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Journal articles on the topic 'Animals, fiction'
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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.
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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.
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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.
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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.
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Lambert, Shannon. "Experimental Bodies: Animals, Science, and Collectivity in Contemporary Short-Form Fiction." Studia Universitatis Babeș-Bolyai Philologia 67, no. 2 (2022): 89–111. http://dx.doi.org/10.24193/subbphilo.2022.2.05.
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"In the relatively short time since its establishment as an area of research, literary animal studies has become a burgeoning field covering a significant amount of intellectual terrain: traversing, for example, thousands of years of history and an array of human-animal encounters like pet ownership and breeding, hunting, farming, and biotechnology. However, few scholars have focused their attention on “experimental animals”—that is, animals used in experiments within and beyond laboratories—and fewer still have investigated the aesthetic and ethical challenges of representing these animals (and literary animals more generally) as collectives. This article uses the polysemy of “the experimental” to think together innovative literary forms and descriptions of scientific research and experimentation. In particular, it considers some of the tensions that arise in literary experiments that feature representations of animal collectives in science. In place of an in-depth study of a single text, I draw on Natalia Cecire’s vocabulary (2019) of the “flash” to explore how Tania Hershman’s short story “Grounded: God Glows” (2017), Karen Joy Fowler’s “Us” (2013), and an excerpt from Thalia Field’s Bird Lovers, Backyard (2010) constitute an ecology of experimental texts which, when considered alongside one another, highlight patterns of animal multiplicity and movement. Foregrounding literary strategies like fragmentation, we-narrative, and synecdoche and juxtaposition, I argue that snapshots of animal collectives in Hershman, Fowler, and Field accumulate into a shimmering and hybrid multitude of bodies resistant to uncritical forms of literary anthropomorphism and impersonal scientific practices that frequently transform such bodies into readable and interpretable “data.” Keywords: laboratory animals, experimentation, flash, form, fragmentation, we-narrative, synecdoche, juxtaposition "
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Smolnikov, Andrei. "“Are we not Men?”: Reading the Human-Animal Interface in Science Fiction through John Berger’s “Why Look at Animals?”." New Horizons in English Studies 4 (September 4, 2020): 157–71. http://dx.doi.org/10.17951/nh.2020.5.157-171.
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The so-called animal turn in literature has fostered the evolution of animal studies, a discipline aimed at interrogating the ontological, ethical, and metaphysical implications of animal depictions. Animal studies deals with representation and agency in literature, and its insights have fundamental implications for understanding the conception and progression of human-animal interactions. Considering questions raised by animal studies in the context of literary depictions of animals in science fiction, this article threads John Berger’s characterization of the present as a time of radical marginalization of animals in his essay “Why Look at Animals?” through two highly influential science fiction texts: H. G. Wells’s The Island of Doctor Moreau and Philip K. Dick’s Do Androids Dream of Electric Sheep?. Applying Berger’s reasoning to these two novels raises issues of personhood, criteria for ontological demarcation, and the dynamics of power, providing an opportunity to clarify, modify, and refute a number of his finer claims. This process of refinement allows us to track conceptions of human-animal interactions through the literary landscape and explore their extrapolations into various speculative contexts, including the frontiers of science and post-apocalyptic worlds.
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Jylkka, Katja. ""Mutations of nature, parodies of mankind"." Humanimalia 5, no. 2 (2014): 48–67. http://dx.doi.org/10.52537/humanimalia.9954.
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The increasing presence of wild animals (especially carnivores) in cities has become a concern in contemporary news stories, scientific writing, urban planning, and works of fiction. This concern seems to demonstrate that the movement, and more specifically the success, of wild animals in urban space threatens our idea of the city as an inherently unnatural, man-made environment, thereby destabilizing what distinguishes human from animal. Johanna Sinisalo’s novel Troll: A Love Story explores and exploits this instability by making the “animal” in question one from folklore, surrounding it with conflicting discourses of zoology, mythology, and sociology. Although trolls were, in the world of Sinisalo’s novel, discovered as true mammals in 1907, the text never unambiguously disproves the humanity of the troll species. In examining news articles, recent work in urban ecology, and non-fiction by journalists such as Mike Davis and Jenny Price, I will discuss how humans attempt to assert their humanity in opposition to wild animals by figuring animals in the city as monstrous or by making them into tourist attractions – both ways of remaking the animals’ existence in the city unnatural again.
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Bregović, Monika. "Virginia Woolf’s Fish." Cross-cultural studies review 2, no. 3-4 (2021): 67–82. http://dx.doi.org/10.38003/ccsr.2.1-2.4.
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Aquatic creatures such as pikes, salmon and whales feature prominently in the poetry, fiction and painting of the Modernist period. It should therefore come as no surprise that water-dwelling animals, and fish especially, were fascinating to Virginia Woolf too. Woolf’s interest in fish (among other animals) can be accounted for by the profound changes in human-animal relations that mark the period of Modernism, and which were brought about by the unyielding influence of taxonomy and Darwin’s theory of evolution, but also new developments in ethology and ecology that appeared in early 20th century. This article addresses the significance of fish as both zoometaphor and individual subject in the fiction and non-fiction of Virginia Woolf. First, I comment on the significance of fishes in connection to Modernist ideas on beauty. Then, I analyze fishing allegories and fish-related motifs in the context of Woolf’s own (feminist) poetics. In the last part of the article I analyze the posthuman potential of animal consciousness that could be regarded as superior to the human one.
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McFarland, S. E. "Animals in the Fiction of Cormac McCarthy." Interdisciplinary Studies in Literature and Environment 14, no. 1 (2007): 266–67. http://dx.doi.org/10.1093/isle/14.1.266.
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Warodell, Johan Adam. "The Absence of Animals in Kafka's Fiction." MLN 138, no. 3 (2023): 1113–31. http://dx.doi.org/10.1353/mln.2023.a917913.
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Bopp-Filimonov, Valeska. "Saddening Encounters. Children and Animals in Romanian Fiction and Beyond." Studia Universitatis Babeș-Bolyai Philologia 67, no. 2 (2022): 13–34. http://dx.doi.org/10.24193/subbphilo.2022.2.01.
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"The aim of this essay is to give some impetus to a re-reading of classic Romanian literature by taking an approach inspired by Animal and Childhood Studies to larger questions of ideological currents and social cultural phenomena in the Romanian society. I chose four short texts by Ioan Alexandru Brătescu-Voinești, Elena Farago, and Ion Barbu that originate from the beginning of the 20th century and are currently considered as part of the Romanian literary canon. They are, at least partially, addressed to children and they all contain violent human-animal encounters. The fact that this element of violence has not prevented the texts from becoming and continuing to be canonical adds a new dimension to Animal Studies scholarship, which has so far mainly mirrored the increasingly “civilised” human-animal relation in countries with an early developing bourgeois social strata where animals became pets and thus friends and family members. The study also challenges the existing interpretations of Romanian literature: instead of applying aesthetic criteria, a thematic thread is followed with reflections on the social relevance of the recurring topos which seems to store a more deeply anchored cultural experience. A closer look at both the “disempowered and oppressed positions” (Feuerstein) that children and animals occupy in both literary texts and real-life society poses the practical question of how greater harmony can be created in the future. Keywords: animal studies, childhood studies, human-animal encounters, violence, Romanian literature, Barbu, Brătescu-Voinești, Farago "
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Bolongaro, Eugenio. "Calvino’s Encounter with the Animal: Anthropomorphism, Cognition and Ethics in Palomar." Quaderni d'italianistica 30, no. 2 (2009): 105–28. http://dx.doi.org/10.33137/q.i..v30i2.11905.
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This article examines the importance of the portrayal of animals in Palomar, Italo Calvino’s last major work of fiction. The discussion moves from some observations on the representation of animals in fiction, to a reflection on the ethical issues which emerge once the “question of the animal” is confronted in its full complexity. It is argued that this is precisely the question that Calvino’s work addresses. Mr Palomar’s trajectory is marked at key junctures by encounters with animals. A close reading of the passages which describe these encounters reveals not only Palomar’s cognitive impasse, but also that at the root of this impasse lies a fundamental ethical failure which the protagonist is incapable to acknowledge. Palomar’s escapist strategies ultimately amount to a refusal of life itself and lead the author to liquidate his protagonist at the end of the narrative.
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Vinczeová, Barbora. "Mutual Grieving, Healing and Resilience in Sigrid Nunez’s The Friend." American & British Studies Annual 16 (December 5, 2023): 34–46. http://dx.doi.org/10.46585/absa.2023.16.2498.
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The paper addresses the narrative of mutual healing, grieving and resilience in Sigrid Nunez’s novel The Friend. The aim of the article is to determine whether in the presented narrative shared trauma among different species leads to improved resilience of humans and animals, as well as whether a shared experience of grieving and healing is beneficial for both sets of beings involved. An overview of the healing process in humans and animals which takes place after trauma is provided. Although based on a work of fiction, this paper seeks to be a contribution to the field of trauma studies, highlighting the benefits and therapeutic value of human-animal relations and reflecting approaches in fiction.
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Moreno Redondo, Rosa María. "Animal Representation in Recent Anglophone Science Fiction: Uplifting and Anthropomorphism in Nnedi Okorafor’s "Lagoon" and Adam Roberts’s "Bête"." Oceánide 12 (February 9, 2020): 78–83. http://dx.doi.org/10.37668/oceanide.v12i.28.
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Science fiction in the last decades has often empowered machines and provided humans with enhanced characteristics through the use of technology (the limits of artificial intelligence and transhumanism are frequent themes in recent narratives), but animal empowerment has also been present through the concept of uplifting, understood as the augmentation of animal intelligence through technology. Uplifting implies providing animals with the capacity to speak and reason like humans. However, it could be argued that such implementation fails to acknowledge animal cognition in favour of anthropomorphized schemes of thought. Humankind’s lack of recognition of different animal types of communication has been portrayed in fiction and often implies the adaptation of the animal Other to human needs and expectations, creating a post-animal that communicates its needs to the reader through borrowed words. The main objective of this article is to analyze the use of uplifting as a strategy to give voice to animals in two science fiction novels written in English, both published in the twenty-first century: Lagoon (2014) by Nigerian-American Nnedi Okorafor and Bête (2014) by British author Adam Roberts. This article examines, from ecocritical and human-animal studies (HAS) perspectives, the differencesand similarities in the exploration of the theme in both novels, which are often related to humankind’s willingness or refusal to regard the Other as equal.
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Lazarus, Suleman. "‘Some Animals Are More Equal Than Others’: The Hierarchy of Citizenship in Austria." Laws 8, no. 3 (2019): 14. http://dx.doi.org/10.3390/laws8030014.
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While this article aims to explore the connections between citizenship and ‘race’, it is the first study to use fictional tools as a sociological resource in exemplifying the deviation between citizenship in principle and practice in an Austrian context. The study involves interviews with 73 Austrians from three ethnic/racial groups, which were subjected to a directed approach to qualitative content analysis and coded based on sentences from George Orwell’s fictional book, ‘Animal Farm’. By using fiction as a conceptual and analytical device, this article goes beyond the orthodox particulars of citizenship to expose the compressed entitlements of some racial/ethnic minorities. In particular, data analysis revealed two related and intertwined central themes: (a) “all animals are not equal or comrades”; and (b) “some animals are more equal than others”. All ‘animals’ may be equal in principle, whereas, in practice, their ‘race’ serves as a critical source of social (dis)advantage in the ‘animal kingdom’. Thus, since citizenship is a precondition for possessing certain rights that non-citizens are not granted, I argue that citizenship cannot only be judged by whom it, in theory, excludes (i.e., non-citizens), but also by how it treats the included (i.e., citizens) on the basis of their ‘race’. I conclude that skin colour is a specific aspect of the hierarchy of citizenship in Austria, which reinforces that ‘some animals are more equal than others’.
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Dr. Qasim Yaqub. "Derogatory Portrayal Of Animals In Literature." Dareecha-e-Tahqeeq 3, no. 2 (2023): 49–56. http://dx.doi.org/10.58760/dareechaetahqeeq.v3i2.46.
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Animal symbols are used extensively in literature. Animals are often used for moral symbolic systems as can be seen in Mantaq ul tair. However, Rafiq Hussain and Mustansar Hussain Tarad used it in fiction to understand ecological references. Allama Iqbal has also derived instructive messages from animals, birds and insects in his poetry.But there is another symbolic use of animals and that is their derogatory narrative. They are looked down upon socially. Derogatory terms for animals are used in literature around the world.This article discusses from this aspect what is the reason why animals are remembered with derogatory terms.
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Gansovskaya, Karolina. "Репрезентация животных в рассказе Севера Гансовского Зверек (1969)". Zoophilologica, № 6 (29 грудня 2020): 191–201. http://dx.doi.org/10.31261/zoophilologica.2020.06.13.
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The literary works of Sever Gansovsky are an excellent example of modern eco-literature. For many years, the writer worked with the genre of eco-science fiction, which is engaged into the study of the nature of human existence and the interaction of humans with non-human animals. The methods of Human-Animal Studies, applied to science fiction works, allowed us to analyze the writer’s novels in the context of the latest research in eco-literature and bioethics. The object of this study is the novel Little Animal, written in 1969. The novel tells a story of a small boy who is particularly cruel to animals. Little Animal represents the creation of a man as an exponent of a new eco-culture. The novel shows the formation of a new cognitive model of the world, in whichanimals are playing a mediating role between the man and the nature that is beyond the limits of human experience.
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Koirala, Saroj. "Inclusion and Repression of Animal Figures in the Short Fiction of Chekhov and Bangdel." Literary Studies 33 (March 31, 2020): 102–8. http://dx.doi.org/10.3126/litstud.v33i0.38065.
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Fiction is largely a domain of human beings having anthropocentrism as its organizing principle. However, the genre sometimes employs non-human animals too as characters which can be viewed as an innovative tool of modern narratology. Through the use of de-anthropomorphized characters such works provide space for an interpretation of animal behavior and their consciousness.
 Universally, human beings have kept companion pets as domestic animals are believed to be sentient beings compared to wild ones. For instance, archeological records of 15 millenniums have reported that dogs used to live together with humans because of their faithful companionship. Animals, therefore, abound in literature across all ages and cultures, but only rarely have they been the focal point of systematic literary study (McHugh 487). As a result, more recent literary criticism has focused on the ethics and the politics of human-animal bonds (HAB), animal communication, animal emotion and so on.
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Hugosson, Annika. "The “Care” of Magical Creatures? A Moral Critique of the Animal Lover Trope in Harry Potter." Journal of Animal Ethics 11, no. 2 (2021): 60–72. http://dx.doi.org/10.5406/janimalethics.11.2.0060.
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Abstract In Harry Potter, Hagrid is written as the “animal lover” who appreciates all creatures. Analyzing Hagrid’s interactions with animals is a unique approach to theorizing animal ethics at Hogwarts. This article problematizes Hagrid’s characterization within the “animal lover” trope. Many of Hagrid’s actions are imperialist toward animals as collectible, exploitable, and only valuable insofar as they provide something for humans, which contradicts the definition of moral status. The potential for “animal lovers” to relate to Hagrid suggests a need to more closely examine this trope in other works of fiction to avoid perpetuating unethical standards of animal care.
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Sokol, Augustín, and Jozefa Pevčíková. "Animal symbolism in works of H. P. Lovecraft." Ars Aeterna 13, no. 3 (2021): 42–56. http://dx.doi.org/10.2478/aa-2021-0016.
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Abstract Howard Phillips Lovecraft is widely considered to be one of the most influential writers of modern horror fiction and one of the main pioneers of the genre in its current form. One of the less discussed attributes of his work is his use of animal symbolism, despite how common it is, and serves several important functions. We will examine the different forms of animal symbolism in Lovecraft’s writing, their use and their respective functions. Our main goal will be to examine how animal symbolism in Lovecraft’s work was influenced by cultural and mythological sources and his own opinions towards different creatures and what they represent, in which case we will examine how his knowledge and beliefs may have influenced his depiction of animals. Our focus will be on the depiction of cats, dogs, snakes, aquatic, and amphibious animals as these play a significant role Lovecraftian fiction. We will also examine how animal symbolism connects to the key themes in cosmic horror, such as its negation of anthropocentrism.
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Walonen, Michael. "The Cultural Work of Animal Narrators in the Contemporary Sub-Saharan African Novel." Research in African Literatures 54, no. 2 (2024): 113–27. http://dx.doi.org/10.2979/ral.00007.
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ABSTRACT: Over the early decades of the twenty-first century there has been a marked rise of works of African fiction recounted by first-person animal narrators—prompted by such historical vectors as the accelerating onrush of climate change (with the mass extinctions it promises to bring), the instrumentalization of animals and their reduction to the status of commodities under neoliberal capitalism, the rise of animal studies as an academic field with its promotion of an awareness of speciesism, and the continuing effort to culturally decolonize residual imperialist discourses that suppressed indigenous African modes of knowledge. This essay argues these animalnarrated works of fiction explore a wide range of thematic focuses but share a number of distinct commonalities as well: attention to the natural world or breakdown of the conceptual dichotomy between man-made and natural worlds, a desire to provide alternative perspectives on human society, a calling into question of humanity's age-old idealization of itself, and a revaluation of nonhuman animals.
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Copeland, Marion W. "Talking Animals in British Children's Fiction, 1786–1914." Anthrozoös 20, no. 1 (2007): 88–90. http://dx.doi.org/10.2752/089279307780216588.
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Wei, Zhang, and Terence Russell. "Contemporary Writers' Views on Literature Fiction and Animals." Chinese Literature Today 2, no. 2 (2012): 32–35. http://dx.doi.org/10.1080/21514399.2012.11833969.
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Henderson, Antonia, and Marla Anderson. "Pernicious Portrayals: The Impact of Children's Attachment to Animals of Fiction on Animals of Fact." Society & Animals 13, no. 4 (2005): 297–314. http://dx.doi.org/10.1163/156853005774653645.
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AbstractThis paper argues that the lack of distinction between human and nonhuman animals in the fantastic world of children's literature and film results in distorted representations of intelligence, capabilities, and morality of nonhuman animals. From the perspective of attachment theory, the paper shows how humans internalize and sustain misrepresentations throughout adulthood and how these misrepresentations influence relationships with real animals. An ongoing search for the ideal "Walt Disney dog" of childhood jeopardizes relationships to companion animals. Trying to recreate the fantasy dog by genetic manipulation of a real animal's characteristics results in needless distress for companion animals. Because the companion does not meet expectations engendered by childhood stories, normal dog behaviour—chewing, digging, and barking—may result in relinquishing the dog for adoption and subsequent euthanasia. Shifting to the scientific realm, the paper discusses the on-going debate on the study of animals' human-like abilities, most salient in ape language programs. In closing, the paper discusses the disservice done to real animals as illusions of childhood and subsequent misunderstandings leave them judged by impossible, anthrocentric standards—which they rarely can fulfill.
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Babu, Arathi, and Pius T.K. "Meat and Animal Identity in Manjula Padmanabhan’s The Island of Lost Girls." RESEARCH HUB International Multidisciplinary Research Journal 9, no. 6 (2022): 01–03. http://dx.doi.org/10.53573/rhimrj.2022.v09i06.001.
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Meat is concomitant with animals. Modern practices such as factory farming have separated the consumers from knowing about the origin of their source of meat and the conditions of animals in such farms. In Animal Studies, meat is a problematic term as it is always associated with the soulless meat of animals. Animal Rights theorists argue that even humans can be food for other beings but the dominant anthropocentric thinking of our times disallows them to be conceived as ecologically embodied beings. The Island of Lost Girls is a speculative fiction that figures several marine animals that are reduced to meat. The article probes the connection between the category of meat and animal identity, the hyperseparation of animals and humans and the anthropocentric thinking prevalent in the dystopian world of the novels using theories of animal rights activists such as Val Plumwood, Gary L. Francione and David Eaton.
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Roshni, Raghunandanan, and Dr Tessy Anthony C. "Anthropomorphic Insights: A study the subaltern hero with reference to Spirit: Stallion of the Cimarron." SMART MOVES JOURNAL IJELLH 6, no. 10 (2018): 1. http://dx.doi.org/10.24113/ijellh.v6i10.5108.
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Animal characters have fascinated viewers as well as readers in animated as well non-animated films and in fiction. This unfading interest in animal characters have inspired writers and film makers to use anthropomorphism as a tool for breathing life into flora and fauna. One could observe that films and fiction which are anthropomorphic in nature focus on relations between humans and animals as well as between weaker and stronger animals. A hegemonic relationship could be seen emerging among the characters thus making these perfect for post-colonial study. In post-colonialism the element of the ‘subaltern’ plays a major role. In all of these works the relationship between man and animals as well as stronger and weaker animals can be analysed through this aspect of ‘subalternity’ since the latter becomes the subaltern. While analysing a film or fiction of anthropomorphic nature as a subaltern text we cannot ignore Antonio Gramsci’s theory of the subaltern since he used this term for referring to all of those groups in society who were suppressed by the ruling class. DreamWorks Pictures’ Spirit: Stallion of the Cimarron narrates the story of an anthropomorphic wild stallion who saves his herd from being destroyed by the U.S Cavalry. Spirit witnesses two contradictory sides of humans in the form of the Colonel who commands the cavalry and a Lakota Native American, Little Creek, who has been kept in captivity at the cavalry. While the Colonel tries to suppress Spirit by breaking his inner ‘spirit’ and transforming him into a beast of burden Little Creek teaches him how to harness his unrestricted energy in order to discover his inner strength whereby which he breaks down the supremacy of the Colonel. Thus Spirit symbolises the subaltern hero who ends the oppressive reign of the Colonel and his cavalry upon his herd as well as the Lakota Native settlement.
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Laird, Tessa. "Zoognosis: When Animal Knowledges Go Viral. Laura Jean Mackay’s The Animals in That Country, Contagion, Becoming-Animal, and the Politics of Predation." Animal Studies Journal 10, no. 1 (2021): 30–56. http://dx.doi.org/10.14453/asj.v10i1.4.
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This paper proposes a creative neologism: zoognosis, with an added g, to indicate that knowledges can be transmitted virally from animals to humans. If so, what are the animals trying to tell us? Laura Jean Mackay’s The Animals in That Country (2020) provides an opportunity to find out. Mackay’s prescient novel was written before, but published during, the COVID-19 pandemic, and is about a ‘zooflu’ that enables the infected to understand animals. The author has forged a poetic language based on animal sensory perceptions, what ethologist Jakob von Uexküll termed Umwelten. In doing so Mackay effects a ‘becoming-animal’ of the text, reintroducing readers to their own animality. Mackay’s ‘perspectivism’ enables us to see from the point-of-view of non-human animals, forcing a reckoning with animal abuse and extractive lifeways. While her speculative fiction is bleak, it offers tools for attunement and thinking-with non-human others.
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Richards, Isabel, and Anna-Sophie Jürgens. "Being the environment: Conveying environmental fragility and sustainability through Indigenous biocultural knowledge in contemporary Indigenous Australian science fiction." Journal of Science & Popular Culture 4, no. 2 (2021): 153–71. http://dx.doi.org/10.1386/jspc_00031_1.
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In contemporary Indigenous Australian fiction, all (non-)human animals, plants and the land are interconnected and interdependent. They are aware that they are not in the environment but are the environment. The planet and its non-human inhabitants have a creative agency and capacity for experience that demands our ethical consideration. In this article we investigate how Ambelin Kwaymullina’s Tribe novels and Ellen van Neerven’s novella Water empower environmental awareness by promoting sustainability and protection of the environment – within their fictional worlds and beyond. We argue that the human–nature relationship explored in these science fiction texts conveys the importance of Indigenous biocultural knowledge for resolving twenty-first-century global challenges. We clarify the role of fictional texts in the broader cultural debate on the power and importance of Indigenous biocultural knowledge as a complement to western (scientific) understanding and communication of environmental vulnerability and sustainability. Contemporary Indigenous Australian literature, this article shows, evokes sympathy in readers, inspires an ecocentric view of the world and thus paves the path for a sustainable transformation of society, which has been recognized as the power of fiction. Indigenous Australian fiction texts help us to rethink what it means to be human in terms of our relationship to other living beings and our responsibility to care for our planet in a holistic and intuitive way.
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Dr. Shazia Akbar. "Desire of Death in Sadiq Hidayat,s selected short stories." DARYAFT 15, no. 02 (2023): 57–70. http://dx.doi.org/10.52015/daryaft.v15i02.345.
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Sadiq Hidayat is renown Persian writer. He is one of the few Iranian Persian writers whose many fictions have been translated into Urdu. He introduced modern techniques in Persian fiction. In some of his stories Sadiq Hidayat has presented the subject of death from different angles. somewhere in the human being there is a desire to escape from his problems in the death. This desire of death can be found in some of his short stories because he also committed suicide by suffocating poison gas on April 9, 1951 in Paris. This research article is based on an effort to find different aspects of sadness and sensitivity in his Urdu translated short stories. He has skillfully made the individual and collective problems and psychological confusions of people in his fiction. He also tried to reflect the lives of depressed people and their emotional downfalls. In his fiction there is a noticeable deep observation of marital attitudes depression۔ He has also mentioned the life of animals and their death. The death, as solution of problems can be seen especially in his stories. This is an analytical research study, based on Urdu translations of his fiction. We can observe that death; especially suicide is very favorite subject of his characters.
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Wood, Darcy L. "Animals and Origami." After Dinner Conversation 2, no. 10 (2021): 23–34. http://dx.doi.org/10.5840/adc202121091.
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Are there criminals that, regardless of age, feebleness, or level of repentance, should be denied parole? In this work of philosophical short story fiction, George Shore was convicted years earlier of numerous acts of murder, torture, and sexual assault against both adults and children. He has spent the entirety of his life in prison and passes the time doing origami. He is now quite old and feeble, and once again up for parole. His last wish, he says, is to the see the ocean before he dies. He is denied parole and opts to escape. The last we see him he is on a train to the coast to see the ocean when a young mother, and her daughter, come into his train compartment.
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Nurhayati, Siti, and Fachri Helmanto. "Profile description of Pancasila students in fiction in the thematic book for grade 3." LADU: Journal of Languages and Education 2, no. 1 (2021): 15–22. http://dx.doi.org/10.56724/ladu.v2i1.61.
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Background: Fiction text is one of the genres of literary works containing fictional story elements created by the author’s imagination. Fiction is believed to be a reading that adds knowledge, insight, enlightens the soul of the reader, and as an effort to instill values, especially the value of educational character to students.
 Purpose: This study aims to determine the value of educational characters in fiction stories.
 Design and methods: This research was conducted using a qualitative approach to content analysis methods or content analysis with descriptive analysis techniques. The source of the data used is the document in the form of a grade 3 thematic book on the chapter of loving plants and animals.
 Results: The results of the study revealed that in the text of fiction in the thematic book grade 3 theme 2 elementary school there are character values of faith, fear of God Almighty with elements of personal morals, and character values of mutual cooperation with elements of caring and sharing. Meanwhile, the character values that have not yet emerged are global diversity, independence, critical reasoning, and creativity.
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Pakeman, Denise. "Fact and Fiction: Reinterpreting Animals in a National Museum." Society & Animals 21, no. 6 (2013): 591–93. http://dx.doi.org/10.1163/15685306-12341293.
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Roy-Faderman, Ina. "The Alienation of Humans and Animals in Uplift Fiction." Midwest Studies In Philosophy 39, no. 1 (2015): 78–97. http://dx.doi.org/10.1111/misp.12042.
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Powell, Roger. "Diagnostic tests - fact or fiction?" Journal of Small Animal Practice 51, no. 4 (2010): 189–90. http://dx.doi.org/10.1111/j.1748-5827.2010.00940.x.
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Song, Dageum. "Liberal Educational Implications of Korean Women’s Science Fiction in the 2010s : Focusing on Cheon Seonran’s <I>A Thousand Blue</I>." Korean Association of General Education 17, no. 4 (2023): 101–15. http://dx.doi.org/10.46392/kjge.2023.17.4.101.
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The emergence of women's science fiction in the 2010s is notable for its narrative achievements in imagining various possibilities of the ‘posthuman’ in the new reality brought about by the development of science and technology. Research on women’s science fiction has also been conducted in the context of the posthuman, with two main research trends: technofeminism, which affirms the union between women and science, and critical posthumanist research on ableism. However, these studies lack a perspective on animality that encompasses humans and nonhumans. The discussion of science fiction inevitably confronts the disregard for life and instrumentalist exploitation, which can be seen as increasing with the development of science and technology. Therefore, the issues of human and non-human minorities, vulnerability, and animality are the ultimate challenges of a posthuman society and are central to the discussion of science fiction. If posthumanism dreams of a ‘better’ post-human world, it should focus on ‘animals, including humans’. Therefore, in order to generate categories of thought for discussion topics that can be utilized in liberal arts education, this paper adds the animal axis to the existing discussion and discusses the correlation between the three concepts of minorities, vulnerability, and animality in Cheon Seonran’s science fiction novel <i>A Thousand Blue</i>. As we have seen, the educational implications of the novel are that it connects humans and animals through disability and points out the problems of the technological society that will come in the near future as an extension of today, pointing out that the posthuman society should be designed from the lowest position. In addition, the novel’s significance lies in the fact that it creates a point of debate, rather than simply sealing the issue by establishing a desirable human-animal relationship. The novel shows that by adding a species axis to the posthumanist discussion, we can start to think about how to redesign society.
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Song, Dageum. "Liberal Educational Implications of Korean Women’s Science Fiction in the 2010s : Focusing on Cheon Seonran’s <I>A Thousand Blue</I>." Korean Association of General Education 17, no. 4 (2023): 87–101. http://dx.doi.org/10.46392/kjge.2023.17.4.87.
Full textAbstract:
The emergence of women's science fiction in the 2010s is notable for its narrative achievements in imagining various possibilities of the ‘posthuman’ in the new reality brought about by the development of science and technology. Research on women’s science fiction has also been conducted in the context of the posthuman, with two main research trends: technofeminism, which affirms the union between women and science, and critical posthumanist research on ableism. However, these studies lack a perspective on animality that encompasses humans and nonhumans. The discussion of science fiction inevitably confronts the disregard for life and instrumentalist exploitation, which can be seen as increasing with the development of science and technology. Therefore, the issues of human and non-human minorities, vulnerability, and animality are the ultimate challenges of a posthuman society and are central to the discussion of science fiction. If posthumanism dreams of a ‘better’ post-human world, it should focus on ‘animals, including humans’. Therefore, in order to generate categories of thought for discussion topics that can be utilized in liberal arts education, this paper adds the animal axis to the existing discussion and discusses the correlation between the three concepts of minorities, vulnerability, and animality in Cheon Seonran’s science fiction novel <i>A Thousand Blue</i>. As we have seen, the educational implications of the novel are that it connects humans and animals through disability and points out the problems of the technological society that will come in the near future as an extension of today, pointing out that the posthuman society should be designed from the lowest position. In addition, the novel’s significance lies in the fact that it creates a point of debate, rather than simply sealing the issue by establishing a desirable human-animal relationship. The novel shows that by adding a species axis to the posthumanist discussion, we can start to think about how to redesign society.
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Balasopoulos, Antonis. "Fictional Menageries: Writing Animals in the Early Twenty-First Century. A Review of Timothy C. Baker, Writing Animals: Language, Suffering, and Animality in Twenty-First-Century Fiction." Word and Text - A Journal of Literary Studies and Linguistics 11 (2021) (December 2021): 209–17. http://dx.doi.org/10.51865/jlsl.2021.15.
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Blix, AS. "Diving Responses: Fact or Fiction." Physiology 2, no. 2 (1987): 64–66. http://dx.doi.org/10.1152/physiologyonline.1987.2.2.64.
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The classical concept of the diving response emphasizes the observed selective vasoconstriction and bradycardia. It has recently been questioned, however, whether these responses can be considered normal reflex adjustments to diving because animals, when they dive voluntarily, usually show much less bradycardia, and presumably less vasoconstriction, than when they are forcibly submerged. These apparent differences in the expression of the responses to submergence may be less important than appear at first glance.
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Mussies, Martine. "“Dashing and daring, courageous and caring”: Neomedievalism as a Marker of Anthropomorphism in the Parent Fan Fiction Inspired by Disney’s Adventures of the Gummi Bears." Dzieciństwo. Literatura i Kultura 3, no. 2 (2021): 60–83. http://dx.doi.org/10.32798/dlk.625.
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As is already visible in its opening credits, the television series Disney’s Adventures of the Gummi Bears (1985–1991) uses neomedievalism to confirm the anthropomorphism of the titular characters. More than 35 years after this series’ first episode aired, this phenomenon is still easily traceable in the parent fan fiction, online stories about the Gummi Bears, written for children by adults. This paper addresses two seemingly overlooked fields: The Gummi Bears series and the fan fiction it inspired. It shows that this anthropomorphic perception adds new perspectives on human relations with the natural environment and on the treatment of animals, and thus contributes to building the awareness of ecological and animal rights in societies, especially when it comes to future generations.
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Johnen, Dorothea, Wolfgang Heuwieser, and Carola Fischer-Tenhagen. "Canine scent detection—Fact or fiction?" Applied Animal Behaviour Science 148, no. 3-4 (2013): 201–8. http://dx.doi.org/10.1016/j.applanim.2013.09.002.
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WUXIAOLI. "Images of Allegorical Animals in Chinese and Korean Lawsuit Fiction." Journal of Chinese Language and Literature ll, no. 66 (2014): 319–41. http://dx.doi.org/10.26586/chls.2014..66.012.
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Copeland, Marion W. "Philip Armstrong, What Animals Mean in the Fiction of Modernity." Humanimalia 1, no. 1 (2009): 70–74. http://dx.doi.org/10.52537/humanimalia.10118.
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Alder, Emily. "(Re)encountering monsters: animals in early-twentieth-century weird fiction." Textual Practice 31, no. 6 (2017): 1083–100. http://dx.doi.org/10.1080/0950236x.2017.1358686.
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Cosslett, Tess. "Child's place in nature: Talking animals in Victorian children's fiction." Nineteenth-Century Contexts 23, no. 4 (2002): 475–95. http://dx.doi.org/10.1080/08905490208583554.
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