History of The Nature Conservancy

The Nature Conservancy joins forces with governments, non-profit organizations, local stakeholders, indigenous communities, corporate partners, and international organizations to find solutions to conservation challenges. Their conservation tactics include the protection of private lands, the creation of conservation-minded public policies, and the funding of conservation projects around the world. Among The Nature Conservancys more innovative conservation approaches is the debt-for-nature swaps. Such transactions ensure biodiversity conservation in exchange for debt owed by a developing country. Such debt-for-nature programs have been successful in many countries including Panama, Peru, and Guatemala. History The Nature Conservancy was formed in 1951 by a group of scientists who wanted to take direct action to save threatened natural areas around the world. In 1955, The Nature Conservancy acquired its first parcel of land, a 60-acre tract along the Mianus River Gorge which lies on the border of New York and Connecticut. That same year, the organization established the Land Preservation Fund, a conservation tool that is still used today by The Nature Conservancy to help provide funding for worldwide conservation efforts. In 1961, The Nature Conservancy formed a partnership with the Bureau of Land Management that was aimed at protecting old-growth forests in California. A gift from the Ford Foundation in 1965 made it possible for The Nature Conservancy to bring on its first full-time president. From that point on, The Nature Conservancy was in full swing. During the 1970s and 1980s, The Nature Conservancy setup key programs such as the Natural Heritage Network and the International Conservation Program. The Natural Heritage Network collects information about species distributions and natural communities throughout the United States. The International Conservation Program identifies key natural regions and conservation groups in Latin America. The Conservancy completed its first debt-for-nature swap to fund conservation work in Braulio Carillo National Park in 1988. During that same year, the Conservancy joined forces with the US Department of Defense to help manage 25 million acres of military land. In 1990, The Nature Conservancy launched a large-scale project called the Last Great Places Alliance, an effort aimed at saving entire ecosystems by protecting core reserves and establishing buffer zones around them. In 2001, The Nature Conservancy celebrated its 50th year anniversary. Also in 2001, they acquired Zumwalt Prairie Preserve, a protected area on the edge of Hells Canyon in Oregon. In 2001 through 2005, they purchased land in Colorado that would later form the Great Sand Dunes National Park and the Baca National Wildlife Refuge, as well as expand the Rio Grande National Forest. Most recently, the Conservancy organized the protection of 161,000 acres of forest in the Adirondacks of New York. They also recently negotiated a debt-for-nature swap to protect the tropical forest in Costa Rica.

Ancient Nations and Their Understanding of Leadership

Ancient nations and their understanding of leadership Both the Chinese and the Mesopotamians had strict legislations concerning the requirements that an individual needed to meet in order to be accepted as the nations leader. The two societies believed that divinity played an essential role in assisting a leader as he or she came to rule over them and that it would be wrong for them to accept a leader as long as he or she does not have strong connections with Gods. Even with this, they did not consider their leaders to be divine themselves, as they were simple people who were appreciated by the gods and provided with the right to rule over China and Mesopotamia. Chinas sages promoted the belief that whenever a dynasty collapsed it was because the gods were unwilling to support it any longer and because it was time for another dynasty to replace it one that would receive approval from the gods, certainly. Heaven played an essential role in the Chinese society and people attributed most major changes in their society to how it influenced individuals across China. Personal gods were apparently too insignificant to be considered influential in a situation where a new king would come to rule over China. Heaven alone was capable to dictate the beginning or the end of a dynasty. The Mandate of Heaven (Tianming) was one of the most important concepts in the Chinese society when considering that it was a political-social-cosmological philosophy that served as the basicShow MoreRelatedNew Balance Athletic Shoe, Indonesia, and Globalization Essay1219 Words   |  5 Pagesmanufacturing facilities is lead not only by the hunger for corporate profits, but also by the new international system of globalization. This system destroys international barriers and allows for enhanced communication, efficiency and cultural understanding. 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Hip Hop Is The Best - 767 Words

One thing that many hip hop fans like to say nowadays is the ever so popular phrase, Hip Hop is dead. What is meant by that statement is that the quality of the music has diminished significantly. The hip hop artists that were grew up on are either gone (deseased), or are past their prime at this point. That doesn t necessarily mean that, hip hop is dead. Don t get me wrong, there may never be another Tupac, Biggie, or Eminem. All three are often looked at as the best to ever do it. But, hip hop is still in good hands. The leaders of today s hip hop are Kendrick Lamar, J.Cole, and Drake. Almost the entire world knows who Drake is after his worldwide smash hit single, Hotline Bling. Obviously, it s a song towards the female listener, but Drake as we know can also get himself out of a beef. Up until now, he was aleady respected by all of hip hop for his past mixtapes, and album quality with Take Care, and Nothing Was The Same. When Meek Mill began throwing shots at Drake via Twitter, Drake only days later released a response diss track called, Charged Up. That diss was nothing special, but when he came back with another diss track towards him called, Back To Back. It was then when Drake earned respect from the game. He s always had flow, but his punchlines in that track may be unmatched by anyone. It will be exciting to hear his next album, Views From The 6, when that album comes out. He could each legendary status with that album. It is scheduled toShow MoreRelatedHip Hop Culture And Culture1196 Words   |  5 PagesHip-Hop Culture and race have had a complicated relationship in the past two decades. It has been commonly referred to as â€Å"black music† and a reflection of black culture. However, recent studies done by the Mediamark Research Inc. showed that 60% of rap music buyers are white. 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None Provided4 Persuasive Essay Example For Students

None Provided4 Persuasive Essay Western film theory is generally subdivided into classical theory and contemporary theory. Contemporary theory consists of a theoretical system, which employs psychoanalysis, ideological critique and feminism to interpret cinematic forms. It originated in the mid-sixties and flourished in the 1970s. It was first introduced to China in the early 1980s and brought in as a complete theoretical system a few years later. Peaking in the late 1980s, it should have taken up an important position in the development of Chinas film theory. Classical film theory had developed very slowly in China, and by the end of the 1970s it had acquired the following features:It was a theory about social politics, not about art or cinema, and frequently used as a tool in political struggle, directly serving the politics of the day. (Ke 66)Its artistic theory was insipid, simple and ossified, consisting merely of theories about production transplanted from philosophical dogmas. China had been closed for a long time, and there had been little international exchange, borrowing or debate. Therefore, widespread assimilation of the scholarly achievements of foreign film theory had been impossible and numerous lacunae and defects existed.(Ke 66)Toward the end of the 1970s China chose reform and opening to the outside world. Major changes in film theory were inevitable in order to adapt to the needs of social reform and cinematic innovation and to enrich and improve theory itself. Importing foreign film theory and changing Chinese cinematic concepts were also inevitable. The adoption of any film theory by society is not random but socially and historically determined. A society invariably adopts theories suitable for social development independent of any individuals will. As contemporary film theory was being given a cold reception, making up for what had been missed in classical theory proceeded on a grand scale and along the following lines:Establishing cinematic concepts by exploring the specificity of the cinema, making cinema an art form independent from others, and distinguishing film theory from general art theory to turn it into an independent field. Beginning to focus on cinematic forms of expression and artistic techniques in an attempt to break away from outdated methods centered on the Soviet montage theory, and beginning to use original forms to express fresh contents and feelings. Almost all these efforts to catch up on classical film theory provoked heated debates within the Chinese film world. There were both conflicts and compromises with the old theoretical system. Both sides attempted to devise an authoritative and socially accepted theory that would direct film production and criticism. In the absence of common ground, struggles both open and covert broke out between the left and right. The gap between traditional Chinese film theory and classical foreign film theory was considerably narrowed as a result of these efforts to catch up. However, different social conditions mean that no Western theory can be brought in unchanged, and because of the speed of their introduction, the essence of many theories was not fully understood. Superficial understandings, out-of-context interpretations, misreading and even misrepresentations were unavoidable. Practice had yet to show whether these theories suited Chinese circumstances, and whether they could become a part of a dominant theory. But as the pace of Chinas reforms and opening to the world increased, classical Western theory found itself unable to satisfy the intellectual needs of Chinas film theorists. The film theorists were already casting their gaze toward the outside world again. In the summer of 1984, contemporary Western film theory entered China again, this time through the unusual method of inviting American film scholars to Beijing to run a summer session on film theory. Although unprecedented anywhere in the world, such a method of disseminating contemporary film theory suited the organization of the Chinese cinema studies world. The two Chinese scholars responsible for this event were Cheng Jihua and Chen Mei. .u0cf81e6a45febbd1ba3fc4448c34dc5f , .u0cf81e6a45febbd1ba3fc4448c34dc5f .postImageUrl , .u0cf81e6a45febbd1ba3fc4448c34dc5f .centered-text-area { min-height: 80px; position: relative; } .u0cf81e6a45febbd1ba3fc4448c34dc5f , .u0cf81e6a45febbd1ba3fc4448c34dc5f:hover , .u0cf81e6a45febbd1ba3fc4448c34dc5f:visited , .u0cf81e6a45febbd1ba3fc4448c34dc5f:active { border:0!important; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .clearfix:after { content: ""; display: table; clear: both; } .u0cf81e6a45febbd1ba3fc4448c34dc5f { display: block; transition: background-color 250ms; webkit-transition: background-color 250ms; width: 100%; opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #95A5A6; } .u0cf81e6a45febbd1ba3fc4448c34dc5f:active , .u0cf81e6a45febbd1ba3fc4448c34dc5f:hover { opacity: 1; transition: opacity 250ms; webkit-transition: opacity 250ms; background-color: #2C3E50; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .centered-text-area { width: 100%; position: relative ; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .ctaText { border-bottom: 0 solid #fff; color: #2980B9; font-size: 16px; font-weight: bold; margin: 0; padding: 0; text-decoration: underline; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .postTitle { color: #FFFFFF; font-size: 16px; font-weight: 600; margin: 0; padding: 0; width: 100%; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .ctaButton { background-color: #7F8C8D!important; color: #2980B9; border: none; border-radius: 3px; box-shadow: none; font-size: 14px; font-weight: bold; line-height: 26px; moz-border-radius: 3px; text-align: center; text-decoration: none; text-shadow: none; width: 80px; min-height: 80px; background: url(https://artscolumbia.org/wp-content/plugins/intelly-related-posts/assets/images/simple-arrow.png)no-repeat; position: absolute; right: 0; top: 0; } .u0cf81e6a45febbd1ba3fc4448c34dc5f:hover .ctaButton { background-color: #34495E!important; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .centered-text { display: table; height: 80px; padding-left : 18px; top: 0; } .u0cf81e6a45febbd1ba3fc4448c34dc5f .u0cf81e6a45febbd1ba3fc4448c34dc5f-content { display: table-cell; margin: 0; padding: 0; padding-right: 108px; position: relative; vertical-align: middle; width: 100%; } .u0cf81e6a45febbd1ba3fc4448c34dc5f:after { content: ""; display: block; clear: both; } READ: Embryos EssayCheng and Chen had been invited to give a course on Chinese films in 1983 by UCLA. It was well-received. In the course of extensive contacts with American scholars, they came to feel deeply that Chinese film theory was so narrow, ossified and monolithic that it precluded academic dialogue with foreign countries. A number of American film scholars also wished to see for themselves the enormous changes taking place in China. Thus a daring program for academic exchanges began to take shape. When Cheng Jihua and Chen Mei returned to China, they successfully applied to the Ministry of Culture, then in charge of film, for the China Film Association to run a summer s ession on film theory and invite American scholars to lecture. The two main criteria for the invitees were academic expertise and friendliness toward the Chinese people. Lecture topics were fixed through negotiations between the China Film Association and the American scholars. Ke, Hu. Contemporary Film Theory in Film. 1995: Dangdai Bibliography: