Relevant bibliographies by topics / Theriomorphism

Academic literature on the topic 'Theriomorphism'

Author: Grafiati
Published: 10 March 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Contents

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Theriomorphism.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Theriomorphism"

1

Bunta, Silviu N. "THE MĒSU-TREE AND THE ANIMAL INSIDE: THEOMORPHISM AND THERIOMORPHISM IN DANIEL 4." Scrinium 3, no. 1 (March 30, 2007): 364–84. http://dx.doi.org/10.1163/18177565-90000162.

Full text
Abstract:
The present article offers an analysis of Daniel 4. It argues that the literary origins of the tree imagery in the biblical text most probably lie in Mesopotamian conceptions of the mēsu-tree, the tree that supplies the flesh of the gods, the material of their statuary presence. The presence of the imagery in Ezekiel 31 suggests that the Mesopotamian concept was incorporated into exilic and post-exilic redefinitions of the legitimate channels of the iconic worship of YHWH. Within a priestly redefinition of YHWH's iconic presence in Judah, Adam's physical resemblance to YHWH provided in humanity the only legitimate alternative to idol worship. Daniel 4 and its context exhibit similar ideological concerns and construct a similar solution to the ongoing iconic dilemma: humanity functions as the only legitimate equivalent of ancient Near Eastern cultic statues, as the replacement of YHWH's cultic statue of the First Temple no longer extant. The iconic connotation of the tree imagery requires a reassessment of the animal deforma¬tion of the tree, albeit a late addition to the original stratum of the narrative. Commonly interpreted through the lens of ancient Near Eastern depictions of human heroes with animal traits or life-habits, Nebuchadnezzar's loss of his dendromorphism can only mean in the terms of the parable the deformation of a theomorphic state. Within the parameters of this ideological context and of the tree parable, by losing his theomorphism and becoming theriomorphic, Nebuchadnezzar ceases to be object of worship and becomes worshipper. Moreover, in his deformation he also destroys the only legitimate object of iconic worship: himself. The context of Daniel 4, namely Daniel 3 and Daniel 5, suggests that in its deformed state humanity is only left to mistakenly worship idols.
APA, Harvard, Vancouver, ISO, and other styles
2

Fraipont, Barbara. "‘[H]et dier in al zijn toonaarden’ - Over zoöpoëticale configuraties in Charlotte Mutsaers’ beeldend en literair werk." Nederlandse Letterkunde 19, no. 1 (May 1, 2014): 67–87. http://dx.doi.org/10.5117/nedlet2014.1.frai.

Full text
Abstract:
This article aims to highlight the prominent place and role of the animal in the literary and visual work of the Dutch writer and artist Charlotte Mutsaers (1942-). The border-crossing between human and animal will be dealt with on the basis of the interaction between image and text in Mutsaers’s oeuvre. In this intermedial perspective, I first focus on three images of Mutsaers’s visual work exemplifying the human-animal masquerade. Secondly, I consider her novel Koetsier Herfst (2008) in which the animal also enacts a crucial function through the figurative and performative force of Mutsaers’s writing. Recent research in the field of Cultural and Literary Animal Studies (CLAS) and ethico-philosophical reflections are used as theoretical frame. Starting from Steve Baker’s ‘representational strategies’ (1993) of the animal (i.e. theriomorphism and therianthropism) and Gilles Deleuze’s theory on the ‘becoming-animal’, this article sheds new light on the subversive functions and non-restrictive meaning of the animal in Mutsaers’s artistic practice in the broadest sense of the word. The analysed figurative strategies in Mutsaers’s work bring a significant reversal of perspective to light: from the human to the animal.
APA, Harvard, Vancouver, ISO, and other styles
3

Domańska, Ewa. "Unbinding from Humanity: Nandipha Mntambo’s Europa and the Limits of History and Identity." Journal of the Philosophy of History 14, no. 3 (November 19, 2020): 310–36. http://dx.doi.org/10.1163/18722636-12341452.

Full text
Abstract:
Abstract This article shows that the question of “Historical Thinking and the Human” demands expanding the field of the philosophy of history. What I propose is to investigate the issue from two perspectives: firstly, by positioning it in the broader philosophical context, one that increasingly transcends the boundaries of the humanities to enter the realm of the life sciences; and secondly, by drawing on a wider range of analytical material than has usually been the case in classic works in the philosophy of history. I will critically reflect upon history’s anthropocentric biases, highlighting the need to develop an alternative to history. My thinking is aligned, on the one hand, with notions of the agency of images that have emerged from art criticism and visual culture studies (W.J.T. Mitchell), and, on the other hand, with the idea of theriomorphism, which I explore in terms of new animism, new totemism and philosophical ethology (Roberto Marchesini). In my analysis of works by the South African artist Nandipha Mntambo (cowhides and Europa), I argue that a future-oriented redefinition of the human should transcend the limited categories that have emerged within the framework of history understood as a Eurocentric approach to the past rooted in Greco-Judaic-Christian tradition.
APA, Harvard, Vancouver, ISO, and other styles
4

Gilebbi, Matteo. "Testimoni dei macelli. Esseri umani e animali nella poesia di Ivano Ferrari //Witnesses of the Slaughters. Humans and Animals in Ivano Ferrari’s Poetry // Testigos de las matanzas. Humanos y animales en la poesía de Ivano Ferrari." Ecozon@: European Journal of Literature, Culture and Environment 7, no. 1 (June 15, 2016): 94–111. http://dx.doi.org/10.37536/ecozona.2016.7.1.981.

Full text
Abstract:
Quando le rappresentazioni e le simbologie animali ridimensionano e mettono in discussione lo statuto umano, ci si trova di fronte al passaggio dal teriomorfismo alla questione animale. Ciò significa che, da semplici tropi, le figure animali divengono operatori epistemologici che forzano un ripensamento dell’antropocentrismo e mettono in luce i limiti dello specismo. Le raccolte di poesie Macello (2004) e La Morte Moglie (2013) di Ivano Ferrari sono, all’interno della letteratura italiana, tra i più recenti ed intensi esempi di questo passaggio dal teriomorfismo alla questione animale. Queste poesie costituiscono un diario in presa diretta del periodo che Ivano Ferrari ha trascorso come operaio al mattatoio di Belfiore, presso Mantova. La sua scrittura testimonia le tensioni presenti nel rapporto umano-animale quando questi, fuori e dentro il mattatoio, diventano rispettivamente carnefice e vittima, svelando anche i profondi legami tra crudeltà verso l’animale (interspecifica) e crudeltà verso l’umano (intraspecifica). I componimenti di Ferrari mostrano inoltre come, proprio nell’inumanità dello spazio del mattatoio, sia possibile un contatto con l’animale che riduce la distanza tra specie causata dall’antropocentrismo. Abstract When animal representations and symbols reconfigure and challenge human status, we are then confronted with a transition from theriomorphism to the so-called Animal Question. This means that, from simple tropes, animal figures become epistemological operators that force a reconsideration of anthropocentrism and highlight the limits of speciesism. Ivano Ferrari’s poetry collections Macello (2004) and La morte moglie (2013) are, within Italian literature, among the most recent and intense examples of this shift from theriomorphism to the Animal Question. The poems constitute a type of diary of the period Ferrari spent working in the abattoir in Belfiore, near Mantua. His writing bears witness to the tensions present in the relationship between humans and animals when, inside and outside of the slaughterhouse, they become respectively executioner and victim, revealing even the profound links between cruelty to the animal (interspecific) and cruelty to the human (intraspecific). Ferrari’s compositions also show how, precisely in the inhumane space of the slaughterhouse, contact with the animal is possible, contact that reduces that distance between species caused by anthropocentrism.Resumen Cuando las representaciones y símbolos de animales reconfiguran y cuestionan el estatus de lo humano, nos enfrentamos a la transición del teriomorfismo a la llamada Cuestión Animal. Esto significa que las figuras animales pasan de ser simples tropos a operadores epistemológicos que fuerzan una reconsideración del antropocentrismo y resaltan los límites del especismo. Los poemarios Macello (2004) y La morte moglie (2013) de Ivano Ferrari se encuentran, dentro de la literatura italiana, entre los ejemplos más recientes e intensos de este cambio del teriormofismo hacia la Cuestión Animal. Los poemas constituyen un tipo de diario del periodo que Ferrari pasó trabajando en el matadero en Belfiore, cerca de Mantua. Su escritura da testimonio de las tensiones contemporáneas en la relación entre humanos y animales cuando, dentro y fuera del matadero, estos se vuelven verdugo y víctima respectivamente, revelando inclusive los profundos vínculos entre crueldad hacia los animales (inter-específico) y crueldad al humano (intra-específico). Las composiciones de Ferrari también muestran cómo, precisamente en el espacio inhumano del matadero, el contacto con lo animal es posible, un contacto que reduce la distancia entre las especies causado por el antropocentrismo.
APA, Harvard, Vancouver, ISO, and other styles
5

Bussolini, Jeffrey, Matthew Chrulew, and Brett Buchanan. "ENTERING THERIOMORPHIC WORLDS." Angelaki 21, no. 1 (January 2, 2016): 255–69. http://dx.doi.org/10.1080/0969725x.2016.1163867.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Kesner, Ladislav. "The Taotie Reconsidered: Meanings and Functions of the Shang Theriomorphic Imagery." Artibus Asiae 51, no. 1/2 (1991): 29. http://dx.doi.org/10.2307/3249675.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Peruško, Tatjana, and Katja Radoš-Perković. "The Theriomorphic and Dionysian in Silvio Benco’s Libretto La Falena for Antonio Smareglia." God. 52(2021), br. 2 52, no. 2 (2021): 261–75. http://dx.doi.org/10.21857/m8vqrtq0w9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Ramos-Gay, Ignacio. "Animality and Biblical Masculinities in Conflict: Moses and the Golden Calf (Exodus 32)." Men and Masculinities 23, no. 5 (November 17, 2020): 814–32. http://dx.doi.org/10.1177/1097184x20965453.

Full text
Abstract:
The purpose of this article is to analyze the masculinity of the biblical figure Moses in relation to the golden calf in Exodus 32. The prophet has been used as a model of biblical masculinity based on criteria such as violence, persuasive ability, his relationship to women, and physical disability. However, no gender construction derived from his interaction with the animal idol has been considered. In the context of the intersection of “animal studies” and “masculinity studies,” this article proposes the conceptualization of a biblical “zoomasculinity” linked to the prophet. Cohabitation with the theriomorphic statue allows Moses to embody diverse alternative masculinities that culminate in his animalization and identification with the golden calf.
APA, Harvard, Vancouver, ISO, and other styles
9

Заика, А. Л., and А. М. Клементьев. "IMAGES OF A BULL IN ROCK ART OF THE ANGARA." SCIENTIFIC REVIEW OF SAYANO-ALTAI, no. 1(29) (January 13, 2022): 26–36. http://dx.doi.org/10.52782/kril.2021.1.29.003.

Full text
Abstract:
Изучение древнего наскального искусства требует междисциплинарного подхода. Cотрудничество исследователей петроглифов и палеозоологов позволяет провести реконструкцию состава палеофауны региона, помогает в интерпретации териоморфных образов. Предметом изучения данной статьи являются похожие на быков изображения в наскальном искусстве р. Ангара. Многие изображения датируются эпохой неолита - ранней бронзы. Причины их появления в таежном наскальном искусстве могли быть различными: влияние художественной традиции окуневской культуры с юга; стилизация образа лося или оленя; мифологизация образов таежных животных; наличие для древнего художника реальной натуры - дикого быка. Согласно данным палеозоологии в эпоху голоцена на Ангаре обитали реликтовые животные - бизоны, туры. Возможно, они обитали и на Среднем Енисее. Это позволило высказать предположение, что в наскальном искусстве изображен дикий бык, на которого охотился древний человек. The study of ancient rock art requires an interdisciplinary approach. Active cooperation of rock art researchers and paleozoologists makes it possible to reconstruct the composition of the paleofauna, to interpret theriomorphic images. The subject of the article is images similar to bulls in rock art on the Angara River. Many of the images date back to the Neolithic - early Bronze Age. The reasons for their appearance in taiga zone rock art could be diff erent: the infl uence of artistic tradition of the Okunev culture from the South; stylization of the image of an elk or a deer; mythologization of the images of taiga zone animals; the presence of a real animal in the nature - a wild bull. According to paleozoological data of the Holocene Epoch the Angara River valley was inhabited by relict animals - bisons, tours. Perhaps, they also lived in the Middle Yenisei. Therefore, we suggest that some petroglyphs depict a wild bull, which was hunted by an ancient man.
APA, Harvard, Vancouver, ISO, and other styles
10

Hordiienko, N. M. "Sociological archetypology: analysis of theoretical and methodological principles and postmodern practices in Ukraine." Ukrainian Society 81, no. 2 (June 28, 2022): 32–41. http://dx.doi.org/10.15407/socium2022.02.032.

Full text
Abstract:
The author substantiates conceptual and methodological principles based on a comprehensive analysis of the theoretical and scientific status of sociological archetypology within the system of modern socio-humanitarian knowledge. These principles are represented in the conceptual system comprising the following central provisions: general orientation of scientific research in the area of sociological archetypology on society as a collective subject, whose vital activity at the implicit level of the collective unconscious is primarily determined by archetypes; the dialectic character of transformations within conceptual and methodological foundations of sociological archetypology through the integration of new components, among which the most significant innovative potential is displayed by the concept of G. Durand involving the need to update the traditional methodology (in particular, through substantiation of methodological psychology and the method of convergence) and introduce into the research discourse additional archetypal symbols (theriomorphic, nyctomorphic, catamorphic, diaeretic, inversion, light-visual and cyclic symbols); methodological parity of ontological and epistemological functions of archetypes; and methodological revision of key concepts and ideas of sociological archetypology from the standpoint of contemporary postmodern sociology, characterized by the actualization of research interest in traditional culture at a new theoretical level (M. Maffesoli). The paper explains theoretical and interpretive trends of modern sociological archetypes, among which the leading ones are the following: polysemy of “archetype” as a concept and debatable interpretation of its definition markers; broad functionality of the concept “archetype”, which represents the trend of research interest actualization in traditional culture; intensification of the national researchers’ interest in deep archetypal foundations of the Ukrainian culture and mentality and in sociological analysis of modernity, mainly to diagnose transformational changes in Ukrainian consciousness and study the psycho-social foundations of contemporary postmodern civilizational identity, which reflects the theoretical continuity of traditional and postmodern interpretation of the essence of the archetype, starting with the Jungian conceptual paradigm; the promotion in the scientific publications of an analytical approach based on the understanding the archetype as the name of a particular type of personality in personology.
APA, Harvard, Vancouver, ISO, and other styles

Dissertations / Theses on the topic "Theriomorphism"

1

KAO, Chia-Yu, and 高嘉妤. "The investigates the difference between Anthropomorphism and Theriomorphism for animate character － Description of “Doll Love”." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/66913623637803589836.

Full text
Abstract:
碩士
國立臺南藝術大學
動畫藝術與影像美學研究所
103
The thesis investigates the difference between Anthropomorphism and Theriomorphism for animate character－Description of “Doll Love” .Based on the survey of Anthropomorphism and Theriomorphism in USA and Japan animations, the characteristic, style and usage of Anthropomorphism and Theriomorphism are analyzed and classified. The theme of the story is “gain and loss”. Use the characters of “Anthropomorphism” and “Theriomorphism”, recording the process, and the final presentation is the researcher’s animation “Doll Love”. The thesis is organized as the following. Chapter 1 introduces the motivation, methodology and the architecture of the creative work “Doll Love.” Chapter 2 describes the history of animations, and defines, classifies, and analyzes Anthropomorphism and Theriomorphism used worldwide. Chapter 3 depicts the production of “Doll Love” and shows how Anthropomorphism and Theriomorphism are used. Finally, conclusion and future works are described in Chapter 4.
APA, Harvard, Vancouver, ISO, and other styles
2

CAPRILI, GIAN LUCA. "Gli uccelli come figure liminari nella concezione poetica di Jacob Grimm - Die Voegel als Grenzfiguren in der Poesieauffassung Jacob Grimms." Doctoral thesis, 2015. http://hdl.handle.net/2158/1002273.

Full text
Abstract:
Il lavoro si propone di indagare la funzione peculiare riconosciuta agli uccelli nella concezione poetica di Jacob Grimm, le eventuali connessioni con i miti che connotano sin dall'antichità questi animali come creature liminari vicine al numinoso e il suo riscontro nelle numerose "Vogelfiguren" delle raccolte dei "Kinder- und Hausmaerchen" (è stata considerata la prima edizione del 1812/15, in cui è ancora fortemente presente l'impronta di Jacob rispetto al fratello) e delle "Deutschen Sagen". Il primo capitolo approfondisce il rapporto di Jacob Grimm con gli altri rappresentanti delle prime due fasi del romanticismo tedesco, focalizzandosi soprattutto sul tema della relazione tra uomo e natura, e degli aspetti più reconditi di quest'ultima, così come messi in luce dalla sensibilità romantica dell'epoca. Nel secondo capitolo è analizzato il ruolo privilegiato che Jacob Grimm assegna alla "Tierfabel" nella storia della poesia, nel cui ambito si colgono affermazioni singolari sugli uccelli, concepiti quali figure portatrici di sinistra inquietudine, staccate dal resto del regno animale. Altri riscontri in merito sono presenti in opere di tipo diverso e pubblicate in periodi anche lontani fra loro: la "Deutsche Mythologie", la "Geschichte der deutschen Sprache", il saggio di tipo naturalistico "Ueber den Schlaf der Voegel". I capitoli terzo e quarto approfondiscono il ruolo dei "Voegel" nelle due sopracitate raccolte grimmiane, attraverso l'analisi e il confronto degli episodi - fiaba o saga - in cui essi compaiono. SYNOPSIS IN ENGLISH: The research investigates on the peculiar role of birds in the poetic conception of Jacob Grimm and its possible connections to the ancient myths, that portray these animals as liminary creatures in frequent contact with the "Numinous", and to the numerous bird-characters of the two well-known Grimm Brothers' collections: "Children's and Household Tales" - the first edition (1812 / 15), to which the contibution of Jacob was still relevant, has been considered - and the "German Sagas" (1816 / 18).
APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Theriomorphism"

1

Schutz, Andrea K. Theriomorphic shape-shifting: An experimental reading of identity and metamorphosis in selected medieval British texts. 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles

Book chapters on the topic "Theriomorphism"

1

Bremmer, J. N. "The theriomorphism of the major Greek gods 1." In Animals in Ancient Greek Religion, 102–25. Abingdon, Oxon ; New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429424304-5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Bunta, Silviu N. "The Mēsu-Tree And The Animal Inside: Theomorphism And Theriomorphism In Daniel 4." In The Theophaneia School, edited by Andrei Orlov, 364–84. Piscataway, NJ, USA: Gorgias Press, 2009. http://dx.doi.org/10.31826/9781463216313-021.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Witte, Georg. "The Theriomorphic Face." In Life After Literature, 139–62. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33738-4_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Baumann, Brian. "Animal Signs: Theriomorphic Intercession Between Heaven and Imperial Mongolian History." In Animals and Human Society in Asia, 391–419. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24363-0_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Römer, Thomas. "Biblical Aniconism? Representing the Gods of Ancient Israel and Judah." In When Children Draw Gods, 385–95. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-94429-2_14.

Full text
Abstract:
AbstractThis paper argues that one should not speak of an “original aniconism” in the cult of Yhwh, the god of Israel. In the Northern kingdom and in the first temple of Jerusalem, this god was represented in a theriomorphic and anthropomorphic way. The prohibitions of images of the god of Israel in the Decalogue and other texts were written after the Babylonian exile and are related to the rise of monotheism. During the Persian period Yhwh became the “only” and transcendent god who could no longer be represented by statues or other symbols as were the Mesopotamian gods. However, the Menorah, the candelabra, which was placed in the Second Temple is, in a way, a representation of the divine presence. Aniconism is, however, not a pure invention of nascent Judaism. There are apparently in the Ancient Near East aniconic tendencies that are, nevertheless, compatible with iconic representations of the deities. This may be explained by the facts that ancient people were aware that statues and other images should not be identified with the deities.
APA, Harvard, Vancouver, ISO, and other styles
6

"Theriomorphism and the Composite Soul in Plato." In Plato and Myth, 323–42. BRILL, 2012. http://dx.doi.org/10.1163/9789004224360_018.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"3. The Construction of Anthropomorphism and Theriomorphism." In Where the Gods Are, 47–57. Yale University Press, 2020. http://dx.doi.org/10.12987/9780300220964-006.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Bussolini, Jeffrey, Matthew Chrulew, and Brett Buchanan. "Entering Theriomorphic Worlds." In The Philosophical Ethology of Roberto Marchesini, 259–74. Routledge, 2018. http://dx.doi.org/10.4324/9781315114842-16.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Geue, Tom. "The Imperial Animal: Virgil’s Georgics and The Anthropo-/Theriomorphic Enterprise." In Classical Literature and Posthumanism. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781350069534.ch-005.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

"Theriomorphic Figures in Hellenistic and Roman Arcadia: Nostalgia and Ritual." In Hellenistic and Roman Terracottas, 165–79. BRILL, 2019. http://dx.doi.org/10.1163/9789004384835_012.

Full text
APA, Harvard, Vancouver, ISO, and other styles
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography