How do the ideas in A Midsummer Night’s Dream make it enjoyable and entertaining?

Shakespeare's A Midsummer Night's Dreamis about love, dreams, and perceptions of reality (and, by extension, perceptions of the fantastical). These ideas manifest themselves in a variety of ways: young lovers chase each other through a Greek forest and become entangled in the misplaced magical schemes of fairies, while "rude mechanicals" bumble about and struggle to practice a crude play-within-a-play. It is a story where nothing is as it seems, reality is a dreamy haze,...

Shakespeare's A Midsummer Night's Dream is about love, dreams, and perceptions of reality (and, by extension, perceptions of the fantastical). These ideas manifest themselves in a variety of ways: young lovers chase each other through a Greek forest and become entangled in the misplaced magical schemes of fairies, while "rude mechanicals" bumble about and struggle to practice a crude play-within-a-play. It is a story where nothing is as it seems, reality is a dreamy haze, and love dominates drowsy psyches.

It's hard to say exactly how these ideas make the play enjoyable to read, especially since different readers will find different aspects enjoyable (I, for one, think that Bottom is one of Shakespeare's most ingenious creations). It's possible to guess that the play's dreamy atmosphere, preoccupation with mischievous fairies and quarreling lovers, and commentary on the nature of narrative, are above all funny. Indeed, A Midsummer Night's Dream is probably one of Shakespeare's funniest plays, as its fantastical nature conjures some truly hilarious scenes. As such, though it's hard to say with objective certainty why the play is enjoyable, it's possible to guess that the dream-like atmosphere and the depiction of love's complications are quite simply funny to read or watch.

How were the works of female writers like the Bronte sisters looked upon by 19th century society?

Though the works of the Bronte sisters, and other female writers like Jane Austen, were undeniably good, they were looked upon with some criticism or even disregard during the 19th century. The gender norms of the time prevented most women from attaining higher education or becoming involved in academic pursuits. The Bronte sisters were really exceptional not only for the extent of their education but also their boldness in becoming published authors. During the 19th...

Though the works of the Bronte sisters, and other female writers like Jane Austen, were undeniably good, they were looked upon with some criticism or even disregard during the 19th century. The gender norms of the time prevented most women from attaining higher education or becoming involved in academic pursuits. The Bronte sisters were really exceptional not only for the extent of their education but also their boldness in becoming published authors. During the 19th century, an Englishwoman's highest potential was to become a wife and mother. Any other accomplishments, even becoming a best-selling author, were easily overlooked or simply considered a nice addition to a woman's primarily maternal skill set. The Bronte sisters were aware of the predicament their gender posed for them in society, so for their first publication, they chose to use masculine pseudonyms.

After further publications and the rising success of Charlotte's Jane Eyre, rumors arose that the authors Ellis, Currer, and Acton Bell (their chosen pseudonyms) were actually one person. Charlotte and Emily went in person to London to settle the dispute, revealing they were actually three persons and young women. Authorship aside, the works of the Bronte sisters, Jane Austen, and Louisa May Alcott were highly criticized for their feminist themes and challenges to the strict social order of 19th century society. Such controversial material did little to impede the sales of their books—in fact, these famous female authors sold well because their books were controversial. Here were authors unafraid to call out the patriarchal structure of their societies and detail the private sorrows of women. Their books provide a counter-narrative to the ideal of the time that women should be wives and mothers who were seen and not heard.

Show that the length of one arch of the sine curve is equal to the length of one arch of the cosine curve.

There are multiple ways to solve this problem but I will just compute the arc length of sine and cosine over half a period, or one hump. The arc length formula for a function is:

`L=int_a^b sqrt(1+f'(x)^2) dx`

Let f(x)=cos(x) and g(x)=sin(x). Then we want to see if:

`int_a^b sqrt(1+f'(x)^2) dx=int_c^d sqrt(1+g'(x)^2) dx`

`int_(-pi/2)^(pi/2) sqrt(1+cos(x)'^2) dx=int_0^pi sqrt(1+sin(x)'^2) dx`

`int_(-pi/2)^(pi/2) sqrt(1+sin(x)^2) dx=int_0^pi sqrt(1+cos(x)^2) dx`

`int_(-pi/2)^(pi/2) sqrt(2-cos(x)^2) dx=int_0^pi sqrt(2-sin(x)^2) dx`

`sqrt(2) int_(-pi/2)^(pi/2) sqrt(1-1/2 cos(x)^2) dx=sqrt(2) int_0^pi sqrt(1-1/2...

There are multiple ways to solve this problem but I will just compute the arc length of sine and cosine over half a period, or one hump. The arc length formula for a function is:

`L=int_a^b sqrt(1+f'(x)^2) dx`

Let f(x)=cos(x) and g(x)=sin(x). Then we want to see if:

`int_a^b sqrt(1+f'(x)^2) dx=int_c^d sqrt(1+g'(x)^2) dx`

`int_(-pi/2)^(pi/2) sqrt(1+cos(x)'^2) dx=int_0^pi sqrt(1+sin(x)'^2) dx`

`int_(-pi/2)^(pi/2) sqrt(1+sin(x)^2) dx=int_0^pi sqrt(1+cos(x)^2) dx`

`int_(-pi/2)^(pi/2) sqrt(2-cos(x)^2) dx=int_0^pi sqrt(2-sin(x)^2) dx`

`sqrt(2) int_(-pi/2)^(pi/2) sqrt(1-1/2 cos(x)^2) dx=sqrt(2) int_0^pi sqrt(1-1/2 sin(x)^2) dx`

Use symmetry to change the bounds of integration.

`2 sqrt(2) int_(0)^(pi/2) sqrt(1-1/2 cos(x)^2) dx=2 sqrt(2) int_0^(pi/2) sqrt(1-1/2 sin(x)^2) dx`

We need to manipulate the left hand side (LHS) to get it into a similar form as the right hand side. Make a dummie variable u-substitution and then use a trigonometric identity:`x=pi/2-u, dx=-du`

`LHS: 2 sqrt(2) int_(0)^(pi/2) sqrt(1-1/2 cos(pi/2-u)^2) (-du)= -2 sqrt(2) int_(0)^(pi/2) sqrt(1-1/2 sin(u)^2) du`

Change bounds of of integration to be in terms of u so we can drop the dummie variable.

`LHS: -2 sqrt(2) int_(pi/2)^(0) sqrt(1-1/2 sin(u)^2) du=2 sqrt(2) int_(0)^(pi/2) sqrt(1-1/2 sin(u)^2)`

Therefore,

`LHS=RHS`

`2 sqrt(2) int_(0)^(pi/2) sqrt(1-1/2 sin(u)^2)=2 sqrt(2) int_(0)^(pi/2) sqrt(1-1/2 sin(u)^2)`

This is an elliptic integral of the second kind with the form:

`E(phi,k)=int_0^phi sqrt(1-k^2 sin(theta)^2) d(theta), 0<k<1`

Where in this case `E(phi,k)=E(pi/2,1/2)`

This needs to be evaluated numerically but you will find that both sides are equal to:

`2 sqrt(2) E(pi/2,1/2)~~3.8202`

In "The Garden Party," why was the main character undeveloped?

Katherine Mansfield leaves the character of Laura Sheridan relatively undeveloped because writers of this period, Modernism, were experimenting with a new, different style. World War I had recently ended, and the war had produced a very destabilizing effect on modern society.  Modernist writers wanted to capture that destabilization in their work, so many were leaving out expositions, character development, and tidy resolutions at the end of the story.  

Modernist writers wanted their readers to...

Katherine Mansfield leaves the character of Laura Sheridan relatively undeveloped because writers of this period, Modernism, were experimenting with a new, different style. World War I had recently ended, and the war had produced a very destabilizing effect on modern society.  Modernist writers wanted to capture that destabilization in their work, so many were leaving out expositions, character development, and tidy resolutions at the end of the story.  

Modernist writers wanted their readers to become their partners in creating meaning.  What Laura learned about separations between social classes, reality and illusion, and life and death is left unexplained.  Through observing what Laura saw and heard in the wake of her neighbor's death, Mansfield wants readers to draw their own conclusions about these essential conflicts, rather than using Laura to deliver a conclusive message.  Laura's inability to express herself with regard to what she saw at the Scott's house mirrors the inability of modern people to express what they felt about the experience of World War I and the uncertainties of modern life.

Once Congress declares war and the president assumes the role of Commander in Chief, who decides how the war ends?

In Article 2, Section 2 of the Constitution of the United States, it discusses the role of the president as Commander in Chief of the U.S. military forces. The current president, even after he assumes the role of president and takes office, does not actually assume control of the military until "called into service" by the Congress.  According to Article 1, Section 8, only Congress can decide to declare war on another country.  Until such...

In Article 2, Section 2 of the Constitution of the United States, it discusses the role of the president as Commander in Chief of the U.S. military forces. The current president, even after he assumes the role of president and takes office, does not actually assume control of the military until "called into service" by the Congress.  According to Article 1, Section 8, only Congress can decide to declare war on another country.  Until such time as they call on the president, he actually has no active role in the military proceedings of the country.  However, many presidents have historically sent troops to war without actually formally declaring war.  Therefore, presidents have often ignored or bypassed the rules intended by the authors of the Constitution.

This angered many legislators, so under the War Powers Resolution of 1973, it was decided that presidents could only send troops to battle in the case of "a national emergency created by attack upon the United States, its territories or possessions, or its armed forces." The resolution also specified that the president must withdraw troops sixty to ninety days after beginning combat in a foreign territory, unless Congress authorized the continuation of troops there. The legislature does not fully address how conflicts will be ended, however. 

Legal experts and constitutional scholars agree that although the Constitution originally handed Congress the power to make and end wars, it only intended for the president to hold the power to wage war effectively, under whatever circumstances war was declared. While Congress was intended to have the sole power to formally end a war, once the commander in chief is authorized to take control of the troops, they must actively work together to make an end to war happen. This contributes to the balance of power that is necessary to both check the power of the president as well as the power of Congress.

Congress may set limits for troop withdrawal, as in the case of the deployment of troops in 1983 to Lebanon on a peacekeeping mission.  That power was never tested, as they withdrew the troops early after a suicide bombing occurred in the area. To this day, U.S. presidents have loosely acknowledged the agreed upon time limits for troop withdrawal, but not in all cases. In fact, the president may refuse to withdraw troops if he does not agree with the limit imposed, and Congress may only stop him from doing so by passing a law that commands him to do so—a law that is subject to presidential veto.  He or she would only need 34 senators to back him, and as most presidents can achieve this easily, he would ultimately hold the power in deciding when the war is officially over.  

What are the 5 keys to ERP project management success and its functions?

ERP (Enterprise Resource Planning) management involves using software to manage the integration of different business functions, including resources such as cash, production capacity, and raw materials, and commitments such as purchase orders, orders, and payroll. ERP involves integrating business activities such as purchasing, production, manufacturing, marketing and sales, materials, inventory, finance, and shipping.

Five keys to implementing ERP successfully include the following:

• Critical functions need to be identified. An organization should focus on the functions...

ERP (Enterprise Resource Planning) management involves using software to manage the integration of different business functions, including resources such as cash, production capacity, and raw materials, and commitments such as purchase orders, orders, and payroll. ERP involves integrating business activities such as purchasing, production, manufacturing, marketing and sales, materials, inventory, finance, and shipping.

Five keys to implementing ERP successfully include the following:

• Critical functions need to be identified. An organization should focus on the functions that are most important for their business, including functions that are critical to customer satisfaction and to securing their place in the market, rather than concentrating on all functions.


• An ERP project has to be headed by a function-led department. In other words, it must be led by a core business function that is important to the company's success and return. However, this department must also work with the IT department to ensure the successful implementation of the project.


• An ERP implementation must have the right leadership. The leadership team must direct the successful implementation of the project and be committed to change management. The Project Manager should be experienced in implementing this type of project and should develop a realistic timetable for its completion as well as a realistic estimate of the resources needed to complete the project. 


• Change management is a vital part of an ERP project. People must be committed to changing their roles or changing the procedures and processes of the company for the project to meet with success. Key stakeholders have to buy into the success of the project. The Project Manager is critical in communicating with people throughout the process and assessing their readiness for change. 


• People involved in the project must have the right training and support to critically examine their roles and the reasons behind why their areas function as they do. They need to understand the functions of their area and be willing to change them if necessary.

`7^(3x+4)=49^(2x+1)` Solve the equation.

`7^(3x+4)=49^(2x+1)`

To solve, factor the 49.

`7^(3x+4)=(7^2)^(2x+1)`

To simplify the right side, apply the exponent property `(a^m)^n=a^(m*n)` .

`7^(3x+4)=7^(4x+2)`

Since the two sides have the same base, to solve for the value of x, set the exponent at the left equal to the exponent at the right side.

`3x + 4= 4x + 2`

`3x - 4x = 2 - 4`

`-x=-2`

`x=2`

Therefore, the solution is `x = 2` .

`7^(3x+4)=49^(2x+1)`

To solve, factor the 49.

`7^(3x+4)=(7^2)^(2x+1)`

To simplify the right side, apply the exponent property `(a^m)^n=a^(m*n)` .

`7^(3x+4)=7^(4x+2)`

Since the two sides have the same base, to solve for the value of x, set the exponent at the left equal to the exponent at the right side.

`3x + 4= 4x + 2`

`3x - 4x = 2 - 4`

`-x=-2`

`x=2`

Therefore, the solution is `x = 2` .