Animal Others

Animal Others brings together original contributions that explore the status of animals from the continental philosophy perspective. Examined are the moral status of animals, the question of animal minds, an understanding of what it is to be an animal and what it is to be with an animal, as well as the roles animals play in the work of philosophers such as Husserl, Heidegger, Nietzsche, Merleau-Ponty, and Derrida. Those already immersed in continental philosophy will find the subject matter of the animal to be a new interest and a promising new venture. Analytic philosophers and other academics will be rewarded by a different approach to old questions, while the general reader interested in animal rights issues will discover new arguments to back up their positions and fresh challenges which may question long-held beliefs. Contributors include Ralph R. Acampora, Elizabeth A. Behnke, Lynda Birke, Carleton Dallery, James G. Hart, Monika Langer, Steven W. Laycock, Alphonso Lingis, William McNeill, Luciana Parisi, H. Peter Steeves, and David Wood.

Explores questions concerning animals from a continental perspective.

Jacques Derrida's final seminars were devoted to animal life and political sovereignty—the connection being that animals slavishly adhere to the law while kings and gods tower above it and that this relationship reveals much about humanity in the West. David Farrell Krell offers a detailed account of these seminars, placing them in the context of Derrida's late work and his critique of Heidegger. Krell focuses his discussion on questions such as death, language, and animality. He concludes that Heidegger and Derrida share a commitment to finding new ways of speaking and thinking about human and animal life.

Animal Subjects: An Ethical Reader in a Posthuman World (WLU Press, 2008) challenged cultural studies to include nonhuman animals within its purview. While the “question of the animal” ricochets across the academy and reverberates within the public sphere, Animal Subjects 2.0 builds on the previous book and takes stock of this explosive turn. It focuses on both critical animal studies and posthumanism, two intertwining conversations that ask us to reconsider common sense understandings of other animals and what it means to be human. This collection demonstrates that many pressing contemporary social problems—how and why the oppression and exploitation of our species persist—are entangled with our treatment of other animals and the environment. Decades into the interrogation of our ethical and political responsibilities toward other animals, fissures within the academy deepen as the interest in animal ethics and politics proliferates. Although ideological fault lines have inspired important debates about how to address the very material concerns informing these theoretical discussions, Animal Subjects 2.0 brings together divergent voices to suggest how to foster richer human–animal relations, and to cultivate new ways of thinking and being with the rest of animalkind. This collection demonstrates that appreciation of difference, not just similarity, is necessary for a more inclusive and compassionate world. Linking issues of gender, disability, culture, race, and sexuality into species, Animal Subjects 2.0 maps vibrant developments in the emergent fields of critical animal studies and posthumanist thought.

"Animal Metropolis includes a diverse array of work on the historical study of human-animal relations in Canada. In doing so, it aims to create a starting point for an ongoing conversation about the place of animals in historical analysis and, in turn, about the way issues regarding animals fit into Canada's political, social, cultural, economic, environmental and ethical landscapes. One of the most striking aspects of this collection is its capacity to present a wide variety of topics, sources and methodologies within a tightly focused theme. The sources employed in these articles cover a broad spectrum, from state and legal documents to the popular press, from corporate records and NGO reports to personal diaries, and from materials on industrial agriculture to those of the tourism industry. Even more compelling than the sources are the methodological issues that the collection raises. One of our key objectives is to highlight the sheer diversity of approaches historians are employing in their efforts to analyze non-human subjects that do not produce documentary records of their own. By focusing explicitly on urban contexts the book aims deliberately to cleave from a more obvious focus on wild animals and the wilderness environment that are so iconic to Canada. Readers will be impressed by the range of creatures, both domestic and wild: from horses and dogs to beavers and wolves to whales, fish, polar bears and captive elephants. Covering small and larger regions, and in some instances the nation as a whole, the collection offers impressive breadth in scope. Varying widely in the lenses through which human-animal relations are viewed, it brings to the forefront the contemporary as well as the historical dimensions of the issues it raises."--

Explores the evolving and diverse ways in which humans and animals interact, from blood sports to pet keeping

Shortlisted for the Booker Prize, "Animal's People" is by turns a profane, scathingly funny, and piercingly honest tale of a boy so badly damaged by the poisons released during a chemical plant leak that he walks on all fours.

A New York Times bestseller? Oh, you know the dogs weren't going to let the cats get away with that! This canine companion to I Could Pee on This, the beloved volume of poems by cats, I Could Chew on This will have dog lovers laughing out loud. Doggie laureates not only chew on quite a lot of things, they also reveal their creativity, their hidden motives, and their eternal (and sometimes misguided) effervescence through such musings as "I Dropped a Ball," "I Lose My Mind When You Leave the House," and "Can You Smell That?" Accompanied throughout by portraits of the canine poets in all their magnificence, I Could Chew on This is a work of unbridled enthusiasm, insatiable appetite, and, yes, creative genius. Plus, this is a fixed-format version of the book, which looks nearly identical to the print version.