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What Animals Mean in the Fiction of Modernity argues that nonhuman animals, and stories about them, have always been closely bound up with the conceptual and material work of modernity. In the first half of the book, Philip Armstrong examines the function of animals and animal representations in four classic narratives: Robinson Crusoe, Gulliver's Travels, Frankenstein and Moby-Dick. He then goes on to explore how these stories have been re-worked, in ways that reflect shifting social and environmental forces, by later novelists, including H.G. Wells, Upton Sinclair, D.H. Lawrence, Ernest Hemingway, Franz Kafka, Brigid Brophy, Bernard Malamud, Timothy Findley, Will Self, Margaret Atwood, Yann Martel and J.M. Coetzee.What Animals Mean in the Fiction of Modernity also introduces readers to new developments in the study of human-animal relations. It does so by attending both to the significance of animals to humans, and to animals’ own purposes or designs; to what animals mean to us, and to what they mean to do, and how they mean to live.--publisher.

Fiction --- Thematology --- English literature --- Animals in literature --- English fiction --- American fiction --- Human-animal relationships in literature --- Animals --- Modernism (Literature) --- History and criticism --- Social aspects --- 82.091 --- 82.04 --- 820 "17/19" --- Vergelijkende literatuurstudie --- Literaire thema's --- Engelse literatuur--?"17/19" --- 820 "17/19" Engelse literatuur--?"17/19" --- 82.04 Literaire thema's --- 82.091 Vergelijkende literatuurstudie --- English fiction - History and criticism --- American fiction - History and criticism --- Animals - Social aspects --- Modernism (Literature) - Great Britain --- Modernism (Literature) - United States --- Animals in literature. --- Human-animal relationships in literature. --- History and criticism. --- Social aspects.

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Drama --- Gaze in literature. --- Psychoanalysis and literature --- Psychology in literature. --- Tragedy. --- Visual perception in literature. --- Psychological aspects.

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In recent decades the humanities and social sciences have undergone an ‘animal turn’, an efflorescence of interdisciplinary scholarship which is fresh and challenging because its practitioners consider humans as animals amongst other animals, while refusing to do so from an exclusively or necessarily biological point of view. Knowing Animals showcases original explorations of the ‘animal turn’ by new and eminent scholars in philosophy, literary criticism, art history and cultural studies. The essays collected here describe a lively bestiary of cultural organisms, whose flesh is (at least partly) conceptual and textual: paper tigers, beast fables, anthropomorphs, humanimals, l’animot. In so doing, they investigate the benefits of knowing animals differently: more closely, less definitively, more carefully, less certainly. Contributors include: Laurence Simmons, Alphonso Lingis, Barbara Creed, Tanja Schwalm, Philip Armstrong, Annie Potts, Allan Smith, Ricardo De Vos, Catharina Landström, Brian Boyd, Helen Tiffin, Ian Wedde.

Animal behavior. --- Anthropomorphism. --- Human-animal relationships. --- Symbolism --- God --- Animal-human relationships --- Animal-man relationships --- Animals and humans --- Human beings and animals --- Man-animal relationships --- Relationships, Human-animal --- Animals --- Animals, Habits and behavior of --- Behavior, Animal --- Ethology --- Animal psychology --- Zoology --- Ethologists --- Psychology, Comparative --- Corporeality --- Behavior --- Human-animal relationships --- Animal behavior --- Anthropomorphism

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"Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions"-- "Originally written for an exhibition Jean-Luc Nancy curated at the Museum of Fine Arts in Lyon in 2007, this book addresses the medium of drawing in light of the question of form--of form in its formation, as a formative force, as a birth to form. In this sense, drawing opens less toward its achievement, intention, and accomplishment than toward a finality without end and the infinite renewal of ends, toward lines of sense marked by tracings, suspensions, and permanent interruptions. Recalling that drawing and design were once used interchangeably, Nancy notes that "drawing" designates a design that remains without project, plan, or intention. His argument offers a way of rethinking a number of historical terms (sketch, draft, outline, plan, mark, notation), which includes rethinking drawing in its graphic, filmic, choreographic, poetic, melodic, and rhythmic sense. If drawing is not reducible to any form of closure, it never resolves a tension specific to drawing but allows the pleasure of drawing to come into appearance, which is also the pleasure in drawing, the gesture of a desire that remains in excess of all knowledge. Situating drawing in these terms, Nancy engages a number of texts in which Freud addresses the force of desire in the rapport between aesthetic and sexual pleasure, texts that also turn around the same questions concerning form in its formation, form as a formative force. Between the sections of the text, Nancy has placed a series of "sketchbooks" on drawing, composed of a broad range of quotations on art from different writers, artists, or philosophers"--

Drawing --- Philosophy

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