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The essential, cornerstone book of modern environmentalism is now offered in a handsome 40th anniversary edition which features a new Introduction by activist Terry Tempest Williams and a new Afterword by Carson biographer Linda Lear.
The author's insights about a variety of natural phenomena contribute to our understanding of some of the great medical puzzles of the era. -- Back cover.
Reissued on the tenth anniversary of its publication, this classic work on our environmental crisis features a new introduction by the author, reviewing both the progress and ground lost in the fight to save the earth. This impassioned plea for radical and life-renewing change is today still considered a groundbreaking work in environmental studies. McKibben's argument that the survival of the globe is dependent on a fundamental, philosophical shift in the way we relate to nature is more relevant than ever. McKibben writes of our earth's environmental cataclysm, addressing such core issues as the greenhouse effect, acid rain, and the depletion of the ozone layer. His new introduction addresses some of the latest environmental issues that have risen during the 1990s. The book also includes an invaluable new appendix of facts and figures that surveys the progress of the environmental movement. More than simply a handbook for survival or a doomsday catalog of scientific prediction, this classic, soulful lament on Nature is required reading for nature enthusiasts, activists, and concerned citizens alike.
A chronicle of the passing seasons in Central and Eastern Ontario designed to inform cottagers, gardeners, photographers, suburban backyard birders, and nature enthusiasts alike as to the natural events that can be expected each month of the year.
HighwoodN. P. presents a profile of American biologist and author Rachel Louise Carson (1907-1964) as part of the GirlSite resource. The resource also offers access to additional information.
An Artforum Best Book of the Year A Legal Theory Bookworm Book of the Year Nature no longer exists apart from humanity. Henceforth, the world we will inhabit is the one we have made. Geologists have called this new planetary epoch the Anthropocene, the Age of Humans. The geological strata we are now creating record industrial emissions, industrial-scale crop pollens, and the disappearance of species driven to extinction. Climate change is planetary engineering without design. These facts of the Anthropocene are scientific, but its shape and meaning are questions for politics—a politics that does not yet exist. After Nature develops a politics for this post-natural world. “After Nature argues that we will deserve the future only because it will be the one we made. We will live, or die, by our mistakes.” —Christine Smallwood, Harper’s “Dazzling...Purdy hopes that climate change might spur yet another change in how we think about the natural world, but he insists that such a shift will be inescapably political... For a relatively slim volume, this book distills an incredible amount of scholarship—about Americans’ changing attitudes toward the natural world, and about how those attitudes might change in the future.” —Ross Andersen, The Atlantic
Because evolutionary nature can be seen only through the product of evolution - the human eye - the observer must always be aware of the physical limitations inherent in the act of perception. Krasner's study is an exploration of how Charles Darwin's representational techniques, intended to emphasize the spatial and temporal limitations besetting the human observer without diminishing the grand scheme of evolutionary nature, transformed his opulently "entangled" nature into a formless, psychologically interior landscape. Evolutionary nature's abundance and variety required Darwin and the turn-of-the-century British nature writers who followed him to portray the world as though seen through a physiologically limited, human eye. Investigating the shift from Victorian to modernist sensibilities in the context of evolutionary biology and perceptual theory, Krasner shows that, while profoundly attentive to landscape and biology, nature writers chose a mode of representing nature based on visual perception that led them toward a more abstract and psychological portrayal of natural landscapes. Using the visual perception theories of Berkeley, Hamilton, Brewster, Koffka, and James, Krasner investigates the ways in which Thomas Hardy, Joseph Conrad, and D.H. Lawrence, as well as other naturalists and nature writers, came to portray nature as the locus of optical illusion and visual failure. Narrative portrayals of nature become narrative portrayals of the perception of nature in which the physiological limitations of the human eye determine the structure of the representation. Bringing together literary, scientific, and popular texts, Krasner establishes the extent of Darwin's impact on theEnglish literary tradition.