You are botanist working in the area of plant breeding .Describle the various steps that you will undertake to release a new variety.
You are botanist working in the area of plant breeding .Describle the various steps that you will undertake to release a new variety.
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To release a new variety of plants as a botanist working in the area of plant breeding, you would follow these systematic steps:
### Step 1: Collection of Variability (Germplasm)
- The first step involves collecting a diverse range of genetic material or germplasm. This includes various strains or varieties of the plant species you are interested in breeding. The goal is to gather a wide genetic base to ensure variability, which is essential for selection and breeding.
### Step 2: Selection of Parent Plants
- After collecting the germplasm, the next step is to select the appropriate parent plants. This selection is based on desirable traits such as disease resistance, yield, growth rate, and other agronomic characteristics. The chosen parents should ideally possess complementary traits that can be combined in the offspring.
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There is and must remain a standard by which good writing is measured and acknowledged. Take a moment to consider the alternative, and you'll surely come to agree with me. Without standard, anything and everything could be considered "literature." More so, it would change from person to person and place to place based solely on the rudimentary preference of varied individuals. Without a clear idea of what is meant by "literary," all writing is a chaotic mess of opinion and idiosyncratic interest with genre romance being just as viable as those rare works of art that embody the human experience, raise significant social and political questions, and remain in the readers' minds long after the book is finished. Without measure, the Twilight series sits right next to the works of Toni Morrison. Let us think about what makes important writing. Writing, like all great forms of art, has the power to make us see the world more clearly. It is, when done effectively. a carrier of history and truth, a script of humanity that can be felt. It is lasting, or as Ezra Pound once remarked, "news that stays news." And it moves us. What I mean is that literature plays with the big questions, searches for the big things. It pursues beauty, purpose, and meaning in an aesthetic way that arouses emotion. The canon is acknowledged as superior and of artistic merit not because everyone likes reading the stuff, but because it heightens our understanding of life and rattles our comfort levels. In essence, reading literature makes us better humans, and certainly, not all writing can do that. To say that writing cannot be measured or that there is not a clear standard is absurd. While you may not like everything deemed "literary," it surely has the power to make you think and feel and wonder. It is this exploration of universal truths that intensifies our understanding of humanity and stirs something deep within us that makes literature. While you may laugh or cry or shout while reading Harry Potter, that in itself cannot classify it as one of the greats. PASSAGE 2 I used to revel at my anxiety after turning in an assignment in my first years of my Creative Writing degree. One moment, I was quite sure that my work was genius. And another, I was the most dim-witted simpleton to ever put pen to paper. I had absolutely no idea whether my fiction would come back with an "A" or an "F" stamped on it-no clue how the professor might decide between the two. Often, I'd pull decent grades, but moan aloud when the instructor picked out my very favorite sentence one that was going to mark me the next Vonnegut or Kerouac-and crossed to red ink. Rethink this she'd scribble underneath. It took me two years and the of carpal tunnel to realize that there is no real way to know what's good, and that what's good is entirely subjective. To test my theory, I submitted a few poems from previous semesters (highly frowned upon by the university, but necessary for my experiment) in hopes of getting a second opinion. I found that my grades varied only imperceptibly, but more interestingly, instructor feedback bordered on polarity. And so, I realized there is no true standard of measurement for writing, not creative writing at least. Once you venture past the "thesis statement" and "logical reasoning" and "coherent organization" of the purely academic writing, the concession on what is good is really nonexistent. Sure, we might be able to agree that something particularly terrible is just that, and we might be able to nod our heads to a piece th&t is particularly brilliant and say that, at the very least, it isn't terrible. But overall, many will adore language that others detest, and some will gasp appreciatively at a metaphor that makes the masses vomit. I find enchanting what you find dull, and so it goes. And Mary Wright (fall semester) will find the same image "ineffective," which Tobias Dalton (spring semester) calls "delightful and provocative." And so I say, to each their own. What is thoughtful, good, and stirring is without impartiality, contingent not only on the reader, but the reader's mood, location, and even on what the reader has recently read. Therefore, write what you will and read what you wish, and if you like it, then declare with authority that it is indeed exceptional. how would the author of passage 1 most likely respond to someone who contended that the quality of literature is directly related to the intensity of the reader's emotional response?
There is and must remain a standard by which good writing is measured and acknowledged. Take a moment to consider the alternative, and you'll surely come to agree with me. Without standard, anything and everything could be considered "literature." More so, it would change from person to person and place to place based solely on the rudimentary preference of varied individuals. Without a clear idea of what is meant by "literary," all writing is a chaotic mess of opinion and idiosyncratic interest with genre romance being just as viable as those rare works of art that embody the human experience, raise significant social and political questions, and remain in the readers' minds long after the book is finished. Without measure, the Twilight series sits right next to the works of Toni Morrison. Let us think about what makes important writing. Writing, like all great forms of art, has the power to make us see the world more clearly. It is, when done effectively. a carrier of history and truth, a script of humanity that can be felt. It is lasting, or as Ezra Pound once remarked, "news that stays news." And it moves us. What I mean is that literature plays with the big questions, searches for the big things. It pursues beauty, purpose, and meaning in an aesthetic way that arouses emotion. The canon is acknowledged as superior and of artistic merit not because everyone likes reading the stuff, but because it heightens our understanding of life and rattles our comfort levels. In essence, reading literature makes us better humans, and certainly, not all writing can do that. To say that writing cannot be measured or that there is not a clear standard is absurd. While you may not like everything deemed "literary," it surely has the power to make you think and feel and wonder. It is this exploration of universal truths that intensifies our understanding of humanity and stirs something deep within us that makes literature. While you may laugh or cry or shout while reading Harry Potter, that in itself cannot classify it as one of the greats. PASSAGE 2 I used to revel at my anxiety after turning in an assignment in my first years of my Creative Writing degree. One moment, I was quite sure that my work was genius. And another, I was the most dim-witted simpleton to ever put pen to paper. I had absolutely no idea whether my fiction would come back with an "A" or an "F" stamped on it-no clue how the professor might decide between the two. Often, I'd pull decent grades, but moan aloud when the instructor picked out my very favorite sentence one that was going to mark me the next Vonnegut or Kerouac-and crossed to red ink. Rethink this she'd scribble underneath. It took me two years and the of carpal tunnel to realize that there is no real way to know what's good, and that what's good is entirely subjective. To test my theory, I submitted a few poems from previous semesters (highly frowned upon by the university, but necessary for my experiment) in hopes of getting a second opinion. I found that my grades varied only imperceptibly, but more interestingly, instructor feedback bordered on polarity. And so, I realized there is no true standard of measurement for writing, not creative writing at least. Once you venture past the "thesis statement" and "logical reasoning" and "coherent organization" of the purely academic writing, the concession on what is good is really nonexistent. Sure, we might be able to agree that something particularly terrible is just that, and we might be able to nod our heads to a piece th&t is particularly brilliant and say that, at the very least, it isn't terrible. But overall, many will adore language that others detest, and some will gasp appreciatively at a metaphor that makes the masses vomit. I find enchanting what you find dull, and so it goes. And Mary Wright (fall semester) will find the same image "ineffective," which Tobias Dalton (spring semester) calls "delightful and provocative." And so I say, to each their own. What is thoughtful, good, and stirring is without impartiality, contingent not only on the reader, but the reader's mood, location, and even on what the reader has recently read. Therefore, write what you will and read what you wish, and if you like it, then declare with authority that it is indeed exceptional. how would the author of passage 1 most likely respond to someone who contended that the quality of literature is directly related to the intensity of the reader's emotional response?
A
agree with it wholeheartedly.
B
argue that a more precise standard is needed
C
dismiss the statement outright
D
argue that emotions are irrelevant to literary analysis
There is and must remain a standard by which good writing is measured and acknowledged. Take a moment to consider the alternative, and you'll surely come to agree with me. Without standard, anything and everything could be considered "literature." More so, it would change from person to person and place to place based solely on the rudimentary preference of varied individuals. Without a clear idea of what is meant by "literary," all writing is a chaotic mess of opinion and idiosyncratic interest with genre romance being just as viable as those rare works of art that embody the human experience, raise significant social and political questions, and remain in the readers' minds long after the book is finished. Without measure, the Twilight series sits right next to the works of Toni Morrison. Let us think about what makes important writing. Writing, like all great forms of art, has the power to make us see the world more clearly. It is, when done effectively. a carrier of history and truth, a script of humanity that can be felt. It is lasting, or as Ezra Pound once remarked, "news that stays news." And it moves us. What I mean is that literature plays with the big questions, searches for the big things. It pursues beauty, purpose, and meaning in an aesthetic way that arouses emotion. The canon is acknowledged as superior and of artistic merit not because everyone likes reading the stuff, but because it heightens our understanding of life and rattles our comfort levels. In essence, reading literature makes us better humans, and certainly, not all writing can do that. To say that writing cannot be measured or that there is not a clear standard is absurd. While you may not like everything deemed "literary," it surely has the power to make you think and feel and wonder. It is this exploration of universal truths that intensifies our understanding of humanity and stirs something deep within us that makes literature. While you may laugh or cry or shout while reading Harry Potter, that in itself cannot classify it as one of the greats. PASSAGE 2 I used to revel at my anxiety after turning in an assignment in my first years of my Creative Writing degree. One moment, I was quite sure that my work was genius. And another, I was the most dim-witted simpleton to ever put pen to paper. I had absolutely no idea whether my fiction would come back with an "A" or an "F" stamped on it-no clue how the professor might decide between the two. Often, I'd pull decent grades, but moan aloud when the instructor picked out my very favorite sentence one that was going to mark me the next Vonnegut or Kerouac-and crossed to red ink. Rethink this she'd scribble underneath. It took me two years and the of carpal tunnel to realize that there is no real way to know what's good, and that what's good is entirely subjective. To test my theory, I submitted a few poems from previous semesters (highly frowned upon by the university, but necessary for my experiment) in hopes of getting a second opinion. I found that my grades varied only imperceptibly, but more interestingly, instructor feedback bordered on polarity. And so, I realized there is no true standard of measurement for writing, not creative writing at least. Once you venture past the "thesis statement" and "logical reasoning" and "coherent organization" of the purely academic writing, the concession on what is good is really nonexistent. Sure, we might be able to agree that something particularly terrible is just that, and we might be able to nod our heads to a piece th&t is particularly brilliant and say that, at the very least, it isn't terrible. But overall, many will adore language that others detest, and some will gasp appreciatively at a metaphor that makes the masses vomit. I find enchanting what you find dull, and so it goes. And Mary Wright (fall semester) will find the same image "ineffective," which Tobias Dalton (spring semester) calls "delightful and provocative." And so I say, to each their own. What is thoughtful, good, and stirring is without impartiality, contingent not only on the reader, but the reader's mood, location, and even on what the reader has recently read. Therefore, write what you will and read what you wish, and if you like it, then declare with authority that it is indeed exceptional. which option gives the best evidence for the answer to the previous question?
There is and must remain a standard by which good writing is measured and acknowledged. Take a moment to consider the alternative, and you'll surely come to agree with me. Without standard, anything and everything could be considered "literature." More so, it would change from person to person and place to place based solely on the rudimentary preference of varied individuals. Without a clear idea of what is meant by "literary," all writing is a chaotic mess of opinion and idiosyncratic interest with genre romance being just as viable as those rare works of art that embody the human experience, raise significant social and political questions, and remain in the readers' minds long after the book is finished. Without measure, the Twilight series sits right next to the works of Toni Morrison. Let us think about what makes important writing. Writing, like all great forms of art, has the power to make us see the world more clearly. It is, when done effectively. a carrier of history and truth, a script of humanity that can be felt. It is lasting, or as Ezra Pound once remarked, "news that stays news." And it moves us. What I mean is that literature plays with the big questions, searches for the big things. It pursues beauty, purpose, and meaning in an aesthetic way that arouses emotion. The canon is acknowledged as superior and of artistic merit not because everyone likes reading the stuff, but because it heightens our understanding of life and rattles our comfort levels. In essence, reading literature makes us better humans, and certainly, not all writing can do that. To say that writing cannot be measured or that there is not a clear standard is absurd. While you may not like everything deemed "literary," it surely has the power to make you think and feel and wonder. It is this exploration of universal truths that intensifies our understanding of humanity and stirs something deep within us that makes literature. While you may laugh or cry or shout while reading Harry Potter, that in itself cannot classify it as one of the greats. PASSAGE 2 I used to revel at my anxiety after turning in an assignment in my first years of my Creative Writing degree. One moment, I was quite sure that my work was genius. And another, I was the most dim-witted simpleton to ever put pen to paper. I had absolutely no idea whether my fiction would come back with an "A" or an "F" stamped on it-no clue how the professor might decide between the two. Often, I'd pull decent grades, but moan aloud when the instructor picked out my very favorite sentence one that was going to mark me the next Vonnegut or Kerouac-and crossed to red ink. Rethink this she'd scribble underneath. It took me two years and the of carpal tunnel to realize that there is no real way to know what's good, and that what's good is entirely subjective. To test my theory, I submitted a few poems from previous semesters (highly frowned upon by the university, but necessary for my experiment) in hopes of getting a second opinion. I found that my grades varied only imperceptibly, but more interestingly, instructor feedback bordered on polarity. And so, I realized there is no true standard of measurement for writing, not creative writing at least. Once you venture past the "thesis statement" and "logical reasoning" and "coherent organization" of the purely academic writing, the concession on what is good is really nonexistent. Sure, we might be able to agree that something particularly terrible is just that, and we might be able to nod our heads to a piece th&t is particularly brilliant and say that, at the very least, it isn't terrible. But overall, many will adore language that others detest, and some will gasp appreciatively at a metaphor that makes the masses vomit. I find enchanting what you find dull, and so it goes. And Mary Wright (fall semester) will find the same image "ineffective," which Tobias Dalton (spring semester) calls "delightful and provocative." And so I say, to each their own. What is thoughtful, good, and stirring is without impartiality, contingent not only on the reader, but the reader's mood, location, and even on what the reader has recently read. Therefore, write what you will and read what you wish, and if you like it, then declare with authority that it is indeed exceptional. which option gives the best evidence for the answer to the previous question?
A
lines 4-5 ("more so…individuals")
B
lines 11-12 ("let us …clearly")
C
lines 20-21 ("to say…absurd")
D
lines 24-25 ("while…greats")
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