In what way do you see the plot and characters in the novel parallel to the Spanish Civil War during the time?

The Spanish Civil War, which occurred from 1936 to 1939, was a series of struggles primarily between the supporters of the preexisting Spanish Republic and the proponents of a fascist military coup, with some resistance by anarchists and communists. The novel Nada, by Carmen LaForet, places its main character, Andrea, within a complicated and interwoven set of family conflicts, leaving her with a feeling of emptiness that mirrors the desolate postwar streets of Barcelona. Her aunt Angustias is controlling towards everyone around her, and her uncle Juan abuses his wife; even her best friend, Ena, soon reveals that the friendship between the two was the basis of a plan for revenge against Andrea's uncle, who had once humiliated Ena's mother. These conflicts occasionally become violent in Andrea's family household, and she finds herself feeling deprived of her freedom due to her reliance on her family. The oppressive nature of Andrea's family, which is often violent, abusive, and controlling, parallels the authoritarian postwar government under Franco. Andrea's feeling of meaninglessness, which the title (Spanish for "nothing") echoes, may parallel the sense of loss Spanish people experienced witnessing their democratic government devolve into fascism. Andrea's nihilism in the crumbling household of her ruined family mirrors her reaction to the crumbling streets of postwar Barcelona, providing a sense of hopelessness applicable to the oppressive political situation in postwar Spain, as well as the oppressive set of family conflicts Andrea finds herself trapped within.

What is one of the themes of William Blake's poem "The Tyger?"

The divine source of creation is a theme in William Blake's poem "The Tyger," keeping suit with Blake's Pre-Romantic aesthetic and simultaneous interest in the Bible and irreverence toward the Church of England.

The poem questions, "What immortal hand or eye, / Could frame thy fearful symmetry?" In other words, the poet is questioning what kind of god could be responsible for creating a creature who is inherently destructive in nature. This is an especially potent question within the context of the Lamb referenced in the fifth stanza. How could a divine creator create two such seemingly opposite animals--one that is the pinnacle of innocence and one that is a killer? Blake does not provide any answers to these questions, but rather simply opens a dialogue for a discussion of this duality.

This poem is ultimately also a reflection of the limitations of human understanding, particularly as we try to discern the moral questions of good versus evil. 

How would you describe Miss Brill as she is presented at the beginning of the story?

At the beginning of the story, Miss Brill is old fashioned but whimsical.  She clearly has a ritual where she walks to the park and listens to the band play each Sunday, and she decides to wear her old fox fur, a very old fashioned accessory.  Moreover, her bygone-era formality is further indicated by her appellation: we aren't told her first name; we can only call her "Miss."  Despite her age, she is somewhat playful, thinking of her fox fur as a "little rogue."  The narrator's descriptions of her perception are also whimsical.  The band's music, the ages of the people passing by, what colors they wear: Miss Brill is thrilled by the colors and conversations and sounds.  She is quite imaginative when she begins to fantasize that they are all in a play. 

However, the narrative begins to shift when it seems that she doesn't recognize this fantasy as a product of her imagination.  Miss Brill seems to actually believe that they are in a play, that she would be missed if she failed to appear one Sunday.  At this point, she begins to seem less whimsical and more delusional, less optimistic and perceptive, and actually rather sad.

From chapters 22 and 23 of To Kill a Mockingbird, what literary techniques are used?

Literary techniques, sometimes called narrative techniques, encompass many different strategies that authors use to tell a story. Some examples of literary techniques include juxtaposition, the use of foils, flashbacks, plot twists, and foreshadowing. Chapters 22 and 23 detail events that take place after the Tom Robinson trial. Jem, specifically, struggles through the painful effects of a bildungsroman--otherwise known as a coming-of-age story. For example, Lee tracks Jem's steps from the courtroom to Miss Maudie's house, then to having discussions with Atticus about what occurred during the trial. Jem is baffled that Tom was not allowed to go free. He describes his disappointment with a simile as follows:

"It's like being' a caterpillar in a cocoon, that's what it is . . . Like somethin' asleep wrapped up in a warm place. I always thought Maycomb folks were the best folks in the world, least that's what they seemed like" (215).

Jem's disenchantment with the people of his town opens up the way for him to realize the realities of life in the South. What seemed like a good life in Maycomb is now destroyed by Jem's experience with the prejudices shown during the trial of Tom Robinson. Jem's naive hope that the world always seeks what's right, or that truth will always prevail, is destroyed. As a result, a boy faces the realities of the adult world and must come to terms with them. Consequently, he will never be able to return to his child-like, naive self. 

In chapter 23, discussions at the Finch house become more serious in nature. Jem's brain is filled with questions as he seeks answers while going through his rite of passage. Jem doesn't understand why Tom Robinson would get the death penalty for a conviction of rape. This leads Atticus to teach his son that the problem lies with the prejudices against African Americans, not the law. Atticus gives Jem a lesson on the following clarifying truth:

"As you grow older, you'll see white men cheat black men every day of your life, but let me tell you something and don't you forget it--whenever a white man does that to a black man, no matter who he is, how rich he is, or how fine a family he comes from, that white man is trash" (220).

Thus, Atticus teaches his son about the realities of the adult world in the South. Jem must face these facts and make a decision about what type of man he will become. Therefore, the primary technique used in chapters 22 and 23 is a bildungsroman because the focus is on explaining to Jem about what actually happened during the Tom Robinson trial. Once Jem accepts these new realities, he will enter the world of adults.  

One other technique used in chapter 23 has to do with creating foil characters with Atticus Finch and Bob Ewell. Foils are two characters who are complete opposites of each other. They are pitted against each other to show the difference between two different thoughts, philosophies, or agendas. For example, Atticus represents everything good, wholesome, proper and fair. On the other hand, Bob Ewell is disgusting, uneducated, ill-mannered, and a liar. When Bob Ewell challenges Atticus to a fight, he is disappointed that Atticus's response is that he's too old to fight. As a result, Atticus comes off looking like the better man on so many levels. Not only is Atticus kind and compassionate, but he doesn't hold a grudge towards one of the meanest men in Maycomb, either. For instance, Atticus tells Jem the following about Bob Ewell:

"Jem, see if you can stand in Bob Ewell's shoes a minute. I destroyed his last shred of credibility at that trial, if he had any to begin with. The man had to have some kind of comeback, his kind always does. So if spitting in my face and threatening me saved Mayella Ewell one extra beating, that's something I'll gladly take" (218).

Not only does Bob Ewell spit in Atticus's face, but he also calls him derogatory names in public. Atticus doesn't respond because he can't be provoked to lower himself to Ewell's level. By pitting an evil man against one of the kindest, most loving, and self-contained characters, Lee creates an excellent example of the use of foils to drive her plot forward. The discussions about Bob Ewell in the Finch home after the threatening public display center around protecting themselves from future attacks. These family discussions, and subsequent worries about Ewell by the children, foreshadow the attack on Jem and Scout later on in chapter 28. The following exchange between Atticus and Alexandra can be viewed as a foreshadowing:

"We don't have anything to fear from Bob Ewell, he got it all out of his system that morning.'"

"'I wouldn't be so sure of that, Atticus,' [Aunt Alexandra] said. 'His kind'd do anything to pay off a grudge. You know how those people are'" (218).

Aunt Alexandra's words ring true in the end; therefore, this is a foreshadowing of things to come from this point in the story.

`f(x,y) = x^3 -4xy^2 + y^3` Determine whether the function is homogenous and if it is, determine its degree

Given,

`f(x,y) = x^3 -4xy^2 + y^3`

to check whether it is homogenous or not

`f(tx,ty)=(tx)^3 -4tx (ty)^2 + (ty)^3 = (t^3)(x^3 -4xy^2 + y^3)`

so this is of the form

`f(tx,ty)=t^n f(x,y)`

and so the function f(x,y) is homogenous,

`f(tx,ty)= (t^3)(x^3 -4xy^2 + y^3)`

and the Degree `n =3`

What attitudes distinguished the points of view of Mrs. Mallard and those who are concerned about her welfare?

After she receives the news of her husband's death, Louise Mallard understands that she is actually much better off, emotionally, than she ever was when her husband was alive.  Though she knows that he loved her, she can only focus on the fact that she is now "'free, free, free!'"  Despite the fact that their relationship seemed relatively happy, she felt that her will always had bend to his; the Victorian wife had no real identity of her own, and she was forced to allow her husband to make all decisions for their family and livelihood.

Louise's sister and friend, however, are more concerned about her physical well-being.  They are concerned, especially, when she locks herself in her room.  They believe that she has a heart condition, and they are most concerned that the news that her husband has died could kill her as a result of this condition.  Richards even attempts to shield Brently Mallard from his wife's view because he worries that shock of seeing him after she's been told he's dead would kill her; ironically, he's right, but not for the reason he believes. 

Do people talk the way they do in Shakespeare's plays?

No. Most of Shakespeare's plays are written in what is known as blank verse. Blank verse is an unrhymed line of speech written in iambic pentameter. Iambic pentameter is a line of poetry or verse that contains ten syllables (two syllables equal one foot; you may hear this expressed as five feet in future study). The first syllable in a line of iambic pentameter will be unstressed and the second will be stressed and continue in this pattern until the tenth syllable.

o ROmeo, ROmeo! WHEREfore ART thou ROmeo?

Note the lines will often have either nine, ten or eleven syllables but will still follow blank verse.

For the most part, in real life, we speak in various patterns. Occasionally, that will include a blank verse line, but in general, people do not speak this way. Shakespeare's language employed a great deal of puns (word play hinting at two or more meanings to any given word or phrase). Yes, we do speak in puns in day-to-day language, especially when speaking casually or employing common slang with peers. However, Shakespeare’s use of puns was deliberate and measured, and therefore it is likely that we are not quite as deliberate as Shakespeare was when selecting specific speech for his characters. Therefore, though we may find examples of human speech that mirror Shakespeare’s language, we do not, on the whole, speak as Romeo, Juliet, Macbeth, or Lear do.