PLZ HELP ASAP!!! Which of the following is not an acceptable bibliographic citation for a research paper about F. Scott Fitzgerald?
Fitzgerald, F. Scott. Essential F. Scott Fitzgerald (sound recording): Bernice Bobs Her Hair, DVD. New York: Harper Collins, 2006.
Encyclopedia Britannica Online, s. v. "F. Scott Fitzgerald," http://www. britannica. com/EBchecked/topic/208897/F-Scott- Fitzgerald (accessed July 7, 2009).
Internet source about F. Scott Fitzgerald's The Great Gatsby http://www. sparknotes. com/lit/gatsby/
Curnutt, Kirk. The Cambridge Introduction to F. Scott Fitzgerald. New York: Cambridge University Press, 2007.​

Read the excerpt from julius caesar, act 1, scene 1. marullus. wherefore rejoice? what conquest brings he home? what tributaries follow him to rome to grace in captive bonds his chariot wheels? you blocks, you stones, you worse than senseless35 things! o, you hard hearts, you cruel men of rome, knew you not pompey? many a time and oft have you climbed up to walls and battlements, to towers and windows, yea, to chimney-tops, your infants in your arms, and there have sat40 the livelong day, with patient expectation, to see great pompey pass the streets of rome. which summary of the passage is the best? marullus asks a lot of questions, such as, “why celebrate? what has caesar done? who is following him to rome? don’t you remember pompey? ” then he says that everyone is cruel because they do not remember pompey. they forget how they praised him and would climb to the highest places, carrying their children, just to catch a glimpse of him. marullus regrets that the people are celebrating caesar and is insulted that they forgot how they used to praise pompey. marullus thinks that the people should celebrate caesar the way they used to celebrate pompey, and that they should be in awe of caesar’s greatness. marullus remembers how the people climbed walls, battlements, towers, windows, and even chimney tops to see the great pompey.

Read the excerpt from act 1 of a doll's house. helmer: nora! [goes up to her and takes her playfully by the ear.] the same little featherhead! suppose, now, that i borrowed fifty pounds today, and you spent it all in the christmas week, and then on new year's eve a slate fell on my head and killed me, and— nora: [putting her hands over his mouth]. oh! don't say such horrid things. helmer: still, suppose that happened, —what then? nora: if that were to happen, i don't suppose i should care whether i owed money or not. helmer: yes, but what about the people who had lent it? nora: they? who would bother about them? i should not know who they were. helmer: that is like a woman! but seriously, nora, you know what i think about that. no debt, no borrowing. there can be no freedom or beauty about a home life that depends on borrowing and debt. we two have kept bravely on the straight road so far, and we will go on the same way for the short time longer that there need be any struggle. nora: [moving towards the stove]. as you , torvald. how does the interaction between helmer and nora advance the plot? nora realizes that helmer will completely disapprove of her having borrowed money, so she has to continue to keep it a secret from him. nora realizes that she and helmer have the same ideas about financial issues, and the conversation brings them closer together later in the play. helmer realizes that nora is more responsible with money than he originally thought, and he trusts her more with finances later in the play. nora realizes that helmer knows a lot more about borrowing and lending, and she will seek his input later when she needs it.

Within a farewell to arms, what would be the best definition of the word “regiments”?