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Books on the topic 'Animal metaphors'

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Published: 4 June 2021
Last updated: 16 February 2022

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1

Speaking of animals: A dictionary of animal metaphors. Westport, Conn: Greenwood Press, 1995.

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2

Consumable metaphors: Attitudes towards animals and vegetarianism in nineteenth-century France. Oxford: P. Lang, 2005.

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3

Foreman, Benjamin A. Animal metaphors and the people of Israel in the book of Jeremiah. Göttingen: Vandenhoeck & Ruprecht, 2011.

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4

Foreman, Benjamin. Animal Metaphors and the People of Israel in the Book of Jeremiah. Göttingen: Vandenhoeck & Ruprecht, 2011. http://dx.doi.org/10.13109/9783666532580.

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5

Animal metaphors and the people of Israel in the book of Jeremiah. Göttingen: Vandenhoeck & Ruprecht, 2011.

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6

Michael, Heries, ed. Tiergestaltigkeit der Göttinnen und Götter zwischen Metapher und Symbol. Neukirchen-Vluyn: Neukirchener Theologie, 2012.

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7

Rapallo, Umberto. Metafore animali e mondo eroico nel "Cantare di Aneirin". Pisa: Giardini, 1989.

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8

Animal imagery in the book of Proverbs. Leiden: Brill, 2008.

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9

T.S. Eliot and the heritage of Africa: The Magus and the Moor as metaphor. New York: P. Lang, 1992.

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10

Ferrario, Elena. La metafora zoomorfa nel francese e nell'italiano contemporanei. Brescia: Editrice La Scuola, 1990.

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11

1946-, Urton Gary, ed. Animal myths and metaphors in South America. Salt Lake City: University of Utah Press, 1985.

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12

Wasdin, Katherine. Wild Horses and Beasts of Burden. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.003.0005.

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This chapter analyzes ancient animal metaphors according to interactive dynamics as well as species. Erotic praise of elite maidens presents them as proud racehorses and should be distinguished from metaphors of tamed or yoked hetairai that focus on the lover’s desired role as rider or driver. The marital yoke is a common metaphor in some genres, but yoking language found in the wedding discourse focuses on the unity of the couple rather than the control of the bride by the groom. Hunting metaphors that feature fearful or endangered animals are more common in erotic poetry or in tragic weddings, rather than in the wedding song. The chapter concludes with a series of Horatian odes that purposefully blur the lines between nuptial and erotic animals.
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13

Melson, Roger. Playing cat and mouse with the dead donkey: The translation of animal metaphors. 1996.

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14

Forth, Gregory. Dog Pissing at the Edge of a Path: Animal Metaphors in an Eastern Indonesian Society. McGill-Queen's University Press, 2019.

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15

Dog Pissing at the Edge of a Path: Animal Metaphors in an Eastern Indonesian Society. McGill-Queen's University Press, 2019.

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16

Arruzza, Cinzia. The Lion and the Wolf. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190678852.003.0006.

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This chapter is divided into two main parts. The first offers a discussion of the nature of spirit, dealing with the current range of interpretive options, and arguing for a definition of spirit as a drive to self-assertion. The second is based on exegesis of the beginning of book IX and of the only reference to spirit included therein. The thesis is that a hardened and corrupt spirit plays a significant role in the tyrant’s psyche, because the latter’s condition is determined in part by the spirited part’s lawlessness as inflamed by the appetitive part. The two parts are bridged by a section concerning the animal metaphors related to spirit in the dialogue: this section interprets each animal as corresponding to a different state of spirit, and argues that the wolf—the animal associated with the tyrant in the dialogue—is the animal metaphor for the tyrant’s corrupt spirit.
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17

Animal Fables after Darwin: Literature, Speciesism, and Metaphor. Cambridge University Press, 2018.

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18

Kieltyka, Robert. Various Faces of Animal Metaphor in English and Polish. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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19

Kieltyka, Robert. Various Faces of Animal Metaphor in English and Polish. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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20

Kieltyka, Robert. Various Faces of Animal Metaphor in English and Polish. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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21

Various Faces of Animal Metaphor in English and Polish. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2015.

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22

Radner, Hilary, and Alistair Fox. Cinema and the Body: The Ghost in the Theater. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0004.

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This chapter focuses its attention on why, in returning in the twenty-first century to a preoccupation with classical cinema, Bellour argued that hypnosis rather than the dream (as in the view of Christian Metz) offers the most accurate metaphor for understanding the cinematic viewer’s relationship to screen narrative. Like an animal, Bellour explains, the spectator is caught by, and subject to, somatic responses that are basically emotional in nature (hence not under his or her rational control) and generated from outside him or her, but which he or she experiences as autogenic in origin as vitality affects, borrowing from Daniel Stern. The chapter explores how, in Bellour’s view, the physicality of these responses highlights the tenuous dividing line between that which is human and that which is animal, within a worldview that dispenses with “the soul” under modernity. Finally, the chapter examines Bellour’s argument that the images of animals that appear in films “mirror” the condition of the spectator in the theater.
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23

Porter, Paul. Metaphors and Monsters: A Literary Critical Study of Daniel 7&8. Paul a Porter, 1985.

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24

Obermaier, Sabine. Reflection. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780199375967.003.0010.

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Animals are pervasive in medieval literature. Yet, as in medieval philosophy, they are rarely considered an object of interest in their own right. Instead they are invoked as part of humankind’s natural environment or as the property or antagonists of humans. They appear as metaphors representing human affairs, as indicators of the status or inner qualities of humans. A key component in the contrast between animals and humans is the (rational) superiority of humans....
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25

Wasdin, Katherine. Eros at Dusk. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190869090.001.0001.

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This book analyzes the relationship between wedding poetry and love poetry in the ancient world. By treating both Greek and Latin texts, it offers an innovative and wide-ranging discussion of the poetic representation of social occasions. The discourses associated with weddings and love affairs both foreground ideas of persuasion and praise even though they differ dramatically in their participants and their outcomes. Furthermore, these texts make it clear that the brief, idealized, and eroticized moment of the wedding stands in contrast to the long-lasting and harmonious agreement of the marriage. At times, these genres share traditional forms of erotic persuasion, but at other points, one genre purposefully alludes to the other to make a bride seem like a girlfriend or a girlfriend like a bride. Explicit divergences remind the audience of the different trajectories of the wedding, which will hopefully transition into a stable marriage, and the love affair, which is unlikely to endure with mutual affection. Important themes include the threshold; the evening star; plant and animal metaphors; heroic comparisons; reciprocity and the blessings of the gods; and sexual violence and persuasion. The consistency and durability of this intergeneric relationship demonstrates deep-seated conceptions of legitimate and illegitimate sexual relationships.
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26

Niall, Scott, ed. Monsters and the monstrous: Myths and metaphors of enduring evil. Amsterdam: Rodopi, 2007.

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27

Scott, Niall. Monsters and the Monstrous: Myths and Metaphors of Enduring Evil. Rodopi B.V. Editions, 2007.

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28

Steane, Andrew. Darwinian Evolution. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824589.003.0008.

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Having asserted what Darwinian evolution is not, we next consider what it is. The aim is to get a reasonable overall judgement of what sort of process and sequence of events is found. The existence and role of randomness or openness is discussed. The text looks briefly at animal aggression. It is argued that the metaphor of ‘eagerness’ is better than the metaphor of ‘selfisheness’ when thinking about genes. The journey undergone by life on Earth has not been a mere sequence of events, but a story of noteable and genuine increase in richness of expression. Nor has it been merely haphazard, because the very richness it came to express was itself shaped by the patterns that apply at the various levels, including, for example, the level of social existence. The judgement that this is a meaningful story is an intellectually substantial judgement.
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29

Acampora, Christa Davis, and Ralph R. Acampora. A Nietzschean Bestiary: Becoming Animal Beyond Docile and Brutal. Rowman & Littlefield Publishers, Inc., 2004.

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30

1967-, Acampora Christa Davis, and Acampora Ralph R. 1965-, eds. A Nietzschean bestiary: Becoming animal beyond docile and brutal. Lanham, Md: Rowman & Littlefield, 2004.

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31

Forti, Tova. Animal Imagery in the Book of Proverbs. BRILL, 2007.

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32

Moriarty, Michael. Montaigne and Descartes. Edited by Philippe Desan. Oxford University Press, 2015. http://dx.doi.org/10.1093/oxfordhb/9780190215330.013.20.

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Descartes’s exposition of his search for truth in the Discourse on the Method draws on Montaigne’s self-presentation in the Essays as well as on the recurrent metaphors of the “Apology for Raymond Sebond.” In his construction of reliable knowledge he is assisted by Montaigne’s demolition of existing knowledge-structures. Though claiming to achieve certainty on issues Montaigne proclaims philosophically doubtful (such as the existence of God and the nature of the soul), he emphasizes God’s transcendence of human reason; nor does his dualism deny the embodied nature of human experience, on which Montaigne insists. But, contrary to Montaigne, Descartes insists on the gulf between humans and animals.
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33

Riggs, Christina. 5. Signs, sex, status. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199682782.003.0005.

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Through the materials they used and the objects they made, ancient Egyptian artists and craftsmen turned animals, plants, and the Nile into metaphors for what cannot be seen: good and evil, creation, or the transformation of the dead. ‘Signs, sex, status’ considers the references to hippopotami, the goddess Isis, the marshes, and fertility and sexual imagery that recur throughout Egyptian art and architecture, with their distinct hieroglyphic symbols, compositional rules, and social strictures. It shows how much elite men dominated the world of high culture. Women were an integral part of this social stratum as well, but gender roles and family relationships informed who was represented in art, and how.
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34

Monsters and the Monstrous: Myths and Metaphors of Enduring Evil (At the Interface/Probing the Boundaries). Rodopi, 2007.

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35

Amy, Cappellazzo, and Weatherspoon Art Gallery, eds. Wild/life, or, The impossibility of mistaking nature for culture. Greensboro, NC: Weatherspoon Art Gallery, 1998.

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36

Ludlow, Morwenna. Christian Formation and the Body–Soul Relationship in Gregory of Nyssa. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826422.003.0009.

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This chapter examines Gregory of Nyssa’s anthropology as it is evident in three of his ascetic works: De Professione Christiana, De Perfectione, and De Instituto Christiano. Previous research has tended to use these as evidence for Gregory’s spirituality or his instructions concerning the truly Christian life, while his anthropology has been studied from his De Anima et Resurrectione and De Hominis Opificio. However, his concept of the truly Christian life seems to rely on some basic anthropological ideas which one can see in the ascetic treatises—especially in Gregory’s use of the language of ‘formation’ or ‘shaping’ the Christian and in metaphors relating to those concepts. Such language emphasizes the unity of the human being, her working together with God (the concept of sunergeia), and the imitation of Christ. It perhaps also suggests traces of hylomorphism in Gregory’s anthropology.
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37

Garrard, Greg. Introduction. Edited by Greg Garrard. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199742929.013.035.

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Ecocriticism began as an environmentalist literary movement that challenged Marxists and New Historicists over the meaning and significance of British Romanticism. An important component of the environmental humanities, ecocriticism has been characterized using the metaphor of waves. “First-wave” ecocriticism is inclined to celebrate nature rather than query “nature” as a concept and to derive inspiration as directly as possible from wilderness preservation and environmentalist movements. “Second-wave” ecocriticism is linked to social ecological movements and maintains a more skeptical relationship with the natural sciences. The contributions to the book, which encompass both “waves”, are organized in a widening spiral, from critical historicizations of “nature” in predominantly Euro-American literature in the first section to a series of surveys of work in ecocriticism’s “emerging markets” – Japan, China, India and Germany – in the last. The “Theory” section includes essays adopting perspectives from Latourian science studies, queer theory, deconstruction, animal studies, ecofeminism and postcolonialism. The “Genre” section demonstrates the diverse applications of ecocriticism with topics ranging from British literary fiction, Old Time music, environmental humour, climate change nonfiction.
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38

Richards, Jennifer, and Richard Wistreich. The Anatomy of the Renaissance Voice. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474400046.003.0015.

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Dissection Might Be Thought Of As A Self-Explanatory Term.’ So Begins Jonathan Sawday’s The Body Emblazoned: Dissection And The Human Body In Renaissance Culture (1995), One Of The Earliest Cultural Histories To Contribute To The Burgeoning Field Of Medical Humanities In The 1990s. ‘In Its Medical Sense’, He Explains, ‘A Dissection Suggests The Methodical Division Of An Animal Body For The Purposes Of “Critical Examination”.’ But The Term Can Be Used In A ‘Metaphoric Sense’ Too, And When It Is We Are Led ‘To An Historical Field Rich In Cognate Meanings’ In A Period When A ‘ “Science” Of The Body Had Not Yet Emerged’. These Rich Meanings Are The Focus Of His Study, Which Aims To Recover The ‘Violent, Darker Side Of Dissection And Anatomization’ Before Its Meaning Became Fixed As ‘A Seemingly Discrete Way Of Ordering The Observation Of The Natural World’. This Darker Side Includes The Partitioning Of Knowledge, Surveillance Of The Body, Eroticism And A Deep-Rooted Fear Of Interiority. Rereading Sawday’s Pioneering
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39

Núñez, Rafael, and Tyler Marghetis. Cognitive Linguistics and the Concept(s) of Number. Edited by Roi Cohen Kadosh and Ann Dowker. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780199642342.013.023.

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What is a ‘number,’ as studied within numerical cognition? The term is highly polysemous, and can refer to numerals, numerosity, and a diverse collection of mathematical objects, from natural numbers to infinitesimals. However, numerical cognition has focused primarily on prototypical counting numbers (PCNs) – numbers used regularly to count small collections of objects. Even these simple numbers are far more complex than apparent pre-conditions for numerical abilities like subitizing and approximate discrimination of large numerosity, which we share with other animals. We argue that the leap to number concepts proper relies, in part, on two embodied, domain-general cognitive mechanisms: conceptual metaphor and fictive motion. These mechanisms were first investigated within cognitive linguistics, a subdiscipline of cognitive science, but are now thought to subserve cognition more generally. We review the proposal that these mechanisms structure numerical cognition – including PCNs, but also the positive integers and arithmetic – and survey the supporting empirical evidence.
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40

Griffiths, Jay. Tristimania. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198801900.003.0002.

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This chapter uses theBlack Hole as a metaphor for depression based on personal experience with the disease. Like a Black Hole, depression consumes and contorts time. Depression sucks an entire human life into itself, the chapter states. Nothing can withstand its relentless tug into sheer black nothingness; it is a force field of pure negativity, a Black Hole. Depression slows one’s sense of time as—in what is called ‘gravitational time dilation’—an object falling into a Black Hole appears to slow down as it approaches the event horizon, taking an infinite time to reach it. The chapter describes the condition when in a depressed state and says depression is an illness which seems to punish the sufferer with isolation, noting that isolation is different from loneliness and solitude. The chapter also suggests that animals are like the opposite of a Black Hole; for example, cats can be extremely important to someone who is depressed.
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41

Zeitlin, Steve, and Bob Holman. The Poetry of Everyday Life. Cornell University Press, 2017. http://dx.doi.org/10.7591/cornell/9781501702358.001.0001.

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This is a book of encounters. Part memoir, part essay, and partly a guide to maximizing a capacity for fulfillment and expression, this book taps into the artistic side of what we often take for granted in everyday life: the stories we tell, the people we love, the metaphors used by scientists, even our sex lives. This book explores how poems serve us in daily life and how they are used in times of personal and national crisis. The text explores meaning and experience, covering topics ranging from poetry in the life cycle to the contemporary uses of ancient myths. The book introduces readers to the many eccentric and visionary characters the author has met in his career as a folklorist. Covering topics from Ping-Pong to cave paintings, from family poetry nights to delectable dishes at his favorite ethnic restaurants, the book aims to inspire readers to expand their consciousness of the beauty that resides in everyday things and to use creative expression to engage and animate that beauty toward living a more fulfilling awakened life, full of laughter. To live a creative life is the best way to engage with the beauty of the everyday.
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42

Johnson, Galen A., Mauro Carbone, and Emmanuel de Saint Aubert. Merleau-Ponty's Poetic of the World. Fordham University Press, 2020. http://dx.doi.org/10.5422/fordham/9780823288137.001.0001.

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Merleau-Ponty’s Poetics of the World offers detailed studies of the philosopher’s engagements with Proust, Claudel, Claude Simon, André Breton, Mallarmé, Francis Ponge, and more. From Proust, Merleau-Ponty developed his conception of “sensible ideas,” from Claudel, his conjoining of birth and knowledge as “co-naissance,” from Valéry came “implex” or the “animal of words” and the “chiasma of two destinies.” Thus also arise the questions of expression, metaphor, and truth and the meaning of a Merleau-Pontyan poetics. The poetic of Merleau-Ponty is, inseparably, a poetic of the flesh, a poetic of mystery, and a poetic of the visible in its relation to the invisible. This poetics is worked out across each co-author’s chapters in dialogue with Husserl, Walter Benjamin, Heidegger, and Sartre. A new optic proposes the conception of literature as a visual “apparatus” in relation to cinema and screens. Recent transcriptions of Merleau-Ponty’s first two 1953 courses at the Collège de France The Sensible World and the World of Expression and Research on the Literary Usage of Language, as well as the course of 1953–54, The Problem of Speech, lend timeliness, urgency and energy to this project. Our goal is to specify more precisely the delicate nature and properly philosophical function of literary works in Merleau-Ponty’s thought as the literary writer becomes a partner of the phenomenologist. Ultimately, theoretical figures that appear at the threshold between philosophy and literature enable the possibility of a new ontology. What is at stake is the very meaning of philosophy itself and its mode of expression.
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43

Sasso, Eleonora. The Pre-Raphaelites and Orientalism. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474407168.001.0001.

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The book redefines the task of interpreting the East in the late nineteenth century, weaving together literary, linguistic, and cognitive analyses of Pre-Raphaelite paintings, illustrations and writings. It takes as a starting point Edward Said’s Orientalism (1978) in order to investigate the latent and manifest traces of the East in Pre-Raphaelite literature and culture. As the book demonstrates, the Pre-Raphaelites and their associates appeared to be the most eligible representatives of a profoundly conservative manifestation of the Orient, of its mystic aura, criminal underworld and feminine sensuality. As readers of Edward Lane’s and Richard F. Burton’s translations of the Arabian Nights, John Ruskin, D.G. Rossetti, Christina Rossetti, William Morris, Algernon Swinburne, Aubrey Beardsley, and Ford Madox Ford were deeply affected by the stories of Aladdin, Sinbad and Ali Baba (and the less known Hasan, Anime, and Parisad), whose parables of magic, adventure and love seem to be haunting their Pre-Raphaelite imagination. Through cognitive linguistics and its wide range of approaches (conceptual metaphors, scripts and schemas, prominence, figure, ground, parables, prototypes, deixis and text world theory), which provide an illuminating framework for discussing the blend of East and West in Pre-Raphaelite paintings, illustrations and writings, this book demonstrates how Ruskin, the Rossetti brothers, Morris, Swinburne, Beardsley and Ford took property from the stories of the Arabian Nights and reused them in another remediations.
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