DOCSLIB.ORG

Ethical Encounters Through Rogue Taxidermy Sculpture

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Western University Scholarship@Western Electronic Thesis and Dissertation Repository 8-23-2018 2:45 PM Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture Miranda Niittynen The University of Western Ontario Supervisor Verwaayen, Kim The University of Western Ontario Joint Supervisor Keep, Christopher The University of Western Ontario Graduate Program in Women's Studies and Feminist Research A thesis submitted in partial fulfillment of the equirr ements for the degree in Doctor of FPhilosophyollow this and additional works at: https://ir.lib.uwo.ca/etd © Miranda Niittynen 2018 Part of the Art Practice Commons, Biodiversity Commons, Contemporary Art Commons, Continental Philosophy Commons, Feminist Philosophy Commons, Indigenous Studies Commons, Interdisciplinary Arts and Media Commons, Lesbian, Gay, Bisexual, and Transgender Studies Commons, Museum Studies Commons, Other Arts and Humanities Commons, Other Feminist, Gender, and Sexuality Studies Commons, Other Philosophy Commons, Sculpture Commons, Theory and Criticism Commons, Visual Studies Commons, and the Women's Studies Commons Recommended Citation Niittynen, Miranda, "Un/Dead Animal Art: Ethical Encounters Through Rogue Taxidermy Sculpture" (2018). Electronic Thesis and Dissertation Repository. 5675. https://ir.lib.uwo.ca/etd/5675 This Dissertation/Thesis is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Electronic Thesis and Dissertation Repository by an authorized administrator of Scholarship@Western. For more information, please contact [email protected]. Abstract Beginning in 2004, the Minnesota Association of Rogue Taxidermists began an art movement of taxidermied animal sculptures that challenged conventional forms of taxidermied objects massively produced and displayed on an international scale. In contrast to taxidermied ‘specimens’ found in museums, taxidermied ‘exotic’ wildlife decapitated and mounted on hunters' walls, or synthetic taxidermied heads bought in department stores, rogue taxidermy artists create unconventional sculptures that are arguably antithetical to the ideologies shaped by previous generations: realism, colonialism, masculinity. As a pop-surrealist art movement chiefly practiced among women artists, rogue taxidermy artists follow an ethical mandate to never kill animals for the purposes of art and often display their sculptures in ways that are self-reflexive of speciesism and express criticisms of anthropocentrism. Through an intersectional feminist lens and alongside critical insights from (and debates within) postcolonialism, deconstruction, and affect theory, I analyze the art pieces created by Sarina Brewer, Angela Singer, Polly Morgan, Scott Bibus, and Robert Marbury. In doing so, I explore the ethical ambiguities of using postmortem animal bodies in an art movement that is informed by animal rights, and also discuss the complexity of animal-human relationships in the face of human conceptualized impressions of life and death. Brushing up against the history of public autopsies and other forms of body preservation, I look to the ways in which bodies are made ‘taxidermic’ through violence, trauma, objectification, commodification, bio-engineered artificiality, extinction, and the discriminatory practices that represented certain (animal and human) bodies as ‘unruly.’ Tackling the frames that produce ‘taxidermic’ bodies (as exposable and exploitable skins), I challenge the anthropocentrism foundational to human thought and highlight the ways that humans produce and perpetuate hollowed out crypts of meaning as it applies to animality. Essentially, this project attempts to undermine anthropocentric worldviews that construct humans as separate and unique from what is understood and described as the ‘nonhuman,’ and, also, invites readers to confront and acknowledge how vulnerability and mortality are shared among humans (animals) and other nonhuman beings. Keywords Taxidermy, Animal Studies, Art, Feminism, Colebrook, Butler, Derrida, Postcolonialism, Speciesism, Anthropocentrism, Extinction, Ethics, Deconstruction, Affect, Exceptionalism, Ontology, Post-mortem, Corporeality, Dolly, Cloning, De-extinction, Cryptozoology i Acknowledgments My warmest thank you to my lovely community of family, friends, colleagues, and intellectual partners for all of the support I have received throughout my tenure at Western. First, I extend my greatest appreciation and deepest gratitude to my amazing supervisors, Dr. Kim Verwaayen and Dr. Christopher Keep. You are both incredible people and I am so lucky to have worked under your wing. Thank you for all of your insights, thoughtful questions, and positive encouragement as I moved forward with my (sometimes obscure) ideas and interests. I have learned so much from the both of you over the years and feel I have been awarded a special gift to have the two of you collaborate with me on this project. Thank you for your confidence in me, the special care you offered my work, and all of the time you have devoted to my successes. Kim, thank you for all the guidance, kindness, and friendship you have offered me since our first encounter at the beginning of my Master’s in 2010. I admire you so much. My own strengths in writing and thinking ethically have come from the patience and direction you have extended my way ever since we began to work together. Not only have you taught me to read closely, but you have also taught me to live a generous life with so much heart. Chris, thank you for everything you have taught me ever since we met in your Hauntings course. The insights I received from your course have had a lasting effect on my work and I knew back in 2013 that you would hold a very special role in this research project. I am so lucky you agreed to work with me. Your knowledge and expertise has challenged me intellectually in ways I cannot begin to count. You have truly helped me grow on so many levels and I have thoroughly enjoyed our many meetings and theoretical discussions. Thank you to the faculty, staff, and graduate students from the Women’s Studies and Feminist Research Department for providing me a special home where I could flourish, thrive, and learn from such an amazing group of people. Special thanks to my brilliant committee members, Dr. Helen Fielding and Dr. Wendy Pearson, for their thoughtful direction and excitement about my project. Thank you Dr. Chris Roulston, Dr. Erica Lawson, and Dr. Susan Knabe for your insights, support, and generosity over the years. Thank you Betty Thompson, Alicia McIntyre, and Marg Sloan for all of your help with everything, large and small. Thank you to my examining committee (again) Dr. Wendy Pearson and Dr. Erica Lawson, and Dr. Kirsty Robertson and Dr. Claire Colebrook for graciously offering their time to read my dissertation over the summer months. Thank you to all of the artists, museums, and businesses that granted me permission to use their images in this project. Special thanks to artists Sarina Brewer, Angela Singer, Scott Bibus, and Robert Marbury for their resources and for sharing their excitement in my project. Thank you Drs. Kim Marra, Jane Desmond, Margo DeMello, and Kenneth Shapiro and all the participants, faculty, and presenters who attended the 2017 Animal Studies Institute at the University of Illinois Urbana-Champaign. Thank you for providing me the space to share my work and the opportunity to build a close community with so many wonderful people that share my interests in and passions for Human-Animal Studies. ii Special thanks to my friend and colleague Dr. Clara Sacchetti. You have taught me that academe is not just a space of knowledge and intellectual debate, but is also a space of generosity, love, and family. Thank you to my fabulous community of friends, especially Alicia Guzzell, Jennifer Chisholm, Adrienne Kowalchuk, Amelia Galizia, Jacob Evoy, Kim Dority, Jacqueline Potvin, Kelly and Simon Larochette, the Dontas family, and the McLeod family for all of their encouragement, friendship, and support throughout this process. Special thanks to Brian McLeod for his patience, positive attitude, and good humor. My warmest thanks to my fantastic and lovely friends and colleagues, Andie Shabbar and Mayme Lefurgey for their unconditional love, companionship, and camaraderie throughout this process. The support, time, and encouragement you have both dedicated to my success and happiness is nothing short of divine. Thank you to my wonderful family: my parents Melanie and Dennis and my sister Meghan (and Hemi) for always believing that I can reach my academic goals and supporting me in my many adventures. Thanks Auntie Val and Uncle Bob for their love and hospitality en route to London and thank you Auntie Hez and Uncle Brian for all of your advice and confidence in my successes. Special thanks to the loved ones I have lost along the way: Auntie Debbie, Mummu, Nanny, and Uncle Sam (I miss you every day). Finally, thank you to my loving animal companion Auty for her unconditional support and patience throughout this process and, most especially, her will to stick it out until the end. My Ph.D. has been generously supported by the Social Science and Humanities Research Council (SSHRC) Doctoral Fellowship, the Ontario Graduate Scholarship Award (with distinction), the Department of Women’s Studies and Feminist Research, and the Faculty of Arts and Humanities. This financial support has allowed me to travel for research, present my researching findings at national and international
Recommended publications
  • MERENDA-DISSERTATION-2020.Pdf

    MERENDA-DISSERTATION-2020.Pdf

    THE CANINE-HUMAN INTERRELATIONSHIP AS A MODEL OF POST-OPPOSITIONALITY A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF MULTICULTURAL WOMEN’S AND GENDER STUDIES IN THE GRADUATE SCHOOL OF THE TEXAS WOMEN’S UNIVERSITY DEPARTMENT OF MULTICULTURAL WOMEN’S AND GENDER STUDIES COLLEGE OF ARTS AND SCIENCES BY KIMBERLY CHRISTINE MERENDA, BGS, MA, MA DENTON, TEXAS MAY 2020 Copyright © 2020 by Kimberly Christine Merenda DEDICATION For Pi ii ACKNOWLEDGEMENTS This project was supported and sustained by the wonderful mentorship, kindness, astonishing proofreading skills, and faith of my dissertation chair Dr. AnaLouise Keating. Dr. Keating believed in me before I knew how to believe in myself. Many, many thanks to my committee members, Dr. Agatha Beins and Dr. Stephen Souris. I appreciate Dr. Beins’ expertise and excellent eye for detail. As an undergraduate Dr. Souris encouraged me to go to graduate school and I will always be grateful for the confidence he had in me. Dr. Cheronda Steele’s calm empathy, her insights and strategies, were instrumental in the process and progress of this project. My sincere thanks to Maurice Alcorn who always read and responded kindly. My warm gratitude goes to Dr. Claire Sahlin for her enduring guidance and compassion and for always making time to listen. My children Sierra, Trinity, and Frankie came of age during the course of this project. I love, love, love my children, and their unwavering support strengthened and cheered me throughout the process of this project. Finally and fundamentally, there are my canine companions Fraction, Pi, Abacus, Lemma, Boolean, Julia, Mandelbrot, and Times.
  • Derogatory Discourses of Veganism and the Reproduction of Speciesism in UK 1 National Newspapers Bjos 1348 134..152

    Derogatory Discourses of Veganism and the Reproduction of Speciesism in UK 1 National Newspapers Bjos 1348 134..152

    The British Journal of Sociology 2011 Volume 62 Issue 1 Vegaphobia: derogatory discourses of veganism and the reproduction of speciesism in UK 1 national newspapers bjos_1348 134..152 Matthew Cole and Karen Morgan Abstract This paper critically examines discourses of veganism in UK national newspapers in 2007. In setting parameters for what can and cannot easily be discussed, domi- nant discourses also help frame understanding. Discourses relating to veganism are therefore presented as contravening commonsense, because they fall outside readily understood meat-eating discourses. Newspapers tend to discredit veganism through ridicule, or as being difficult or impossible to maintain in practice. Vegans are variously stereotyped as ascetics, faddists, sentimentalists, or in some cases, hostile extremists. The overall effect is of a derogatory portrayal of vegans and veganism that we interpret as ‘vegaphobia’. We interpret derogatory discourses of veganism in UK national newspapers as evidence of the cultural reproduction of speciesism, through which veganism is dissociated from its connection with debates concerning nonhuman animals’ rights or liberation. This is problematic in three, interrelated, respects. First, it empirically misrepresents the experience of veganism, and thereby marginalizes vegans. Second, it perpetuates a moral injury to omnivorous readers who are not presented with the opportunity to understand veganism and the challenge to speciesism that it contains. Third, and most seri- ously, it obscures and thereby reproduces
  • Bob's Wildlife Taxidermy Celebrating 30Th Anniversary Orefield Landmark Ready for Another Hunting Season

    Bob's Wildlife Taxidermy Celebrating 30Th Anniversary Orefield Landmark Ready for Another Hunting Season

    Bob's Wildlife Taxidermy Celebrating 30th Anniversary Orefield Landmark Ready for another Hunting Season Fall hunting seasons are just around the corner, and thousands of Lehigh Valley sportsmen will soon head afield in search of a trophy. For those hunters lucky enough to bag the buck, bear or bird of a lifetime, Orefield taxidermist Bob V. Danenhower Sr. is ready to preserve your memories. Danenhower said it's hard to believe it's been a quarter century since Bob's Wildlife Taxidermy opened its doors. His passion for wildlife dates to his childhood, and he began studying taxidermy at the age of 13, taking mail order courses from the Northwest School of Taxidermy. “I would have to work in my dad's business, Humphrey’s Hydraulics, to earn enough money to order my next lesson,” Danenhower recalled. “It seemed to take forever, because Dad didn’t pay so well.” In the 70s, Danenhower worked for Laros Taxidermy in Allentown, where he learned the finer points of wildlife art from veteran taxidermist Dick Laros. “I had to wait until I was 18 to take my taxidermy test,” he said. “Eighteen was state law at that time, and I was the first 18-year-old ever to be licensed in Pennsylvania.” Becoming a full-time taxidermist is no easy task, especially when you start with nothing but some cheap hand tools, knowledge and a strong work ethic. “There were several lean years when we really looked forward to the local game warden dropping off a fresh, road-killed deer so we could fill the freezer with venison,” Danenhower said.
  • Attitudes to Recreational Use of Rural Properties

    Attitudes to Recreational Use of Rural Properties

    Attitudes to recreational use of rural properties A Report for the Rural Industries Research and Development Corporation by Elaine Barclay October 2004 RIRDC Publication No 04/123 RIRDC Project No UNE-84A INCORPORATING THE FORMER RURAL DEVELOPMENT CENTRE University of New England, Armidale, NSW 2351 © 2004 Rural Industries Research and Development Corporation. All rights reserved. ISBN 1 74151 031 7 ISSN 1440-6845 Attitudes to recreational use of rural properties Publication No. 04/123 Project No. UNE-84A The views expressed and the conclusions reached in this publication are those of the author and not necessarily those of persons consulted. RIRDC shall not be responsible in any way whatsoever to any person who relies in whole or in part on the contents of this report. This publication is copyright. However, RIRDC encourages wide dissemination of its research, providing the Corporation is clearly acknowledged. For any other enquiries concerning reproduction, contact the Publications Manager on phone 02 6272 3186. Researcher Contact Details Elaine Barclay The Institute for Rural Futures, University of New England, Armidale, NSW 2351 Phone: (02) 67735141 Fax: (02) 67733245 Email: [email protected] In submitting this report, the researcher has agreed to RIRDC publishing this material in its edited form. RIRDC Contact Details Rural Industries Research and Development Corporation Level 1, AMA House 42 Macquarie Street BARTON ACT 2600 PO Box 4776 KINGSTON ACT 2604 Phone: 02 6272 4539 Fax: 02 6272 5877 Email: [email protected] Website: http://www.rirdc.gov.au Published in October 2004 Printed on environmentally friendly paper by Canprint ii Foreword Attitudes of landholders are of fundamental importance in determining the area available to the general public for outdoor recreation.
  • Megafauna in a Continent of Small Game: Archaeological Implications of Martu Camel Hunting in Australia’S Western Desert

    Megafauna in a Continent of Small Game: Archaeological Implications of Martu Camel Hunting in Australia’S Western Desert

    Quaternary International 297 (2013) 155e166 Contents lists available at SciVerse ScienceDirect Quaternary International journal homepage: www.elsevier.com/locate/quaint Megafauna in a continent of small game: Archaeological implications of Martu Camel hunting in Australia’s Western Desert Douglas W. Bird a,*, Brian F. Codding b, Rebecca Bliege Bird a, David W. Zeanah c, Curtis J. Taylor d a Department of Anthropology, Stanford University, Bldg. 50, 450 Serra Mall, Stanford, CA 94305, USA b Department of Anthropology, University of Utah, 270 S. 1400 E., Rm. 102, Salt Lake City, UT 84112, USA c Department of Anthropology, California State University, Sacramento, 6000 J Street, Sacramento, CA 95819, USA d Parnngurr Aboriginal Community, LMB 598, Newman, WA 6753, Australia article info abstract Article history: Archaeologists often assume that large ungulates are inherently highly ranked prey because of their size, Available online 14 January 2013 especially attractive to hunters using sophisticated capture technologies common after the late Pleis- tocene. Between 1840 and 1907, over 10,000 dromedary camels were imported to Australia, and today feral populations number well over a million. Although contemporary Aboriginal hunters in Australia’‘s Western and Central Deserts regularly encounter camels, they rarely pursue them. We present data on camel encounter and pursuit rates, with comparisons of energetic search and handling efficiency relative to other foraging options among Martu, the Traditional Owners of a large region of the Western Desert. We then explore some hypotheses concerning the determinants of prey rank and the technological and social contexts that influence resource value. In some respects the case runs counter to common ex- pectations about hunting large ungulates, and highlights the special kinds of opportunity costs that large game acquisition might entail in many contexts.
  • What You Should Know About a Federal Migratory Bird Taxidermy Permit

    What You Should Know About a Federal Migratory Bird Taxidermy Permit

    WHAT YOU SHOULD KNOW ABOUT A FEDERAL MIGRATORY BIRD TAXIDERMY PERMIT A Federal Migratory Bird Taxidermy Permit will authorize you to mount or otherwise perform taxidermy work on migratory birds, their parts, nests or eggs, belonging to someone else. The conditions of a Federal Taxidermy Permit are very specific. You should review Title 50 Parts 10, 13, 20 (subparts A-B, D-J) and 21.24 of the Code of Federal Regulations (CFR). You are responsible for reviewing and understanding these regulations before you request and accept a permit. These regulations can be found on our website at: https://www.fws.gov/birds/policies-and- regulations/permits/permit-policies-and-regulations.php. Refer to Taxidermists and Federal Law for more information. Below is a review of several sections pertinent to a Federal Migratory Bird Taxidermy Permit. 1. Can I mount migratory game birds with a Federal Taxidermy permit? Yes. You can receive and mount migratory game birds taken and possessed in accordance with applicable Federal and State hunting regulations. All such birds must be properly tagged as required by 50 CFR 20.36. The tag may be removed during taxidermy operations but must be retained and reattached after mounting, and must remain attached until the specimen is delivered to the owner. (See 50 CFR 21.24(d)(2)) 2. Can I mount and sell captive-reared migratory waterfowl? Yes. You can sell properly marked, captive-reared migratory waterfowl that you have acquired from a propagator who has a Federal Migratory Bird Waterfowl Sale and Disposal permit. The propagator must give you a completed Notice of Transfer or Sale of Migratory Waterfowl form (Form 3-186) at the time of the transfer and you must maintain this form in your files.
  • New Animal Products

    New Animal Products

    RIRDC Completed Projects in 2002 - 2003 and Research in Progress as at June 2003 Sub Program 1.2 NEW ANIMAL PRODUCTS July 2003 RIRDC Publication No 03/59 © 2003 Rural Industries Research and Development Corporation. All rights reserved. ISBN 0 642 5862 8 ISSN 1440 6845 "RIRDC Completed Projects in 2002 - 2003 and Research in Progress as at June 2003 - 1.2 New Animal Products" Publication No 03/059 The views expressed and the conclusions reached in this publication are those of the author and not necessarily those of persons consulted. RIRDC shall not be responsible in any way whatsoever to any person who relies in whole or in part on the contents of this report. This publication is copyright. However, RIRDC encourages wide dissemination of its research, providing the Corporation is clearly acknowledged. For any other enquires concerning reproduction, contact the Publications Manager on phone 02 6272 3186. RIRDC New Animal Products Research Manager Dr Peter McInnes RIRDC Level 1, AMA House 42 Macquarie Street BARTON ACT 2600 PO Box 4776 KINGSTON ACT 2604 Phone: 08 8556 7331 Fax: 08 8556 7289 Email: [email protected] RIRDC Publications Manager Cecile Ferguson Rural Industries Research and Development Corporation Level 1, AMA House 42 Macquarie Street BARTON ACT 2600 PO Box 4776 KINGSTON ACT 2604 Phone: 02 6272 3186 Fax: 02 6272 5877 Email: [email protected] Website: http://www.rirdc.gov.au Published in July 2003 Printed on environmentally friendly paper by Canprint Foreword The following report contains all entries from continuing and completed New Animal Products research projects funded by RIRDC.
  • Safari Hunting of Australian Wild Exotic Game—Extension Establishment of a Peak Body for the Industry

    Safari Hunting of Australian Wild Exotic Game—Extension Establishment of a Peak Body for the Industry

    Safari Hunting of Australian Wild Exotic Game—Extension Establishment of a peak body for the industry by G.McL. Dryden, S.G. Craig-Smith and C. Arcodia October 2007 RIRDC Publication No 07/161 RIRDC Project No UQ-116A © 2007 Rural Industries Research and Development Corporation. All rights reserved. ISBN 1 74151 556 4 ISSN 1440-6845 Safari Hunting of Australian Wild Exotic Game—Extension: Establishment of a peak body for the industry Publication No. 07/161 Project No. UQ-116A The information contained in this publication is intended for general use to assist public knowledge and discussion and to help improve the development of sustainable regions. You must not rely on any information contained in this publication without taking specialist advice relevant to your particular circumstances. While reasonable care has been taken in preparing this publication to ensure that information is true and correct, the Commonwealth of Australia gives no assurance as to the accuracy of any information in this publication. The Commonwealth of Australia, the Rural Industries Research and Development Corporation (RIRDC), the authors or contributors expressly disclaim, to the maximum extent permitted by law, all responsibility and liability to any person, arising directly or indirectly from any act or omission, or for any consequences of any such act or omission, made in reliance on the contents of this publication, whether or not caused by any negligence on the part of the Commonwealth of Australia, RIRDC, the authors or contributors. The Commonwealth of Australia does not necessarily endorse the views in this publication. This publication is copyright. Apart from any use as permitted under the Copyright Act 1968, all other rights are reserved.
  • Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in Partial Fulfillme

    Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in Partial Fulfillme

    Why Look at Dead Animals? Taxidermy in Contemporary Art by Vanessa Mae Bateman Submitted to OCAD University in partial fulfillment of the requirements for the degree of Master of Arts in Contemporary Art, Design, and New Media Art Histories Vanessa Mae Bateman, May 2013 This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. ! Copyright Notice This work is licensed under the Creative Commons Attribution-NonCommercial- NoDerivs 3.0 Unported License. To view a copy of this license, visit http://creativecommons.org/licenses/by-nc-nd/3.0/ or send a letter to Creative Commons, 444 Castro Street, Suite 900, Mountain View, California, 94041, USA. You are free to: Share – To copy, distribute and transmit the written work. You are not free to: Share any images used in this work under copyright unless noted as belonging to the public domain. Under the following conditions: Attribution – You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). Noncommercial – You may not use those work for commercial purposes. Non-Derivative Works – You may not alter, transform, or build upon this work. With the understanding that: Waiver — Any of the above conditions can be waived if you get permission from the copyright holder. Public Domain — Where the work or any of its elements is in the public domain under applicable law, that status is in no way affected by the license.
  • A Search for a Compassionate, Responsible, Respectful, Posthumanist Paradigm

    A Search for a Compassionate, Responsible, Respectful, Posthumanist Paradigm

    Towards a Vegan Eco-Feminist Critical Care Theory: A Search for A compassionate, responsible, respectful, posthumanist paradigm By Annette Mira McLellan A Thesis Submitted to Saint Mary’s University, Halifax, Nova Scotia in Partial Fulfillment of the Requirements for the Degree of Masters of Arts in Women and Gender Studies Copyright Annette Mira McLellan, 2014 Approved: Dr. Michele Byers - Supervisor Approved: Dr. Val Marie Johnson - Second Reader Approved: Dr. Wilma van der Veen - External Examiner Submitted: April 25, 2014 Towards a Vegan Ecofeminist Critical Care Theory: A Search for a Compassionate, Responsible, Respectful, Posthumanist Paradigm By Annette Mira McLellan Abstract Anti-speciesist theory is not often taught within the humanities nor has it been present in the Women and Gender Studies programs I have attended. To do research concerning the realities other-than-human beings face an alternative theoretical framework is necessary. This thesis explored multiple theoretical perspectives, from a deconstructive (eco) feminist stance, that attempt to bridge the human/animal divide. The six unsanctioned discourses explored were: 1) Animal Rights theory, 2) Feminist Care/Defense theory, 3) Ecofeminism, 4) Radical Anti-Speciesist theory, 5) Liberationist theory, and 6) Posthumanism. From these theoretical strands, and through an affirmative discourse analysis, an alternative hybrid theory, composed of terminology, concepts and ideas selected from the unsanctioned, was pieced together. From this hybrid theory it will be possible to do future research concerning the lives of animal beings under human despotism. This bricolage offers an alternative and intersectional lens from which to know, see and be in the world. Date Submitted: April 25, 2014 1 Special thanks and acknowledgements… …go to Spazz, Gummo, and Flea who stood (laid, played) by me (and on me), walked with me through these expropriated native lands, brought me up when I was down and who continually remind me of relational possibilities.
  • Književni Svjetovi S Etnološkom, Ekološkom I Animalističkom Nišom

    Književni Svjetovi S Etnološkom, Ekološkom I Animalističkom Nišom

    Nar. umjet. 43/2, 2006, str. 163-186, S. Marjanić, Književni svjetovi s etnološkom, ekološkom… Izvorni znanstveni članak Primljeno: 26.9.2006. Prihvaćeno: 19.10.2006. UDK 821.163.42.09:39:591.5] SUZANA MARJANIĆ Institut za etnologiju i folkloristiku, Zagreb KNJIŽEVNI SVJETOVI S ETNOLOŠKOM, EKOLOŠKOM I ANIMALISTIČKOM NIŠOM Pored toga što članak prati mogući dodir etnologije i ekologije s knji- ževnim svjetovima, a pritom je sintagmom etno/eko književnost moguće razumijevati književna djela koja su inducirana etnološkim, folkloristi- čkim i ekološkim znanstvenim djelima ili njihovim sferama, tragom ekološke književnosti članak razmatra i animalističku i radikalnu ani- malističku književnost. Time je umjesto trijade književnost – povijest – – politika (politička kriza) postavljena ekološka niša (književnost – eko- sfera, ekološka kriza), koja svoju etiku proširuje prema biofilnom okrilju i književnoj ekologiji. Ključne riječi: ekologija, književna ekologija, etnologija, animalistička književnost, prava životinja Jadne su životinje ginule kad je počelo, isto kao i ljudi. Nalazili smo kosture po šumi, cijeli kostur, a jedna noga fali, mina je odbila (Nedžad Haradžić, Bugojno; prema Lasić 2003:269). Propitivanjem dodira etnologije i ekologije s književnim svjetovima moguće je uspostaviti sintagmu etno/eko književnost1 kojom se mogu razumijevati književna djela koja su inducirana etnološkim, folklorističkim i ekološkim znanstvenim djelima ili njihovim sferama, a pritom je tragom ekološke 1 Atribut etno/eko (etno-eko) od devedesetih se godina s iniciranjem glazbenoga žanra world music na našoj glazbenoj sceni pojavljuje u brojnim nazivima manifestacija koje u sebi sadrže poveznicu s etnologijom, određenije, s očuvanjem hrvatske folklorne baštine i ekologijom, a koja je uglavnom u navedenim primjerima, moramo priznati, površinska, antropocentrična ekologija. Spomenimo, primjerice, manifestaciju "Eko-Etno Hrvatska", koja se organizira kao izložba proizvoda i usluga ruralnih područja, a godine 2006.
  • Vegetarian Starter Kit You from a Family Every Time Hold in Your Hands Today

    Vegetarian Starter Kit You from a Family Every Time Hold in Your Hands Today

    inside: Vegetarian recipes tips Starter info Kit everything you need to know to adopt a healthy and compassionate diet the of how story i became vegetarian Chinese, Indian, Thai, and Middle Eastern dishes were vegetarian. I now know that being a vegetarian is as simple as choosing your dinner from a different section of the menu and shopping in a different aisle of the MFA’s Executive Director Nathan Runkle. grocery store. Though the animals were my initial reason for Dear Friend, eliminating meat, dairy and eggs from my diet, the health benefi ts of my I became a vegetarian when I was 11 years old, after choice were soon picking up and taking to heart the content of a piece apparent. Coming of literature very similar to this Vegetarian Starter Kit you from a family every time hold in your hands today. plagued with cancer we eat we Growing up on a small farm off the back country and heart disease, roads of Saint Paris, Ohio, I was surrounded by which drastically cut are making animals since the day I was born. Like most children, short the lives of I grew up with a natural affi nity for animals, and over both my mother and time I developed strong bonds and friendships with grandfather, I was a powerful our family’s dogs and cats with whom we shared our all too familiar with home. the effect diet can choice have on one’s health. However, it wasn’t until later in life that I made the connection between my beloved dog, Sadie, for whom The fruits, vegetables, beans, and whole grains my diet I would do anything to protect her from abuse and now revolved around made me feel healthier and gave discomfort, and the nameless pigs, cows, and chickens me more energy than ever before.