Study Help Videos

Take a look at examples of exponential functions, such as Compound Interest and Nuclear Radiation. Find out how a growing bank account and radioactive decay deal with exponential functions. Did you know that exponential functions never equal zero?

In this mathematical video learn all about inequalities on a number line.

There are other roots we need to learn besides square roots.

Learn how to use a Tree Diagram to find the prime numbers of a composite number. Click for details.

A comprehensive review of important, basic geometry concepts. Lines, points, angles, planes, space, proofs, and more!

Geometry basics-- let's start thinking about thinking. Did you know that most of what we study in geometry today is called Euclidean geometry? Let's start studying the relationships between shapes and its relationships... "visually."

Learn about the standard form of polynomials-- important, general concepts and terms to understand. Here's a fun, out-of-this-world review.

Shortcuts! Shortcuts! Two helpful shortcuts on how to factor quadratic equations. Save trial-and-error testing time on tests.

As quadratic equations are the product of two binomial factors, learn how to reverse the FOIL process and find the real root.

Why are Quadratic equations called so if their degree level is two? Doesn't quad mean four??

Learn about linear equations and slope, and how to put all these into a slope intercept form!

Check out this real-life example of how algebraic functions work, including how to do a vertical line test!

A little history on the puzzling universal arithmetic that replaces numbers with letters.

Let's learn to find X in different equations and in some examples.

5.4 and 5.5 Dramatic reading of Shakespeare's Julius Caesar By Dr. Greg Martin Genre: Speech Download : MP3 Audio 5.4 is another short scene. Brutus enters quickly (or does he simply stay on from 5.3?). Then it becomes a fight scene. Cato bravely fights but succumbs. Lucillius pretends to be Brutus, but he is taken prisoner. Is there some irony in the fact that Lucillius tries to protect Brutus but he cannot? 5.5 is, of course, the final scene in the play. Does the fact that Brutus is the last to die tell us how much this is his play ? What are your final (emotional, literary, logical) reactions to the play?

3.1 Dramatic Reading of Shakespeare's Julius Caesar By Dr. Greg Martin Genre: Speech Download : MP3 Audio 3.1 is perhaps the central scene in the play. The most important event--Caesar's murder--occurs in this scene, so to some extent the rest of the play revolves around it (leading up to or declining away from). As an activity, it might be interesting to look at the Aristotelian plot features of the scene to show how, in many ways, it is self-contained. It has an initial siutation, out of which some conflict develops. At the middle of the scene, there is a climactic event which serves, too, as a turning point. The remainder of the action (with one exception which I will discuss below), while tense, could be considered falling action or denoument (culminating with the rebellion's inclusion of Antony). At the end of the scene, however, this falls apart because the audience learns that Antony was only hiding his true feelings about the rebellion and will eventually side with Ocatvius. After the conspirators leave, therefore, there is a transition in the action tfrom the beginning of the play to the remainder of the play--the ensuing war between Antony/Octavius and Cassius/Brutus (and all of their supporters).

3.2 and 3.3 Dramatic Reading of Shakespeare's Julius Caesar By Dr. Greg Martin Genre: Speech Download : MP3 Audio 3.2 and 3.3, if daigrammed, might look like this: Brutus speaks to and wins support of Plebeians -- Antony speaks to and wins support of Plebeians -- Plebeians show their maniacal support for Antony's good cause by attacking an innocent poet . . . 3.2 is an interesting scene in many ways. I am always interested in the structure of dramatic works and how a writer chooses to present information, action, dialogue in patterns. 3.2 begins with Brutus speaking to the masses (Plebeians). He convinces them that Casesar's death was necessary, and they offer to crown Brutus (which is a reason Brutus wanted Caesar dead--to preserve the Republic and prevent one man from becoming too powerful). Is Brutus simply bad at reading the Roman citizens, or does he not hear them. Perhaps he is too much of an idealist to recognize the fervor in the crowd to have one man be crowned king in Rome. Hmmmmmm? After Brutus speaks, Antony delivers his famous Friends, Romans, Countrymen speech. The crowds are incited to near hysteria and then in 3.3, the results of this mob mentality are shown in the attack on Cinna the poet. Some questions for meditation and discussion: 1) Is Antony a well-versed rhetorician? Is he a better speaker than Brutus? Or, is the crowd so fickle that they will believe whoever spoke more recently? (The attack on Cinna the poet in the following scene seems to bear this out, showing that the whole second half of the act was as much an examination of mob mentality and the inevitability of monarchy/empire as of leadership or communication skills! The crowd is quite active/vocal in these scenes (and recall how the play opens!!). Add to this the oddness of some of our original expectations of the play when we hear the title (that it will be a play about Julius Caesar, not Brutus, Cassius, Antony, et al, but in point of fact, it really is not about Caesar--he's conspicuously absent.). The next logical question is to ask again about the genre of JC--is it a tragedy (hard when the title character is dead before the middle of the play)? Is it a history? Perhaps it is less a history in the way H5 is (verging on a biased dramatic biography of sorts), and more in the way 1 and 2H4 are--pastiche stories which paint a broad picture of life in Rome (or Merry Old England), using men like JC and H4 to title the play, but then populating the stage/page with more dramatically interesting men like Cassius, Brutus, Hal and Falstaff. 2) If the second half of the third act is not primarily an investigation of the mob, you might consider the possibility that Shakespeare was using the mob as touchstone which helps the audience see (in yet another way) Brutus and Antony for who they really are. 3) How much does the shouting of the crowd add to the tension that is brewing in these scenes? 4) How do we speak as a crowd (good or bad) today? Are we heard? When? Where? Why? Keep thinking about how Shakespeare uses parallel plots and action lines to help the audience get a clear picture of the whole dramatic spectrum (events and characters).