English Proficiency Free Essays

Yakushko, O. (2010). Clinical work with limited English proficiency clients: A phenomenological exploration. We will write a custom essay sample on English Proficiency or any similar topic only for you Order Now Professional Psychology: Research and Practice, 41, 449-455. doi:10. 1037/a0020996 This research article focused on therapists’ perceptions of clinical and personal characteristics and contextual factors that may influence mental health service delivery to limited English proficiency (LEP) clients through interpreters. Particularly, this study attempted to understand these factors by exploring the lived experiences of clinicians who have worked with LEP individuals through translators. Analysis of the data collected provided two recurring themes that revolved around the personality and training of both therapist and interpreter. Based on the findings of this research, the author suggested consideration of clinical care for LEP clients, who may be inadvertently marginalised from effective psychotherapeutic intervention, would demonstrate a commitment to social justice. The study under review clearly meets the criteria for qualitative research for the purpose of understanding a complex issue in greater detail as suggested by Liamputtong (2009). Related essay: Causes of Failure in English Language Liamputtong (2009) remarked that an understanding of the components and contextual issues could only be achieved by having direct conversation with people who have lived the experience the researcher sought to investigate. The author states that the ‘phenomenological study sought to contribute to understanding these factors by examining the lived experiences of eight therapists skilled in working with LEP individuals through interpreters. † Clearly, one of the strengths of the use of the phenomenological structure is the acceptability of a small number of participants under investigation, which were eight in this case. Further, this methodological framework afforded the researcher to analyse the data thematically, which identified issues that centred on personality and training of both therapists and interpreters. One of the points, supported by evidences and clearly communicated to readers, is that similar to the characteristics central to describing a skilled therapist, the interpreter is not just a mere translator, but an active member of a psychotherapy team whose skill in multicultural issues, mental health training and therapeutic processes, and personality may affect the success f mental health services delivered to LEP individuals through an interpreter. The author though attempted to convince readers of reflexivity, by mentioning the attention given to the search for disconfirming evidence and negative case analysis, however no clarification of this effort was given in any part of the report. Nevertheless, peer debriefers were involved in the study to attend to issues of researcher subject ivity and biases, and researcher’s interpretation of data was also subjected to member checking. Further studies can employ the four kinds of triangulation, namely multiple method, theories, data or source, and researchers, as pointed out by Liamputtong (2009), to underpin the dependability of the findings of this study. Representative rigour was achieved through the appropriate use of purposive sampling technique, which identified participants who have lived experiences of work with LEP clients through interpreters. Particular attention was paid to selection criteria, to ensure that therapists, though with general clinical expertise, have between a fledgling and expert level experience working with LEP individuals. This would guarantee that consideration about the therapeutic process in working with LEP clients through translators were unconnected to being a beginner clinician. Other factors considered, such as level of professional training, language and culture of origin were also crucial in ensuring a fit between participant selection, methodology, theoretical framework and research purpose. In considering the study’s interpretative rigour, a broader understanding gained from the result of the findings lend credence to the result of a similar scholarly work conducted by Miller, Martel, Pazdirek, Caruth, and Lopez (2005) which highlighted the impact of the interpreter’s role in therapeutic alliance, the management of and challenges that may result from the triadic clinical relationship (of the therapist, interpreter and client), and training of both clinician and interpreter. Overall, this research achieved a measure of theoretical and methodological rigour by establishing a fit between the research purpose of exploring factors that contribute to delivering successful clinical care to LEP individuals from the clinicians’ perspective and the use of phenomenological approach to examine the embodied experiences of these clinicians in greater detail, through the use of semi-structured and open-ended interviews. References Liamputtong, P. (2009). Qualitative research methods (3rd ed. ). Oxford: Oxford University Press. Miller, K. , Martel, Z. , Pazdirek, L. , Caruth, M. , Lopez, D. (2005). The role of interpreters in psychotherapy with refugees: An exploratory study. American Journal of Orthopsychiatry, 75, 27-39. Yakushko, O. (2010). Clinical work with limited English proficiency clients: A phenomenological exploration. Professional Psychology: Research and Practice, 41, 449-455. doi:10. 1037/a0020996 How to cite English Proficiency, Essay examples

Theravada Buddhism Essays - Spirituality, Nondualism, Monism

Theravada Buddhism Throughout history there have been numerous religions and theologies that men and women have entrusted their lives and ways of living to. One of the most intriguing is that of Buddhism. The great Buddha referred to his way as the middle way, and he, as the "Enlightened One" began the teachings of the religion with his first five Ascetics who he shows his middle way. This great occasion is the start to what will be known as Theravadan Buddhism. Although Theravadan Buddhism would later be seen as the "small vehicle," it provides the first idea of the doctrine anatman or having no-self that shapes the ideas of every Buddhist today. Theravadan Buddhism which means "The teaching of the elders," is the teaching of the Buddha in its true traditional form. After attaining enlightenment under the Bohdi tree, the Buddha returns to five ascetic monks he had been associated with previously. He taught them the essential parts of Buddhism which include the vital Four Noble Truths. These teachings were taught by monks, and they give the fundamental truths on which the religion was founded. These are the Four Noble Truths: (1) all life is inevitably filled with sorrow; (2) sorrow is directly due to craving; (3) sorrow can only be stopped by stopping the craving; and (4) this can be done only by disciplined and moral conduct with meditation led by the Buddhist monk. These truths show that the Buddhists saw all things as transient, and being transient there is no eternal Self or soul, hence anatman or no true self. While the Theravadan Buddhist practiced the idea of anatman, there were other movements that practiced the idea of atman or true self. The Upanishadic movement, which started about 300 years before the Theravadan practice, revolves around a story of a boy who Yama tells there is a self in everyone. This true self or atman is covered up by the illusion of an individual. As this way of thinking was being taught, people began to uprise and question if religion is worth it. This leads to many ascetic movements in which people leave their homes to be scavengers. Because this could be done by any it began to get very popular. The many ascetic movements gave rise to many different individual movements, but the main one besides Buddhism was Jainism. Jainism was a movement that said in every thing there is a Jiva or soul which resembles the atman. Karma is the stuff or gunk that covers up the Jivas and makes things appear to be different. Even though a monk was the only one who could totally free Jivas, lay people could do good deeds and suffer willingly to dissipate karma from their atman. In this movement the final step for a monk to reach Nirvana was the starving to death of one's self. In a complete contrast to the teachings of the Jainic movement the Theravadan Buddhists saw there being no atman at all. Buddhists accepted the teaching of the doctrine of karma which causes all who have it to be reborn into a state of life according to the built up karma. The only way to stop this rebirth is to achieve Nirvana. The state of non-existence or annihilation. They also felt that when passing from one existence to another no permanent entity or atman transmigrated from body to body. The reason for there being no self is because self can not be found in the five basic aggregates or Skandhas. These being matter, feeling, perception, constructing activities, and consciousness were all made up of dharma or small atomic units. This seems to be contradictory because if there is no self then these dharma shouldn't be present because they would in a sense create a self, even if they just came in and left every second. The Theravadan Buddhists were very particular in what they practiced and what they worshipped. They were never found praising idols or human images, rather they took to praising the Bodhi trees, footprints, and stupas or burial mounds. Their worship centered around the continuous life and rebirth into one of the five levels of society. These were heavenly devas, humans, animals and plants, praeta, and hell beings. All of ones karma that he or she accumulates in their life determines the level they are reborn into. This is all tied into the seeing of existence as Dukka and the goal is to get out of Dukka into Nirvana. In almost a total contrast to the Theravadan way

How To Craft a Compelling Story - Freewrite Store

How To Craft a Compelling Story - Freewrite Store How To Write With Impact Whether you’re writing a short story, novel or a sales page for your website, keeping your readers hooked is your main goal. If you fail to hook them, you lose them - and not just in the short term. They’ll remember how underwhelmed they were by your writing - and probably won’t give you a second chance. To have a positive impact on your readers, you have to impress them with your skill. Compelling content that almost forces them to keep reading will stick in their mind long after they’ve finished reading - and they’ll want to come back for more. That’s the secret to building a loyal audience that will benefit you long into the future.   Writers - just like you - come to me frustrated because they’re not happy with their writing. It lacks that attention-grabber hook that propels you from writer to storyteller. It doesn’t mean you’re not a great writer. It doesn’t mean you should quit. It just means you need to develop the skills. How To Write With Impact Writing a compelling story isn’t easy - not even when you’ve been doing it for years. You have to work hard at it, then edit, refine and improve until it’s a polished piece that could almost reach out and grab your readers by their lapels. It’s a skill you develop and practice, not something that’s innate - which is why so many writers get frustrated by the process. Related: Story vs. Plot So, what makes a compelling story? What techniques do you have to use to grab your reader’s attention and keep them firmly on those writing hooks? There’s no magic formula for this kind of powerful writing, but there are some key ingredients. What’s more, they work for content marketing, business writing and blog posts just as well as they do for fiction. Crafting content that’s compelling is a truly transferable skill. Let’s dive into the top 1.Show, Don’t Tell Okay, so this old cliche is so tired and worn out I really debated about whether to put it in - but despite its overuse, it’s still important. When you’re trying to hook your audience, it’s no good telling them how your character feels. Showthem, with a description that’s loaded with opportunities for your reader to slip into your character’s shoes and immerse themselves in the story. Related: Show and Tell Rather than explaining to your readers, you’re giving them the opportunity to draw their own conclusions. Once they’re in your character’s shoes, you’ve started the process of making them care - and that means they’re much less likely to abandon the story early on. 2. Shock and Surprise Startle your readers with something they weren’t expecting. Marketers do this a lot - aiming for the shock factor - but it’s just as important if you’re writing a short story or novel. Make it truly shocking and unexpected and you’ll have your readers right where you need them. Related: Did you catch our April 1 'product launch'?   We encounter the unexpected every day - and how we respond is part of our learning process. Injecting something shocking into your writing keeps it real and (most) readers will be intrigued as to how the character handles what’s happened. Is it different from how your reader would respond? Is there something they can learn from this? The shock factor is a sure fire way to get your readers on the hook - because you’ve grabbed their attention. Now you just have to keep them on the hook. 3. Relatability Compelling writing is real, gritty, and doesn’t pull any punches. If you want to keep your readers on the hook, they have to be able to relate to what’s happening in your story. To master relatability, you have to know your audience inside out. What problems do they have? What in their lives causes them the most pain. If your reader encounters a character they can relate to, who has problems as they do, they’re automatically more engaged. Your readers care about the characters they can relate to. They don’t care about the characters they have nothing in common with. Far too often, the reason why you’re not hooking your audience is because you don’t fully understand them. 4. Raise The Stakes You’re writing about real situations (or situations that could be happening to your readers) - but that doesn’t mean you have to confine yourself to strict realism. Your readers have put themselves in your character’s shoes, been shocked by something, and can relate to the problem - so now you have to raise the stakes. What’s the worst thing that could happen to your character right now? Even if it’s not really likely, you have to raise your readers’ investment in the story you’re telling. You’re playing with their emotions now, and you can’t hold back. (Well, you could, but make it too ‘ordinary’ and your readers will slide right off the hook again.) When you raise the stakes, you create that edge-of-the-seat anticipation in your reader. You know, that feeling where you can’t put the book (or tablet, e-reader, magazine, whatever) down because you just have to find out what happens next. That’s exactly what you’re aiming for. 5. Mining The Depths Characters that your readers care about aren’t 2D cardboard cutouts. When you’re creating content - whether fiction or non-fiction - 2D cardboard cutouts aren’t going to get you the results you want. You have to bring your characters to life - so it feels like they’re living, breathing people bursting off the page. You bring your characters to life by creating layer after layer of details. To do that, you need to know everything about your character’s backstory (even if you’re just creating them for a digital marketing campaign!). I’ve had students tell me that it’s way too much effort for content marketing, and should only be for fiction, but it works for me and the results are worth the effort. It’s the little details that bring your character to life. Anchor them in real-life events that have enough detail to make it sound like you’re giving eyewitness testimony in the courtroom. Names, places, feelings, sensations, emotions - build the details until you start to feel like you are giving eyewitness testimony. 6. Make It Memorable Compelling writing leaves a lasting impression on your reader - which makes them remember you. Whether you’re a novelist or a social media marketer, your goal is to ensure that your reader remembers you. Compelling writing inspires loyalty in your readers, building an audience that is already primed to sign up for your mailing list or like your Facebook page. Making an impression on your readers isn’t easy when there are so many other writers trying to do exactly the same thing. You have to stand out. You have to get your hook so deep into your audience that they won’t be able to forget how your writing made them feel, or how your writing changed their life. One way to ensure that your readers remember you and remain firmly on your hook is to leave them with a feeling of unfinished business. Don’t resolve all of the conflicts in your story. Leave an unresolved thread that will be like a constant itch at the back of your reader’s mind. Refining Your Writing    Don’t expect your first draft to be a masterpiece of compelling writing. While some writers may be ready to publish after the second draft, most writers go through multiple drafts. I don’t put a number limit on my drafting process - I redraft until I’m happy that I’ve done everything I can. Sometimes it takes five drafts. Other times it takes fifteen. I’m a ruthless editor, too. Crafting compelling stories isn’t something you can do in an evening, sitting with your laptop on your knee in front of the TV. Cut out all the distractions and immerse yourself in your characters’ world. Distractions and interruptions only dilute the strength of your writing. Give your writing the dedicated time it deserves, and you’ll master the art of writing with an impact much more quickly.       About the author: Ariella is an experienced copywriter, editor, and digital marketing consultant. Driven by a passion for writing and content creation she takes pride in producing articles that deliver the latest information in an engaging manner and marketing campaigns that deliver exceptional results. Ariella has a BA (Hons) in English Language and Creative Writing (First), an MA in Theology and Ministry, and is a published author of three novels and a bestselling non-fiction book. A creative at heart, Ariella has 14 years’ industry experience and always aims to keep abreast of current trends and developments. She lives in the UK with her three beagles Zeke, Hope, and Sandy, who always make life interesting. How To Craft a Compelling Story - Freewrite Store How To Write With Impact Whether you’re writing a short story, novel or a sales page for your website, keeping your readers hooked is your main goal. If you fail to hook them, you lose them - and not just in the short term. They’ll remember how underwhelmed they were by your writing - and probably won’t give you a second chance. To have a positive impact on your readers, you have to impress them with your skill. Compelling content that almost forces them to keep reading will stick in their mind long after they’ve finished reading - and they’ll want to come back for more. That’s the secret to building a loyal audience that will benefit you long into the future.   Writers - just like you - come to me frustrated because they’re not happy with their writing. It lacks that attention-grabber hook that propels you from writer to storyteller. It doesn’t mean you’re not a great writer. It doesn’t mean you should quit. It just means you need to develop the skills. How To Write With Impact Writing a compelling story isn’t easy - not even when you’ve been doing it for years. You have to work hard at it, then edit, refine and improve until it’s a polished piece that could almost reach out and grab your readers by their lapels. It’s a skill you develop and practice, not something that’s innate - which is why so many writers get frustrated by the process. Related: Story vs. Plot So, what makes a compelling story? What techniques do you have to use to grab your reader’s attention and keep them firmly on those writing hooks? There’s no magic formula for this kind of powerful writing, but there are some key ingredients. What’s more, they work for content marketing, business writing and blog posts just as well as they do for fiction. Crafting content that’s compelling is a truly transferable skill. Let’s dive into the top 1.Show, Don’t Tell Okay, so this old cliche is so tired and worn out I really debated about whether to put it in - but despite its overuse, it’s still important. When you’re trying to hook your audience, it’s no good telling them how your character feels. Showthem, with a description that’s loaded with opportunities for your reader to slip into your character’s shoes and immerse themselves in the story. Related: Show and Tell Rather than explaining to your readers, you’re giving them the opportunity to draw their own conclusions. Once they’re in your character’s shoes, you’ve started the process of making them care - and that means they’re much less likely to abandon the story early on. 2. Shock and Surprise Startle your readers with something they weren’t expecting. Marketers do this a lot - aiming for the shock factor - but it’s just as important if you’re writing a short story or novel. Make it truly shocking and unexpected and you’ll have your readers right where you need them. Related: Did you catch our April 1 'product launch'?   We encounter the unexpected every day - and how we respond is part of our learning process. Injecting something shocking into your writing keeps it real and (most) readers will be intrigued as to how the character handles what’s happened. Is it different from how your reader would respond? Is there something they can learn from this? The shock factor is a sure fire way to get your readers on the hook - because you’ve grabbed their attention. Now you just have to keep them on the hook. 3. Relatability Compelling writing is real, gritty, and doesn’t pull any punches. If you want to keep your readers on the hook, they have to be able to relate to what’s happening in your story. To master relatability, you have to know your audience inside out. What problems do they have? What in their lives causes them the most pain. If your reader encounters a character they can relate to, who has problems as they do, they’re automatically more engaged. Your readers care about the characters they can relate to. They don’t care about the characters they have nothing in common with. Far too often, the reason why you’re not hooking your audience is because you don’t fully understand them. 4. Raise The Stakes You’re writing about real situations (or situations that could be happening to your readers) - but that doesn’t mean you have to confine yourself to strict realism. Your readers have put themselves in your character’s shoes, been shocked by something, and can relate to the problem - so now you have to raise the stakes. What’s the worst thing that could happen to your character right now? Even if it’s not really likely, you have to raise your readers’ investment in the story you’re telling. You’re playing with their emotions now, and you can’t hold back. (Well, you could, but make it too ‘ordinary’ and your readers will slide right off the hook again.) When you raise the stakes, you create that edge-of-the-seat anticipation in your reader. You know, that feeling where you can’t put the book (or tablet, e-reader, magazine, whatever) down because you just have to find out what happens next. That’s exactly what you’re aiming for. 5. Mining The Depths Characters that your readers care about aren’t 2D cardboard cutouts. When you’re creating content - whether fiction or non-fiction - 2D cardboard cutouts aren’t going to get you the results you want. You have to bring your characters to life - so it feels like they’re living, breathing people bursting off the page. You bring your characters to life by creating layer after layer of details. To do that, you need to know everything about your character’s backstory (even if you’re just creating them for a digital marketing campaign!). I’ve had students tell me that it’s way too much effort for content marketing, and should only be for fiction, but it works for me and the results are worth the effort. It’s the little details that bring your character to life. Anchor them in real-life events that have enough detail to make it sound like you’re giving eyewitness testimony in the courtroom. Names, places, feelings, sensations, emotions - build the details until you start to feel like you are giving eyewitness testimony. 6. Make It Memorable Compelling writing leaves a lasting impression on your reader - which makes them remember you. Whether you’re a novelist or a social media marketer, your goal is to ensure that your reader remembers you. Compelling writing inspires loyalty in your readers, building an audience that is already primed to sign up for your mailing list or like your Facebook page. Making an impression on your readers isn’t easy when there are so many other writers trying to do exactly the same thing. You have to stand out. You have to get your hook so deep into your audience that they won’t be able to forget how your writing made them feel, or how your writing changed their life. One way to ensure that your readers remember you and remain firmly on your hook is to leave them with a feeling of unfinished business. Don’t resolve all of the conflicts in your story. Leave an unresolved thread that will be like a constant itch at the back of your reader’s mind. Refining Your Writing    Don’t expect your first draft to be a masterpiece of compelling writing. While some writers may be ready to publish after the second draft, most writers go through multiple drafts. I don’t put a number limit on my drafting process - I redraft until I’m happy that I’ve done everything I can. Sometimes it takes five drafts. Other times it takes fifteen. I’m a ruthless editor, too. Crafting compelling stories isn’t something you can do in an evening, sitting with your laptop on your knee in front of the TV. Cut out all the distractions and immerse yourself in your characters’ world. Distractions and interruptions only dilute the strength of your writing. Give your writing the dedicated time it deserves, and you’ll master the art of writing with an impact much more quickly.       About the author: Ariella is an experienced copywriter, editor, and digital marketing consultant. Driven by a passion for writing and content creation she takes pride in producing articles that deliver the latest information in an engaging manner and marketing campaigns that deliver exceptional results. Ariella has a BA (Hons) in English Language and Creative Writing (First), an MA in Theology and Ministry, and is a published author of three novels and a bestselling non-fiction book. A creative at heart, Ariella has 14 years’ industry experience and always aims to keep abreast of current trends and developments. She lives in the UK with her three beagles Zeke, Hope, and Sandy, who always make life interesting.

A Short Quiz About Emphasis

A Short Quiz About Emphasis A Short Quiz About Emphasis A Short Quiz About Emphasis By Mark Nichol In each of the following sentences, there is a deviation from one of the conventions about how to convey emphasis in writing. Identify the error, and then check below for corrected versions followed by explanations. 1. â€Å"So-called ‘notification laws’ require businesses to notify customers when certain unencrypted customer data is improperly accessed.† 2. â€Å"Thus the question is not one of quality, but of quantity.† 3. â€Å"I suppose this was the moment when I was supposed to experience a sensation of ‘being one with the universe,’ but I just wasn’t feeling it.† 4. â€Å"With a strident vigor that arrested the attention of all present, she shouted, ‘YOU JUST DON’T GET IT, DO YOU?’† 5. â€Å"After seeing this movie, I just have one thing to say: ‘I want those two hours of my life back!!!’† Answers 1. â€Å"So-called notification laws require businesses to notify customers when certain unencrypted customer data is improperly accessed.† Explanation: Quotation marks employed to highlight a word or phrase, known as scare quotes, are almost invariably unnecessary, and are redundant to the phrase so-called. (Note that in the previous sentence, I didn’t enclose the introduced slang term â€Å"scare quotes† as I explained, these quotation marks are superfluous. However, I did use quotation marks around the phrase in this parenthesis, just as I italicized so-called above and here because that’s how open phrases and words or hyphenated phrases, respectively, are styled when used as names of concepts rather than as the concepts themselves.) 2. â€Å"Thus the question is not one of quality, but of quantity.† Explanation: Italicization of key words can be appropriate but is often overused. Use your judgment to determine whether your point needs such emphasis or whether you can rely on readers to get it without special treatment of words. Usually, they will, and if you doubt it, perhaps your point needs to be expressed more clearly. 3. â€Å"I suppose this was the moment when I was supposed to experience a sensation of Being One with the Universe, but I just wasn’t feeling it.† Explanation: Using quotation marks in this case isn’t necessarily the wrong approach, and it’s appropriate if someone a guru, for instance previously used these words, but if the intent is mockery, sarcasm, or irony, it may not be effective. Using headline-style initial capital letters is the conventional approach for conveying such a tone. 4. â€Å"With a strident vigor that arrested the attention of all present, she shouted, ‘You just don’t get it, do you!’† Explanation: Except in display copy (headlines, headings, and the like), using all capital letters is an awkward distraction. Let the narrative carry the emphasis; note that in the sample sentence, thanks to the expressive description in the introductory phrase, the quotation could even get by with a question mark alone (though, because it’s a rhetorical question, the exclamation point is suitable). 5. â€Å"After seeing this movie, I just have one thing to say: ‘I want those two hours of my life back.’† Explanation: Again, let the narrative do the work. Multiple exclamation points have no place in writing, except to mimic a hormone-addled adolescent. And avoid even single exclamation points; usually, they’re extraneous, and if they’re not, they’re probably a crutch for inexpressive writing. Isn’t the deadpan tone implied by the lack of an exclamation point in the sample sentence above more effective than the impotent peevishness that an exclamation point would suggest? Want to improve your English in five minutes a day? Get a subscription and start receiving our writing tips and exercises daily! Keep learning! Browse the Writing Basics category, check our popular posts, or choose a related post below:How to Format a UK Business LetterWhat's a Male Mistress?The "Pied" in The Pied Piper

Application As Physician Assistant Personal Statement

Application As Physician Assistant - Personal Statement Example For five years, I worked as an Emergency Medical Technician for 72 hours a week, or more, whenever possible; and did my best at school. These challenges, and the psychiatric disorders of both, my mother and sister, provided the impetus for my decision to pursue a Physician Assistant Program. Thus, I have affirmed that my previous health care experiences and the commitment to undertake message-based volunteering with autism patients, veterans and chronically depressed patients in my Santa Ana Community through the California Fellowship of Neuromuscular Therapists organization, make me qualified to pursue the PA Program. I want to be a PA for professional growth in the medical field and to enable me to support my family and my community who needs health care workers who understand the "options" and "limitations" in their lives and can work with them to face an under-education in healthy resistance to care. I excelled in massage therapy school, with a 97% rating. I acknowledge that PA s chool is more difficult; yet, I strongly believe I would excel due to the time management skills that have been developed; and a perspective that recognizes placing education, as the priority. I affirm my conviction that I could be an instrumental contributor to the well-being of people through undertaking the responsibilities of a physician assistant. The challenges and difficulties that I have encountered in life were seen as little blessings in disguise to pursue a productive and rewarding profession.

Advantages and Disadvantages of GMO Cotton Essay

Advantages and Disadvantages of GMO Cotton - Essay Example The countries that we know for producing GM cotton are the USA and India although the product also has production in China, Argentina, Australia, Mexico, South Africa, among others. The major advantage of genetically modified cotton is that the plant is resistant to insect pests. More than 68% of the genetically modified cotton in China produces a substance that helps it to become resistant to insect pests. It is known as "Bacillus thurengiensis" toxin. There are a few problematic pests such as caterpillars that bore the cotton itself thus hard to fight. The European Union is yet to approve submissions made for the growth and use of modified cotton. There are problems that farmers in India are experiencing as the Bt toxin failed to work. The Bt cotton yields declined significantly as secondary pests invaded the cotton. The trouble led to the use of more pesticides on the plant plus the price for the cotton seeds went up by a large number.   Scientists suggest that the Bt cotton pro duces a number of beneficial insects which help the small-scale farmers in the production of cotton. China was the leading country in the study of the benefits of having genetically modified cotton. The toxin that is used is lethal to the bollworm that is usually a major problem for the cotton growers. There is a significant decline in the use of insecticides because of the reduction in the bollworm pest. The reduction in the number of pests means that the cotton produced in good health increases.

Vocabulary :: essays research papers fc

Introduction One of the most fascinating aspects of words is that they all have a past. Some words in English, for example, can be shown to have been in place for more than 5000 years (P. Baldi, 1999). Ordinarily we pay little attention to the words we articulate; we concentrate instead on the meaning we intend to express and we are seldom conscious of how we express that meaning. Only if we make a mistake and we have to correct it or we have difficulty remembering a word we become conscious of our word. This means that most of us do not know where the word we use come from and how they come to have the meaning they do. English words come from several different sources. They developed naturally over the course of centuries from ancestral languages, they are also borrowed from other languages and we create many of them by various means of word vocabulary available to us today. History and morphology of the word Mother The idea of the mother goddess was invented in early ice age, some 25,000-30,000 years ago. She and her life giving breasts were called omma from which we have the words akin to maternal, matter, and mother. By the late ice age the Semites had shortened omma to om. The Dravidians of India are Semites who migrated to India after the ice age. They still call mother goddess omm. Om is also the present day Arabic word for female and mother. Omma became ma among the Iranians, meaning the female breast. From ma we have the Iranian maman. Also, we have the Iranian ma-Dar (earlier ma-tar) meaning breast which became mater in Latin, modor in Old English (725), madre in modern Italian, and mother in modern English (1425), (R.K.Barnhant, 2000). Collocation There are several words that fit together with the word mother.  Mother Country  Mother Nature  Mother Figure  Mother Tongue  Mother Board Connotation The word mother has a positive connotation as it describes maternal tenderness and affection although in American English mother could also mean motherfucker which carry a negative and vulgar meaning (Chambers, 1994). Semantic field relation The following are some semantic field relations to the word mother.  Father  Son  Daughter Semantic usage   Ã‚  Ã‚  Ã‚  Ã‚  REGISTER Mother  Ã‚  Ã‚  Ã‚  Ã‚  Very Formal British English Mum  Ã‚  Ã‚  Ã‚  Ã‚  Informal British English Mummy  Ã‚  Ã‚  Ã‚  Ã‚  Informal British English mainly used by children Mom  Ã‚  Ã‚  Ã‚  Ã‚  Informal American English Mommy  Ã‚  Ã‚  Ã‚  Ã‚  Informal American English mainly used by children Ma  Ã‚  Ã‚  Ã‚  Ã‚  Informal expression American and British English working class (often used with any much older woman)