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Academic literature on the topic 'Animals, fiction'
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Journal articles on the topic "Animals, fiction"
1
Baker, Timothy C. "Perpetual Vanishing: Animal Lives in Contemporary Scottish Fiction." Humanities 8, no. 1 (2019): 12. http://dx.doi.org/10.3390/h8010012.
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Animals, writes Akira Mizuta Lippit, ‘exist in a state of perpetual vanishing’: they haunt human concerns, but rarely appear as themselves. This is especially notable in contemporary Scottish fiction. While other national literatures often reflect the ‘animal turn’ in contemporary theory, the number of twenty-first-century Scottish novels concerned with human–animal relations remains disproportionately small. Looking at a broad cross-section of recent and understudied novels, including Mandy Haggith’s Bear Witness (2013), Ian Stephen’s A Book of Death and Fish (2014), Andrew O’Hagan’s The Life and Opinions of Maf the Dog, and of His Friend Marilyn Monroe (2010), Malachy Tallack’s The Valley at the Centre of the World (2018), James Robertson’s To Be Continued (2016), and Sarah Hall’s The Wolf Border (2015) highlights the marginalisation of both nonhuman animals and texts centred on them. The relative absence of engagement with animal studies in Scottish fiction and criticism suggests new opportunities for reevaluating the formulation of environmental concerns in a Scottish context. By moving away from the unified concepts of ‘the land’ to a perspective that includes the precarious relations between humans, nonhuman animals, and their environment, these texts highlight the need for greater, and more nuanced, engagement with fictional representations of nonhuman animals.
2
Leatherland, Douglas. "The Capacities and Limitations of Language in Animal Fantasies." Humanimalia 11, no. 2 (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.
3
Tipper, Becky. "All the Animals: Short Fiction about Multispecies Families." Animal Studies Journal 13, no. 1 (2024): 137–58. http://dx.doi.org/10.14453/asj/v13i1.7.
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The five-part short story ‘All the Animals’ imagines an array of animals who feature in the life of a fictional human family over many years. The story is inspired by qualitative research into human-animal relationships in families with children in Lisbon, Portugal. ‘All the Animals’ aims to offer a fictional ‘thick description’ of multispecies families in a particular time and place, but also to provide a reflection on the role of storytelling in human-animal entanglements.
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Ajdačić, Dejan. "Неземні тварини у слов’янській науковій фантастиці". Literatura i Kultura Popularna 23 (31 травня 2018): 51–62. http://dx.doi.org/10.19195/0867-7441.23.4.
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Extraterrestrial animals in Slavic science fiction literatureThis paper analyzes the modes of presentation of extraterrestrial animals in science fiction literature by Russian, Ukrainian, Polish and Bulgarian authors in the period 1923–1997. Linguistic analyses of the naming of extraterrestrial animals in SF novels and stories, use of grotesque and humor indicates stylistic characteristics of the authors. Differences between terrestrial and extraterrestrial animal species reflects the views of writers about biological evolution. Relationship between men and animals from other worlds depends on the communication possibilities and options, and the desire to subjugate, examine or tame others.
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Caracciolo, Marco. "Flocking Together: Collective Animal Minds in Contemporary Fiction." PMLA/Publications of the Modern Language Association of America 135, no. 2 (2020): 239–53. http://dx.doi.org/10.1632/pmla.2020.135.2.239.
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The remarkable coordination displayed by animal groups—such as an ant colony or a flock of birds in flight—is not just a behavioral feat; it reflects a fullfledged form of collective cognition. Building on work in philosophy, cognitive approaches to literature, and animal studies, I explore how contemporary fiction captures animal collectivity. I focus on three novels that probe different aspects of animal assemblages: animals as a collective agent (in Richard Powers's The Echo Maker), animals that communicate a shared mind through dance- like movements (in Lydia Davis's The Cows), and animals that embrace a collective “we” to critique the individualism of contemporary society (in Peter Verhelst's The Man I Became). When individuality drops out of the picture of human‐animal encounters in fiction, empathy becomes abstract: a matter of quasi‐geometric patterns that are experienced by readers through an embodied mechanism of kinesthetic resonance. (MC)
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Bradley, Keith. "Animalizing the Slave: the Truth of Fiction." Journal of Roman Studies 90 (November 2000): 110–25. http://dx.doi.org/10.2307/300203.
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In his discussion of natural slavery in the first book of thePolitics(1254a17–1254b39), Aristotle notoriously assimilates human slaves to non-human animals. Natural slaves, Aristotle maintains (1254b16–20), are those who differ from others in the way that the body differs from the soul, or in the way that an animal differs from a human being; and into this category fall ‘all whose function is bodily service, and who produce their best when they supply such service’. The point is made more explicit in the argument (1254b20–4) that the capacity to be owned as property and the inability fully to participate in reason are defining characteristics of the natural slave: ‘Other animals do not apprehend reason but obey their instincts. Even so there is little divergence in the way they are used; both of them (slaves and tame animals) provide bodily assistance in satisfying essential needs’ (1254b24–6). Slaves and animals are not actually equated in Aristotle's views, but the inclination of the slave-owner in classical antiquity, or at least a representative of the slave-owning classes, to associate the slave with the animal is made evident enough. It appears again in Aristotle's later statement (1256b22–6) that the slave was as appropriate a target of hunting as the wild animal.
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Deka, Parag Kumar. "Coetzee's Animal Ethics." Journal of Animal Ethics 12, no. 2 (2022): 138–47. http://dx.doi.org/10.5406/21601267.12.2.04.
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Abstract J. M. Coetzee's novels pay equal ethical attention to human and nonhuman animal suffering. By addressing ethical issues about animals through the medium of fiction, Coetzee responds to and investigates both the actual and discursive exploitation of nonhumans. This essay looks at two of Coetzee's important apartheid-period novels and shows how the author uses various literary methods to posit an ethical and ontological equality of all living creatures and to stress the shared embodiedness of humans and animals. In Coetzee's fiction, this embodiedness is often presented as the ground for equal consideration of nonhuman animals.
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Van Engen, Dagmar. "How to Fuck a Kraken." Humanimalia 9, no. 1 (2017): 121–51. http://dx.doi.org/10.52537/humanimalia.9619.
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Recent theories in posthumanism and animal studies have shown how race, gender, and sexuality help constitute the boundaries of the human and the animal as such. This essay argues that vertebrate land animals have most frequently formed the basis for racialized human-animal comparisons and the gender-sexual paradigms that underwrite them, and proposes instead a turn to invertebrate sea animals. In speculative fiction, these alien creatures offer a more complex interface for the racialized gender and sexual registers of human-animal imaginaries. In particular, erotic monster fiction by Alice Xavier recasts the meaning of animality as a figure of the erotic by transforming octopi and anemones into nonbinary-gendered objects of human desire. If animality is a crucial figure for how humans imagine animals in order to reimagine ourselves, then Alien Seed’s fantasies about invertebrate animals create more space for trans and nonbinary genders in ways deeply entangled with the nonhuman world.
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Spini, Lucilla. "J.M. Coetzee and Elizabeth Costello: Landscapes and Animals." Humanities 9, no. 3 (2020): 74. http://dx.doi.org/10.3390/h9030074.
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The South African writer John Maxwell Coetzee is well-known for references to animals in his fiction, also given the fact that he and one of his well-known characters, Elizabeth Costello, raise awareness of the cruelty enacted on animals. Many studies have been conducted on Coetzee’s animals, but less attention has been placed on the settings and landscapes in which the animals are situated. Hence, this study aims at understanding the role of the landscapes surrounding the animals via an ecocritical approach. The paper focuses on Coetzee’s fiction featuring Elizabeth Costello, namely, The Lives of Animals (1999), Elizabeth Costello: Eight Lessons (2003), Slow Man (2005), and Moral Tales (2017) by identifying the animals and by discussing the related settings and landscapes. The research concludes that, despite the presence of several animals, there are almost no references to animals in pristine habitats, that most of the animals are in anthropized settings, and that animals’ and humans’ suffering are hidden in a shared landscape. This understanding is discussed as an ecological message about the interlinkages between the human and nonhuman worlds and between animals’ and humans’ wellbeing, also referring to the animal/human interconnectedness within the COVID-19 pandemic.
10
Tierney, David. "“The Poetry of a Dingo’s Bite”." Extrapolation 65, no. 1 (2024): 5–22. http://dx.doi.org/10.3828/extr.2024.3.
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Science fiction has an extensive history of attempting to breach the communication boundary between humans and nonhuman animals by giving nonhuman animals some semblance of human language, with many uplift stories having them speak near-perfect English, their minds being filtered through a human linguistic framework, partly or wholly erasing their voice. Building on the examination of nonhuman animal gestural communication in Brian Massumi’s What Animals Teach Us about Politics (2014), this paper analyses how two works, Ursula K. Le Guin’s “‘The Author of the Acacia Seeds’ and Other Extracts from the Journal of the Association of Therolinguistics” (1974) and Laura Jean McKay’s The Animals in That Country (2020) depict animal behavior in itself as being creative and language-like. Neither story offers a straightforward translation from nonhuman to human, each showing how human linguistic frameworks leave gaps for the untranslatable complexities in nonhuman animal gestures. This I suggest shows that further exploration of nonhuman animal communication in science fiction can allow us to move beyond ideas of human exceptionalism and logocentrism and can turn the hierarchical scale of communication into more of a spectrum with various communication types.