The Force exerted on a material that is squeezed is a what?

The force that squeezes a material is a compression force. Think of what happens when we squeeze a spring. We are actually applying a compression force on the spring. Any object kept on the compressed spring is launched into the air, when the compressed spring is released. The compression force is thus made use of in a number of devices. The most common example is the toy dart gun, in which kids apply a compression force on the spring through the dart and when triggered, the compressed spring is released, which releases the dart into air. We also use the compression force in air compressors. These devices suck in the atmospheric air and compresses it to a much smaller volume. The compression force is released when the air is released and can be put to a number of applications. 

Hope this helps. 

Who is the protagonist and who is the antagonist in "The Open Window"?

The protagonist of the story "The Open Window" is Framton Nuttel. Framton is a stranger to the Sappleton family, which he goes to meet for the first time at their home in the country, in order to stay with them. He goes there in hopes to rest to get a cure for his nervous condition. His sister, who had visited the area and met the family years ago, had sent with him letters of introduction so that the Sappletons know who Framton is.

Since Nuttel needs to cure his current nerve condition, anything or anyone that attempts against that, or against Framton, would be considered his antagonist. The definition of "antagonist" is

1. a person who is opposed to, struggles against, or competes with another; opponent; adversary.

2. the adversary of the hero or protagonist of a drama or other literary work.

In this case, Nuttel's adversary, or antagonist, would be Mrs. Sappleton's niece, Vera. Vera is 15 years-old, described as "self-possessed", and the teller of the fictitious story about the deadly accident of Mrs. Sappleton's husband and her two young brothers.

Vera is his antagonist because she acted against Framton in full knowledge that her story would actually make his nerves even more delicate. Even though she was just being a mischievous teenager, she would still be considered his antagonist for this very reason.

Contrary to the antagonist, the protagonist of a story is the leading character. Framton is the leading character of "The Open Window" because he is at the center of the story, and because his main problem is also a big part of the plot.

Why did Brecht choose Szechwan as the title for The Good Woman of Szechwan?

Bertolt Brecht's choice of the non-existent locale "Setzuan" as the setting for his drama "The Good Woman of Setzuan" is interesting in many respects.

First, as a German playwright, creating a work that takes place in China was a novel idea, but more importantly, one destined to remove many cultural or social concepts which his audience might overlay on a work set in his native land. Put another way, familiar issues taking place in a far distant land would allow his audience to regard them with fresh eyes, unbiased by their own attitudes and sensibilities.

Another aspect worth considering is that scholars have long associated the title location with the similar-sounding region of Szechwan (known today as Sichuan) in China. Considering that the play is a parable, the foreign setting adds to the "otherworldly" quality of the work--the focus is on the main character's moral conflict; insignificant matters, such as the daily customs of society, are thus relegated to the background where they will not distract from the point of the story.

As for the location itself, while it is unlikely Brecht was aware of it, the majority of the population in Sichuan is described as non-religious. Had Brecht known (which is purely speculative) it would make the drama that much more significant, as the main character struggles to attain moral virtue in a world which she sees as rewarding the evil and punishing the good.

`(2x)/(x^3 - 1)` Write the partial fraction decomposition of the rational expression. Check your result algebraically.

The denominator factors out as `x^3-1=(x-1)(x^2+x+1),` thus the general decomposition is

`(2x)/(x^3-1)=A/(x-1)+(Bx+C)/(x^2+x+1).`

To find A, B and C, multiply both sides by `x^3-1:`

`2x = A(x^2+x+1)+(Bx+C)(x-1),` or

`2x=x^2(A+B)+x(A+C-B)+(A-C),`

so

A+B=0, A+C-B=2 and A-C=0.

From this B=-A, C=A, A+C-B=A+A+A=3A=2, so A=2/3, B=-2/3, C=2/3.

Now check this:

`(2/3)*(1/(x-1)+(-x+1)/(x^2+x+1))=(2/3)*(x^2+x+1-x^2+2x-1)/(x^3-1)=`

`=(2/3)*(3x)/(x^3-1)=(2x)/(x^3-1),` which is correct.

How are the two poems "Because I could mot stop for death" and "I heard a fly buzz - when I died" similar?

Emily Dickinson wrote many poems about death. Two of the most unusual of them are "Because I could not stop for Death" (479) and "I heard a Fly buzz - when I died" (591). Both of these poems relate the death of the speaker in the first person, meaning that the speaker is describing her own death after she has already died. In this each poem violates the adage, "Dead men tell no tales." One of the most mysterious things about death is that no one has lived through it to tell us about it. This accounts for, in our day, public fascination with near death experience accounts like Heaven Is for Real and others.

Both poems personify death, giving it human characteristics. In the former, Death is driving a carriage that brings the speaker to the graveyard. In the latter, death is described as "the King" in line 7. Both poems reveal a resignation toward death; the speaker knew she had to go. In Poem 479, she states, "I had put away / My labor and my leisure too, / For His Civility." Poem 591 mentions the speaker having made her last will and testament. Both poems have a calm, quiet tone. "We slowly drove - He knew no haste" describes the mood in the first poem, and the second refers to "the Stillness in the Room."

Both poems use understatement to great effect. The first describes Immortality, an overwhelming concept, as something that is able to ride as an extra passenger in the carriage. The second focuses on the sound of a fly buzzing--something very mundane and insignificant when compared to the immensity of death.

Both poems use the "fourteener" structure that Dickinson favored: Each stanza consists of fourteen iambic feet arranged in alternating lines of four and three. Of course, both poems also display Dickinson's unique capitalization and punctuation quirks, especially the dash.

Both poems demonstrate Dickinson's unparalleled poetic genius in that they capture a perspective on death that challenges the reader to consider the topic in new and surprising ways.

Which of the following features would be used to construct a phylogenic tree? A. homologous structures B. fossil record data C. DNA-DNA...

The answer to your question is option (d). Homologous structures, fossil record data, DNA-DNA hybridization, and amino acid sequences are all features used to construct a phylogenetic tree.

Phylogenetic trees are like family trees. They show the evolutionary ancestry of different “clades”. A major branch that juts off the main trunk of a phylogenetic tree is considered a clade. A clade is group of similar organisms that are thought to have evolved from a common ancestor.

Phylogeny uses the three broad categories of morphology, genetics, and behavior to find similarities between and classify organisms into groups.

Options (a) and (b) in your question related to the morphology realm of phylogeny. Fossil records can reveal homologous structures. Homologous structures are structures that have similar mechanical designs, but are found in different organisms. Animals that share homologous structures are thought to also share a common ancestor. The arm of a human, leg of a dog, and fin of a whale are examples of homologous structures.

Options (c) and (d) lie within the genetics realm of phylogeny. The more DNA or amino acid sequences two species share, the more closely related they are thought to be.

Poe is a master at creating atmosphere. What are some of the story details and images that would have a strong appeal to an audience?

Poe believed that the point of writing poems or stories was to create an emotional response in the reader. That means that his fiction is less concerned with realism, per se, than it is with “atmospherics,” as you say. Take for example the following passage from beginning of “The Fall of the House of Usher”:

DURING the whole of a dull, dark, and soundless day in the autumn of the year, when the clouds hung oppressively low in the heavens, I had been passing alone, on horseback, through a singularly dreary tract of country, and at length found myself, as the shades of the evening drew on, within view of the melancholy House of Usher. I know not how it was—but, with the first glimpse of the building, a sense of insufferable gloom pervaded my spirit. I say insufferable; for the feeling was unrelieved by any of that half-pleasurable, because poetic, sentiment, with which the mind usually receives even the sternest natural images of the desolate or terrible. I looked upon the scene before me—upon the mere house, and the simple landscape features of the domain—upon the bleak walls—upon the vacant eye-like windows—upon a few rank sedges—and upon a few white trunks of decayed trees—with an utter depression of soul which I can compare to no earthly sensation more properly than to the after-dream of the reveller upon opium—the bitter lapse into every-day life—the hideous dropping off of the veil.

The effect of the passage is to create an emotion – one of oppression, or dread – in the reader. The way he does it is partly through the use of descriptive language the “dull, dark, soundless day,” the “singularly dreary” countryside the traveller crosses – we can visualize, so an extent, this place, with its “vacant eye-like” windows, and “white trunks of decayed trees.” But key element in Poe’s ability to evoke an emotional response lies often in what he does not say explicitly. When he says the house was “insufferable,” it is because of what it lacks – the “half-pleasurable, because poetic, sentiment” one “usually” has when looking upon the melancholy. What that sentiment might be, only the reader really can say. That is, Poe sets the stage with his description, but leaves the actual emotion evoked up to the reader. The effect is intense because it is internalized.

There are many other examples. In “The Tell Tale Heart,” the tension in the story works off of a form of dramatic irony: the narrator can hear the beating heart of the murdered old man, but can the police? As readers, we are put in the murderer’s shoes, and his mania becomes our own. In “The Pit and the Pendulum,” the narrator deliberately refuses to open his eyes; his imagining of his surroundings, and his effort to reconstruct his memory of events parallels the reader’s own effort to comprehend events. In “The Raven,” the repeating word, “nevermore,” certainly evokes a melancholy feeling, one which the poem itself does not define precisely, instead leaving a blank space for the reader to fill with his own emotion.