Myths and Misconceptions About Tree Roots Explained

The root system of a tree  is seldom on the radar for forest owners and tree lovers. Roots are rarely exposed so misconceptions about how they grow and function can influence tree managers into bad decision making. You can grow a healthier tree if you understand its root system. Here are several tree root myths that  may change how you perceive your tree and correct the way you plant and grow the plant. Myth 1: All Trees Have Single Tap Roots Most trees do not have tap roots after the seedling stage. They quickly produce water-seeking lateral and feeder roots. When a tree is grown in deep, well-drained soil, these trees will develop many deep roots directly surrounding the trunk. They should not be confused with what we think of as a taproot similar to other vegetable plants like carrots and turnips or the tap roots of tree seedlings. Shallow, compacted soils will eliminate deep roots altogether and you will have a feeder root mat with very few deep roots. These trees get most of their water above the water table level and are subject to damaging windthrow and severe drought. Myth 2: Tree Roots Will Grow Only to a Tree's Dripline There is a belief that roots tend to stay under a trees leaf canopy. That seldom happens. Trees in a forest have roots reaching well beyond their individual branches and leaves in search of water and nutrients. Studies have shown that roots actually grow laterally to a distance equal to the height of the tree. One report from the University of Florida extension says Roots on trees and shrubs planted in a landscape grow to 3 times the branch spread within 2 to 3 years of planting. Trees standing together in a forest send roots beyond their individual limbs and intermingle with the roots of neighboring trees. Myth 3: Damaged Roots Result in Canopy Dieback on the Same Side This does happen, but it should not be assumed as a foregone conclusion. University of Florida extension says that Roots on one side of trees such as oaks and mahogany generally supply the same side of the tree with water and nutrients. Dieback of individual branches and limbs will occur on the damaged root side. Interestingly, maple trees do not seem to show injury and drop leaves on the side of root injury. Instead, branch death may occur anywhere in the crown with some tree species like maples. Myth 4: Deeper Roots Secure Water and Nutrients On the contrary, the feeder roots in the top 3 inches of soil supply your tree with water and food. These delicate finer roots are concentrated in that upper soil and duff layer where immediate nutrients and moisture are quickly available. Minor soil disturbances can injure these feeder roots and remove a large portion of the absorbing roots on a tree. This is can significantly set a tree back. Major soil disturbances due to construction and severe compaction can kill a tree. Myth 5: Root Pruning Stimulates Root Branching When planting a trees root ball, It is very tempting to cut back on roots that are circling the ball. It is very often thought that a dense root ball will stimulate new feeder root growth, but that is not the case. Dont worry about encircling roots as they will correct that on a new site. Most new root growth occurs at the end of existing roots. Root pruning is often done at the nursery to accommodate packaging and to resume growth before the final sale. If you are planting the tree at its final site, it may be best that you gently break up the root ball but never prune root tips. Source Gilman, Edward. Dispelling Misperceptions About Trees. University of Florida Institute of Food and Agricultural Sciences Extension, Aug. 2011.

Romanticism in Music Essay - 1614 Words

Romanticism in Music Romantic: of, characterized by, or suggestive of an idealised, sentimental, or fantastic view of reality#8230; concerned more with feeling and emotion than with form and aesthetic qualities. The Concise Oxford Dictionary, Eighth edition, 1991. The term romantic first appeared at sometime during the latter half of the 18th Century, meaning in quite literal English, romance-like, usually referring to the character of mythical medieval romances. The first significant jump was in literature, where writing became far more reliant on imagination and the freedom of thought and expression, in around 1750. Subsequent movements then began to follow in Music and Art, where the same kind of imagination and expression†¦show more content†¦The Classical Period had lasted from around 1750 -- 1820, and was itself a revolt against the previous Baroque era. The arts moved away from the heavily ornamented styles of the Baroque to a cleaner, uncluttered style, thought to be reminiscent of Ancient Greece, and many people interested in music were now the aristocracy rather than the church or monarchy. The social upheavals of the latter part of this period challenged these ideas, and the Age of Reason became the age of the individual, a nd the beginnings of Romanticism, with its non-rational and disordered reasoning, became predominant. Early Romanticism and the Influence of Beethoven The Romantic age, although having been in the background in literature in particular since 1750, really began to evolve into mainstream music with the shockwaves caused by the French Revolution. Opera was immediately modernised in France -- in particular a style later known as Rescue Opera, which typically depicted the capture of a heroine by an evil tyrant and then rescued gallantly by her lover. This genre showed the new way of thinking, that the evil was undone by human effort and not by the intervention of an almighty, superior being. Ludwig van Beethoven, seen by many as a Classical composer, used the new romantic ideas in his own music. In 1805Show MoreRelatedRomanticism in Music1653 Words   |  7 PagesRomanticism Romanticism was an artistic movement that took place from the nineteenth to the early twentieth century. Drastic changes in the arts took place over the course of this time period. During this movement, much emphasis was placed on emotion and imagination in the arts. Prior to the Romantic Period, music had been seen more as recreation and njoyment than as an integral part of culture. 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These pillarsRead MoreLiterature during the Romantic Era972 Words   |  4 Pagesï » ¿Romanticism Introduction The Romantic era began in the late eighteenth century as a reaction against the Age of Enlightenment and was a period of great change and emancipation. The movement started as an artistic and intellectual reaction against aristocratic social and political norms of the Enlightenment and against the scientific rationalization of nature. During the Enlightenment literature and art were primarily created for the elite, upper classes and educated, and the language incorporatedRead MoreThe New Era Of Musical Expression1098 Words   |  5 Pagesravenousness desire for new music came the development and creation of what is known as the Romantic Period from approximately 1810-1900. This new epoch established generations of new music advancement as composers, performers, and artists setout to create a new legacy of music development with the ideas of emotion, expression, and enlightenment through the conception of beautiful art. Referred to as â€Å"Romanticism,† this new era of musical expression vastly altered the tradition of music. With the socio-political

A Case of Convicted Rapists Free Essays

I read in this journal that research mainly by interviews with convicted sexual offenders and contrast groups is important in order to understand why and how sexual violence against women occurred (1). Because masculinity has been assumed to be superior, and knowledge reflects on male dominated universe reflecting the views of patriarchal beliefs, feminists need to study and understand the reality of sexually violent men (2, 3). I noted that there are numerous hindrances in determining number and characteristics of rapists because only the ‘classic’ and violent cases are reported. We will write a custom essay sample on A Case of Convicted Rapists or any similar topic only for you Order Now To counter this, research would require interviews with the group of unreported rapists but this would again place the researcher as an accomplice because of protecting the rapist’s identity (6, 7). Information acquired in therapy is unreliable due to prisoner’s mistrust of prison officials as they feel it might be used against them in a parole hearing (10-11). Traditional masculinity behaviour suggested the men would respond positively to a female interviewer and despite security risks, professional self took priority before the personal self in order to collect relevant data (12, 13). I understood that to get good data, a good working relationship, the use of non-threatening background information and long interviews was crucial (15). Rapport was necessary in creating trust, confidentiality and mutual respect and this appealed to even the hardcore felons who were ready to talk to a non-judgmental outsider if just to break prison monotony. While neutrality should not be portrayed as approval, disagreements can result in destruction of rapport and jeopardize future interviews. Opinion should be put forth candidly but carefully to leave the participant feeling positive about the interview (16-18). I learned that many prisoners present unique problems in regard to obtaining voluntary informed consent and mentioning that they were rapists would cause the men shame and embarrassment (19-21). Explanations on risks, safeguards and the prisoners’ rights were given as well as permission to confirm the validity of the interview data (23-25). Research showed that prisoners are prone to lying, fabrication and manipulation in order to better their chances of parole because their approval depends on staff researchers’ assessment. While some rapists admitted to raping, they played down their use of force, others did not believe their actions constituted rape and the rest completely denied any sexual contact with the victims and pleaded mistaken identity (27-28). I also noted that while cooperation from the State Department of Corrections and the prison staff was excellent, riots and lockups, scheduling mishaps, inmate transfers and absenteeism, electricity blackouts and the occasional lack of an interview room were some of the obstacles encountered while at times unfavourable weather and lack of air conditioning made the longer interviews almost unbearable (29-30). References Diana, s. (1990). A glimpse inside. Understanding sexual harassment: a study of convicted rapists. Rout ledge, New York. Â   How to cite A Case of Convicted Rapists, Papers

My Last Duchess Essay Thesis Example For Students

My Last Duchess Essay Thesis In Brownings My Last Duchess, it appears that the Duke would have had the Duchess attend only to him. The Duchess is portrayed as someone that is easily pleased. In the passages: twas not Her husband’s presence only, called that spot Of joy into the Duchess’ cheek She had A heart — how shall I say — too soon made glad, Too easily impressed; she liked whate’er She looked on, and her looks went everywhere. Browning conveys to us that the Duchess could be easily impressed. Through his use of words,  «her looks went everywhere » and the rhythm that he establishes in this passage, the reader is given a picture of the Duchess as a playful and frivolous woman that was quickly impressed by just about anything. Browning confirms this by providing some examples: My favor at her breast, The dropping of the daylight in the West, The bough of cherries some officious fool Broke in the orchard for her, the white mule She rode with round the terrace The first example,  «My favor at her breast, » shows that she found pleasure in the attention that the Duke showed to her. Yet, Browning leads us to believe that she equated this intimate contact with something as simple as the sun setting,  «The dropping of the daylight in the West. » In the following passage the reader is given the first glimpse of what probably led the Duke to such a violent act: She thanked men — good! but thanked Somehow — I know not how — as if she ranked My gift of a nine-hundred-years-old name With anybody’s gift. The Duke, it appears, was jealous of the attention that she gave to others. Browning tells us much about the type of person the Duke was in these lines: Even had you skill In speech — which I have not — to make your will Quite clear to such an one, and say, â€Å"Just this Or that in you disgusts me; here you miss, Or there exceed the mark† — and if she let Herself be lessoned so, nor plainly set Her wits to yours, forsooth, and made excuse – E’en then would be some stooping; and I choose Never to stoop. Oh sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile Browning conveys to us that the Duke was a proud man that would not convey his feelings to the Duchess regarding her manner. The language chosen,  «Just this or that in you disgusts me, » conveys to us just how bothered by her wandering attention the Duke was. The reader could also be led to the conclusion that the Duke was a bit of a coward. He had predetermined her reaction to a confrontation,  «and if she let | Herself be lessoned so, nor plainly set | Her wits to yours, forsooth, and made excuse. » As his hidden aggression intensified, his manner with her turned harsh: Oh sir, she smiled, no doubt, Whene’er I passed her; but who passed without Much the same smile This grew; I gave commands;  «Normal » people, in the Dukes situation of extreme psychological turmoil would probably react in one of two ways. They would either confront the Duchess about her behavior by explaining that her actions caused them discomfort and pain or they would react in anger, accusing the Duchess of being unfaithful. A thin line separates the  «Normal » from those that resort to violence as a means to and end. An even thinner line exists between those that react with violence and those that push things just a little too far and commit crimes. .u8a23381ae4bcc4b59744ee9f2c4b5afe , .u8a23381ae4bcc4b59744ee9f2c4b5afe .postImageUrl , .u8a23381ae4bcc4b59744ee9f2c4b5afe .centered-text-area { min-height: 80px; position: relative; } .u8a23381ae4bcc4b59744ee9f2c4b5afe , .u8a23381ae4bcc4b59744ee9f2c4b5afe:hover , .u8a23381ae4bcc4b59744ee9f2c4b5afe:visited , .u8a23381ae4bcc4b59744ee9f2c4b5afe:active { border:0!important; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .clearfix:after { content: ""; display: table; clear: both; } .u8a23381ae4bcc4b59744ee9f2c4b5afe { 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; } .u8a23381ae4bcc4b59744ee9f2c4b5afe:active , .u8a23381ae4bcc4b59744ee9f2c4b5afe:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .centered-text-area { width: 100%; position: relative ; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .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; } .u8a23381ae4bcc4b59744ee9f2c4b5afe:hover .ctaButton { background-color: #34495E!important; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u8a23381ae4bcc4b59744ee9f2c4b5afe .u8a23381ae4bcc4b59744ee9f2c4b5afe-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u8a23381ae4bcc4b59744ee9f2c4b5afe:after { content: ""; display: block; clear: both; } READ: Racial Prejudices EssayThere is little value to the type of jealousy the Duke was experiencing. Jealousy in itself is a destructive emotion. It leads people to think irrationally and to envision scenarios that paint the victim in an unfavorable light thus intensifying the jealous feelings and intensifying the situation.