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In recent years, theanimation industry has achieved unprecedented development trends, and many excellentanimation works have emerged in China, which are popular with audiences. Among all kinds ofanimation works, the most important feature is the integration of traditional Chinese philosophical and cultural elements, which leads to the difference between Chineseanimation works and other countries. It not only conforms to the aesthetic standards of Chinese people, but also gives play to the traditional Chinese culture, (...) providing a direction for further promoting the inheritance and development of outstanding traditions. With the rise of mobile intelligent terminals, the vigorous development of the Internet era, and the rising demand of people for the existing market, traditional philosophy and culture, as a new business opportunity, has great development prospects in this era. The fashion transformation of traditional philosophy and culture in theanimation art is about to attract more attention from capital and entrepreneurs. Inanimation art design, the most important core concept is artistic creativity. Due to China's lack of originality inanimation design for a long time, this paper attempts to revive China'sanimation art design by applying traditional innovative ideas in the fashion transformation ofanimation art design schemes. This new artistic expression method is aimed at better expressing the theme ofanimation activities, maximizing the value ofanimation works and promoting the development ofanimation industry. Through the transformation and innovation of traditional philosophy and culture andanimation art customization, this paper explores the transformation and innovation of traditional philosophy and culture andanimation art customization in order to provide some reference for the development ofanimation industry. (shrink)

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This article, drawing on selected feminist magazines of the 1980s, particularly Feminist Arts News (FAN) and GEN, offers a textual ‘braiding’ of narratives to re-present a history of Black British feminism. I attempt to chart a history of Black British feminist inheritance while proposing the politics of (other)mothering as a politics of potential, pluralistic and democratic community building, where Black thought and everyday living carry a primary and participant role. The personal—mothering our children—is the political, affording a nurturing of alterity (...) through a politics of care that is fundamentally antiracist and antisexist. I attempt to show how Black feminist thought can significantly contribute to democracy in the present and how Black British history and thought, as fundamentally antiracist and anticolonial, can generate a reinvention much needed in the present of a shared British history. I argue for feminist intervention premised upon a politics of care, addressing through activist mothering the urgency of Black absence from prestigious institutions. Such debilitating absence in Britain inhibits the development of scholarship, distorts feminist history and seriously concerns potential Black feminists. From diverse texts, I develop a genealogical narrative supplemented through memory work. This ‘gathering and re-using’ privileges Black women's theorising as a crucial component of the methodological metissage, which includes auto-theorising to develop ideas of resemblance in relation to Black British feminism and feminist kinship. The resultant ‘braiding’, I suggest after Lionnet, questions the absence of intersubjective spaces for reflection on Black British feminist praxis, indicating a direction for British feminists of all complexions. Attentive to the 1980s as historical context while invoking the maternal, I consider what is required to engage generationally, counterwrite the academy and pursue a dynamic process of transformation within a transnational feminism that challenges Black British absence from academic knowledge production, while nurturing its presence. (shrink)

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Figuring Animals is a collection of fifteen essays concerning the representation of animals in literature, the visual arts, philosophy, and cultural practice. At the turn of the new century, it is helpful to reconsider our inherited understandings of the species, some of which are still useful to us. It is also important to look ahead to new understandings and new dialogue, which may contribute to the survival of us all. The contributors to this volume participate in this dialogue in a (...) variety of ways--through personal experience, natural history, cultural studies, philosophical inquiry, art history, literary analysis, film studies, and theoretical imagining, and through a combination of these trains of thought. The essays expose weaknesses in western epistemological frames of reference that for centuries have limited our views and, thus, our experiences of animal being, including our own. (shrink)

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We humans are a curious species. Of all the life forms that inhabit the earth, we alone strive to make sense of the world in which we find ourselves. For thousands of years we understood the world through stories. Our ancestors told stories of how the world began, how our people originated and came to be at this place, and how those people across the river or beyond the mountains came to be where they are. Some stories were of animals (...) and plants in our neighborhood, and their powers to help us, feed us, or cure our ailments. But in the last few centuries, starting in Europe and spreading throughout the world, a new way of understanding began competing with storytelling as a means of comprehending our world. Science supplanted storytelling largely because it empowered us to transform the world in ways that were unimaginable to our ancestors. We understand the world scientifically by describing the world instead of by telling stories about it. The stories our ancestors told no longer explain the world, but are data within the world, part of the world that science describes. Our stories have become myths, cultural artifacts that may be interesting and a subject of study, but cannot possibly be true. Yet even in societies that have thoroughly embraced science as a means of understanding the world, myths remain a powerful force. Myth and science exist side by side, often creating confusion and conflict. (shrink)

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This article describes a team-taught environmental studies course called Animal Metaphors. Focusing on animal metaphors in literature and film, the course emphasizes various cognitive and perceptual biases that lead humans to place ourselves above and beyond nature, making us more likely to engage in practices destructive to the environment. Whereas the first iteration of the course underscored various ways in which humans are less rational or moral than we imagine, the new iteration shifted more of the focus to what inspires (...) and motivates humans, gives us emotional resilience, and best creates conditions for mental well-being as we cooperate and collaborate. This seemed an appropriate tack to take in an age commonly referred to as the “Anthropocene.” We thus continued to examine our status as evolved animals while also calling more attention to spiritual or ecstatic experience, music, humor, and the uniquely human ability for shared intentionality. (shrink)

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Animation victims: an abridged history of animated response -- Animated history -- The movement of accessories -- Fabric extensions and textual supplements from modern and antique fragments -- The movement of snakes -- Pneumatic impulses and bygone appendages from Philo to Warburg -- The afterlife of crystals -- Art historical biology and theanimation of the inorganic -- Inorganic culture -- Nudes in the forest -- Models, sciences, and legends in a landscape by Léger -- Malicious houses -- (...) Animism and animosity in German architecture and film from Mies to Murnau -- Daphne's legacy -- Architecture, psychoanalysis, and petrification. (shrink)

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Despite Robert Boyle’s enthusiasm as a leading chemist in the early years of the Royal Society, his experiments on animals raised acute moral and theological issues in regard to animal suffering. Many years after Boyle’s experiments in the scientific field of pneumatics, Joseph Wright of Derby painted a complex representation of Boyle’s early experiment called An Experiment on a Bird in an Air Pump. I use an art historical methodology to resituate Wright’s imagined painting of group performance as a microcosm (...) of 18th-century morality against the backdrop of Boyle’s profound eschatological beliefs and earlier discourse on animal ethics. (shrink)

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In recent years, an increasing number of contemporary artists have incorporated live animals into their work. Although this development has attracted a great deal of attention in the artworld and among animal rights activists, it has not been much discussed in the philosophy of art—which is quite remarkable, given the serious ethical and artistic questions that these artworks prompt. I focus on answering two such questions. First, is the use of animals in these artworks ethically objectionable? Or are such artworks (...) instead morally permissible or even laudable? Second, what might be the distinctive value or good of incorporating animals into artworks in this way? In response to both questions, I argue that one distinctive value of some of the artworks I discuss is their ability to facilitate a relationship of moral concern and respect on the part of an audience toward the animals that are a part of the artwork. Insofar as artworks facilitate such relationships, they are not simply artistically important; they are also, to that extent, morally good. (shrink)

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In Sensations of History, James J. Hodge argues thatanimation in new media art transforms historical experience in the digital age. Combining close textual analysis of experimental new media artworks with discussion of key phenomenological texts, Sensations of History argues for the broad critical significance ofanimation as we shift from analog to digital technologies. Hodge looks closely atanimation aesthetics, which allow for a clear grasp of the ways digital technologies transform our sense of historical experience.

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This paper argues that debates over art exhibitions that make use of live animals, such as the Guggenheim Museum's 2017 Art and China After 1989: Theater of the World, are reflective of a schism between two general approaches to the ethico-political criticism of art. One of these approaches, the interpretation-oriented approach, is dominant in the art world and its adjacent institutions. The other, the production-oriented approach, is tacitly adopted by art-interested non-specialists. This rift explains why the use of animals in (...) contemporary art—a practice that many art-interested people outside of the art world find bizarre and prima facie unethical—is so rarely discussed critically within art world institutions such as museums and journals. In an attempt to redress this oversight, the paper argues that the production-oriented approach is not only conceptually sound, but rationally preferable to the interpretation-oriented approach in many such cases. (shrink)

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The tenacity of medieval animal iconography in the Renaissance, disguised under the veil of genre, narrative and allegory, is demonstrated in this book. A comprehensive introduction to sources precedes case studies illustrating traditional animal symbolism in Renaissance masterpieces.

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Consistency is the hallmark of a coherent ethical philosophy. When considering the morality of particular behaviour, one should look to identify comparable situations and test one’s approach to the former against one’s approach to the latter. The obvious comparator for animal experiments is non-consensual experiments on people. In both cases, suffering and perhaps death is knowingly caused to the victim, the intended beneficiary is someone else, and the victim does not consent. Animals suffer just as people do. As we condemn (...) non-consensual experiments on people, we should, if we are to be consistent, condemn non-consensual experiments on animals. The alleged differences between the two practices often put forward do not stand up to scrutiny. The best guide to ethical behaviour is empathy—putting oneself in the potential victim’s shoes. Again to be consistent, we should empathise with all who may be adversely affected by our behaviour. By this yardstick, too, animal experiments fail the ethical test. (shrink)

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L'anthropologie récente et le développement de la primatologie convergent pour abolir la frontière moderne entre nature et culture. Les réticences ne manquent pas cependant. L'histoire des sciences a montré les comparaisons abusives entre les primates d'une part et les primitifs, les enfants et les civilisations préhistoriques d'autre part. Il n'est pas facile d'accepter l'animalité de l'homme moderne sans s'approcher de la barbarie. Un demi-siècle après le Singe nu, cette animalité se résume souvent à la biologie. Cet Essai post-animal s'intéresse au (...) contraire à ce qu'il y a de plus éloigné du biologique : l'art et la spiritualité. C'est un livre dense, volontiers ironique et qui se débarrasse d'idées trop faciles à répéter : l'exception humaine et la double nature de l'humanité. S'inspirant de sources aussi variées qu'érudites, ce livre démontre au contraire que le goût du beau et de l'abstrait s'inscrit dans une continuité évolutionnaire, sans réductionnisme. (shrink)

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Parallels are often made between the culture of San hunter-gatherers of southern Africa and that of European Upper Paleolithic hunter-gatherers. Despite different environmental conditions and lifestyles, the fact that both groups live by hunting provides a point of comparison that can afford insights into Ice Age art. Focusing on both groups' hunting relationships with prey animals can illuminate the intermeshing of human and animal traits in Upper Paleolithic art. We can now give a fairly precise account of the cognitive and (...) affective neurological mechanisms that facilitate hunting and that also have an impact on depicting animals. (shrink)

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Umayyad Islamic art has a very rich understanding of art. It will not be possible to create architectural, handicrafts and other custom decorations of these dates, including animal decorations and animal decorations. Therefore, it has become a very important owner in figure art. The figures of the early Islamic period have a common style and style while under the influence of different cultures. In this high Islamic art, it is preserved and maintained before it is transformed into a form that (...) can be applied from sculpture and painting. It is one of the figures that can be said to what extent the people who have survived until today. Because human and animal figures will not be a part of the most important elements of Islamic art. With the absence of Islam and the negative view of the statue, the life necessary for an early period aimed to be completed. In the design of the plan, private 'civil decorations' can be included in Islamic art with a political planning. Do not avoid this art because they are not cautious about verses and events. In this work, it is aimed to place the subject in question, to bring it to the exhibition and to imagine a wider window expression. Therefore, it will be a pleasure to reach and present the goals achieved. (shrink)

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Considering animality in terms of interdependency between humans and animals may help us understand how different species have evolved and continue to do so through time. The stakes are high. Darwinian evolutionary theories, while based on the continuity of the species and while suggesting the idea of mutual derivation, e.g. of humans from animals, are mostly concerned with the origins; they are not concerned with whether and how humans and animals have evolved together socially and culturally. Even a superficial look (...) at contemporary society, with its habits, tastes and recurring trends in fashion, design and the arts, shows that the border between the two categories is nothing but a threshold: the Umwelt of the humans has evolved by borrowing from the Umwelt of the animals, creating hybrids and interspecies.The article presents a few illustrations of the forms and force of this evolution, and highlights the obstacles that may prevent various disciplines from seeing it as it is, i.e. as a participatory process. (shrink)

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Theanimation industry of China has developed windingly almost 50 years in 20 century, finally obtained the eruption -like growth in the beginning 21st century. Talent cultivation is one of the important elements of ChineseAnimation industry, thusanimation education also obtained the stimulation. More and more fine art schools began to haveanimation program after 2000. This paper studies a brief history ofanimation professionals in Fine Art Schools of China, and the relationship between (...) fine art schools andanimation subject. However the number of schools expanded, but the quantity cannot guarantee quality of education, most Fine art schools are relying on the University-Industry Collaboration teaching mode, but in the fact beneath the brilliant achievements, fine art schools need to sum up teaching experience and education theory different fromanimation industry. The period ofAnimation program expanding in Fine Art Schools is almost over, but the period for education quality is coming. How to improve theanimation education quality become the most important situation to all Fine Art Schools haveanimation program. (shrink)

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This work was presented at the Research Center for Philosophy of Science of the Ferdowsi University of Mashhad (Iran) – in Aug 2020. --- -/- Briefly, in the first section of this Persian book, first of all, I (Hereafter: the writer) have presented generalities of Aesthetics and an interpretation of aesthetic universality (Hereafter: φ) and it is argued that each definition of art has to admit φ and this is a Kantian, minimalist, and subjective perspective view (some others would incline (...) objective interpretation of φ, but it is beyond the purpose of this work). What’s more, this view could be applied to all definitions of art e.g. Functionalism, Conventionalism, or Hybrid Theories. Additionally, the writer has replied to some objections, those would promote definitions of art without φ, it seems that they could not be successful to refuse φ, since it appears that φ is a premise in every aesthetic judgment. Next, in another section, the writer has written some primary notes on creativity, those have come from contemporary literature of it, and it is argued that there is a relation between creativity and φ. It is also claimed that the relation is the same φ by the creative processes, creative products, and creative persons, both scientifically and philosophically; and so, the relation represents that φ is true. Besides that, the writer has presented some potential objections to the writer’s aspect of the relation and the writer has also replied to those objections. --- -/- In the next section of the book, the writer has applied the φ by creativity to the philosophy of animal-made art, the writer revolutionarily illustrates that first of all, the normativity of the philosophy of animal-made art is prior to the descriptive one. Second of all, φ is principally the criterion to know that animal-made art is impossible. The writer’s position recognizes those other works of animal aesthetics, which means aesthetics of all of the non-human creatures in the earth or cosmos as a new part of environmental aesthetics, is the marginally second order of animal aesthetics. It is owing to the fact that first of all, the question, of whether animal-made art is possible or not, is normative. Second of all, if one does not concern normativity of the question, then one could not get the answer to the nature of it. Next, one could not distinguish between on the one side, the pleasure of drinking water when one’s thirst may cause death, on the other side, the one’s pleasure of listening to music when there is no urgent necessity of it. The fourth argument is that one needs to identify the normativity of animal-made art because one could generalize aesthetic judgments if one sets φ as the basis of it, and then, one identifies that φ is one of the most fundamental bases in Aesthetics. --- -/- The main section of this book is that the writer’s argument -Animal-Made Art Impossibility Argument- is in favor of the impossibility of animal-made art i.e. Functionalist, Conventionalist, or Hybrid Theories of the definitions of animal-made art, also the writer has replied to some possible ideas and objections to the argument. --- -/- Pouya Lotfi Yazdi --- Iran | June 2022. (shrink)

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In this paper, the future of bullfighting in France not long to break the moral value and aesthetic experience in disputes arising from conduct analysis to facilitate thinking about aesthetic experience and the relationship between animal existence. This paper is seeking to explore, and not in the evaluation of an article or opinion on a work conflict, but conflict involved to judge the value of multiple values. Guardian of moral values ​​and oppose bullfighting events, the main slogan is to respect (...) life, refused pain; and aesthetic value of the defenders, usually held in the name of safeguarding cultural heritage and maintain the aesthetic quality of performance. Evaluation criteria of the dispute and defend the value caused by the conflict is not the same evaluation criteria dispute is business volume, but as long as both parties agree, you can also stop the dispute; but to defend the value caused by the conflict is poured out not In order, because the two sides都that the other side The defense held the right of speech is not. This will work for contemporary art in the use of animals in vivo action conducted research to explore the contemporary art of the new research topics implied by the reach of the arts domain and the domain of U.S. academic issues. Contemporary art in the works use living animals move, going beyond In order to both logic system recognized by the precinct, including the U.S. academic field naturalist館exhibition science precinct, ethics and moral of the bounded domain, the legal precinct, and so on. The definition of contemporary art across borders is an important factor in the definition. This paper will examine the Huang Yong Ping's "World Theatre" Case, this was originally a huge cultural center complete degree 1994's "beyond boundaries" arranged by one of the works on display, but In several animal protection requirements under the Joint Association was eventually canceled. Case in other article, is the author of contemporary art in the study of the U.S. boycott of the case made ​​by the observation results. These different Case studies - is currently on-going research work - at least lead to two problems: artists at work using live or dead animals, whether in what form cross In order moral bounded domain and / or the U.S. academic Domain? Also, from one precinct to another precinct of the transition, the leap of variables that? Description of the future, after all, this issue of intense controversy, is originated from the West, so that this issue regardless of whether the problem is the West competition, but more is not Chinese or Asian issues of concern? Based on various conflicts of evaluation , this study of the relationship between aesthetic experience and animality evidences the existence of value registers, above the very values ​​such as beauty or sensitiveness. Aesthetic register is used by the supporters of a work in the name of cultural traditions or artistic quality, while ethical register is used by its opponents in the name of respect for living beings or of refusal to inflict sufferings. Whereas value conflicts allow discussions that may end up with an agreement, value registers conflicts can generate but endless fights, since the arguments of one party are without any relevance for the other party. Out of various case studies, mostly in France and in the USA, two questions arise. First, what kinds of moral and / or aesthetic boundaries are transgressed by the use of animals "living or even dead" in artistic proposals? Second, how do these transgressions change according to different cultures? Do they raise more difficulties in western culture than in Chinese or Asian culture, since the latter provides the propositions which have been most violently attacked in the Western world? (shrink)

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The lure of animal instinct appears to be an important consideration for the development of intelligent (or simulated intelligent) robotic creatures. Studying the behaviours and playful engagements of animals (like humans) provides robotic artists with a plethora of engagements from which to draw and mimic in their development of whimsical-behaving robot bodies. Animals, as the human other, present us with a counterpoint from which we can study robots as lively entities.

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This book examines the works of major artists between the seventeenth and nineteenth centuries, as important barometers of individual and collective values toward non-human life. Once viewed as merely representational, these works can also be read as tangential or morally instrumental by way of formal analysis and critical theories. Chapter Two demonstrates the discrimination toward large and small felines in Genesis and The Book of Revelation. Chapter Three explores the cruel capture of free roaming animals and how artists depicted their (...) furs, feathers and shells in costume as symbols of virtue and vice. Chapter Four identifies speciest beliefs between donkeys and horses. Chapter Five explores the altered Dutch kitchen spaces and disguised food animals in various culinary constructs in still life painting. Chapter Six explores the animal substances embedded in pigments. Chapter Seven examines animals in absentia-in the crafting of brushes. The book concludes with the fish paintings of William Merritt Chase whose glazing techniques demonstrate an artistic approach that honors fishes as sentient beings. (shrink)

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Turning animals into art through genetic manipulation poses many questions for how we think about our relationship with other species. Here, I explore three rather disparate sets of issues. First, I ask to what extent the production of such living “artforms” really is as transgressive as advocates claim. Whether or not it counts as radical in terms of art I cannot say: but it is not at all radical, I argue, in terms of how we think about our human place (...) in the world. On the contrary, producing these animals only reinforces our own sense of our importance. The second theme I explore is the extent to which making transgenic organisms for any purposes is radical in terms of complexity. Here, I focus on the idea of complexity as a concept in developmental biology; genetic manipulation may be successful to commercial companies, but it is deeply troubling to many biologists who consider that its deeply entrenched reductionism is enormously problematic. What risks do we run by ignoring nature’s own complexity—and creativity? And—in particular—what risks do we run of damaging or compromising animal welfare? The third theme turns to public perceptions of these new technologies (whether in science or art), and notes the extent of public unease. This unease is not simply a question of public ignorance about the technology, but reflects the enormously rich ways in which we make meanings about animals, and relate to them. These are, I suggest, a far more potent source of creativity than simply moving genes around to make photogenic animals. (shrink)

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Learn all about animal rights activism, from ending animal testing to veganism. Get a global look at the history of the movement, meet the activists involved, and celebrate some of the legal victories! Each chapters end with a call to action, so kids can feel inspired to get involved in their own communities. This high-interest book is written at a lower reading level for struggling readers. Considerate text and engaging art and photographs are sure to grab even the most reluctant (...) readers. Series includes a table of contents, sidebars, bibliography, glossary, index, and author biography. (shrink)

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When The Sexual Politics of Meat: A Feminist-Vegetarian Critical Theory by Carol J. Adams was published more than twenty years ago, it caused a immediate stir among writers and thinkers, feminists and animal rights activists alike. Never before had the relationship between patriarchy and meat eating been drawn so clearly, the idea that there lies a strong connection between the consumption of women and animals so plainly asserted. But, as the 21 personal stories in this anthology show, the impact of (...) this provocative text on womens lives continues to this day, and it is as diverse as it is revelatory. One writer attempts to reconcile her feminist-vegan beliefs with her Muslim upbringing; a second makes the connection between animal abuse and her own self-destructive tendencies. A new mother discusses the sexual politics of breastfeeding, while another pens a letter to her young son about all she wishes for him in the future. Many others recall how the book inspired them to start careers in the music business, animal advocacy, and food. No matter whether they first read it in college or later in life, whether they are in their late teens or early forties, these writers all credit The Sexual Politics of Meat in some way with the awakening of their identities as feminists, activists, and women. Even if you havent read the original work, youre sure to be moved and inspired by these tales of growing up and, perhaps more important, waking up to the truths around us. (shrink)

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The systematic examination of the visual depiction of nonhuman animals by humans, and the representation of nonhuman animal imagery is an opportunity to observe varying degrees of anthropocentrism in the manner in which the nonhuman animal is represented. The investigation we present ventures beyond the traditional scope of post-modern human alterity and suggests that an Otherness status should be extended to encompass both the human animal and the nonhuman animal. An important motivation for seriously considering nonhuman animal experience is the (...) biological similarities shared by human animals and nonhuman animals. Many perspectives toward the nonhuman animal have ignored such similarities, and this in turn results in the infliction of much trauma and injustice on nonhuman animals. We argue that the visual representation of nonhuman animals has the potential, to a substantial degree, to affect the general human understanding of and interactions with all nonhuman animals, and with positive, neutral, and negative implications for all involved. In other words, it really matters how we represent animals. (shrink)

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In art and literature, animals appear not only as an allegoric representation but as a reference which troubles the border between humanity and animality. The aim of this book is to challenge traditional ways of confronting animality with humanity and to consider how the Darwinian turn has modified this relationship in postmodern narratives. The subject of animality in culture, ethics, philosophy, art and literature is explored and reevaluated, and a host of questions regarding the conditions of co-existence of humans and (...) animals is asked: Should discourse ethics now include entities that initially seemed mute and were excluded from discussions? Does the modern animal rights movement need a theology, and vice versa, is there a theology that needs animals? Are animals in literature just metaphors of human characters, or do they reveal something more profound, a direction of human desires, or a fantasy of transgressing humanity? This book provides answers and thus gives a new impetus to a so far largely overlooked field. (shrink)

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The canine photographs, videos, and photographic narratives of artist William Wegman frame questions of animal aesthetic agency. Over the past 30 years, Wegman's dog images shift in form and content in ways that reflect the artist's increasing anxiety over his control of the art-making process once he becomes identified, in his own words, as "the dog photographer". Wegman's dog images claim unique cultural prominence, appearing regularly in fine art museums as well as on broadcast television. But, as Wegman comes to (...) use these images to document his own transition from dog photographer to dog breeder, these texts also reflect increasing restrictions on what I term the "pack aesthetics," or collaborative production of art and artistic agency, that distinguish some of the early pieces. Accounting for the correlations between multiple and mongrel dogs in Wegman's experimental video work and exclusively Weimaraner-breed dogs with human bodies in his recent work in large-format Polaroid photography, this article explores how Wegman's work with his "video dog star," his first Weimaraner dog Man Ray, troubles the erasure of the animal in contemporary conceptions of artistic authority. (shrink)

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Theodor W. Adorno’s criticism of human beings’ domination of nature is a familiar topic to Adorno scholars. Its connection to the central relationship between art and nature in his aesthetics has, however, been less analysed. In the following paper, I claim that Adorno’s discussion of art’s truth content (Wahrheitsgehalt) is to be understood as art’s ability to give voice to nature (both human and non-human) since it has been subjugated by the growth of civilization. I focus on repressed non-human nature (...) and examine Adorno’s interpretation of Eduard Mörike’s poem ‘Mausfallen-Sprüchlein’ (Mousetrap rhyme). By giving voice to the repressed animal, Mörike’s poem manages to point towards the possibility of a changed relationship between mice and men, between nature and humanity, which is necessary in order to achieve reconciliation amongst humans as well. (shrink)

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Murdering Animals confronts the speciesism underlying the disparate social censures of homicide and “theriocide”, and as such, is a plea to take animal rights seriously. Its substantive topics include the criminal prosecution and execution of justiciable animals in early modern Europe; images of hunters put on trial by their prey in the upside-down world of the Dutch Golden Age; the artist William Hogarth’s patriotic depictions of animals in 18th Century London; and the playwright J.M. Synge’s representation of parricide in fin (...) de siècle Ireland. Combining insights from intellectual history, the history of the fine and performing arts, and what is known about today’s invisibilised sites of animal killing, Murdering Animals inevitably asks: should theriocide be considered murder? With its strong multi- and interdisciplinary approach, this work of collaboration will appeal to scholars of social and species justice in animal studies, criminology, sociology and law. (shrink)

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Cass Sunstein and Martha Nussbaum bring together an all-star cast of contributors to explore the legal and political issues that underlie the campaign for animal rights and the opposition to it. Addressing ethical questions about ownership, protection against unjustified suffering, and the ability of animals to make their own choices free from human control, the authors offer numerous different perspectives on animal rights and animal welfare. They show that whatever one's ultimate conclusions, the relationship between human beings and nonhuman animals (...) is being fundamentally rethought. This book offers a state-of-the-art treatment of that rethinking. (shrink)

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Un atlas zoopolítico es lo que pretende tener aquí lugar. Un atlas en el sentido en que cada pequeño tratado de los cincuenta y dos que configuran el libro se presenta en la forma de un retrato donde el pensamiento, entre sus pensadores, se aplica en el esfuerzo de hacerse cargo de la presencia animal sin renunciar a la diferencia humana, y en que, entre todos ellos, se delinea en todas sus valoraciones posibles esta nueva presencia del animal entre nosotros. (...) Retrato con animal. Prefacio. Pablo Perera Velamazán es escritor, además de filósofo e historiador del arte. Esta triple condición –y alguna otra (profesor, traductor)- le han permitido entrar en el círculo de los que escriben siempre de los que no saben y le ha impedido, también formar parte de ninguna empresa concreta, salvo la del precipicio del pensamiento en la singularidad que se resiste a los nombres. Allí suelen estar acompañado de niños y animales, de ángeles como muñecos, pero allí también se pueden encontrar a cualquiera. Buen compañero de viaje de invierno. (shrink)

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Addressing the western understanding of the status and nature of animals and the relation of animals to the question of life, this book provides a discourse on animality through an interdisciplinary investigation into various areas of humanities. The nature of animals is explored by drawing on materials from literature, art, religion, philosophy, and political science, focusing on discussions of animality about the classical culture of ancient Greece, metaphysics and its application to debates on life, Martin Heidegger's philosophical theories, and biopolitics. (...) Although the distinctive difference between human beings from animals has long been emphasized, the author argues that they are inseparable from one another to achieve understanding. The interrogation of animality, therefore, provides a new perspective on the nature of human beings in this postmodern era. Academics in western literature, literary theory, literary criticism, and comparative literature will find this work an insightful addition to debates in their respective fields, while it will also help senior university students pursuing their studies. (shrink)

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To make sense of the material afterlives of animals, this book draws together multispecies perspectives from literary criticism and theory, cultural studies, anthropology and ethnography, photographic and film history, and contemporary art practice to offer the first synoptic account of animal remains.

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The Animal Rights Thesis (ART) entails that nonhuman animals like pigs and cows have moral rights, including rights not to be unjustly harmed. If ART is true, it appears to imply the permissibility of killing ranchers, farmers, and zookeepers in defense of animals who will otherwise be unjustly killed. This is the Militancy Objection (MO) to ART. I consider four replies to MO and reject three of them. First, MO fails because animals lack rights, or lack rights of sufficient strength (...) to justify other-defensive killing. Second, MO fails because those who unjustly threaten animals aren't liable or, if they are liable, their liability is outweighed by other considerations (e.g., a strong presumption against vigilante killing). I then argue both of these fail. Third, MO succeeds because animal militancy is permissible. Fourth, MO fails because there aren't liability justifications for defensive killing in general (i.e., pacifism is true). I argue that there's thoroughgoing epistemic parity between the Militancy View (MV) and the Pacifist View (PV), and that two considerations favor PV over MV. First, because under conditions of uncertainty, we should believe rights-bearers retain rather than lose their rights, which PV affirms and MV denies. Second, because PV is intrinsically likelier than MV to be true since PV at worst affirms wrongful letting die and MV at worst affirms wrongful killing, the latter of which is intrinsically harder to justify than the former. (shrink)

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