And here is a paragraph from HYPERLINK “http://www.theatlantic.com/issues/98mar/eowilson.htm” Atlantic Monthly from an article declaring that the cultural assumptions of the eighteenth-century Enlightenment are current at the end of the millennium.
Although you have only four sentences to go on, can you say how this paragraph differs from the paragraph above? Does this difference say something about the audiences of Atlantic Monthly and Mother Jones, respectively? Do you prefer one style to another? Which one feels more like your style? Governments everywhere are at a loss regarding the best policy for regulating the dwindling forest reserves of the world.
Few ethical guidelines have been established from which agreement might be reached, and those are based on an insufficient knowledge of ecology.
Even if adequate scientific knowledge were available, we would have little basis for the long-term valuation of forests.
The economics of sustainable yield is still a primitive art, and the psychological benefits of natural ecosystems are almost wholly unexplored. Edward O.
Wilson, “Back from Chaos.” March 1998. Purpose Landscape with the Fall of Icarus [First Version] The first thing that grabbed my eye when I checked out Bruegel’s painting was the red jacket worn by the guy in the foreground.
Except for the splotchy sun in the sky, it’s really the only bit of color in the whole thing, and I really like bright, warm colors like that.
Then I noticed the fact that this guy’s looking straight ahead at the horse’s rear end in front of his plow. “Whoa, Nelly!” I thought to myself.
What a weird thing to put in the middle of a pretty painting! It wasn’t until later that I noticed a pair of legs sticking out of the ocean down in the lower right-hand corner of the painting.
Of course, none of the three guys in the painting (the plowman, the shepherd, and the fisherman) are paying much attention to it either; in fact, they’re pretty much oblivious to what’s going on in the water.
Even the boat is headed in the wrong direction, and no one seems to give a darn or is going to save whoever belongs to those legs splashing into the water. . . . The reader is not aware of any need the writer might have to make us feel or know something about this painting. Compare the above-mentioned text with the following one.
Can you think of any purpose? Bea Wildred Introduction to Art Professor Allegre Capital Community College 14 April 1998 An Analysis of Landscape with the Fall of Icarus [Second Version] Landscape with the Fall of Icarus, a painting by Pieter Bruegel the Elder, impresses the viewer first with the softness of sunshine and the bucolic pleasures of the countryside.
The everyday pursuits of the three common men pictured — the plowman, the shepherd, and the fisherman — are being carried out in earnest, but with apparent ease and even pleasure.
The shepherd lifts his face to the sky, seemingly unconcerned that his sheep are grazing perilously close to the seacliff’s edge; the other two are a bit more intent on their work.
The details of the foreground — the way the plowman’s feet tread upon the neatly folded soil behind the plow — blend toward the vague but powerful treatment of the background’s mysteries: the nearly obscured and whitened mountains, the majestic (if somewhat cloudy) city along the far shore, and the ruined castle in the sea with its cave-like entry… Informal: Lots of times in many years, different professional people who were interested in making education better have asked me what we know about how people learn so we can use it to make education better. Formal
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