The assessment of ecological impacts represents a key element of biodiversity offsetting success. After briefly introducing the main controversies arisen on biodiversity monetization and defining biodiversity banking ...The assessment of ecological impacts represents a key element of biodiversity offsetting success. After briefly introducing the main controversies arisen on biodiversity monetization and defining biodiversity banking schemes, discussions will be focused on evaluation methods mobilized in the context ofbiodiversity offset banking. Although there is currently no fixed framework assessing environment due resolutely to the specific nature of biodiversity, evaluation methods are analyzed through a review of the academic and empirical literature. This step allows to select few methods justifying these choices and presenting their pros and cons by keeping the aim to contribute to the debates. Thus, ecological assessments （service-to-service and resource-to-resource） and economic valuations （value-to-value and value-to-cost） carried out in biodiversity banking schemes will be distinguished. Finally, this paper will emphasize the inherent differences of the two evaluating forms and their specificities on the one hand, and highlight their opportunities and risks from methodological perspective on the other hand.展开更多
As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war art...As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.展开更多
文摘The assessment of ecological impacts represents a key element of biodiversity offsetting success. After briefly introducing the main controversies arisen on biodiversity monetization and defining biodiversity banking schemes, discussions will be focused on evaluation methods mobilized in the context ofbiodiversity offset banking. Although there is currently no fixed framework assessing environment due resolutely to the specific nature of biodiversity, evaluation methods are analyzed through a review of the academic and empirical literature. This step allows to select few methods justifying these choices and presenting their pros and cons by keeping the aim to contribute to the debates. Thus, ecological assessments （service-to-service and resource-to-resource） and economic valuations （value-to-value and value-to-cost） carried out in biodiversity banking schemes will be distinguished. Finally, this paper will emphasize the inherent differences of the two evaluating forms and their specificities on the one hand, and highlight their opportunities and risks from methodological perspective on the other hand.
文摘As a study in art history critical theory, this paper looks at the appreciation and usage of art amongst interest groups at the time of the Great War and the subsequent legacy of the work of Canada＇s resident war artist Richard Jack. The Canadian War Museum＇s recent web page described Jack＇s standing officer in The Second Battle of Ypres 22 April to 25 May 1915 as one who ＂exemplifies the courage and resolve of the inexperienced Canadians in their first major battle＂. This comment showed a marked contrast to the contemporary art critic Richard Cork who described the first of the Canadian war memorials paintings as ＂a clich6-ridden bandaged officer ... shamelessly catering to public sentiment＂. Given these disparate positions, the author attempts to explain the gulf between these points of view and subsequently make the case that art has a broad application that might make us cautious of viewing a given work without due consideration of the context of its making and future merits.
