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The article aims at presenting a complex model of the nature documentary AVT (audiovisual translation) analysis. Lambert – van Gorp's scheme and V. Komissarov's complex model are widely used and applied to analyzing translation. Those two models make up the basis of AVT analysis. In accordance with Lambert – van Gorp's scheme, the preliminary data, macro-level, micro-level and systemic context of the nature documentary AVT are studied. V. Komissarov's five-level equivalence model is also implemented in a complex model of the nature documentary AVT analysis, that model analyzes the equivalence of translation of an audiovisual work at every level and suggests translation strategies to achieve it. The article focuses on the fact that when analyzing the linguistic component of the AVT of a documentary film, it is impossible to negate the audiovisual component. In that regard, audiovisual components and how to translate them into the language of the host country are considered. The audiovisual component implies four codes: music, sound, iconographic and mobility, which are meticulously studied in the article. Following the research the author undertakes the complex model of the wild nature documentary AVT analysis.

Wilderness mythology is one of the most abiding creations in the history of religions, and yet it has not previously been subject to scrutiny or theorizing from a cross-cultural, "study-of-religions perspective". This book addresses the need for cross-cultural anthropological and history of religions analyses by offering in-depth case studies of the use and functions of wilderness spaces in diverse religions. It offers new theoretical perspectives on the study of religious spatialities, cosmologies, and ideas of wild nature that challenge previous dichotomizing approaches

Frontmatter -- Contents -- Foreword -- Introduction -- PART I: THE PHYSICAL OCEAN -- Ocean Research -- The Marine Environment -- PART II: THE LIVING OCEAN -- Environments and Ecosystems -- PART III: MARINE LIFE -- Ocean Life -- Bacteria and Archaea -- Marine Plants and Chromists -- Marine Fungi -- Protozoa -- Microanimals -- Sponges -- Cnidarians -- Annelid Worms -- Other Worms -- Molluscs -- Brachiopods -- Arthropods -- Bryozoans -- Echinoderms -- Hemichordates -- Chordates -- Marine Fishes -- Marine Reptiles -- Marine Mammals by Robert Irving -- Marine Birds by Marianne Taylor -- Interrelationships -- Marine Protected Areas -- Appendices -- References -- Acknowledgements -- Image credits -- Index

In keiner anderen deutschen Großstadt gibt es so viele Tier- und Pflanzenarten wie in Hamburg. Ratten, Tauben und Elstern kennt jeder. Doch wer hätte gedacht, dass in den Wäldern und Mooren im Norden der Hansestadt die stärksten Hirsche Norddeutschlands ihre heimliche Fährte ziehen? Wer würde eine der größten binnenländischen Möwenkolonien ausgerechnet auf dem Gelände einer Ölraffinerie mitten im Hamburger Hafen vermuten? Seevögel brüten in Einkaufszentren und auf Großbaustellen, Graureiher und Eisvögel fischen an Parkteichen, und auf dem Ohlsdorfer Friedhof leben Waschbären, Füchse und Eulen. Dieses Buch erzählt von oft hautnahen Begegnungen mit den Wilden Hamburgern, es beschreibt, wo und wie sie leben und welche oft verblüffenden Anpassungen ihnen helfen, das Stadtleben zu meistern.

This article deals with the semantics of wild nature, found in Karamzin's works. The author tries to answer the question of what Karamzin himself considered European or Russian wild nature to be. The concretization of the meaning of wild nature in Karamzin's works seems relevant if we have in mind the big number of literary and cultural researches (within the frame of ecocriticizm and not only) that analyze wild nature. Though a considerable amount of scientific literature has been devoted to the theme of nature in Karamzin's works, the notion of wild nature hasn't been systematically investigated. In this article, attention is paid to the contexts in which nature is referred to as "wild."Here, it is shown that Karamzin's relation to wild nature was ambivalent. The semantics of European and Russian wild nature are different and have both positive and negative aspects. This difference is explained by the specifics of the aesthetical optics of the narrator (the aesthetics of the picturesque or the sublime) and by his narrative position (a personalized relationship toward nature or a governmental point of view). Wild nature that is aesthetically attractive to Karamzin is the one that minimally experienced the influence of man and is part of picturesque aesthetics, or the nature that it is the quintessence of the sublime –the mountains. However, wild nature that didn't experience the influence of man and that is not part of the picturesque aesthetics, as it is with the bigger part of Russian nature (steppes, forests, marshes, empty spaces) does not have such a pleasing effect; on the contrary, it frightens the narrator, and from the governmental point of view – which Karamzin shares – it should be controlled and subdued. In this article, it is concluded that Karamzin was not the Russian Henry Thoreau, and his relationship toward wild nature, both positive and negative, was mostly based on the ideology of the Enlightenment. LAUKINĖS GAMTOS SEMANTIKA N. M. KARAMZINO KŪRYBOJE: AR KARAMZINAS BUVO RUSIŠKUOJU HENRIU TOROŠiame straipsnyje analizuojama laukinės gamtos semantika N. Karamzino kūryboje. Darbe tikslinama, ką Karamzinas laikė laukine europietiška ir rusiška gamta. Laukinės gamtos sampratos tikslinimas Karamzino darbuose yra aktualus, turint omenyje nemažą skaičių literatūrinių bei kultūrinių tyrimų (ekokritikos ir ne tik jos rėmuose), kuriuose tiriama laukinė gamta. Nors gamtos tematika Karamzino kūryboje nėra nauja mokslininkų akiratyje, tačiau laukinės gamtos samprata sistemingo tyrimo nesusilaukė. Straipsnyje atkreipiamas dėmesys į tai, kokiuose kontekstuose gamta įvardijama kaip "laukinė".Šiame straipsnyje parodoma, kad Karamzino požiūris į laukinę gamtą buvo ambivalentiškas. Europietiškos ir rusiškos laukinės gamtos semantika skiriasi ir turi tiek neigiamą, tiek teigiamą aspektą. Šis skirtumas aiškinamas pasakotojo estetinės optikos ypatumais (vaizdingumo / pakylėtumo estetika) bei jo pasakojimo pozicija (suasmenintu santykiu ar valstybine perspektyva). Estetiškai Karamziną žavi laukinė gamta, kuri minimaliai patyrė žmogaus įtaką ir atitinka vaizdingumo reikalavimus arba pakylėtumo estetikos kvintesenciją – kalnai. Tačiau laukinė gamta, nepatyrusi žmogaus įtakos arba neatitinkanti vaizdingumo reikalavimų, kaip yra su didžiausia Rusijos gamtos "dalimi" (stepės, miškai, pelkės, tuščios erdvės), ne tiek žavi, kiek baugina pasakotoją, ir valstybinės perspektyvos požiūriu turi būti kontroliuojama. Straipsnyje daroma išvada, kad Karamzinas nebuvo rusiškuoju Henriu Toro, o jo požiūris į laukinę gamtą, tiek negatyvus, tiek ir pozityvus, daugiausiai išreiškė Apšvietos epochos ideologiją. ; В статье анализируется семантика дикой природы в творчестве Н. М. Карамзина. В работе выясняется и уточняется то, что понимал Карамзин под дикой природой – европейской и русской. В статье показывается, что отношение Карамзина к дикой природе было амбивалентным. Семантика дикости европейской и русской природы различна и обладает положительной или отрицательной валентностью. Различие объясняется особенностями эстетической оптики повествователя (эстетика живописного или возвышенного) и его повествовательной позиции (индивидуализированное отношение или государственная перспектива). Автор приходит к выводу, что отношение Карамзина к дикой природе в целом укладывается в рамки идеологии эпохи Просвещения.

"Animals, like humans, suffer and die from natural causes. This is particularly true of animals living in the wild, given their high exposure to, and low capacity to cope with, harmful natural processes. Most wild animals likely have short lives, full of suffering, usually ending in terrible deaths. This book argues that on the assumption that we have reasons to assist others in need, we should intervene in nature to prevent or reduce the harms wild animals suffer, provided that it is feasible and that the expected result is overall positive. It is of the utmost importance that academics from different disciplines as well as animal advocates begin to confront this issue. The more people concerned with wild animal suffering, the more probable it is that safe and effective solutions to the plight of wild animals will improve in the future"--

"The Nature of Nature explores how the natural world works, outlines the consequences of its unraveling by our activities, and offers practical solutions-with a description of societal and economic benefits. The first ten chapters of this book are a step-by-step crash course in ecology-you might call it "ecology for people in a hurry": what species do, how they co-exist, and how the natural world self-assembles and works, compared to our human-built environment-with ideas on how to run our society and economy more efficiently. Chapter 11 discusses the moral case for the conservation of life on Earth, because utility cannot be the only lens through which we see the world. In other words: Do other creatures have a right to exist, and why? And finally, Chapter 12 explains why it makes more economic sense to protect more of the natural world than to degrade it. By talking to the brain and the heart, and at the same time reaching into the pocket, this book illuminates an inner appreciation for all life on Earth, instills a greater sense of humility, and helps us understand why we need a world with wild places"--

From climbing trees and making dens, to building sandcastles and pond-dipping, many of the activities we associate with a happy childhood take place outdoors. And yet, the reality for many contemporary children is very different. The studies tell us that we are raising a generation who are so alienated from nature that they can't identify the commonest birds or plants, they don't know where their food comes from, they are shuttled between home, school and the shops and spend very little time in green spaces, let alone roaming free. In this timely and personal book, celebrated nature writer Patrick Barkham draws on his own experience as a parent and a forest school volunteer to explore the relationship between children and nature. Unfolding over the course of a year of snowsuits, muddy wellies, and sunhats, Wild Child is both an intimate story of children finding their place in natural world, and a celebration of the delight we can all find in even modest patches of green --