How does Lorraine Hansberry bring out the theme of discrimination in the play "A Raisin in the Sun"? word limit-1200

The most shining example of discrimination in A Raisin in the Sun is when the white homeowners of the Clybourne Park Improvement Association, the neighborhood the Younger family is planning to move to, attempt to pay them to give up the home they've purchased so that the neighborhood stays white. This makes discrimination a real issue that the protagonists have to confront to grow as people and as a family unit.
Karl Lindner, who represents the Association, suggests that the family takes the money for their house and move to a new neighborhood where there are more black people living. The neighborhood where Lena purchased the house is a neighborhood with only white people; Karl doesn't think it would be good for his neighborhood or the Younger family to move there. His offer means that they could buy another house elsewhere and the family does consider taking it—especially when Walter loses the rest of the inheritance.
Ultimately, it's clear that the Younger family will face even more prejudice when they move into the neighborhood. They know that the people there aren't going to welcome them. However, they decide to go through with it anyway. With the rest of the money gone, it's the best way to pay tribute to their deceased husband and father. It's also the best hope they have for getting out of the ghetto and finding a better life.

What is/are the meaning/s of Kabuliwala story?

The short story "Kabuliwala" by Rabindranath Tagore is the story of an Afghan fruit-seller (called a "kabuliwala" in Hindi) who one day, while in Calcutta, meets a five-year-old Bengali girl named Mini. Mini seems to come from a wealthy family, but the kabuliwala is poor, and he is looked down upon by many in the community, including Mini's mother. The kabuliwala and the girl strike up an unusual but endearing friendship, and the little girl always looks forward to seeing him, although she was initially frightened by him when he first appeared. The kabuliwala is then imprisoned for eight years for striking a man who would not pay for one of the trader's goods. The story jumps ahead to when he is released from prison. By this time, the girl seems to have forgotten him, and we learn that the kabuliwala was so fond of the small girl because he missed his own young daughter, who he had had to leave behind to "come year after year to Calcutta, to sell his wares in the streets." At the end of the story Mini's father, feeling sorry for the kabuliwala, gives him some money so that he can go and see his own daughter again.
One meaning or moral of the story is not to judge people by their appearance or by their social status. The kabuliwala has an unusual appearance, being dressed in "the loose soiled clothing of his people, with a tall turban ... (and) a bag on his back." The young Mini is at first frightened by him, believing that he carries children in his bag. She has perhaps heard such stories from other children, who have learned to look down upon such people as the kabuliwala. During the course of the story, the reader might even become suspicious of this older man who strikes up a friendship with this young girl, but when we learn at the end of the story that he simply misses his own daughter, we feel sorry for him and we realize how unfair it can be to judge people based on appearances or social status.
A second meaning of the story might be that we should simply cherish the time we have with our children, or our loved ones in general. There are people like the kabuliwala who, because of circumstances beyond their control, cannot have much time with their loved ones. So, if we are lucky enough to be able to spend time with our loved ones, we should appreciate our good fortune. At the beginning of the story the narrator pushes his little daughter away because he is busy, telling her to "Go and play with Bhola ... I am busy!" At the end of the story, having learned of the kabuliwala's life, he might realize how foolish such impatience was. Indeed, when he thinks of the kabuliwala together again with his own daughter, Mini's father admits that his day is "brighter."

Why did Britain switch to a Southern military strategy? Why did that strategy ultimately fail?

During the Revolutionary War, the British put into full force a military plan called the Southern Strategy once France became an American ally and entered the war in 1778. At this point, the British had to revaluate their plan, and under the leadership of British Secretary of State for the American Department, Lord George Germain, they decided that they would focus their efforts in the Southern colonies of Virginia, Georgia, North Carolina, and South Carolina, where they believed they would have the support of Loyalists—colonists who supported British rule.
However, the British did not ultimately receive the degree of Loyalist support that they had counted on. The brutal slaughter of American forces by the British cavalry under Colonel Banastre Tarleton and the very cruel practices that took place in the South under his leadership incited great resentment, and the Southern Strategy backfired.
Patriot guerrilla attacks on British supply trains and the morale-boosting American victory of 1780, the Battle of King's Mountain in North Carolina, further ensured the failure of the British Southern Strategy.

What is the main idea of Murder on the Orient Express?

The main point that Agatha Christie is raising is the difference between justice and revenge. Although the perpetrators feel justified in their actions, they have taken the law into their own hands and acted to avenge the crimes that Ratchett (or Cassetti) committed. They deliberately chose the train because they could congregate there without drawing attention and because they would be moving across national boundaries. Because they believed that the legal process that should have brought Cassetti to justice had failed, the twelve killers functioned as judge, jury, and executioner. Their action was murder. If Hercule Poirot had not been on the train, perhaps they could have succeeded in keeping it a secret. Poirot—like the reader—must wrestle with his conscience and decide if they should be turned in or if his alternate theory should be presented.

How did John figure out the "gods" were human just by looking at the dead man who was staring out at the city?

John looks at the dead man, preserved like a mummy, and sees he has dry skin like leather, is neither young nor old, and wears a look of sadness and wisdom. John doesn't explain how he knows this figure, though dressed in clothes of a god, is a man, but we can surmise it is because the corpse looks so obviously like one of his own people that John is unable to mistake it for anything but a human. Further, one imagines a god would not die.
John says this of the dead man he finds:

He was sitting in his chair, by the window, in a room I had not entered before and, for the first moment, I thought that he was alive. Then I saw the skin on the back of his hand—it was like dry leather. The room was shut, hot and dry—no doubt that had kept him as he was. ... He was sitting looking out over the city—he was dressed in the clothes of the gods. His age was neither young nor old ... But there was wisdom in his face and great sadness. You could see that he would have not run away. He had sat at his window, watching his city die—then he himself had died. ...
That is all of my story, for then I knew he was a man—I knew then that they had been men, neither gods nor demons.

It is possible that John is the first of his people to see a fully preserved human body from the old times. The rest of his people might have conjectured that the beings who built such a marvelous civilization were godlike, but now John knows differently. Because he recognizes that the people who built this advanced society were humans, he realizes his own people can also accomplish the same feat.

What excerpt from "The Chrysanthemums" foreshadows that Elisa is feeling trapped?

The crucial moment of foreshadowing in the story occurs when Elisa sees a dark speck on the road and realizes, to her great sadness and disappointment, that the traveling tinker has discarded the bunch chrysanthemums she gave him.
Elisa feels hopelessly trapped all of a sudden. The brief period in which she'd known the tinker had given her hope of leaving behind her boring existence. Deeply unhappy and trapped in a loveless marriage, Elisa had seen the tinker as her means of escape. But she mistook his friendly overtures for something deeper and more enduring. The handsome stranger wasn't really interested in Elisa or her chrysanthemums; he simply wanted to get his hands on the pot that she gave him the flowers in.

What is your interpretation of the poem?

Teasdale’s poems are noted for their classic forms, evocative imagery, and traditional subjects and themes. She is often described as staying within the mainstream of conventional lyric poetry and avoiding the experimental, revolutionary poetic structures and subject matter that characterize the work of many poets of her time. “Barter,” one of her best known poems, seems to support the literary criticism. The poem is traditional in form; it is lyrical, rich in sensory language and vivid imagery, and seems to romanticize beauty and the “loveliness” found in life.
A closer examination of “Barter,” however—and even the title itself—reveals a thematic undertone that belies a conventionally romantic view. Life is indeed filled with “loveliness,” but it isn’t a gift to those who would possess it; it must be purchased, and the price is high. Teasdale doesn’t detail the price to be paid in exchange for beauty, love, or spiritual fulfillment, but an “hour of peace” may cost “many a year of strife.” To experience even “a breath of ecstasy,” one must sacrifice “all you have been or could be.” Since the nineteenth-century development of Romanticism as a literary genre, beauty as an ideal and the beauty one can experience in life have been celebrated in joyous or reverent tones by the Romantic poets. Teasdale acknowledges that life is filled with “beautiful and splendid things,” but she does not take a conventionally romantic view of them. In “Barter,” there are strings attached to all that is lovely in life.