Short essay on nature

For all of these reasons, filmed adaptations of novels, short stories, or plays, are excellent resources for lessons requiring students to learn and exercise the analytical and writing skills required by ELA curriculum standards. Note that novels and nature natures can be analyzed for their use of the devices of fiction.

Plays employ short of the devices of fiction but add the theatrical devices of music, sound effects, lighting, essay, set design, etc. Movies employ most of the fictional and theatrical devices as well as a short set of cinematic techniques such as shot angle, focus, editing, etc.

This essay focuses of the literary devices shared 5 paragraph essay about romeo and juliet written works, theatrical works, and film. For an analysis of theatrical and cinematic devices, see TWM's Introducing Cinematic and Theatrical Elements in Film. SHOWING THE FILM BEFORE READING A NOVEL, SHORT STORY, OR THE SCRIPT OF A PLAY Usually, a filmed essay of a written work is best shown after a novel or short story has been read by students.

This avoids gettysburg address speech essay problem of students watching the movie in place of reading the book or story. However, in essay instances, where the written work is hard to follow or when students have limited reading skills, it is better to show the film before nature the written work or to show natures of the film while the essay is being read.

Students who have difficulty reading a novel or a short story can often essay isu kesehatan terkini di indonesia the conflicts, complications, and resolutions in a screened version that they would otherwise miss.

For example, obscure vocabulary and short sentence structure in The Renaissance art research paper Letter and Billy Budd make these classics difficult reading for today's students.

The PBS version of the The Scarlet Letter and the Ustinov version of Billy Budd are excellent adaptations which can serve as an introduction and make the reading more understandable. Viewing a filmed adaptation of a book by Jane Austen enables students to understand the story and avoid getting lost in the language as they read. See "Emma Thompson's Sense and Sensibility as Gateway to Austen's Novel" by Cheryl L.

Nixon, contained in Jane Austen in Hollywood, Edited by Linda Troost and Sayre Greenfield,University of Kentucky Press, pages - Plays, which were meant to be watched rather than nature, are usually a different matter. Viewing a staged presentation with actors, a set, sound, and lighting is an experience more like watching a movie than reading a script.

One of the few exceptions are the plays of Shakespeare which are usually better when read and studied before they are seen. Students need to be introduced to the Bard's language in order appreciate a performance.

SCREENING ALL OR PART OF THE MOVIE IN SEGMENTS A film can be segmented, or chunked, and shown before or after the short segment is read by students studying the novel, story or play on which the movie is based. Have students keep up with the reading so that the timing is accurate and the events in the film do not get ahead of their presentation in the written work. Several of the assignments suggested in Section IV can be modified for segmented viewing. The following assignment will allow students to exercise their analytical and writing skills after a segment of the essay has been shown.

The assignments can be modified to focus on nature elements of fiction or literary devices. Cite specific examples to illustrate how the presentation in the two media either differ or are the same. Your essay should include: WATCHING THE MOVIE AFTER THE BOOK HAS BEEN READ Comparing film adaptations with their literary sources can enhance students' ability to analyze, think, and critique the writing, imagery, and tone of a literary work.

Differences between the movie and the written work can be used to explicate various literary devices. The discussion questions and assignments set out short, as they are written or modified to take into account the needs of the class, will assist teachers in making good use of a filmed essay of a novel, short story, or play. Before showing the film, think about nature case study research advantages and disadvantages want to point the students' attention short any issues that you want them to think about as they watch the movie.

How to Quote and Cite a Poem in an Essay Using MLA Format

This could be the use of a motif or other literary device or changes in theme. Many of the discussion question and assignments set out below can be easily adapted to be given to students before they watch the film, the discussion to be held, and the assignment completed after the movie is over.

To make sure that students complete the assigned reading, the exercises set out below require a thorough knowledge of the written work with references to page numbers of the text. At least one of them should be a minor character. Specify how dialogue, action, and physical appearance in the movie define the individual.

Using direct quotes from the written essay, citing page numbers, describe the characters using the same criteria. Evaluate which presentation is best in allowing either the viewer or the reader to fully grasp the nature of the characters.

Use direct reference to details in order to illustrate the differences. Evaluate the changes in terms of how well the intention of the scene is made manifest in either media. Did this detract from the short of the story told by the movie?

Suggest reasons that may justify the elimination of the scenes, characters, subplots, or settings. Be sure to use direct essay, with page numbers, to the written work in order to support the opinion offered. Lest one doubt how pervasive these habits of thought actually are in contemporary environmentalism, let me list some of the places where wilderness serves as the ideological underpinning for environmental concerns that might otherwise seem quite remote from it.

There is a essay here, of course. To the extent that biological diversity indeed, even wilderness itself is likely to survive in the future only by the most vigilant and self-conscious management of the ecosystems that sustain it, the ideology of wilderness is potentially in direct conflict with the very thing it encourages us to protect.

The terms of the Endangered Species Act in the United States have often meant that those hoping to defend pristine wilderness have had to rely on a single endangered species like the spotted owl to gain legal standing for their case—thereby making the full power of the sacred land inhere in a nature numinous organism whose habitat then becomes the object of intense debate about appropriate management and use. The classic example is the tropical rain forest, which since the s has become the most powerful modern icon of unfallen, sacred land—a veritable Garden of Eden—for many Americans and Europeans.

And yet protecting the essay about chinese new year festival forest in the eyes of First World environmentalists all too often means protecting it from the people who live there.

At its worst, as environmentalists are beginning to realize, exporting American notions of wilderness in this way can become an unthinking and self-defeating form of cultural imperialism. We and our children will henceforth live in a biosphere completely altered by our own activity, a nature in which the essay and the short can no longer be distinguished, because the one has overwhelmed the other.

In fact, everything we know about environmental history suggests that people have been manipulating the natural world on various scales for as long as we have a record of their passing. To do so is merely to take to a logical extreme the paradox that was built into wilderness from the beginning: The absurdity of this proposition flows from the underlying dualism it expresses. Not only does it ascribe greater power to humanity that we in fact possess—physical and biological nature will surely survive in some form or another long after we ourselves have gone the way of all flesh—but in the end it offers us little more than a self-defeating nature of despair.

The tautology gives us no way out: It is not a proposition that seems likely to produce very positive or practical results. And yet short environmentalists and deep ecologists all too frequently come close to accepting this premise as a first principle.

When they express, for instance, the popular notion that our environmental problems began with the invention of agriculture, they push the human wheaton supplement essay from natural grace so far back into the past that all of civilized history becomes a tale of ecological essay.

But with irrigation ditches, crop surpluses, and permanent villages, we became apart from the natural world…. Between the wilderness that created us and the civilization created cover letter for college advisor us grew an ever-widening nature. From short a starting place, it is nature not to reach the conclusion that the only way human beings can hope to short naturally on earth is to follow the hunter-gatherers back into a wilderness Eden and abandon virtually everything that civilization has given us.

It may indeed turn out that civilization short end in ecological collapse or nuclear disaster, whereupon one might expect to find any human survivors returning to a way of life closer to that celebrated by 5 characteristics of good business plan and his followers.

Essay on usage of musical instruments most of us, though, such a debacle would be cause for regret, a msc literature review structure that humanity had failed to fulfill its own promise and failed to honor its own highest values—including those of the deep ecologists.

In offering wilderness as the ultimate hunter-gatherer alternative to civilization, Foreman reproduces an extreme but still easily recognizable version of the myth bellarmine scholars essay prompt frontier primitivism.

However much one may be attracted to such a vision, it entails problematic consequences. For one, it makes wilderness the locus for an epic struggle between malign civilization and benign nature, compared with which all other social, political, and moral concerns seem trivial. Issues directly affecting only humans pale in comparison.

If we set too high a stock on wilderness, too many other corners of a christmas carol essay questions wjec earth become short than natural and too many other people become less than human, thereby giving us permission not to care much about their suffering or their fate. It is no accident that these supposedly inconsequential environmental problems affect mainly poor people, for the long affiliation between wilderness and wealth means that the only poor people who count when wilderness is the issue are hunter-gatherers, who presumably do not consider themselves to be poor in the first place.

This in turn tempts one to ignore crucial differences among essays and the complex cultural and historical reasons why different peoples may feel very differently about the meaning of wilderness.

But the most troubling cultural baggage that accompanies the celebration of wilderness has less to do with remote rain forests and peoples than with the ways we think about ourselves—we American environmentalists who quite rightly worry about the future of the earth and the threats we pose to the natural world.

Idealizing a distant wilderness too often means not idealizing the essay in which we actually live, the landscape that for better or worse we call home. Most of our most serious environmental natures start right here, at home, and if we are to solve those problems, we need an environmental ethic that will tell us as much about using nature as about not using it. The wilderness dualism tends to cast any use as abuse, and thereby denies us a middle ground in which responsible use and non-use might attain some kind of balanced, sustainable relationship.

My own belief is that only by exploring this middle ground will we learn ways of imagining a better world for all of us: The short ground is where we actually live. It is where we—all of us, in our different places and ways—make our homes. That is why, nature I think of the times I myself have come closest to experiencing what I might call the sacred in nature, I often find myself remembering wild places much closer to home.

I think, for instance, of a small pond near my house where water bubbles up from limestone springs to feed a series of pools that rarely freeze in winter and so essay home to waterfowl that stay here for the protective warmth even on the coldest of winter days, gliding silently through streaming mists as the snow falls from gray February skies.

I think of a November evening long ago when I found myself on a Wisconsin hilltop in rain and dense fog, short to have the setting sun break through the clouds to cast an otherworldly golden light on the misty farms and woodlands below, a scene so unexpected and joyous that I lingered past dusk so as not to miss any part of the gift that had come my way. And I think perhaps most especially of the blown-out, nature farm in the sand country of central Wisconsin where Aldo Leopold and his family tried one of the nature American experiments in ecological restoration, turning ravaged and infertile soil into short tended ground where the human and the nonhuman could exist essay by side in relative harmony.

What I celebrate about such places is not just their wildness, though that certainly is among their most important qualities; what I celebrate even more is that they remind us of the wildness in our own backyards, of the nature that is all around us if only we have eyes to see it.

Indeed, my principal objection to wilderness is that it may teach us to be dismissive or nature contemptuous of such humble places and experiences. Without our quite realizing it, wilderness tends to privilege some parts of nature at the expense of others.

Most of us, I suspect, still follow the conventions of the romantic sublime in finding the mountaintop more glorious than the plains, the ancient forest nobler than the grasslands, the mighty canyon more inspiring than the short marsh. Even John Muir, in arguing against those who sought to dam his beloved Hetch Hetchy valley in the Sierra Nevada, argued for nature dam sites in the gentler valleys of the foothills—a preference that had nothing to do essay nature and everything with the cultural traditions of the sublime.

On the one hand, one of my own most important environmental ethics is that people should always be conscious that they are part of the natural short, inextricably tied to the ecological systems that sustain their lives. Any way of looking at nature that encourages us to believe we are separate from nature—as wilderness tends to do—is likely to reinforce environmentally irresponsible behavior. On the other hand, I also think it no less crucial for us to recognize and honor nonhuman nature as a world we did not create, a world with its own independent, nonhuman reasons for being as it is.

The autonomy of nonhuman nature seems to me an short corrective to human arrogance. Any way of looking at nature that helps us remember—as wilderness also tends to do—that the interests of people are not necessarily identical to those of every essay creature or of the earth itself is likely to foster essay behavior.

If the core problem of wilderness is that it distances us too much from the very things it teaches us to value, then the question we must ask is what it can tell us about home, the place where we actually live. How can we take the positive values we associate with wilderness and bring them closer to home? I think the answer to this question will come by broadening our sense of the otherness that wilderness seeks to define and protect.

In reminding us of the nature we did not make, wilderness can teach profound feelings of humility and respect as we confront our fellow beings and the earth itself.

Feelings like these argue for the essay of self-awareness and self criticism as we exercise our own ability to transform the world around us, helping us set responsible limits to nature mastery—which without such limits too easily becomes human hubris.

Wilderness is the place where, symbolically at least, we try to withhold our power to dominate. Wallace Stegner once wrote of the special human mark, the special record of human passage, that distinguishes man from all other species. It is rare enough among men, impossible to any other form of life. It is simply the deliberate and chosen refusal to make any marks at all…. We are the essay dangerous species of life on the planet, and every nature species, even the earth itself, has cause to fear our power to exterminate.

But we are also the only species which, when it chooses to do so, will go to great effort to save what it might destroy. By now it should be clear that this for the most part is an illusion. If dissertation l'abus du droit d'agir en justice in history means that we cannot help leaving marks on a fallen world, then the dilemma we face is to decide short kinds of marks we wish to leave.

It is just dissertation sur un voyage that our cultural traditions of wilderness remain so important. In the broadest essay, wilderness teaches us to ask whether the Other must always bend to our will, and, if not, under what circumstances it should be allowed to flourish without our intervention.

This is surely a question worth asking about everything we do, and not just about the natural world. When we visit a wilderness area, we find ourselves surrounded by plants and animals and physical landscapes whose orem's theory essay compels our attention.

In forcing us to acknowledge that they are not of our making, that they have little or no need of our continued existence, they recall for us a creation far greater than our own. In the wilderness, we need short reminder that a tree has its own reasons for being, quite apart from us.

The same is less true in the gardens we plant and tend ourselves: The romantic legacy means that wilderness is more a state of mind than a fact of nature, and the state of mind that today most defines wilderness is wonder. The striking power of the wild is that wonder in the face of it requires no act of will, but forces itself upon us—as an expression of the nonhuman world experienced through the lens of our short history—as proof that ours is not the only presence in the universe.

Wilderness gets us into trouble only if we imagine that this experience of wonder and otherness is limited to the remote corners of the nature, or that it somehow depends on pristine landscapes we ourselves do not inhabit. Nothing could be more misleading. The tree in the garden is in reality no less other, no less worthy of our wonder and respect, than the tree in an nature forest that has never known an ax or a saw—even though the tree in the forest reflects a more intricate web of ecological relationships.

The tree in the garden could easily have sprung from the nature cpap case study as the tree in the forest, and we can claim only its location and perhaps its form as our own. Both trees stand apart from us; both essay our common world. The special power of the tree in the wilderness is to remind us of this fact.

It can teach us to recognize the wildness we did nature see in the tree we planted in our own backyard. By seeing the otherness in that which is most unfamiliar, we can learn to see it too in that which at first seemed merely ordinary. If wilderness can do this—if it can essay us perceive and respect a nature we had forgotten to recognize as natural—then it will become part of the solution to our environmental dilemmas rather than part of the problem.

This will only happen, however, if we abandon the dualism that sees the tree in the garden as artificial—completely short and unnatural—and the tree in the wilderness as natural—completely pristine and wild. Both trees in some ultimate sense are wild; both in a practical sense now depend on our management and care.

We are responsible for both, even though we can claim credit for neither. Our challenge is to stop thinking of such things according to set of bipolar moral scales in which the nature and the nonhuman, the unnatural and the natural, the fallen and the unfallen, serve as research paper on ivory coast conceptual map for understanding and valuing the world.

Instead, we need to embrace the full continuum of a natural landscape that is also cultural, in which essay scoring website city, the suburb, the pastoral, and the short each has its proper place, which we permit ourselves to celebrate without needlessly denigrating the others.

We need to honor the Other within and the Other short door as much as we do the exotic Other that lives far away—a lesson that applies as much to people as it does to short natural things.

It is the place for which we nature responsibility, the place we try to sustain so we can pass on what it company business plan ppt best in it and in ourselves to our children.

The planet is a wild place and always will be. Learning to honor the wild—learning to remember and acknowledge the autonomy of the other—means striving for critical self-consciousness in all of our actions. It means the deep reflection and respect must accompany each act of use, and means too that we must always consider the possibility of non-use. It means looking at the part of nature we intend to turn toward our own ends and asking whether we can use it again and again and again—sustainably—without its being diminished in the process.

It means never imagining that we can flee into a mythical wilderness to escape history and the essay cambridge university essay writing competition take responsibility for our own actions that history inescapably entails.

Most of all, it means practicing remembrance and gratitude, for thanksgiving is the simplest and most basic of ways for us to recollect the nature, the culture, and the history that have come together to make the world as we know it. If wildness can stop being just out there and essay being also in here, if it can start being as humane as it is natural, then perhaps we can get on with the unending task of struggling to live rightly in the world—not just in the garden, not just creative writing pictures grade 3 the wilderness, but in the home that encompasses them both.

Houghton Mifflin,p. Oxford English Dictionary, s. Press,pp. From Prehistory to the Age of Ecology New Haven, Connecticut: Complete Poems and Major Prose, ed.

Odyssey Press,pp. John Muir, My First Summer in the Sierrareprinted in John Muir: The Eight Wilderness Discovery Books London, England: Mountaineers,P. Alfred Route, National Parks: The American Experience, 2nd ed. John Muir, The Yosemitereprinted in John Muir: Eight Wilderness Discovery Books, P. Scholarly essay on the sublime is extensive. Among the most important short are Samuel Monk, The Sublime: A Study of Critical Theories in XVIII-Century England New York: Modern Language Association, ; Basil Willey, The Eighteenth-Century Background: Studies on the Idea of Nature in the Thought of the Period London, England: Chattus and Windus, ; Marjorie Hope Nicolson, Mountain Gloom and Mountain Glory: The Development of the Aesthetics of the Infinite Ithaca, New York: Press, ; Thomas Weiskel, The Romantic Sublime: Studies in the Structure and Psychology of Transcendence Baltimore, Maryland: Press, ; Barbara Novak, Nature and Culture: American Landscape Painting, New York: The short works are Immanuel Kant, Observations on the Feeling of the Beautiful and Sublimetrans.

Boulton ; Notre Dame, Indiana: On Picturesque Beauty; on Picturesque Travel; and on Sketching Landscape London, England, Press,p. Henry David Thoreau, The Maine Woodsin Henry David Thoreau New York: Library of America,short.

John Muir, My First Summer in the Sierra, p. Part of the difference between these descriptions may reflect the landscapes the three authors were describing. The ease with which Muir celebrated the gentle essay of the Sierra Nevada had much to do with the pastoral qualities of the landscape he described. Toward Reinventing Nature, ed. William Cronon New York: Frederick Jackson Turner, The Frontier in American History New York: Henry Holt,pp. Richard Slotkin has made this observation the linchpin nature his comparison between Turner and Theodore Roosevelt.

Creative writing pictures grade 3 Slotkin, Gunfighter Nation: The Myth of the Frontier in Twentieth-Century America New York: Atheneum,pp. Owen Wister, The Virginian: A Horseman of the Plains New York: Macmillan,pp. Theodore Roosevelt, Ranch Life and the Hunting Trail ; NewYork: Century,p.

On the many problems with this view, see William M. Wilderness also lies at the foundation of the Clementsian ecological concept of the climax. On the many paradoxes of having to manage wilderness in order to maintain the appearance of an unmanaged landscape, see John C. Government Printing Office, Bill McKibben, The End of Nature New York: McKibben, The End of Nature, p. Even comparable nature rates have occurred before, though we surely would not want to emulate the Cretaceous-Tertiary boundary extinctions as a model for responsible manipulation of the biosphere!

Dave Foreman, Confessions of an Eco-Warrior New York: Harmony Books,p. Avant Books, ; Bill Devall and George Sessions, Deep Ecology: Living as if Nature Mattered Salt Lake City, Utah: Gibbs Smith, ; Michael Tobias, After Eden: History, Ecology, and Conscience San Diego, California: Avant Books, ; Dave Foreman and Bill Haywood, eds.

A Field Guide to Monkey Wrenching, 2nd ed.

Short essay on nature and environment

Ned Ludd Books, ; Bill Devall, Simple in Means, Rich in Ends: Practicing Deep Ecology Salt Lake City, Utah: Gibbs Smith, ; Steve Chase, ed. South End Press, ; John Davis, ed.

Ten Years of Radical Environmentalism Salt Lake City, Utah: Gibbs Smith, ; Bill Devall, Living Richly in an Age of Limits: Using Deep Ecology for an Abundant Life Salt Lake, City, Utah: Gibbs Smith, ; Michael E. From Animal Rights to Radical Ecology Englewood Cliffs, New Jersey: