were all minority groups who underwent hardships under different circumstances. However, R.I. Moore's main argument is that the similarities between these groups being attacked is not just a coincidence. Rather, he feels that these all occurred because of the pattern of prosecution in medieval society. He believes that the persecution was started by princes and prelates, not by the majority populations.
In the first two chapters of the book, he goes over the patterns of prosecution in these groups. He believes that those who reform end up becoming prosecuted in the next generation. For the Jews, he talked about how they were Anti-Christians, and he believes that the emperors had power over protecting them, which meant that they also had the power of exploiting Jews. For the lepers, he notices that the prosecution seemed inflated for the number of lepers that there were. He believes that this shows the anxiety that people living under this age were under, and that those in charge led the "mob" to prosecute these minority groups.
http://www.uvm.edu/~hag/personal/portfolio/224paper1.html

What would be an argumentative essay about Macbeth's tragic flaw?

In an argumentative essay about Macbeth's tragic flaw, you first need to determine what that tragic flaw is and build a thesis. I'm going to argue that his ambition is a good choice, but there are certainly other options you could use. In your introduction, you should provide the title and author of the play, a brief summary of the play as it relates to ambition (or whatever trait you choose), and then the thesis, which in this case would be "Macbeth's tragic flaw is his ambition, which eventually leads to his downfall."
Then you'll need to look for supporting evidence from the play. Three good examples could become your three body paragraphs, with thorough explanations of how each example leads to his downfall. Here are some possible examples for Macbeth's ambition being a tragic flaw:
1) Macbeth is willing to let some witches determine his course of action because of his ambitions to have power. This exchange happens in the first act to guide his decisions:




SECOND WITCH
All hail, Macbeth! Hail to thee, thane of Cawdor!






SECOND WITCH
All hail, Macbeth! Hail to you, Thane of Cawdor!






THIRD WITCH
All hail, Macbeth, that shalt be king hereafter! (I.iii.52–53)

At first, Macbeth thinks the entire idea is crazy; after all, he reasons, "But how of Cawdor? The thane of Cawdor lives, / A prosperous gentleman, and to be king / Stands not within the prospect of belief, / No more than to be Cawdor" (I.iii.76–79). However, the more he considers it, the better it sounds, and it begins to shape the actions he is willing to take—to the point of murder. Which leads us to the next point. . . .
2) Macbeth is willing to commit murder in the name of his ambition. When Lady Macbeth insults his manhood for being too slow to act against Duncan, Macbeth allows himself to be manipulated by her words. How does she push him? She knows that his ambition is the key to motivating him. She says, "Wouldst thou have that / Which thou esteem’st the ornament of life" (I.vii.47–48), reminding him that this is his destiny, as he sees it. This is the thing he's always longed for. And now is the moment to act. She also tells him, "And to be more than what you were, you would / Be so much more the man" (I.vii.54–58). Again, she's calling to Macbeth's mind the idea that he could be something so much greater.
3) Macbeth's ambition leads him to misinterpret the warnings in act 4. Beware Macduff. No man born of a woman can hurt him. Macbeth can never be beaten until Great Birnam Wood comes to Dunsinane Hill. Macbeth's ambition makes all of these warnings seem like impossibilities, and he cannot see the truth playing out in front of him. Even given the warnings, he proceeds with his plans. He hears what he wants and believes what he wants—because he has ambitious goals. In fact, he immediately says, "That will never be" (IV.i.104).
Macbeth's ambition is one of his tragic flaws, and ultimately, it destroys him.

Who is the author of Orpheus and Eurydice?

As the other answer said, the Orpheus and Eurydice myth has no first author. Nevertheless, a modern writer, Hugh Lupton, retold the story in a book for middle schoolers published in 2013. His book is called Orpheus and Eurydice.
In it, he retells the classic story. While details and versions of the story change from author to author, Lupton tells the following version:
Orpheus is an extraordinary musician. His music enchants the world. He falls in love with and marries Eurydice. Sadly, however, she is bitten by a poisonous snake and dies soon after the wedding. Orpheus is so grief stricken that he goes down to the underworld to retrieve his bride. He plays his music so beautifully that the ruling god and goddess of the underworld, Hades and Persephone, allow Orpheus to leave with Eurydice. They establish one rule, however: he must not look at her until they are back on earth. Naturally, Orpheus looks at his wife. More happens, but I will leave you to read the story.

The legend of Orpheus and Eurydice is one of the most well known of the Greek myths. Many people have written it down and added their own elements to it over the years, but by and large, it is considered part of an oral tradition from the Ancient Greek world, one of many stories the Greeks told about their gods.
Of course, part of the reason it survives to us today is because it was written down by Greek authors thousands of years ago. Virgil wrote the story down, as did Ovid and Plato. But all of these authors were simply using a story they already knew—and which their audience would also have already known—in order to make their own distinct points about humanity, sin, and how we interact with the gods. None of them made the story up. The idea of authorship therefore doesn't really apply to a story which seems to have been the product of communal worship of a pantheon of gods, thousands of years ago.