Human impact on the natural enviornment Research Paper

Human impact on the natural enviornment - Research Paper Example People for instance need timber for building and for fuel, but obtaining it means cutting down trees that are an important aspect of the natural environment. In view of this, the purpose of this paper is to explore the actual human impact on the natural environment. Human impact on vegetation Human existence has a significant impact on plant life. Since the pre-historic times, human beings have greatly relied on plant life for food, shelter and clothing among other uses. With rapid urbanization and the growth of populations, green patches have shrunk to alarming levels, thus requiring a re-evaluation of the interactions between humans and the natural vegetation. Human beings impact the vegetation in various ways. Some of the disruptions to the natural vegetation are fire, deforestation for building materials and cultivation of land. Human beings have used fire since pre-historic times. Fire was an important resource for various reasons such as protection from wild animals at night, c ommunication, clearing forests and in war. Similarly, the impact of fire on the natural environment has been immense. Fires may be caused by human beings or they may occur naturally. Natural fires may be as a result of lightening strikes, sliding rocks and land slides. They may also result from spontaneous combustion, which is the accumulation of heat as a result of thick, compacted and rotten plants (Goudie 26). The effects of fire on the environment depend on its scope, duration and intensity. The nature of fire will determine the extent of the destruction it causes. While some only affect ground vegetation, others will burn out whole forests (Goudie 27). The impact of fire on the vegetation is sometimes positive. The existence of some landscapes on earth such as tropical savannas, medium latitude savannas and grasslands is attributed fires. In some instances, fires are believed to help in the germination of dormant seeds, whereby once a fire burns out, seeds that were lying dorma nt in the soil start germinating naturally (Goudie 29). At the same time, some plants have become adapted to fire as it facilitates their germination and decomposition. Some areas which are prone to fires actually show greater diversity in terms of different species thus enhancing the stability of the natural environment (Goudie 30). Human impact on water Water is an important element of the natural environment. One of its key roles in the environment is the recycling of different substances. As a solvent, it carries suspended materials as it flows through and into the earth’s surface. Effects of human beings on water areas include the direct pollution of water resources, through directing noxious wastes into water bodies. The cutting down of trees also impacts water resources, as it leads to increased down stream flow by decreasing evaporation and transpiration. Trees, through their own transpiration process increase evaporation, which then turns into precipitation on encoun tering cold air. As a result, cutting down trees reduces the chances of precipitation, which in turn affects the amount of water available to flowing streams (Haigh and Krecek 2). Human activities such as clearing of forests and plowing of grasslands change the rate at which water and streams flow and the level water infiltration (Meyer 172). Other human activities that affect water include irrigation, which lowers the intensity and volume of

Analysis of the Swamp in Psycho

Analysis of the Swamp in Psycho Adrian Secter Murder, Candy and Chains: An Analysis of the Swamp in Psycho â€Å"Show me a sane man and I will cure him for you.† Carl Jung Understanding a swamp is to understand what exists in shadow. Not the shadow of night or shroud, but that of the mute. The marginal. To know the scene in Alfred Hitchcock’s Psycho where Marion Crane’s corpse-filled car is disposed of, is to know the film. Bogs have always been a place in flux, the last remainder of a primordial ooze. They serve as a place where strange organisms, many of which cannot survive elsewhere, can breed and grow. The same holds true for ideas. For a man such as Norman Bates, the swamp affords him (and his mother) the luxury of anonymity. Removed from the scrutiny of dry land, the rigors of reality, Bates’ imagination does as swamp creatures do. It experiments, it mutates and most importantly, it uses its natural habitat to dispose of any outsiders who threaten it. Given that the absorptive nature of the swamp scene is both literal and metaphorical, Michael Fried’s â€Å"Absorption and Theatricality† readily lends itself to this analysis. While Fried ostensibly concerns himself with Denis Diderot and 18th century French paintings, the case he presents all but begs to be deftly applied to film. A plea heard anachronistically by Psycho. This 1960 film is replete with striking scenes, and indeed it could be argued that the movie is comprised entirely of such scenes. It is however, the alluded to â€Å"swamp scene† that is most pertinent. In this scene, Norman Bates (Anthony Perkins) hides the car that his most recent victim, Marion Crane (Janet Leigh). After murdering Crane in her motel room and disposing of all the evidence thereof, Crane’s body and 1957 Ford remain. Cleverly vanishing both corpse and car, Bates wraps Crane in a shower curtain, dumps her in the trunk and rolls the car into a nearby swamp. All of this exposition appears fairly straightforward, and would be, were the film not directed by Alfred Hitchcock. With Hitchcock behind the camera, the scene is elevated beyond mere plot and into a realm worthy of Fried and analysis. The crucial point of this scene is that the only remaining proof of Crane’s murder, the car, does not go quietly into the swamp. In filming this descent of woma n, Hitchcock positions the car on a controllable platform, allowing him to adjust the speed with which the car is lowered into the murky gloom. The car is swallowed up, but only piecemeal. At first it proceeds smoothly, as the muddy waters seep into the front of the car. Then it stops. Half of a bone-white car still sticks out of the darkness. The trunk, with Crane inside, stares back at a watchful Bates. He stares back, munching on candy corn. The water finds its strength again and consumes more of the car. Then it stops. The trunk lies like a Nile crocodile, its back above the water. On the shore, Bates continues watching. At last, the water covers the trunk and its morbid contents. The camera lingers on the last bubbles, expiring as they flee towards the shore. With this knowledge of the scene itself in hand, it is now possible to delve deeper into the swamp. Fried begins â€Å"Absorption and Theatrically† with an explanation of the prevailing Rococo style which he neatly summarizes as being â€Å"exquisite, sensuous and intimately decorative†. Fried contrasts the ostentatious and often dull (an artistic combination of decided difficulty) Rococo style with its artistic antithesis, the return to imbuing paintings with absorptive qualities. Fried defines absorption as an â€Å"†¦.insistence on the unity of the painting and the insistence on the irrelevance of the beholder (Fried also reminds his readers that the effort to establish the unity of the painting must itself be understood as nothing but an effort to affect the beholder). Reading Fried with Hitchcock’s film in mind results in a fascinating adaptation of Fried’s explanation of relationship between Rococo and absorption. While cognizant of the perils analogies present, a careful cinematic examination of the dynamic between Rococo and Absorptive art sees a similar dynamic in the dynamic of the studio system and Psycho. Psycho follows in the artistic footsteps of painters such as Chardin and thus stands apart from the studio system of classical Hollywood films. On a very practical level, Psycho can also been seen as at odds with the prevailing system. In 1960, Alfred Hitchcock’s Paramount contract guaranteed the studio another Hitchcock film (his previous Paramount film being Vertigo in 1958) but studio executives found Hitchcock’s latest proposal to be repugnant and refused to finance it. Undaunted, Hitchcock produced the movie in cost-cutting black white, using his own television production company and filming at Universal Studios. It is fascinating and relevant to note that reviews of Psycho were decidedly mixed, with the New York Times praising the horror movie’s depiction of â€Å"†¦the little details of ordinary life, a virtue in keeping with the lesser genres†¦Ã¢â‚¬  Or so it would have been had that quotation not pertained to a Baroque critique of Chardin in the 1730’s. Taking quote from art critics in the 18th century and applying them to the Salon of 1960 prompts an examination of the qualities of the film that are reminiscent of Chardin’s â€Å"Soap Bubbles† and thus it’s theatrical and absorptive qualities. The swamp scene is an excellent case study for this as the previously articulated manner in which it is constructed allows the beholder to become a subjective character within the scene. The technique used to achieve this are very similar to those used in â€Å"Soap Bubbles†. Fried identifies this the painters (or directors) â€Å"choice of a natural pause in the action which, we feel, will recommence a moment later†. The result of these choice is paradoxical, as Fried goes on to say that a static painting or a film’s (static in its celluloid repetition) â€Å"stability and unchangingness are endowed to an astonishing degree with the power to conjure an illusion of imminent or gr adual or even fairly abrupt change.† Within the scene currently under analysis, this paradoxical choice is further amplified by the unique way film as an artistic medium can be re-watched. Despite the fact that an aesthete can (and many do) return to a certain museum to view a particular painting as many times as they please, and the fact that viewing and watching are for all intents and purposes synonyms, it cannot and is not said that an individual who has gone to the Louvre to see the Mona Lisa fifty times has â€Å"re-watched† the Mona Lisa, regardless of the pedantic truth of that statement. But film, and Psycho more pointedly, is a â€Å"re-watchable† form of art. It is not a petty quibble over semantics, but rather speaks to the manner in which knowing the inevitability of the outcome mutates the audience’s conscious viewing experience. When the swamp scene is watched for the first time, the viewer is struck with a tense and remarkable feeling. Despite just having witnessed the jarring murder of Crane in the infamously jarring shower, the audience finds itself wanting the car to go into the swamp. Hitchcock masterfully creates a situation of such deft tenseness that the audience is placed in the same mindset they have when watching a hero character disarm a bomb (always with one second left). The mastery of this scene is that it takes that expression of bomb-disarming relief and channels it for the benefit of a man who just brutally murdered a woman. A woman whose death has now been covered up, to the relief of the audience. In this crucial moment, the viewer does not want Bates to be caught. Upon re-watching the movie, and armed with knowledge of absorptive techniques, theatricality and French paintings of the mid-18th century, Hitchcock’s masterpiece offers up even more. Gazing (but never re-watching) paint ings such as Jean-Baptiste Greuze’s â€Å"La Pià ©tà © Filiale† with the Bates’ Motel’s swamp in mind, one realizes that they are lost in the scene because of the manner in which Norman absorbs himself in his task. Much like Greuze’s painting, wherein Fried says that â€Å"the primary emphasis is no on the variety and multiplicity of individual responses to a central event so much as on the merging of those response in a single collective act of heightened attention†, the audiences’ and Norman’s responses to the slow descent of a hearse into the swamp merge into an â€Å"act of heightened attention. Fried illustrates what is at the heart of the â€Å"absorptive state†. It creates and maintains a fiction, a fiction the beholder, the viewer, the audience, call it what you will does not exist at all. Both the family in Greuze’s painting and the candy-corn eating Bates are depicted in such a way that they not only forget themselves, they forget us too. Furthermore, there is a direct relationship between the degree to which the fiction of the viewer is omitted and the ability of the actual viewer to emerge themselves in the world of the art. In turn, the reality created by Greuze or Hitchcock sees more real because it seems to be, regardless of whether or not it is being beheld. But at the same time, the tension that manifests itself in aligning with Norman results from not being absorbed. This is in line with â€Å"Absorption and Theatricality† as the very same tension that absorbs the audience also results in the problems Fried makes out for Parisian salons in the 1750 and 60s’ when he says that the â€Å"illusion of negating the spectators presence creates both the absorption and the undermining of the images reality.† For the Salons, Fried makes the case that the fact that the absorption was being admired by critics made the illusion of negation increasingly difficult. However, for Psycho’s swamp scene, the latter effect serves to prod the viewer into realizing they were enthralled by the film’s antagonist, one who had dispatched the supposed protagonist not a third of the way through the film. It is fitting to being to draw this examination to a close the way that Hitchcock brings Psycho to a close. At the end of the movie, it is not the penetratingly insane stare of Norman Bates the audience is left with, but rather a shot of car being pulled out of the swamp with chains. It is only right that as the viewer was pulled into the film watching the car sink deeper into the swamp, that they should be returned to their world as the car is pulled out of the swamp. While Psycho may appear to conclude with a bland and straightforward explanation of Bates’ psychotic condition by a psychologist, appears can be, and frequently are deceptive. Receiving a medically valid reason behind the events that they have beheld is a poor balm on the confusion and terror they have absorbed. Hitchcock is fully aware of this and it is the primary reason why the film does not fade to black after the doctor’s rational explanation. The last fleeting moments of the film are reserved for the swamp. The re-introduction of the swamp, and the rising of the car, with all its macabre and money contents, raises introspective questions for the audience. While the police will undoubtedly open the trunk to find Marion and most of the stolen cash, the audience is faced with the prospect of opening their own conscious self to examination. Through the use of Michael Fried’s â€Å"Absorption and Theatrically† and a subsequent examination of the parallels between the Rococo and the studio, the absorptive and Psycho, this analysis has taken the crucial scene following Marion’s murder and used it demonstrate the manner in which the film’s audience becomes a subjective role in the film. The residual horror of the film is not merely the product of jarring murders but rather showcases the power of the absorptive technique in creating within the viewer shifting identification with the film’s characters. Ultimately, the audience is left with haunting questions regarding their own motives for things such as wishing the swamp would cover the car fully. And as the above analysis concludes, the answer can be a bit unsettling. But there is no need to upset. After all†¦ we all go a little mad sometimes.

Keeping Close to Home by bell hooks Essay -- Class and Education

Because it is very credible, emotionally appealing, and slightly academically based, bell hooks's essay "Keeping Close to Home: Class and Education" is an essay that I consider to be very touching. While arguing in her essay that the rich class and the working-class should come to respect and understand each other, bell hooks employs three elements of argument: ethos, pathos, and logos. With her usage of ethos, hooks relates her experience as an undergraduate at Stanford. Providing an experience from a time before she went to Stanford, hooks uses pathos to inspire the audience. However, hooks uses logos by appealing to the readers' logic. These readers are the working-class and the privileged, the audience of her book: "Ain't I a Woman: black women and feminism." Relying mostly on ethos, hooks uses the three elements of argument to express her belief that students should not feel the pressure to replace their values with others' values. Because hooks feels strongly about h er belief, she argues that a university should help students maintain the connection with their values, so people of different communities will feel neither inferior nor superior to others but equal. When using ethos, hooks demonstrates her knowledge of values by relating her experience at Stanford where she met many privileged whites who had values that contradicted her own. For example, many of the white students appeared to lack respect for their parents. However, hooks's parents always taught her to show them respect. hooks even says in her essay, "I was profoundly shocked and disturbed when peers would talk about their parents without respect, or would even say that they hated their parents" (88). Also, everyone looked down upon the ... ... much easier when we were all in segregated communities sharing common experiences in relation to social institutions. Without this grounding, we must work to maintain ties, connection" (hooks 95). As hooks hints, maintaining ties may not be easy, but it is definitely possible. hooks establishes common ground with people who have these questions, and she gives the answer in her experience of hard work. Having worked hard on handling harsh criticism and pressure without losing ties with her background, bell hooks, in my opinion, is an example of a strong individual. So, if you need proof that the answer to these questions is yes, bell hooks is all the proof you need! Works Cited hooks, bell. "Keeping Close to Home: Class and Education." The Presence of Others. 2nd ed. Andrea Lunsford and John J. Ruszkiewicz. New York: St. Martin's Press, 1997. 85-95.

A Minor’s Right to Confidentiality Essay

In August of 1996 congress passed the Health Insurance Portability and Accountability Act (HIPAA) patients began to see an improvement in the access and consistency of the health insurance coverage. It was not until April 14, 2003 that the privacy portion was passed protection personal health information. Many states have individual laws that were already in place to protect the health information of patients. HIPAA was not intended to eliminate the state law but to cover that which was not addressed by state laws. The state law will prevail providing it is more stringent than the HIPAA policy. In general, the passing of the HIPAA gave patients additional information and greater access to personal medical information while protecting that same information from inappropriate disclosure. Some of the protected information that has raised controversial concerns is regarding a minor’s right to privacy and parental access. Minor’s Rights versus Parental Rights HIPAA rules regulate the authorized individuals that legally can obtain a person’s private health information. HIPAA recognizes parents and guardians as â€Å"personal representatives,† which permits authorization and access as appropriate with the regulations. The guidelines provide that person that has legal authority over another adult or emancipated minor shall be considered the personal representative and afforded such authority as relevant to the law. The second part addresses unemancipated minors and parents or guardians, shall be regarded as personal representation and give the appropriate authority for decisions regarding a patients PHI (Mary Beth Kirven & Daniel J. Hall, 2003). There are exceptions as with any rules and those exceptions are as follows: 1. The minor consents to such health care service; no other consent to such health care service is required by law, regardless of whether the consent of another person has also been obtained; and the minor has not requested that such person be treated as the personal representative. 2. The minor may lawfully obtain such health care service without the consent of a parent, guardian or other person acting in loco parentis, and the minor, a court, or another person authorized by law consents to such health care service. 3. A parent, guardian, or other person acting in loco parentis assents to an agreement of confidentiality between a covered health care provider and the minor with respect to such health care service (Mary Beth Kirven & Daniel J. Hall, 2003). These exceptions provide for a minor, the ability to keep only specific health information as confidential from any individual which the minor chooses. In the state of Michigan, this information is protected only if for treatment of pregnancy, HIV or venereal disease and substance abuse (FindLaw, 2011). Benefits could be made by adding contraception to the protected information in the HIPAA policy as well in an effort to protect minors that reside in states that have no laws or public policy that address such issues. Teens have a right to conceal medical information only regarding pregnancy or infection of a sexually transmitted disease or actively addicted to drugs, which will then allow the privilege of privacy. This teaches teenagers that poor decision making will be rewarded with the opportunity to make more decisions. Promiscuous Adolescent Behavior Since the early 1970’s adolescent sexual activity has been in the public eye, the actual rate of activity had not changed, it only become more obvious. The average age of marriage was increasing along with the estimated life expectancy. The population was simply waiting longer to get married but not waiting to have sex. The media have placed these topics to the front of this nation with the various stories that seem to glamorize both sex and teen pregnancy. The United States is a nation that has sex everywhere, most entertainment media and many marketing tools use sexuality to attract the consumer and sell the products. Society needs education and accessibility to counter balance the exposure that is forced upon them from marketers in an effort to keep the sexual content to a minimum and to have the ability to see beyond the sexual nature of the actual products’ uses and its benefits’. Speculation is that the awareness created through these controversial television series (Teen Mom, 16 and pregnant) has contributed to the decrease in teen pregnancy. According to Women’s Health and Health Care Reform, â€Å"The United States continues to have the highest teen pregnancy rate of developed countries (Chavkin, Rosenbaum, Jones & Rosenfield, 2010).† The alternative is that adolescents may feel more comfortable with the ability to obtain appropriate supplies and education, both of which have become more accessible because of state and federal laws. Legal Entanglements Unfortunately, a recent attempt was made by Indiana Republican Representative Mike Pence, offering an amendment to eliminate the Title X program. This â€Å"Pence Bill† is an attempt to prevent programs such as Planned Parenthood from obtaining federal funds for any reason (Miller, LaVaute & Heritage Media, 2011). The primary focus of this amendment was the use of pro-life tax-payers money to fund and promote abortion. A debate over this is still ongoing now at the national level, yet here locally there are still health clinics providing the necessary services to many adolescents, including prenatal care when needed (Miller, LaVaute & Heritage Media, 2011). The controversy over the abortion service is the main factor in the attempt to remove the funding. â€Å"According to Planned Parenthood, abortions that are performed in its clinics make up less than 3 percent of its services. There were 332,278 abortion procedures performed in 2009. There were also 830,000 breast exams, a nd nearly 4 million were tested and/or treated for sexually transmitted diseases (Miller, LaVaute & Heritage Media, 2011).† Public Policy Public policy is the only protections that adolescents have to depend on. It will allow protection from both diseases and unwanted pregnancy, and this is limited to only specific minors in the State of Michigan. HIPAA does not pre-empt this policy as it is more stringent in some states than the HIPAA law, this is one limitation to the policy. An excerpt in the Guttmacher Institute report on public policy indicates, â€Å"Although the public remains ambivalent, professional organizations familiar with the scientific evidence uniformly support the provision of reproductive health care to minors on a confidential basis. Public policy developments at the state and federal level, however, suggest that teenagers’ access to confidential services will remain under attack in the months and years to come (2005).† Conclusion History has proven that children will continue to have sex and contract disease and become pregnant; therefore laws protecting the privacy of reproductive health can actually diminish the barriers and increase access to protection for many patients. Planned Parenthood has played an intricate role in providing access to education and protection for millions of adolescents. Removing the funding for programs such as this also reduces access to education, treatment and supplies, resulting in increased diseases and increases in unwanted pregnancies that subsequently lead to a higher poverty rate. Ideally abstinence is the preferred method to prevent unwanted pregnancy and disease, however, reality shows that this is generally not the practiced method. Protection for adolescents is needed in all societies to promote responsibility and growth for every individual. It is a mature and responsible decision to pursue the protection and education that is needed even when access is limited. Laws are passed to protect mankind, not adults or parents or any one population; laws are created to protect any person that needs protecting, including minors. References Chavkin, W., Rosenbaum, S., Jones, J., & Rosenfield, A. (2010). Women’s health and health care reform [The key role of comprehensive reproductive health care]. Retrieved from http://www.mailmanschool.org/facultypubs/womenshealthcarereform.pdf FindLaw. (2011). Michigan medical records law. Retrieved from http://law.findlaw.com/state-laws/minors-and-the-law/michigan/, http://law.findlaw.com/state-laws/minors-and-the-law/michigan/ Guttmacher Institute. (2005, November). Teenagers’ access to confidential reproductive health services [The Guttmacher report on public policy]. Retrieved from http://www.guttmacher.org/pubs/tgr/08/4/gr080406.html Mary Beth Kirven, E., & Daniel J. Hall. (2003, June). Health insurance portability and accountability act of 1996 [Applicability to the courts: an initial assessment]. Retrieved from http://www.ncsconline.org/WC/Publications/CS_PriPubHIPPA96Pub.pdf Miller, J., LaVaute, G., & Heritage Media. (2011, March). Washtenaw county: Young and pregnant [Part 1: Prevention]. Retrieved from http://www.heritage.com/articles/2011/03/01/life/doc4d6d5ec57105e610360187.txt?viewmode=fullstory

Goethe’s plotting Essay

In the intellectual history of Europe, Johann Wolfgang yon Goethe is central to the development of Romantic thinking, which was contemporary in his day. Goethe attempted to see the world in a new light; he reconsiders old questions of good and evil, as well as questions about human nature. The story of Faust allows such considerations. Romantics strive for something beyond their reach, beyond anyone’s reach. Contentment is not their goal. One place that we see Faust’s striving is in his conversation on â€Å"unrest† with Wagner (699-702). Just as Wagner illustrates the normal academic who thinks that books hold all the answers he needs, Faust as a Romantic has come both to realize the limitations of what’s in books and to be unwilling to accept those limitations. Wagner thinks Faust should enjoy the reputation he has as a doctor among the peasants, but Faust knows the reputation is a sham. He and his father were in truth helpless against the ravages of the plague (although they obviously at least comforted the sick). Faust’s aspirations permit him to make a bargain with Mephistopheles, especially since a part of the bet involves Mephistopheles’ belief that Faust will eventually enjoy contentment. Rather than seeking knowledge, which had been a goal of the Faust of German and English tradition, Goethe’s Faust seeks experience and feeling. This also makes his quest apart of the Romantic tradition. The Romantic hero must approach life’s mysteries by active participation, not by reflection. When Faust and Mephistopheles see the witch for her medicine, what Faust wants is youth, so that he can experience what he may have missed while he was absorbed in his studies. And what he comes to want then is Margaret, the peasant maid who looks like a beauty to the revitalized man. The Romantic has spiritual goals, but they’re usually outside of conventional religions. We see this most directly in the scene between Gretchen and Faust. She wants him to be a Christian, but Faust’s spirituality cannot be contained by dogma. To follow this Romantic thread, think of Christianity as a revealed religion, embraced by the European and German society of the time. It made many late eighteenths and early nineteenth century people feel safe and secure. You can see how this picture of comfort might fall outside of the Romantic’s striving, since he seeks a mystery beyond the conventional. The Romantic hero must be willing to break free of bounds, no matter the consequences. Another key romantic characteristic is a faith in nature as a creative source, as both a source of comfort and energy. Faust expresses his enthusiasm early when he contrasts the value of experiencing nature with the deadness of books (685). What impresses him about Easter is the revitalizing force of spring rather than the story of Jesus (695-6). It is the exalted spirit of nature that he credits with allowing him to penetrate Gretchens heart, and that he credits with giving him the companion Mephistopheles 747-48 -48). Conclusion Besides a faith in nature, romantics idealize childhood and women, seeing in them a purity and honesty of emotions that are difficult to attain in the intellectual and adult worlds. This romanticism can be seen in Goethe’s plotting, as he has the church bell remind Faust of his childhood so that the character does not commit suicide early in the play. Also, the love affair with Gretchen leads to the drama’s climax. References Faust Supplemented Study Guide: Retrieved from World Wide Web http://faculty. southwest. tn. edu/llipinski/ENGL2320T201/content/lesson18_handout. htm Johann Wolfgang von Goethe. Faust, Publisher, Oxford University Press, 1998.