This site
provides details of a large number of mutual funds based in the US and which invest in different
categories of assets.
Choosing the mutual fund Azzad Ethical Mid
Cap Fund the average annual returns over the last ten...
This site
provides details of a large number of mutual funds based in the US and which invest in different
categories of assets.
Choosing the mutual fund Azzad Ethical Mid
Cap Fund the average annual returns over the last ten...
In a written
play some of the techniques are clarifying the beginning, middle and end. Then the playwright
must construct an arc of action--the action that moves the characters from the beginning to the
end of the play. In addition, the writer must create character arcs, which means each character
must change from the beginning to the end of the play. These arcs I speak of, refer to how the
action develops. For example, a character wants or desires something then there are roadblocks
in the way that prevent him or her from getting what they...
You have asked a
question that points towards the allegorical significance of this excellent short story.
Clearly, the setting plays an immensely important part in the story. Note howis said to leave
his home and to head towards the forest, which is described in terms that make it ominous and
foreboding,the evil sights that Goodman Brown will witness:
He had taken a dreary road, darkened by all the gloomiest trees of teh forest, which
barely stood aside to let the narrow path creep through, and closed immediately behind. It was
all as lonely as could be...
The forest is definitely
described as an evil place, a place hidden from light and where evil acts can be perpetrated
without others knowing. Thus it is a fitting place for Goodman Brown in his "present evil
purpose." Of course, as he meets the Devil, and has to choose between heading on and
turning back, the other characters that he sees, fine upright, good Christian folk (or so he
thought) indicates one of the central themes in the story: the way that we are all tainted by
evil, no matter how "good" we appear to be. Note how this is indicated by Goodman
Brown's conversation with the devil about his family:
"They were my good friends, both; and many a pleasant walk have we had along this
path, and returned merrily after midnight. I would fain be friends with you for their
sake."
The setting and the charactes therefore help
to advance Hawthorne's main message in this story: that evil is part of the essential human
condition that cannot be ignored or covered up by masks of spiritual hypocrisy. It is this truth
that Goodman Brown learns, and which, ironically, destroys the rest of his life as he commits
himself to gloom and doom.
The integral
`int sin^6 x dx` has to be determined.
`int sin^6 x dx`
=> `int (sin^2 x)^3 dx`
=> `int (1 - cos^2x)^3 dx`
=> `int -cos^6 x + 3*cos^4x - 3*cos^2 x + 1 dx`
Now use the
identity `cos 2x = 2*cos^2x - 1` or `cos^2x = (1/2)*(1 + cos 2x)` repeatedly
=> `int -(1/8)*(1 + cos 2x)^3 + 3*(1/4)*(1 + cos 2x)^2 - 3*(1/2)*(1 + cos 2x) + 1
dx`
=> `int 1 - (3/2) - (3/2)*cos 2x + (3/4)(1 + cos^2 2x + 2*cos 2x)
`
`- (1/8)(cos^3 (2x) + 3*cos^2 (2x) + 3*cos (2x)+1) dx`
=> `int -1/2 - (3/2)*cos 2x + 3/4 + (3/4)*cos^2 2x + (3/2)*cos 2x `
`- (1/8)*cos^3 2x - (3/8)*cos^2 2x - (3/8)*cos 2x - 1/8 dx`
=>
`int 1/8 - (3/8)*cos 2x + (3/8)*cos^2 2x - (1/8)*cos^3 2x dx`
=> `int 1/8
- (3/8)*cos 2x + (3/8)*(1/2)*(1 + cos 4x) - (1/8)*cos^2 2x*cos 2x dx`
=>
`int 1/8 - (3/8)*cos 2x + (3/16) + (3/16)*cos 4x - (1/8)*cos^2 2x*cos 2x dx`
=>
`int 5/16 - (3/8)*cos 2x + (3/16)*cos 4x - (1/8)*(1 - sin^2
2x)*cos 2x dx `
=> `int 5/16 - (3/8)*cos 2x + (3/16)*cos 4x dx - (1/8)*int
(1 - sin^2 2x)*cos 2x dx`
`int 5/16 - (3/8)*cos 2x + (3/16)*cos 4x
dx`
=> `(5/16)*x - (3/16)*sin 2x + (3/64)*sin 4x`
To
determine `int (1 - sin^2 2x)*cos 2x dx` substiitute `y = sin 2x` , `(1/2)*dy = cos 2x dx`
=> `(1/2)*int 1 - y^2 dy`
=> `(1/2)*y - (1/6)*y^3`
substituting y = sin 2x
=> `(1/2)*sin 2x - (1/6)*sin^3
2x`
Adding the two gives:
`(5/16)*x - (3/16)*sin 2x +
(3/64)*sin 4x - (1/16)*sin 2x + (1/48)*sin^3 2x`
=> `(60x - 48*sin 2x +
4*sin^3 2x + 9*sin 4x)/192`
The integral `int
sin^6 x dx` = `(60x - 48*sin 2x + 4*sin^3 2x + 9*sin 4x)/192`
Part of
the reason for inserting notes of dissonance within any musical piece would be to enhance the
overall tonal quality of the work. Discordant notes awaken the audible sensibilities of the
listener, and, in many ways, can begin a sense of questioning about the music. How the notes
were inserted, why they were placed, and creates a level of potential "uneasiness" in
the work, allowing the listener to actually become more engaged in the listening process. From
the composer point of view, these notes' inclusion represent something more than the purely
harmonious sounds in any piece. On a more symbolic leve, these notes' inclusion
could...
For this
answer, I am assuming that you are asking about recent advances and I am assuming that drugs do
not count as technology. Given those assumptions, I would argue that relatively non-invasive
surgical procedures are the most important advance that has had the greatest impact on health
care.
In times past, all surgery was done by actually cutting patients open
with...
First of
all,is chosen as the leader for nebulous reasons. He hasnt actually exhibited any leadership
skills, except when he blew the conch and all of the boys came, drawn to the sound. He is
elected leader almost immediately.
None of the boys could
have found good reason for this; what intelligence had been shown was traceable towhile the most
obvious leader was . But there was a stillness about Ralph as he sat that marked him out: there
was his size, and attractive appearance; and most obscurely, yet most powerfully, there was the
conch. (Ch. 1)
Jack has leadership experience because he
is the head of the choir. He leverages the choir to become leader of the hunters, and then
slowly creates a schism between his followers and Ralphs followers, undermining his
leadership.
Ralphs leadership problems extend beyond Jack. He doesnt know
how to get the boys to do what he wants. Ralph tries to provide civilization and order to the
island, but the boys are usually not interested in his ideas. Getting them to work is next to
impossible.
Been working for days now. And
look!Two shelters were in position, but shaky. This one was a
ruin.And they keep running off. You remember the meeting? How everyone was
going to work hard until the shelters were finished? (Ch. 3)
Jacks way is more fun. The boys would rather paint their faces and eat pig meat than
build shelters and mind a signal fire. Even when Ralphs ideas are good, nothing comes of them.
He doesnt know how to get the other boys to listen to him.
Afterand Piggy
have died and most of the boys are allied with Jack, Ralph blames himself for what happened. He
believes he should have been a better leader and prevented the tragedies that
unfolded.
Harrison is
seven feet tall, extremely
athletic, and extremely intelligent. As such, the government and the
Handicapper-General have attempted to use the most debilitating handicaps they can think
of. In
such an oppressive society, it would make sense to encourage and root
for Harrison (or anyone)
in his rebellion. However, he doesn't use his gifted
mind and body to liberate society. He
doesn't free others and try to take
over the government or revolutionize it. Rather, he goes to
a television
studio and proclaims himself emperor. "Do you hear? I am the Emperor!
Everybody must do what I say at once!" Instead of using his position to liberate others,
he
becomes more like a (temporary) dictator. The dancing scene is romantic
but it lacks substance.
It lacks any real attempt at rescuing this oppressed
society.
We can applaud
Harrison's spirit to revolt. And
he does free one ballerina and some musicians. But he only does
so in order
to add to the spectacle of his own ego. The manner of his rebellion shows him to
be
selfish, only interested in showcasing his power. He, therefore, becomes
no better than the
government which uses its power to oppress the masses.
Once he realizes his great power, it
corrupts him. This underscores one of
the themes of the story which is that power corrupts and
that absolute power
corrupts absolutely.
Multifactor
Productivity is a measurement that correlates gross production to primary and intermediate
inputs. The formula for Multifactor Productivity is Output/ (KLEMS), where the acronym KLEMS
refers to:
K- Quantity of...
Muhammad
was quite conscious of the new religious and political community he founded in Islam. To a
great extent, the surrounding conditions and the setting out of which he articulated the tenets
of Islam were significant. In Pre- Islamic Arabia, Muhammad recognized the challenges present.
He understood that the Arabs of the region were not unified. Many of the tribes were nomadic,
lacking a centralized focus. Those that were settled focused on generating economic profit in a
region where agriculture was difficult. Given the lack of centrality, different tribes waged
battle against others. Blood feuds and vendettas were part of the world that Muhammad saw as
the formation of a religious- political community was seen as fundamentally impossible during
the time. Nomadic tribes waging war for conquest of another was not unusual. For Muhammad, the
need to develop a new religious and political community and culture emerged from these elements.
A lack of spiritual identity was enveloping the region, as materialism and conquest for goods
became dominant. Additionally, there was little in way of centralized focus. Countering
tribalism in the form of a shared collective notion of community became part of the Muhammad's
motivation.
With this in mind, it becomes clear as to why Muhammad's message
was steeped in the political reality. Muhammad's community was geared towards spiritual
transcendence as well as a reality that was steeped in fragmented contingency. The monotheism
of his message helped to enhance a religious and political community that was centralized and
singular in its focus. Islam was a force that could bring about unity to those in the region
who previously failed to accept anything like it. Muhammad understood the political dimensions
and social implications of his message. Muhammad envisioned Mecca to be more than it was, a
religious and political community where antagonisms and materialism would be replaced with
strict adherence to a universal figure that unified and bound all. This same desire for
religious and political community was evident in Muhammad's move to Yathrib/ Medina. Civil war
had become the norm and Muhammad was sought to bring about unity to the area. It is here in
which the first seeds of community formation and a vision of religious and political unity could
be seen. Muhammad understood the need for such a vision given the world that surrounded
him.
To a great extent, Muhammad's insistence on a strictly central vision of
the divine arises from the world that he sees which lacks it. The commands given in the Qur'an
in terms of the Hadith represented the means by which Muhammad was able to ensure that a new
religious and political community could take hold. Muhammad's primary motivation becomes clear
in his embrace of embracing military conflict to accomplish his goal of spiritual and social
unity. The new religious and political community rooted in Islam was only possible through what
Muhammad saw around him and the vision to transform it.
In
Shakespeare's , beforekills , his thoughts are only on achieving the throne
for himself. He gives no thought to the prediction bythat 's heirs shall be king. Once he is
crowned, though, his own kingship is no longer enough. His ambition has deepened and at that
point he wants to create a dynasty. Thus, he orders the murder of , Banquo's son, for no other
reason than to eliminate Banquo's heirs.
Macbeth also begins to rely on the
witches more heavily after he kills Duncan and is crowned. He even initiates contact and seeks
them out in Act. 4.1. Following his visit to the witches, he becomes even more intent on
maintaining power, throwing almost what could be described as a tantrum when he can't get
, because Macduff has gone to England. Macduff slights Macbeth by not attending his coronation
or his feast, and Macbeth pays him back by ordering the slaughter of Macduff's family. This
overreaction demonstrates Macbeth's loss of perspective and control as the play
continues.
At the same time, the Macbeth of Act 5 is at once rash and
contemplative and philosophical. One minute he childishly and maliciously berates a messenger,
and the next minute contemplates human existence and becomes nihilistic. He psychologically
moves back and forth between believing the witches and knowing their predictions are too good to
be true, and between being willing to fight for his crown and die nobly, and knowing whatever he
does is meaningless anyway.
Without
doubt, human freedom has been denied throughout the history of mankind from the enslavement of
the Irsaelites by the Egyptians up to modern times in which slavery yet exists as well as
totalitarian governments such as in Italy and Germany at the time of World War II, as well as in
countries such as South America, Africa, and the Middle East. Certainly, the government ofdenies
people the freedom of information by altering history, the freedom of thought by eliminating and
manipulating words, the communicable expression of thoughts, through the creation of
Newspeak.
The character ofrepresents the spirit of rebellion. She is a threat
to the state because she wishes to express herself freely and think independently. In Part Two
she tellsthat any kind of organized revolt would be inane; "the clever thing to do is to
break the rules and stay alive all...
In Kate Chopin's short
story, Louise Mallard is described as "young, with a fair, calm face, whose lines bespoke
repression and even a certain strength." She has, evidently, experienced repression as part
of her Victorian-era marriage, one in which she has few legal rights because her husband is
entitled to act on her behalf, to make decisions for her, and so on. Brently Mallard has always
been a good and loving husband; even Louise reflects and knows that "she would weep again
when she saw the kind, tender hands folded in death; the face that had never looked saved with
love upon her [...]."
Brently is not the problem here; the institution
of marriage seems to be the problem. That is what Louise
takes issue with, not the man himself. He seems always to have loved her and to have acted as
husbands were supposed to act at the time. However, even Louise's (uneven) love for him cannot
hold a candle to "this possession of self-assertion which she suddenly recognized as the
strongest impulse...
The subtext behind the
reason that Aunt Alexandra thinksshould dismiss Calpurnia is thatis becoming too friendly with
African-American people and wants to visit Calpurnia at her house. While Aunt Alexandra says
that Scout is too old for Calpurnia, Alexandra's real reason for wanting to get rid of Calpurnia
is that Alexandra thinks Scout is too close to African-Americans through Calpurnia. However,
Atticus immediately rejects this idea and says that Calpurnia is "a faithful member of this
family" and will leave her position only when she wants to. He also says that Calpurnia has
been harder onand Scout than a real mother would have been and that Calpurnia has not been
indulgent towards the children. Atticus feels that Calpurnia has a good sense of how to bring up
children and that Jem and Scout love her.
Framton
Nuttel is an eccentric hypochondriac who visits the country under his doctor's advice to cure
his nervous disorder. Upon visiting Mrs. Sappleton's home, he is greeted by Vera, Mrs.
Sappleton's niece. Vera then proceeds to frighten Mr. Nuttel with a lie about her uncle and his
two brothers-in-law drowning in a bog. Vera begins by telling Framton that three years ago her
aunt suffered a , which is why they leave the large French window open. Vera then tells Mr.
Nuttel that three years ago her uncle and his two brothers-in-law went off to shoot and drowned
in a treacherous bog. She also tells Framton that their bodies were never discovered, and her
aunt sadly believes that one day they will return through the open French window.
When Vera finishes her aunt's tragic story, Framton feels unnerved and frightened but is
relieved to see Mrs. Sappleton enter the room. However, when Mrs. Sappleton begins talking about
shooting, Framton becomes hysterical and finds the topic of conversation "purely
horrible." Framton's horror intensifies when Vera's uncles arrive, and he
believes they are ghosts. Framton reacts by racing out of the home in terror without saying
goodbye.
Well, it
blends both, but it is more Orwellian.(Good question, by the way.) Relatively little is done at
present to preprogram Americans to think a certain way before birth (at least by the
government), and...
One example of
literaryoccurs when the story opens with the narrator's description of the setting. We get very
straightforward images of the "swift water" some twenty feet below the railroad
bridge, the placement of the hanging rope, the boards that have been "laid upon the ties
supporting the rails of the railway [that] supplied a footing for [Farquhar] and his
executioners," the officers and sentinels, and so forth. There are no artistic flourishes
or figurative language; instead, these descriptions are, well, realistic,
and lack any embellishments that would make the objects and people describe seem anything other
than relatively ordinary.
Part of what makes literary realism interesting,
however, is its portrayal of regular people whose lives are still filled with drama and
interest. As Farquhar is about to be hanged, he opens his eyes and looks down at the water,
thinking, "'If I could free my hands . . . I might throw off the noose and spring into the
stream. By diving I...
Melanie, who
is eleven years old, is outgoing and friendly. She interacts frequently with her neighbors in
the apartment building in which she lives, and "looks forward to meeting new
tenants". Because of her bubbly nature, "meeting people (has) always been easy for
Melanie...most people she liked right away, and they usually seemed to feel the same way about
her".
Melanie is also sensitive and thoughtful, and considerate of the
feelings of others. When she first meets April, April is dressed up as a sophisticated lady,
with false eyelashes and a furry stole. April doesn't expect Melanie to like her, but she does
"intend to make a very definite impression", and she is a more than a little
"braggy". Melanie quickly perceives that April behaves the way she does because she
is homesick, however, and does her best to make her feel comfortable and
accepted.
Melanie loves to read; she has "a whole bookcase full" of
books in her bedroom, and she is also imaginative. She has created a game for herself where she
makes up families and then finds "people who look like them in magazines and
catalogues". She then "make(s) up stuff about their personalities and what they
do". Sometimes she writes the escapades of her imaginary characters down as stories, but
mostly she just plays out their adventures in her head (Chapter 3).
Because the Party (Big Brother) requires absolute conformity and obedience, it can't risk people
developing relationshipswhich involve intimacy, love, and trustbecause then a person's loyalty
would be divided between the government and his or her lover. Thus, the Party makes sexthe most
intimate physical act between two peopletaboo and pleasureless. Under the rule of the Party,
"sexual intercourse was to be looked on as a slightly disgusting minor operation, like
having an enema" and in the future "all children were to be begotten by artificial
insemination (ARTSEM, it was called in...
I enjoyed
reading the above posts, but I tend to agree most with the previous one by kplhardison. I
consider literature an aggregate of the written word, knowledge and grammar, comprised in a
superior fashion and exhibiting heightened values to set it apart from other standard
writing.
The
author does not actually use the word "cool" in describing Vera. The first paragraph
reads:
"My aunt will be down presently, Mr.
Nuttel," said a very self-possessed young lady of fifteen; "in the meantime you must
try and put up with me."
uses the term
"self-possessed" twice in describing Vera, and an acceptable synonym for that term
would be "cool." The reader pictures the adolescent girl as poised, self-assured,
dignified, and as not being in the habit of showing her feelings, especially to strangers like
Framton Nuttel. Vera has been assigned the role of temporary substitute hostess and seems to be
trying to act more polished than she actually feels.
The other place in which
the author describes Vera as "self-possessed' comes shortly later with the following
dialogue:
"Then you know practically nothing about my
aunt?" pursued the self-possessed young lady.
Saki's
reason for emphasizing Vera's poise, self-assurance, coolness, and self-possession, in both her
physical demeanor and the tone of her voice, is to create a dramatic contrast when she is
pretending to be horrified at seeing the three supposedly dead men returning towards the open
window.
The aunt cries, "Here they are at last!" Nuttel can't see
them at first because his back is to the window. He turns towards Vera "with a look
intended to convey sympathetic comprehension." But he is shocked to see the change that has
come over this self-possessed young girl.
The child was
staring out through the open window with dazed horror in her eyes.
This change from self-possession to dazed horror help to convince Nuttel that the three
men he sees when he looks in the same direction as the girl are ghosts. The reader still does
not realize that Vera was setting Nuttel up for exactly the "chill shock" the poor man
receives when he sees the "dead men" returning, all armed with guns, after being
"engulfed in a treacherous piece of bog" for three long years. The reader does not
realize the truth until Mrs. Sappleton's husband enters and the following paragraph explains
Nuttel's hasty departure.
"Here we are, my
dear," said the bearer of the white mackintosh, coming in through the window; fairly muddy,
but most of it's dry. Who was that who bolted out as we came up?"
The story ends quickly, once the reader has understood that Nuttel
was the victim of Vera's ingenious practical joke.
Ichabod Crane was well
known in the community to believe in witches and goblins and the story of the Headless Horseman.
He had a copy of Cotton Mather's book on witchcraft and:
His appetite for the marvellous, and his powers of digesting it, were equally
extraordinary; and both had been increased by his residence in this spellbound region.
No doubt Brom Bones knew about his wild imagination and figured he
could pull off a great prank and get rid of his rival for Katrina's hand in marriage.
There is a lot ofabout Brom Bones and his skill as a horseman, plus Brom told the story
of having escaped the Headless Horseman himself, so he was familiar with the particulars of the
legend and how to pull off such a prank.
He was famed for
great knowledge and skill in horsemanship, being as dexterous on horseback as a
Tartar.
Also, Brom was a big jokester, so it makes sense
he would pull a prank on Ichabod:
He was always ready for
either a fight or a frolic; but had more mischief than ill-will in his composition; and, with
all his overbearing roughness, there was a strong dash of waggish good humor at
bottom.and
He was, in fact, noted for preferring vicious
animals, given to all kinds of tricks, which kept the rider in constant risk of his neck, for he
held a tractable well-broken horse as unworthy of a lad of spirit
When Ichabod leaves the Van Tassel farm dejected because Katrina has spurned his
advances, he sees the Headless Horseman at the very same bridge where Brom told his story of
escaping the Horseman:
He affirmed that, on returning one
night from the neighboring village of Sing Sing, he had been overtaken by this midnight trooper;
that he had offered to race with him for a bowl of punch, and should have won it too, for
Dare-devil beat the goblin horse all hollow, but, just as they came to the church bridge, the
Hessian bolted, and vanished in a flash of fire.
When
Ichabod is chased by the ghost, he says:
He recollected
the place where Brom Boness ghostly competitor had disappeared. If I can but reach that
bridge, thought Ichabod, I am safe.
Finally, after
Ichabod disappears, whenever the story comes up, Brom Bones knows more than he is
telling:
Brom Bones too, who shortly after his rivals
disappearance conducted the blooming Katrina in triumph to the altar, was observed to look
exceedingly knowing whenever the story of Ichabod was related, and always burst into a hearty
laugh at the mention of the pumpkin; which led some to suspect that he knew more about the
matter than he chose to tell.
On the face of it,
there seems to be very little way in which a novel that spends so much of its time poking fun at
the central female character because of her belief that she is a matchmaker could be viewed as
being feminist in any way. In addition, consider the way in which the ending of the novel
features the traditional Austen ending of marriage and happiness, withmarrying Mr Knightley and
accepting her role as wife. However, reading the text carefully, there are various ways in which
Austen comments on the differences between men and women, and how in particular there
are...
"Thoughtcrime," asknows, is one of those unwritten rules that is open-ended
and amorphous. Part of what makes it so scary is that it is difficult to define and can
literally change from hour to hour. It is, in fact, any thought, conscious or unconscious, that
runs one micron against the orthodox thinking of the state. Even your dreams can be considered a
thoughtcrime, as Parsons finds out when his daughter turns him in for (supposedly) crying out in
his sleep against Big Brother. The wrong facial impression can be a thoughtcrime. Winston is
very clear in his own mind that starting a diary is a thoughtcrime that is punishable by death
or 25 years in a hard labor camp, even though there is no written law against...
In s novel
,is blamed bynot only for destroying the windmill (a false accusation,
since the badly constructed windmill was ironically blown down by strong winds) but also for a
number of other misdeeds. Among such purported misdeeds are the following:
Snowball has sold himself to Frederick of Pinchfield Farm, who is even now
plotting to attack us and take our farm away from us! Snowball is to act as his guide when the
attack begins. But there is worse than that. We had thought that Snowball's rebellion was caused
simply by his vanity and ambition. But we were wrong, comrades. Do you know what the
real reason was? Snowball was in league with [farmer] Jones from the
very start! He was Jones's secret agent all the time. It has all been proved by documents which
he left behind him and which we have only just discovered.
All the charges against Snowball are (of course)
false, just asbelieved that similar charges by Joseph Stalin (Napoleon) against Leon Trotsky
(Snowball) were also false.
's death
is extremely similar to 's in that both result from violent savagery under 's guidance and
leadership. Although Piggy's death had a much different setting,is the instigator; his action
of leaning on the lever resulted in the boulder crushing Piggy. Roger also figures as one of
the key instigators in Simon's mob-death, because Roger takes up the role of play-acting inside
the circle before Simon enters in the dark and is killed by the boys.
In
both murder scenes, the killing of each boy stems from a 'mob mentality,' whether it is the
deathly dance circle which pulverizes Simon or the 'us versus them' mentality that lends Roger
the confidence to lean on the lever under the boulder. If Roger had felt in any way insecure in
his position, he would not have been gutsy enough to kill Piggy; but at Castle Rock, surrounded
by other savages and Jack as the wild chief, Roger felt just the right amount of security that
he needed to know that his foul deed would be accepted, even embraced.
Similarly, the aftermath of both deaths takes place in the sea, where the waves wash
away the evidence of the boys' wrong doing. Simon's body travels out to sea, and Piggy's body
is knocked over the side of the cliff and onto the rocks. Golding uses the sea as a cleansing
agent in the novel, erasing the record of the boys' murderous deeds, therefore making them more
easily forgotten or ignored.
Both Simon and Piggy's deaths are the
culmination of unchecked savagery and violence.
The family is a trio: Dee, Maggie, and their mother. Maggie and her mother live at home
and have more in common than with Dee. Mama is somewhat protective of Maggie, noting her
insecurities that seem to stem in large part from the fire that burned their former house to the
ground:
Have you ever seen a lame animal, perhaps a dog
run over by some careless person rich enough to own a car, sidle up to someone who is ignorant
enough to be kind to him? That is the way my Maggie walks.
Mama longs for a closer relationship with Dee. In the beginning, she dreams of being
brought together on a television show where Dee would embrace her with "tears in her
eyes."
Dee is smarter and prettier and knows it. Before moving out, she
would impart her scholarly knowledge to Mama and Maggie, "a lot of knowledge [they] didn't
necessarily need to know."
When Dee returns home, Mama learns that she
has changed her name to Wanegro Leewanika Memanjo. She says that she no longer wants a name of
"people who oppress"...
In theof
Joyce's story,is described during heras "over nineteen." This age is significant as it
is the opportune time for her to leave home and become a bride. Within the context of the
setting of Dublin in the early 1900's, women married in their late teens or early twenties, and
those who were older had a difficult time finding husbands.
TheEveline sits
musing at the dusty window. During one of her reflections, she contemplates how things may be
after she marries and reaches a new home; her hope is that she will be respected. Yet, it is
with trepidation that she has such musings. Like many abused women (as is hinted in the opening
paragraph), she is emotionally tied to her home, especially because she worries that her little
brother may be on the receiving end of the father's drunken wrath if she were to
depart.
As with many of Joyce's , Eveline experiences what the author labeled
as a spiritual paralysis.
It was hard
work--a hard life--but now that she was about to leave it she did not find it a wholly
undesirable life.
Here Eveline's age is significant
because if she does not venture forth on her own, she may well end as a spinster who cares for
her brother and aging father--"her father was becoming old lately, she noticed; he would
miss her." Eveline sits at the window, the two letters she has begun growing indistinct in
the waning light. "Her time was running out, but she continued to sit by the
window."
When she finally pulls herself away, Eveline still prays that
God will direct her to know "what was her duty." His proposal to take her to Buenos
Aires and another world frightens Eveline too much and she cannot leave. Her insufficiency of
will and independence defeats the nineteen-year-old Eveline, and she will remain as a
housekeeper for her father to whom there seems a psychological attachment and as protector for
her little brother.
In
, Curleys wife and Crooks represent loneliness and isolation in terms of
gender and race, respectively. Curleys wife also symbolizes dependence through her idleness. She
does not even have a name, is the only female person on the ranch, and does not have a job to
do. Wholly dependent on her vain, insensitive husband, she wanders around the ranch. The refuge
she sought in marriage, to a man she has just met, does not fulfill her desire to escape her
humdrum life. Her loneliness drives her to confide in , leading him to the fatal error of
believing they are friends.
In Hemingway's
short story of endurance and ethical conduct in the face of the meaninglessness of life, there
are three symbols, the light, the use of repetition, and the
nada.
THE LIGHT
A widower, the lonely
old man, who has before attempted suicide, lingers in the cafe because he wants to drink where
there is light. While the young waiter is irritated with the old man, wishing he would leave,
the older waiter understands that the man's endurance of the meaningless of life can better be
made in the light. He compliments the old man saying,
"He drinks without spilling Even now, drunk. Look at him."
The old man has discipline, but his despair is so great that
darkness exacerbates his condition. In the light there is some hope, some order to things to
which the man's desperate spirit can cling as life then is predictable. But, in the darkness he
feels only the nothingness of his life.
THE NADA
The
Spanish word for nothing, nada represents the
absurbity and meaninglessness of life. This existential concept defines the emptiness, or void,
that many have felt in their souls after returning from the world wars. Nothing really matters
in life; all that one can do is create his own existence and give some meaning to his life by
maintaining a stoic order. Otherwise, the nada will conquer the
man.
When the older waiter goes to bed, he hopes that the daylight will give
some meaning to his life and he can go to sleep because he feels, too, that all is a nothing and
man, too, is nothing.
REPETITION
Hemingway's use of
repetitive phrasing, such as beginning so many sentences with "The old man..." and
phrases with nada and their imitation of the Lord's Prayer
all suggest aesthetic appreciation along with the need for order if one is to survive
the absurdity of life.
The
character ofis, arguably, the most dynamic
in the play. She represents the hopes and ideological
aspirations of the
generation that would propel the Civil Rights and Black Power
movements.
She is intelligent, energetic, open-minded, curious,
insightful,
progressive, and politically conscious.
Her
willingness to try new things,
particularly to take advantage of
opportunities that were not available to previous generations
of black
people, is an important character strength. In Act One, Scene One, we learn that
she
has taken guitar lessons and horseback-riding lessons. By doing such
things, she is asserting
her desire to be creative, to "express" herself.
This desire is lost onand Mama
Younger, who would have had few, if any,
opportunities to express themselves
creatively.
Her
feminism is on display during her conversations with
Asagai, one of her
boyfriends, whose traditional Yoruba...
's poem "The "
is an example of apoem. Personification is where non-human and non-living things are given the
qualities and characteristics of human beings. In regards to the poem, the mirror is the
speaker. First of all, mirror cannot speak, although humans can.
The
movement of the personified mirror to being a lake signifies the change which takes place in the
woman seen in the mirror. At the opening of the poem, the mirror recalls the reflection of the
wall across from it. No one is described as peering into the mirror.
The
second stanza, on the other hand, depicts a woman peering into a lake (metaphorical for the
mirror). Like the mirror, the lake reflects back the image of those who peer into it. For the
lake, the image of the old woman who has peered into it over time has changed. No longer a young
girl, her youth swallowed by the lake, the old woman breaks the surface of the lake trying to
escape its reality, like a fish gulping air.
In me she
has drowned a young girl, and in me an old woman
Rises toward her day after day, like a
terrible fish.
The change from the mirror to the lake
could symbolize the differences between a lake and a mirror. A mirror is stagnant. A mirror does
not change. When one looks into a mirror, they see the same image time and time again (outside
of cosmetic changes and aging). A lake, on the other hand, is not stagnant. Ripples can form on
the surface of the water-distorting the reflections seen upon its surface. Some who look into
the lake's reflection may come to appreciate the ripples (given it shows them something
different that who they actually are). Others may look into a rippled lake in order to distort
their image in attempts to "trick" themselves into thinking they are something they
are not. Unlike the lake, mirrors simply cannot be tricked.
All said, the
mirror could simply have been changed to that of a mirror because of their similarities. On the
other hand, this change could be because of something deeper-like the lake itself.
is when
words beginning with the same consonant are placed in close proximity. Using alliteration
creates a sense of rhythm or cadence.
Maupassant's short story was originally
written in French, so when we look for alliterations, we are dealing with translations. However,
most translations include alliteration in order to capture the cadence of the French story.
Maupassant's original text employs alliteration, though not always in the same spots as in
English. One place, however, from the French (which is captured in the English, as we will see
below), is "forªt de f©erie," which translates alliteratively into English as
"fairy forest."
Two examples, the second with a series of three
alliterations, are below:
carrying priceless curiosities,
and of the coquettish...dainty dinners, of shining silverware, of... birds
flying in the midst of a fairy forest
Interestingly, the
alliterations tend to cluster around Madame Loisel's dreams of the high life of a rich and
fabulous lady, underscoring the poetry and fantasy of her imaginings. What she wishes for really
can't be obtained in the real world. They also cluster around moments of emotional intensity,
drawing attention to those places in the story.
Madame Loisel's fantastic
imaginings foreshadow how she will be taken in by a diamond necklace that turns out to be
nothing more than a fake. Madame Loisel lives in the false world of her imagination, sadly
unable to discern what is truly worthy in life from what is cheap and
superficial.
World War I
was the main cause of World War II, for several reasons. First, the German people reacted very
badly to the German surrender, which many regarded as a backstab, and even more so to the
Versailles treaty, which they were forced to sign without negotiation. The treaty made them take
complete blame for the war, demanded onerous reparation payments, and severely limited the size
of the German military. These were perceived as humiliating conditions. Almost as soon as the
war was over, demagogues, notably Adolph Hitler, were able to use the circumstances of the
defeat to blame Jews, advocate for fighting back to avenge the German people and eventually to
seize political power.
World War I also led to World War II because it caused
an enormous distaste for war among the political classes and average citizens in countries like
France and England, who could have stopped Hitler early on if they had had the will. The
political leadership, however, wanted to avoid another disastrous bloodbath like World War I at
all costs. Therefore, rather than confronting Hitler when he first began his land grabs, they
let him get away with his aggressions. Each time he took territory, they thought he would
finally be satisfied, not realizing that each victory simply whetted his appetite for more.
Further, many leaders were terrified of communism and believed a strong, large Germany would
provide a good buffer between Western Europe and Russia.
The Western leaders
(except for Churchill, who was not in power at the time) misread Hitler as being ruled by the
same rational desire to avoid a world war that drove their own thinking. They learned too late
that he had a completely different worldview.
One effect of the war was to
force the United States to finally accept the mantle of the world's superpower. Other results
were the creation of the United Nations and a forty-year division of Europe into two spheres,
communist and capitalist.
Chapter 8 of
portrays the American nation as one obsessed with a desire to expand its
territorial boundaries. The then-president of the United States, James K. Polk, was driven to
fulfill "manifest destiny" and used the disputed border region between Texas and
Mexico to help complete his mission.
Polk, a Democrat, provoked the Mexican
army to attack Americans along the Rio Grande region of Texas. There was virtually no doubt that
the United States would prevail in any conflict with Mexico. This victory over the U.S.'s
neighbors to the south would open the west to American expansion all the way to the Pacific
Ocean and the economic opportunities that body of water provided.
In
"We Take Nothing by Conquest, Thank God," Zinn claims the ensuing war was little more
than an immoral land grab done for the sole purpose of lining the pockets of wealthy elites.
There was little in the way of political opposition to Polk, even from the rival Whig Party.
A...
Upon first
read, Act I may seem random and irrelevant to the rest of the play. In fact, though, this Act
allows the audience a believable situation in which to meet all the main characters in the play.
Since Shaw is dealing with social classes, highlighting the differences between them (both
actual and stereotypical), his characters wouldn't typically...
byis a haunting story
which is told from the point of view of fourteen-year-old Susie Salmon who was raped and killed
by a serial killer who lived just down the street from her. George Harvey, the murderer, is not
someone who is under any suspicion for her murder and disappearance for quite a while; before
that, the police and public opinion accuse--either formally or informally--other people
connected to Susie.
The first of those people is a neighbor boy named Joe
Ellis. When some of the pets in Susie's neighborhood are abused and killed, Joe is violently
blamed for their deaths, mostly out of fear, of course. As you can imagine, these accusations
quickly lead to the boy becoming a scapegoat for Susie's murder. Surely, the reasoning went, if
he is capable of killing animals he is capable of killing a human--and he is undoubtedly the one
who killed Susie.
The accusations are not true; Harvey killed the animals
just as he killed the girl. Even after he has been dismissed as a suspect in Susie's murder,
however, Joe is still a ruined young man because he never recovers from those
accusations.
In chapter twenty-one of the novel, we learn what has happened
to poor Joe Ellis. Ruth and Ray drive by him, and Ruth kind of fills us in on his present
circumstances. Joe Ellis has never been able to keep a job, he lives alone in with his mother,
and he keeps completely away from any of the neighbors who treated him so horribly. Even worse,
at least to Joe, is the fact that animals somehow recognize that he is a broken man and will no
longer love him as only animals can. This ordeal has robbed Joe Ellis even of the love of an
animal in which he might once have found comfort.
Though this novel is
centered around awho is dead, Sebold says:
The living
deserve attention, too.
This is especially true of poor
Joe Ellis, who did not die but it nevertheless another of George Harvey's victims.
For more insight and analysis on this novel, consider the excellent sNotes sites linked
below.
Whenmakes
plans to meet Luce at a bar, he is a phony from the start, standing up at the bar to look taller
so nobody will think he is a minor. Having done this phony thing, he remarks, deadpan:
Then, I watched the phonies for a while.
It is a comic moment.
Holden is at the bar
because he feels an urgent need to talk to Luce, a Student Advisor at his old boarding school,
Whooton, about sex, as Luce, though only a few years older than Holden, is knowledgable.
However, when Luce comes, Holden puts on a show. He doesn't tell Luce that he is still a virgin,
which of course makes an honest conversation impossible. Instead, he end up suggesting he has
had sex, saying:
So do I regard it [sex] as a
wuddayacallita physical and spiritual experience and all. I really do. But it depends on who the
hell I'm doing it with. If I'm doing it with somebody I don't even
Holden wants advice on his sex life but is unable to be open about it. This is because
he feels insecure around Luce. He even says...
The most distinct
example of power creating justice from this play comes in the murder offather. For as long as
Oedipus possesses power, his actions on the road to Thebes remain justified and acceptable. When
he falls from his position of power, the murder becomes a crime.
In
retrospect, we see that Oedipus power served as the only definition of justice regarding this
event.
Years ago as Oedipus made his way to Thebes, he encountered another
man on the road. This other man refused to make way for Oedipus and Oedipus refused to make way
for him. Ultimately, Oedipus drove the man off the road, able to use his superior strength to do
so.
O three paths and hidden groves and
the
narrow oak coppice at the triple crossroads, (1420)
which drank my own
blood from my father
from my own hands...
This
act was not deemed a crime (while the man was still not known to be Oedipus' father). Oedipus
was the stronger man and so had the right to use the road, according to his own
interpretation....
In
"" by , Beatrice dies when her lover Giovanni gives her a potion that destroys the
immune system that had protected her against the poisonous flowers in her garden. As Giovanni
states,
It is composed of ingredients the most opposite to
those by which thy awful father has brought this calamity upon thee and me. It is distilled of
blessed herbs.
It is accidental death. Giovanni had hoped
by giving her the potion they would be able to leave the garden and become proper lovers. The
only time she had touched him before he had felt a "burning and tingling agony in his
hand" When he turned his hand over he saw that it had turned purple.
Unfortunately, she takes the antidote while she is still in the garden. She had been
protected so long from the poisonous plants that her body can't take it, and she dies at the
feet of her father and Giovanni. At the end of the story the man who gave Giovanni the antidote,
Baglioni, leans out of a window and says, "in a tone of triumph mixed with horror,"
Rappaccini! Rappaccini! And is this the upshot of your experiment?
At the
beginning of "," the Spanish Inquisition sentences the unnamed narrator to death.
However, simple execution isn't enough. The Inquisitors arrange for the man to be tortured
first. Although the torture is physical in nature, it is designed to torture the prisoner's mind
even more than his body.
First, they drug their captive so he can't trust his
thoughts or his senses. When the drug wears off, he finds himself in a completely dark cell.
Utter darkness would be terrifying in such a situation and would, itself, have been a torment.
However, the man has enough survival instinct to explore his space. He discovers that the center
of the room harbors a pit. By letting a stone drop and listening for the impact, he determines
it is extremely deep. Now fear of falling builds on fear of the dark to make his punishment an
even crueler mind game.
When the captors realize that their captive hasn't
succumbed physically or mentally to the darkness or the pit, they drug...
stays
with , because they are friends. This might sound like a simplistic answer, but it is actually
profound in the world of . In this world, there are very few friendships.
Alienation reigns supreme. All the men on the ranch are alone. Even the men who have been on
the ranch for a long time are alone. Candy is alone; he only has his dog. Crooks is completely
alone as a black man. In fact, he has had no visitors from the other men. Lennie was one of
the first people to visit him. Curley and his wife have a horrible relationship, even though
they have been married a few weeks.
Within
this context, George and Lennie has something special and amazing - companionship.
Here is conversation between Slim and George that makes this point:
Slim looked through George and beyond him. Aint many guys travel
around together, he mused. I dont know why. Maybe everbody in the whole damn world is scared
of each other."Its a lot nicer to go around with a guy you know, said
George.
In conclusion, one of the main themes in the book
is the friendship that Lennie and George share together.
is a classic
bildungsroman novel, or a coming-of-age novel. It tells the story of Pip as he grows
from ten
years old to twenty-three, and it's largely centered around him
trying to find his place in the
world. Like many bildungsromans, this book
begins with an encounter (with the convict) that
brings the 's own mortality
to his attention, and it continues to center on themes of Pip's
struggles
with finding love, finding his place in the class structure of his society,
and
figuring out how to relate to his family and his hometown.
Great
Expectations is taught so frequently in part
because it epitomizes the concept of a
bildungsroman novel. Pip moves from
loneliness and fear to naivety and ambition and finally to a
certain kind of
humility, gratitude, and wisdom.
The
solitary existence thatmust live after he is shipwrecked requires him to come to terms with the
substantial physical requirements of the tightly constrained environment; in addition, he must
wrestle with his doubts and arrive at a new commitment to his faith.
Although
overwhelmed by his misfortune, Crusoe quickly realizes he must salvage whatever possible from
the ship. His near-despair at not being rescued day after day takes its toll, but he tackles
many practical tasks to help him (literally) weather the stormof which there are
multiple.
Although the shelter he builds is not ideal, he recognizes his need
for a roof. Crusoe also documents his new lifeto keep track of the passing days and to set down
his spiritual struggles and his increasing acceptance of true devotion.
Crusoe also evolves his method of food production; he progresses from a hunter-gatherer (and
fisherman) of the island's bounty to experimenting and engaging...
Given: `y=sqrt((x-1)/(x^4+1))`
Take the logarithm of both sides of
the equation. Then rewrite the equation using the Laws of Logarithms.
`lny=lnsqrt((x-1)/(x^4+1))`
]]>
This scary
story about how everyone is mortal and death is inevitable takes place in the 14th century in
Europe. Prince Prospero, the narrator, has gathered 1000 other wealthy people and friends in
the abbey of his castle in hopes of escaping the disease, the Red Death, that is sweeping across
Europe. He locks them all in the abbey by bolting and welding the doors shut so no one can
escape, and nothing can get in. In a way, he is hoping that life will stand still by becoming a
prisoner in his own castle. All goes well for a while, and after a few months, Prince Prospero
holds a masquerade ball for his company in the spooky imperial suites of the abbey. The rooms
are all different colors and have matching stained glass windows. One of the rooms is all black
with blood red windows. During the party, a stranger who looks like a corpse, "tall and
gaunt, and shrouded from head to foot in the habiliments of the grave" enters the
masquerade ball. The visitor's mask is splotchy red, a symptom of the Red Death. Everything
and everybody stops, and Prince Prospero chases the uninvited out of the room into the all black
room. As he approaches the stranger, the stranger turns to reveal himself to Prince Prospero.
The Prince drops his dagger and falls over dead. The Red Death has crept into the abbey after
all, and it isn't long before everyone else is dead.
The moral of the story
is that no one can escape death. Despite Prince Prospero's efforts, he is mortal and cannot
escape his fate.
If the
United States wishes to remain competitive in a globalized economy, its educational system will
need to make significant changes to enable its graduates to work in a workplace that is
international in its...
The entire
story of " " is James' attempt to find his own identity by telling the amazing story
of his mother. It is only natural that he would question who he was. After all, his mother was a
woman born in a foreign country but raised in...
1929 was
the year of the Wall Street Crash, which led to the worst worldwide economic depression in
history. Germany was especially hard hit as its economy was built almost entirely on foreign
loans. So when American banks and other financial institutions on Wall Street called in their
loans, the German economy experienced an especially catastrophic downturn.
Almost overnight, thousands of German businesses folded, causing mass unemployment.
Hyper-inflation began to eat into people's savings, causing widespread hardship and destitution.
The established political parties seemed to have no answer to the growing chaos. This created an
opening for the Nazi Party, which before the Great Depression had been nothing more than a tiny
fringe group on the extreme Right.
Under Hitler's leadership, the Nazis
promised to restore German greatness. They would rip up the hated Versailles Treaty imposed upon
Germany at the end of World War I and begin the process of rearmament. On the economic front,
they promised an end to unemployment and a return to prosperity.
Millions of
people, driven to desperation by the horrors of poverty, mass unemployment, and national
humiliation, threw in their lot with the Nazis. They were willing to take a leap of faithto give
the Nazis a chance to do something different to solve the massive problems that Germany was
facing.
The Nazis cleverly kept their promises deliberately vague so that
they could offer something for just about everyone: businesses, farmers, and workers alike. But
as so many Germans were so desperate for change, they overlooked the huge gaps in the Nazis'
policies and increasingly gave Hitler their support in large numbers.
As a
result, the Nazis became the largest single party in the German Parliament, or Reichstag, after
the Federal Election of July 1932, albeit without a majority. Although economic chaos and
depression had taken the Nazis so far, it would take shabby backstairs dealings by the
established conservative parties to put Hitler into power only eight months
later.
It's market
day in Dictionopilis, but the guard doesn't want to allow Milo and Tock to come inside. The
guard asks them why they want to come to the city, and neither of them can think of a good
reason....
Passage
of the Indian Child Welfare Act in 1978 was intended to preserve Native American culture and
families by stemming the placement and adoption of Native American children outside of their
extended families and communities.
Following centuries of efforts by European
settlers and later North American governments to decimate indigenous tribes and, in what the
Chief Justice of Canadas Supreme Court, Beverley McLachin, called a policy of cultural
genocide, what was left of native tribes were destroyed communities devastated by drug and
alcohol abuse and broken families.
A direct consequence of those broken
families and high levels of substance abuse was the entry into state foster systems and adoption
processes of large numbers of Native American children. As those most financially capable of
working through adoption systems and those most frequently being certified as foster families
have been those of European heritage, Native American children in need of placement with
families were placed with families of European heritage. A vicious cycle was created in which
the legacy of colonial rule created genocidal conditions that were fixed through policies and
practices that inadvertently exacerbated the condition of cultural genocide. Congresss response
was the Indian Child Welfare Act (25 USC 1901-03).
The intent of the Indian
Child Welfare Act, or ICWA (pronounced Ickwa) was to reverse the trend of Native American
children being raised outside of Native American families and culture. Section 1902 of the Act
reads as follows:
Congressional declaration of policy: The
Congress hereby declares that it is the policy of this Nation to protect the best interests of
Indian children and to promote the stability and security of Indian tribes and families by the
establishment of minimum Federal standards for the removal of Indian children from their
families and the placement of such children in foster or adoptive homes which will reflect the
unique values of Indian culture, and by providing for assistance to Indian tribes in the
operation of child and family service programs. (Pub. L. 95-608, § 3, Nov. 8, 1978, 92 Stat.
3069.)
What this means for low-income families, women,
children, LGTBQQI, etc. is dependent upon the ethnicity of these various categories of
individuals and families. As noted, the intent of the law is to maximize the prospect that
Native American children will grow up in Native American homes and communities, preferably by
members of their own extended families. Nowhere in the law does it specify whether the Native
American family members can or cannot be homosexual, bisexual, transsexual, or heterosexual. It
is up to the deciding judge (and many judges, even in communities with large populations of
Native American families, know or care little about ICWA) to make the decision on the child in
questions fate.
For Native American children, ICWA, again, depending upon
ones perspective, can be a mixed blessing. Native American children placed with Native American
foster families or adopted by Native American parents will benefit from immersion in Native
American culture. A serious problem, however, emanates from the aforementioned rates of
substance abuse and dysfunctionalism in some Native American communities.
Whether a Native American child is better off with a family of European descent that is
financially stable and healthy or with a Native American family dealing with social and medical
problems endemic to those communities is worth debating. A Native American child placed with a
Native American family, especially one to which the child is related, that is stable is the best
outcome, but that outcome is difficult to achieve in many tribal regions. Placement with a
LGTBQQI family that is financially stable and welcoming can also be an ideal outcome
irrespective of that familys ethnicity.
The intent of ICWA is admirable and
clearly enunciated in the text of the statute. It is not, however, always the best guide to
placement of children.
x^3+2x-x-2=0
Substitute
with 1:
1+2-1-2=0
Then 1 is one of the function's
roots.
Then (x-1) is one of the factors.
Now divide the
function by (x-1).
x^3+2x-x-2=0
(x-1)(x^2+3x+2)=0
Factorize:
(x-1)(x+1)(x+2)=0
Then the roots are:
x1=1
x2=-1
x3=-2
There are
three major situational ironies in "A Good Man is Hard to Find." Situational ironies
occur when events in a story work out differently than characters or readers might
anticipate.
In the first situational , the Grandmother discovers that all the
defenses she has surrounded herself with to set herself apart are meaningless when she finally
does meet an existential threat to her existence. For example, she makes a great deal of fuss
over dressing in the hat and frock of a "lady," thinking this will gain her respect
and protection. However, when she tries to appeal to the Misfit on the basis of herself as a
lady and he as coming from "good" people, this has no resonance with the
Misfit.
Money, which also gives her a sense of protection, is another item
she offers the Misfit. The idea that he should exchange her money for her life is laughable from
the outset: the Misfit knows he can take her money as soon as she is dead, and he treats her
proposal with the appropriate...
One could
draw the following inferences about
the Loisels based on their response to the loss of the
necklace: they are
both proud and honorable.
One can infer that Madame Loisel
is proud because she rushes from the party rather than be seen in her modest outer wraps
when
the other women wear furs. We learn:
She felt this
[difference in her clothes] and wanted to escape so
as not to be...
In , in Act I, scene ii,expresses an interest in , and her father
considers his request, mindful that Juliet is "yet a stranger in the world" (line 8).
Capulet advises Paris to get to know her, and if she agrees, then he will consent. From this
interaction, Paris's real feelings are unclear. He offers himself as a suitor for Juliet, but it
seems more out of tradition and in keeping with custom than out of any real passion. He knows
who Juliet is, and so his choice is also based on social standing and correctness. He's making
sure that his interest is known, perhaps before anyone else. His courtship seems to lack any
romantic element.
On the other hand,spots Juliet across the room (how
romantic!) and immediately asks about her. His passion is immediately recognizable (whether it
is love or desire). He questions whether any feelings of love that he had previously felt for
others were even real, because, as he says, "I ne'er saw true beauty till this
night"...
is an
extremely talented, athletic fourteen-year-old boy who was imprisoned for attempting to
overthrow the government. In the short story, Harrison escapes from prison, takes over a news
station, and declares that he is the emperor of the United States. After throwing off his
handicaps in dramatic fashion, he floats into mid-air with one of the beautiful ballerinas and
kisses her before he is shot dead by Diana Moon Glampers. Harrison's rebellion reveals that he
is an independent thinker who is willing to take extreme risks to alter the trajectory of his
life. Harrison is also depicted as a fearless leader who is passionate about usurping power and
ruling the United States as its emperor. He evidently values independence and disagrees with the
government's policy, which requires each individual to be completely equal in all facets of
life. Harrison's actions also depict his dictatorial nature and authoritative personality. His
actions and mindset also validate the government's stance on equality. Overall, Harrison
Bergeron is depicted as a determined, authoritative individual who wishes to use his talents and
abilities to rule the United States after escaping from prison.
In
,dies by hanging herself. , upon finding her body, pulls the pins out of
her robe and blinds himself by simultaneously plunging both pins into both eyes.
largely followed the prescriptions about dramatic form and content that Aristotle had
established in Poetics. Not only death but any violent act, such as
mutilation, toward human beings or animals was depicted offstage. The purposes of drama focused
on eliciting great emotions in the spectators and to instigate thethat came from identifying
with the tragic events of the play. Such emotions would not be inspired by witnessing bloody
actions.
In addition, the unity of action was central to Aristotles
understanding of . All action should appear onstage in a single setting. While Sophocles altered
this slightly through the introduction of scenery, multiple settings are rare. In
Oedipus Rex, the actions occur on the palace steps. In the case of an
important scene, such as a death offstage, a...
When we read its important to know about Senator Joseph McCarthy. Even though he is not a character in the play, his role in histor...