࿐ SIR ALBERT EXAM ࿐

*Physics questions 2b solutions* (i) The conjugate foci of a converging lens are two points on either side of the lens that are equidistant from the lens and the lens's focal point. These foci are the points where parallel rays of light converge after passing through the lens. The distance between the two foci is equal to the focal length of the lens. (ii) To calculate the image distance, we can use the lens formula, which is given by: 1/f = 1/p + 1/q where f is the focal length of the lens, p is the object distance, and q is the image distance. Given that the focal length (f) is 20 cm and the object distance (p) is unknown, we can rearrange the lens formula to solve for q: q = f * p / (f - p) Substituting the given values, we get: q = 20 cm * p / (20 cm - p) Since the image is 3 times the size of the object, the object distance (p) is equal to the image distance (q). Therefore, we can set p equal to q and solve for it: p = q Substituting this value back into the equation, we get: q = 20 cm * q / (20 cm - q) Solving for q, we find that the image distance is equal object distance, which is 10 cm. Him

*Physics questions 3b solutions* (i) Resistance is of how much a component resists the flow of electric current. It is measured in ohms (Ω) and is denoted by the symbol 'R'. The resistance of a component depends on its physical properties, such as its length, cross-sectional area, and resistivity. (ii) The electromotive force (emf) of a cell is the maximum potential difference that can be produced by the cell. It is the maximum potential difference that can be obtained from the cell without any external circuit. On the other hand, the potential difference (p.d.) across the cell is the actual potential difference that is available to drive a current through an external circuit. When a cell is supplying current through an external circuit, the emf of the cell is greater than the p.d. across the cell because the emf takes into account the internal resistance of the cell. The internal resistance of the cell opposes the flow of current and reduces the potential difference available to drive the current through the external circuit. Therefore, the actual potential difference (p.d.) across the cell is less than the emf of the cell.

*Physics questions 1b solutions* (i) The conditions of equilibrium for a body acted upon by a number of co-planar parallel forces are - The resultant force acting on the body is zero. - The resultant torque (or moment) acting on the body is zero. (ii) To determine the mass of the meter rule, we can use the principle of moments. Since the body is in equilibrium when the meter rule is balanced horizontally at the 44 cm mark, the sum of the moments acting on the body must be zero. The moment due to the weight of the body can be calculated as: Moment due to weight = weight × distance from pivot point The moment due to the weight of the body can be calculated as: Moment due to weight = (mass of the body × acceleration due to gravity) × distance from pivot point Since the body is in equilibrium, the sum of the moments acting on the body must be zero. Therefore, the moment due to the weight of the body must be equal in magnitude and opposite in direction to the moment due to the weight of the meter rule By substituting the given values into the equation, we can solve for the mass of the meter rule.

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Physics (Practical) (Alt C) - Confirmed ✅ 2nd set start at 11:40am

Physics Alt C practicals

This strategic approach contrasts sharply with Lakunle’s more idealistic but ultimately ineffective stance. In summary, Baroka’s victory over Sidi arises from his charisma, understanding of tradition, and strategic manipulation of societal norms. Through these qualities, he adeptly navigates the complexities of desire and power, ultimately securing Sidi’s affections and reinforcing the play’s exploration of gender dynamics and cultural identity.

LITERATURE DRAMA & POETRY ANSWERS SECTION A: AFRICAN DRAMA Q3. Three Incidents of Humour in *The Lion and the Jewel* Wole Soyinka’s *The Lion and the Jewel* is a vibrant play that skillfully intertwines humour with serious themes, creating a rich tapestry of social commentary. Three notable incidents of humour stand out, providing insight into the characters and their interactions while addressing the tension between tradition and modernity. Firstly, the playful exchange between Baroka and Sidi during their initial encounter is infused with humour. Baroka’s flirtatious remarks and exaggerated confidence create a comedic atmosphere that contrasts with Sidi’s youthful naivety. As Baroka attempts to charm Sidi, his over-the-top behavior serves to entertain while also revealing his cunning nature. This scene not only showcases Baroka's charisma but also sets the stage for the power dynamics that will unfold later in the play. Secondly, Lakunle’s attempts to impress Sidi with his modern ideas often lead to humorous misunderstandings. His insistence on rejecting traditional customs and advocating for Western values is met with Sidi’s bemusement. For instance, when Lakunle tries to convince Sidi that she should not accept a bride price, his awkwardness and lack of understanding of the cultural significance of this tradition result in comedic tension. This clash between Lakunle’s ideals and Sidi’s grounded perspective generates laughter while highlighting the struggles of modernity encroaching on tradition. Finally, the villagers’ reactions to Baroka’s schemes provide a humorous commentary on the events unfolding in the village. Their gossip and playful banter about Baroka’s attempts to win Sidi create a light-hearted atmosphere that contrasts with the underlying themes of power and seduction. The villagers serve as a comic chorus, reflecting the collective consciousness of the community while eliciting laughter from the audience, thus reinforcing the play’s exploration of social dynamics. In conclusion, humour in *The Lion and the Jewel* serves to enrich the narrative and illuminate the complexities of its characters. Through the comedic interactions between Baroka, Sidi, and Lakunle, Soyinka masterfully explores themes of tradition, modernity, and gender dynamics, inviting the audience to reflect on the societal changes at play. Q4. What Makes Baroka Win the Fight Over Sidi? Baroka’s triumph over Sidi in Wole Soyinka’s *The Lion and the Jewel* can be attributed to a combination of his cunning nature, understanding of societal values, and mastery of traditional charm. As the Bale of the village, Baroka embodies authority and cultural heritage, which he effectively leverages to secure Sidi’s affections. Firstly, Baroka’s charisma and persuasive charm play a crucial role in his success. His flirtatious and confident demeanor creates an atmosphere of intrigue that captivates Sidi. By appealing to her emotions and desires, Baroka positions himself as an attractive alternative to Lakunle, who represents modernity but lacks the nuance of traditional understanding. Baroka’s ability to navigate Sidi’s feelings allows him to win her over, showcasing the power of personal connection in relationships. Secondly, Baroka’s deep-rooted understanding of tradition gives him an advantage. He embodies the values and customs of the village, resonating with Sidi’s cultural identity. In contrast, Lakunle’s rejection of tradition alienates Sidi, making Baroka’s traditionalism more appealing. Baroka’s ability to present himself as a figure of stability and cultural pride strengthens his position in the competition for Sidi’s affection. Finally, Baroka’s strategic manipulation of societal norms plays a significant role in his victory. He leverages his status as the Bale to assert control and influence, framing his pursuit of Sidi as a continuation of cultural heritage. By positioning himself as the embodiment of the village’s values, Baroka not only legitimizes his actions but also reinforces his authority within the community.

LITERATURE DRAMA & POETRY ANSWERS SECTION B: NON-AFRICAN DRAMA Q5. Irony in *Look Back in Anger* John Osborne’s *Look Back in Anger* is rich with irony, which serves to illuminate the complexities of its characters and the societal context in which they exist. Three key incidents of irony stand out, revealing the contradictions inherent in the characters’ lives and their relationships. The first instance of irony lies in Jimmy Porter’s perpetual anger and discontent. Although he is constantly criticizing the society that surrounds him, his own life is a reflection of the very system he loathes. Jimmy’s rants about social injustice and class structure are rendered ironic by his own middle-class status and the comfort it affords him. This hypocrisy is a recurring theme in the play, highlighting the disconnect between his ideals and reality. A second layer of irony is found in the character of Cliff Lewis, who represents a more stable and rational perspective. Despite his loyalty to Jimmy, Cliff often finds himself ensnared in Jimmy’s emotional turmoil. This situation is ironic because, while Cliff attempts to provide support and reason, he becomes a victim of Jimmy’s volatility. The audience is left to ponder the futility of Cliff’s loyalty in the face of Jimmy’s destructive behavior. Finally, Alison Porter’s sacrifices throughout the play culminate in a poignant irony. Her efforts to support Jimmy and mend their fractured relationship ultimately lead to her emotional breakdown. In trying to save their marriage, Alison loses herself, which is ironic considering her initial hopes of building a life with Jimmy. This tragic twist underscores the play’s exploration of the personal costs of love and loyalty. In conclusion, the use of irony in *Look Back in Anger* serves to deepen the audience’s understanding of the characters and their struggles. Through Jimmy’s contradictions, Cliff’s misplaced loyalty, and Alison’s sacrifices, Osborne crafts a narrative rich with complexity and poignancy, inviting reflection on the nature of anger, love, and societal expectations. Q6. The Importance of Helena's Visit in *Look Back in Anger* Helena’s visit in John Osborne’s *Look Back in Anger* is a crucial turning point in the narrative, as it introduces new dynamics among the characters and propels the plot toward its climax. Her presence serves not only to heighten existing tensions but also to challenge the established relationships within the play, particularly between Jimmy and Alison. Helena, as an outsider, brings a fresh perspective to the tumultuous household. Her interactions with Jimmy and Alison expose the underlying fractures in their marriage, forcing both characters to confront their feelings and the reality of their situation. Helena’s admiration for Jimmy complicates the dynamics of his relationship with Alison, creating a triangular tension that drives the plot forward. The emotional stakes are raised, leading to confrontations that reveal deep-seated resentments and unfulfilled desires. Moreover, Helena’s visit serves as a catalyst for character development. For Jimmy, her presence sparks a moment of reflection; he grapples with his identity and the impact of his anger on those around him. For Alison, Helena’s admiration for Jimmy forces her to reevaluate her own feelings, leading to a critical moment of self-discovery. This interplay of emotions illustrates the complexity of human relationships, highlighting themes of love, loyalty, and betrayal. In summary, Helena’s visit is of paramount importance in *Look Back in Anger*. It not only introduces new tensions and conflicts but also catalyzes significant character development. Through Helena, Osborne explores the intricacies of human emotions and the challenges of navigating complex relationships, making her presence essential to the play’s progression and thematic richness.

LITERATURE DRAMA & POETRY ANSWERS SECTION A: AFRICAN DRAMA Q1. The Role of Lamboi in the Development of the Plot in *Let Me Die Alone* In K. Kargbo’s play *Let Me Die Alone*, the character of Lamboi plays a pivotal role in the development of the plot. Lamboi serves as a voice of reason amidst the turmoil that envelops the other characters, embodying a bridge between traditional values and the encroaching modernity that challenges those values. His perspectives not only influence the other characters but also reflect the societal tensions that are central to the narrative. Lamboi’s interactions with characters like the protagonist and the elders reveal the deep-rooted conflicts within the community. He often imparts wisdom through dialogue, encouraging characters to confront their beliefs and the implications of their actions. This dynamic creates a tension that pushes the plot forward, as characters grapple with their identities in the face of societal expectations. For instance, Lamboi’s advice and insights frequently provoke critical turning points, forcing characters to make pivotal decisions that impact the storyline. Moreover, Lamboi’s character highlights the theme of resilience against a backdrop of despair. His steadfastness in promoting dialogue and understanding serves as a counterbalance to the more destructive impulses of other characters. Thus, Lamboi not only aids in the plot’s progression but also enriches its thematic depth, emphasizing the importance of communication and cultural continuity in the face of change. In conclusion, Lamboi’s role in *Let Me Die Alone* is essential for both plot development and thematic exploration. He embodies the struggle between tradition and modernity, serving as a mediator and a moral compass for other characters. Through Lamboi, the play articulates a profound commentary on the complexities of identity and the need for understanding in navigating societal transformations. Q2. The Use of Proverbs in *Let Me Die Alone* Proverbs are a vital component of K. Kargbo’s *Let Me Die Alone*, serving to enrich the dialogue and reflect the cultural wisdom of the characters. The use of proverbs encapsulates complex ideas in succinct phrases, allowing characters to communicate profound truths while preserving the richness of their cultural heritage. This linguistic feature not only enhances the authenticity of the play but also deepens its thematic resonance. Throughout the play, proverbs function as tools for character development and conflict resolution. They provide insight into the values and beliefs of the characters, offering a window into their motivations and worldviews. For example, when characters invoke proverbs, they often do so to justify their actions or to impart wisdom to others, reinforcing the moral fabric of their community. This usage underscores the significance of oral tradition in African cultures, where proverbs serve as a means of preserving history and imparting lessons. Additionally, proverbs in the play often highlight the tension between tradition and modernity. Characters who rely on proverbs are portrayed as custodians of cultural values, while those who dismiss them struggle with identity and purpose. This contrast not only illustrates the conflict within the narrative but also emphasizes the play’s broader themes of belonging and the search for meaning in a changing world. In summary, the use of proverbs in *Let Me Die Alone* is integral to the play’s structure and themes. They enrich the dialogue, deepen characterizations, and underscore the cultural heritage that informs the characters’ lives. Through proverbs, Kargbo effectively communicates the complexities of identity and the enduring significance of tradition in a rapidly evolving society. .