Why aren't Harrison's parents more emotionally affected by the death of their son?

Harrison's parents are not emotionally affected much at all by the death of their son because they cannot be.  

For Harrison's mother, Hazel, her "perfectly average" intelligence does not allow her to become emotionally invested in much of anything. Even when she speaks to her husband in a caring manner about his health, it is quite shallow. She calls George "honeybunch," but the word feels void of emotion. Hazel's intelligence only allows the most...

Harrison's parents are not emotionally affected much at all by the death of their son because they cannot be.  

For Harrison's mother, Hazel, her "perfectly average" intelligence does not allow her to become emotionally invested in much of anything. Even when she speaks to her husband in a caring manner about his health, it is quite shallow. She calls George "honeybunch," but the word feels void of emotion. Hazel's intelligence only allows the most basic of human responses. Even when the story reveals that Hazel has cried after viewing the death of her son, Vonnegut makes it clear that she cannot sustain thought or emotion by including this exchange between George and Hazel:

"You been crying?" he said to Hazel.

"Yup," she said.

"What about?" he said.

"I forget," she said. "Something real sad on television."  

Harrison's father, George, could be emotionally affected by the death of his son if he did not have to wear the government-issued handicaps that keep him from feeling deeper emotions and thinking deeper thoughts. Because he has been handicapped due to the government's desire to make society completely equal, he cannot muster up any thoughts or emotional reactions that would be better than the lowest common denominator's thoughts and emotions. When George starts to think and feel, incredibly distracting sounds stop his flow of thoughts. It's not that he does not want to feel emotional about his son's death, he just can't.

Given the arguments laid out in History Wars, by Linenthal and Engelhardt, do public museums have a responsibility to be “patriotically correct”?

History Wars is a collection of essays by editors Engelhardt and Linenthal that features articles from prominent historians discussing the nature of politics in the presentation of a particular museum exhibit. The exhibit featured the Enola Gay, which was the Superfortress used by the American military to drop the atomic bomb on Hiroshima in 1945. The way in which the exhibit was presented led to significant criticism from war veterans, which then erupted into a media firestorm.

Historical Conflict

The source of the conflict featured in History Wars lies within the presentation of certain facts surrounding the atomic bombing. Critics argued that the actions of the Japanese military leading up to the bombing, including the Japanese attack on Pearl Harbor, were ignored by the creators of the museum exhibit. The veterans also claimed that the exhibit glossed over the Japanese invasion of Vietnam, Korea and China as well as the treatment of people in these occupied lands.

The Responsibility to Present "Patriotically Correct" Exhibits

Co-editor Edward T. Linenthal explains that the historians who created the exhibit were focused on creating something that was not celebratory of the atomic bombing. This created a clash of ideas over what should and should not be remembered in a historical museum exhibit. Engelhardt and Linenthal also suggest that the focus of the exhibit was to present the Japanese victims of Hiroshima as "the first victims of the nuclear age" and to deliver an "essentially antiwar and antinuclear message." This presentation resulted in a conflict with those who believed the exhibit creators had a responsibility to be "patriotically correct." In this context, patriotic correctness refers to the idea that exhibits should support national interests in their presentation of historical facts and, at the very least, present the actions of the American military in a fuller context.

When analyzing whether museums have a responsibility to support patriotic ideals, it is important to consider the principles of both freedom of speech and academic responsibility. History Wars explains that some of the more inflammatory aspects of the exhibit included highly biased interpretations of events in the war, which is a more significant issue than the perceived lack of patriotism itself. For example, one passage of the original exhibit script painted America's actions as "a war of vengeance" against a nation that simply wanted "to defend their unique culture against Western imperialism."

While an unbiased exhibit might accurately point out the devastating effects of the atomic bombing, which ushered the world into the nuclear age and had many catastrophic effects on the population and environment of Japan, the terminology used in the original Enola Gay exhibit is presented as historically inaccurate by Engelhardt and Linenthal. History Wars shows that the exhibit failed to take into account the complex motivations on both the Japanese and American sides that led to the bombing of Hiroshima. The exhibit also challenged the common view that the atomic bombing was viewed by President Truman as an alternative to a full ground occupation of Japan, which would have resulted in numerous American and Japanese casualties.

Overall, History Wars attempts to present a balanced account of the arguments made by both sides of this historical debate. The general consensus of the essays presented in this work is that the exhibit was historically inaccurate due to its lack of context and that this inaccuracy was a greater issue than any lack of patriotic sentiment. It is implied that an exhibit with more historical context could have easily presented a non-celebratory yet nuanced view of the bombing of Hiroshima without creating a revisionist account of the event.

Does the poem "I'm nobody! Who are you?" create effective, clever, or memorable images? If so, give one or two examples.

Yes, this little poem by Emily Dickinson does create clever and memorable images. In the first stanza, the narrator creates a conspiratorial feeling by saying, "Don't tell! they'd advertise - you know!" You can almost picture the speaker leaning toward you, putting her finger to her lips to shush you, and possibly winking playfully. 

In the second stanza, Dickinson conjures up the image of a Frog. She says that being famous, being "Somebody," is being...

Yes, this little poem by Emily Dickinson does create clever and memorable images. In the first stanza, the narrator creates a conspiratorial feeling by saying, "Don't tell! they'd advertise - you know!" You can almost picture the speaker leaning toward you, putting her finger to her lips to shush you, and possibly winking playfully. 

In the second stanza, Dickinson conjures up the image of a Frog. She says that being famous, being "Somebody," is being "public - like a Frog." If you have walked by a swamp in the early summer and heard bullfrogs calling, you know they seem to be trumpeting out their importance. Some bullfrogs' chests puff up into a big bubble as they repeatedly and insistently croak out, "Me-ee! Me-ee! Me-ee!" (You can see an example on the video link below--start watching at 1:14.) Dickinson goes on to give the name of the month--June--which helps you picture the scene, and to speak of the "admiring bog," which helps you visualize the swamp. I think the image of a bullfrog to symbolize self-importance is very clever and effective! 

What are the themes of The Control of Nature?

The themes of The Control of Nature by John McPhee include hubris, the efforts of man to control nature, and the overwhelming power of nature.

Each of the three situations McPhee explores represents the extreme power of nature. He explores the rerouting of the Mississippi River, mudslides on the San Gabriel Mountains, and volcanic eruptions in Iceland. Each natural incident shows the ability of nature to affect humans without human consent; each incident requires extreme...

The themes of The Control of Nature by John McPhee include hubris, the efforts of man to control nature, and the overwhelming power of nature.

Each of the three situations McPhee explores represents the extreme power of nature. He explores the rerouting of the Mississippi River, mudslides on the San Gabriel Mountains, and volcanic eruptions in Iceland. Each natural incident shows the ability of nature to affect humans without human consent; each incident requires extreme measures to deal with. 

McPhee digs into the ways that people try to control awesome natural forces. People want to be able to use all land available to them. They do not want to be limited to just the places that are not threatened by things like rivers, mudslides, and volcanos. If those threats can be mitigated, then people have more freedom to live where they want. 

The entire book is a study in the hubris of mankind when faced with environmental challenges. Humans believe that they can shape the world to their standards, but our efforts are often undone by the sheer power of nature. Nonetheless, we pit ourselves against things as destructive as lava flows because we believe we can find a way to do better. McPhee shows that this often has not been proven true. 

Attempts to reroute the Mississippi has led to the destabilization of entire parts of the drainage system. Trying to stem the flow of magma in Iceland results in massive uses of equipment and personnel over many years and no one is sure whether it is their efforts that have led to success. Battling mudslides in the San Gabriel Mountains leads to a cycle where what comes from the mountains and settles in basins is dug out and brought back into the mountains. 

McPhee's study of how humans attempt to mitigate natural forces exposes both the power of nature and the lengths to which people will go to control it. Human efforts to control the natural world show an overwhelming sense of hubris on the part of humankind. 

`int x/sqrt(x^2+6x+12) dx` Complete the square and find the indefinite integral

Recall indefinite integral follows `int f(x) dx = F(x)+C`

 where:

`f(x)` as the integrand

`F(x)` as the antiderivative of `f(x)`

`C` as the constant of integration.

To evaluate the given integral:  `int x/sqrt(x^2+6x+12)dx` , we  may apply completing the square at the trinomial: `x^2+6x+12` .

Completing the square:

`x^2+6x+12` is in a form of `ax^2 +bx+c`

 where:

`a =1`

`b =6`

 `c= 12`

 To complete square ,we add and subtract `(-b/(2a))^2` :

With `a=1 ` and `b = 6` then:

`(-b/(2a))^2 =(-6/(2*1))^2 = 9`

Then `x^2+6x+12` becomes:

`x^2+6x+ 12 +9-9`

`(x^2+6x+9) + 12 -9`

`(x+3)^2 +3`

Applying `x^2 +6x +12 =(x+3)^2 + 3` in the given integral, we get:

`int x/sqrt(x^2+6x+12)dx=int x/sqrt((x+3)^2 + 3)dx`

We may apply u-substitution by letting:  `u = x+3` or` x =u-3` then `du = dx` .

The integral becomes:

`int x/sqrt((x+3)^2 + 3)dx =int (u-3)/sqrt(u^2 + 3)du`

Apply the basic integration property: `int (u-v) dx = int (u) dx - int (v) dx` .

`int (u-3)/sqrt(u^2 + 3)du =int u/sqrt(u^2 + 3)du -int 3/sqrt(u^2 + 3)du`

For the integral of  `int u/sqrt(u^2 + 3)du` , we may apply formula from integration table: `int u/sqrt(u^2+-a^2) du = sqrt(u^2+-a^2) +C`

Take note we have + sign inside the root then we follow: `int u/sqrt(u^2+a^2) du = sqrt(u^2+a^2) +C` .

`int u/sqrt(u^2 + 3)du=sqrt(u^2+3) `                         

For the integral of `int 3/sqrt(u^2 + 3)du` , we use the basic integration property: `int cf(x)dx = c int f(x) dx.`

`int 3/sqrt(u^2 + 3)du = 3int 1/sqrt(u^2 + 3)du`

From integration table, we may apply the formula for rational function with roots:

`int 1/sqrt(x^2+-a^2)dx = ln|x+sqrt(x^2+-a^2)| +C`

With just `(+)` inside the root, we follow:`int 1/sqrt(x^2+a^2)dx = ln|x+sqrt(x^2+a^2)| ` +C.

`3int 1/sqrt(u^2 + 3)du=ln|u+sqrt(u^2+3)|`

Combining the results, we get:

`int (u-3)/sqrt(u^2 + 3)du =sqrt(u^2+3) -ln|u+sqrt(u^2+3)| +C`

Plug-in `u = x+3` on `sqrt(u^2+3) -ln|u+sqrt(u^2+3)| +C` , we get the indefinite integral as:

`int x/sqrt(x^2+6x+12)dx =sqrt((x+3)^2+3) -ln|x+3+sqrt((x+3)^2+3)| +C`

Recall: `(x+3)^2+3 =x^2+6x+12` then the indefinite integral can also be expressed as:

`int x/sqrt(x^2+6x+12)dx =sqrt(x^2+6x+12) -ln|x+3+sqrt(x^2+6x+12)| +C`

`int sin5xsin4x dx` Find the indefinite integral

Indefinite integrals are written in the form of `int f(x) dx = F(x) +C`

 where: `f(x)` as the integrand

           `F(x)` as the anti-derivative function 

           `C`  as the arbitrary constant known as constant of integration

For the given problem` int sin(5theta)sin(4theta) d theta`  has an integrand in the form of a trigonometric function. To evaluate this, we apply the identity:

`sin(A)sin(B) =[-cos(A+B) +cos(A-B)]/2`

The integral becomes:

`intsin(5theta)sin(4theta)d theta= int[-cos(5theta+4theta) + cos(5theta -4theta)]/2 d theta`

 Apply the basic properties of integration:` int c*f(x) dx= c int f(x) dx` .

`int[-cos(5theta+4theta) + cos(5theta -4theta)]/2 d theta= 1/2int[-cos(5theta+4theta) +cos(5theta -4theta)] d theta`

 Apply the basic integration property:`int (u+v) dx = int (u) dx + int (v) dx` .

`1/2 *[int-cos(5theta+4theta)d theta+cos(5theta -4theta)d theta]`

Then apply u-substitution to be able to apply integration formula for cosine function: `int cos(u) du= sin(u) +C` .

For the integral:`int-cos(5theta+4theta)`   d theta, we let` u =5theta +4theta =9theta` then `du= 9 d theta` or `(du)/9 =d theta` .

`int -cos(5theta+4theta)d theta=int -cos(9theta)d theta`

                                   `=int -cos(u) *(du)/9`

                                   `= -1/9 int cos(u)du`

                                    `= -1/9 sin(u) +C`

Plug-in `u =9theta` on `-1/9 sin(u) +C` , we get:

`int-cos(5theta+4theta)d theta= -1/9 sin(9theta) +C`

 For the integral: `intcos(5theta -4theta)d theta` , we let `u =5theta -4theta =theta` then `du= d theta` .

`intcos(5theta -4theta)d theta = intcos(theta) d theta`

                              `=intcos(u) *(du)`

                               `=sin(u) +C`

Plug-in `u =theta` on `1/2 sin(u) +C` , we get:

`intcos(5theta -4theta)d theta = sin(theta) +C`

Combining the results, we get the indefinite integral as:

`intsin(5theta)sin(4theta)d theta = 1/2*[ -1/9 sin(9theta) + sin(theta)] +C`

or  `- 1/18 sin(4theta) +1/2 sin(theta) +C`

Did you find this to be a disturbing story?

The definition of "disturbing" is when peace and harmony are interrupted or interfered with. In O'Connor's "A Good Man is Hard to Find," the peace and tranquility of the family traveling for a holiday are fatally interrupted when they take a wrong road and come in contact with The Misfit and his gang. The family may have escaped unharmed if the grandmother had not identified the men as escaped convicts, which makes one feel sorry...

The definition of "disturbing" is when peace and harmony are interrupted or interfered with. In O'Connor's "A Good Man is Hard to Find," the peace and tranquility of the family traveling for a holiday are fatally interrupted when they take a wrong road and come in contact with The Misfit and his gang. The family may have escaped unharmed if the grandmother had not identified the men as escaped convicts, which makes one feel sorry for the family. Probably the most disturbing fact of the story, however, is the polite, yet carefree, way that the deaths are carried out. For example, the Misfit says the following:

"Lady, . . . would you and that little girl like to step off yonder with Bobby Lee and Hiram and join your husband?"

Then the mother simply says, "Yes, thank you," and walks her daughter and herself into the woods to be killed like her husband just was. The mother doesn't put up a fight, or argue, or try to escape! Another disturbing thought is how easily the other men carry out The Misfit's orders. These men kill men, women, and children without a second thought! After the surprise of such evil wears off, a reader might realize just how desensitized and callous some people can become; however, each reader might find a different part of the story that disturbs him or her in a different way. Which part of the story upsets you?