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Scientists have acknowledged that humans are responsible for the radical change in the environment. According to the editors, there is a new trend on how different institutions, men and women respond to these problems. The interest nowadays is how "environmental degradation" affects people and culture and how they respond to these problems respectively. The following set of essays provide social perspective on how environmentalists have used the idea of sacredness to protect places. Many of these ideas of sacredness come from non-European civilizations. Europeans viewed Native Americans as being "more close to nature", savage due to their nakedness and their closeness to natural environments. However, these essays provide a new perspective because they demystify culture by explaining that many environmental problems come from Indian practices such as burning, that rural communities in the Amazon will not care if they are polluting the environment as when it comes to doing business, it means more money for their families. In terms of institutional intervention, two other essays address how environmental activism has strengthen due to the proliferation of toxic dumps near poor minority communities, something nowadays called "environmental racism", likewise, how the Russians have no interest in environmentalism due to the collapse of their government, and women's participation in initiatives in their rural communities are decisive because they are the ones who gather fuel wood from forests and the destruction of forests make it difficult for their survival. As it seems, these essays provide a culture-based perspective on modern environmental issues. Nature is been affected directly by human intervention, these changes occur on the localized level therefore, environmentalists should stay focused on specific issues.
However, with new environmental issues on the horizon, environmentalists are lead to new perspectives in addressing these problems such as a new movement called "eco-feminism". Women are viewed in a pastoral interpretation as being "closer to nature" (such as Indians as described in a previews essay). The essay proposes that the environment has been degraded by men. Historically women have neither had real influence nor participation in institutions that have had part in "contemporary environmental destruction". Men are environmental hazards due to male-related activities such as hunting. Women on the other hand are more concerned on nature related issues due to childbearing. On the other hand, another essay acknowledges new perspectives on modernity and its analysis on the Enlightenment perspective on technology, and how in a modern perspective "scientists and engineers are associated with the devastation of nature". Scientists are viewed as custodians of nature. They identify that the problems in nature are a consequence of different institutional effects. It is therefore, necessary to understand first hand the socioeconomic context of the said issue before dealing with it. These specific problems are rooted in history and culture and leave "presentism"on the side. Presentism by itself accuses modern scientists of the problems that exist in the present. The editors of the book call for a new postmodern thinking that will be inclusive and will recognize the social role of science and engineering.
Since the book has different voices that address many problems, it can serve as the first step towards the education of our fragile environment. All of the essays are very well written and contain a large bibliography that can serve as a reference for future research. As the title suggest, nature is composed of different elements such as the earth, air, fire and water, they are all interrelated, therefore should be studied by an interdisciplinary approach. All problems are caused by individual issues related to culture, politics and history, therefore environmentalists should unite their efforts to address specific and localized problems by including all social institutions and citizens in the conservation of our natural environment.
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Many rightly raved about Mirka Zemanova's previous contribution to the Janacek bibliography, her edition of the composer's uncollected essays on musicology. The volume included many previously unseen, or at least untranslated pieces of writing by Janacek. Various reviews of performances in Brno for the local journals and newspapers were enlightening when considering the many influences on Janacek's own writing, the Brno premieres of Cavalleria Rusticana or Tchaikovsky's Queen of Spades influencing Janacek's Jenufa, for example. Many passages have seeped their way into recent writing about the composer's life and works with the same regularity as quotes from John Tyrrell's many documentary translations, the letters to Kamila Stosslova particularly.
Zemanova has decided to eschew use of Tyrrell's great translations of the letters and various documents, and returned to the original sources, itself not a bad idea. For the English speaking Janacek fan though, perhaps more cross references to those masterly volumes wouldn't have been too bad a thing, and her dismissal of some of Tyrrell's work is misplaced. Zemanova has great command of her material at best, but occasionally she is rather prosaic on a life that was so lacking in humdrum. Her outlining of details of the Vienna premiere of Jenufa, rather than dwelling on the Prague premiere (itself very important, but perhaps a little too glorified in recent literature) is to be commended. Her scatty musical analysis is a disappointment. Although she outlines her concern with focussing less on the 'works' and more on the 'life', her style is not always up to the dramatics of Janacek's life. I would recommend a reading of the composer's wife's memoirs for some of the real drama.
It is a mixed book, fitting for such a mixed man, filled with facts that weren't available to previous biographers, but lacking in the grasp of some other regular contributors to Janacek literature. Hopefully, however, it will be the first of a stream of issues about this fascinating composer in the year leading up to the 150th anniversary of his birth, and the 100th anniversary of the premiere of his first great opera Jenufa.
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Edited by Simon Broadbent, the Vice Chairman of Leo Burnett, London, the book talks about writing the ads, as well as going back to the basics in strategy and onto production, media and evaluation skills, which helps see how advertisements can be managed and improved.
Leo Burnett Ltd, established in Chicago in 1935, was the third most award-winning agency network worldwide in '97-98.The book begins on an ode to Leo Burnett, the Chieftain and driving force behind the agency. A man who laid much emphasis on non-verbal ideas, "the sheer fun of admaking", that took the form of statements with visual qualities, and whose true meaning lies too deep for words: whether the strong Marlboro man on horseback, or the benevolent Jolly Green giant selling corn, or the playful Kelloggs Frosties tiger.
the book is essentially divided into two sections- 'Techniques' and 'Case Histories', the former aiming to help one work for an agency.A much helpful read for a beginner, it touches upon effective advertising techniques like media objectives, media strategies, data presentations, campaign effectiveness, timing, quality, production methods etc. 'Advertising that sells' focuses on product dramatisation, whether through the product as a hero, or celebrity presenters or enacted slice-of-life stories or modern parables.
'Case Histories' takes on the Leo Burnett-handled campaigns. It is both a market analysis, as well as the agency evaluation of its effective utilization of the talked about techniques.
The result: Long running campaigns like Cadbury's Flakes, Perrier mineral water,Austin Metro, Sunday Express (with its famous 'where's Giles'?)etc.
Inspite of this, the book has not been very popular.Someone once said that books that noone wants to read deserve to become extinct, and that probably has happened to the Leo Burnett Book.
On the whole, I'll say, an interesting and very readable book.
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very sad