Birds And Creaturely Hierarchies In Renaissance Literature

This book explores how humans in the Renaissance lived with, attended to, and considered the minds, feelings, and sociality of other creatures. It examines how Renaissance literature and natural history display an unequal creaturely world: all creatures were categorized hierarchically. However, post-Cartesian readings of Shakespeare and other Renaissance literature have misunderstood Renaissance hierarchical creaturely relations, including human relations. Using critical animal studies work and new materialist theory, Bach argues that attending closely to creatures and objects in texts by Shakespeare and other writers exposes this unequal world and the use and abuse of creatures, including people. The book also adds significantly to animal studies by showing how central bird sociality and voices were to Renaissance human culture, with many believing that birds were superior to some humans in song, caregiving, and companionship. Bach shows how Descartes, a central figure in the transition to modern ideas about creatures, lived isolated from humans and other creatures and denied ancient knowledge about other creatures' minds, especially bird minds. As significantly, Bach shows how and why Descartes' ideas appealed to human grandiosity. Asking how Renaissance categorizations of creatures differ so much from modern classifications, and why those modern classifications have shaped so much animal studies work, this book offers significant new readings of Shakespeare's and other Renaissance texts. It will contribute to a range of fields, including Renaissance literature, history, animal studies, new materialism, and the environmental humanities.

This book explores how humans in the Renaissance lived with, attended to, and considered the minds, feelings, and sociality of other creatures. It examines how Renaissance literature and natural history display an unequal creaturely world: all creatures were categorized hierarchically. However, post-Cartesian readings of Shakespeare and other Renaissance literature have misunderstood Renaissance hierarchical creaturely relations, including human relations. Using critical animal studies work and new materialist theory, Bach argues that attending closely to creatures and objects in texts by Shakespeare and other writers exposes this unequal world and the use and abuse of creatures, including people. The book also adds significantly to animal studies by showing how central bird sociality and voices were to Renaissance human culture, with many believing that birds were superior to some humans in song, caregiving, and companionship. Bach shows how Descartes, a central figure in the transition to modern ideas about creatures, lived isolated from humans and other creatures and denied ancient knowledge about other creatures’ minds, especially bird minds. As significantly, Bach shows how and why Descartes’ ideas appealed to human grandiosity. Asking how Renaissance categorizations of creatures differ so much from modern classifications, and why those modern classifications have shaped so much animal studies work, this book offers significant new readings of Shakespeare’s and other Renaissance texts. It will contribute to a range of fields, including Renaissance literature, history, animal studies, new materialism, and the environmental humanities.

This encyclopaedic account of animals in Shakespeare's plays and poems, provides readers with a much-needed resource by which to navigate the recent outpouring of critical and historical work on the topic. This dictionary extends its coverage to include insects, fish and mythic creatures, as well as the places, practices and lore pertaining to all animal-oriented experiences of early modern life. It emphasizes the role of animality in defining character, and is attentive to the instabilities of the human-animal boundary as they were theatrically represented, exploited and interrogated, but it is also concerned with the material presence of animals on stage and in everyday life in Shakespeare's world. The volume is a new tool for instructors, but is also a resource for critics and scholars in the many disciplines engaged with animal studies, posthumanist theory, ecostudies and cultural studies.

How does coding change the way we think about architecture? This question opens up an important research perspective. In this book, Miro Roman and his AI Alice_ch3n81 develop a playful scenario in which they propose coding as the new literacy of information. They convey knowledge in the form of a project model that links the fields of architecture and information through two interwoven narrative strands in an “infinite flow” of real books. Focusing on the intersection of information technology and architectural formulation, the authors create an evolving intellectual reflection on digital architecture and computer science.

Argues for the necessity of a re-articulation of the differences that separated man from other forms of life. The essays in this collection argue for recognition of the persistently indistinct nature of humans, who cannot be finally divided ontologically or epistemologically from other forms of matter.

Gorgeous Beasts takes a fresh look at the place of animals in history and art. Refusing the traditional subordination of animals to humans, the essays gathered here examine a rich variety of ways animals contribute to culture: as living things, as scientific specimens, as food, weapons, tropes, and occasions for thought and creativity. History and culture set the terms for this inquiry. As history changes, so do the ways animals participate in culture. Gorgeous Beasts offers a series of discontinuous but probing studies of the forms their participation takes. This collection presents the work of a wide range of scholars, critics, and thinkers from diverse disciplines: philosophy, literature, history, geography, economics, art history, cultural studies, and the visual arts. By approaching animals from such different perspectives, these essays broaden the scope of animal studies to include specialists and nonspecialists alike, inviting readers from all backgrounds to consider the place of animals in history and art. Combining provocative critical insights with arresting visual imagery, Gorgeous Beasts advances a challenging new appreciation of animals as co-inhabitants and co-creators of culture. Aside from the editors, the contributors are Dean Bavington, Ron Broglio, Mark Dion, Erica Fudge, Cecilia Novero, Harriet Ritvo, Nigel Rothfels, Sajay Samuel, and Pierre Serna.

This book surveys a broad range of contemporary texts to show how representations of human-animal relations challenge the anthropocentric nature of fiction. By looking at the relation between language and suffering in twenty-first-century fiction and drawing on a wide range of theoretical approaches, Baker suggests new opportunities for exploring the centrality of nonhuman animals in recent fiction: writing animal lives leads to new narrative structures and forms of expression. These novels destabilise assumptions about the nature of pain and vulnerability, the burden of literary inheritance, the challenge of writing the Anthropocene, and the relation between text and image. Including both well-known authors and emerging talents, from J.M. Coetzee and Karen Joy Fowler to Sarah Hall, Alexis Wright, and Max Porter, and texts from experimental fiction to work for children, Writing Animals offers an original perspective on both contemporary fiction and the field of literary animal studies.

Originally published in 1983, Leo Steinberg's classic work has changed the viewing habits of a generation. After centuries of repression and censorship, the sexual component in thousands of revered icons of Christ is restored to visibility. Steinberg's evidence resides in the imagery of the overtly sexed Christ, in Infancy and again after death. Steinberg argues that the artists regarded the deliberate exposure of Christ's genitalia as an affirmation of kinship with the human condition. Christ's lifelong virginity, understood as potency under check, and the first offer of blood in the circumcision, both required acknowledgment of the genital organ. More than exercises in realism, these unabashed images underscore the crucial theological import of the Incarnation. This revised and greatly expanded edition not only adduces new visual evidence, but deepens the theological argument and engages the controversy aroused by the book's first publication.