What's Jordan's value in Gatsby's party? (chapter 3)Great Gatsby by F. Scott Fitzgerald

In Chapter 3 of The Great Gasby by F. Scott Fitzgerald, Jordan Baker emerges from the party, standing at the top of the marble steps,

leaning a little backward and looking with comptuous interest down into the garden.

Jordan Baker is the prototype of the 1920s flapper.  There is an aura of amorality that surrounds this detached person whose world is only her own self-absorption. Jordan Baker acts as the standard for the jaded and dissipated guests at the party of Jay Gatsby.  She also represents East Egg condescending haughtily to West Egg.  

As Nick spots Jordan, she speaks loudly to him, then is addressed by twins in yellow dresses.  Nick and Jordan saunter through the garden and sit down at a taable with the two girls in yellow and "three men, each one introduced to us as Mr. Mumble." Later, Jordan asks Nick to leave, complaining that the place is "much too polite for me."  And, before they leave, Jordan comments that she likes large parties:  "They're so intimate.  At small parties there isn't any privacy."

By her attitude and actions, Jordan Baker provides a frame for all the other amoral and superficial guests of the party given by Jay Gatsby.

What happened to the house in the final hours?

Before the house burns, it makes breakfast for the family and asks the mother, want she wants to listen to, then it reads a poem of "Sara Teasdale".

The house begins to burn, because a falling tree crashes into the ktichen window on the stove. It tries to rescue/save itself but without success.

Then it dies.

In the Scarlet Ibis, who is the protagonist and who is the antagonist?

A protagonist is the main focus of the story. While in many works of fiction, the protagonist is the hero or inherently good, this does not always have to be the case.

The antagonist is the opposition to the protagonist.

In this story the protagonist is Brother. He is both the narrator and character. We are not told his real name, just that Doodle calls him Brother. Brother is ashamed of his crippled brother, and does not want to be embarrassed by him. He does love him, but does not think about anything other than his challenges. Brother pushes him to walk, then run, and this eventually kills him from the strain.

Brother is heartbroken by the death, and finally realizes that Doodle was a miracle.

At first, it would seem that Doodle is the antagonist to Brother. He causes Brother a lot of unease and trouble. Brother wanted a brother that could do the things all boys can, and was a constant embarrassment.

However, after Doodle's death, it can be seen that Brother was his own antagonist. He was unable or unwilling to see Doodle's wonderful qualities until after he had died.

What is the significance of the characters' names in the novel Jane Eyre? How does the name affect the way readers view the reader?

Your question petains to the "rhetorical" power names:  the sound of a character's name or perhaps its origin or what it might allude to--all of these convey meanings that add to our understanding of the character. Mrs. Reed’s name suggests her strictness, a “reed” being a tool that punishes children by whipping them. Mr. Brocklehurst’s same, with the “k” sounds in the middle, also sounds harsh, but it also sounds pompous, which in fact he is. Helen Burns is a passionate girl; in some ways she “burns” with life, and of course she dies from a fever as well. Blanche might sound elegant, but the name half-rhymes with “bland,” which she certainly is, for she lacks the strong moral compass that guides Jane. As for Jane, yes, her name is plain, but “Eyre,” although it too sounds plain in that it consists of a simple syllable, also conveys an ethereal quality in that it is a homonym with “air.” Insofar that “eyre” is also a system of justice in Medieval England, perhaps her name brings with it suggestions of the fairness and the sense of right she seeks and represents. Bertha originates from a German word that means “bright,” which is ironic in terms of the way Rochester has locked her up so that she now lives in the dark. Try using the OED (Oxford English Dictionary) or other online dictionaries to search for meanings of these words. I provide a link below.

What does pink ribbon symbolize, and how does it relate to faith?

The most common answer to your question is that the pink hair ribbons symboize Faith's innocence and when she loses it so that Brown finds them on the ground it signifies her loss of innocence.  But I wonder if the symbolism is as simple as that.  Pink hair ribbons would have been frowned upon if allowed at all in the austere of Puritan New England.  Most women, married or unmarried would have covered their hair with a cap.  So here goes my explanation which may or may not be right.

I believe that one of the theme's of Hawthorne's story is that there is sin in all of us no matter how pious we are on the outside.  This is what Brown realizes in his trip (or dream) to visit the devil.  Even though these people have claimed salvation, Satan still rules their flesh.  Thus the pink ribbons rather than symbolizing purity (they would have been white if that were the case), symbolize the mixture of good and evil (with white for good and the red of Satan for evil) in all of us, including Faith. They, I think, also symbolized the uncertainty of Brown's faith so that when he found them on the ground they represented his loss of faith, and Faith's apparent abandoment of the good half of her for the pure evil of Satan.  The fact that the ribbons are in Faith's hair upon his return would signify that she rejected Satan's total controll and signify Brown's still mixed faith.

After the conspirators kill Caesar, they bathe their hands and swords in Caesar's blood. What do these actions foreshadow?

Upon viewing the play for the first time in 1599, the audience, well-versed in biblical tales, would have got the allusion of handwashing as a reference to Pilot and Jesus. Where Pilot uses water and "washes his hands" of Jesus and takes no responsibility for his actions and Jesus’ fate, Brutus, in contrast, takes full responsibility for the murder, ("..let us bathe our hands in Caesar's blood/Up to the elbows...!") and Casca urges the other conspirators to do the same.  In III.1, Antony acknowledges those responsible ("Let each man render me his bloody hand")  and implies he is now in league with them since in shaking each hand he has bloodied his own.  ("Therefore I took your hands....friends I am with you all.") However, Antony reveals his true intent as Caesar's avenger several lines later when he is alone (Woe to the hand that shed this costly blood!) and describes the bloodshed to come.

How does the blend of fantasy and realism add to the story's humorous effects? Is the conclusion a surprise? If so, how does the ending provide a...

Fantasy and realism absolutely contribute to the humor as a man who is dissatisfied with his "real" life seeks the adventure and excitement of a "fantasy".  By being able to pop into Madame Bovary and "play" a little, he escapes the hum-drum of his own life, but what's funny is that his fellow college professors recognize the odd little man who just shows up in the pages of the book as being none other than Kugelmass himself.

One expects that this "too good to be true" story will come to a screeching halt, although Madame Bovary proves to be a little high maintainance and readers realize that Kugelmass and his lover wouldn't last in a long-term relationship.  It is suitable that the machine is blown up and that Kugelmass is stuck in a Spanish textbook with the hairy verb "tener" chasing him all over the place. This is the Spanish verb "to have" which is what Kugelmass is seeking--having the mistress of his dreams.  Instead of having her, the "hairy" verb is determined to "have" him.

The tone itself is a sarcastic and humorous look at a man's mid-life crisis.  You could find more examples that having an affair is not the thing to do in the face of a dissatisfied life.  The boredom and nagging of Madame Bovary hints at this mistake, but the ending is an even more blatant warning against such straying.  Perhaps therapy would be a better choice ?