The modern world Essay Example For Students

The modern world Essay In his book Language Death, David Crystal starts by looking at the scale of the threat to minority languages. There are debates over the definition of language and estimates of the number of languages vary, but a number somewhere around 6000 is plausible. Perhaps more important is the distribution of speakers: Only 4% of languages are accounting for 96% of people and 25% having fewer than 1000 speakers. There are different ways of classifying danger levels, but there is no doubt that a large number of languages face extinction in the immediate future, while in the longer-term even quite widely spoken languages may be in danger. (see Crystal 2000:10)  According to SIL International (formerly known as the Summer Institute of Linguistics) and The Ethnologue, an online Library on endangered Languages, almost half of the 6800 languages in the world are considered to be critically endangered. That means that parents are no longer teaching the language to their children and are not using it actively in everyday matters (cf The Ethnologue, 20022). We will write a custom essay on The modern world specifically for you for only $16.38 $13.9/page Order now In Australia, for example, the vicious circle started by the European colonization. The Western society introduced products, such as food, clothes, means of transport and alcohol, which were new for Indigenous people. Australias Indigenous Languages proved incapable of adapting to this new, western way of life and way of thinking. The development of new technologies, especially in the area of communication, clearly promotes the English language. The English media controlled contemporary life at the expense of Indigenous traditions and languages. The modern world had simply become to fast for Australias Indigenous languages. These factors, which are all directly or indirectly connected with each other, show the high complexity of the process of language loss. The contact with the white people caused the extinction of the formerly strong bond between language, landscape and identity among Aboriginal people. Annette Schmidt, an Australian Linguist, calls this process the downward spiral of reduced language use and loss and describes it the following way:  The downward spiral of reduced language use (Schmidt 1990) Five stages of language Loss  Robert M.W. Dixon, an Australian Linguist has brought some light into the controversial issue of language loss, and tried to answer the question when a language cannot be revived any more. He established a classification of 5 stages of language loss:  STAGE 1: Language X is used as the first language by a full community of hundreds of people and is used in every aspect of their daily lives. Some of these people will also know other languages (another Australian language, or English, or both) but only as a second language. Everyone thinks in language X. STAGE 2: Some people still have X as their first language (and think in it) but for others it is a second language, with English as the preferred medium (and these people may think in English or in a mixture of English and X.) At this stage the language is still maintained in its traditional form, with the original phonetics, grammar and vocabulary (although the second language speakers will not have so wide a vocabulary as traditional speakers). STAGE 3: Only a few old people still have X as their first language. For most of the community, English is the dominant language (which they think in). Some of those with X as a second language may still speak it in a fairly traditional way, but younger people tend to use a simplified form of the language, perhaps putting together words from X in English word order. The original conceptual system of X may have been replaced by the English system. Instead of having separate labels for mothers brother and fathers brother (relations that have a quite different status within the kinship systems of every Australian tribe) they may use one label to cover both kinds of kin this could be a word from X whose meaning has been altered, or just the English uncle. .u7c634f2d7cc5c7c9297286fee5f113d6 , .u7c634f2d7cc5c7c9297286fee5f113d6 .postImageUrl , .u7c634f2d7cc5c7c9297286fee5f113d6 .centered-text-area { min-height: 80px; position: relative; } .u7c634f2d7cc5c7c9297286fee5f113d6 , .u7c634f2d7cc5c7c9297286fee5f113d6:hover , .u7c634f2d7cc5c7c9297286fee5f113d6:visited , .u7c634f2d7cc5c7c9297286fee5f113d6:active { border:0!important; } .u7c634f2d7cc5c7c9297286fee5f113d6 .clearfix:after { content: ""; display: table; clear: both; } .u7c634f2d7cc5c7c9297286fee5f113d6 { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u7c634f2d7cc5c7c9297286fee5f113d6:active , .u7c634f2d7cc5c7c9297286fee5f113d6:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u7c634f2d7cc5c7c9297286fee5f113d6 .centered-text-area { width: 100%; position: relative ; } .u7c634f2d7cc5c7c9297286fee5f113d6 .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u7c634f2d7cc5c7c9297286fee5f113d6 .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u7c634f2d7cc5c7c9297286fee5f113d6 .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u7c634f2d7cc5c7c9297286fee5f113d6:hover .ctaButton { background-color: #34495E!important; } .u7c634f2d7cc5c7c9297286fee5f113d6 .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u7c634f2d7cc5c7c9297286fee5f113d6 .u7c634f2d7cc5c7c9297286fee5f113d6-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u7c634f2d7cc5c7c9297286fee5f113d6:after { content: ""; display: block; clear: both; } READ: Reaching For Dreams - A Ballet EssaySTAGE 4: Nobody now knows the full, original form of X; no one could fully understand a tape recording made of a traditional speaker on or two generations before. Some members of the community speak a modified version of X, with simplified grammar; at most they will know a few hundred words. Even this is likely to be mixed in amongst English sentences. The younger people speak a variety of English that includes just a few words from X. STAGE 5: Everyone in the community speaks, and thinks, in English. There may be a few words from X still used but these are treated grammatically as if they were English words (with plural -s, past tense -ed, and so on).  When is language loss not reversible anymore?  Again, opinions are divided on the topic of the reversibility of language loss. A reasonable approach is done by Schmidt (1990:106): the likelihood of success in Aboriginal language revival depends very much on how the term is defined. That means that it is better to define the term in a more modest way. Reviving certain words and phrases, and bringing the extinct language to a status, comparable to ancient Greek or Latin could be seen as the best, realistic result. After this set of information about the pessimistic and dull situation of minority languages, one question might arise: What can be done about it? Or even: What can we do about it?  Steve Johnson, an Australian linguist who dealt with endangered Aboriginal languages mainly, distinguishes between four types of Language Revival, for each of them he has a special term:  Language continuation  Here we have a language still being used by and between families for all situations and their daily life. Any maintenance efforts would most likely be aimed at helping this state of affairs to continue. Language renewal  In this situation the language is still fully used by adults, but the children are no longer actively speaking it. A strong effort must be made either to return to a state where children again use the language as their own, or at least acquire it as they become adults, if the speakers want their language to continue in daily use.  Language revival  Very few older people still know the language. It will be necessary to teach adults as well as children if the language is to be spoken again, and to decide where and how it should be used. Language resurrection  All speakers of the language have died. The only source of the language is written or taped material. If it is to come into use again, then it will have to be taught by people who have learnt it second hand from these materials, and the result will almost certainly not be exactly the same as the original language.  The main goal of all efforts in language maintenance and revival is to keep or build up a strong and working transmission link. That means that the language has to be spoken by parents and their children in every situation of their lives. If that transmission link is destroyed, the relationship between children, their clan and their cultural heritage is heavily disturbed. Then, it is almost impossible to rebuild it, at least it would take an enormous amount of time. Joshua A. Fishman claims that all languages independent from the stage in which they are in, can be reversed on the condition that the appropriate measures are taken and the process is given enough time. (Fishman 1991:12)  R.M.W. Dixon (cf 1989:31-33) describes the possibilities in a more realistic way. Although, Fishmans thesis can be seen as basically right, one must not forget that there are limits; limits which are set by reality. Dixon claims that language at Stage 2 of his 5 stages of language loss chart have the greatest and most realistic likelihood to be revived. He proposes measures like full bilingual education, videos recording traditional stories and legends which motivate people to use their Indigenous language more frequently in everyday life. An example could be, trips into the nature, where children get a chance to become familiar with the Indigenous names of plants and animals. In addition, the children get a chance to identify with their cultural heritage.

G.K. Chestertons A Piece of Chalk

G.K. Chesterton's 'A Piece of Chalk' One of the most prolific British authors of the early 20th century, G.K. Chesterton is best known today for his novel The Man Who Was Thursday (1908) and his 51 short stories featuring the amateur detective Father Brown. In addition, he was a master of the essay     called the only literary form that confesses, in its very name, that the rash act known as writing is really a leap in the dark. The word essay comes from the French word essayer, meaning to try or attempt. In the preface to his essay collection Tremendous Trifles (1909), Chesterton encourages us to be ocular athletes: Let us exercise the eye until it learns to see the startling facts that run across the landscape as plain as a painted fence. In this fleeting sketch from that collection, Chesterton relies on two common items brown paper and a piece of chalk as starting points for some thought-provoking meditations. A Piece of Chalk I remember one splendid morning, all blue and silver, in the summer holidays when I reluctantly tore myself away from the task of doing nothing in particular, and put on a hat of some sort and picked up a walking-stick, and put six very bright-colored chalks in my pocket. I then went into the kitchen (which, along with the rest of the house, belonged to a very square and sensible old woman in a Sussex village), and asked the owner and occupant of the kitchen if she had any brown paper. She had a great deal; in fact, she had too much; and she mistook the purpose and the rationale of the existence of brown paper. She seemed to have an idea that if a person wanted brown paper he must be wanting to tie up parcels; which was the last thing I wanted to do; indeed, it is a thing which I have found to be beyond my mental capacity. Hence she dwelt very much on the varying qualities of toughness and endurance in the material. I explained to her that I only wanted to draw pictures on it, and th at I did not want them to endure in the least; and that from my point of view, therefore, it was a question, not of tough consistency, but of responsive surface, a thing comparatively irrelevant in a parcel. When she understood that I wanted to draw she offered to overwhelm me with note-paper. I then tried to explain the rather delicate logical shade, that I not only liked brown paper, but liked the quality of brownness in paper, just as I like the quality of brownness in October woods, or in beer. Brown paper represents the primal twilight of the first toil of creation, and with a bright-colored chalk or two you can pick out points of fire in it, sparks of gold, and blood-red, and sea-green, like the first fierce stars that sprang out of divine darkness. All this I said (in an off-hand way) to the old woman, and I put the brown paper in my pocket along with the chalks, and possibly other things. I suppose every one must have reflected how primeval and how poetical are the things that one carries in ones pocket; the pocket-knife, for instance, the type of all human tools, the infant of the sword. Once I planned to write a book of poems entirely about things in my pockets. But I found it would be too long, and the age of the great epics is past. With my stick and my knife, my chalks and my brown paper, I went out on to the great downs... I crossed one swell of living turf after another, looking for a place to sit down and draw. Do not, for heavens sake, imagine I was going to sketch from Nature. I was going to draw devils and seraphim, and blind old gods that men worshipped before the dawn of right, and saints in robes of angry crimson, and seas of strange green, and all the sacred or monstrous symbols that look so well in bright colors on brown paper. They are much better worth drawing than Nature; also they are much easier to draw. When a cow came slouching by in the field next to me, a mere artist might have drawn it; but I always get wrong in the hind legs of quadrupeds. So I drew the soul of a cow; which I saw there plainly walking before me in the sunlight; and the soul was all purple and silver, and had seven horns and the mystery that belongs to all beasts. But though I could not with a crayon get the best out of the landscape, it does not follow that the landscape was not getting the best out of me. And this , I think, is the mistake that people make about the old poets who lived before Wordsworth, and were supposed not to care very much about Nature because they did not describe it much. They preferred writing about great men to writing about great hills, but they sat on the great hills to write it. The gave out much less about Nature, but they drank in, perhaps, much more. They painted the white robes of their holy virgins with the blinding snow, at which they had stared all day. ...The greenness of a thousand green leaves clustered into the live green figure of Robin Hood. The blueness of a score of forgotten skies became the blue robes of the Virgin. The inspiration went in like sunbeams and came out like Apollo. But as I sat scrawling these silly figures on the brown paper, it began to dawn on me, to my great disgust, that I had left one chalk, and that a most exquisite and essential chalk, behind. I searched all my pockets, but I could not find any white chalk. Now, those who are acquainted with all the philosophy (nay, religion) which is typified in the art of drawing on brown paper, know that white is positive and essential. I cannot avoid remarking here upon a moral significance. One of the wise and awful truths which this brown-paper art reveals, is this, that white is a color. It is not a mere absence of color; it is a shining and affirmative thing, as fierce as red, as definite as black. When, so to speak, your pencil grows red-hot, it draws roses; when it grows white-hot, it draws stars. And one of the two or three defiant verities of the best religious morality, of real Christianity, for example, is exactly this same thing; the chief assertion of religious morality is that white is a color. Virtue is not the absence of vices or the avoidance of moral dangers; virtue is a vivid and separate thing, like pain or a particular smell. Mercy does not mean not being cruel, or sparing people revenge or punishment; it means a plain and positive thing like the sun, which one has either seen or not seen. Chastity does not mean abstention from sexual wrong; it means something flaming, like Joan of Arc. In a word, God paints in many colors; but he never paints so gorgeously, I had almost said so gaudily, as when He paints in white. In a sense our age has realized this fact, and expressed it in our sullen costume. For if it were really true that white was a blank and colorless thing, negative and non-committal, then white would be used instead of black and grey for the funereal dress of this pessimistic period. Which is not the case. Meanwhile, I could not find my chalk. I sat on the hill in a sort of despair. There was no town near at which it was even remotely probable there would be such a thing as an artists colorman. And yet, without any white, my absurd little pictures would be as pointless as the world would be if there were no good people in it. I stared stupidly round, racking my brain for expedients. Then I suddenly stood up and roared with laughter, again and again, so that the cows stared at me and called a committee. Imagine a man in the Sahara regretting that he had no sand for his hour-glass. Imagine a gentleman in mid-ocean wishing that he had brought some salt water with him for his chemical experiments. I was sitting on an immense warehouse of white chalk. The landscape was made entirely of white chalk. White chalk was piled more miles until it met the sky. I stooped and broke a piece of the rock I sat on: it did not mark so well as the shop chalks do, but it gave the effect. And I stood there in a trance of pleasure, realizing that this Southern England is not only a grand peninsula, and a tradition and a civilization; it is something even more admirable. It is a piece of chalk.

Finkelpearl social art Essay Example | Topics and Well Written Essays - 250 words

Finkelpearl social art - Essay Example By so doing he looks carefully into how the art intersects with real life and how artists are working hard to re-imagine this intersection to make a community inclusive art, rather than an outcast kind of art. These public artworks mean that they have a certain influence on how the public experiences, thus public art is the central concern for the artists. As Tom Finkelpearl suggests, public art is in its efforts to be both personal and abstract, does not include dead images; it instead names them (Finkelpearl). Naming is the norm for many memorials, for example the AIDS memorial quilt that began in California, the biggest art in the world today. Public art gives a visually impressive and monumental ambition, to an almost legendary character but that are just spectacles in performance. Nearly all people see public art but most of them are only able to identify the works through recorded documents or photographs. Tom Finkelpearl (Finkelpearl)says there is a possibility within this relatively work of art to have opportunities to explore the contemporary world through its many multifold and become a recognized and credible discipline in fine

What is globalization, and what are some of the traditional Essay

What is globalization, and what are some of the traditional international trade theories that support the concept of globalization - Essay Example Vincent points out that the present form of globalization is defective as it is largely shaped by the rules made by the superpowers and that is why these rules do not necessarily benefit the developing countries. (Friedman 1992). Globalisation has come to involve a delocalization of business activities which previously involved face-to-face interaction, or that were local, due to long distances. This significant delocalization has occurred in the social and economic exchanges and cultural barriers have been accordingly broken). Business and commerce has taken the most effect from this phenomena as the internet has proven to be a tool on Globalisation as e-commerce has revolutionized the entire business scene and broken the notion of geographical boundaries. Globalisation brings with it low costs and through better networking and transport better business networking is possible.The cost of disseminating information has reduced due to the advent of instantaneous

Curriculum Development Assignment ( French Secondary PGCE) Essay

Curriculum Development Assignment ( French Secondary PGCE) - Essay Example In this context, one would define an authentic learning experience as one which would prepare students for real-life situations (using props, or realia, if necessary and available) in order to facilitate the learning process. Students, then, are not seen from the philosophical lens of being merely â€Å"vessels to be filled with knowledge,† as Paulo Freire might have argued. Nor are students coming to classroom with their minds a tabula rossa, a blank slate on which one must fill their heads with ideas—as John Locke might very well have argued. Instead, students have knowledge already, prior knowledge that can be tapped into and used in dramatic situations in order to facilitate new learning, weaving what they know in with what they don’t know. Additionally, students have ideas already in their minds about the language they are learning and how exactly they might like to go about learning in their own manner—but, perhaps outside of a drama-inspired French class, they might not receive as many opportunities to be creative in secondary school subjects as they might with a class designed like this one. Indeed, it is the students who make the classroom setting and the learning fun by adding their own knowledge or surprise â€Å"twist† to the subject matter’s material, if you will. ... In every truly good drama, there are always elements of serious academic study and research that go behind every academic project worthy of some undertaking. Drama is a way for students to use different kinds of intelligences as defined by Howard Gardner’s Theory Of Multiple Intelligences, which are common knowledge to educators everywhere—the different intelligences being bodily-kinesthetic, interpersonal, intrapersonal, musical, verbal-linguistic, logical, spatial, and naturalist intelligences all combined. For example, students may use their interpersonal skills interacting with each other as actors and actresses. Intrapersonal—or extremely introverted students—may learn to be more outgoing and even have their own soliloquies. Musical students may choose to sing in their dramatic presentation, in French, as part of their particular project. Verbal-linguistic students might be interested in reciting long monologues or dialogues that they themselves have written in French, and then perform them in a lively and witty verbal discourse. Students who are visual may use their spatial intelligence in order to draw or design temporary, movable scenery or provide visual imagery for the presentation—which could include technology such as a PowerPoint or a presentation on a SmartBoard (if such technologies are available). Students with bodily-kinesthetic intelligence may be good with activities requiring movement and the proper placement of one’s presence on-stage. Students with naturalistic intelligence may incorporate nature and ethical treatment for animals into their dramatic presentations. As an additional bonus, some students may have high moral intelligence, which may lead them to produce a morality play, for

Potassium Lithium Hydrogen Phthalate Mixed Crystals

Potassium Lithium Hydrogen Phthalate Mixed Crystals 3. RESULTS AND DISCUSSION SECTION 3.1 Synthesis, growth, structure and characterization of potassium lithium hydrogen phthalate mixed crystals* In the present work, we report the growth and structure of a new mixed crystal C16H16KLiO11 (PLHP), which crystallizes in a non-centrosymmetric space group P21 and SHG-active. The grown crystals were subjected to various characterization studies which are briefly described below. Here it is established that by synthesising the mixed crystal in a different route with a controlled concentration of additive, one can sustain nonlinearity at the macro level by allowing the specimen to crystallise in a polar space group. The main objective of the investigation is to design a noncentrosymmetric structure by attempting a different route of synthesis, leading to NLO activity. Steering to noncentrosymmetry from centrosymmetry is made possible by changing the growth conditions. 3.1.1. Crystal growth The mixed crystal PLHP was synthesized from an aqueous solution containing equimolar quantities of AR grade potassium hydrogen phthalate (KHP) and lithium carbonate (Li2CO3) in slightly acidic conditions using de-ionized water. After successive recrystallization, the mixed crystals were grown by the slow evaporation solution growth technique. The crystallization took place within 20-25 d and the crystals were harvested. Photographs of as- grown crystals are shown in Fig. 3.1.1. Fig. 3.1.1. Photographs of mixed crystal PLHP 3.1.2. FT-IR The FT-IR spectrum of the as-grown specimen is shown in Fig.3.1.2. An absorption band in the region 500-900 cm-1 corresponds to the C-H out of plane deformations of aromatic ring. The C=O stretching frequency appeared at 1670 cm-1. The characteristic vibrational patterns of KHP104, lithium hydrogen phthalate (LiHP) 22 and PLHP are given in Table 3.1.2. A slight shift of some of the characteristic vibrational frequencies could be due to the stress development because of Li incorporation. Fig. 3.1.2. FT–IR spectrum of mixed crystal PLHP Table 3.1.2. FT-IR frequencies of some acid phthalate crystals (cm-1) aRef 105 bRef 22 c Present study 3.1.3. TGA/DTA Thermal studies reveal the purity of the material. The TGA curve shows a single stage weight loss at à ¯Ã‚ Ã‚ ¾150o C due to loss of water molecule. In DTA, the broad endothermic peak at 420 °C, is due to decomposition. The residual mass observed from thermogram at 600 °C is ~50%. (Fig. 3.1.3). 3.1.4. SEM / EDS The SEM micrographs give information about the surface morphology and it is used to check the imperfections105. The SEM pictures of PLHP at different magnifications are shown in Fig. 3.1.4.1. It shows highest surface roughness in a plate like structure, due to defect centers and crystal voids. The presence of Li and K in the PLHP crystal lattice is confirmed by energy dispersive spectroscopy (EDS) (Fig. 3.1.4.2). Fig. 3.1.4.2. EDS spectrum of PLHP 3.1.5. AAS and CHN analysis Atomic absorption spectroscopic studies were carried out to quantify Li (20.6 ppm) and K (21. ppm ) in the sample. Also, CHN elemental analysis was performed to estimate the quantity of carbon and hydrogen present in PLHP. The elemental composition found was: C 42.93%, H 3.29%. The calculated composition was: C 44.63%, H 3.7%. 3.1.6. UV-visible The UV-visible spectrum of the mixed crystal PLHP reveals high transmittance in the visible region and the lower cut-off wave length is observed at ~300 nm. Incorporation of foreign metal ion into the KHP crystal lattice does not destroy the optical transmission of potassium hydrogen phthalate. The concentration of an absorbing species can be determined using the Kubelka-Munk equation106 correlating reflectance and concentration, F(R) = (1-R)2 / 2R = ÃŽ ± / s=Ac / s where F(R) is Kubelka-Munk function, R is the reflectance of the crystal, ÃŽ ± is absorption coefficient, s is scattering coefficient, A is absorbance and c is concentration of the absorbing species. The direct band-gap energy of the specimen is estimated as 4.05 eV, from the Tauc plot [F(R)hÃŽ ½]2 versus hÃŽ ½ (eV) (Fig. 3.1.6). Fig. 3.1.6. Tauc plot (Direct Band gap energy) 3.1.7 X-ray diffraction analysis The powder XRD pattern of PLHP shows that the sample is of a single phase without a detectable impurity. Narrow peaks indicate the good crystallinity of the material. At room temperature all the observed reflections were indexed. The indexed powder XRD pattern is shown in Fig. 3.1.7.1. Peak positions in powder XRD match with simulated XRD patterns from single crystal X-ray diffraction. The relative intensity variations could be due to the preferred orientation of the sample used for diffractogram measurement. Also, the mosaic spread of powder and single crystal patterns may differ, resulting in intensity variations. The structure of PLHP is elucidated and the ORTEP is given as Fig. 3.1.7.2. Three-dimensional view of intramolecular hydrogen bonding interactions is displayed in Fig. 3.1.7.3. The chemical formula C16H16KLiO11 confirms the presence of K and Li in the crystalline matrix, well supported by energy dispersive X-ray spectroscopy (EDS) and atomic absorption spectroscopy (AAS). The specimen crystallizes in the monoclinic crystal system with the noncentrosymmetric space group P21. The crystallographic parameters of PLHP, KHP, LiKP and LiHP are listed in Table 3.1.7.1. Fig.3.1.7.1. Experimental (red) and simulated (blue) powder XRD patterns Fig.3.1.7.2. ORTEP of PLHP Fig.3.1.7.3. Three dimensional view of intramolecular hydrogen bonding interactions (OHà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O) Table 3.1.7.1. Crystal data of LiHP, KHP, LiKP and PLHP crystals The alkali ions are linked to each other by O–Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O hydrogen bonds through the carboxylate oxygen. The O atoms of the carboxylate group (in phthalate ions) namely O(1)-O(8) are connected to K1, while the lithium ions are connected with central metal ion via O(5)-O(6), O atoms of the water molecules. The K-O bond distances range from 2.8311 (19) to 3.207 (8) Ã…, which is higher than bond distances observed in potassium hydrogen phthalate monohydrate 2.305 (1) –2.597 (1) Ã…. The Li–O bond distances lie in the range 1.956 (3)–1.968 (3) Ã…. The aromatic C-C bond distances fall in the range 1.377 (3) –1.485 (2) Ã…. The four carboxy C-O distances are almost same and the values are close to that observed for potassium hydrogen phthalate monohydrate107 and sodium acid phthalate108. In LiKP, O(4)–K(1) bond distance lies at 2.7491 Ã… whereas in our present study, the O(4)–K(1) bond dist ance is 2.7671 Ã…. The selected bond angles and bond lengths are given in Table 3.1.7.2. Crystal packing with hydrogen bonding interactions along the b-axis is given in Fig. 3.1.7.4. Strong intramolecular hydrogen bonding interactions are O(2)-H(2)à ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O(11) and O(5)-H(5B)à ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O(3) assembled with distances of 1.77 and 1.86 Ã… respectively (Fig. 3.1.7.5). Weak intermolecular interactions are observed for O(7)-H(7B)à ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O(10), O(7)-H(7B)à ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O(11) and O(5)-H(5B)à ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O(1), with bond distances of 2.41 (2), 2.46 (3) and 3.25 (4) Ã… respectively (Table 3.1.7.3.). Table 3.1.7.2. Selected bond lengths (Ã…) and angles (o) of PLHP Table 3.1.7.3. Hydrogen bonds geometry for PLHP [Ã…, o] Fig. 3.1.7.5. Three dimensional image of polyhedron with O-Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O interactions 3.1.8. SHG efficiency In order to confirm the influence of incorporation of lithium on the NLO properties of KHP the pure and mixed crystals were subjected to SHG test with an input radiation of 6.5 mJ/pulse. The outputs give the relative SHG efficiencies of the measured specimens. As seen, the SHG activity of the mixed crystal is comparable with that of KHP (Fig. 3.1.8) and it is quite likely due to the facile charge transfer, not disturbed by Li-incorporation. Although many materials have been identified that have higher molecular nonlinearities, the attainment of second-order effects requires favourable alignment of the molecule within the crystal109. It has been reported that the SHG can be greatly enhanced by altering the molecular alignment through inclusion complexation110. The mixed crystal PLHP grown from an aqueous solution containing equimolar quantities of reactants crystallize in a noncentrosymmetric space group P21 and SHG-active, whereas when Li is taken in excess in the growth medium the f ormed mixed crystal LiKP crystallizes in a centrosymmetric space group P1 and hence SHG-inactive29. It is interesting to observe that the mixed crystal of KHP synthesized by a different route crystallises in a polar space group. By changing the growth conditions it is possible to attain noncentrosymmetry in preference to centrosymmetry, a required characteristic of an NLO material. Fig. 3.1.8. The comparative SHG oscilloscope traces of the powder samples of KHP (red) and PLHP (blue) 3.1.9. Hirshfeld surface analysis The Hirshfeld surfaces of PLHP have been demonstrated in Fig. 3.1.9.1 by showing dnorm, shape index, de and di. The Hirshfeld surface111-113 surrounding a molecule is defined by points where the contribution to the electron density from the molecule under consideration is equal to the contribution from all the other molecules. For each point on that isosurface, two distances are determined: one is de representing the distance from the point to the nearest nucleus external to the surface and second one is di, representing the distance to the nearest nucleus internal to the surface. The normalized contact distance (dnorm) is based on both de and di. The surfaces are shown as transparent to allow visualization of the molecule around which they were calculated. The circular depressions (deep red) which are visible on the Hirshfeld surface are an indicator of hydrogen bonding contacts and other visible spots in Fig. 3.1.9.1a are due to Oà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Li ( 3.6%), Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O (14.5%), Oà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢H (15.9%), Kà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O (2.0%) and Lià ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O (3.5%) interactions. The short interactions represented by deep red spots in de surface (Fig.3.1.9.1c) are Oà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Li contacts (3.6%). The dominant Oà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢H (14.5%), Lià ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O (3.5%) and Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢H (31.7%) interactions are viewed in di surface plots by the bright red area in Fig. 3.1.9.1d. The shape index indicates the shape of the electron density surface around the molecular interactions. The small range of area and light color on the surface represent a weaker and longer contact other than hydrogen bonds. The two-dimensional fingerprint plots114 of PLHP exemplify the strong evidenc e for the intermolecular interactions pattern. In the fingerprint region (Fig. 3.1.9.3), Oà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢H (15.9%) interactions are represented by a spike in the bottom area whereas the Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O (14.5%) interactions are represented by a spike in the top left region. Hydrogen-hydrogen interactions Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢H (31.7%) are very high while compared to the other bonding interactions. Sharp curved spike at the bottom left area indicates the Oà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Li (3.6%) and top left corner with curved spike indicates the Lià ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢O (3.5%). The finger print at the bottom right area represents Cà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢H (11.7%) interactions and top right area represents Hà ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢Ãƒ ¢Ã‹â€ Ã¢â€ž ¢C (8.7%) interactions. The number of interactions in terms of percent age are represented in a pie chart in Fig. 3.1.9.2. Fig.3.1.9.1. Hirshfeld surface analysis of PLHP (a) dnorm (b) shape index (c) de (d) di Fig. 3.1.9.2. Relative contribution of various intermolecular interactions in PLHP Fig. 3.1.9.3. Fingerprint plots of PLHP 1

The Need for Recycling Essay -- Recycle Reuse Landfill Trash

The Need for Recycling This essay has problems with the format People Need to Recycle In the United Sates, where the population is inflated every year. The amount of space for landfills decreases every day. The need for recycling should not be asked, it should just be done out of habit. Everyone in America needs to recycle, to help the lamdfill problem, help the environment, and help produce new products from recycled goods. In America there is about two-hundred and eight tons of residential and commercial trash generated a year, 4.3 pounds per person a day (Prichard 1A). This is an overwhelming amount of trashed produced yearly. When people recycle this number can be drastically cut. But many people do not practice and use recycling. Consumers and businesses should use the three R’s; recycle, reuse, and recharge (Prichard 1A). Consumers and businesses are producing more garbage than ever before. As a result, we are rapidly running out of landfill space. In 1979 America had close to 18,500 landfills, and by 1991 that number was nearly cut in half (Prichard 10A). Kentucky, Ohio, Minnesota, and Illinois will reach their maximum limit on landfills by the year 2005 (Prichard 10A). This whole garbage problem has forced us to try other options. Many of these options have been very unsuccessful. People have tried burning their garbage, that cause pollution to the environment. Some states even resorted to dropping their trash in the ocean, only to have the very same trash float ashore later. Dumping it on other states leads to feuding neighbors. Indiana passed a law to block imports of out-of-state trash, but a federal court ruled the law illegal (Prichard 10A). Instead of trying to find new ways to dump our trash, we need to find b... ...se cans out of our rivers and parks. Everyone should get involved with a local recycling program of some sorts. Every city has recycling bins for newspapers, paper, cans, bottles, plastics, almost everything there is. When people get involved, the landfills, and the environment will all be greatly inproved. So take the time to recycle and America will truly be a beautiful place to live. Works Cited Hall, Cindy. â€Å"Trash and Back.† USA Today 14 November 1997: 1A. Lipkin, Richard. â€Å"Recycling, King of the Trash Heap.† New Tech 26 February 1990: 48-49. Pendleton, Scott. â€Å"Sellers Tickled by Demand for Recycled Paper.† The Christian Science Monitor 26 August 1997. Prichard, Peter. â€Å"Bottle-Deposit Laws Fight Litter and Waste.† USA Today 29 April 1990: 8A. Prichard, Peter. â€Å"Trash Glut Demands Recycling Solution.† USA Today 19 February 1994: 10A.