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THE ANIMAL IN ME is a picture book for all ages, from toddlers who are just learning to turn pages, to eager, first-time readers. This richly illustrated book encourages children to imagine just what kind of animal they most resemble when they are hungry, sleepy, playing, or even screaming. Animated imagery by award-winning photographer Thomas D. Mangelsen will have children participating in story time and even making up their own scenarios. From hummingbirds to tigers, chipmunks to swans, creatures and their unique behaviors are colorful and fun examples for children to learn more about themselves and the natural world around them.
This unique book brings together research and theorizing on human-animal relations, animal advocacy, and the factors underlying exploitative attitudes and behaviors towards animals. Why do we both love and exploit animals? Assembling some of the world’s leading academics and with insights and experiences gleaned from those on the front lines of animal advocacy, this pioneering collection breaks new ground, synthesizing scientific perspectives and empirical findings. The authors show the complexities and paradoxes in human-animal relations and reveal the factors shaping compassionate versus exploitative attitudes and behaviors towards animals. Exploring topical issues such as meat consumption, intensive farming, speciesism, and effective animal advocacy, this book demonstrates how we both value and devalue animals, how we can address animal suffering, and how our thinking about animals is connected to our thinking about human intergroup relations and the dehumanization of human groups. This is essential reading for students, scholars, and professionals in the social and behavioral sciences interested in human-animal relations, and will also strongly appeal to members of animal rights organizations, animal rights advocates, policy makers, and charity workers.
Maxan, a cunning fox, stalks the Leoran capital city of Crosswall as a “shadow”—a lone operative for the city guard who must never be seen or heard, and never engage with the enemy. But when he’s caught in an explosion that levels a city block, the fox ignores his mission and retrieves a dangerous artifact that could bring the whole planet of Herbridia to its knees: the relay, a weapon that turns civilized animals into savage beasts. Maxan must fight to keep the mysterious relay from falling into the hands of those who would abuse its power. There’s just one problem: he doesn’t know who to trust, or why he alone is immune to the deadliest weapon in the world. With Leora on the brink of a massive civil war, can Maxan find his allies in time to save animalkind from itself?
Peter Sahlins’s brilliant new book reveals the remarkable and understudied “animal moment” in and around 1668 in which authors (including La Fontaine, whose Fables appeared in that year), anatomists, painters, sculptors, and especially the young Louis XIV turned their attention to nonhuman beings. At the center of the Year of the Animal was the Royal Menagerie in the gardens of Versailles, dominated by exotic and graceful birds. In the remarkable unfolding of his original and sophisticated argument, Sahlins shows how the animal bodies of the menagerie and others (such as the dogs and lambs of the first xenotransfusion experiments) were critical to a dramatic rethinking of governance, nature, and the human. The animals of 1668 helped to shift an entire worldview in France — what Sahlins calls Renaissance humanimalism — toward more modern expressions of Classical naturalism and mechanism. In the wake of 1668 came the debasement of animals and the strengthening of human animality, including in Descartes’s animal-machine, highly contested during the Year of the Animal. At the same time, Louis XIV and his intellectual servants used the animals of Versailles to develop and then to transform the symbolic language of French absolutism. Louis XIV came to adopt a model of sovereignty after 1668 where his absolute authority is represented in manifold ways with the bodies of animals and justified by the bestial nature of his human subjects. 1668: The Year of the Animal in France explores and reproduces the king’s animal collections — in printed text, weaving, poetry, and engraving, all seen from a unique interdisciplinary perspective. Sahlins brings the animals of 1668 together and to life as he observes them critically in their native habitats — within the animal palace itself by Louis Le Vau, the paintings and tapestries of Charles Le Brun, the garden installations of André Le Nôtre, the literary work of Charles Perrault and the natural history of his brother Claude, the poetry of Madeleine de Scudéry, the philosophy of René Descartes, the engravings of Sébastien Leclerc, the trans_fusion experiments of Jean Denis, and others. The author joins the non_human and human agents of 1668 — panthers and painters, swans and scientists, weasels and weavers — in a learned and sophisticated treatment that will engage scholars and students of early modern France and Europe and readers broadly interested in the subject of animals in human history.
The translated, complete text of Derrida’s 1997 ten-hour address, “The Autobiographical Animal,” focusing on the industrialized treatment of animals. The Animal That Therefore I Am is at once an affectionate look back over the multiple roles played by animals in Derrida’s work and a profound philosophical investigation and critique of the relegation of animal life that takes place as a result of the distinction?dating from Descartes?between man as thinking animal and every other living species. That starts with the very fact of the line of separation drawn between the human and the millions of other species that are reduced to a single “the animal.” Derrida finds that distinction, or versions of it, surfacing in thinkers as far apart as Descartes, Kant, Heidegger, Lacan, and Levinas, and he dedicates extended analyses to the question in the work of each of them. The book’s autobiographical theme intersects with its philosophical analysis through the figures of looking and nakedness, staged in terms of Derrida’s experience when his cat follows him into the bathroom in the morning. In a classic deconstructive reversal, Derrida asks what this animal sees and thinks when it sees this naked man. Yet the experiences of nakedness and shame also lead all the way back into the mythologies of “man’s dominion over the beasts” and trace a history of how man has systematically displaced onto the animal his own failings or bêtises. The Animal That Therefore I Am is at times a militant plea and indictment regarding, especially, the modern industrialized treatment of animals. However, Derrida cannot subscribe to a simplistic version of animal rights that fails to follow through, in all its implications, the questions and definitions of “life” to which he returned in much of his later work.
Humans are the most inquisitive, emotional, imaginative, aggressive and baffling animals on the planet. But how well do we really know ourselves? How to Be Animal offers a radical take on what it means to be human and argues that at the heart of our psychology is a profound struggle with being animal. Tracing the history of this thinking through to its far-reaching effects on our lives, and drawing on a range of disciplines, Challenger proposes that being an animal is a process, beautiful and unpredictable, and that we have a chance to tell ourselves a new story; to realise that if we matter, so does everything else.
Despite the recent increase in scholarly activity regarding travel writing and the accompanying proliferation of publications relating to the form, its ethical dimensions have yet to be theorized with sufficient rigour. Drawing from the disciplines of anthropology, linguistics, literary studies and modern languages, the contributors in this volume apply themselves to a number of key theoretical questions pertaining to travel writing and ethics, ranging from travel-as-commoditization to encounters with minority languages under threat. Taken collectively, the essays assess key critical legacies from parallel disciplines to the debate so far, such as anthropological theory and postcolonial criticism. Also considered, and of equal significance, are the ethical implications of the form’s parallel genres of writing, such as ethnography and journalism. As some of the contributors argue, innovations in these genres have important implications for the act of theorizing travel writing itself and the mode and spirit in which it continues to be conducted. In the light of such innovations, how might ethical theory maintain its critical edge?
The Animal in the Synagogue explores Franz Kafka’s sense of being a Jew in the modern world and its literary and linguistic ramifications. It falls into two parts. The first is organized around the theme of Kafka’s complex and often self-derogatory understanding and assessment of his own Jewishness and of the place the modern Jew occupies in “the abyss of the world” (Martin Buber). That part is based on a close reading of Kafka’s correspondence with his Czech lover, Milena Jesenska, and on a meticulous analysis, thematic, stylistic, and structural, of Kafka’s only short story touching openly and directly upon Jewish social and ritual issues, and known as “In Our Synagogue” (the title—not by the author). In both the letters and the short story images of small animals—repulsive, dirty, or otherwise objectionable—are used by Kafka as means of exploring his own manhood and the Jewish tradition at large as he understood it. The second part of the book focuses on Kafka’s place within the complex of Jewish writing of his time in all its three linguistic forms: Hebrew writing (essentially Zionist), Yiddish writing (essentially nationalistic but not committed to Zionism), and the writing, like his, in non-Jewish languages (mainly German) and within the non-Jewish religious and artistic traditions which inhered in them. The essay deals in detail with Kafka’s responses to contemporary Jewish literatures, and his pessimistic evaluation of those literatures’ potential. Essentially, Kafka doubted the sheer possibility of a genuine and culturally tenable compromise (let alone synthesis) between Jewishness and modernity. The book deals with topics and some texts that the flourishing, ever expanding Kafka scholarship has either neglected or misunderstood because most scholars had no real background in either Hebrew or Yiddish studies, and were unable to grasp the nuances and subtle intentions in Kafka’s attitudes toward modern Hebrew and Yiddish literature and their paragons, such as the major Zionist Hebrew poet H.N. Bialik or the Yiddish master Sholem Aleichem.
Reproduction of the original. The publishing house Megali specialises in reproducing historical works in large print to make reading easier for people with impaired vision.