How can Jim Casy be understood as a Christ-like figure?

The character of Jim Casy moves from being an energetic preacher to shunning God. He then becomes something of an apostle. Finally, as his initials "J.C." suggest, the character becomes Christ-like.
The home everyone once knew in this rural section of Oklahoma is gone. For the few people who remain, the need for a leader grows stronger. Casy, like the Apostle Paul, reluctantly assumes the mantle of leadership. While he can never again embrace the former evangelical role many in his community expect from him, Jim Casy becomes more and more Christ-like until eventually, like Christ, Casy dies a martyr’s death.
As the novel opens, Tom Joad finds the former preacher resting under a tree. Tom does not recognize the old family friend at first; Casy reminds Tom how they know one another
"I was a preacher," said the man seriously. "Reverend Jim Casy—was a Burning Busher. Used to howl out the name of Jesus to glory. And used to get an irrigation ditch so squirmin' full of repented sinners half of 'em like to drowned. But not no more," he sighed. "Jus' Jim Casy now. Ain't got the call no more. Got a lot of sinful idears—but they seem kinda sensible."
Despite Casy’s disillusionment, evidence of his good moral character is presented early on. Casy listens patiently to Muley Graves, the lone resident of the now-deserted land that Tom had once called home. Muley tells Tom and Casy about the plight of the people, of the disrespect for their land,their families, and their homes. The injustice of it all ignites passion in Casy, perhaps really for the first time. It is as if he is experiencing his own private Pentecost:
Jim Casy had been staring at the dying fire, and his eyes had grown wider and his neck muscles stood higher. Suddenly he cried, “I got her! If ever a man got a dos of the sperit, I got her. Got her all of a flash!” He jumped to his feet and paced back and forth, his head swinging. “Had a tent one time. Drawed as much as five hundred people ever’ night. That’s before either you fellas seen me.”
Because the reader knows Casy, unlike a lot of traveling preachers, has no monetary or self-aggrandizing motives, it is easier to trust him as the landscape, and the family, changes.
Casy's development as an apostle continues as the family prepares for their frightful journey into the unknown. When it is time to head out, and it is decided that Casy will accompany the family, Ma asks him to say a prayer. To the surprise of all who had known him, this is not the fire-and-brimstone preacher of the past, but the new, introspective man of spiritual matters. As the family bows their heads, Casy tells the assembled Joads:
“I been thinkin’, “ he said. “I been in the hills, thinkin’, almost you might say like Jesus went into the wilderness to think His way out of a mess of troubles…
Seems like Jesus got all messed up with troubles, and he couldn’t figure nothin’ out, an’ He got to feelin’ what the hell good is it all, an’ what’s the use fightin’ and figurin’. Got tired, got good and tired, an’ His sperit all wore out. Jus’ about to come to the conclusion, the hell with it. An’ so he went into the wilderness. . . .
I ain’t sayin’ I’m like Jesus,” the preacher went on. “But I got tired like Him, an ‘ I got mixed up like Him, an’ I went into the wilderness like HIm, without no campin’ stuff. Nighttime I’d lay on my back an’ look up at the stars; morning I’d set an ‘ watch the sun come up…”
While Casy is not arrogant enough to believe himself on par with Christ, he does recognize that perhaps, like the apostles, he possesses a gift for prophecy. When Casy reflects on the fate of Muley Graves, he sadly remarks,
“Course Muley's crazy, all right. Creepin' aroun' like a coyote; that's boun' to make him crazy. He'll kill somebody purty soon an' they'll run him down with dogs. I can see it like a prophecy."
Casy continues to be a spiritual touchstone throughout the novel. Initially, Casy feels much like the Apostle Paul in the Bible. Paul is frequently called the “Reluctant Apostle” because he does not feel worthy of the task given to him by God, that of leading the people away from everything they have known into unfamiliar territory. Like Paul, Casy has initial feelings of helplessness and unworthiness. He worriedly tells Tom,
“I got the call to lead people, an’ no place to lead them.”
But eventually, Casy comes to accept his role. In the final moment of his life, Casy calls out:
"Listen," he said. "You fellas don' know what you're doin'. You're helpin' to starve kids. . . .You don' know what you're a-doin'."
Casy has lived up to his initials, J.C. as his final word echo those of Christ himself, who, as he is being nailed to the cross, cries out, “Forgive them, Father, they know not what they do,” (Luke 23:34).

In Monster, which feelings most likely lead to Mr. Sawicki’s challenging Petrocelli's view of Steve's character?

Mr. Sawicki is Steve’s film teacher. He runs the club that Steve loves to participate in, and he is one of the few characters we meet that sees any potential in Steve Harmon. Everyone else in the story either sees Steve as a lost cause, a bad seed, or a monster. Mr. Sawicki, therefore, would feel defensive of Steve based on how well he knows him. The fact that Mr. Sawicki has seen his fair share of Steve’s art that depicts his neighborhood and documents the world he lives in helps make him a reliable witness for Steve’s defense.
Petrocelli is seeking to make Steve look like a monster, hence the name of the novel. She refers to Steve as a monster in the opening and closing statements. Mr. Sawicki is fond of Steve, and it is probably affection that leads him to challenge the idea that Steve is a monster. Mr. Sawicki does not lie, like some of the witness seem to, to alter the jury’s view of Steve. Instead, he comes out and presents precisely how he sees Steve based on the time they’ve spent together going over film, planning projects, and learning. His opinion of Steve is high, and he trusts who Steve has shown himself to be. Petrocelli tries to poke holes in that idea by saying that Mr. Sawicki doesn’t see Steve when he goes home, but the point is made to the jury at least that Steve is someone who is not only connected at school but who has potential in artistic endeavors.

Who wrote Romeo and Juliet?

Who wrote Romeo & Juliet?

The short answer: a man named William Shakespeare (1564-1616) lauded as a literary genius and master linguist, known for having written 37 plays, including the story of the star-crossed lovers, Romeo and Juliet (1597).

The long(er) answer: a figure who, given that he led a largely posthumous life (having never been a wealthy man in his time, despite the richness and breadth of his writings). A man whose life was free of scandal though ambiguous in parts. A man who some have argued may or may not have even been a man at all—in six alleged instances that the Stratford man wrote his name, his barely legible signature read "Shaksper” (yes, the typo is correct).

While no documents exist to date that support the claim that Shakespeare's plays and poems were written by someone else, many scholars have entertained the idea that the name we attribute to the English wordsmith was merely a pseudonym. The man we know today as the “Bard of Avon” may or may not have been the author of works attributed to William Shakespeare, and questions of the authenticity of Shakespeare "the man"—and there have been many named in the search to find the "true" author of the plays, including Francis Bacon, the Earl of Essex, Christopher Marlowe, and even Queen Elizabeth I herself—continue to mystify scholars to this day. Moreover, just as the plays of Shakespeare were circulated in various versions through time (as they were meant to be read by the public and brought to life by actors who reconstructed the parts with every production), so too are there competing theories on who this “singular genius” was.

Moreover, while it may be hard for us to believe that a small town (Stratford) boy could emerge as the Western world’s most celebrated writer, our most basic questions about the bard still remain unanswered. From their very inception, Shakespeare's works were shrouded in mystery, and to this day, his plays have been subject to ongoing examination and evaluation by critics attempting to explain their perennial appeal. Indeed, Shakespeare has been criticized for not consistently holding to any particular philosophy, religion, or ideology—for example, the subplot of A Midsummer Night’s Dream includes a parody of the kind of tragic love that he idealizes in Romeo and Juliet. Yet, the strength of Shakespeare’s plays lies in the absorbing stories they tell, and in their wealth of complex characters whose lines are always lyric and eloquent, and whose lives are driven by passions neither wholly good nor wholly evil. It may even be that it is indeed the flawed, inconsistent natures of his characters—of which Romeo and Juliet are prime examples—that make them so memorable.

An elusive figure, William Shakespeare may very well be the greatest man England has ever produced—an author whose plays are distinguished not only by their unparalleled use of language and corresponding sensitivity to nuance, but a singular aptitude for coining neologisms and multi-layered puns. How incredible to think that over 400 years after the author’s death, his plays continue to grace stages around the world. His words have been quoted more than the works of any other author in the English language. Whoever Shakespeare truly is, one thing is for sure—they are sure to be known “forever and a day.” *


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* A saying attributed to Shakespeare, from the play As You Like It (Act IV, Scene I).

Rosalind: “Now tell me how long you would have her after you have possessed her.”
Orlando: “Forever and a day.”

William Shakespeare.

The original source for Shakespeare's play 'Romeo and Juliet' was 'The Tragicall Historye of Romeus and Iuliet', a poem by Arthur Brooke written in 1562, but the story itself was not new, with extant sources dating back to the 15th century.

William Shakespeare wrote Romeo and Juliet.

In the end of A Midsummer Night's Dream, how does Hermia get to marry Lysander?

Hermia and her beloved Lysander have fled to the forest, as it's the only place where they can express their love for each other without fear. Hermia's father, Egeus, wants to marry his daughter off to Demetrius, but Hermia's not interested; she only has eyes for Lysander. Egeus is very much of the old school when it comes to parenting; what he says, goes. And if he wants Hermia to marry Demetrius, then as far as he's concerned, she jolly well will, whether she likes it or not. Besides, if Hermia persists in defying her father's wishes, under Athenian law she'll either be executed or end up in a convent. So off to the forest she goes with Lysander.
Thanks to the mischievous Puck's magic, the course of love between the two lovebirds doesn't go smoothly at all. For one thing, Lysander has fallen in love with Helena, because Puck mistakenly put a drop of magic flower on his eyes instead of on Demetrius's. Thankfully, Oberon intervenes and cleans up Puck's mess, and soon Demetrius is in love with Helena as originally intended. The problem, though, is that Lysander is still bewitched, so he joins Demetrius in the pursuit of Helena.
Puck makes amends for his earlier blunder by putting Hermia, Lysander, Helena, and Demetrius to sleep. He's placed an antidote on Lysander's eyes so that when he wakes up he'll no longer be smitten with Helena. However, trouble soon arrives in the shape of Egeus, who has finally managed to track down his errant daughter and her lover. He demands that Hermia marry Demetrius, but Demetrius, still under Puck's spell, remains head over heels in love with Helena. Theseus, the king of Athens, who has accompanied Egeus to the forest, overrules him and releases Hermia from her obligation to marry Demetrius. Hermia is now free to marry Lysander, the man she loves.

What was the influence of Millard Fillmore?

Millard Fillmore (1800–1874) is best known for his presidency (1850–1853) during the sectional crisis involving the North and the South in the years before the Civil War. He became president after the death of Zachary Taylor.
Fillmore, like Abraham Lincoln, came from a poor family and had little formal education. Both men read law in their spare time and eventually were admitted to the Bar Association.
Fillmore's political career took off in the 1830s, when he joined the Whig party and served in the U.S. Congress. He ran for governor of new York in 1844 but lost a close election. By this time, he had become a prominent figure among Whigs and became vice president under Zachary Taylor in 1849.
Upon becoming president in 1850, he tried to hold the country together. He did not support slavery, but he supported the Compromise of 1850, which postponed the Civil War for ten years, and it ruined Fillmore's political career and the Whig party. The Fugitive Slave Act, which was part of the Compromise, required the North to return runaway slaves. Fillmore's support of the Fugitive Slave Act made him extremely unpopular in the North. As president, Fillmore opened Japan to foreign trade and lowered postal rates, but the sectional controversy dominated his time in the White House.

Who is Malala? What did she want to become?

Malala Yousafzai is a Pakistani girl, of Pashtun ethnicity, who lived in the Swat Valley region. She is the daughter of Ziauddin Yousafzai, who was a vocal women's rights activist. Malala herself was a proponent of women's rights in Taliban-controlled Pakistan, and she attended the progressive Khushal School. When mullahs implemented Sharia law in the Swat Valley, the school and the Yousafzai family were considered targets because of their progressive social and political stance. Malala's father received death threats from the Taliban, but it was Malala who was injured in an assassination attempt by terrorists.
Fortunately for Malala, the then-teenage girl survived the violent assault and became even more active in promoting women's rights and anti-Taliban rhetoric. Malala received the Nobel Peace Prize in 2014, and her memoir, I Am Malala, became a critically-acclaimed bestseller. Malala has stated that she wanted to become an education advocate, especially for girls and women.

Why did Mrs. Bennet insist that her husband call on the young man?

The importance of Mrs. Bennet's requesting, in chapter 1 of Pride and Prejudice, that her husband visit the young man (Mr. Bingley) has to do with propriety and courtesy. These were highly held values both in the era in which the novel was published (1813) and in the time period in which it was set (likely the late eighteenth century). It would never do Mrs. Bennet and her daughters (one of whom she wished to marry off to the newcomer Mr. Bingley) to descend upon their new neighbor without a prior acquaintance and appropriate introduction. Accordingly, as Mr. Bennet would have been the understood and undisputed head of the Bennet household, it was his duty, in the eyes of both society and his wife, to meet Mr. Bingley first, both to ascertain what sort of man he was (whether truly desirable for marriage to a Bennet daughter or not) and to pave the way for Mrs. Bennet and her daughters to meet him.
That Mr. Bennet is so contrary to his wife's request, and that she is so very insistent upon the point through their conversation in chapter 1, is almost an ironic commentary on the standards and requirements (most of them unspoken but all of them universally understood, accepted, and abided by) of the day. Mr. Bennet "see[s] no occasion" for his visiting Mr. Bingley, contrary to the standards of society, in which he would both know his duty and do it whole-heartedly without his wife having to browbeat him into it first. His wife insists that "it will be impossible for us [meaning herself and her eligible daughters] to visit him [Mr. Bingley] if you do not," as she is all too aware of the sense of propriety her husband should hold. She is determined to force him to do his duty, if for no other reason than the fact that, in that society, women could not exactly make the acquaintance of just anybody.
https://www.college.columbia.edu/core/node/1765

https://www.gutenberg.org/files/1342/1342-h/1342-h.htm