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Bliss, Gillian E. "Redefining the anthropomorphic animal in animation." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/27423.
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The use of anthropomorphic animal characters is pervasive in animation, but there has been little examination of how and why these are created, and how a viewing audience understands them. This Practice-based PhD examines how a re-defining of anthropomorphic and zoomorphic representation might bring a new impetus to the use of animal imagery within contemporary animation practice. An initial stage of research was to define the term anthropomorphism both as a visual language within animation practice and in the wider contexts of scientific and philosophical discourse. Social and psychological aspects are discussed, recognising this form of hybrid representation throughout the development of human culture. Links with Human Animal Studies disciplines raised the question of relating anthropomorphism to negative aspects of anthropocentrism and this led to a second stage of the research that explores ways of working with anthropomorphism that do not promote an anthropocentric bias. This is firstly achieved through the devising of a new theoretical approach to character analysis that is based on the recognition of perceptual aesthetic and sensual animal qualities in human-led , animal-led and design-led anthropomorphic characters, rather than a reliance on conceptual symbolic referencing of human experiences, goals, and narratives. Moving into the practice and influence from historical animation work provides impetus for a move away from character and narrative based work. Experimental animation techniques are used to create rhythms and patterns of abstracted animal and human imagery. This new work is based on contemporary ecological ideas that discuss relationships between humans and animals as interconnected species, thus providing a second way of lessening of anthropocentric bias in the subject matter. Having a starting point of aesthetic and sensual responses to actual experiences with animals is an important factor and live action film is re-animated to create digitally manipulated rhythms of colour, texture, movement and sound. The practical research outcomes are animation samples that evidence the coming together of experimental digital techniques and contemporary ecological subject matter. An action research model was devised for the research to enable the integration of theory and practice, and reflection on theory and practice to have an important influence on the practical outcomes. The approach taken was dependent on experience as a creative practitioner and as a teacher helping others to develop a sustainable creative practice, in allowing an open and intuitive discovery of ideas from both theoretical and practical explorations to create a flow through the research. The combination of theoretical and practical research undertaken provides an impetus towards the creation of future animation work using an anthropomorphic visual language redefined as zooanthropomorphic animation . The submission includes outcomes of a written thesis and links to practical animation work.
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Hübben, Kelly. "A Genre of Animal Hanky Panky? : Animal representations, anthropomorphism and interspecies relations in The Little Golden Books." Doctoral thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-147503.
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This dissertation investigates the visual and verbal representations of animals in a selection of commercial picture books for a young readership of preschool children. The picture books selected are part of the Little Golden Book series. The first twelve books in this series were published in the United States in 1942 and are still in print today, while new books are continually being published. Because these popular picture books have had a broad readership from their inception and the books in the series have a uniform aesthetics, a comparative analysis provides insight into mainstream human-animal relationships. Children’s literature is never innocent, and fraught with power imbalances. Animals become political beings, not only in the sense that they convey a didactic message, but in the sense that each animal representation carries a host of ideas and assumptions about human-animal relations with it. Using a theoretical framework that is grounded in Human Animal Studies (HAS), and more specifically literary animal studies, this dissertation analyzes the representation of human-animal interactions and relationships in different contexts. Before the advent of HAS, anthropocentric, humanist interpretations of animal presence in children’s literature used to be prevalent. Commercial picture books in particular could benefit from readings that investigate animal presence without immediately resorting to humanist interpretations. One way of doing that is to start by questioning how interspecies difference and hierarchy is constructed in these books, verbally, visually and in the interaction between words and images. Based on this, we can speculate about the consequences this may have for the reader’s conceptualization of human-animal relationships. In children’s literature speciesism and ageism often intersect, for example when young children are compared with (young) animals or when animals are presented as stand-ins for young children. This dissertation explores the mechanisms behind the representation of species difference in commercial picture books. The aim of this study is to analyze how commercial picture books like the Little Golden Books harbor a potential to shape young readers’ ideas about humanity and animality, species difference and hierarchy and the possibilities of interspecies interactions. The socializing function that is an important component of all children’s books makes that these picture books can shape readers’ attitudes from an early age. When reading children’s books featuring animals, the particular way these animals are represented guides the reader towards an ideology – and in the West, this ideology is predominantly anthropocentric. In Western cultures, children and animals are commonly thought of as natural allies, and as such they are often depicted as opposed to adult culture. This dissertation identifies the ways in which certain conservative tendencies are activated by these commercial picture books, but also emphasizes that they can be a subversive space where anthropocentrism can be challenged. The case studies developed in this dissertation demonstrate how even so-called ’unsophisticated’ picture books contain interesting strains of animal related ideology worthy of in-depth analysis. The visual and verbal dimensions of these picture books show that these stories are embedded in a cultural context that helps give meaning to the animals. A recurring concern is the function of anthropomorphism and the role it plays in how we value the animals in these books. I am particularly interested in how picture books depict various degrees of anthropomorphism, because it has the potential to challenge species boundaries and disrupt the human-animal dichotomy.
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Danielsson, Miryam Bernadette. "The Animal in the Mirror : Zoomorphism and Anthropomorphism in Life of Pi." Thesis, Umeå universitet, Institutionen för språkstudier, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-172487.
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This essay explores the application of zoomorphism and anthropomorphism in Yann Martel’s novel Life of Pi. The novel, rather than being a mere shipwreck-narrative or a miraculous tale with religious overtones, is also a story about the complicated and perhaps inevitably divided relationship between humans and animals. This essay introduces the fields of ecocriticism and animal studies and defines anthropomorphism and zoomorphism in the context of literary criticism. The essay goes on to discuss the layers of meaning behind the names and naming of the two main characters using Burke’s rhetoric of identification, analyses the anthropomorphism and religiosity in the novel’s two stories, and analyses the two accepted readings of the novel from a zoomorphic perspective. The essay looks at the human-animal divide and its problems in literature, going into Derrida’s animal philosophy to provide a counterpoint to a view derived from Cartesian dualism. In a straight reading of the novel, the first story is regarded as metaphoric while the second story is regarded as literal. There is an alternative reading where it is left to the reader to decide which story is true, but this essay argues that this reading negates a metaphoric interpretation of either story and therefore dismisses the straight reading. Instead, this essay proposes a third, zoomorphic reading, fully compatible with the straight reading, where anthropomorphism is employed to externalize human actions onto animals, but where zoomorphism is employed to project animals onto humans in order to externalize their cannibalism. In the zoomorphic reading, both stories are interpreted as vehicles of projection while avoiding the logical pitfall of the alternative reading.
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Thörnqvist, Hampus. "Framing Nature : A discussion on the ethics of animal confinement in animal parks." Thesis, Uppsala universitet, Institutionen för kulturantropologi och etnologi, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-375529.
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The confinement of animals is today a widespread, widely accepted practice, regardless of the intention behind it. The confinement of animals for entertainment purposes, however, poses ethical questions that transgress the body of the animal itself and onto the boundaries of the human. What happens when a captured animal behaves differently from what we expect of it? Different from what we’ve trained it to? SeaWorld and Kolmården are two parks that both display animals in different ways. Both advertise themselves as offering unique experiences; close up encounters with animals that would most likely not happen in the wild. Both parks have also been subject to predatory animals behaving in unexpected ways. Furthermore, the artificial relationships established between humans and nonhumans in captivity have in the cases of SeaWorld and Kolmården proven to create a dangerous environment for both humans and animals. The ethical dilemmas that arises in correlations with the deadly-outcome incidents that have occurred in the parks, takes the form of questions regarding if confining animals such as wolves and orcas are ethically defensible in the first place
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Silva, Tatiana Pereira da. "Mamãe galinha, menina joaninha: representações dos animais no livro infantil e suas possibilidades na educação científica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-06102016-153955/.
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A literatura infantil contemporânea abarca diferentes mecanismos de apresentação com a intenção de atingir o universo do leitor. Deste modo, crianças não alfabetizadas ou em fase inicial de alfabetização podem ter o prazer da leitura alcançado com ou sem o auxílio de um adulto. São dois os caminhos de funcionalidade o entretenimento e a educação, que não podem se dissociar, visto que a literatura infantil no formato que conhecemos hoje não consegue entreter sem transformar educacionalmente o indivíduo, em alguma medida. Por ser um material historicamente vinculado com a alfabetização, o livro infantil está presente com frequência na sala de aula e no cotidiano das crianças. Levando em conta o caráter formador do livro, esta pesquisa analisa obras de literatura infantil baseando-se na investigação da representação figurativa e temática dada aos personagens animais das histórias, com o objetivo de explorar seu potencial para o ensino de ciências. Para determinar a metodologia de análise nos apoiamos no referencial fornecido pelo percurso gerativo do sentido da semiótica greimasiana na perspectiva da linguagem. As personagens animais escolhidas para este estudo foram galinhas e joaninhas encontrados em seis livros disponíveis em bibliotecas e salas de leituras de escolas públicas da rede municipal de Guarulhos/SP. Para ampliar o enfoque e, ao mesmo tempo, como resultado de nossas análises, discutimos algumas experiências de intervenções aplicadas em salas de aula elaboradas dentro do Projeto JOANINHA Jogar, Observar, Aprender, Narrar: Investigando Natureza, História e Arte na pré-escola realizado na mesma rede municipal de ensino em que os livros foram coletados. As intervenções foram realizadas em duas turmas de crianças em fase de alfabetização com idade entre 5 e 7 anos, e organizadas pelo grupo de pesquisa Interfaces do qual este trabalho faz parte. Os resultados alcançados apontam que o livro infantil traz consigo figuras e temas sobre as personagens animais que carregam valores historicamente produzidos pela sociedade e refletem na formação leitora da criança. Tais figurativizações são predominantes em detrimento de outras e, por isso, permitem a articulação com os temas relacionados aos fenômenos científicos. Ao mesmo tempo, mascaram determinadas características e comportamentos destes animais e de nossas relações com eles, e, assim, necessitam do olhar atento ao levar o livro para o âmbito da educação em Ciências.Contemporary children\'s literature includes different presentation mechanisms with the intention of reaching the universe of the reader, therefore, illiterate children or early literacy phase may have the pleasure of reading achieved with or without help of an adult. There are two useful paths, entertainment and education, which can not be dissociated since children\'s literature in the form we know today do not get to entertain without educationally turning a bit the individual. As it is a material historically linked with literacy, the children\'s book is often present in the classroom and daily life of child. Taking account the former character of the book, this research analyzes children\'s literature based on the investigation of figurative and thematic representation given to the animal characters of the stories in order to explore their potential for science teaching. To determine the analytical methodology we support the framework provided by generative trajectory of the greimasian semiotics from the perspective of language. Animal characters chosen for this study were chickens and ladybugs found in six books available in libraries and reading rooms of municipal public schools from Guarulhos / São Paulo. To extend and at the same time as a result of our analyzes, we discuss some interventions experiences applied in classrooms elaborates within JOANINHA Project Play, Observe, Learn, Narrate: Investigating Nature, History and Art in Preschool accomplished in the same municipal schools where the books were collected. The interventions were conducted in two groups of children in literacy stage aged 5 and 7 years, and organizes by Interfaces research group wich this paper is part. The results achieved indicate that children\'s book brings figures and themes about animal characters has values historically produced by society and it reflect the children\'s learning. These figurative ideas are predominate when compared the others, that\'s why it allows articulation with the themes related to scientific phenomena. At the same time, they mask certain characteristics and behaviors of the animals and our relationships with them, thus, they require the watchful eye to take the book to the realm of science education.
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Beale, Graeme Robert. "Tinbergian Practice, themes and variations : the field and laboratory methods and practice of the Animal Behaviour Research Group under Nikolaas Tinbergen at Oxford University." Thesis, University of Edinburgh, 2009. http://hdl.handle.net/1842/4103.
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This thesis investigates the work of Nikolaas (Niko) Tinbergen and his students, often known as the Tinbergians. Based on extensive archival research, and particularly on intensive study of fieldnotes – a resource largely untouched in previous historical enquiry – I throw new light on the scientific practices both of Tinbergen himself and the practices of individual students of his, including the relationship between research in the field and in the laboratory and the relationship between that research and the Tinbergians representation of their science, both to scientific and lay audiences. Chapter one investigates Tinbergen's own background, and his writings on method and practice. This included a commitment to studying 'natural' behaviour, which led them to be wary of experimental methods that might distort such behaviour. Tinbergen's idea of the 'ethogram' – a complete listing of the behavioural repertoire of a species – is here linked to earlier interest in comparative anatomy as a means of elucidating evolutionary relationships Contrary to the work of Eileen Crist, who argues that ethologist concern to produce mechanomorphic descriptions of behaviour led them to see their animals as machines, I show that the fieldnotes regularly included anthropomorphic description, which only later was excised in writing up scientific publications where mechanistic description and a programmatic rejection of anthropomorphism were the norm. The backgrounds of many of Tinbergen's contemporaries and students was considered in the first half of chapter two, and showed that almost all members of the school had a background in amateur natural history and strong personal and aesthetic affection for the animals they studied. The early fieldwork of the Tinbergians is examined in more detail in the second half of the chapter. This considers the work of two of Tinbergen's students: Robert Hinde and Martin Moynihan. Hinde's work is shown to be transitional between earlier approaches to animal behaviour and the more systematic methodology promoted by Tinbergen, while Moynihan's work instantiated a particularly pure expression of early Tinbergian ideals. Tinbergen's Oxford laboratory is the subject of chapter three, looking in particular at how 'natural' behaviour was studied in an artificial environment. I look at the work of Desmond Morris, Margaret Bastock (later Manning) and J. Michael (Mike) Cullen. Morris's work reproduced field techniques of intensive close observation of behaviour in the laboratory. Bastock's work, largely overlooked by previous historians, showed interest in behaviour genetics. Cullen's work illustrates the difficulties of studying natural behaviour under laboratory conditions, and emphasises the value that Tinbergians placed on direct observation over other possible recording techniques. I then proceed to a more general consideration of the relationship between laboratory and field in the early years of the Tinbergen school. Change over time is the theme of chapter four. Many of the early methodological commitments of the school were subsequently abandoned as the observation-led approach to behaviour gave way to a more explicitly theory-led and interventionist concern with causation, development, evolution and function. This was apparent both in the field and in the laboratory, and even included the occasional adoption of vivisection – a method dramatically at odds with the ethos of the early Tinbergen school. The final chapter investigates how Tinbergen and others of his school communicated their work to amateur audiences, and shows that in some instances the anthropomorphic observations excluded for their scientific writings reappear in these more popular communications. I then link this to the Tinbergen school's longstanding interest in human behaviour. The thesis is supplemented by a conclusion, and two appendices one listing the students studied in the thesis, and the other listing as many of Tinbergen's students as I can identify with surety.
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Webb, Laura. ""I suppose I am the exact centre" : anthropomorphism, metamorphosis and representations of animals in the poetry of Ted Hughes." Thesis, University of Sheffield, 2014. http://etheses.whiterose.ac.uk/5307/.
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Leventi-Perez, Oana. "Disney's Portrayal of Nonhuman Animals in Animated Films Between 2000 and 2010." Digital Archive @ GSU, 2011. http://digitalarchive.gsu.edu/communication_theses/81.
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This paper used the constant comparative method to examine the 12 animated features released by Disney between 2000 and 2010 for: (1) their representation of nonhuman animals (NHAs) and the portrayal of race, class, gender, and speciesism within this representation, (2) the ways they describe the relationship between humans and NHAs, and (3) whether they promote an animal rights perspective. Three major themes were identified: NHAs as stereotypes, family, and human/NHA dichotomy. Analysis of these themes revealed that Disney’s animated features promote speciesism and celebrate humanity’s superiority by justifying the subordination of NHAs to human agency. Furthermore, while Disney’s representation of NHAs remains largely anthropocentric, most of its animated features do not reflect the tenets of animal rights.
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Joyeux, Laure. "Les animalités de l’art : modalités et enjeux de la figure animale contemporaine et actuelle." Thesis, Bordeaux 3, 2013. http://www.theses.fr/2013BOR30012/document.
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Ma démarche de recherche comme de création s’articule autour de l’animalité dans ses relations avec l’art d’une part et autour des notions-clés que sont l’anthropomorphisme animal, le zoomorphisme, la métamorphose, la figure animale et l’hybridation, constantes thématiques, iconiques et plastiques de mes travaux d’autre part. Comment et pourquoi l’artiste convoque-t-il l’animal de manière récurrente et diversifiée ? Comment ont pu se jouer entre l’homme et l’animal, mais aussi aujourd’hui de manière frappante, des complémentarités physiques et matérielles, des affinités mentales, des tensions exacerbées ? Si l’animal est le témoin excentré du fonctionnement de nos sociétés, tel un miroir déformant et critique, que révèle sa figure aux prises avec l’art de nos comportements de bête sociale et de la relation que nous entretenons avec lui ? Le recours à des concepts émanant de différentes disciplines, en particulier des sciences humaines, a irrigué et éclairé les analyses d’œuvres : les nôtres, celles de l’art d’hier et d’aujourd’hui. Il s’en est dégagé leur densité sémantique quant à la teneur du lien qui nourrit le binôme homme-animal, que les situations mises en scène soient fictives ou réelles. Le parallèle entre pratiques d’expression plastique (imitation, caricature, assemblage, mise en scène) et figures de style (métonymie, métaphore, comparaison, allégorie) au sein des processus cités plus haut vise à mettre en valeur le caractère discursif des œuvres choisies. La convocation de l’animal bénéficie ainsi, au sein de notre thèse, d’une triple définition. L’image de l’animal, reflet et mémoire de notre humanité, accompagne l’homme, tel le paradigme – modèle vivant ou image modèle –, d’une certaine identité de l’homme – ses fragilités, ses révoltes, ses excès, ses obsessions, etc. La figure de l’animal est aussi à entendre comme une médiation, réussissant là où l’attaque et le dialogue directs ne sont plus possibles, parvenant à concilier les contraires. Ainsi investie, l’image ambigüe ou ambivalente de l’animal donne lieu à la multiplicité, à une extraordinaire fertilité iconographique et artistique. Ses figures, au défi de la forme monolithique, sont rarement isolées ; elles se croisent, se mélangent et s’interpénètrentMy research as well as my creative process on the one hand, revolves around the animal figure in its relationship to art, and on the other hand, around the key-notions of animal anthropomorphism, zoomorphism, metamorphosis, the animal figure and hybridization; constant, iconic and plastic themes of my work. How and why does the artist call forth animals in such a recurrent and diversified manner? How have physical and materiel complementarities, mental analogies as well as exacerbated tensions come into play today, in such a striking fashion between mankind and the animal world? If animals are the off-centered witness of how our societies function, as a distorting and critical mirror, what does its figure reveal when grappling with the art of our beast-like behaviors and of the relationship that we maintain with it? Resorting to concepts emanating from different academic disciplines, in particular, the human sciences, has provided and shed light to the analyses of the works: our own, those of the past and of today. The result being, an utterance density as regards the content of the link which feeds the man-animal pair, whether the situations staged are fictitious or real. The parallel drawn between the methods of plastic expression (imitation, caricature, assemblage, staging) and stylistic devices (metonymy, metaphor, comparison, allegory) within the process listed above is aimed at highlighting the discursive nature of the selected works. Eliciting the animal world within our thesis, thus benefits from a three-fold definition. The animal’s image, which is the reflection and recollection of our humanity, accompanies mankind, as the paradigm – living model or ideal image –, of a certain identity of mankind – its weaknesses, its rebellions, its excesses, its obsessions, etc. In addition, the animal’s figure is also to be understood as a mediator, prevailing over direct criticism and dialogue, and managing to reconcile opposites. Thus invested, the animal’s ambiguous or ambivalent image gives rise to multiplicity, to an extraordinary, artistic and iconographic fertility. Its figures, which challenge the monolithic form, are rarely isolated; they cross over, are mingled, and permeate
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Earnhardt, Eric Donavon. "The "Sentient Plume" : The Theory of the Pathetic Fallacy in Anglo-American Avian Poetry, 1856-1945." Case Western Reserve University School of Graduate Studies / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=case1459369357.
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Hooper, Nicola. "Zoonoses - A Visual Narrative." Thesis, Griffith University, 2019. http://hdl.handle.net/10072/388639.
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A zoonosis (zoonoses pl.) is classified as an infection or infectious disease that is transferred from an animal host to a human. Up to seventy per cent of all new diseases have their genesis in animal hosts.2 My practice-led research uses drawing as a narrative tool, to consider human fear of animal hosts in the context of their association with zoonoses, and draws parallels between the representation of animals in fairy tales, myths, and rhymes.
Three main areas of investigation inform and underpin my outcomes. The first area is the exploration of zoonotic diseases. Here I examine human culpability in the spread of zoonotic pathogens, our representation of animals in popular culture, and the resulting perception of animals in the context of fear of disease. This perception is informed through theorist Steve Baker’s concepts of “animal-endorsed” and “animal-skeptical”3 and sociologist Kay Pegg’s perceptions of ‘good’ and ‘bad’ animals.4 Contemporary artists Roger Hiorns and Patricia Piccinini’s works inspired by zoonotic diseases/viruses or pathogens provide a contextual basis for examining the role of contemporary visual art in addressing these concerns. The second area of investigation references the role of fairy tales and rhymes, both historically and as a tool to subversively relay information in the present. I investigate the work of artists Katarina Fritsch, Paula Rego, and Kiki Smith who have explored myth, fairy tales, and rhymes as iconology within their practices. The third area addresses sociologist Stanley Cohen’s concepts of moral panic, social anxiety, and states of denial as outcomes of the media’s representation of zoonotic outbreaks.
This research has resulted in the creation of lithographic diptychs, sculptures, and artist books containing created rhymes and wallpapers. These works use fairy tales, myths, and rhymes as a metaphor to discuss zoonotic outbreaks in a non-threatening and gentle manner. I employ these tropes within my studio practice and in the methodology that I share with Rego and Smith. By focusing on the narrative possibilities associated with various host animals, I argue that we can use fairy tales and rhymes and associated anthropomorphism to both discuss and educate about zoonotic viruses and various animal hosts in a way that generates greater understanding of the natural world.Thesis (PhD Doctorate)
Doctor of Visual Arts (DVA)
Queensland College of Art
Arts, Education and Law
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Lopes, Soraia Adriana Costa. "Correlação entre a saúde mental, bem-estar subjetivo, antropomorfismo do titular, quantidade e tipo de atividades partilhadas com a personalidade do cão (Canis lupus familiaris)." Master's thesis, Universidade de Lisboa, Faculdade de Medicina Veterinária, 2021. http://hdl.handle.net/10400.5/21240.
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Dissertação de Mestrado Integrado em Medicina VeterináriaOs canídeos (Canis lupus familiaris) têm ganho cada vez mais importância entre a população portuguesa. Por muitos, estes são considerados “os melhores amigos dos homens”, uma vez que, existe entre eles, um estreito vínculo emocional e afetivo. Isto não surpreende, uma vez que, as duas espécies coabitam e interagem fortemente desde há, pelo menos, milhares de anos atrás. O presente estudo tem como objetivo verificar se existe alguma correlação entre a Saúde Mental, o Bem-Estar Subjetivo (felicidade) e o Antropomorfismo do titular em relação ao respetivo animal de companhia que, neste caso, é o cão e o tipo de personalidade que este apresenta. Também pretendemos averiguar se o tipo de personalidade do animal seria afetado pela quantidade e tipo de atividades partilhadas entre o ser humano e o animal. Para isso, foi elaborado um questionário para a caracterização do titular e do seu animal, fazendo a avaliação: a) da Saúde Mental do primeiro através da PHQ-9 e da EADH; b) do Bem-Estar Subjetivo através da SWBS e da SWLS; c) do comportamento de Antropomorfismo com uma escala realizada em parte pelos autores deste estudo; d) da personalidade do animal através da Escala Dog Big Five. No total foram recolhidos 113 questionários no Hospital Escolar da Faculdade de Medicina Veterinária - Universidade de Lisboa (ULisboa), aquando da visita dos titulares com o respetivo canídeo para consultas de rotina. Como principais resultados observou-se que, variáveis como a Saúde Mental do titular, Bem-Estar Subjetivo, Antropomorfismo, o tipo de atividade e a quantidade de tempo que o ser humano despende com o animal, influenciam significativamente a personalidade deste. Assim podemos sugerir que, o comportamento do animal, também está relacionado com a interação com o titular.
ABSTRACT - Canids (Canis lupus familiaris) have gained increasingly more importance among the Portuguese population. For many, they are considered as “men’s best friend” due to the close, emotional and affective bond between both. This is not surprising as both species have cohabited and interacted strongly for, at least, thousands of years. The present study aims to verify whether there is any correlation between Mental Health, Subjective Well-Being (happiness) and the Anthropomorphism of the owner concerning its pet, which, in this case, is the dog and the type of personality presented by the latter. We also aimed to investigate if the animal's personality type would be affected by the amount and type of activities shared between human and animal. For this, a questionnaire was drawn to characterize the owner and its animal in order to be able to assess a) Mental Health of the first through PHQ-9 and EADH; b) Subjective Well-Being through SWBS and SWLS; c) The behaviour of Anthropomorphism with a scale performed in part by the author of this study; d) The personality of the animal through the Dog Big Five Scale. In total, 113 questionnaires were assembled at the School Hospital of the Faculty of Veterinary Medicine - University of Lisbon (ULisboa), during the visit of the owners with their canid for routine consultations. As main results, it was observed that variables such as the owner's Mental Health, Subjective Well-Being, Anthropomorphism, the type of activity and the amount of time that the human being spends with the animal, significantly, influence its personality. Therefore, we can suggest that the animal's behaviour is also related to the interaction with the owner.
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Macedo, Clarissa Moreira de. "O homem na voz dos bichos : o antropomorfismo em contos de Guimar?es Rosa e Miguel Torga." Universidade Estadual de Feira de Santana, 2013. http://localhost:8080/tede/handle/tede/208.
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Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES
This paper presents, as a proposal, a comparative analysis of short stories by fictionists Guimar?es Rosa and Miguel Torga, as from the portrayal of the humanized animal in some of their narratives. Through bibliographic research, we found expressive and unique portrayal of animals in the work of referred writers, dialoguing in several moments. It?s our interest, thereby, to investigate in which way the animal provided with human features is represented in the narratives, as well as in which way the authors approach the relationship among animals, men and the world surrounding them, which, in the case of the referred material, is situated, physically and emblematically, mainly, in a rural setting. Our reading privileges the implications of the man-animal relationship in written works of the referred authors, implications that are based, mostly, in alternative knowledge, recognitions and dichotomies. The selected corpus are the books ?Bichos?, by Torga, and ?Ave, Palavra?, ?Sagarana?, and ?Estas est?rias? by Guimar?es Rosa. It is noteworthy, as well, that we took as reading operators the notion of anthropomorphism and the resource of comparative analysis.
A presente pesquisa apresenta como proposta uma an?lise comparativa de contos dos ficcionistas Guimar?es Rosa e Miguel Torga, a partir da representa??o do animal humanizado em algumas narrativas. Atrav?s de levantamento bibliogr?fico, constatamos expressiva e singular representa??o de bichos na obra dos escritores referidos, que dialoga em momentos diversos. Interessa-nos, dessa forma, apurar de que maneira o animal dotado de caracter?sticas humanas est? representado nas narrativas, bem como de que modo os autores mencionados abordam a rela??o entre o bicho, o homem e o mundo que os rodeia, que, no caso das obras dos autores citados, est? situado, f?sico e emblematicamente, sobretudo, no meio rural. A nossa leitura privilegia as implica??es da rela??o humano-animal em textos dos escritores aludidos, implica??es que se baseiam, principalmente, em saberes alternativos, identifica??es e dicotomias. O corpus selecionado s?o os livros: Bichos, de Torga, e Ave, palavra, Estas est?rias e Sagarana, de Guimar?es Rosa. Cabe apontar, tamb?m, que tomamos como operadores de leitura a no??o de antropomorfismo e o recurso da an?lise comparada.
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Allison, Jeri. "Symbiosis." Digital Commons @ East Tennessee State University, 2008. https://dc.etsu.edu/etd/1946.
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The artist discusses her Master of Fine Arts exhibition, Symbiosis, hosted by the Natural History Museum in Gray, Tennessee, from May 1st, through August 1st 2008. The exhibit includes works produced during the artist's three years of study at East Tennessee State University.
The subject of the exhibition consists of drawings of the elephant's place in history through its relationship with humans. Topics explored include the elephant as victim, servant, god, prey, and ultimately as teacher. Discussion will also include artistic influences such as Sue Coe, Deborah Butterfield, Franz Marc, and Frank Noelker as well as theoretical influences by Carl G. Jung, James Hillman, and Jerome S. Bernstein.
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Latour, David. "L'éthique écologique chez Henri David Thoreau." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3077.
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L’écriture de la nature de Thoreau plonge ses racines dans la Nouvelle-Angleterre du XIXe. Nourri de ses valeurs, l’auteur montre comment la vie doit être économisée et non dépensée en vain dans des activités frivoles. Pour se faire, il choisit la voie de la simplicité et de la solitude dans la nature ce qui lui permet de remettre en cause ce que la société considère d’ordinaire comme des vertus. Vivre seul dans la nature sauvage est un moyen anthropocentrique pour accéder au bonheur car la nature apporte à l’homme tout ce dont il a besoin. Ainsi, Thoreau est un naturaliste qui vit dans la nature et la parcourt. Son naturalisme s’éloigne de plus en plus des théories emersoniennes sur l’immanence. Le véritable scientifique sait regarder les animaux en engageant sa subjectivité et peut aller jusqu’à voir dans certains animaux l’incarnation de vertus.Pour nuancer cet anthropocentrisme, Thoreau appelle au zoocentrisme. Celui-ci peut même amener à une cohabitation pacifique entre les espèces. Toutefois, l’écriture et la pratique de Thoreau sont nourries de paradoxes en ce qui concerne la chasse, la pêche et le végétarisme. Pour vivre en harmonie avec la nature, Thoreau se rapproche du modèle indien qui a ses limites. Parmi quelques suggestions, Thoreau est le premier à proposer la création de parcs nationauxThoreau’s nature writing is rooted in 19th century New-England. Fed on New-England’s values, the author shows life should be spared and not spent in vain in mundane activities. In order for him to do so, he chooses the way of a life of simplicity and solitude in nature, which enables him to question what society traditionally sees as virtues.Living alone in the wild is an anthropocentric means to reach happiness because nature provides man with all that he needs. Hence, Thoreau is a naturalist who lives in nature and walks in ii. His naturalism becomes more and more estranged from Emerson’s theory on immanence. The real scientist can watch animals using his subjectivity and can go so far as to see in certain animals the incarnation of some virtues.To nuance this anthropomorphist approach, Thoreau advocates zoocentrism. This point of view can even lead to a peaceful cohabitation between species. However, Thoreau’s writing and actions are fed with paradoxes as far as hunting, fishing and being a vegetarian is concerned. To live in harmony with nature, Thoreau gests closer to the Indian model which has limits. Thoreau makes many suggestions, among which the creation of national parks
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Holmgren, Sara. "Någon eller något? : En undersökning av djurgestaltning i tre skönlitterära verk." Thesis, Umeå universitet, Institutionen för kultur- och medievetenskaper, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-156065.
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This paper intends to examine animal portrayal in literature with the guidance of three literary works; Charlotte’s Web, The Call of the Wild and The Guest Cat. The overall purpose is to explore the representation of animals in text and see what it possibly could show about our – the humans – view of animals. Through this I investigate what we do when we interpret animals in text and how this portrayal can effect animals, with the help of a moral philosophical angle. I put focus on how the view of animals can be effected depending on if one sees animals as an object or a subject – someone or something. Questions used are: How are animals portrayed in this fiction? What can this portrayal show about our relationship with – and view of – animals? The analysis show consequences of both sides through the thought that both views still can be a sign of power over animals, since we never completely can understand animal’s thoughts or actions. I argue, however, that there still is a value to reflect about the animal in literature because it can demonstrate a shifting animal view and let us reflect not only about the animals in literature – but in the reality as well.Denna uppsats ämnar undersöka djurs gestaltning i litteratur med vägledning av tre litterära verk; Charlotte’s Web, The Call of the Wild och Gästkatten. Det övergripande syftet är att undersöka representationen av djur i text och se vad de möjligtvis kan säga om vår – människans – djursyn. Genom detta undersöker jag vad vi gör när vi tolkar djur i text och hur denna gestaltning kan påverka djur, med hjälp av en moralfilosofisk vinkel. Denna vinkel lägger fokus på hur djursynen kan påverkas beroende på om man ser djur som objekt eller subjekt – någon eller något. Frågeställningarna är: Hur gestaltas djur i denna fiktion? Vad kan denna gestaltning säga om vår relation till – och syn på – djur? Analysen visar konsekvenser av båda sidor genom tanken att båda ändå kan vara ett tecken på makt eftersom vi aldrig helt kan förstå djurs tankar och handlingar. Jag argumenterar däremot att det ändå finns ett värde att reflektera kring djurbilden i litteratur eftersom det kan demonstrera en skiftande djursyn och låta oss reflektera kring djur inte bara i litteraturen – men i verkligheten.
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Plas, Élisabeth. "Le sens des bêtes. Rhétoriques de l'anthropomorphisme au XIXe siècle." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA111.
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Ce travail propose de lire un moment de l’histoire littéraire française à travers le prisme de l’animal, et plus particulièrement de ses représentations anthropomorphes. À partir de la littérature et de la pensée du xixe siècle, il s’agit de complexifier une définition restrictive de la notion d’anthropomorphisme en réfléchissant au statut de l’animal dans l’imaginaire romantique. L’anthropomorphisme est traditionnellement considéré comme une perception du monde naïve et spontanée et cette tendance à douer les choses et les êtres d’émotions, d’intentions ou de réactions supposées propres aux hommes repose sur un raisonnement analogique qui est à l’origine de genres littéraires aussi universels que la fable ou d’autres types d’apologues, qui héritent de ce préjugé de simplicité : l’anthropomorphisme serait ce mode de représentation non réaliste, divertissant voire comique, qui n’instruit qu’au prix d’une distorsion de la réalité. Au xixe siècle émerge une nouvelle conception de l’animal, en rupture avec celle de l’âge classique. L’histoire naturelle et la pensée romantique découvrent des parentés profondes entre l’homme et l’animal, qui donnent à l’anthropomorphisme un fondement épistémologique et philosophique, mais aussi affectif et politique, puisque l’idée d’une continuité entre les vivants est l’un des piliers de l’argumentation républicaine en faveur de la protection, puis du droit des animaux, depuis la période révolutionnaire. À partir d’un corpus littéraire, philosophique et scientifique, et d’une attention à l’histoire des animaux, de leur statut et de leurs traitements, ce travail voudrait dresser un panorama des paradigmes analogiques par lesquels les hommes ont pensé leurs liens aux animaux dans la première moitié du xixe siècle. Cette période apparaîtra ainsi comme un moment important de la reconfiguration du symbolisme animal, qui invente une forme d’allégorie réaliste, conciliant souci de l’animal et confiance en l’analogieThis work attempts to read a moment of French literary history through the lens of animals, and more specifically anthropomorphic representations of them. From the 19th literature and thought, it will put forward a less restrictive definition of the notion of anthropomorphism by considering the status of animals in the romantic imaginary. Anthropomorphism is traditionally perceived as a naïve and spontaneous perception of the world. This tendency to endow things and beings with emotions, intentions or reactions supposedly inherent to humans is based on an analogical thinking that underlies literary genres as universal as fables or other kinds of apologues, that are also seen as simple, as if anthropomorphism was only this non-realistic, entertaining and even comical, mode of representation, that educates only thanks to a distortion of reality. During the 19th century, a new conception of animals emerges, breaking with the classical era. Natural history and romantic philosophy discover deep similarities between men and animals, that provide anthropomorphism with an epistemological and philosophical basis, but also affective and political ones, since the idea of a continuity between the being is one of the pillars of republican thinking on animal protection and animal rights since the Revolution. Looking at literary, philosophical and scientific texts, but also at the history of animals, at their status and treatments, this work would like to provide an overview of analogical paradigms through which men have conceived their relationships with animals over the first half of the 19th century. This period will therefore appear as an important moment of the reconfiguration of animal symbolism, inventing a type of realistic allegory, combining the concern for animals and a faith in analogical thinking
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Andreasson, Linnéa. "Icke-verbal kommunikation mellan människa och djur i litteratur : En interdisciplinär studie om hur David Wroblewskis The Story of Edgar Sawtelle rekonstruerar förhållandet mellan djuriskhet och funktionshinder." Thesis, Södertörns högskola, Litteraturvetenskap, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-38312.
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In reading The story of Edgar Sawtelle, this essay applies posthuman studies with animal studies and disability studies to analyse how the communication between species occur and how boundaries are expanded. Non-verbal language is closely examined and argued to be just as viable as verbal language in the making of relationships and subjects in literature. By applying posthumanism, biological research and a non-anthropocentric way of thinking one can evolve from the notion that humans are the only subjects which matter, something that has been verified because non-human animals never have been given a voice or an acknowledgment of a language. What happens in a novel when the main protagonist is lacking the ability to speak verbally, when verbal language is what has constructed human exceptionalism over all the other species?Denna uppsats tillämpar posthumanistiska studier med djurstudier och funktionshinder-studier för att analysera hur kommunikationen mellan arter äger rum och expanderar gränser i David Wroblewskis roman The Story of Edgar Sawtelle. Icke-verbalt språk undersöks och argumenteras vara lika betydande som verbalt språk vid skapandet av relationer och subjekt i litteratur. Genom att applicera posthumanism, biologisk forskning och ett icke-antropocentriskt sätt att tänka kan man avveckla tanken om att människan är det enda subjekt som räknas, detta är något som enbart verifierats eftersom icke-mänskliga djur aldrig fått någon agens eller bekräftande att de har rätten till en röst. Vad händer i en roman när protagonisten saknar förmågan till verbalt språk, när det verbala språket är central som verkning i mänsklig exceptionalism?
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Goubault, Sébastien. "Le chien dans les jeux vidéo : Archéologie, filiation et développement d'une réalité virtuelle." Thesis, Lyon, 2018. http://www.theses.fr/2018LYSE3001/document.
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Cette thèse a pour objet d’étude un sujet : les chiens. Après le phénomène des tamagotchis, la sortie du jeu vidéo Nintendogs en 2005 a créé un animal inédit : le chien virtuel « réaliste ». En tant que nouveau loisir, les jeux vidéo représentent aujourd’hui une industrie internationale puissante au croisement des arts d’une culture populaire : la bande dessinée, l’animation, etc. Plus généralement, la révolution numérique en cours dans nos sociétés témoigne de la place centrale des écrans et de la communication. Comment ces médias ont permis de redéfinir nos rapports aux chiens, ont influencé et éduqué notre perception du « genre animal », allant jusqu’à lui conférer une toute nouvelle dimension est la question soulevée par cette thèse. Nous avons eu recours à un large éventail de références médiatiques, allant du grand au petit écran, en l´occurrence du cinéma à la Game Boy, en passant par la publicité, des classiques de la littérature à l´album de vignettes autocollantes Panini, en passant par la bande dessinée, des œuvres célèbres dans le monde entier aux œuvres méconnues. Les multiples représentations du chien nous annoncent l’avènement du chien virtuel.En somme, le but est de comprendre l’histoire de l’illusion du mouvement, de l’illustration des livres à l’interaction avec un animal virtuel : faire l’archéologie du chien des jeux vidéo. Écrire une histoire du chien où la réalité et la virtualité s’entremêlentThe topic of this doctoral thesis are dogs. After the Tamagotchi phenomenon, the release of the video game Nintendogs in 2005 created a new animal: the “realistic” virtual dog. As a new leisure activity, video games represent today an internationally influential industry which is situated at a crossing point with popular art culture: comics, animation etc. More generally, the digital revolution our societies are currently witnessing shows the importance of monitor screens and of communication.The central question of this thesis is how these media have come to redefine our relationship to dogs and to influence our perception of animals in a completely new dimension. A large inventory of references of different media was used going from cinema to Gameboy via publicity, from literary classics to Panini sticker albums via comics, from oeuvres which are famous all over the world to oeuvres which are usually not considered as such. The numerous representations of dogs in these domains announce the advent of the virtual dog.In conclusion, our objective is to understand the history of the illusion of movement, of the relationship between books and virtual animals, i.e. to trace the archaeology of dogs in video games. To write a history of dogs in which reality and virtuality are no longer clearly separable
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Greenhill, Susan Heather. "Maps for the lost: A collection of short fiction And Human / nature ecotones: Climate change and the ecological imagination: A critical essay." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2015. https://ro.ecu.edu.au/theses/1701.
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The thesis comprises a collection of short fiction, Maps for the Lost, and a critical essay, “Human / Nature Ecotones: Climate Change and the Ecological Imagination.” In ecological terms, areas of interaction between adjacent ecosystems are known as ecotones. Sites of relationship between biotic communities, they are charged with fertility and evolutionary possibility. While postcolonial scholarship is concerned with borders as points of cross-cultural contact, ecocritical thought focuses upon the ecotone that occurs at the interface between human and non-human nature.
In their occupation of the liminal zones between human and natural realms, the characters and narratives of Maps for the Lost reveal and nurture the porosity of conventional demarcations. In the title story, a Czech artist maps the globe by night in order to find his lover. The buried geographies of human landscapes coalesce with those of the non-human realm: the territories of wolves and the scent-trails of a fox mingle imperceptibly with nocturnal Prague and the ransacked villages of post-war Croatia. In “Seeds,” a narrative structured around the process of biological growth, the lost memories of an elderly woman are returned to her by her garden. “The Skin of the Ocean” traces the obsession of a diver who sinks his yacht under the weight of coral and fish, while in “Drift,” an Iranian refugee writes letters along the tide-line of a Tasmanian beach.
The essay identifies the inadequacy of literature and literary scholarship’s response to the threat of climate change as a failure of the imagination, reflecting the transgressive dimension of the crisis itself, and the dualistic legacy which still informs Western discourse on non-human nature. In order to redress this shortfall, which I argue the current generations of writers have an urgent moral responsibility to do, it is critical that we learn to understand the natural world of which we are a part, in ways that cast off the limitations of conventional representation. Paradoxically, it is the profoundly disruptive (apocalyptic?) nature of the climate crisis itself, which may create the imaginative traction for that shift in comprehension, forcing us, through loss, to interpret the world in ways that have been forgotten, or are fundamentally new. By analysing Alexis Wright’s The Swan Book, and Les Murray’s “Presence” sequence, the essay explores the correlation between imaginative and ecological processes, and the role of voice, embodiment, patterning and story in negotiations of nature and place. In the context of the asymptotical essence of the relation between text and world, and the paradox of phenomenological representation, it calls for a deeper cultural engagement with scientific discourse and indigenous philosophy, in order to illuminate the multiplicity and complexity of human connections to the non-human natural world
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Jacobsson, Madeleine. "Dr. Eleine Mad." Thesis, Kungl. Konsthögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kkh:diva-587.
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Dr. Eleine Mad är Madeleine Jacobsssons talesperson för dom vetenskapliga och paranormala upptäckter som uppstår i hennes världar. Hon beskriver innehåll, teknik och estetik utifrån ett kategoriseringssytem där konsten delas upp som olika typer av komponenter och därefter avkodas dessa allteftersom. För att förstå intuitionens inblandning i arbetsprocessen omförvandlas den till tre separata roller av en Sökare, Samlare och Myntare. Med rollerna försöker jag beskriva på vilka sätt som intuitionen är till gagn eller av förödelse för det konstnärliga arbetet. Sagan om M handlar om en grodlik karaktär, Delop, som lämnar sin hemplanet för att uppsöka andra världar. I sitt sökande hittar Delop ett folkslag vars syn och levnadssätt skiljer sig från hennes erfarenheter av “verkligheten” såsom hon lärt sig att överleva i den.Dr. Eleine Mad is Madeleine Jacobsson's spokesperson for the scientific and paranormal discoveries that arise in her worlds. She describes content, tecniques and aesthetics based on a categorization system where art is divided into different types of components and then decoded as they go. To understand the intuition's involvement in the work process, it is transformed into three separate roles by a Seeker, Collector and a Myntare(In swedish language the one who is a "myntare" -is verbally declaring a concept or term). With these roles I try to describe in what ways intuition is beneficial or devastating to the artistic work. The story of M is about a frog-like character, Delop, who leaves the home planet to seek out other worlds. In her search, Delop finds a world whose views and lifestyles differ from her experiences of "reality" as she learned to survive in it.
Recorded sound and image material of the presentation is available for private use.
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Штефанеса, Людмила Михайлівна. "Відтворення метафор повісті Джеральда Даррела “My Family And Other Animals” українською мовою." Магістерська робота, 2020. https://dspace.znu.edu.ua/jspui/handle/12345/4342.
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Штефанеса Л. М. Відтворення метафор повісті Джеральда Даррела “My Family And Other Animals” українською мовою : кваліфікаційна робота магістра спеціальності 035 «Філологія» / наук. керівник А. Б. Юнацька. Запоріжжя : ЗНУ, 2020. 87 с.UA : Дипломна робота – 87 стор., 79 джерел. Об’єкт дослідження: оригінал та переклад українською мовою (виконаний Л. Гончар) повісті Дж. Даррела “My Family and OtherAnimals”. Мета роботи: виявлення виду та понятійної сфери метафоричних одиниць у творі Дж. Даррела,а також аналіз їх перекладу. Теоретико-методологічні засади: ключові положення теорії метафори та її перекладу, які розроблені в лінгвістиці та перекладознавстві (М. Джонсон, Дж. Лакофф, Н. Д. Арутюнова, А. П. Чудінов, Є. С. Кубрякова, В. Н. Комісаров, Т. А. Казакова та ін.). Отримані результати: у тексті оригіналу повісті Дж. Даррела “My Family and Other Animals” найбільш частотним видом метафори була «дуальна», що уміщала в собі артефакину, природоморфну або артефактну метафоризацію. У ході дослідження нам вдалося визначити найбільш вживані способи перекладу метафор: створення дослівного еквіваленту та нейтралізація. Завдяки аналізу метафор, які були нейтралізовані або опущені, ми визначили, що саме «дуальна» метафоризація, що уміщає в собі артефактну або антропоморфну, може створити деякі труднощі для перекладача. Загалом, головною метою перекладача при відтворенні метафор на іншу мову є адекватна передача світу та ідейно-естетичного задуму автора.
EN : The presented paper explores the metaphors of the novella “My Family and Other Animals” by Gerald Durrell. The Ukrainian translation of the metaphors, which was done by L. Honchar, was also analyzed. Additionally, we have added our owntranslation of those metaphors, which, from our point of view, were not translatedadequately enough. In the process ofstudy of the theoretical foundations of metaphor’s translation, we were able to identify and analyze the type of the metaphor and its conceptual sphere, as well as to determine the translating means that were used in the process of translation into Ukrainian. In the first chapter of the present paper, we consider the theoretical foundations of metaphor, its history and various classifications concerning its type and the means of translations. The second chapter of our paper fully addresses the definition and analysis of the metaphors which were found in the original book. Furthermore, we analyzed the translation of the metaphors and defined its adequacy. As a result, we determined that metaphor plays one of the most essential roles in creating the atmospere of the text and its aesthetic component. Analyzing the translation of the metaphors we foundout that there are some difficulties which impact adequacy.This is due to a number of reasons, among which the following can be distinguished: - high concentration of the author’s metaphors in the original text, which sometimes are challenging to translate; - the text is replete with biological terms, which can be unfamilliar for the majority of readers; - difference in cultural background of the English-speaking people and Ukrainian ones; - personal style of the author, which is important to preserve in translation. Summing up, we can say that the author’s idea is to bind different worlds: those of plants, animals and humans. The most common way to translate the metaphors was to create an equivalent. We believe that translation into Ukrainian is adequate, because translating fictionit is quite difficult to preserve all the metaphors, and also convey the personal style of the writer, which, in our opinion, these translators managed to do.
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Jardim, Timothy James. "Animals as character: anthropomorphism as personality in animation." Thesis, 2014.
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Thesis (M.A.)--University of the Witwatersrand, Faculty of the Humanities, Digital Art, 2013Anthropomorphism in animation is a common appearance, but often referred to exceptionally briefly by those who analyse the medium at any length. The aim of this research is to define and understand how animals in animation are used to define a character’s personality quickly and effectively. Anthropomorphism will first be defined within the context of this paper. Thereafter myth and fable and the animals found therein to be analysed as an influence on animation. The fantastic nature of animal casts is analysed, as well as the manners in which humans are drawn to an animal cast. Animation history is analysed to give context to the above mentioned investigations as well as to the case studies, which include Disney Studio’s Robin Hood and Dreamworks’ Kung Fu Panda, where the use of animals to portray personalities will be discussed and compared between films.
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Tousignant, Isa. "Plush Love: Animal Anthropomorphism in Contemporary Art." Thesis, 2013. http://spectrum.library.concordia.ca/977102/1/Tousignant_MA_S2013.pdf.
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Abstract
Plush Love: Animal Anthropomorphism in Contemporary Art
Isa Tousignant
In The Open: Man and Animal, Giorgio Agamben writes: “the relation between man and animal marks the boundary of an essential domain, in which historical inquiry must necessarily confront that fringe of ultrahistory which cannot be reached without making recourse to first philosophy.” (1) With this thesis I suggest an investigation of the historical and philosophical contexts of the human/nonhuman animal relationship through the lens of fursuiting and a body of contemporary visual art production that finds inspiration within that subject.
Fursuiting is a practice undertaken by members of a subculture called the “furry fandom,” which centres on the appreciation of anthropomorphized animal characters that find their origins in the traditions of comics and animation. In addition to engaging in their own visual culture production featuring hybrid “humanimal” creatures, members of the furry fandom who don fursuits choose to dress up in full-body artificial fur costumes and perform in characters they feel express alternate identities.
This thesis aims at uncovering that phenomenon, but focuses mainly on the identification and analysis of a secondary body of visual production that has resulted from the existence of fursuiting: the work produced by contemporary Canadian and American visual artists that uses fursuiting as a theme. This body of work has never been examined as a whole.
(1) Giorgio Agamben, The Open: Man and Animal, trans. Kevin Attell (Stanford, California: Stanford University Press, 2003), 21.
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Chiang, Ssu-Hui, and 江思慧. "The study of anthropomorphism in Taiwanese animal folktales based on references." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/14537241217935788160.
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碩士國立東華大學
中國語文學系
99
The study of anthropomorphism in Taiwanese animal folktales based on references ABSTRACT The thesis is composed of five chapters. Chapter 1 Introduction The Introduction consisted of the purpose of motion and methods. Discussing related references 、introducing the framework of study and defining the anthropomorphic animal folktales would be carried out in this section. We defined the anthropomorphic animal folktales by scholars, who defined and explained the animal folktales, to clarify the position of anthropomorphic animal folktales in literatures, expecting to present the intrinsic value of anthropomorphic animal folktales. Chapter 2 The analysis of anthropomorphic animal folktales of Animal-Animal Interactions After being anthropomorphized, the way animals in folktales behave is as emotional and having thoughts as human being, which is as colorful and exciting as human society. This section was evolved by anthropomorphic animal folktales dividing into two parts: The first part : The story of animals fighting with each other. The second part: The story of animals cooperation. Chapter 3 The analysis of anthropomorphic animal folktales of Human-Animal Interactions There has been a slight relationship between human being and animals and filled with lots of emotions and controversies between the two, particularly animals being anthropomorphized. Therefore, the story of this section, which the interaction between animals and human being in anthropomorphic animal folktales, was divided into four parts: The first part : The story of animals helping human being The second part : The story of human being helping animals The third part : The story of relationship between animals and human being The four part : The story of fight between animals and human being Chapter 4 The intrinsic value of Taiwanese animal folktales Taiwan has its unique historical background as well as geographical environment, such as unstable ruling authority、 immigration accepted and island country`s unique geography. Therefore, anthropomorphic animal folktales reflected the viewpoint of the background of history and geography mentioned above, including covering the diversity of different countries, reflecting the different life style between Taiwanese、 Hakkaness and Aborigine, presenting the individual characteristics of Taiwan. Moreover, in terms of the value of this study, it offered more details and materials for literature creation and had the function of being educated and entertainment. Chapter 5 Conclusion The results of the study of anthropomorphism in Taiwanese animal folktales was being reviewed and came up with future plans in this section. The purpose of review results was to hope to present the facts and results of anthropomorphism in Taiwanese animal folktales more clearer. The future plans was to look forward to being more concerned and emphasized and continuing the research about this study.
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LIN, PEI-YI, and 林沛儀. "A study of the inspirational characteristics apply to the creative illustrations of anthropomorphic animal portraits." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/87742974911854917258.
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碩士中國科技大學
視覺傳達設計系
104
Modern people have long-term lived under pressure, accumulating negative emotions in both body and soul, and these feelings often need to express in different ways. Many people are willing to accept painting as an relaxation method for body and soul which makes the recent popular word “inspirational “ in Taiwan be applied in the field of illustration, widely used in things around, and make modern people’s pressure relief appropriately. In many illustration types, there are many pet styling themes. According to a survey in 2013 by Pollister on-line market research company shows that on average nearly half of people keep pets, the survey indicates that there are many advantages of keeping pets, and health status is better while living with pets. In the mass media, the animals’ styles are applied more variously. Meanwhile, animals as anthropomorphic roles are numerous, they are applied in many story books, advertisements, company images, and so on. They get consumers’ responses, the works give the animals vitalities just like human, and make the viewers have empathy emotions to the animals as to human beings. This study uses “animal” as the creative theme, invites experts to classify the inspirational works, and defines the inspirational by using expert interview method, then analysis the characters of inspirational patterns by using image analysis. I use the result of the study to present the inspirational 15 illustrations, the anthropomorphic cat family to present their warm life, and living theme to present the works. The works are sorted by the lifetime experience of family, friendship, love, and state of mind. This series of works had been displayed at Hsinchu Railway Art Village for five days. During the exhibition, the works and the viewers interacted and communicated very well and got good evaluations and great achievements.
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Rowe, AJ. "Poodle-isation : a personal response to animal modification." Thesis, 2012. https://eprints.utas.edu.au/16299/3/whole-rowe-thesis-2012.pdf.
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Poodle-isation: A personal response to animal modification is a project inspired by personal anecdote: an empathic encounter with a show poodle, a creature with a complex history of having its appearance modified to satisfy humans. In this project I examine the encounter to discover it is the poodle’s ability and willingness to transform from non‐show poodle to show poodle that I identify with in my experiences as a young daughter. Poodle-isation represents my conceptualisation of the experience that I define as 'a woman’s empathetic self-identification with a show poodle, particularly its "desire" to please its primary caregiver through compliance’. I bring to my investigation the belief that the actions and responses of the caregiver and poodle, mother and daughter are motivated by love and affection contributing to the development of the concept’s key principles - performance, compliancy and control, and explore this via the writings of Yi-Fu Tuan. The project is an investigation into how an empathic response to another species influences the creation of my artwork within the sculpture studio, arguing the intention of my art practice lies with the modification of my appearance and not the anthropomorphism of the poodle’s. Examination of the use of terms poodle-isation, poodle-ise and poodle in historical and contemporary language, establishes a point of difference with my adaptation of the term, including the identification of and reliance upon the positive qualities and attributes of this dog breed. The project is inspired by contemporary artists whose realistic interpretations of the poodle evoke non-stereotypical responses (for example Banksy, Kate Ellis, and Dominic McGill), whilst appreciating the reliance other artists have upon the enduring stereotypes associated with the poodle to express ideas associated with the identification of female gender (for example Katharina Fritsch and Martin Eder). The artwork of Polly Verity inspired creative thought about my choice, use and methods of working with various media and was especially relevant to understanding the psychological implications associated with the creation of my welded forms and using shadows within the final presentation. The identification and creation of symbols, motifs and the representation of various sources of inspiration (for example, dog shows, topiary, cynocephali, indicators of femininity and vintage poodle memorabilia), contribute to the appreciation of similarities between show poodles and my experience as a young daughter.
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Hortle, EG. "Writing the nonhuman : The octopus and I : anthropomorphism and posthumanism in narrative." Thesis, 2018. https://eprints.utas.edu.au/30013/1/Hortle_whole_thesis.pdf.
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Representing a nonhuman animal consciousness in literature is problematic, because we human animals cannot know what nonhuman animals think, or indeed, how nonhuman animals think. This means that when we imagine a nonhuman animal consciousness, we have no choice but to use the tool we have available to us: human language. By shaping nonhuman animal thought with human language, we anthropomorphise the animal: we shape (morphos) its internal sequences with human (anthropos) language.
This thesis mobilises recent debates in critical animal studies and posthumanism as a conceptual framework to investigate anthropomorphism as a narrative device. Drawing upon Bruno Latour’s conceptualisation of text as an anthropomorphous construct, and theoretical debates in the humanities spearheaded by Jacques Derrida, Cary Wolfe and Donna J. Haraway, which challenge structures of human privilege organised around a narrow and implicitly ableist conceptualisation of the human subject, this thesis contends that while a piece of writing will be anthropomorphic on a very fundamental level, it does not mean that it must be anthropocentric, and does not mean that it must serve or reify the speciest logic of humanism. Rather, the act of shaping nonhuman animal consciousness with human language forces us to bump up against the limits of humanism and so see the structure for what it is: a historically specific model of both comprehending the world and maintaining the supremacy of a specific idea of Man.
This thesis is part exegesis, part artefact, and the two uneven halves are foreshadowed by an introduction. The exegesis is a theoretical meditation on anthropomorphism’s humanist and posthumanist potential. It takes as its case study Cerdiwen Dovey’s collection of short stories, Only the Animals—a sustained, creative examination of anthropomorphism as both a literary device and thematic concept. The novel is a story about a breast cancer survivor, some other humans, some mutton birds (or short-tailed shearwaters), some Australian fur seals, and some octopuses who make Eaglehawk Neck, on the Tasman Peninsula, and its surrounding waters, their home. While the majority of the novel is focalised through its human characters, this narrative is crosshatched with stories focalised through the nonhuman animals whose lives brush up against the lives of those humans. It is driven by the following questions: how might anthropomorphism, as a literary device, produce a posthumanist frame for, or thread of, the narrative? In other words, what might these anthropomorphic animal stories do to the larger human-focussed, or anthropocentric, narrative? How might they unleash new or different ways of experiencing the story? The novel is titled The Octopus and I.
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KAO, Chia-Yu, and 高嘉妤. "The investigates the difference between Anthropomorphism and Theriomorphism for animate character － Description of “Doll Love”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/66913623637803589836.
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碩士國立臺南藝術大學
動畫藝術與影像美學研究所
103
The thesis investigates the difference between Anthropomorphism and Theriomorphism for animate character－Description of “Doll Love” .Based on the survey of Anthropomorphism and Theriomorphism in USA and Japan animations, the characteristic, style and usage of Anthropomorphism and Theriomorphism are analyzed and classified. The theme of the story is “gain and loss”. Use the characters of “Anthropomorphism” and “Theriomorphism”, recording the process, and the final presentation is the researcher’s animation “Doll Love”. The thesis is organized as the following. Chapter 1 introduces the motivation, methodology and the architecture of the creative work “Doll Love.” Chapter 2 describes the history of animations, and defines, classifies, and analyzes Anthropomorphism and Theriomorphism used worldwide. Chapter 3 depicts the production of “Doll Love” and shows how Anthropomorphism and Theriomorphism are used. Finally, conclusion and future works are described in Chapter 4.
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Carstens, Michelle Santos. "Healing paws: animals in the work-place assisting with stress management." Diss., 2013. http://hdl.handle.net/10500/12063.
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The importance of stress management is emphasized throughout this study as well as the need to cater stress management programmes to the unique needs of individuals. The possibility of introducing an animal-assisted stress management programme into the work environment is explored by means of a qualitative study in order to test out the feasibility of such an intervention. The positive physical and psychological effects animals have on humans has been extensively researched and reported. Eleven participants were randomly chosen from within the same department by means of purposive sampling. Semi-structured interviews were held with each participant and thematic analysis was used to analyse the transcribed interviews. Various themes were identified and explored with the most prominent highlighting the need for privacy, respect and connection. Although animals do have positive effects on some employees, there are individual differences that need to be considered. An electronic animal-assisted stress management intervention is recommended.Psychology
M.A. (Psychology)
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Nachlingerová, Jana. "Ilustrace v české knize pro děti. Obraz zvířete." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-297415.
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Nachlingerová, J.: Illustration in Czech children's books. Animal's picture /Thesis/ Praha 2010 Charles university, Pedagogical faculty, department of art, number of pages 65 The illustrations in Czech book for children with concentration to picture of animal in illustration and literary texts create main subject of this Thesis. The work finds out various methods of animal illustrations within general illustrator approaches, it gets around of selected principal representatives of the Czech illustration. It looks at current production of books for children in their positive and negative aspects, it follows the efforts to look after the "belles-lettres" as well as unvalued production connected with irresponsibility towards the children's readers. It maps, on the background of magnificent books about animals, the current illustrators trying to present creatively ambitious illustration. Key words: illustration, animal, role of the animal in children's book, anthropomorphism, illustrative attitude, principal representatives of the Czech illustration, book, current production of children's books, "belle-lettre", kitsch, publishing house, current illustrators