Hello!
First, we can open the parentheses using the distributive property:
8*(cos(30°) + i*sin(30°)) = 8*cos(30°) + i*(8*sin(30°)).
Formally, this is the answer already, because 8cos(30°) and 8sin(30°) are real numbers (which is required for the form a+ib). But we can simplify this if recall that sin(30°) = and cos(30°) =
So the final answer is 8*(cos(30°) + i*sin(30°)) =
Laurie has a difficult time controlling his impulses into socially unacceptable behavior as he makes the transition from nursery school to kindergarten, causing problems for himself and his parents.
The problems Laurie experiences in his start in kindergarten are rooted in a lack of impulse control. His problems escalate from the first behavior of "being fresh" with the teacher. He hits both teachers and students, is disobedient, yells during quiet time, stamps on the floor, and throws chalk. Laurie also encourages other students to get in trouble, as evidenced in how he was able to convince another student to say a "bad word." Laurie is unable to control his impulses. This means that he does whatever he feels like doing and does not pause to consider how his actions will impact others or if they are socially appropriate.
A problem Laurie's parents are experiencing is how to react to the disruptive behavior about which they hear so much. Laurie convinces his parents that a student named Charles is responsible for the poor behavior. As a result, both the father and mother simply dismiss it as "someone else's child." His parents' problem is that they never address the problems with Laurie. They fail to acknowledge the "teachable moment" they have with their son. They lack the communication skills to talk to Laurie about what he is observing. The mother displays concern, while the father's interest is superficial, almost like idle conversation. Neither one of them speak to Laurie about how such behavior should be seen as unacceptable. Their inability to talk with their son makes the revelation at the end of the story more startling.
When Roger attempted to steal Mrs. Jones' purse, she could easily have turned him in or chased him away. However, Mrs. Jones' decides to take matters into her own hands and teach Roger a lesson. Though Mrs. Jones' expresses her indignity that Roger would attempt to take her purse and speaks some stern words to him, her goal seems to be to assist Roger in making better decisions. In talking to Roger about her own life, she provides him an example of a hard working person who works for her money rather than steal it. Her purpose in describing her life in such detail is to provide Roger with a clear picture of an honorable way to live his life and earn money for the things that he wants, rather than steal to get them.
In giving Roger the ten dollars for the blue suede shoes, she allows him to witness someone being caring, selfless, forgiving, and kind. Just as in sharing the story of her life in hopes that it makes a difference in how he lives his, she also, in giving him the ten dollars, gives him the chance to see that someone cares about his happiness even when he did not deserve it.
There isn't really a personality trait, physical appearance, or function in the plot that these three boys share. What they do share is the fact that all three of them die, and they are the only ones whose deaths we can be certain of. Through their deaths, they may also represent the "loss of innocence" theme that runs throughout the story.
The boy with the birthmark is a "littlun," and is the first to speak of the Beast. We don't see his death or have it confirmed, but he is never seen again after the fire in Chapter 2, and it can be assumed that he died in it. In his case, his innocence lies in his age and his inability to think rationally; he is responsible for conjuring the idea of the Beast, and the fact that he is the first to die almost seems like the fulfillment of a curse for bringing this supernatural fear to the group. There may also be a more far-reaching connection to the power and danger of prophecy, as all three boys are, in their own ways, responsible for bringing knowledge and portents to the group.
Simon dies mostly due to bad luck; he comes out of the forest at the climax of a thunderstorm and a ritualistic "pig hunt" initiated by the near-savage hunters of Jack's group, and they supposedly mistake him for the Beast. Simon is also the most obviously prophetic character, due to his conversation with the Lord of the Flies, his statement that Ralph will get off the island someday, and his "fits."
Piggy dies horribly and intentionally, at Roger's hand amid the jeering of the Castle Rock tribe. His death, being the most intentional, may have been "saved" for last by Golding in order to demonstrate the boys' diminishing restraint. It is telling that the conch perishes with Piggy, simultaneously destroying both his superior mind and the semblance of order on the island.
Midsummer's Eve, the celebration of the longest day of the year, has a long history in England and is intertwined with the country's folklore.
According to A Midsummer's Night Dream: Texts and Contexts, edited by Gail Paster and Skiles Howard, two festivals blended together in Elizabethan England: the six weeks of May Day activities, also called Maygames, which culminated in Midsummer's Eve. But while the Maygames celebrated the natural world and fertility, Midsummer's Eve focused on the supernatural. It was a time of magic, fantasy and even madness, a night when fairies were thought to dance in meadows, sometimes tricking mortals.
It's easy to see how this ancient holiday and the fairy stories that went along with were incorporated into Shakespeare's play. For Eliabethans, midsummer faeries and sprites like Puck would have been as familiar as Santa and his elves to us. Audiences were likely to delight in a story in which fairies and mischevious spirits quarreled with each other and interfered in comic ways in the love lives of mortals passing though their woods.
Praying for Sheetrock by Melissa Fay Greene is a work of nonfiction about the first black commissioner in McIntosh County, Georgia, named Thurnell Alston. He is one of the two main characters in the story. He brought civil rights to the small, southern region in the 1970s. He granted voting rights, fought drugs, and introduced medical clinics, running water, and plumbing to this forgotten area. His beliefs and work were revolutionary for the time, but Alston was not all good. As time continued, he became distanced from his supporters, perhaps as a result of his son's death. After his son passed away, Alston neglected his family. Ultimately, Alston was the target of a police sting operation and was sentenced to six and a half years in federal prison for drug conspiracy charges.
On the other side of the story is corrupt Sherrif Popell. He is the second main character in the story. Popell refused to accept that the future would include equal rights for African Americans. He was known to deny black people the opportunity to hold public office or to serve on a jury. Additionally, he made it nearly impossible for a black person to have a white-collar job. He was also part of an obvious criminal activity where he would pull cars of black people over, claim that it was a routine search, and would trick the people into giving all of their money to him or his officers. Although it would be easy to believe that Popell is the villain in this work of nonfiction, he was not purely evil, but a rather complex character. When a semi-truck crashed and its contents spilled, Popell looked the other way as poor black families pillaged through the goods, taking items that they needed.
Praying for Sheetrock is not a celebration of civil rights and the changes brought to McIntosh County, but it is a look into the real struggle of equality issues in the south.
Historians believe that William Shakespeare was born on April 23, 1564. This date is based on his recorded baptism date of April 26, 1564 in Stratford-upon-Avon.
William Shakespeare was the oldest living child of John Shakespeare and Mary Arden. There were two girls born before him but neither survived infancy. He was followed by five other siblings.
When Shakespeare was eighteen he married Anne Hathaway. They had three children: Susanna, Judith and Hamnet. Susanna was born in 1583 and the twins Judith and Hamnet were born in 1585.
After the birth of his children (the exact year is unknown) Shakespeare moved to London and by 1592 he was recognized as a playwright and actor.
William Shakespeare died fifty-two years after his birth, on April 23, 1616. He is buried in Stratford-upon-Avon.
Unfortunately, the answer to this question is not in Poe's narrative, which is actually not that surprising. The stories that Poe writes often have mysteries within them, or at least some mysterious aspect involved; in the case of The Masque of the Red Death, this mystery is the presence of the Red Death. Of course, that allows the readers to try to come up with their own answers. For instance, Poe originally describes the Red Death like it is a person, potentially even a guest of Prince Prospero's, and it is not until the character kills the prince and the remaining crowd fall upon him that we learn that the killer is not a person at all, but an intangible figure somehow holding up the clothes and mask. So he could have potentially inhabited other clothes from the very beginning, making people think that he was just another guest; he could also have shown up and slipped through a crack or some other structural weakness of the abbey because he has no tangible form, he is just a disease. Of course, it was very naive of the prince to believe that he could lock himself in an abbey to keep himself safe from a disease, which could very well have been airborne, or transferred by animals. There are countless ways that the intangible disease could have made its way into the abbey and the masquerade, and Poe leaves it to your imagination to decide.
Rutherford’s model and Bohr’s model of the atom differ in the way that they explain the movement of electrons around the nucleus.
Prior to Rutherford or Bohr, most people believed in the “plum pudding” model of an atom. This model explained the atom was about the same consistency throughout and had electrons scattered on top, much like the raisins are scattered on top of plum pudding.
Rutherford used the famous cathode ray experiment to conclude that atoms contain a small, dense, and positively charged core that we now call the nucleus. Rutherford believed that the electrons within an atom moved around the nucleus in orbits, much like the planets move around the Sun in our solar system. However, Rutherford’s model could not explain the atomic line spectra, which occurs when light is emitted from metals that have been heated.
Bohr improved Rutherford’s model by proposing that electrons travel in orbits that have specific energy levels. Bohr used this model to explain the atomic line spectra of heated metals. Bohr explained that when atoms gain or lose specific amounts of energy (quanta), the electrons move between the energy levels. When electrons gain energy, they jump to higher energy levels. When the metals cool again, the electrons lose energy and drop back down to their “ground state”. In this process, light is emitted in packets of specific energies that correspond to the colors that are seen in the atomic line spectra.
The ending of James Joyce's A Portrait of the Artist as a Young Man is fairly complex, and it takes a bit of time to sift through its many layers. But, on the surface, the essential meaning that Joyce means to get across is that Stephen Dedalus is preparing to leave Ireland in order to pursue his dream of becoming a great writer and artist.
The final part of the novel continues to experiment with form, as the prose takes the form of diary entries, rather than continuous narrative. Thus, the final sections in the novel are actually examples of Stephen's own writing, rather than Joyce's presentation of Stephen's character. This development signals Stephen's increasing preoccupation with his own writing (and, if we're being honest, his increasing obsession with himself). Additionally, throughout the entries we come to understand that Stephen is leaving Ireland, and all of his friends and family, behind in order to pursue his artistic dream. Indeed, one of the novel's most famous lines occurs in this section, as Stephen vows to "to forge in the smithy of my soul the uncreated conscience of my race." Those are some pretty dramatic words, and they illustrate both the intensity of Stephen's ambitions and his inflated perception of himself.
There are two ways to interpret this ending. One way is to assume that Stephen succeeds, that he becomes a great artist and leaves behind Ireland and all of its problems for good. This version is most possible if we take Portrait as a self-contained novel. However, the second interpretation takes into account the continuation of Stephen's story in Ulysses, and so it is probably the more likely interpretation. In the second interpretation, we assume that Stephen is, in fact, a pretentious and overly confident upstart doomed to fail, and his fate at the beginning of Ulysses supports this idea. At the beginning of Ulysses, Stephen has returned home to Dublin after having dropped out of art school. He holds a job at a local school that doesn't pay him enough, he's deeply in debt, and he's exhibiting the first signs of someone in danger of becoming an alcoholic. With this fate in mind, it's impossible to take the ending of Portrait seriously.
One more final point supports the second, more pessimistic interpretation of Stephen's fate: his last name, Dedalus, alludes to to mythological Greek inventor who fashioned wings of wax for his son, Icarus. Ultimately, Icarus' blind ambition caused him to fly to close to the Sun, whereupon his wings melted and he plunged into the sea to his death. With this allusion in mind, it becomes difficult to view Stephen's ambition with any sense of optimism.
Julius Caesar is known for it's speeches, rhetoric, and propaganda. Both Brutus and Marc Antony give speeches dripping with rhetorical devices and propaganda to the plebeians. However, Marc Antony, in the end, proves to be a far more effective speaker because Brutus fails to cover all of his rhetorical bases.
For example, Brutus begins his speech by calling the plebeians "Romans, countrymen, and lovers" (friends). This is his first mistake as later we see Marc Antony call the people "Friends, Romans, countrymen," using Plain Folks propaganda. By not addressing them first as "lovers," Brutus keeps a distance between the noblemen and the commoners, so they don't feel the personal connection to him that they eventually do to Antony.
Next, Brutus uses ethos by saying to the commoners to "Believe me for my honor." He counts on the fact that he has been an honorable Roman in the past, so he assumes that that will be enough to convince the mob that the conspirators had good cause to kill Caesar. He also uses logos in telling the plebeians that he loved Caesar, so he must have a good reason for acting as he did against the dictator. His reason, he finally reveals is the fact that he did not love Caesar less, but that he "loved Rome more." He follows this with the slippery slope fallacy, "Had you rather Caesar were living and die all slaves?"
He finally says that he "loved," "rejoiced," and "honored" Caesar for all of his good qualities, but killed him for his most evil quality: his ambition. He continues by asking the plebeians, using anaphora, "Who here is so base...rude...vile..." to be opposed to freedom, being a Roman, and his country. Of course, no one will agree to being these negative things, so they all have to agree that no one should be offended by the murder of Caesar.
Although he convinces the masses to not be angry at the conspirators for killing Caesar, he never gives actual facts and specific reasons for the murder. He simply states, "The question of his death is enrolled in the Capitol," meaning that the citizens can look up the records themselves. Antony, on the other hand, later shows the plebeians undeniable proof of the savageness of the plebeians, Julius Caesar's butchered body, showing far superior persuasive skills.
Brutus leaves the mob by telling them to listen to Antony's speech next, believing that Antony will only say positive things about Caesar and nothing negative about the conspirators. Unfortunately for Brutus, Antony has another idea altogether, and uses his exceptional orator skills to sway the mob in his direction. Ultimately, Brutus's fatal error was trusting that Antony was as "honorable" as he and would honor his word.
Jessica and Lorenzo have a relationship that differs significantly from the other relationships in the story. The key difference lies in the ex-societal nature of their bond. In the relationships between Bassanio and Portia, as well as between Nerissa and Gratiano, there is a larger community, outside the two consenting parties, that validates the relationship. In the case of Portia, she is not free to marry whom she wills because of the system of selection her father has put in place:
O me, the word choose! I may neither choose who I would, nor refuse who I dislike; so is the will of a living daughter curbed by the will of a dead father. (1.2.25)
The conditions upon which Portia forgives Bassanio at the end of the play show that this theme of accountability to an entity outside the pair exists in the relationship between Bassanio and Portia as well. Portia will not forgive Bassanio until Antonio makes a soul-damning oath that Bassanio will remain true. Thus, Portia can count on the integrity of Bassanio through the risk Antonio has taken upon himself in her husband's name.
In comparison with this, the role of Jessica and Lorenzo clashes as the polar opposite. Their act of marriage comes about through a surreptitious escape into the night. Thus they flee community. Furthermore, when we see them again in Act 5, they are out alone under the bright stars. Their presence as a contrast in the story draws the reader's attention to the nature of contractual bonds in marriage. It prompts the reader to inquire into the nature of marriage.
In "Our Society", chapter one of the novel Cranford, Captain Brown is a round character. Round characters are presented to the reader like real people, in comparison to flat characters who only show the reader their superficial, one-dimensional surface.
In this chapter the reader learns that "the ladies of Cranford are quite sufficient" and prefer to live without men. They believe that "'a man...is so in the way in the house!'” (2). In comes Captain Brown, "a half-pay captain" who "had obtained some situation on a neighbouring railroad" and moves to Cranford. He instantly challenges the "Amazonian" women's rules of society, annoying the narrator and Miss Jenkyns, the town's matriarch.
First, we learn that in a society where the women believe it tacky to speak of money, Captain Brown boasts that he is poor, and we are given specific details about his personality and speech:
I never shall forget the dismay felt when a certain Captain Brown came to live at Cranford, and openly spoke about his being poor—not in a whisper to an intimate friend, the doors and windows being previously closed, but in the public street! in a loud military voice! (6).
Next, we are told that Brown “spoke in a voice too large for the room, and joked” often (7). He is also “friendly, though the Cranford ladies had been cool” to him, and is sarcastic and honest, all traits that the narrator thinks are those of “a man who was not ashamed to be poor.” The narrator is extremely surprised that Captain Brown, as annoying as he is to her, has earned an “extraordinary place as authority among the Cranford ladies.” However, despite his popularity, the reader is told that he is not changed by it, but remains unpretentious and friendly.
Finally, more details that develop Brown into a round character are the fact that he has two daughters, Miss Brown and Miss Jessie, and we are given specific details about his children. The reader is even told that Brown “had taken a small house on the outskirts of the town”(8). Through the use of imagery, the reader can imagine what Brown looks like: he is described as being around sixty years old but having “a wiry, well-trained, elastic figure, a stiff military throw-back of his head, and a springing step, which made him appear much younger than he was" (9).
The abundance of imagery and specific details about Captain Brown's personality, appearance, living/professional situations, and family makes him an obvious round character that grows on the reader, just as he did the women of Cranford.
This is an exciting question and one that many Anthropologists have spent entire careers seeking to answer. Considering all of the distinctions between cultures, it may be appropriate to say that the one thing all countries have in common is ... culture!
Anthropologists like to say that anything that isn't biological (and coded in our DNA) is cultural. That may sound redundant, but consider the multitude of ways in which culture helps us adapt and survive. Humans are highly social beings, so culture accounts for actions which contribute to survival beyond the basics of eating, drinking, sleeping, and having shelter. The ways we eat, drink, sleep, and take shelter are influenced by culture, though.
It may help us to understand the universals of culture by breaking down some of its major aspects. This includes:
Unfortunately, we must speak very generally about the commonalities of culture in countries, but perhaps someday you will join the field of Anthropology and answer this question once and for all.
The expansion of slavery into the lands we received as a result of the war with Mexico was a big concern for the members of Congress. In 1846, David Wilmot proposed that slavery would be banned in any territory we would receive from Mexico as a result of our war with Mexico. The North supported this idea, and the South was against it. While it did pass in the northern-dominated House of Representatives, the Wilmot Proviso didn’t pass in the Senate because it couldn’t get a majority of votes in the Senate that was equally divided between free states and slave states. This shows how big of a concern this issue was for the members of Congress.
The northerners were very concerned that several states might be created from the territory we gained as a result of the war with Mexico. This would give the South an opportunity to possibly pass laws that were favorable to slavery and slave owners. Since much of this land we might gain from Mexico would be favorable for farming and the growing of cotton, the northerners in Congress were really concerned that slavery could expand to several states that might be created from the territory we got from Mexico. If that happened, northerners could be put at a big disadvantage. The issue of the expansion of slavery was a big concern for members of Congress.
Reverend Hale utters these words in Act Four, after he has returned to Salem. He left at the end of Act Three, having denounced the proceedings and determined that the court was, indeed, corrupt. When he says, "I come to do the Devil's work. I come to counsel Christians they should belie themselves," he is referring to the fact that, though usually considered a sin, Hale now believes that lying -- confessing to witchcraft even though the convicted is innocent -- is the least sinful way to respond to an unjust charge that will lead to their death. He soon tells Elizabeth Proctor that "life is God's most precious gift; no principle, however glorious, may justify the taking of it [....]. [I]t may well be God damns a liar less than he that throws his life away for pride." In other words, he says, if the convicted will not confess due to their pride, then they are throwing their lives away and thereby commit a worse sin than lying. He believes that God would rather see them tell a lie than allow themselves to be killed for nothing.
Then, Hale says, "There is blood on my head! Can you not see the blood on my head!!" In Act Three, he said that he had signed seventy two death warrants for the convicted, and, now that he knows they were innocent, he feels responsible for their deaths.
I am not sure exactly how intelligent horses are, but like many domesticated animals, they are creatures of routine. So, in Frost's "Stopping by Woods on a Snowy Evening," the horse finds it unusual to stop at that particular place, "without a farmhouse near/ Between the woods and frozen lake" (lines 6-7) because this is not the narrator's routine with his horse. The horse is accustomed to a destination such as a farm. The horse may also be accustomed to stopping at the lake for some water. This narrator is stopping in the middle of nowhere, from the horse's perspective. It is also a snowy evening, and while the horse is probably not suffering in this weather, stopping like this on a cold night might also be unusual. One gets the impression that the narrator does not often give in to the impulse to stop for a quiet, contemplative moment. Thus, this is outside of the horse's normal routine and he thinks it odd.
When the firemen go to burn down Montag's house, Captain Beatty continues to verbally provoke Montag. He also forces Montag to burn his own home down as an extra dig. All the while, Montag is listening to his friend Faber with a little device in his ear called a green bullet. Eventually, Beatty notices that Montag is listening to something, but he thinks it's a seashell—a device used to transmit radio signals. When Beatty decides to hit Montag on the head, the green bullet falls out of Montag's ear and lands on the sidewalk. Beatty picks it up, turns it off, and puts it in his pocket. Then, Beatty verbalizes what he realizes at that moment as follows:
"Well—so there's more here than I thought. I saw you tilt your head, listening. First I thought you had a Seashell. But when you turned clever later, I wondered. We'll trace this and drop it on your friend" (118).
As shown above, Beatty discovers that Montag has someone helping him in the shadows. Beatty didn't know that Montag wasn't working alone, and finding the green bullet proves to him that there is at least one other person involved in Montag's doings. Fortunately for Faber, Montag kills Beatty before Beatty is able to find out who Faber is.
Leonard Mead thinks that most of the programming on television is mindless trash. There are two quotes that show his negative attitude to what people inside their homes are watching.
"Hello, in there," he whispered to every house on every side as he moved. "What's up tonight on Channel 4, Channel 7, Channel 9? Where are the cowboys rushing, and do I see the United States Cavalry over the next hill to the rescue?"
"What is it now?" he asked the houses, noticing his wrist watch. "Eight-thirty P.M.? Time for a dozen assorted murders? A quiz? A revue? A comedian falling off the stage?"
"The Pedestrian" was first published in 1951. These were very early days for television, which had not been marketed to the American public until after World War II ended in 1945. The programs were mostly local because of technological reasons . It would take years to establish nationwide networks and build up a big national audience. This meant that television was very low budget. There were no big stars. The screens were tiny and the pictures were all in black and white. There were many cowboy shows because the Hollywood studios had huge collections of cowboy films. People were fascinated by television just because it was possible to watch audio-visual entertainment right inside their homes. As the audiences grew bigger, the revenue from advertising became bigger as well. This enabled the TV networks to offer better entertainment.
Leonard Mead has a very unfavorable attitude towards television, not only because of its poor programming, but because it sequesters families in dark living rooms where they no longer interact with their neighbors or even with each other. They have lost touch with the real world and only know the world they see on their little black-and-white screens. They are losing their humanity. This, in fact, has actually happened to some people by our times, but they are a minority called "couch potatoes." Television is a blessing for people in hospitals, nursing homes, and other shut-ins. Ray Bradbury, like his protagonist Leonard Mead, was a writer. Bradbury feared electronic media because it threatened his livelihood. Leonard Mead tells the robot cop-car that he is a "writer" and the robot records "No profession." As a writer, Mead can no longer find work, so he is unemployed as far as the robot is concerned,
Ray Bradbury had a vivid imagination, but he had a tendency to exaggerate, as he does in Fahrenheit 451, a futuristic novel in which the fire department's main job is to set fire to books. Television has become absorbed into American homes without creating havoc either inside or outside on the sidewalks. The TV is just a big black box that sits there silent much of the time. It has not become a monster dominating American life. It cannot brainwash people or spy on them. It is just another machine like the microwave oven. People still read books. In fact, they are reading more books than ever before. Was Ray Bradbury being serious? Or was he just being funny?
One of John Keats' most well-loved poems, "Endymion" was first published in 1818, three years before Keats' untimely death at the age of 26. The first line of the poem, "A thing of beauty is a joy forever" speaks to a thematic element that runs through much of this poet's work, and solidified his reputation as one of the finest of the Romantic writers. This theme of beauty and joy was a constant one, as Keats wrote many poems and odes praising the beauty of nature and the sublime emotions one could experience when contemplating it or spending time outdoors.
Endymion is also a poem in the pastoral tradition; that is, it glorifies and valorizes the live simply lived in the outdoors, quite literally the life of the pasture, such as the life lived by shepherds, hunters and farmers. The concept of Arcadia, a natural paradise of Greco-Roman mythology, is also described in this poem, along with the forest god Pan. Endymion refers to a shepherd and hunter who was said to rule in Olympia, the land of the ancient gods whose stories were beloved by the Romantics, including Keats.
In "A Poison Tree," the persona expresses his anger to his friend. He probably feels comfortable talking to his friend about what upsets him because they have a relationship built on mutual trust. The persona most likely assumes that if he told his friend about why he was angry, the friend would not use this information against him. The persona feels safe, in other words, to express his vulnerability. The persona also probably assumes that the friend does not upset him on purpose or out of malice. Most likely, the persona thinks the issue was a misunderstanding that could be resolved through talking it out. Blake shows that he was psychologically astute in understanding how trust works. As we see later in the poem, when the persona reacts quite differently to an enemy, communication is key to resolving differences.
When writing literary criticism, or when writing any work that seeks to interpret and understand a work of literature, it is helpful to have an understanding of literary theory, also known as critical theory. Theory and criticism go together, in fact. The idea of criticism is not necessarily linked to a critical reading of a text in a negative sense; rather, criticism is a way of reading a text closely and understanding its structure, origins, meanings and implications within wider contexts. According to this scholarly article on the subject, this theoretical discipline is undergoing changes to accommodate cultural change:
"Literary theory," sometimes designated "critical theory," or "theory," and now undergoing a transformation into "cultural theory" within the discipline of literary studies, can be understood as the set of concepts and intellectual assumptions on which rests the work of explaining or interpreting literary texts.
In using critical theory to examine and interpret a text (for example, novel), it is important to understand the basis of the particular theory you're working with. It is possible to use a general critical approach based in literary structure, but for many texts a more specific approach is entirely appropriate. Some critical theories are based upon more specific sets of assumptions, in order to provide a more focused reading of the text. These examples include Marxist theory (which examines texts based upon economic and class inequality for example), feminist critical theory (also known as gender theory, which is intended to closely examine the text's expression of gender roles, sexism, and cultural attitudes about gender, among other topics), or post-colonialism (a theory that includes awareness of the impact of colonialism, or the settlements imposed upon indigenous peoples by white Europeans, on a text's cultural implications).
The message of Of Mice and Men is still very important and applicable to today's world.
We have come a long way since the Great Depression, but we still live in a broken world where there are many injustices. In light of this, it is good, even if it is depressing, to realize that the world is not a perfect place. For instance, there are many immigrant workers today who live a very difficult life. Many live in fear, lest they be detected. Therefore, they feel displaced, alone, and alienated (like George and Lennie).
If we look elsewhere in the world, there are also many migrant workers who have a difficult life. The cities of China are an example. Rural men come to work in the cities in construction, and they are cut off from their families and loved ones. Furthermore, they are poor, and so they suffer greatly.
In addition, if we look at what is going on in Syria, literally hundreds of thousands of people are very much displaced and in poverty.
All of these examples show that the message of Of Mice and Men is still relevant. There will always be a working class of men who barely make it.
Lorraine's mother suffers from the hardships of being a single mom and feelings of rejection from her former husband. Lorraine suffers from an emotionally absent mother who can't find a silver lining in any situation. For an assignment about writing letters between these two characters, one must consider both perspectives through textual evidence. A letter from the mother would catalogue her bad experiences to justify why she is so tough on her daughter. A letter from Lorraine would center around her feelings of rejection by her mother and the lack of trust demonstrated by her. One of Lorraine's letters would probably bring up her friendship with Mr. Pignati in order to emphasize to her mother that not all men are jerks and that being a nice parent is possible. Textual evidence for each character is provided below to help organize content for the letters:
Mother-
Examples of distrusting men -
"I don't care what all the kids do. I don't want you in there. I've seen those boys hanging around there, and they've only got one thing on their minds" (50).
". . . when she was pregnant with me her doctor called and told her my father had some kind of disease, and she shouldn't let him touch her until he got rid of it. It turned out that he had a girlfriend on the side, and that's when she filed for a legal separation" (107).
Lorraine-
Examples of Mr. Pignati not being like other men and being more of a parent to her than her mother:
"Mr. Pignati laughed like anything as we went flying by, and before we knew it, he had his skates on and the three of us were zooming right from the porch through the living room and dining room down the hall into the room with the pigs. . . We were having so much fun. . . I forgot he was so old" (120-121).
"No one had ever bought me stuff like this before--something I just liked and didn't need and didn't even ask for" (90).
Mr. Pignati shows Lorraine that adults can be nice and trusting. These would be Lorraine's arguments to support her friendship with him. The mother's perspective would be based on all the hurt that she felt in her life and that she doesn't want her daughter to experience that pain, either.
There are a number of reasons to use commas in writing, and some of them do not involve using a conjunction afterward. The instances in which we do use a conjunction include sentences composed of two independent clauses. The clauses are separated by a comma and a conjunction, and if the conjunction is omitted the resulting sentence contains a comma splice error (the common name for a comma splice is a "run-on sentence").
Some occasions in which a conjunction is not used include lists of three or more items separated by commas, two or more adjectives in a sentence where the order of the adjectives does not matter, and introductory words such as "well," "yes," or "no." The tricky part is when a sentence is begun with a dependent clause followed by a comma, no conjunction, and ended with an independent clause. An example of this kind of sentence might be:
"After I watched the movie, I went home to clean the kitchen."
I've included a link to a helpful page about comma usage.
Step 1: List all of the information given in the question.
Pressure (P) = 5.6 atm
Volume (V) = 12.0 L
moles (n) = 4.0 moles
Temperature (T) = ?
Step 2: Choose a gas law formula to use.
Since we're dealing with pressure, volume, moles, and temperature, we can use the Ideal Gas Law:
PV = nRT
Step 3: Look up any needed constants.
We have values for all of the variables that we will need to solve for temperature (T) except for R. R is the ideal gas constant. You can find the value for R by searching the internet or looking in your textbook. We want to make sure that we choose the version of R that contains the same units as were given in the question (L, atm, mol). In this case we will use R = 0.0821 L atm/K
mol.
Step 4: Rearrange the equation to solve for T.
Algebraically rearrange the equation so that T is isolated. You can do this by dividing both sides by nR. This gives you the equation:
T = PV/nR
Step 5: Plug in all of the given values, as well as the value for R, and then calculate the answer.
T = (5.6 atm)(12.0 L)/4.0 mol)(0.0821 L atm/K
mol) = 204.6 K
Notice that temperature is given in the unit Kelvin (K). This is because Kelvin (K) is the temperature unit used in the R constant.
Mrs. Granger's full name is Lorelei Granger. If she has a middle name, then we never discover what it is in this story.
The whole time Mrs. Granger teaches Nick and his classmates, she is always simply known as "Mrs. Granger," a formal, serious title, or else "The Lone Granger," the nickname that the students have conferred on her for her harsh, strict manner unmatched by any of the other teachers at Lincoln Elementary School.
But in Chapter 15: "And the Winner Is...", we read the letter that Mrs. Granger had written to Nick, and she had signed it "Your teacher, Mrs. Lorelei Granger."
It's only at this moment that Nick realizes that his teacher is a person, a human, someone with a first name, someone with a warm interest in Nick's success. In other words, he learned that there was more to "Mrs. Granger" than he'd known before, and that it'd been there all along.
I think the point of the story is that the man's death in the wilderness is pointless—no one is affected, in any significant way. Of course, there are not many characters in the story—other than the man, there is the dog, who is smarter about the cold than the man, and the old timer, whose advice the man ignores, and "the boys" at the camp he is walking to. To me, nature, or the stupendous cold, also is a kind of character, an implacable foe which the man cannot resist. London writes that the the problem with the man was that "he could not imagine," that he was "quick with the things of life...but not their meanings." The man cannot grasp the significance of the cold, beyond the fact that it is cold, nor can he understand his fate until it is too late. As he freezes in the snow, he imagines being with the boys, on the trail, and coming across his frozen body. But the story gives no indication that he thinks "the boys" would be moved by his death. The character most affected is the dog, who, realizing that the man is dead, runs back to the camp, to the "other fire providers."
When the narrator, while ploughing a field, destroys a mouse's nest, he speaks to the mouse as if it is a fellow human being. He states that he is the mouse's
poor, earth-born companion,
An’ fellow-mortal!
Most people don't think of mice as their companions, but the poet doesn't stop there. He continues to personify the mouse by speaking of its nest not as a nest but as a "housie," as if what he has destroyed is a human being's home: "Thy wee bit housie, too in ruin!"
He further personifies the mouse by attributing to it a human ability to plan and think ahead, rather than simply assuming that the mouse builds its nest out of instinct. You must, he says to the mouse, have been anticipating being all cosy and snug in your little house when the freezing days of winter come: "cozie here, beneath the blast, thou thought to dwell."
The identification continues in the famous line in which the poet says the best laid plans of mice and men can go awry, ("gang aft agley"), as if mice plan in the same way people do.
But then, in the last stanza, the poet backs away from the strong identification with the mouse that led him to personify it. Now, he thinks the mouse is better off because "the present only toucheth thee." In other words, it's as if he remembers suddenly that the mouse is not a human being and doesn't carry the burden of memory or worries about the distant future.
One of the first things that a reader would look to analyze in any given poem is the structure of the poem. Thankfully, "A Barred Owl" is straightforward in its structure. Wilbur sticks with his form and doesn't change it.
The poem is comprised of two six-line stanzas. Each stanza is made up of rhyming couplets, which makes the rhyme scheme of each stanza AABBCC. As I have gotten better with poetry over the years, I still favor the sounds of an AABBCC rhyme scheme, because it often gives a poem a "sing song" or "light feel." The last structural element to analyze is the rhythm and meter. Each stanza is written with an iambic foot. That means the poem's syllable emphasis goes like this: unstressed/stressed, unstressed/stressed. There are five of those feet per line. That makes the poem written in iambic pentameter. It's a very common meter, which is probably why I like it so much. It's familiar and closely resembles the rhythm and meter of normal spoken English.
Thematically, the poem focuses on the duality of nature and language. The speaker narrates to his child that the noise was a harmless owl. But the second stanza focuses on the real threat that predatory birds are to living creatures. Regarding language, the speaker thinks about how language is like that bird. Language can calm and it can also terrorize.
Words, which can make our terrors bravely clear,
Can also thus domesticate a fear...
That duality is the "shift" that your question asks about. The first stanza of the poem sounds very light, airy, and friendly. It's a wonderful sing-song stanza about the noise an owl makes. But then a person reads the second stanza and is horrified that the speaker can use that same wonderful poetic form to narrate about such horrors as an owl carrying off freshly killed prey.
Or dreaming of some small thing in a claw
Borne up to some dark branch and eaten raw.
"Climbing into a person's skin" is a metaphor for gaining perspective and viewing situations from another person's point of view. Throughout the novel, one of the important lessons in Scout's moral development deals with gaining perspective. Early in the novel, Atticus tells Scout that she never will fully understand a person until she considers things from their point of view. Scout is able to apply this lesson to understand her teacher Miss Caroline. When Jem is acting moody after he returns from the Radley yard with his pants, Scout tries to consider how he is feeling. She "climbs inside his skin and walks around," and decides that it is best to leave him alone. After the mob scene, Atticus explains to his children that Walter Cunningham was able to stand in his shoes for a minute, and that is why he decided to leave. At the end of the novel, Scout "climbs into Boo's skin" after she walks him home and is standing on his porch. She is finally able to view her neighborhood from Boo Radley's perspective. Scout is able to gain perspective and view situations from other people's points of view, which significantly impacts the way she views the world and her future relationships.
Gonzalo is an immigrant from Guatemala. He came with his father and was fluent in English two years later. However, his father, who worked with Mexicans and Salvadorians, did not learn English as quickly or as well. After they were here a while, they arranged for Gonzalo’s mother, younger brothers, and Tio Juan, his mother’s uncle, to join them.
Tio Juan had been a farmer in Guatemala, but he couldn’t find work in the United States. In Guatemala he could sit outside in the plaza and talk with his friends. Here in the United States, especially in their neighborhood, it was not wise to sit outside due to drive-by shootings. He only spoke an Indian language. Since he didn’t speak English or Spanish, he didn’t understand TV. There was nothing for him to do, so he just wandered around the house, talking to himself. Gonzalo says,
“Tio Juan was the oldest man in his pueblo. But here he became a little baby.” (g. 18)
One day he disappeared from the apartment, and Gonzalo found him by the lot trying to communicate with Wendell, who was digging a garden. That night Tio Juan told Gonzalo’s mother about the lot and how people were gardening. She was the only one who could understand his Indian language. She also understood his need to dig his hands in the dirt and become a farmer again.
The next day, she asked Gonzalo to take Tio Juan back to the lot.
“He studied the sun. Then the soil. He felt it, then smelled it, then actually tasted it.” (pg. 21)
Gonzalo’s mother bought Tio Juan four packets of seeds. He couldn’t read the words on the packets, but he could tell from the pictures what the seeds were.
“He poured them into his hand and smiled. He seemed to recognize them, like old friends.” (pg 22)
After working the garden with Tio Juan, Gonzalo gains a great deal of respect for him.
“….I realized that I didn’t know anything about growing food and that he knew everything. “ (pg 22)
Because Gonzalo’s mother understood Tio Juan’s language and his love of farming, she was able to give him back his respectability.
“He changed from a baby back into a man.” (pg 22)
Producers are the original source of food for all living things. Since food is necessary for energy production and thus the sustenance of life, producers are essential to all living things. Green plants are the dominant producer on Earth. They contain a pigment, known as chlorophyll, which enables them to carry out the process of photosynthesis in the presence of sunlight. During photosynthesis, the following reaction takes place and food is produced in the form of glucose molecules.
The food generated is utilized by all living things and is broken down in the process of cellular respiration, to generate energy, as per the following equation:
This energy is used for day to day operations of living things (such as metabolism, growth, reproduction, etc.).
Producers are at the base of every food chain as the original source of energy for primary consumers, secondary consumers, and tertiary consumers.
Thus, producers are essential to all living things.
Hope this helps.
Hello!
mL stands for milliliters. As usual, the prefix "milli" means "one thousandth" of the unit following it.
Any quantity contains one thousand of its thousandths. So does liter, 1 L = 1000 mL. Therefore x liters = 1000x mL. In our case x=10,500, so 1000x = 10,500,000 (add three zeros at the end).
It is possible also to express this number in the standard form to reduce the number of zeros in the expression: 10,500,100 =
So the answer: 10,500 L = 10,500,000 mL = mL.
Fade far away, dissolve, and quite forget
What thou among the leaves hast never known,
The weariness, the fever, and the fret
Here, where men sit and hear each other groan;
Where palsy shakes a few, sad, last gray hairs,
Where youth grows pale, and spectre-thin, and dies;
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Where Beauty cannot keep her lustrous eyes,
Or new Love pine at them beyond to-morrow.
This third stanza is a continuation of the thoughts expressed in the first two stanzas. Keats was haunted by his fears of death. He had tuberculosis and died of the disease in Italy when he was only twenty-six--a great loss to English literature. Percy Shelley commemorated Keats as Adonais in his poem of that title.
Keats obviously wants to escape from his melancholy thoughts about his mortality. Evidently he was becoming overly fond of wine as a means of escape. He dreaded death because it would put an end to his creative work when it had scarcely begun. He was in love with a girl named Fanny Brawne but could not marry her because he expected to die. She is probably the Beauty he has in mind where he says:
Where Beauty cannot keep her lustrous eyes,
Nor new love pine at them beyond to-morrow.
And he is the youth he has in mind in the line:
Where youth grows pale, and spectre-thin, and dies;
The lines that immediately follow are especially revealing:
Where but to think is to be full of sorrow
And leaden-eyed despairs,
Keats does not want to think. He wants to forget. He would prefer complete oblivion, but since that oblivion through the imaginary beaker of wine is not available, he will try to escape "on the viewless wings of poesy," as he says in the fourth stanza. That is, he will escape into pure fantasy. He succeeds in doing so--but only temporarily. In the last stanza he says:
Forlorn! the very word is like a bell
To toll me back from thee to my sole self!
Adieu! the fancy cannot cheat so well
As she is fam'd to do, deceiving elf.
What appeals to Keats about the nightingale is that it seems to be immortal. It doesn't have to worry about death, as he does. It seems immortal because the bird always looks like the same bird and always sings the same notes. In his imagination he escapes into that bird's world. At first he finds himself in a fantasy world under the bushes where the bird customarily nests. He describes that little world with its scents and flowers. But then he travels back in time to when Ruth of the Old Testament heard that very same bird singing that very same song "amid the alien corn." And he travels beyond time into "faery lands forlorn" before he is called back to reality by the word "forlorn" which reminds him of his forlorn condition.
The third stanza is a sort of prelude to Keat's taking off into his imagination to escape from his thoughts of death. In the next stanza he will seem to take flight.
Away! away! for I will fly to thee,
Not charioted by Bacchus and his pards,
But on the viewless wings of Poesy...
Where
Decompose the denominator:
Therefore the fraction decomposition has the form
To find A,B and C multiply both sides by the original denominator:
or
Thus
and
or
or
Add and subtract these two equations and obtain
or
and
or
And
Now check this result:
which is correct.
In Chapter 9 of Harper Lee's To Kill a Mockingbird, Uncle Jack is creating a biblical allusion when he says to Atticus, "Let this cup pass from you, eh?"
We read in the gospels of Matthew, Mark, and Luke that just after Jesus's last Seder, a feast that marks the start of Passover, just prior to his crucifixion, Jesus leads a few of his disciples to the Garden of Gethsemane to pray. While praying, Jesus asks God the Father, "My father, if it is possible, let this cup pass from Me; yet not as I will, but as You will" (Matt 26:39; Mrk 14:36; Lk 22:42). Shortly after praying, Jesus is betrayed by Judas and arrested by the Romans. During a Seder, drinking from a cup of wine has symbolic meaning. Four toasts are made to God from four cups of wine in celebration of God's four expressions of redemption. Hence, when Jesus asks God, "Let this cup pass from me," he is metaphorically asking to be permitted not to drink a toast from the particular cup he is metaphorically being handed in celebration of redemption because he does not want to do the deed that will lead to that redemption. In other words, Jesus knows God's people will be redeemed through his upcoming death, and he is asking to be permitted to escape that death. The phrase "let this cup pass" has become a euphemism to mean "let me escape this horrible event," but for Jesus, the "cup," or horrible event, is specifically tied to the salvation of God's people.
In To Kill a Mockingbird, Uncle Jack uses the words "let this cup pass" to mean something similar to Jesus's own words. Atticus had just explained that Tom Robinson's case is hopeless because the evidence consists of nothing but Robinson's words against the Ewells'. Yet, Atticus hopes to at least "jar the jury a bit" and appeal to the higher courts. He further confides that he had "hoped to get through life without a case of this kind," meaning that he had hoped to escape having to suffer through trying to defend an innocent African-American man before a racially prejudiced jury. He knows that in doing so, he is offering himself up as a great sacrifice to society because, even though he is acting to try and preserve the life of an innocent man, society's prejudiced members will metaphorically tear Atticus and his children to bits through their ridicule. Uncle Jack follows Atticus's comment that he had hoped to avoid a case like this with his question, "Let this cup pass from you, eh?" In so doing, Uncle Jack is implying he understands Atticus is making a painful sacrifice that, like Jesus, he would prefer to avoid. Yet, Atticus knows he must go through with his defense of Robinson because, like Jesus, Atticus understands sacrificing himself is the only morally correct thing to do.
The story "A Rose for Emily" and the title character Emily Grierson show the world of the South as it experienced a fundamental shift, from the days of slavery and aristocratic plantation owner families (of which the Griersons are one) that is coming to an end when Emily is born to the new, post-Civil War world, where antebellum chivalry is lost to the push for progress. The war comes up, explicitly and implicitly, when these conflicts between old and new and tradition and progress come to the surface.
Emily Grierson experiences the changes that the Civil War and its outcome makes on the South and her hometown of Jefferson. Cast as an aging Southern belle domineered by a controlling father, Emily has few chances to break the mold of tradition, and she doesn't until her affair with Homer Barron in her thirties. When that fails to lead to the appropriate marriage and fulfillment of her traditional role, she clings to the other antebellum option for unmarried ladies: that of a haughty, mysterious spinster.
It is note-worthy that when Emily chooses to follow her own heart and pursue a man sexually, she chooses Homer Barron. First, he is a Northerner, and so emblematic of the changes caused by the war. Second, he's in town for a sidewalk construction project, making him an example of the sweeping changes of the North coming in to change the nature of the South. That Emily chooses him suggests an even deeper rebellion against the traditional Southern ways and ties in to the conflicts set up by the Civil War.
Another way the war sets up a conflict between the old ways and new is in the townspeople's interactions with Emily. Men like Colonel Sartoris and Judge Stevens still subscribe to Southern chivalry and they see Emily as a damsel in distress, a woman who must be protected, and so they remit her taxes and refuse to confront her about the smell coming from her house, respectively. As time goes on, however, and the post-war changes continue, new aldermen, who don't follow the same rules of chivalry, come to try to collect Miss Emily's taxes. This event shows the conflict of the new South, where progress is king, and the old.
Johnny is dying too young, and he has had a hard life.
When Ponyboy visits Johnny in the hospital, Johnny is upset because he does not want to die. He tells Pony that his short life has not been long enough.
"I don't want to die now. It ain't long enough. Sixteen years ain't long enough. I wouldn't mind it so much if there wasn't so much stuff I ain't done yet--- and so many things I ain't seen. …” (Ch. 8)
Ponyboy’s response is that Johnny has seen a lot in his sixteen years, but the sights have been more negative than positive. Johnny has not had a good life. In his neighborhood, there is a lot of fighting and not much that is pleasant. Johnny deserves to live long enough to have an easier life, and see some of the beautiful things he deserves to see.
Johnny is dying because he killed a Soc in self-defense and had to go on the run, and while on the run he hid out in a church that caught fire. He risked his life and was seriously injuring trying to help a group of children who wandered in. Johnny was not perfect, but he was a hero, and he did not deserve to die.
Johnny does not want to see his mother. He has had a hard home life. His parents are distant or abusive. For Johnny, who has a sensitive nature, home was not a sanctuary. His only family are the friends from his gang.
Johnny’s death affects Ponyboy very much. Johnny tells Pony to “stay gold” because he does not want him to be hardened by the difficult things he sees. It is too late for Johnny, but Johnny is trying to tell Ponyboy that he can have another life, in a more beautiful world, if he tries.
You need to evaluate the volume of the solid obtained by the rotation of the region bounded by the curves about x = 1, using washer method, such that:
You may evaluate the volume
Hence, evaluating the volume of the solid obtained by the rotation of the region bounded by the curves about x = 1, yields
"A Retrieved Reformation" is written from the perspective of a third-person omniscient narrator who is telling about an event that occurred in the past and who confines himself almost entirely to a single character's point of view (POV), the point of view of Jimmy Valentine. Nearly everything that happens is observed by Jimmy, or else he is present on the scene and could be assumed to observe it. There is only one brief deviation from Jimmy's point of view. This can be seen when Ben Price gets involved in the investigation of the three bank jobs Jimmy pulled almost immediately after he got released from prison for the "Springfield job."
Ben Price investigated the scenes of the robberies, and was heard to remark: “That's Dandy Jim Valentine's autograph. He's resumed business. Look at that combination knob—jerked out as easy as pulling up a radish in wet weather. He's got the only clamps that can do it. And look how clean those tumblers were punched out! Jimmy never has to drill but one hole. Yes, I guess I want Mr. Valentine. He'll do his bit next time without any short-time or clemency foolishness.”
The omniscient narrator is still present, but Jimmy Valentine is far away. Nevertheless, it should be noted that Ben Price's point of view is everything about Jimmy Valentine. Jimmy's presence is still felt.
A fiction writer establishes reader identification with a leading character by telling everything from that character's point of view. Point of view and motivation are essential to maintaining reader interest. The reader begins by identifying with Jimmy because he is good-looking, smart, successful, and likeable. Everybody likes Jimmy. Then when Jimmy falls in love and decides to go straight, the reader identifies with him more strongly because of his motivation. We want to see him get married and succeed in building a completely new life in this new town. It is not easy to identify with a criminal. That is the unusual aspect of O. Henry's story--making a hero of a criminal. It is much easier to identify with Jimmy after to falls in love and tries to reform.
O. Henry tells many of his stories as the omniscient third-person narrator with the focus on one specific character's point of view. This is the technique he uses, for example, in "The Last Leaf," in "The Cop and the Anthem," and in "The Gift of the Magi." In these three stories we are in the points of view of Sue, Soapy, and Della, respectively. O. Henry apparently liked this approach to storytelling because it left him free, as the omniscient narrator, to make any observations or comments he wanted. He can be a very objective narrator or a very intrusive narrator. When a story is told in the past tense by an omniscient narrator, the reader can and will assume that there is a "point" to the story, that the narrator knows what that point is, and that he will reveal the point of the story when he gets to the end.
This passage is from the first scene of Act V in Macbeth. The Doctor and a Gentlewoman are discussing Lady Macbeth's bizarre habit of sleepwalking, and speculating just what might be bothering her. As they are talking, Lady Macbeth enters the scene rubbing her hands as if she is washing them. The Gentlewoman reports that she has witnessed this behavior many times. As she rubs her hands, she speaks, and we learn that she is trying to clean off an imaginary spot of blood. This is what she means when she says "Out, damned spot!" The rest of the passage quoted in the question refers to her plot with Macbeth to murder King Duncan while he slept in their castle. "It is time to do't," she says, meaning the murder itself. Then she recalls (unconsciously, of course) how she challenged her husband's masculinity as he hesitated, saying, in effect, "you're a soldier, and you're afraid?" She claims that after the deed is done, they will become so powerful that nobody will be able to say anything about the way they rose to power: "What need we fear who knows it, when none can call our power to account?" But then she says, in effect, "who would have thought the King would bleed so much?" Overall, this speech reveals a woman wracked by guilt, driven to the point of madness by the weight of the evil deeds she has helped her husband carry out.
At first, the narrator accounts for the raven's one word, "'Nevermore,'" by thinking—logically—that "'what it utters is its only stock and store" (line 62); in other words, the bird speaks the only word that it knows. He assumes that the bird's owner must have endured a number of "unmerciful Disaster[s]" after which he spoke this word many times, and he believes that this must be how the bird learned the word (63).
However, the narrator begins to think that the bird's presence and speech might have some deeper meaning. First, he wonders if God actually sent the bird to him to distract him from and help him to forget his grief over the "'lost Lenore!'" (83). Perhaps the bird is a kindness. He says to himself to enjoy this opportunity to forget his sorrow, but the raven replies, "'Nevermore,'" which enrages the speaker.
Then, he wonders if the bird is a "'devil'" sent to tempt him, perhaps, to his own death (85). Maybe the bird is a "'Prophet,'" he thinks, of death, and so he asks the bird if there's a chance that he will ever see his lost Lenore again, in the eternal life after death. The raven, of course, says, "'Nevermore,'" making the narrator very angry and desperate at the idea that he can never be reunited with his love.
Until 1898, there were two German-speaking newspapers in Saint Louis. The Anzeiger des Westen was founded in 1935 by Christian Bimpage. The Westliche Post was founded in 1857 by Carl Daenzer. The two newspapers consolidated in 1898 to make for one German-speaking publication in Saint Louis. After the consolidation, the newspaper retained the name Westliche Post and operated until 1938.
The famed writer Joseph Pulitzer began his journalism career for the Westliche Post. Pulitzer worked with the newspaper from 1867-1873 and it was quickly discovered how talented he was. He eventually owned part of the newspaper before being bought out.
The influence of the Westliche Post was national. It was the most powerful and profitable German language publication in the United States. Carl Schurz, one of the investors in the newspaper, was elected to the United States Senate.
Chapter Two describes the arrival of the eight guests on the island. The guests are met by Thomas and Ethel Rogers, the butler and cook/housekeeper respectively.
Agatha Christie lets us in on the thoughts of the guests as they arrive on the island. Most everyone thinks it is unusual that there will be only eight guests on the island and that they seem to be such a mismatched group. No one seems to have anything in common with each other, in terms of class, profession, or personal inclinations. Furthermore, what is even more unnerving to the guests is the fact that Mr. and Mrs. Rogers have never met their employers, the Owens. All the guests definitely find it unusual that neither the host or hostess is there to greet them as they arrive on the island; Justice Wargrave comes right out and voices his perplexity at this state of affairs to Dr. Armstrong.
One of the guests, Anthony Marston, finds it odd to be invited to the island to spend time with such a strange group of people. It's not his usual crowd, and he feels uneasy. Meanwhile, Vera finds it strange that Mr. and Mrs. Rogers arrived on the island only two days prior to everyone else's arrival. Dr. Armstrong and Justice Wargrave are immediately wary of each other when they meet; General Macarthur is equally suspicious of Lombard. Meanwhile, Emily Brent tells Vera that she has never met Mr. Owen, the man who supposedly invited everyone else to the island. Prior to everyone's arrival, Blore unwittingly makes everyone feel ill at ease when he says that they must not keep their hosts waiting.
At dinner, Anthony Marston comments about the ten little figures on the table. Vera then exclaims that the figures represent the ten little Indian boys of the nursery rhyme in her room. Subsequently, everyone proclaims that they have a copy of the rhyme hanging up in a frame in their respective rooms. It is not long after this when a strange voice lists all the crimes the ten people on the island have committed.
Write the numbers in a column as mentioned below
2 9 7 3
X 2 0 9 5
Lets now find out the numbers which we need to add in column by multiplication.
1. Multiply 2973 by the unit's digit of second number i.e. 5, we get 14865. This is the first number of our column.
2. Multiply 2973 by 90,9 is in tens place. we get 267570. This is the second number of the column
3. Next digit is 0. So the result is also 0 for the multiplication by it.
4. Multiply 2973 by 2000, 2 is in thousands place, we get 5946000. This is the third number of the column
5. Now list down all these numbers as a column and add them.
1 4 8 6 5
2 6 7 5 7 0
+ 5 9 4 6 0 0 0
6 2 2 8 4 3 5
This is the required answer.
