Relevant bibliographies by topics / Animal Fantasy

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Animal Fantasy'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 February 2023

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Journal articles on the topic "Animal Fantasy"

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Copeland, Marion. "Crossover Animal Fantasy Series: Crossing Cultural and Species as Well as Age Boundaries." Society & Animals 11, no. 3 (2003): 287–98. http://dx.doi.org/10.1163/156853003322773087.

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AbstractCrossover fantasy series such as Harry Potter (Rowling, 1997, 1999, 2000, 2003), designed to appeal to readers of all ages, have received much popular and critical attention. Series like His Dark Materials (Pullman, 1995, 1997, 2000), more sophisticated and complex than Rowling's, have benefited from Harry Potter's press. In Rowling, nonhuman animals play roles but are not foregrounded. They are not central to action or theme or, in any sense, developed characters. Pullman's books foreground nonhumans and develop their characters. His three novels, however, belong to their human protagonists. In the worlds of true Crossover Animal Fantasy Series such as The Wolves of Time and The Duncton Trilogies (Horwood, 1997, 1989), the novels belong to their nonhuman protagonists. This review essay suggests how understanding the characteristics of Crossover Animal Fantasy Series enhances readers' imaginative grasp of the lives of other species. The best of these series cross cultural, species, and age boundaries, and are an unsung force in bringing about a paradigm shift that will affect our cultural perception of nonhumans.
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Rubenstein, Roberta. "Animal idylls: Female desire, fantasy, and the reconstructed other." Lit: Literature Interpretation Theory 4, no. 2 (February 1993): 123–35. http://dx.doi.org/10.1080/10436929308580102.

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Douglas, Angela E., and Adam J. Dobson. "New Synthesis: Animal Communication Mediated by Microbes: Fact or Fantasy?" Journal of Chemical Ecology 39, no. 9 (September 2013): 1149. http://dx.doi.org/10.1007/s10886-013-0343-7.

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Baek, Seung-Nam. "Reality & Fantasy of novel A hieroglyphic history(1703/4-1705) of Dimitrie Cantemir." Korea Association of World History and Culture 61 (December 30, 2021): 341–63. http://dx.doi.org/10.32961/jwhc.2021.12.61.341.

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History written in hieroglyph by Dimitrie Cantemir A hieroglyphic history(1703/4-1705) was copied by Tocilescu in Russia in 1878, which is used as original script. Original script and copy include not only fantasy novel but also eight headlines, three addressing, hieroglyph-deciphering dictionary. He missed the chance to return to his country while he was taken as a hostage in Constantinople, while right-hand man Mihai Racivita of Brancoveanu of Muntenia was become a new ruler of Moldova. He dreamt a independent country free from oligarchy of Moldova and nearby superpowers and a brother country which keeps peaceful relation with Muntenia. He wrote fantasy novel based on 17 years of Moldova’s history. He depicted winged animals and walking animals using his own hieroglyph visioned the fantastic world where all animals living together peacefully. Moldova is Lion Country which is walking animal amd Muntenia is Eagle Country which is winged animal. He depicted himself as Unicorn, his rival Brancoveanu of Muntenia as Raven and Mihai Racovita as a hybrid of ostrich and camel, Ostrichcamel. Animals of two countries gathered one place to elect able leader but fought over the throne each other. Raven seemed get the upper hand over unicorn only to realize his foolishness. At that time Unicorn returned and country became peaceful. All animals paid respects to the crown of victor Unicorn.(Hankuk University of Foreign Studies)
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Leatherland, Douglas. "The Capacities and Limitations of Language in Animal Fantasies." Humanimalia 11, no. 2 (March 20, 2020): 101–30. http://dx.doi.org/10.52537/humanimalia.9455.

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Drawing on the field of zoosemiotics, this paper explores the representation of language and other forms of communication in animal fantasy fiction, citing Richard Adams’s Watership Down (1972) as a key example of a text which depicts a wide spectrum of communication channels. Zoosemiotics provides a useful lens through which to conceptualize the spectrum of animal communication depicted in Adams’s novel and other notable texts, such as the short stories of Franz Kafka and Ursula Le Guin’s “Author of the Acacia Seeds” (1974). While examples of animal languages in such fiction seem more anthropomorphic than examples of sensory, non-vocal forms of communication, fictional languages such as Lapine actually reveal the limitations of human language as well as the conceptual abilities of nonhuman animals. The texts discussed in this paper attempt to imagine how the ways in which nonhuman animals communicate might be understood, or translated, in human language terms.
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Oktaviani, Danissa Dyah. "Konsep Fantasi dalam Film." REKAM 15, no. 2 (October 1, 2019): 125–36. http://dx.doi.org/10.24821/rekam.v15i2.3356.

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Fantasy films were born from the development of fiction films that have shown existence since the beginning of its history. Fantasy films have their own charm because they can penetrate time and space compared to other genres. Fiction films develop from their creators both in terms of story and cinematography because fiction films are at the center of the poles: real and abstract. Its greatest strength lies in its ability to integrate and combine with other genres without exception and can be broadly developed unlimitedly. That is because fantasy films contain elements with different characteristics from other films where if a fantasy film has one element in the making of the film then it has been said to be a fantasy film. The elements or components that are seen are derived from the narrative and cinematic elements of filmmaking which contain ideas of stories, characters, and settings in a film. These three elements are the forming components of fantasy films that are fictitious and imaginative. The idea of the story is not based on an imaginary reality, that is a fiction that makes no sense. In the case of fantasy films, filmmakers will compete to develop and present ideas that have not been thought of before, so the audience seems to be carried away in a new world outside of real life. Character characters in fantasy films are the imagination of creators in fictitious forms, such as: animal characters, extraterrestrials, monsters, robots, and non-physical characters such as ghosts, spirits and holograms. While the background elements in fantasy films have a character setting place and time imaginative events are unique in unknown times or dimensions, can be past, present, and future with the centuries formed by the creators.
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Reysen, Stephen, Courtney N. Plante, Sharon E. Roberts, and Kathleen C. Gerbasi. "My Animal Self: The Importance of Preserving Fantasy-Themed Identity Uniqueness." Identity 20, no. 1 (October 14, 2019): 1–8. http://dx.doi.org/10.1080/15283488.2019.1676245.

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Ihanus, Juhani, Mirja Keinonen, and Satu Vanhamäki. "Rorschach Movement Responses and the Tat Transcendence Index in Physically Handicapped Children." Perceptual and Motor Skills 74, no. 3_suppl (June 1992): 1115–19. http://dx.doi.org/10.2466/pms.1992.74.3c.1115.

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It has been supposed that those who give many Rorschach movement responses and score high on the TAT Transcendence Index are more inhibited in their motor activity. In previous studies motor inhibition was investigated by experimentally preventing motor activity. In the present study the effects of long-term motor inhibition on movement perception and fantasy level were explored in 19 physically handicapped children, ages 11 to 15 years. Analysis showed that the physically handicapped children produced more (both human and animal) movement responses than the 19 normal children. Fantasy in the TAT was also higher in the former group. The theoretical basis of projective movement responses and fantasy in physical handicap needs more clarification. A more detailed approach in qualitative analysis of the movement responses is also important.
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Paparoussi, Marita. "Otherness, Discrimination, and Cats in Eugene Trivizas's The Last Black Cat." International Research in Children's Literature 4, no. 2 (December 2011): 180–91. http://dx.doi.org/10.3366/ircl.2011.0025.

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This paper examines Greek writer Eugene Trivizas's 2001 crossover animal fantasy The Last Black Cat, considering the implications of using the trope of the animal both to interrogate the construction of black cats as Other and to challenge examples of prejudice, or rather the grounds of prejudice, discrimination, and scapegoating. Extended consideration is devoted to the ways in which the narrative produces black cats as the marginalised and demonised Other of both humans and other cats, while at the same time it questions the culturally established hierarchy between humans and animals, and the paradigm of animal victim. It is argued that the focus on how the human/animal relations are articulated in Trivizas's novel makes it possible to perceive both the irrationality of the ideology behind the discrimination and the beast in humankind; in others words, by using misfortunes of animals as a tool for social criticism it subverts dominant discriminatory discourses and redefines prevailing ideas of humanity.
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Chunghee Lee. "An Animal Fantasy in an Ecological Vision: E. B. White’s Charlotte’s Web." Journal of English Language and Literature 54, no. 5 (December 2008): 651–77. http://dx.doi.org/10.15794/jell.2008.54.5.003.

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Dissertations / Theses on the topic "Animal Fantasy"

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Håkansson, Isabel. "Adding Personality to Fantasy Creatures : Using animal motion references." Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-17015.

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Fantasy creatures are an essential part of many games, but while there are several studies focusing on body language and how expressive gaming companions may enhance the player’s experience, creatures and animals are rarely the focal points. Personality is closely related to believability, which is what most game developers work towards hence believability may improve the gaming experience. The purpose of this paper was to explore how the personality of a fantasy creature would be perceived by the observer when using different animal motion references. A 3D-model was created and animated in three different styles using motion references from a cat and lizard. A survey with Likert-scales was then formed with the intention to evaluate the animations. The participants in the survey were assigned one of the three animations to rate statements regarding personality and believability. Rather than a certain type of animal being associated with a certain type of personality, the result suggests that it was mainly certain motion cues and postures that affected the participants’ ratings. The study was deemed to be insufficient for a reliable result. In the discussion part, there are ideas on how the study could be improved with the aim of continuing the research to gain a clearer insight into the subject of personality and creatures.
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Duan, Shu-Jy. "A Tale of Animals: The Changing Images of Animals in Animal Fantasy for Children from Aesop's Fables through 1986." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392118450.

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Mikaela, Ehn Svensson. "Dæmoner, katter och talande björnar : Icke-mänskliga karaktärer i Philip Pullmans His Dark Materials." Thesis, Södertörns högskola, Institutionen för kultur och lärande, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-41096.

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Fantasy literature has a long history of including a wide array of non-human characters, each more fantastical than the other. But can these characters also be used to question anthropocentric beliefs or are their portrayal just a way to reinforce those ideas? Because fantasy literature, especially earlier examples in the fantasy canon, tend to include a lot of allusions to religion in general and Christianity in particular, is the question more complex than it first might seem. This thesis therefore aims to examine the portrayal of non-human characters in the works of one of the last 25 years most bestselling fantasy authors, Philip Pullman. It’s a well-known fact that Pullman isn’t a fan of organized religion, which sometimes is very noticeable in his trilogy His Dark Materials (1995-2000). The trilogy includes several kinds of non-human characters and one of the most central aims of the thesis is to examine how these portrayals relate to the undermining or reproduction of anthropocentric ideas. Because Pullmans alternative theology is so central to the trilogy’s narrative, it will also play a part in my examination.
Denna uppsats är en undersökning av de icke-mänskliga karaktärer som figurerar i Philip Pullmans fantasytrilogi His Dark Materials (1995–2000). Litteratur inom fantasygenren har en lång historia av att inkludera en stor mängd av icke-mänskliga karaktärer, den ena mer fantastisk än den andra. Kan dessa karaktärer användas för att problematisera den antropocentrism som genomsyrar det västerländska samhället eller är deras gestaltande endast exempel på hur dessa föreställningar reproduceras? Eftersom fantasy, speciellt äldre exempel, ofta har allusioner till religion i allmänhet och kristendom i synnerhet, är frågan mer komplex än den först verkar. Pullman är känd för sin kritik av organiserad religion och i His Dark Materials skriver han fram en alternativ teologi. Denna uppsats undersöker således inte bara gestaltningen av de icke-mänskliga karaktärerna och hur de relaterar till eventuell problematisering och/eller återskapande av antropocentriska normer, utan också den roll Pullmans teologi spelar i relation till detta. I slutändan är också förhoppningen att denna uppsats kan visa hur litteratur, och framför allt den som faller inom fantasygenren, kan vara ett verktyg för att diskutera och problematisera antropocentriska föreställningar.
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Mezan-Muxart, Virginie. "Savoirs et représentations de la genette (Genetta genetta) dans le bassin méditerranéen de la préhistoire à nos jours Histoire d’une belle méconnue. : histoire d’une belle méconnue." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCD088.

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Animal originaire d’Afrique du Nord, atypique sous nos latitudes, la genette européenne (Genetta genetta) est singulière, tant par sa physionomie (tête fuselée, oreilles de renard, taches de panthère et longue queue annelée) que par sa discrétion. Cet animal nocturne est mystérieux et son histoire n’a jamais été étudiée : comment, quand et par qui a-t-elle été introduite en Europe méridionale ? Etait-elle chassée ? A-t-elle été domestiquée ? Par qui, quand et comment était-elle représentée ? Quelle a été, et est encore peut-être, sa signification symbolique ? Il sera important d’établir le lien entre la genette et les milieux géographiques dans lesquels elle a évolué et évolue, faisant ainsi d’elle un indicateur environnemental. En effet, si cette recherche s’assigne comme objectif principal l’histoire de la genette et de sa représentation dans le cadre de sa relation avec l’homme dans le bassin méditerranéen, elle le fait aussi dans une perspective plus vaste, environnementale. Ainsi le continuum historique met-il en valeur le caractère changeant et évolutif des rapports de l’homme et de l’animal en fonction des contextes géographiques, sociaux, économiques et politiques. Connaître le passé et le présent d’un animal, connaître sa relation historique et imaginaire avec l’homme et connaître les manières dont il est représenté peut aider à mieux le préserver.Cette recherche s’inscrit donc dans le cadre d’une histoire co-évolutive des relations entre les sociétés méditerranéennes et le monde animal, de la préhistoire à nos jours. Pour la mener à bien, il a été nécessaire de recourir non seulement à des sources textuelles mais aussi à des sources archéologiques et iconographiques
Originating from Northern Africa, atypical in our part of the world, the European genet (Genetta genetta) is remarkable for its physiognomy (pointed head, fox-like ears, panther spots and a long annulate tail) as much as its furtiveness. This nocturnal animal is mysterious, and its history has never been fully studied: how, when and by whom was it introduced in southern Europe? Was it hunted? Has it ever been tamed? By whom, when and how has it been represented? What have been its symbolical meanings?It is important to establish the link between the genet and the physical environment in which it has been evolving, thereby establishing it as an environmental indicator. Indeed, if this project aims mostly at delivering the history of the genet and of its representation with a focus on its relation to man in the Mediterranean region, it also considers the wider perspective of environmental studies. Thus, the historical continuum points to the changing relationship between man and animal according to different geographical, social, economic and political contexts. Understanding the past and present history of an animal, its historical and imaginary relations to man and its various representations can help to preserve the species more effectively.This research lies within the scope of a co-evolutive history of the relationships between Mediterranean societies and the animal kingdom, from prehistorical times to the present. To complete this project, it proved necessary to resort not only to textual resources, but also to use archeological and iconographical resources
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Edwards, Peggy Ann. "Portmanteau." Morgantown, W. Va. : [West Virginia University Libraries], 2003. http://etd.wvu.edu/templates/showETD.cfm?recnum=3227.

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Thesis (M.F.A.)--West Virginia University, 2003.
Title from document title page. Document formatted into pages; contains iv, 12 p. : ill. (some col.) Includes abstract. Includes bibliographical references (p. 4).
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Palmas, Jauze Daisy de. "La figure du dragon : des origines mythiques à la Fantasy et à la Dragon Fantasy anglo-saxonnes contemporaines." Thesis, La Réunion, 2010. http://www.theses.fr/2010LARE0025/document.

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À la fois mythique constructeur ou destructeur de Mondes, incarnation du Malin pour l'Église au Moyen-âge, monstre lové sur un trésor au fond d'une grotte, qu'un héros doit tuer pour prouver sa bravoure dans les légendes et les contes, le dragon revient périodiquement exprimer les peurs et les fantasmes les plus profonds. Au XXème siècle, la Fantasy a ramené le dragon en littérature et la Dragon Fantasy récente (DragonLance de M. Weis et T. Hickman comme point de départ en 1984) a fait évoluer son image en lui offrant le rôle de personnage principal ou de héros, contribuant à l'amplification de la figure mythique du dragon et à son renouveau. Le dragon vole, crache du feu, pense, parle, raisonne, se métamorphose, possède des pouvoirs magiques, aime et se bat. Il existe également au féminin. Si le dragon ancien était représenté aux pieds de l'homme, en position d'infériorité d'animal dompté, le dragon de Fantasy se situe dans le ciel, libre et supérieur à l'homme. Il ouvre la voie d'une sagesse ancestrale au dragonnier qu'il se choisit. Les combats des dragons symbolisent les éternelles luttes du Bien et du Mal présentes dans toutes les sociétés humaines et en l'homme lui-même, les forces qui s'affrontent pour le rétablissement de l'ordre et de l'équilibre universel en danger
A mythic builder or destroyer of Worlds, the embodiment of Evil for the Roman Catholic Church in the Middle Agesd, a monster to kill in order to take its treasure in legends or tales, the dragon periodically comes back expressing one's fears or diseases. Fantasy has brought the dragon back to twentieth century literature and Dragon Fantasy offers him the leading role in fights to keep order and and hold the world balanced. The new dragon, male or female, thinks, speaks, loves, fights, has magical powers, can fly, breathe fire, transform himself/herself. He shows human beings the way to ancestral wisdom
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Österberg, Marika. "Satire and Social Criticism in C. S. Lewis' That Hideous Strength." Thesis, Högskolan Väst, Avd för utbildningsvetenskap och språk, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hv:diva-5162.

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The essay at hand is a New Historicist reading of C. S. Lewis’ dystopian fantasy novel That Hideous Strength. According to New Historicist theory it is informed by many disciplines, namely, philosophy, history, literary theory, theology, social science, and psychology, and it attempts to lessen injustices of race and class. The essay examines how satire operates in the novel, focusing on its societal targets: totalitarianism, laboratory animals, and education. Lewis’ philosophical idea expressed in his “The Abolition of Man” – that a society that averts from what he calls universal, timeless, objective values will eventually lead to a loss of that which is truly humane – is a main theme of the novel as well as for this essay. Another, complementary, main theme is that a cultivation of the heart is necessary for individuals of society since childhood if society is going to stay humane.
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Oliveira, Érico Fernando de. "South Park: (des)construção iconoclasta das celebridades." Pontifícia Universidade Católica de São Paulo, 2012. https://tede2.pucsp.br/handle/handle/4436.

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Made available in DSpace on 2016-04-26T18:12:08Z (GMT). No. of bitstreams: 1 Erico Fernando de Oliveira.pdf: 5223723 bytes, checksum: 1749e79bae5a6d85c540c5a643463e3b (MD5) Previous issue date: 2012-10-08
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The reason of this research is studying the contemporary and social construction of the celebrities as well as the role that it exerts at the mediatic civilization. Therefore we focused on the American TV show South Park, an animation that is dedicated at caricature them. We worked with the hypothesis that the idol is a simulacrum that doesn t resist to humor desecrate. In order to do that we adopted as the main investigative theorist reference the concepts of dispositive and profanation from Giorgio Agamben s philosophy, to whom the caricature present on the cartoons reveals the human and ordinary character of the idols, taking off the phantasy veil which sacralizes it. But we also mobilize as other conceptual operators the lacanian real , once that by definition he doesn´t let himself lose from the imaginary as well as the symbolic and cynical subject notion, as developed by Slavoj i ek, which takes us to elaborate another hypothesis, the one that the engaging at the modalization defiler of the show might not occur because of the cynical reception of its audience. The corpus selected to analysis constitutes of 71 episodes of 22 minutes duration selected among more than 200 of the previously mentioned TV show, aired between 1997 and 2011, as well as the feature film South Park: bigger, better and uncut (1999). The selection was made mostly based on the purpose of what we intend to show
O intuito desta pesquisa é estudar a construção social contemporânea das celebridades, bem como o papel que ela exerce na civilização midiática. Para tanto, debruçamo-nos sobre o programa televisivo norte-americano South Park, uma animação que se dedica a caricaturálas. Trabalhamos com a hipótese de que o ídolo é um simulacro que não resiste à profanação do humor. Nesse sentido, tomamos como principal referencial teórico-investigativo os conceitos de dispositivo e profanação de Giorgio Agamben, para quem a caricatura presente nos cartoons desvela o caráter humano e ordinário do ídolo, removendo o véu da fantasia que o sacraliza. Mas mobilizamos também, como outros operadores conceituais, o real lacaniano, uma vez que, por definição, ele não se deixa desprender nem do imaginário nem do simbólico e também a noção de sujeito cínico, conforme desenvolvido por Slavoj i ek, o que nos leva a elaborar uma outra hipótese, a de que o engajamento na modalização profanatória do programa pode não ocorrer em razão justamente dessa recepção cínica por parte de sua audiência. O corpus selecionado para análise constitui-se de 71 episódios de 22 minutos de duração, selecionados dentre mais de 200 do referido programa, exibidos entre 1997 e 2011 e também o longa-metragem, South Park: maior, melhor e sem cortes (1999). A seleção recorta principalmente os episódios que se prestam particularmente ao que se pretende demonstrar
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Sorenson, Peter David, and peter sorenson@rmit edu au. "Signs of mid-life: images from the contemporary Australian mid-life male psyche." RMIT University. Applied Communication, 2005. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20060428.113457.

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This research project investigates images from the contemporary Australian mid-life psyche, exploring the contribution to individual transformation made through the creation of, and reflective engagement with, personal imagery. Asking the question: 'What do contemporary Australian mid-life males consider to be a rich and sustaining inner life?' This project documents the visual images, descriptions, and reflections of a group of five participants, discussing the individuals' experiences of aesthetic self-inquiry with reference to divergent theories of psychology, art therapy and philosophy of aesthetics.
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Liu, Chiao-Hsuan, and 劉巧璇. "The Creation of Fantasy by Animal Metaphors." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/93b7s4.

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碩士
國立臺灣師範大學
美術學系
105
The main purpose of this paper is the study of fantasy art. Because the field of fantasy art is comprehensive with diverse forms, which also has neither a specific style nor too many historical annotations, the research was based on fairy tales and fantasy literature. The author points out that the core development of the stories in fairy tales are based on people and real life. Through the discussion of “metaphor” and “imagination” in making fairytales correspond to reality; furthermore, studying the two natures of fantasy literature and fantasy art to find possible metaphors of real life, and to look back towards the reflection of the author’s creation and concept of metaphor. The author sorts out the elements of fantasy in looking for the relationship between the theory of J. R. R. Tolkien’s “The Second World” and the creation of fantasy worlds, also to analyze the artistic expression of “Alice in Wonderland” and works of Daniel Merriam. Through the research of these works, the author has found her own domain for her individual creation and imagination of fantasy world. With the concept of animal behavior as a metaphor for human behavior, the author not only created her own artistic approach towards her fantasy art creation, but also made the context and discussion more complete. The essay is divided into five chapters: Introduction, Foundation of Creative Research Theory, Creative Concept and Practice, Work Analysis, and Conclusion. In the second chapter, the author discusses the connotation and forms of fantasy art, and the theoretical basis of behavior theory. To complete the creation of discussion according to the author’s animal metaphors and the creation of fantasy world, the author constructed the concept and practice procedure in the third chapter. In the fourth chapter, the author stated the analysis of the creations, and the final summery.
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Books on the topic "Animal Fantasy"

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Art nouveau fantasy animal jewelry designs. Mineola, N.Y: Dover Publications, 1997.

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Fantasy Origami. New York: Sterling, 2002.

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Raiku, Makoto. Animal land. New York: Kodansha Comics, 2014.

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Shaw, Bruce. The animal fable in science fiction and fantasy. Jefferson, N.C: McFarland & Co., Publishers, 2010.

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The animal fable in science fiction and fantasy. Jefferson, N.C: McFarland & Co., Publishers, 2010.

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translator, Paul Stephen (Translator), and Shiromasa Kiyoto letterer, eds. Animal Land. New York: Kodansha America, Incorporated, 2014.

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Raiku, Makoto. Animal land. New York, N.Y: Kodansha Comics, 2012.

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Andrew, Jacobson, ed. The Familiars: Animal wizardry. London: HarperCollins Children's Books, 2010.

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(Translator), Paul Stephen, and Yoo, David (Illustrator at Caramel Tree (Firm)), eds. Animal land. New York: Kodansha America, Incorporated, 2016.

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Fleur, Cowles, ed. If I were an animal. New York: Morrow, 1987.

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Book chapters on the topic "Animal Fantasy"

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Appleby, Roslyn. "Shark Fantasy." In Sexing the Animal in a Posthumanist World, 74–85. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9781351271486-6.

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Napier, Susan J. "Princess Mononoke: Fantasy, the Feminine, and the Myth of “Progress”." In Anime from Akira to Princess Mononoke, 175–92. New York: Palgrave Macmillan US, 2001. http://dx.doi.org/10.1057/9780312299408_10.

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Fest, Ludivine. "La chevalière au Moyen Âge : entre fantasme et réalité." In Le cheval, animal de guerre et de loisir dans l'Antiquité et au Moyen Âge, 105–11. Turnhout: Brepols Publishers, 2012. http://dx.doi.org/10.1484/m.bat-eb.5.100767.

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Baimukhamedova, Zhanna. "The Eye of the Beholder: Applying Visual Analysis in an Historical Study of Lynxes’ Representations in the Bavarian Forest Region." In Co-Creativity and Engaged Scholarship, 299–321. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84248-2_10.

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AbstractRepresentation is never neutral, especially when it comes to agents devoid of their own voice. As such, wildlife has often been employed as a sort of leverage point, an emotional trigger aimed to deliver a certain message (see e.g., Cronin, 2011). The establishment of the Bavarian Forest National Park (BFNP) coincided with the return of large carnivores to the region, in particular, lynxes. Lynxes are endemic to the area; however, as in many other parts of Europe, the last free-roaming individuals were eradicated in the middle of the nineteenth century. In the past few decades, slowly, lynxes were both reintroduced or came back on their own volition, and that has created a considerable response from the population. There has been extensive coverage of the return of these animals both in local and regional media. Lynxes are also kept in the enclosures of the BFNP to afford visitors an unmediated look at the native charismatic megafauna. In this chapter, I analyse how lynxes have been represented in the local media, the newspaper Grafenauer Anzeiger, and discuss merits and drawbacks of visual analysis research method in understanding the change in attitudes towards these animals’ presence in the BFNP area. For that, I look at the archival and contemporary publications of the newspaper. It has been said that the precondition for people’s understanding of reality lays in fantasy, in imagining things to be true (Bergman, 2013). A visual analysis method can help uncover stories that do not necessarily come to the fore in text, and that, in turn, makes it possible to have a fuller grasp of one’s research object. Andrew Isenberg once said that “[our] representations of wildlife are inescapably expressions of human values” (Isenberg, 2002), and while texts are important in their own regard, visual analysis gives an opportunity to look behind a textual narrative to discern whether what we see of the wildlife corresponds to what we understand.
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Armitt, Lucie. "Animal fantasy for children." In Fantasy, 57–84. Routledge, 2020. http://dx.doi.org/10.4324/9781315559827-3.

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"Cross-Channel Becomings-Animal:." In Revivalist Fantasy, 45–71. Ohio State University Press, 2020. http://dx.doi.org/10.2307/j.ctv16rdd7r.6.

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Svärd, Per-Anders. "The Ideological Fantasy of Animal Welfare." In Eco-global Crimes, 115–32. Routledge, 2016. http://dx.doi.org/10.4324/9781315578651-7.

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Tarr, Anita. "China Miéville’s Young Adult Novels." In Posthumanism in Young Adult Fiction, 247–72. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.003.0012.

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Noting the penchant for China Miéville’s writings to defy genre categorization, Anita Tarr labels his three YA novels as posthumanist assemblages, being posthumanist-Marxist-fantasy-Gothic horror-Young Adult novels. King Rat, Un Lun Dun, and Railsea are all re-envisionings of classic stories (“Pied Piper of Hamelin,” Through the Looking-Glass, and Moby Dick), sometimes to the detriment of Miéville’s superlative imaginative writing. Miéville is especially concerned with his protagonists resisting their conventional heroic destiny as they explore their posthumanist possibilities. Stock full of hybrid characters, each novel acknowledges fluid boundaries (fantasy and reality, animal and human) and multiple subjectivities; however, each is also burdened with heavy ties to anti-consumerist lessons.
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Vinci, Tony M. "Posthumanist Magic." In Posthumanism in Young Adult Fiction, 227–46. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.003.0011.

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Tony Vinci explains how Lev Grossman’s The Magicians suggests a new way of reading YA fantasy, not just as a privileged anthropocentric human reading escapist literature, reifying the boundary between reality and fantasy. Since the now-commodified set of expectations for fantasy to be unsettling are no longer as effective for readers, Grossman’s meta-fiction enables readers to view all realities as linguistic constructs. Thus when Quentin Coldwater and his magicians-in-training friends cross over into Narnia-like Fillory, they are encouraged to acknowledge the porous border between reality and fantasy, to recognize the “posthumanist ethics of vulnerability and radical openness to the Other, within and without.” But Quentin resists, even as a magical animal-human, clinging to traditional humanist values, and refuses to experience “becoming-with Otherness.”
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"Chapter Two. Renaissance Naturalists And Animal Symbolism: Fact And Fantasy." In Animals as Disguised Symbols in Renaissance Art, 23–33. BRILL, 2008. http://dx.doi.org/10.1163/ej.9789004171015.i-319.12.

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Conference papers on the topic "Animal Fantasy"

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ALCAIDE RAMÍREZ, AURORA. "Paisajes enantrópicos. Un proyecto que reflexiona sobre las relaciones Hombre-Naturaleza en el espacio (peri)urbano abandonado." In III Congreso Internacional de Investigación en Artes Visuales :: ANIAV 2017 :: GLOCAL. Valencia: Universitat Politècnica València, 2017. http://dx.doi.org/10.4995/aniav.2017.4885.

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La evolución del ser humano se ha desarrollado en estrecha relación con su entorno. Si en un principio el impacto del hombre en la naturaleza era mínimo, el derivado exclusivamente de su uso como proveedora de alimentos y cobijo; con el transcurrir de los años la manipulación del medio natural se ha incrementado de manera exponencial, llegando en algunos casos a peligrar la supervivencia de los seres que lo habitan, así como sus elementos constitutivos básicos. Lo local, lo autóctono, la naturaleza salvaje y primigenia, ha sido sustituida en infinitud de zonas de la Tierra por extensas ciudades tecnificadas, con grandes avenidas, elevados rascacielos, modelos arquitectónicos y urbanísticos homogéneos, altas cotas de contaminación y exceso de rapidez e inmediatez, en donde lo natural pervive como mera anécdota: una hilera de árboles a lo largo de una calle, un escueto parque, una maceta… o peor aún, reducido a pura simulación, representación o fantasía mitificada: un jarrón con flores de plástico, papel de empapelar estampado con motivos vegetales, un póster de un paisaje paradisíaco… En la era global actual nos movemos por ciclos económicos que determinan y regulan los ritmos vitales de las ciudades. En épocas de crisis afloran en el territorio urbano y su periferia espacios abandonados, que tras adquirir el carácter de ruina, con el tiempo -en numerosas ocasiones- son vaciados, transformándose en descampados, no lugares dominio de nadie (humano) que la Naturaleza aprovecha para reconquistar. La ponencia abordará el proyecto pictórico personal titulado Paisajes enantrópicos que reflexiona sobre las conexiones hombre-naturaleza en los territorios metropolitanos abandonados: lugares en los que la naturaleza se aprovecha de la ausencia humana para reapropiarse del espacio que originalmente fue suyo, devolviéndole su aparente caos primigenio; entropía que el hombre anuló al imponer su dominio y control (antropización) y, en definitiva, al sustituir el paisaje natural por el artificial.http://dx.doi.org/10.4995/ANIAV.2017.4885
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Yáñez Martínez, Mª Begoña. "Mirar hacia arriba. Investigación artística en torno a la gárgola española." In IV Congreso Internacional de Investigación en Artes Visuales. ANIAV 2019. Imagen [N] Visible. Valencia: Universitat Politècnica de València, 2019. http://dx.doi.org/10.4995/aniav.2019.9064.

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A lo largo de los últimos años, en relación a la temática llevada a cabo en mi tesis doctoral, he ido desarrollado un proyecto de investigación artística en torno a las gárgolas españolas. No solo desde sus posibilidades expresivas como objeto de estudio en mis escritos, dibujos, cuaderno de bocetos y proyectos utópicos, sino especialmente como medio de difusión y presentación de una visión cercana de uno de nuestros tesoros escultóricos escondidos. A nivel tangible este proyecto se ha manifestado en el conjunto de ilustraciones Una Historia de Gárgolas, que ha formado parte de varias exposiciones, y en la actualidad se comienza a fraguar en una nueva dirección hacia La gárgola en la oscuridad, que serán un conjunto de ilustraciones, inspiradas en gárgolas españolas, en las que se construye desde la oscuridad del papel negro a base de “dibujar con la luz”. El primer proyecto pretendía dar vida a la piedra aportando a las gárgolas, en los dibujos, un carácter más cercano que me permitiera usar esos dibujos para contar una historia a grandes y pequeños, que ayudara a comprender y valorar a la gárgola, o al menos despertar un principio de interés, animando a mirar hacia arriba (nombre, a su vez, del proyecto educativo online en forma de eduweb para el conocimiento de la gárgola). Este segundo proyecto marca el carácter dual de la gárgola, umbral entre dos mundos, que nos permite un viaje a la imaginación. Su propia historia alimenta el interés creativo hacia ellas, como espacio de libertad para los escultores en medio del gran libro de piedra, mensaje macronarrativo de la época, que relegaba a los márgenes, a lo escondido, la imaginación y la fantasía. Es la sublimidad romántica en el sentido puro, sentimiento que despierta pasión y terror en un equilibrio constante.
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