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This collection examines changing perceptions of and relations between humans and nonhuman animals in Britain. As the contributors pose questions related to modes of representing animals and animal-human hybrids, Gulliver's Travels and works by Mary and Percy Shelley emerge as key texts. The volume will interest scholars, students, and general readers concerned with the representation of animals and ethical issues raised by the human uses of other animals.
Combining historical and interpretive work, this collection examines changing perceptions of and relations between human and nonhuman animals in Britain over the long eighteenth century. Persistent questions concern modes of representing animals and animal-human hybrids, as well as the ethical issues raised by the human uses of other animals. From the animal men of Thomas Rowlandson to the part animal-part human creature of Victor Frankenstein, hybridity serves less as a metaphor than as a metonym for the intersections of humans and other animals. The contributors address such recurring questions as the implications of the Enlightenment project of naming and classifying animals, the equating of non-European races and nonhuman animals in early ethnographic texts, and the desire to distinguish the purely human from the entirely nonhuman animal. Gulliver's Travels and works by Mary and Percy Shelley emerge as key texts for this study. The volume will be of interest to scholars and students who work in animal, colonial, gender, and cultural studies; and will appeal to general readers concerned with the representation of animals and their treatment by humans.
The Rise of Animals and the Descent of Man illuminates compelling historical connections between a current fascination with animal life and the promotion of the moral status of non-human animals as ethical subjects deserving our attention and respect, and a deep interest in the animal as agent in eighteenth-century literate culture. It explores how writers, including well-known poets, important authors who mixed art and science, and largely forgotten writers of sermons and children’s stories all offered innovative alternatives to conventional narratives about the meaning of animals in early modern Europe. They question Descartes’ claim that animals are essentially soulless machines incapable of thought or feelings. British writers from 1660-1800 remain informed by Cartesianism, but often counter it by recognizing that feelings are as important as reason when it comes to defining animal life and its relation to human life. This British line of thought deviates from Descartes by focusing on fine feeling as a register of moral life empowered by sensibility and sympathy, but this very stance is complicated by cultural fears that too much kindness to animals can entail too much kinship with them—fears made famous in the later reaction to Darwinian evolution. The Riseof Animals uncovers ideological tensions between sympathy for animals and a need to defend the special status of humans from the rapidly developing Darwinian perspective. The writers it examines engage in complex negotiations with sensibility and a wide range of philosophical and theological traditions. Their work anticipates posthumanist thought and the challenges it poses to traditional humanist values within the humanities and beyond. The Rise of Animals is a sophisticated intellectual history of the origins of our changing attitudes about animals that at the same time illuminates major currents of eighteenth-century British literary culture.
European culture in the seventeenth and eighteenth centuries witnessed a radical redefinition of 'humanity' and its place in the environment, together with a new understanding of animals and their relation to humans. In examining the dynamics of animal-human relations as embodied in the literature, art, farming practices, natural history, religion and philosophy of this period, leading experts explore the roots of much current thinking on interspecies morality and animal welfare. The animal-human relationship challenged not only disciplinary boundaries - between poetry and science, art and animal husbandry, natural history and fiction - but also the basic assumptions of human intellectual and cultural activity, expression, and self-perception. This is specifically apparent in the re-evaluation of sentiment and sensibility, which constitutes a major theme of this chronologically organised volume. Authors engage with contemporary reactions to the commodification of animals during the period of British imperialism, tracing how eighteenth-century ecological consciousness and notions of animal identity and welfare emerged from earlier, traditional models of the cosmos, and reassessing late eighteenth-century poetic representations of the sentimental encounter with the animal other. They show how human experience was no longer viewed as an iterative process but as one continually shaped by the other. In concluding chapters authors highlight the political resonances of the animal-human relationship as it was used both to represent and to redress the injustices between humans as well as between humans and animals. Through a multifaceted study of eighteenth-century European culture, authors reveal how the animal presence - both real and imagined - forces a different reading not only of texts but also of society.
How did humans respond to the eighteenth-century discovery of countless new species of animals? This book explores the gamut of human-animal interactions: from love to cultural identifications, moral reflections, philosophical debates, classification systems, mechanical copies, insults and literary creativity.
In this study of the relationship between men and their horses in seventeenth- and eighteenth-century England, Monica Mattfeld explores the experience of horsemanship and how it defined one’s gendered and political positions within society. Men of the period used horses to transform themselves, via the image of the centaur, into something other—something powerful, awe-inspiring, and mythical. Focusing on the manuals, memoirs, satires, images, and ephemera produced by some of the period’s most influential equestrians, Mattfeld examines how the concepts and practices of horse husbandry evolved in relation to social, cultural, and political life. She looks closely at the role of horses in the world of Thomas Hobbes and William Cavendish; the changes in human social behavior and horse handling ushered in by elite riding houses such as Angelo’s Academy and Mr. Carter’s; and the public perception of equestrian endeavors, from performances at places such as Astley’s Amphitheatre to the satire of Henry William Bunbury. Throughout, Mattfeld shows how horses aided the performance of idealized masculinity among communities of riders, in turn influencing how men were perceived in regard to status, reputation, and gender. Drawing on human-animal studies, gender studies, and historical studies, Becoming Centaur offers a new account of masculinity that reaches beyond anthropocentrism to consider the role of animals in shaping man.
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.
In the 1723 Journal of a Voyage up the Gambia, an English narrator describes the native translators vital to the expedition's success as being "Black as Coal." Such a description of dark skin color was not unusual for eighteenth-century Britons—but neither was the statement that followed: "here, thro' Custom, (being Christians) they account themselves White Men." The Complexion of Race asks how such categories would have been possible, when and how such statements came to seem illogical, and how our understanding of the eighteenth century has been distorted by the imposition of nineteenth and twentieth century notions of race on an earlier period. Wheeler traces the emergence of skin color as a predominant marker of identity in British thought and juxtaposes the Enlightenment's scientific speculation on the biology of race with accounts in travel literature, fiction, and other documents that remain grounded in different models of human variety. As a consequence of a burgeoning empire in the second half of the eighteenth century, English writers were increasingly preoccupied with differentiating the British nation from its imperial outposts by naming traits that set off the rulers from the ruled; although race was one of these traits, it was by no means the distinguishing one. In the fiction of the time, non-European characters could still be "redeemed" by baptism or conversion and the British nation could embrace its mixed-race progeny. In Wheeler's eighteenth century we see the coexistence of two systems of racialization and to detect a moment when an older order, based on the division between Christian and heathen, gives way to a new one based on the assertion of difference between black and white.
This book argues that the movement to protect animals from cruelty never lost its essentially anthropocentric outlook. The author also comprehensively documents the changing place of animals in human life.
What did British people in the late eighteenth century think and feel about their relationship to nonhuman animals? This book shows how an appreciation of human-animal similarity and a literature of compassion for animals developed in the same years during which radical thinkers were first basing political demands on the concept of natural and universal human rights. Some people began to conceptualise animal rights as an extension of the rights of man and woman. But because oppressed people had to insist on their own separation from animals in order to claim the right to a full share in human privileges, the relationship between human and animal rights was fraught and complex. This book examines that relationship in chapters covering the abolition movement, early feminism, and the political reform movement. Donkeys, pigs, apes and many other literary animals became central metaphors within political discourse, fought over in the struggle for rights and freedoms; while at the same time more and more writers became interested in exploring the experiences of animals themselves. We learn how children's writers pioneered narrative techniques for representing animal subjectivity, and how the anti-cruelty campaign of the early 1800s drew on the legacy of 1790s radicalism. Coleridge, Wordsworth, Clare, Southey, Blake, Wollstonecraft, Equiano, Dorothy Kilner, Thomas Spence, Mary Hays, Ignatius Sancho, Anna Letitia Barbauld, John Oswald, John Lawrence, and Thomas Erskine are just a few of the writers considered. Along with other canonical and non-canonical writers of many disciplines, they placed nonhuman animals at the heart of British literature in the age of the French Revolution.