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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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Al Anshory, Abdul Muntaqim, and Ma'rifatul Munjiah. "ADAB AL-ATHFAL FI KITAB AL-QIRAÁH AL-RASYIDAH (DIRASAH FI AL-QIYAM AL-DINIYYAH)." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 15, no. 2 (December 31, 2020): 123–38. http://dx.doi.org/10.18860/ling.v15i2.9161.
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This study aims to determine the form of children's literature and religious values in the book al-Qira'ah al-Rasyidah Volume 1. This research is qualitative research with a content analysis approach. The data was collected through documentation techniques. The data was further analyzed using qualitative data analysis techniques, including data reduction, data presentation, and drawing conclusions or verification. The results showed that: (1) children's literature containing religious values in the book Al-Qira'ah al-Rasyidah Volume 1 contained in 13 stories, with various forms of children's literature, namely: realism (stories of realism and animal stories), traditional literature (fable), and fantasy literature (fantasy stories), (2) religious values contained in children's literature in the book al-Qira'ah al-Rasyidah Volume 1 generally takes the form of worship and morals, namely: responsibility, loving plants, sincerity, not making animals wrong, empathizing like visiting sick people, not looking down on others, positive thinking, diligently working, using time well, honesty, not sacrificing the interests of others for personal gain, keep promises, diligent, educate children wisely, cooperative and not selfish.
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Kheirbek, Taymaa Hussein, and Roza Awat Ezzat. "THE USE AND SYMBOLISM OF ANIMALS IN THE WONDERFUL WIZARD OF OZ." Language Literacy: Journal of Linguistics, Literature, and Language Teaching 4, no. 2 (December 28, 2020): 203–11. http://dx.doi.org/10.30743/ll.v4i2.3059.
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This paper is the result of a qualitative research that follows an animal-based interpretative theory. It sheds the light on the use and symbolism of animal characters in The Wonderful Wizard of Oz written by L. Frank Baum and published in 1900. It seems to be a modern fairy tale with an American setting and charming fantasy characters. It is an immensely popular text among children and adults, so it is considered a classic of children's literature. It also attempts to answer why and how Baum used animals; whether for their qualities or for the sake of creating characters opposite to their symbolism. Therefore, the role and function of animal characters are extensively discussed. The findings show how L. Frank Baum presents a distinguished world from a non-human perspective and at the same time he teaches morality, religion, and accepting diversity in nature in an exciting narrative full of adventures. These animal characters can serve as a symbolic role models for young readers.
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Morris, Michael. "Middle Earth, Narnia, Hogwarts, and Animals: A Review of the Treatment of Nonhuman Animals and Other Sentient Beings in Christian-Based Fantasy Fiction." Society & Animals 17, no. 4 (2009): 343–56. http://dx.doi.org/10.1163/106311109x12474622855183.
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AbstractThe way that nonhuman animals and other nonhuman sentient beings are portrayed in the Christian-based Harry Potter series, C. S. Lewis's Narnia series, and Tolkien's Middle Earth stories is discussed from a Christian animal liberationist perspective.Middle Earth comes closest to a liberationist ideal, in that vegetarianism is connected with themes of power, healing, and spirituality. Narnia could be described as a more enlightened welfarist society where extremes of animal cruelty are frowned upon, but use of animals for food is acceptable. In contrast, the more recent Harry Potter series portrays a less enlightened attitude toward human and nonhuman animals. Animals are treated merely as ends, vegetarianism is unheard of, and the view that even iconic species have intrinsic worth is ridiculed.
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Freeman, B. M. "Stress and the Domestic Fowl: Physiological Fact or Fantasy?" World's Poultry Science Journal 41, no. 1 (February 1, 1985): 45–51. http://dx.doi.org/10.1079/wps19850004.
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Hanna, Robert. "Essentially Embodied Kantian Selves and The Fantasy of Transhuman Selves." Studies in Transcendental Philosophy 3, no. 3 (2022): 0. http://dx.doi.org/10.18254/s271326680021060-6.
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By “essentially embodied Kantian selves,” I mean necessarily and completely embodied rational conscious, self-conscious, sensible (i.e., sense-perceiving, imagining, and emoting), volitional or willing, discursive (i.e., conceptualizing, judging, and inferring) animals, or persons, innately possessing dignity, and fully capable not only of free agency, but also of a priori knowledge of analytic and synthetic a priori truths alike, with egocentric centering in manifestly real orientable space and time. The basic theory of essentially embodied Kantian selves was spelled out by Kant over the course of slightly less than two decades, between 1768 and 1787, but above all, it flows from an empirical realist and metaphysical reading of the “Refutation of Idealism” that Kant inserted into the Postulates of Empirical Thought section in the 1787 edition of the first Critique. In my opinion, all rational but also “human, all-too-human” creatures like us are, synthetic a priori necessarily, essentially embodied Kantian selves. Let’s call that the essentially embodied Kantian selves thesis, or for short, EEKST. If EEKST is true, then it’s synthetic a priori impossible for the selves of creatures like us to exist independently of our own living organismic animal bodies or beyond the deaths of those bodies, whether temporarily or permanently, by any means whatsoever. Indeed, the very ideas of disembodied selves, their survival after death, and of human immortality, while minimally logically consistent, are in fact conceptually empty and incoherent, even over and above the synthetic a priori impossibility of such things, since the term “myself” indexically picks out an essentially embodied Kantian self, all of whose core features require grounding in a particular living organismic animal body. According to the recent and contemporary movement of transhumanism, the selves of creatures like us can not only exist independently of our bodies, as functional systems of representational content that are inherently able to be implemented or realized in digital-mechanical technology and uploadable to servers, but also to survive accidental or natural human death in server-limbo, then be downloaded into technologically enhanced partially mechanical humanoid bodies or even into wholly artificially-created completely mechanical non-humanoid bodies, survive in these new implementations or realizations for an indefinitely long time, repeat that process, and possibly even become immortal. Transhumanism is in fact metaphysically equivalent to Swedenborgianism, which Kant so effectively criticizes and wittily derides in his 1766 book, Dreams of a Spirit-Seer Elucidated by Dreams of Metaphysics. Moreover, and more importantly, if EEKST is true, then, just like Swedenborgianism, transhumanism is not only conceptually empty and incoherent, but also synthetic a priori impossible. And what’s more, it’s also existentially and morally reprehensible. In short, then, the belief in transhuman selves is nothing but a reprehensible noumenal fantasy or Hirngespinst.
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Shetty, Sandhya. "Cruel Husbandry." Comparative Studies of South Asia, Africa and the Middle East 42, no. 3 (December 1, 2022): 638–55. http://dx.doi.org/10.1215/1089201x-10148129.
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Abstract Long read in relation to public health and gender/sexual mores, Katherine Mayo's Mother India (1927) has rarely been viewed from an animal studies perspective. This article proposes that the animal, tethered to the woman question and to the figure of the Muslim, is integral to the book's imperialist apologetics. Investigations of physical cruelty to women and to animals build Mayo's case against Hindu nationalists' bid for self-rule. Highlighting cruelty alongside the question of dietary choice, Mayo interrogates the self-representation of the Hindu vegetarian as nonviolent, rewriting him instead as rapacious carnivore in every sense but the literal. Mobilized in different contexts and modes, the abused animal becomes part of Mayo's arsenal of shaming rhetoric, as does the figure of the “internationalist” Muslim who is imagined as bulwark against the Hindu vegetarian and as dysgenic threat and “world-menace.” Mother India's political-theological engagement with “the Muslim” as the iconoclastic meat eater pits him against the unfit, diabetic Hindu in a fantasy of carnivory and carnage that enacts a wished-for solution to the problem of defending empire.
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Petzold, Dieter. "Fantasy out of Myth and Fable: Animal Stories in Rudyard Kipling and Richard Adams." Children's Literature Association Quarterly 12, no. 1 (1987): 15–19. http://dx.doi.org/10.1353/chq.0.0596.
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Pordzik, Ralph. "George Orwell’s Imperial Bestiary: Totemism, Animal Agency and Cross-Species Interaction in “Shooting an Elephant”, Burmese Days and “Marrakech”." Anglia 135, no. 3 (September 6, 2017): 440–66. http://dx.doi.org/10.1515/ang-2017-0045.
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AbstractThis essay argues that Orwell’s representation of animals as companion species offers a strikingly new, as-yet largely neglected view of animal agency and interiority in his work. In “Shooting an Elephant”, Burmese Days and “Marrakech”, the writer’s focus on the social reject is supplemented by a marked sense of community implying human tragedy yet framing it within precariously situated human-animal, colonial or urban-imperial transitions that visualise animals as agents of change and co-shaping species interdependent with the lives of the humans that utilize and domineer them. Animals are required whenever Orwell aspires to shift from isolation to communality, from the self-conscious outsider to the larger realm of ideas framing the world in which his characters strive to overstep the accepted lines of social performance and conformity. Read in and around disciplinary structures of rationalization, Orwell’s animals appear to secure themselves, quite paradoxically, a place within the normative anthropocentric framework excluding them. They extend beyond anthropomorphising or allegorical modes of description and open up bio-political perspectives within and across regimes of knowledge and empathy. Orwell’s writings thus present a challenge to the culturally accredited fantasy of human exceptionalism, collapsing any epistemic space between humans and animals and burying the idea of sustaining radical species distinction.
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WATTS, Stephanie W. "5-HT in systemic hypertension: foe, friend or fantasy?" Clinical Science 108, no. 5 (April 22, 2005): 399–412. http://dx.doi.org/10.1042/cs20040364.
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Since its discovery by Erspamer in the 1930s and identification by Page in the 1950s, 5-HT (5-hydroxytryptamine; serotonin) has been an elusive candidate as a substance that plays a role in the disease of high blood pressure, also known as hypertension. In both animal and human hypertension, arterial contraction to 5-HT is profoundly enhanced. Additionally, 5-HT is a vascular smooth muscle cell mitogen. Because both increased arterial contractility and smooth muscle growth contribute to the disease of hypertension, it is logical to believe that 5-HT is a potential cause of disease, and thus a foe. However, decades of research have produced conflicting results as to the potential role of 5-HT in hypertension. This review will discuss historical findings which both support and refute the involvement of 5-HT in hypertension, and pose some new questions that may reveal novel ways for 5-HT to modify vascular control of blood pressure.
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Chengcheng, YOU. "Strange Encounter: Depicting An “Other” Reality for Young Readers." Journal of Urban Society's Arts 2, no. 1 (April 1, 2015): 25–34. http://dx.doi.org/10.24821/jousa.v2i1.1267.
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This article explores fantastic encounters between humans and non-humans inChinese and Japanese Children’s literature. Naoko Awa’s collection of short storiesThe Fox’s Window and Other Stories is closely read to elucidate narrative features ofwhat I call as “strange encounter”, the magic realistic human-animal encounter inChinese and Japanese cultural context. Chinese supernatural literature and culturaltradition of yaoguai, which have been assimilated into Japanese culture (Japaneseyōkai), are referred to throughout my discussion. Todorov’s approach to thefantastic, Judith Zeitlin’s study of Strange Tales of Liaozhai Studio, and RosemaryJackson’s study of fantasy are drawn upon to illuminate the meaning of encountersbetween men and animals. I argue that magic realism as a relatively new genrefor young readers, not only reflects the author’s individual creative experienceof the fantastic but also partakes in the sense of an “other” reality that resonatesthroughout a cultural community.Perjumpaan Ganjil: Gambaran suatu Realitas “Liyan” bagi Pembaca Muda.Artikel ini membahas perjumpaan fantastis antara ‘manusia’ dan ‘non-manusia’ didalam sastra anak Cina dan Jepang. Antologi cerita pendek karangan Naoko Awa TheFox’s Window and Other Stories akan dikupas untuk memaparkan fitur naratif yangdisebut sebagai ‘perjumpaan aneh’ (strange encounter), perjumpaan magis-realis antaramanusia dengan binatang dalam konteks kebudayaan Cina dan Jepang. Karya sastrasupernatural Cina dan keberadaan yaoguai yang telah diasimilasi dalam kebudayaanJepang (disebut youkai) menjadi sebuah referensi penting dalam artikel ini. Pendekatanfantasi dari Todorov, studi Judith Zeitlin tentang Strange Tales of Liaozhai Studio,dan studi fantasi dari Rosemary Jackson digunakan untuk memperjelas arti dariperjumpaan antara manusia dan binatang. Magis-realis sebagai sesuatu yang baru bagi pembaca muda tidak hanya merefleksikan pengalaman kreatif pribadi sang pengarang akan fantasi, tetapi juga berperan dalam pembentukan realitas “liyan” dalam sebuahkomunitas budaya.
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Rondiyah, Arifa Ainun. "Mengenal Sastra Anak Melalui Pembelajaran Bahasa Indonesia di Kelas VII dalam kurikulum 2013 Sekolah Menengah Pertama." JURNAL KRIDATAMA SAINS DAN TEKNOLOGI 4, no. 02 (November 26, 2022): 93–103. http://dx.doi.org/10.53863/kst.v4i02.539.
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Learning Indonesian is a learning that has an important role in terms of knowledge, emotions and attitudes. Learning Indonesian with material related to literary works in the form of children's literature. Children's literature is part of the 2013 curriculum in Indonesian language learning. This research method uses literature study as data collection. The results of the analysis of research on children's literature in learning Indonesian in grade VII curriculum 2013 high school, namely children's literature into reading that can stimulate children's imagination according to the end and the child's psyche. Fantasy stories are stories whose plot development uses a causal basis as a form of moral message and combines logic with things that don't make sense. A fable is a traditional story in which the character is an animal about the life of an animal which is intended as a personification of human character that contains a moral message. Witty rhymes are rhymes that aim to entertain and have value or are humorous without offending others and as a means of socializing. The role of children's literature is to become a medium for teachers to introduce good attitudes and behavior and things that are not accepted in society with the characters in fables and fantasy stories. Keywords: Indonesian language learning, children's literature, the role of children's literature
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Öztürk, Emrah. "Re-Defining the Villain in A Song of Ice and Fire from the Aspect of Totemism." Religions 11, no. 7 (July 16, 2020): 360. http://dx.doi.org/10.3390/rel11070360.
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The confrontation between good and evil is one of the essential aspects of the fantasy genre. In George R.R. Martin’s epic fantasy novel series A Song of Ice and Fire (ASOIAF, 1996–2011), he approaches this conception from a critical point of view. Whilst Martin creates deep and challenging characters in his novels, he introduces the White Walkers to the audience as almost one-dimensional, classic antagonists. It can therefore be questioned whether this contradicts his approach towards the medieval ethos. In order to answer this question, I will approach the narration from the aspect of totemism, and will use totemic signs and values for my analysis. Firstly, I will establish a relationship between totemism and the Old Gods. Conceptions such as ‘sacred totem animal’, ‘totem as an emblem’, ‘restriction of incestuous intercourse’, and ‘spirits’ will be useful for comprehending the Old Gods. Furthermore, I will try to analyze the narration with the elements of totemism. Lastly, in the light of this examination, I will try to explain what theWhite Walkers represent within the narration.
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Ladd, Heather Ann. "Music, Fable, and Fantasy: Thomas D’Urfey’s Wonders in the Sun and the Eighteenth-Century Political Animal." Lumen: Selected Proceedings from the Canadian Society for Eighteenth-Century Studies 39 (2020): 133. http://dx.doi.org/10.7202/1069407ar.
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Majors, Karen, and Ed Baines. "Children’s play with their imaginary companions: Parent experiences and perceptions of the characteristics of the imaginary companions and purposes served." Educational and Child Psychology 34, no. 3 (September 2017): 37–56. http://dx.doi.org/10.53841/bpsecp.2017.34.3.37.
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Aims:Imaginary companions (ICs) are a common feature of childhood and parents often witness young children’s play with their imaginary friends. This study investigated parent perceptions of ICs and explored associations between reported characteristics of the children and ICs and purposes served.Method:A self-selecting sample of 264 parents of children who had current or previous ICs completed questionnaires.Findings:Sixty per cent of the children had more than one IC. ICs mostly took human form (67 per cent) with 19 per cent taking animal form. Animal ICs were perceived as more important to the child. ICs served five distinct purposes: problem-solving and management of emotion, exploration of ideals, companion for joint fantasy play, companion to overcome loneliness and to allow children to explore behaviour and roles. Parents saw the main purposes of the ICs to be to support fantasy play and a companion to play and have fun with. They also frequently gave examples of how ICs enabled children to process and deal with life events. The majority of parents (88 per cent) did not think there were disadvantages in their child having an imaginary companion.Limitations:The sample is likely to be skewed in terms of age and social status and thus not representative of the overall British population. Information is given on the demographic that are likely to have engaged with the research.Conclusion:The quantitative and qualitative data from parents provide insights and contribute to the understanding of the varied purposes served by children’s ICs.
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Morton, Larry, and Beth Daly. "Empathic Correlates of Witnessing the Inhumane Killing of an Animal: An Investigation of Single and Multiple Exposures." Society & Animals 16, no. 3 (2008): 243–55. http://dx.doi.org/10.1163/156853008x323394.
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AbstractSeventy-five adults who reported witnessing at least 1 animal being killed inhumanely participated in a study of 5 measures of empathy from the Interpersonal Reactivity Index (IRI) (Davis, 1980) and the Animal Attitude Scale (AAS) (Herzog, Betchart, & Pittman, 1991): Perspective Taking (PT), Fantasy (FS), Emotional Concern (EC), Personal Distress (PD), and Animal Attitudes (AA). Females showed greater sensitivity (4 of 5 scales) on a 2-way MANOVA with Sex (male, female) and Witnessing Killing (never, once, multiple) as independent variables. Individuals who witnessed multiple killings were higher on PT and lower on PD scales. Lower PD for those who witnessed multiple killings suggests hardening or habituation related to exposure. Alternatively, they may lack resistance to involvement in situations leading to animal violence. Higher PT scores related to multiple killings may indicate a natural leaning toward the cognitive—rather than affective—or dissociation between cognitive and affective. A shift to the cognitive, as a defense mechanism, suggests a dissociation hypothesis. Implications extend to the need for refined research in the developmental sequence of animal abuse and empathy, and humane education.
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Gurduz, Andrey. "Transformation of the myth of the Minotaur in “Gene” by Stel Pavlou." Revista Amazonia Investiga 10, no. 46 (October 25, 2021): 290–302. http://dx.doi.org/10.34069/ai/2021.46.10.29.
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Fantasy of the XXI century becomes more attentive to the socio-political realities of our time. The resultant vector of the genre's problematic spectrum becomes a widely understood problem of memory - from generic, national civilization. The genre potential of fantasy gives the writer high opportunities, primarily mythological. Stel Pavlou interprets the issues of personal and cultural memory in an original way, touches the actual problem of the “beast” in man in the novel “Gene” - a representative work of Minotaurianism of the first decades of the XXI century. The purpose of our article is to determine for the first time the features of the author's version (associative model) of the Minotaur myth in the novel “Gene” by S. Pavlou against the background of the typology of modern Minotaurians, the specifics of the author's picture of the world and the accompanying philosophical subtext. In the interpretation of the key legendary-mythological image "Gene" we turn to the teaching of C. G. Jung. We show that the reinterpretation of the Minotaur's image is organically relevant to modern trends, actualizing the question of the meaning of existence, memory, man's choice of the future. In "Gene," man comprehends his essence (the Minotaur as unconscious) and recognizes the animal in himself as evil, suffers disappointment in himself and history, but must endure through love and forgiveness. We see the precondition for this original approach in Minotauri in the universalization in the twentieth century. (J. L. Borges, R. Sheckley, S. Sherrill, etc.) of the Image of the Labyrinth. Further study of the prose of S. Pavlou promising as an important component of the new world fantasy.
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Choi, Seong-Jin. "Utilization of the Fantasy Animal Drawing Test and Mutual Storytelling Technique: Focused on Child and Adolescents cases." Korean Journal of Youth Studies 26, no. 9 (September 30, 2019): 1–27. http://dx.doi.org/10.21509/kjys.2019.09.26.9.1.
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You, Xinzhe. "Animal Vision and Life Consciousness—‘Horse’ in D. H. Lawrence’s 1920s Short Stories." English Language and Literature Studies 11, no. 2 (May 30, 2021): 78. http://dx.doi.org/10.5539/ells.v11n2p78.
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D. H. Lawrence is seeking for the consciousness of life throughout his lifelong creation; he resorts to animals that bear closer connections with nature mainly in the 1920s. Based on three short stories which mention ‘horse’ in the title, “The Horse-dealer’s daughter” (1922), “The Woman Who Rode Away” (1925) and “The Rocking-horse Winner” (1926), this essay illustrates how horses function as Lawrence’s pastoral ideal, pursuit for the primitive and shape of humanity. From the background that represents the past agricultural lifestyle to a life vehicle that carries the woman to freedom, and finally to a symbol with fantasy that mirrors crises in human relations, Lawrence’s deepening attention towards the ‘horse’ belabors his life pursuit of the primitive and balances between the binary oppositions of animality and humanity, finding for modern people a way out of distortions under industrialization and civilization.
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Lange, Gerrit. "Cobra Deities and Divine Cobras: The Ambiguous Animality of Nāgas." Religions 10, no. 8 (July 26, 2019): 454. http://dx.doi.org/10.3390/rel10080454.
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In South Asia, cobras are the animals most dangerous to humans—as humans are to cobras. Paradoxically, one threat to cobras is their worship by feeding them milk, which is harmful to them, but religiously prescribed as an act of love and tenderness towards a deity. Across cultural and religious contexts, the Nāgas, mostly cobra-shaped beings, are prominent among Hindu and Buddhist deities. Are they seen as animals? Doing ethnographic fieldwork on a Himalayan female Nāga Goddess, this question has long accompanied me during my participant observation and interviews, and I have found at least as many possible answers as I have had interview partners. In this article, I trace the ambiguous relationship between humans, serpents and serpent deities through the classical Sanskrit literature, Hindu and Buddhist iconographies and the retelling of myths in modern movies, short stories, and fantasy novels. In these narrations and portrayals, Nāgas are often “real” snakes, i.e., members of the animal kingdom—only bigger, shape-shifting or multi-headed and, curiously, thirsty for milk. The article focuses on those traits of Nāgas which set them apart from animals, and on those traits that characterize them as snakes.
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Jaros, Arthur. "Milla’s Dandelion." After Dinner Conversation 3, no. 9 (2022): 5–18. http://dx.doi.org/10.5840/adc20223982.
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How do you know what’s wrong with a relationship? In this work of fantasy and ethics fiction, Alchemilla is in a poor marriage with her Kestral. Alchemilla collects and sells flowers for a living. Kestral, and their doctor, think she is pregnant. While out on a flower picking expedition she meets peaceful, but fantastical human like animal creature with horns. He cannot speak, but they becomes friends and she names him Dandelion. She tries to tell her husband out Dandelion, but he doesn’t believe her. Later, he finds them together and attacks Dandelion. Alchemilla stands up to her husband and kills him.
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Ashrafi, Ali. "INVESTIGATION OF CHILDREN FANTASY LITERATURE IN ENGLISH LANGUAGE: THE CASE OF BEATRIX POTTER’S WORK/INVESTIGASI SASTRA FANTASI ANAK-ANAK DALAM BAHASA INGGRIS: CASE OF BEATRIX POTTER’S WORK." Aksara 32, no. 2 (January 3, 2021): 247–57. http://dx.doi.org/10.29255/aksara.v32i2.472.247-257.
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Abstract In this research, we chose the series of Beatrix Potter in English languages. Then the obtained data studied in three parts of the style of writing, the semiotics of fantasy characters, and in terms of social concepts such as power, gender, and collaboration. This research is descriptive research based on the library method. Fantasy is a ction about a topic in the past or an event in the future that is now untrue, but relying on individual knowledge and imagination. Fantasy literature, as it stands today, was created in Europe in the eighteenth century, although its elements exist in myths and ancient myths. Beatrix Potter (1866-1943) grew up in London is the most acclaimed Baby Writer. She was an English writer, illustrator, natural scientist, and conservationist best known for her children’s books featuring animals. She is well-known as the author of children’s books such as The Tale of Peter Rabbit. She wrote 23 books altogether, the most famous of which was “the Tale of Peter Rabbit “, which translated into 35 languages and printed 151 million copies in the world. Keywords: characterization, fantasy literature, story, Beatrix Potter, phantom fantasy, realistic fantasy, writing style Abstrak Dalam penelitian ini, dipilih seri Beatrix Potter dalam bahasa Inggris. Kemudian data yang diperoleh dianalisis dalam tiga bagian: gaya penulisan, semiotika karakter fantasi, dan ditinjau dari konsep sosial, seperti kekuasaan, jenis kelamin, dan kolaborasi. Penelitian ini merupakan penelitian deskriptif berdasarkan metode kepustakaan. Fantasi adalah ksi tentang suatu topik di masa lalu atau peristiwa di masa depan yang sekarang tidak benar, tetapi mengandalkan pengetahuan dan imajinasi individu. Sastra fantasi, seperti yang ada saat ini, diciptakan di Eropa pada abad kedelapan belas, meskipun unsur-unsurnya ada dalam mitos dan mitos kuno. Beatrix Potter (1866-1943) besar di London adalah Penulis Bayi, ilustrator, ilmuwan alam, dan konservasionis yang terkenal karena buku anak-anaknya yang menampilkan hewan. Karyanya yang terkenal adalah buku anak-anak, seperti The Tale of Peter Rabbit. Kata kunci: penokohan, sastra fantasi, cerita, Beatrix Potter, fantasi hantu, fantasi realistik, gaya menulis
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Van der Zwan, Pieter. "Fantasy and fiction in religion: monster-bodies as abject in the book of Job: a psychoanalytic perspective." Reflexão 47 (November 11, 2022): 1–15. http://dx.doi.org/10.24220/2447-6803v47e2022a5779.
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The question about fantasy and fiction in religion is probably as old as the first interrogation and critique of revealed religion. However, the relation between fiction and religion is a two-way street. Underlying both is imagination which brings into play the psychological dimension of both but this in turn is always based on the body. Fantasy dreamily imagines the perfect body precisely to try and fill the gap left by imperfection. As an example from religious fiction, the two monstrosities in the second divine speech virtually at the end of the book of Job will be viewed through the hermeneutical lens of abjection, as explained by Julia Kristeva. As projections of the sick protagonist’s own frustrated sexual and aggressive impulses embodied as abject animal bodies they are surprisingly celebrated by the Divine who can contain the id in its protest against the superego. In the tension between play and seriousness in this transitional space negotiated by the ego creativity rooted in the chaotic and free, polymorph perversity opens the door to the revelation from the unconscious. The fundamental question remains, however, if this creativity is purely human meaning-making or tapping into the divine through some kind of intuition.
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Pommer, Celso Valdevino, Maurilo Monteiro Terra, Erasmo José Paioli Pires, Ilene Ribeiro Silva Passos, and Fernando Picarelli Martins. "INTRODUÇÃO DOS CULTIVARES DE UVA DE MESA "FANTASIA" E "RUIVA" NO BRASIL." Scientia Agricola 56, no. 1 (1999): 247–52. http://dx.doi.org/10.1590/s0103-90161999000100034.
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Fantasia' e `Ruiva' são dois cultivares de uva de mesa desenvolvidos pelo Departamento de Agricultura dos E.U.A., lançadas na Califórnia em 1989 e introduzidos no Brasil, no mesmo ano, pelos autores. No final do inverno de 1991, garfos dos dois cultivares foram enxertados sobre três diferentes porta-enxertos, a saber: Kober 5BB, Ripária do Traviú (106-8 Mgt) e IAC 766 `Campinas', no Centro Experimental de Campinas, do IAC. Garfos também foram distribuídos para alguns viticultores selecionados em diferentes regiões paulistas. Resultados de observações preliminares são apresentados. Para a familiarização pelos viticultores, bem como facilitar a pronúncia em português, os cultivares foram renomeados como sendo `Fantasia' para "Fantasy Seedless" e `Ruiva' para "Crimson Seedless". `Fantasia' é uma uva preta, de ciclo precoce a médio, com cachos médios (350-550g), de 13-20cm de comprimento e de compacidade média a solta. Os bagos são naturalmente grandes, apesar de apirenas, pesando em média 4-9g, com diâmetro de 17 a 22mm e 20-30mm de comprimento e ovais. `Ruiva' é uma uva avermelhada, de ciclo médio, com cachos médios a grandes (460-620g), com 18-30cm de comprimento e levemente compactos. Os bagos são naturalmente grandes, apesar de apirenas, pesando em média 3,5-8,0g, diâmetro de 16-21mm e 18-30mm de comprimento e cilíndricas a ovais. A duração do ciclo vegetativo (da poda à colheita) em Campinas, para ambos os cultivares foi aproximadamente o mesmo, independentemente do porta-enxerto utilizado. Por outro lado, o vigor, avaliado por intermédio do diâmetro do tronco e do peso de ramos podados, foi mais pronunciado para Ruiva enxertado sobre Kober 5BB. O comportamento de ambos cultivares em São Paulo, avaliado nas condições enunciadas, mostrou elevado potencial produtivo, aliado a excelentes características comerciais.
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Petković, Danijela. "'What cats have to dream about'?: Challenging anthropocentrism in 'A dream of a thousand cats', 'Teeth' and 'Princess Mononoke'." Kultura, no. 168 (2020): 88–111. http://dx.doi.org/10.5937/kultura2068088p.
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Relying on recent theoretical work in the field of critical animal studies and ecocriticism, the paper discusses several fantasies across different media and genres (a comic book series, a young adult novel, and an animated film), whose common characteristic is a critical stance towards anthropocentrism, also known, tellingly, as "human exceptionalism", "human supremacy", and "human chauvinism". The selected corpus consists of Neil Gaiman's "A Dream of a Thousand Cats", Hannah Moskowitz's "Teeth", and Hayao Miyazaki's "Princess Mononoke". Dissimilar as they are, these fantasies share common thematic concern with the relationship between the human and the nonhuman - primarily animals - as well as commitment to challenging the notions of natural, just and desirable human supremacy over all other forms of life. In the selected works, human exceptionalism is challenged by unmasking human exceptional brutality at its root, and, perhaps more unnervingly, by the exploration of the fundamental kinship between human and nonhuman animals. Although these popular fantasies do not voice explicit or simple ecological messages, due to the abovementioned concerns, they function as ecocritical texts as well. In the context of the global environmental crisis, it is in this ecocritical potential that some relevance of fantasy arguably lies.
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O.O., Zabolotska. "MEANS OF IMAGINARY WORLD FORMATION IN FANTASY TEXTS." South archive (philological sciences), no. 87 (September 29, 2021): 46–52. http://dx.doi.org/10.32999/ksu2663-2691/2021-87-7.
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A textual world is a cognitive complex, which combines two elements: a text base, a textual material; a cognitive base – knowledge and ideas of the communiсators. A textual world is divided into a great deal of various imaginary worlds: the author’s world and the personages, which in its turn is subdivided into the world of ideas, the world of desires, knowledge and the world of obligations. By the way, a textual world can be real and unreal or imaginary (M. -L. Rayyan), deictic, attitudinal and epistemic (P. Vert).The purpose of this article is to single out means of formation of an imaginary world in fantasy texts by J. R. R. Tolkien.In this article such methods were used: descriptive, interpretative and textual analysis, component analysis.Results. Literary world is concretized primarily in connection with its subject and the form of its implementation. The imaginary world in fantasy texts is modeled on certain principles: the use of archetypal plots and images, the opposition of good and evil, organization of the plot in the form of a quest, the use of mythological creatures, imaginary time and space, magical objects – artifacts. Imaginary world in J. R. R. Tolkien’s texts is built on the basic ideas of English-speaking community about unreality and fantasy of the author. Indicators of the imaginary are divided into 4 thematic groups (imaginary creature, imaginary subject, imaginary space and imaginary time). An imaginary creature as a result of author’s fantasy is represented as supernatural being, real for fantasy world human or animal like hybrid with nature wishes, certain intellectual abilities and physical disabilities. The imaginary subject is depicted as a unique artifact, which is actualized in jewelry, weapons and various things with supernatural properties.The imaginary space and time are based on the real one, keeping all typologies (natural, artificial environment, linen, metric, circular time). But it differs in logical incompatibility with the facts of reality and the presence of fictional representatives of flora and fauna, which gives to imaginary space and time uniqueness, anomalies and unusualness. Conclusions. Descriptive, interpretative and textual analysis helps to single out a thematic dominant, which forms informative value of lexical and semantic field “Imaginary”. Arch lexeme imaginary expresses the whole meaning of the notion “imaginary”.Key words: imaginary space and time, imaginary subject, imaginary creature, imaginary world. Текстовий світ є складним когнітивним комплексом, що поєднує два елементи: текстову базу, тобто мовний матеріал, фіксований на тому чи іншому матеріальному носії; когнітивну базу – знання й уявлення комунікантів. У межах текстового світу виокремлюються різноманітні можливі світи: світ автора і світ персонажів, який своєю чергою поділяється на світ уявлень, бажань, світ знань, світ зобов’язань. До того ж світи бувають реальними та нереальними, або уявними (М.-Л. Райян), дейктичні, атитюдні та епістемічні похідні світи (П. Верт).Мета статті – виявити засоби створення уявного світу у фентезійних творах Дж. Р. Р. Толкіна.У ході розвідки використовувалися такі методи, як: дескриптивний метод; метод інтерпретаційно-текстового аналізу, метод компонентного аналізу.Результати дослідження. Художній світ конкретизується насамперед у зв’язку з його суб’єктом (художнім світом письменника) і формою втілення (світ художнього твору). Уявний світ у фентезійних творах є вторинним стосовно звичайного світу та моделюється за певними принципами: звернення до архетипних сюжетів та образів, протиставлення добра та зла, організація сюжету у формі квесту, використання міфологічних істот, уявного часу та простору, магічних об’єктів – артефактів. Уявне у творах Дж. Р. Р. Толкіна моделюється на основі уявлень англомовної спільноти про ірреальність та фантазій власне самого автора. Індикатори уявного можна розподілити на чотири тематичні групи (уявна істота, уявний предмет, уявний простір, уявний час). Уявна істота як плід фантазії автора постає як надприродна істота, реальний для світу фентезі людино- або твариноподібний гібрид з природними потребами, певними інтелектуальними здібностями та фізичними недосконалостями, яка має місію, переважно на стороні Зла. Уявний предмет зображено як унікальний артефакт, який актуалізується в коштовностях, зброї та різноманітних предметах з надзвичайними властивостями.Уявний простір і час засновані на реальному, зі збереженням усіх типологій (природне, штучне середовище; метричний, лінійний, циклічний час), однак його відмінність у творах Дж. Р. Р. Толкіна полягає у логічній несумісності з фактами дійсності та наявності вигаданих представників рослинного та тваринного світів, що надає уявному простору і часу унікальності, аномальності та незвичності. Висновки. Аналіз словникових дефініцій і контекстних експлікацій сприяли визначенню тематичних домінант, які утво-рюють інформативне наповнення лексико-семантичного поля «Уявне». Архілексема imaginary виражає значення усього уявного по своїй природі, а всі синоніми та похідні лексеми представляють ядерну зону зазначеного поля.Ключові слова: уявний простір і час, уявнийпредмет, уявна істота, уявний світ.
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Semyachkina-Glushkovskaya, Oxana V., Natalya B. Igosheva, Tatiana A. Yakusheva, Oksana A. Klimova, Maria A. Musina, Danilа S. Leontiev, Tatiana D. Iskra, Elena I. Sarantseva, and Ekaterina Yu Lykova. "Science is the highest pilotage of intuition at the junction of art and logic: dedicated to the memory of Doctor of Biological Sciences, Professor Anischenko Tatiana Grigorievna." Izvestiya of Saratov University. New Series. Series: Chemistry. Biology. Ecology 21, no. 2 (June 24, 2021): 235–40. http://dx.doi.org/10.18500/1816-9775-2021-21-2-235-240.
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The article is dedicated to the blessed memory of Tatyana Grigorievna Anishchenko, Doctor of Biological Sciences, professor, who used to hold the position of head of the Department of Human and Animal Physiology of the Biological Faculty of the Saratov State University from 1995 to 2015. This is a look back at the memories of some of her students and a message for new generations about great prospects in obtaining a golden ticket to life and the wonderful world of science. Tatiana Grigorievna’s students are a great example of success, which lies in the knowledge, first of all, of oneself, and through these lessons, a successful search for new opportunities and goals in life. Science is the pilotage guiding light of intuition at the intersection of art and logic, a compromise of flights of fantasy and clear facts. These unique instruments are based on the best traditions of the school of human and animal physiology.
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PARAMESWARAN, AMEET. "Zooësis and ‘Becoming with’ in India: The ‘Figure’ of Elephant inSahyande Makan: The Elephant Project." Theatre Research International 39, no. 1 (February 10, 2014): 5–19. http://dx.doi.org/10.1017/s0307883313000515.
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I analyseSahyande Makan: The Elephant Project(2008), a cross-cultural theatrical production in Malayalam and Japanese by the Kerala-based group Theatre Roots and Wings, as an instance of ‘zooësis’. The performance presents the state of an elephant in the space of a Kerala temple festival ritual,pooram. The elephant moves into a fantasy of the wild as it is under the physiological condition of musth. Approaching the question of the performing animal as intersectional, this performance challenges anthropocentrism and its assumed binary of human/animal, and draws a possible relation between domestic and wild, or the world of norms and freedom, both for elephants and for humans. I argue that by taking embodiment as the site of exploring discipline as well as imagining a freeing, and by positing an alternate way of ‘being worldly’ through affect and senses, the performance articulates what Donna Haraway has posited as the process of ‘becoming with’.
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Vargas, Pablo Forlan, Renata Castoldi, Hamilton César de Oliveira Charlo, and Leila Trevizan Braz. "Qualidade de melão rendilhado (Cucumis melo L.) em função do sistema de cultivo." Ciência e Agrotecnologia 32, no. 1 (February 2008): 137–42. http://dx.doi.org/10.1590/s1413-70542008000100020.
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Objetivou-se com este trabalho avaliar a qualidade de frutos de cinco cultivares de melão rendilhado (Cucumis melo L.), cultivados em casa de vegetação, em função do sistema de produção. O experimento foi instalado em casa de vegetação na UNESP-FCAV, Jaboticabal-SP, no período de novembro de 2005 à fevereiro de 2006. O experimento foi delineado em esquema fatorial 5 X 2, em blocos casualizados com quatro repetições. Os tratamentos resultaram da combinação de cinco híbridos de melão rendilhado: Maxim, Bônus 2, Shinju 200, Fantasy e Louis e dois sistemas de cultivo: no solo e em substrato de fibra da casca de coco. As características avaliadas foram: massa fresca do fruto, espessura de mesocarpo, intensidade de rendilhamento da casca, pH, sólidos solúveis totais, acidez titulável, índice de maturação (RATIO), e vitamina C. Não houve interação significativa entre os sistemas de cultivo e cultivares para nenhuma das características avaliadas. O cultivo de melão em substrato resultou em frutos com qualidade superior ao cultivo em solo. Os híbridos Louis e Fantasy foram os que apresentaram melhor desempenho qualitativo de frutos.
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López Ramírez, Manuela. "Gothic Overtones: The Female Monster in Margaret Atwood’s “Lusus Naturae”." Complutense Journal of English Studies 29 (November 15, 2021): 103–13. http://dx.doi.org/10.5209/cjes.70314.
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In “Lusus Naturae,” Margaret Atwood shows her predilection for the machinations of Gothic fiction. She resorts to gothic conventions to express female experience and explore the psychological but also the physical victimisation of the woman in a patriarchal system. Atwood employs the female monster metaphor to depict the passage from adolescence to womanhood through a girl who undergoes a metamorphosis into a “vampire” as a result of a disease, porphyria. The vampire as a liminal gothic figure, disrupts the boundaries between reality and fantasy/supernatural, human and inhuman/animal, life and death, good and evil, femme fatale and virgin maiden. By means of the metaphor of the vampire woman, Atwood unveils and contests the construction of a patriarchal gender ideology, which has appalling familial and social implications.
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Madani, Shpëtim, and Zylfi Shehu. "THE DYSTOPIAN VISION IN BERNARD MALAMUD’S NOVEL GOD’S GRACE." Folia linguistica et litteraria XIII, no. 40 (July 2022): 65–81. http://dx.doi.org/10.31902/fll.40.2022.4.
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This article seeks to analyze the dystopian vision in Bernard Malamud’s final novel God’s Grace (1982). An animal fable and fantasy in itself, the book centers on the last human survivor who interacts with primates, in order to create civilization anew by teaching them language, ethics, science and religion, with a major emphasis on the dualities of good and evil; reason and instinct, and their interconnectedness with free will, choice, and responsibility. The study begins with a short introduction into the history of dystopian literature, whose function is to serve, from a future perspective, as a social and political commentary about existing dark aspects, which can easily take over if not held in check. Then, the analysis probes into the dystopian features of the (covert and overt) totalitarian climate that reigns in the book, due to the human’s control of the animals through the mechanisms of language, culture, science, religion, and sexuality. The utopian society established is short-lived, as the denial of individualism inevitably brings about the primates’ rebellion and the demise of human civilization. Despite being the most pessimistic work of fiction by Malamud, the novel ends with hope, which is the case in many dystopian books.
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Lukač, Dora. "That’s not my name: Translation of proper names in Croatian and Russian (re)translations of George Orwell’s Animal Farm: A Fairy Story." Hieronymus : Časopis za istraživanja prevođenja i terminologije 7 (2021): 104–39. http://dx.doi.org/10.17234/hieronymus.7.5.
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The procedures for rendering proper names have been studied mostly in works belonging to the fantasy genre and children’s literature. Although George Orwell’s Animal Farm belongs to neither of the two categories, it is affiliated with the subgenre of allegory, which represents quite a challenge to any potential translator. However, the real motivation behind the choice of this book lies in its criticism of the Soviet Union, especially since it was published in 1945, meaning that the political and socio-cultural context influenced its publication and reception to a great extent. This study aims to identify the procedures applied in rendering proper names from Animal Farm in two Croatian (the first translation and retranslation) and four Russian translations (the first translation and three retranslations), and to determine the differences among the translations into the same target language, as well as the differences between Croatian and Russian target texts. Finally, a study of first translations and subsequent retranslations will enable us to detect diachronic changes in the general translation orientations.
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Mukherjee, Paromita. "Connecting the Literature of Children and Adult: Socio-Political Commentary in Fantasy Tales like The Little Prince and Animal Farm." Litinfinite Journal 1, no. 1 (July 2, 2019): 1. http://dx.doi.org/10.47365/litinfinite.1.1.2019.1-7.
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Zlatnar Moe, Marija, and Tanja Žigon. "When the audience changes." Translation and Interpreting Studies 15, no. 2 (April 8, 2020): 242–60. http://dx.doi.org/10.1075/tis.20015.zla.
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Abstract Much is expected to change when a work of fiction is translated from one language and culture to another, but the intended reader is not. This paper deals with the issue of the change of the intended reader from adult to child/adolescent in translations of fiction from English into Slovene. The intended reader is most likely to change in translations of comics/cartoons, fantasy, and realistic fiction with child or animal protagonists. The reasons for the change can be both textual and extra-textual: on the one hand, books are categorized as children’s books by libraries, award boards and marketers, as well as by the publisher’s choice of translator, while, on the other hand, individual translation decisions on the microlevel can help move a book from one category to another.
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Bols, P. E. J., and H. F. M. De porte. "‘Le jumart’: myth or mystery in animal reproduction?" Vlaams Diergeneeskundig Tijdschrift 85, no. 4 (August 29, 2016): 237–44. http://dx.doi.org/10.21825/vdt.v85i4.16334.
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There was a time when science still had to ‘hatch’. An era during which man often extrapolated existing knowledge to a level beyond reality. That period is not as far behind us as we would like to believe. Breeding of animals has always stimulated man’s fantasy. Out of this, a very interesting myth - or is it a mystery? - was born: the existence of a hybrid between horse and cow, ‘Le Jumart’. On top of the very well-known hybrids between horses and donkeys, the French ‘capitaine des haras’ Francois Alexandre de Garsault (1692-1778) describes the procedure of how to create a hybrid between a cow and a horse in his widespread and well known ‘Nouveau Parfait Maréchal’, first published in 1741. In depth research showed that he was far from being the only one who believed in the existence of such a crossover species. Other well-respected contemporary scientists even dedicate chapters in their textbooks on this animal, such as the French naturalist and medical doctor Jean-Pierre Buchoz (1731-1807) in his ‘Traité Economique et Physique de Gros Menu Bétail’ published in 1778. Even opinion leaders Charles Bonnet (1720-1793) and Lazzarro Spallanzani (1729-99) were convinced that these animals really roamed around in France during the 18th century. Finally, even the founder of the first ‘Ecole Vétérinaire’ in the world, Claude Bourgelat (1712-1779) testified in a letter to Bonnet to have admired the product of a stallion and a cow with his own eyes. Fortunately, the debate could count on important disbelievers as well, with Albrecht von Haller taking the lead by publishing a paper in the ‘Supplément à l’Encyclopédie ou Dictionnaire Raisonné des Sciences, des Arts et Métiers’ (1777), in which he calls the existence of the Jumart a ‘fable’. It would take another century for André Suchetet (1849-1910) to publish an ‘Extrait des Mémoires de la Société Zoologique de France’ with the title ‘La Fable des Jumarts’ (1889). Extremely interested in hybridization, this 19th century politician and member of several scientific societies, faces the challenge to finally steer the scientific community to a general conclusion on this enigma. This paper describes in a chronological order the rise and fall of one of the most intriguing ‘fabula’ in reproductive medicine and how it took emerging modern science about 200 years to decide on ‘myth’ or ‘mystery’.
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Clark, Stephen R. L. "The Evolution of Language: Truth and Lies." Philosophy 75, no. 3 (July 2000): 401–21. http://dx.doi.org/10.1017/s0031819100000474.
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There is both theoretical and experimental reason to suppose that no-one could ever have learned to speak without an environment of language-users. How then did the first language-users learn? Animal communication systems provide no help, since human languages aren't constituted as a natural system of signs, and are essentially recursive and syntactic. Such languages aren't demanded by evolution, since most creatures, even intelligent creatures, manage very well without them. I propose that representations, and even public representations like sculptures, precede full languages, which were devised by the first human children as secret tongues to create fantasy realms inaccessible to their proto-human parents. Language, in brief, is not required for truth-telling or for the convenience of hunters. It is a peculiar modification of public representation, which permits us to construct new public worlds.
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Sendler, D., and M. Lew-Starowicz. "Motivation of sexual relationship with animal–Study of a multinational group of 345 zoophiles." European Psychiatry 41, S1 (April 2017): s852. http://dx.doi.org/10.1016/j.eurpsy.2017.01.1692.
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IntroductionWe explore relationship-seeking behaviour of zoophiles (zoos), using Francoeur's (1991) definition of sexual orientation (as consisting of affection orientation, sexual fantasy orientation, and erotic orientation).ObjectivesThis study intends to be the largest in recent decades’ comprehensive analysis of self-identified zoophiles, living on all five continents. It describes similarities and differences between normative sexual orientations (hetero- and homo-) and zoophilic sexuality, using Francoeur's (1991) framework.MethodA qualitative observational study of user activity (n = 958) on discussion forums, combined with brief demographic survey. Data were analyzed according to principles of grounded theory. Next, surveys of own design (demographic, discreet + open ended questions) were received by n = 350 participants. Presented data show aggregate conclusions from mixed methods qualitative and quantitative analysis.ResultsTrend analysis yielded four main discussions among zoophiles – worldview, personal space, sex life, and online space. Within worldview category, zoos overwhelmingly discuss bad press (55%), as well as social (41%) and legal (22%) ostracism. In personal space, the primary concern is coming at easy with own sexuality (>60%) and forming lasting relationship with either human, animal, or both partners simultaneously. In terms of sex life, zoos are concerned with improving sex play (>40%) and figuring out legality of sexual encounters with animals (22%). Concerning online space, the biggest concern here is networking (40%) and meeting other zoos for dating (15%).ConclusionsModern zoophiles have a wide array of personal, social, legal, and sex life challenges that can be approximated using qualitative studies.Disclosure of interestThe authors have not supplied their declaration of competing interest.
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Zywert, Aleksandra. "Motocykl–widmo, czyli meandry współczesnej fantastyki (Oleg Diwow, Рыжий пес иж)." Kultury Wschodniosłowiańskie - Oblicza i Dialog, no. 8 (December 20, 2018): 273–85. http://dx.doi.org/10.14746/kw.2018.8.23.
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The present paper aims at analyzing one of the most recent Divov’s stories entitled Рыжий пес Иж (2016). The text is interesting both due to its literary genre hybridity (it embraces elements of a melodrama, a horror story, a detective story, urban fantasy and a fairy tale) and the topics it touches upon (especially animalistic issues). Divov deploys the well-known literary and cinematic motif of a soul penetrating an object and creates a story of motorcycle haunted by a dog’s soul. Due to its original solutions (inter alia referring to films) Divov’s story is an interesting work illustrating the permanent interrelations between literatures and movies as well as the author’s exploration within this scope. Moreover, the manner of creating the animal character and placing it within the structure allow for including Divov’s story into the group of contemporary literary works reflecting the proanimal trends in Russian culture.
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Guitton, Matthieu J. "Morphological Conservation in Human-Animal Hybrids in Science Fiction and Fantasy Settings: Is Our Imagination as Free as We Think It Is?" Advances in Anthropology 03, no. 03 (2013): 157–63. http://dx.doi.org/10.4236/aa.2013.33021.
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Lyytimäki, Jari. "Rare Exports: Irony about Northern Nature and Commercialized Culture." Nature and Culture 10, no. 2 (June 1, 2015): 178–98. http://dx.doi.org/10.3167/nc.2015.100203.
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How can humor illustrate critical trends related to social, economic, and ecological sustainability? This article is based on a case study that focused on the film Rare Exports: A Christmas Tale (2010) and two related short films—Rare Exports Inc. (2003) and Rare Exports: Official Safety Instructions (2005). These fantasy films employ irony and dark humor that reverse the popular impressions related to Santa Claus and his elves and, more generally, exotic northern nature and culture. By representing the gentle Santa Claus as a savage hybrid creature brutally punishing those not adhering to certain social norms, these films break several conventional dichotomies between good and evil, human and animal, and society and nature. The use of dark humor and irony may compromise attempts to create public understanding based on best available scientific knowledge, but it also opens up complementary and potentially fruitful ways to discuss sustainability issues. Irony provides opportunities to identify and criticize unsustainable trends and to challenge and disclose dichotomies that may otherwise remain unnoticed.
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Mull, Ian, Jamie Wyss, Eunjung Moon, and Seung-Eun Lee. "An exploratory study of using 3D avatars as online salespeople." Journal of Fashion Marketing and Management 19, no. 2 (May 11, 2015): 154–68. http://dx.doi.org/10.1108/jfmm-05-2014-0033.
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Purpose – The purpose of this paper is to examine consumers’ perceptions of using different types of 3D animated avatars as salespeople based on credibility, homophily, attractiveness and intention to interact. Design/methodology/approach – Using a survey method, participants (n=120) evaluated four types of 3D animated avatars (i.e. human, fantasy, animal and humanoid) based on the supposition the avatars would represent a salesperson for an online retailer. Findings – The results show that avatar type has a significant influence on the perception of credibility, homophily, and attractiveness. Furthermore, credibility, homophily, and attractiveness significantly influence the intention to interact with the avatar. Overall, the human avatar was found to be perceived as the most credible, homophilous, attractive and was regarded as the highest in relation to intention to interact. Originality/value – The practical and theoretical implications are discussed to offer guidance to online retailers, graphic designers, and researchers in the benefits and pitfalls of utilizing 3D animated avatars as salespeople.