Why did American citizens not want the United States to get involved in World War I?

There were a variety of reasons many Americans did not want the country to get involved in World War I. For one thing, the conflict was absolutely devastating, and Americans were able to get a sense of this from media coverage. By the time the United States entered the war, virtually all of the belligerent nations had suffered devastating losses, and few Americans wanted to send troops to Europe. Another reason was that the United...

There were a variety of reasons many Americans did not want the country to get involved in World War I. For one thing, the conflict was absolutely devastating, and Americans were able to get a sense of this from media coverage. By the time the United States entered the war, virtually all of the belligerent nations had suffered devastating losses, and few Americans wanted to send troops to Europe. Another reason was that the United States had, since the days of George Washington, steadfastly avoided entanglement in European conflicts--it had become a sort of article of faith that they should continue to do so. It is also important to remember that there were many German-Americans in the United States, and most of them hoped for a German victory. So too did many Irish-Americans, as their ancestral homeland was involved in a fight for independence against British rule at the same time as WWI. Many left-leaning progressives viewed the war as being fought on behalf of capital, and to further the causes of militarism and imperialism, and objected to US involvement on those grounds. Others saw it as another version of the age-old power struggle between corrupt European dynasties, one which the United States had no business getting involved in. So there were many reasons why Americans did not want to get involved in the First World War.

What is the history of Columbina in Commedia dell'Arte?

Experts maintain that the stock character of Columbina in Commedia dell'Arte was very much influenced by an earlier character model, the Soubrette or La Servetta of 17th century French comedy. The Soubrette was usually a female servant or housemaid who displayed flirtatious, mischievous, and coquettish tendencies. She was also intelligent, witty, and resourceful.

Her roots in Latin comedy have been well documented; in Plautus' comedies, this capricious servant character was always portrayed as a shrewd...

Experts maintain that the stock character of Columbina in Commedia dell'Arte was very much influenced by an earlier character model, the Soubrette or La Servetta of 17th century French comedy. The Soubrette was usually a female servant or housemaid who displayed flirtatious, mischievous, and coquettish tendencies. She was also intelligent, witty, and resourceful.

Her roots in Latin comedy have been well documented; in Plautus' comedies, this capricious servant character was always portrayed as a shrewd seductress who specialized in manipulating male emotions to her advantage. Very often, the La Servetta was companion to the Innamorata; unlike the heroine, however, the La Servetta was free to scheme and to exploit weaknesses in others on behalf of her mistress. Yet other historians argue that the stock character of Columbina has actually been around in Italian Commedia dell'Arte since 1530.

In the 17th century, the Columbina character appeared in French theater as Arlecchina or Pierrette. As the feminine version of Arlecchino, she was often seen wearing dresses with bold patches of color. Indeed, Arlecchina or Pierrette often wore numerous disguises in order to further their machinations and schemes. In French theater in the 17th century, Colombina was always portrayed as an educated woman who could read and write. Her effectiveness stemmed from her ability to reason and to ruminate long upon her theories before putting them into use.

Fools and Jesters in Literature, Art, and History.

In the 18th century, Columbina was dressed in one of two styles, either elaborate in imitation of the dress of the Innamorata or drab in the style of a servant girl. In the 19th century, Columbinas often wore white gowns. Additionally, this stock character did not wear masks; if she covered any part of her face at all, it was usually the eyes. Some Columbinas also wore heavy eye make-up to highlight the character's independence and bold personality. Interestingly, earlier Columbinas often presented more buxom and curvaceous figures than 17th and 18th century Columbinas. A show of cleavage was not unheard of in a 16th century or early 17th century La Servetta. Many Columbinas also carried tambourines and usually wore aprons.

In Lyddie, how do family ties – or the lack of them – influence the characters' opinions about the efforts to improve working conditions,...

The girls whose families depend on them are less likely to sign the petition.

The petition for the ten-hour workday is dangerous for the factory workers.  Anyone who signs it is dismissed from her job and then blacklisted from the factory system so that she can never get another one. However, as working conditions worsen, the girls who do not have family members relying on them sign the petition and quit.

Lyddie in particular is...

The girls whose families depend on them are less likely to sign the petition.

The petition for the ten-hour workday is dangerous for the factory workers.  Anyone who signs it is dismissed from her job and then blacklisted from the factory system so that she can never get another one. However, as working conditions worsen, the girls who do not have family members relying on them sign the petition and quit.

Lyddie in particular is afraid to sign the petition.  She focuses on her family and her efforts to make money so that she can bring the family back together.  Lyddie needs the factory job, and can’t jeopardize her family even at the expense of the workers.

When the other girls ask Lyddie to go to a meeting for the ten-hour petition, she refuses.

"No!" Lyddie was startled herself that she had spoken so sharply. Both girls looked at her. "I mean, please, don't sign. I can't. I got to have the money. I got to pay the debts before‐" (Ch. 12)

The other girls have varying levels of commitment to others.  Betsy, for example, is putting her brother through college.  As long as he is in college, she can’t quit either.

"The golden lad finishes Harvard this spring. His fees are paid up, and I've got nearly the money I need now. My Latin is done. So as soon as I complete my botany course, I'll be ready to leave this insane asylum." (Ch. 13)

Lyddie’s only desire is to get her family back together, but Betsy’s feelings for her brother are not as affectionate as Lyddie’s.  Lyddie realizes that as the factory speeds up, more and more girls leave. The ones that leave are the ones who do not have families depending on the money they bring in.

Diana leaves when she finds out that she is having a baby.  She had been at the factory for about fifteen years and served as a mother-figure and teacher to the girls.  In a way, Diana left her "family" at the factory to have a family of her own.

Why does Truman oppose the Taft-Hartley act ? Why does Taft support it ?

President Truman and Robert Taft were on opposites of the Taft-Harley Act. Robert Taft opposed many of President Roosevelt’s actions to end the Great Depression. He felt some of the actions gave the government too much power over businesses. He was also concerned that laws like the Wagner Act, a pro-labor law, gave the workers too much power. There were many strikes after World War II, which concerned many people.

President Truman opposed the passage...

President Truman and Robert Taft were on opposites of the Taft-Harley Act. Robert Taft opposed many of President Roosevelt’s actions to end the Great Depression. He felt some of the actions gave the government too much power over businesses. He was also concerned that laws like the Wagner Act, a pro-labor law, gave the workers too much power. There were many strikes after World War II, which concerned many people.

President Truman opposed the passage of this law, and he vetoed it. However, Congress overrode his veto. President Truman opposed this law because it hurt workers. Truman received a lot of support from workers, and he didn’t want any law to restrict their activities. The Taft-Hartley Act made closed shops illegal. This meant the businesses were forbidden from hiring only union members. The law also outlawed union shops. This is a situation where a worker has to join the union when hired. States were allowed to pass right to work laws. The law also made it illegal for unions to use their money for political activities. This law was an anti-union law. President Truman represented the workers and the working class. He was not going to sign a bill that hurt the groups that supported him a great deal.

What is the significance and importance of the quote, "Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my...

This final line of the short story lets us know that the narrator understands that, no matter how important his desires are to him, the world will not change for him or make way for his goals. The "vanity" refers to the narrator's belief that things will somehow work out for him, that his dream of loving Mangan's sister can come true: first, that his uncle will come home in time and remember to give...

This final line of the short story lets us know that the narrator understands that, no matter how important his desires are to him, the world will not change for him or make way for his goals. The "vanity" refers to the narrator's belief that things will somehow work out for him, that his dream of loving Mangan's sister can come true: first, that his uncle will come home in time and remember to give him money to go to Araby, then, that the trains will be running on time, that the bazaar will be full of extravagant and desired trinkets and that he will be able to choose and afford one that will help him to win the affections of his love. When he realizes that these expectations were vain (both in the sense that they came to nothing and were also self-important), he is provoked to intense sorrow and anger. His uncle forgot him, came home late, and then delayed him by eating dinner and asking questions; the train was held up and only after "an intolerable delay" did it "cre[ep] onward"; then, when the narrator gets to Araby, it costs a lot of his money just to get in and the majority of the stalls are closed. The one that is open has only tea cups and vases, nothing extraordinary or exotic at all, and the girl working there has no real interest in helping him.  He hears the clanking of coins and witnesses her flirtation with the young men as all of the lights go out in the hall. His hope is lost, and he realizes that his small desires are unimportant, that he is unimportant. And he cries.

A $1,000 corporate bond with 20 years to maturity pays a coupon of 7% (semi-annual) and the market required rate of return is a) 6.6% b) 13%. What...

Using the zero-arbitrage assumption, we price the bond at the net present value of the cashflows it provides.

It provides the following cashflows:

$35 (1/2 * 7% * $1000) twice a year for the next 20 years

$1000 in 20 years

The net present value then depends upon our discount rate, which is assumed to be the same as the market interest rate, given as 6.6% in part A and 13% in part B.

NPV = 1000/(1+r)^20 + 35/(1+r)^(1/2) + 35/(1+r) + 35/(1+r)^3/2 + ...

NPV = 1000/(1+r)^20 + sum_{i = 1}^{40} 35/(1+r)^(i/2)

(Note: This formula assumes that the coupons start being paid 6 months from now and there is a coupon payment at the end of the 20 year period along with the principal. There may be some adjustments you need to make to this if the coupon payments start right away, and/or if the last one isn't paid.)

We can actually compute this geometric sum as a general formula, even if we don't know r yet:

NPV = 1000/(1+r)^40 + 35 (1 - (1+r)^(-40))/r

The r we want to us is actually half the given rate of return, because we are paying coupons twice a year. There are 40 paying periods in 20 years.
Put in r = 0.066/2 for part A and we get:

NPV = 1000/(1.033^40) + 35 (1 - 1.033^(-40))/0.033
NPV = 272.89 + 35 * (1 - 0.27289)/0.033
NPV = 272.89 + 771.18
NPV = 1044.07

Now let's put in r = 0.13/2 for part B:

NPV = 1000/(1.065^40) + 35 (1 - 1.065^(-40))/0.065
NPV = 80.54 + 35 (1 - 0.08054)/0.065
NPV = 80.54 + 495.09
NPV = 575.63

Let's do a sanity check here: For higher discount rates, we expect the bond to be worth less in today's money. And that is indeed what we find. For yield rate above discount rate, we expect to find a net present value larger than the face value—also what we found.

What is a good idea for a thesis on the following writing prompt? Examine the relationship of Romeo, Benvolio, and Mercutio. What traits and...

In Shakespeare's Romeo and Juliet, Romeo, Benvolio and Mercutio have a close relationship, although they are very different in personality and temperament. Romeo is a passionate lover and often acts impetuously. He rarely takes time to reflect on his feelings. Rather, he indulges in what he desires. Benvolio is level headed and a peacemaker. He usually gives good advice and is a loyal friend. Mercutio is a cynic and a fighter. He is sometimes quick...

In Shakespeare's Romeo and Juliet, Romeo, Benvolio and Mercutio have a close relationship, although they are very different in personality and temperament. Romeo is a passionate lover and often acts impetuously. He rarely takes time to reflect on his feelings. Rather, he indulges in what he desires. Benvolio is level headed and a peacemaker. He usually gives good advice and is a loyal friend. Mercutio is a cynic and a fighter. He is sometimes quick tempered and belligerent.

Romeo is a lover who wears his heart on his sleeve. When he is first introduced, he is moody and depressed about his unreciprocated love for Rosaline. He bears his soul to Benvolio about his feelings in Act I, Scene 1:

Griefs of mine own lie heavy in my breast,
Which thou wilt propagate to have it pressed
With more of thine. This love that thou hast shown
Doth add more grief to too much of mine own.

Romeo's depression, however, doesn't last long. When he first sees Juliet he forgets all about Rosaline. His temperament is mercurial as he instantly falls for the daughter of Capulet. One glance and he is in love. He says in Act I, Scene 5,

O, she doth teach the torches to burn bright!
It seems she hangs upon the cheek of night
As a rich jewel in an Ethiop’s ear—
Beauty too rich for use, for Earth too dear.

Of course, his impetuous nature gets him in trouble. He rushes into marriage and then can't control himself after Tybalt kills Mercutio. He condemns himself to suicide on the word of a servant and doesn't consult with those who are wiser.

Benvolio is a good friend and, although he is loyal to the Montagues, he has sense enough to avoid fighting. In Act I, Scene 1, he tries to break up the fight between the servants. Later in that scene he is a good friend to Romeo when he advises his cousin to move on from his failed love for Rosaline. And, in Act III, Scene 1, he is again the peacemaker as he urges Mercutio to get off the street:

I pray thee, good Mercutio, let’s retire.
The day is hot, the Capels are abroad,
And if we meet we shall not ’scape a brawl,
For now, these hot days, is the mad blood stirring.

As his name suggests, Benvolio is good (the Latin root "ben" means good). He is loyal, honest and sensible. Unfortunately, his words often fall on deaf ears.

Mercutio is volatile. Soon after he is introduced, he launches into his Queen Mab speech. The speech reveals a preoccupation with both sex and violence. Throughout the play, Mercutio makes bawdy jokes, especially in the scene with the nurse. He also displays a violent nature in Act III, Scene 1 when he fights Tybalt. The audience may be believe that Mercutio is only standing up for Romeo but Mercutio is also anxious to match swords with Tyblat. He suggests such in Act II, Scene 4 as he goes on about dueling:

More than prince of cats. O, he’s the courageous
captain of compliments. He fights as you sing
prick-song, keeps time, distance, and proportion.
He rests his minim rests, one, two, and the third in
your bosom—the very butcher of a silk button, a
duelist, a duelist, a gentleman of the very first house
of the first and second cause. Ah, the immortal
passado, the punto reverso, the hay!

Mercutio also has a great wit. What other character would make jokes about their own death? To the very end, he is displaying his humor and cynicism as he puns on the word "grave" and at the same time condemns the feud:

No, ’tis not so deep as a well, nor so wide as
a church door, but ’tis enough. ’Twill serve. Ask for
me tomorrow, and you shall find me a grave man. I
am peppered, I warrant, for this world. A plague o’
both your houses!