Compare the roles of the city and jungle in novel Lost City Radio. Make sure to quote the text and closely analyze the metaphors and symbols, and...

In Lost City Radio,the city represents hope, and it plays the role of providing hope for people. When the inhabitants of Victor's town send him to the city, they write a letter to accompany him that states, "We, the residents of 1797, have pooled our monies together and sent him to the city. We want a better life for Victor. There is no future for him here" (page 5). The residents send Victor to...

In Lost City Radio, the city represents hope, and it plays the role of providing hope for people. When the inhabitants of Victor's town send him to the city, they write a letter to accompany him that states, "We, the residents of 1797, have pooled our monies together and sent him to the city. We want a better life for Victor. There is no future for him here" (page 5). The residents send Victor to Norma because, as the voice of Lost City Radio, she is the voice of hope. Each Saturday night, Norma broadcasts her show, looking for people lost during the war. Her show is described in the following way: "And Norma listened, and then repeated the names in her mellifluous voice, and the board would light up with calls, lonely red lights, people longing to be found" (page 9). Norma is the voice of the city, the voice of hope. The red lights symbolize the lost people who want to find their displaced love ones in the city and forge a better future. The tone in these passages is one of hope and longing for a better tomorrow.

The jungle, on the other hand, represents the forgotten past. The government has changed the names of the villages so that people will forget the misery of the past. The role the jungle plays is one of forgetfulness. As Alarcon writes, "When the war ended, the government confiscated the old maps. They were taken off the shelves at the National Library, turned in by private citizens, cut out of school textbooks, and burned" (page 5). The destruction of the maps symbolizes the destruction of the past. The maps are a symbol of history, and their destruction means that the government is trying to erase the past. Alarcon writes, "Once, Victor's village had a name, but it was lost now. [Norma's] husband, Rey, had vanished near there" (page 5). The jungle is the sight of everything that is past and that has been erased. Even Victor does not know the name of his village before it became 1797, and Norma's husband, Rey, long ago vanished into the jungle, never to appear. The tone of the passages describing the jungle is one of despair.

`y=sqrt(x) +1 , y=1/3x + 1` Find the x and y moments of inertia and center of mass for the laminas of uniform density `p` bounded by the...

For an irregularly shaped planar lamina of uniform density `(rho)`  , bounded by graphs `y=f(x),y=g(x)` and `a<=x<=b` , the mass `(m)` of this region is given by:

`m=rhoint_a^b[f(x)-g(x)]dx`

`m=rhoA` , where A is the area of the region.

The moments about the x- and y-axes are given by:

`M_x=rhoint_a^b 1/2([f(x)]^2-[g(x)]^2)dx`

`M_y=rhoint_a^bx(f(x)-g(x))dx`

The center of mass `(barx,bary)` is given by:

`barx=M_y/m`

`bary=M_x/m`

We are given:`y=sqrt(x)+1,y=1/3x+1`

Refer to the attached image, plot of `y=sqrt(x)+1` is red in color and...

For an irregularly shaped planar lamina of uniform density `(rho)`  , bounded by graphs `y=f(x),y=g(x)` and `a<=x<=b` , the mass `(m)` of this region is given by:

`m=rhoint_a^b[f(x)-g(x)]dx`

`m=rhoA` , where A is the area of the region.

The moments about the x- and y-axes are given by:

`M_x=rhoint_a^b 1/2([f(x)]^2-[g(x)]^2)dx`

`M_y=rhoint_a^bx(f(x)-g(x))dx`

The center of mass `(barx,bary)` is given by:

`barx=M_y/m`

`bary=M_x/m`

We are given:`y=sqrt(x)+1,y=1/3x+1`

Refer to the attached image, plot of `y=sqrt(x)+1` is red in color and plot of `y=1/3x+1` is blue in color.The curves intersect at `(0,1)` and `(9,4)` .

Now let's evaluate the area of the region bounded by the graphs of the given equations,

`A=int_0^9((sqrt(x)+1)-(1/3x+1))dx`

`A=int_0^9(sqrt(x)+1-1/3x-1)dx`

`A=int_0^9(sqrt(x)-1/3x)dx`

Evaluate using power rule,

`A=[x^(1/2+1)/(1/2+1)-1/3(x^2/2)]_0^9`

`A=[2/3x^(3/2)-1/6x^2]_0^9`

`A=[2/3(9)^(3/2)-1/6(9)^2]`

`A=[2/3(3^2)^(3/2)-1/6(81)]`

`A=[2/3(3)^3-27/2]`

`A=[18-27/2]`

`A=9/2`

Now let's find the moments about the x- and y-axes using the formulas stated above,

`M_x=rhoint_0^9 1/2([sqrt(x)+1]^2-[1/3x+1]^2)dx`

`M_x=rhoint_0^9 1/2([x+2sqrt(x)+1]-[(1/3x)^2+2(1/3x)(1)+1^2])dx`

`M_x=rhoint_0^9 1/2(x+2sqrt(x)+1-x^2/9-2/3x-1)dx`

Take the constant out,

`M_x=rho/2int_0^9(x-2/3x+2sqrt(x)-x^2/9)dx`

`M_x=rho/2int_0^9(x/3+2(x)^(1/2)-x^2/9)dx`

Apply the basic integration rules i.e sum and power rules,

`M_x=rho/2[1/3(x^2/2)+2x^(1/2+1)/(1/2+1)-1/9(x^3/3)]_0^9`

`M_x=rho/2[x^2/6+2(2/3)x^(3/2)-x^3/27]_0^9`

`M_x=rho/2[x^2/6+4/3x^(3/2)-x^3/27]_0^9`

`M_x=rho/2[9^2/6+4/3(9)^(3/2)-9^3/27]`

`M_x=rho/2[81/6+4/3(3^2)^(3/2)-9^3/(9*3)]`

`M_x=rho/2[27/2+4/3(3^3)-27]`

`M_x=rho/2[27/2+36-27]`

`M_x=rho/2[27/2+9]`

`M_x=rho/2((27+18)/2)`

`M_x=45/4rho`

`M_y=rhoint_0^9x((sqrt(x)+1)-(1/3x+1))dx`

`M_y=rhoint_0^9x(sqrt(x)+1-1/3x-1)dx`

`M_y=rhoint_0^9x(x^(1/2)-1/3x)dx`

`M_y=rhoint_0^9(x^(3/2)-1/3x^2)dx`

`M_y=rho[x^(3/2+1)/(3/2+1)-1/3(x^3/3)]_0^9`

`M_y=rho[2/5x^(5/2)-1/9x^3]_0^9`

`M_y=rho[2/5(9)^(5/2)-1/9(9)^3]`

`M_y=rho[2/5(3^2)^(5/2)-81]`

`M_y=rho[2/5(3)^5-81]`

`M_y=rho[2/5(243)-81]`

`M_y=rho[486/5-81]`

`M_y=rho[(486-405)/5]`

`M_y=81/5rho`

Now let's evaluate the coordinates of the center of mass by plugging in the values of the moments and area,

`barx=M_y/m=M_y/(rhoA)`  

`barx=(81/5rho)/(rho9/2)`

`barx=(81/5)(2/9)`

`barx=18/5`

`bary=M_x/m=M_x/(rhoA)`

`bary=(45/4rho)/(rho9/2)`

`bary=(45/4)(2/9)`

`bary=5/2`

The center of mass is `(18/5,5/2)`

What quotes in The Crucible show that Reverend Parris mentions hell a lot in his sermons?

In Act I, when Thomas Putnam accuses John Proctor of hardly ever coming to Sabbath day services, Proctor retorts,

I have trouble enough without I come five mile to hear [Parris] preach only hellfire and bloody damnation.  Take it to heart, Mr. Parris.  There are many others who stay away from church these days because you hardly ever mention God any more.

Proctor defends his decision not to come to the meetinghouse on Sunday mornings...

In Act I, when Thomas Putnam accuses John Proctor of hardly ever coming to Sabbath day services, Proctor retorts,

I have trouble enough without I come five mile to hear [Parris] preach only hellfire and bloody damnation.  Take it to heart, Mr. Parris.  There are many others who stay away from church these days because you hardly ever mention God any more.

Proctor defends his decision not to come to the meetinghouse on Sunday mornings because, he seems to say, life is hard enough without having to travel a significant distance only to hear a preacher who seems so negative, who inspires fear rather than hope or love, who speaks of the tortures of hell without at least tempering it with references to the pleasures of heaven.

Rebecca Nurse confirms John's point to an extent, saying, "It's somewhat true; there are many that quail to bring their children--."  We can assume that she was going to finish her sentence with "to Sabbath day service" or the like before Parris interrupted her.  He claims that he does not preach for the benefit of children because it is not children who are "unmindful of their obligations toward this ministry."  Thus, it sounds as though Reverend Parris feels that many in his parish do not treat him or his office with the respect that they should, and so he uses Sunday service as an opportunity to remind them that hell awaits if their failure continues.  

How was the Virgin Mary depicted in the Middle Ages and the Renaissance?

During the Middle Ages, representations of the Virgin Mary developed into certain well-known types. For example, the Virgin Hodegetria held the infant Jesus in her left arm and pointed towards the child with her right, indicating the way to salvation. In the Virgin Eleousa, Mary's more compassionate and soft side is emphasized, as she touches her cheek to that of the infant Jesus, and he encircles her with his arms. 

Western representations of the Virgin, such as ...

During the Middle Ages, representations of the Virgin Mary developed into certain well-known types. For example, the Virgin Hodegetria held the infant Jesus in her left arm and pointed towards the child with her right, indicating the way to salvation. In the Virgin Eleousa, Mary's more compassionate and soft side is emphasized, as she touches her cheek to that of the infant Jesus, and he encircles her with his arms. 

Western representations of the Virgin, such as Throne of Wisdom (12th century), were influenced by Byzantine representations. During the Romanesque period, Mary's regal aspect was emphasized. She was often pictured wearing a blue cloak that also covered her head and was often surrounded by a halo. An example of this type of painting includes the Madonna of humility (a famous example of which was created by Dominico di Bartolo in 1433). The Madonna of humility often sits on the ground and cradles her son. During the Gothic period, Mary was depicted as a maternal figure who cared for her son. For example, the Rest on the Flight to Egypt, c. 1510, by Gerard David, shows the Madonna bestowing care on her infant son. 

During the Renaissance, Mary was sometimes painted alone in scenes representing the Annunciation and other scenes, but she was more often portrayed along with her infant son in poses that convey her tenderness. In addition, the Pietà, in which Mary is shown holding the dead body of Jesus, gained popularity (examples include that by Michelangelo). These works were often meant to evoke compassion and depict Mary in a state of grief and suffering--and therefore to show her human (as opposed to her regal) side. In many works of art in the Northern Renaissance, Mary was depicted as the ideal mother who nurtured Jesus, and she was intended to be a role model for women. 

How would you describe Montag's feelings as he burns his own house?

Montag enjoys burning his own home because it means he is destroying all of the emptiness that it represents. He wasn't happy in his home with his wife Mildred. When Montag finds out Mildred was who called the alarm on him, he decides there's no reason to save a home for a broken marriage. The text describes what Montag thinks and feels as he goes from room to room with the flamethrower. First, he goes to the bedroom and burns the twin beds. Their marriage was so divided that he and his wife didn't even sleep together in the same bed. He is actually surprised when the beds burn "in a great simmering whisper, with more heat and passion and light than he would have supposed them to contain" (116). It's as if there is more emotion involved burning down the bedroom than was ever felt therein.

Next, Montag burns the bedroom walls and cosmetics chest before moving into the dining room to torch everything there. As he is torching the dishes, he remembers how empty he felt in this house "with a strange woman who would forget him tomorrow" (116). He is really feeling the futility of their relationship and their life together as he burns everything. As a result, he feels the joy of burning something again. Montag rationalizes his feelings by thinking that since there was no solution to the emptiness he felt in his life, then burning down the house that represented his emptiness is not problematic.

When Montag reaches the dreaded parlor, he takes full pleasure blasting that room with fire. He's more than happy to throw flames on the walls and screens in an effort to destroy the emptiness they always seemed to cause him.

"The emptiness made an even emptier whistle, a senseless scream. . . He cut off its terrible emptiness, drew back, and gave the entire room a gift of one huge bright yellow flower of burning" (117).

Montag really works up a sweat burning his own house. It's as if he is symbolically burning down his old life to replace it with a new one. At the end of it all, it seems as if Montag is relieved, in a way—relieved to have some closure to the unanswerable questions about his life and his marriage. All of those concerns go up in smoke just like his house.

In "A Sound of Thunder," why was the walkway so important to the success of the safari and the future of the world?

In "A Sound of Thunder," the walkway is crucial to the success of the safari and the world because it ensures that nothing in the past is altered. This is important because any change made in the past, no matter how small or big, has consequences for the future.

The importance of the walkway is demonstrated through its description. It hovers six inches above the ground, for example, and does not touch even a blade...

In "A Sound of Thunder," the walkway is crucial to the success of the safari and the world because it ensures that nothing in the past is altered. This is important because any change made in the past, no matter how small or big, has consequences for the future.

The importance of the walkway is demonstrated through its description. It hovers six inches above the ground, for example, and does not touch even a blade of grass in the past. The Safari Guide, Mr. Travis, gives clear directions that nobody must ever stray from the walkway:

Don’t go off it. I repeat. Don’t go off. For any reason!

When faced with the dinosaur, however, Eckels has a moment of panic and strays from the walkway. It is only at the end of the story that he realizes that he has stepped on a butterfly, an action which has forever altered the course of time.

Is Odysseus someone who would be admired by young people today? Write a three-paragraph response in which you describe Odysseus' behavior and...

A working method for a three-paragraph response might be arranged as follows:

First paragraph:  State your thesis, such as "I think Odysseus would be a hero in today's world for the following reasons" and then speak to Odysseus' motives for entering the Trojan War in the first place and his behavior at Troy: loyalty to family members, keeping his oath regarding Helena, his good behavior in Aulis, his cleverness (including the Trojan Horse idea), etc., comparing...

A working method for a three-paragraph response might be arranged as follows:

First paragraph:  State your thesis, such as "I think Odysseus would be a hero in today's world for the following reasons" and then speak to Odysseus' motives for entering the Trojan War in the first place and his behavior at Troy: loyalty to family members, keeping his oath regarding Helena, his good behavior in Aulis, his cleverness (including the Trojan Horse idea), etc., comparing these traits to modern heroism and regard for military commitment.  The second paragraph would compare his personality and character on his voyage home (curiosity, inventiveness, bravery, loyalty to his fellow sailors and crewmen, etc. -- his adventures such as how he saved his men from the Cyclops; how he steered around Scylla and Charybdis) to admired traits in modern times.  Finally, you could discuss the qualities he displays on his return to Penelope, his treatment of the suitors, his love of his son, his trust in his employees, etc. and compare them to the admirable traits respected in today's world. How those traits are given value in the modern world would be your sociological evaluation of your peers:  is inventiveness admired?   One comparison might be made between Odysseus' attraction to the music of the Sirens and modern musical "obsessions." Is perseverance(possibly Odysseus's strongest feature)?  How about keeping promises -- is that still a valued trait today?