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1
Belozorovich, Anna. « Volpi, farfalle, uccelli e un cagnolino nero : il mimetismo e la sopravvivenza sotto il regime staliniano in Vesti bianche di Vladimir Dudincev ». Altre Modernità, no 26 (29 novembre 2021) : 145–64. http://dx.doi.org/10.54103/2035-7680/16802.
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L’articolo prende in esame Vesti bianche (Belye odeždy), il secondo romanzo di Vladimir Dudincev (1918-1998), figura tragica della letteratura sovietica. Dopo Non si vive di solo pane (1957), riscuote un enorme successo ma viene costretto al silenzio a causa dello scandalo politico che ne deriva. Vesti bianche, scritto nel 1966, ma pubblicato solo vent’anni più tardi (1987), è ambientato nel pieno del lysenkoismo, la violenta repressione nei confronti della comunità scientifica che ebbe luogo tra gli anni ’40 e ’50. I suoi protagonisti sono biologi: comprendere la natura, essere in dialogo con il mondo naturale, è la loro prerogativa per ottenere dei risultati. La riflessione scientifica è puntualmente accompagnata da quella filosofica. In una intensa discussione sul rapporto tra l’uomo e la Natura, i protagonisti si schierano su differenti posizioni e sembrano “indossare” figure animali quasi con valore totemico. Le possibili configurazioni della società umana, i rapporti professionali e le esperienze individuali vengono messe in relazione con il comportamento animale. Il carattere associato a questi animali riporta sia al loro comportamento in natura sia alla simbologia ad essi legata nella tradizione popolare russa. La ricerca della verità da parte degli uomini di scienza incontra la necessità di mascheramento, parola chiave della trama. Il mimetismo è vissuto come un inganno necessario, come per mantenere la varietà biologica nel mondo naturale, così per garantire la libertà del pensiero e della ricerca scientifica in un paese paralizzato dal regime.
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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 (15 juin 2016) : 94–111. http://dx.doi.org/10.37536/ecozona.2016.7.1.981.
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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.
3
Corrain, Lucia. « Il manoscritto 99 di Ulisse Aldrovandi. Il programma iconografico della residenza di campagna ». Aldrovandiana. Historical Studies in Natural History 1, no 1 (4 juillet 2022) : 35–79. http://dx.doi.org/10.30682/aldro2201c.
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Nel ms. 99 di Ulisse Aldrovandi (qui per la prima volta trascritto e pubblicato) – conservato presso la Biblioteca Universitaria di Bologna – lo scienziato registra il programma iconografico che aveva progettatoper la sua villa di campagna. Il manoscritto è articolato in più parti: la prima, più consistente, riguarda la decorazione della prima stanza con l’Odissea, la seconda – quella su cui qui si fermerà maggiormente l’attenzione – è relativa ai tre ambienti dove, in fregio, erano dipinti emblemi, in molti casi affiancati da figure animali che trovano nelle tavole acquerellate fatte realizzare da Aldrovandi per illustrare la sua opera scritta, un puntuale riscontro.
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Scappini, Alessandra. « Leonor Fini, maga del trasformismo ». iQual. Revista de Género e Igualdad, no 1 (22 février 2018) : 201. http://dx.doi.org/10.6018/iqual.317701.
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<p><strong>Riassunto</strong> Leonor Fini (Trieste, 1987 - Parigi, 1996) è una pittrice e scrittrice singolare che lavora nel tempo delle avanguardie storiche avvicinandosi all’<em>entourage</em> del surrealismo a Parigi. Il senso del meraviglioso e l’onnipotenza del desiderio che emergono dalle sue storie e dalle sue opere pittoriche sono aspetti comuni all’avanguardia, anche se non ha mai aderito al movimento. Le figure femminili, gli animali totemici e gli ibridi dipinti o descritti sono simbolici e riflettono il suo gusto per il metamorfismo proprio di una personalità e di un <em>alter ego</em> prossimi all’universo fantastico.</p><p><strong>Abstract</strong> Leonor Fini (Trieste, 1987 - Paris, 1996) is a singular woman painter and writer who works in the period of historical avant-gardes approaching the <em>entourage </em>of surrealism in Paris. The sense of the marvelous and the omnipotence of desire that emerge from her stories and her pictorial works are common aspects in the vanguard, even if she has never joined the movement. The female figures, totemic animals and hybrids painted or described are symbolic and reflect her taste for the metamorphism of a personality and an <em>alter ego</em> close to the fantastic universe.</p><p><strong>Keywords </strong>Leonor Fini, surrealism, desire, marvelous, fantastic.</p>
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Cano Guarín, Laura. « Las figuras femeninas en La mujer del animal ». Futhark. Revista de Investigación y Cultura, no 15 (2020) : 5–18. http://dx.doi.org/10.12795/futhark.2020.i15.01.
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El presente artículo aborda el asunto de las representaciones femeninas en el filme La mujer del animal del director de cine colombiano Víctor Gaviria, quien en general retrata paisajes citadinos referentes a las problemáticas y miseria de las clases sociales más bajas. En primera instancia se enmarca el contexto en el que se desarrolla la historia, la ciudad de Medellín, los acontecimientos históricos que han propiciado dichas realidades y el estilo narrativo de su autor. A continuación, a la luz de las bases teóricas provistas por los estudios de género, se hace un breve resumen y análisis de la producción fílmica en cuestión, con el fin descubrir cómo se percibe, se concibe y se proyecta el universo femenino en su obra. A través del análisis propuesto se hará una revisión del complejo rol que cumplen las mujeres en un entorno desafortunado de abandono e indiferencia del estado, en una ciudad segregada en cuyas periferias la violencia es el pan de cada día y de las historias que protagonizan a través de las cuales pueden o bien reforzar o bien resistirse a las construcciones sociales.
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Pouillard, Violette. « Animal Biographies : Beyond Archetypal Figures ». Journal of Animal Ethics 12, no 2 (1 octobre 2022) : 172–78. http://dx.doi.org/10.5406/21601267.12.2.07.
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Abstract The biographies of animal celebrities published by the historians John Simons and Eric Baratay aim to place animals in and of themselves at the center of academic narratives. Both excavate the lived experiences concealed behind official discourses and collective representations, notably by relying on cross-fertilization with ethological research. They unveil the ways in which information was reshaped in order to portray animal celebrities as benevolent members of human-animal communities, and thereby shed light on the mechanics of animal commodification. The close examination of a few individual animal trajectories enlightens the condition of many historical animals living under human tutelage in the 19th and early 20th century and highlights long-term historical evolutions, such as the succession of animal cultures and generations largely determined by human actions.
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Gouabault, Emmanuel, Annik Dubied et Claudine Burton-Jeangros. « Genuine Zoocentrism or Dogged Anthropocentrism ? On the Personification of Animal Figures in the News ». Humanimalia 3, no 1 (17 septembre 2011) : 77–100. http://dx.doi.org/10.52537/humanimalia.10059.
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Human-Animal relationships are changing and the media coverage of animal issues plays a major part in these transformations. The personification of animals is a socially-constructed process through which the status of a person is attributed to an animal. In this article, we analyze this process in the media, through successive analytical steps. Identifying the attributes of animal personification enables us to distinguish three increasingly complex levels of this process. In the most developed stage, the process of ‘starification’ is applied to the animal, such as in the 2007 case of the polar bear Knut, the abandoned cub of the Berlin Zoo. Using the ‘contrasted portrait’ approach, we then compare this story to an opposite animal figure, also making headline news in the media at the same time, namely the three pitbulls dogs who killed a child on his way to school in the eastern part of Switzerland. This analysis illustrates a number of current mutations in human-animal relationships and challenges the idea of ‘growing zoocentrism.’ Indeed, personified animals transformed in human figures rather than promoted as subjects of interest in themselves, suggest a permanence of anthropocentrism.
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Kidd, Aline H., et Robert M. Kidd. « Children's Drawings and Attachment to Pets ». Psychological Reports 77, no 1 (août 1995) : 235–41. http://dx.doi.org/10.2466/pr0.1995.77.1.235.
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To help confirm the concept that distances placed between the self and other figures in children's drawings represent emotional distances, 242 pet-owning and 35 nonpet-owning kindergarteners through eighth graders drew pictures of themselves, a pet, and/or a family member. Owners drew pets significantly closer than family-figures although the younger the child, the greater the distance between self and pet. Older children drew themselves holding pets significantly more often, but younger children placed the family-figure between the self and the pet significantly more often. There were no significant gender differences in self-figure/pet-figure distances, but cats, dogs, caged animals, and farm animals were placed significantly closer to self-figures than were fish. Over-all, owners were clearly emotionally closer to pets than to family members, but nonowners were as close emotionally to family members as were owners.
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Taylor, Katy, et Laura Rego Alvarez. « An Estimate of the Number of Animals Used for Scientific Purposes Worldwide in 2015 ». Alternatives to Laboratory Animals 47, no 5-6 (novembre 2019) : 196–213. http://dx.doi.org/10.1177/0261192919899853.
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Few attempts have been made to estimate the global use of animals in experiments, since our own estimated figure of 115.2 million animals for the year 2005. Here, we provide an update for the year 2015. Data from 37 countries that publish national statistics were standardised against the definitions of ‘animals’ and ‘procedures’ used in the European Union (EU) Directive 2010/63/EU. We also applied a prediction model, based on publication rates, to estimate animal use in a further 142 countries. This yielded an overall estimate of global animal use in scientific procedures of 79.9 million animals, a 36.9% increase on the equivalent estimated figure for 2005, of 58.3 million animals. We further extrapolated this estimate to obtain a more comprehensive final global figure for the number of animals used for scientific purposes in 2015, of 192.1 million. This figure included animals killed for their tissues, normal and genetically modified (GM) animals without a harmful genetic mutation that are used to maintain GM strains and animals bred for laboratory use but not used. Since the 2005 study, there has been no evident increase in the number of countries publishing data on the numbers of animals used in experiments. Without regular, accurate statistics, the impact of efforts to replace, reduce and refine animal experiments cannot be effectively monitored.
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Vol’naya (Kerczeva), G. N. « ANIMALISTIC ART OF KOBAN CULTURE AND SCYTHIAN-SIBERIAN ANIMAL STYLE ». Archaeology and Early History of Ukraine 31, no 2 (25 juin 2019) : 402–8. http://dx.doi.org/10.37445/adiu.2019.02.33.
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The Koban animalistic art and the Scythian-Siberian animal style in many respects are based on culture of the Central European art of the pre-Scythian period, Middle East and Urartu art. In some cases, both directions use similar compositions (whirlwind forms and symmetric), the same animal images («the scraped predator», a winged predator, a deer, a ram, a goat, the head and a figure of the flying bird of prey, fish), and parts of animals (a boar canine teeth) who receive various art interpretation. In the Koban animal style there was an infiltration of images of the Scythian-Siberian animal style (figures of deer with the head turned back and the turned-in legs; animals with the turned-out back part of a trunk at an angle 180°; the predator which was curtailed in a ball), occurs registration of the Koban bronze trapezoid zone buckles Scythian motives). Also the return process of penetration of the Koban images into Scythian art is known (objects in the form of a bust of a bird of prey, «the scraped predator»). All this demonstrates difficult centuries-old interaction of two directions of animal art.
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Van Engen, Dagmar. « How to Fuck a Kraken ». Humanimalia 9, no 1 (22 septembre 2017) : 121–51. http://dx.doi.org/10.52537/humanimalia.9619.
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Recent theories in posthumanism and animal studies have shown how race, gender, and sexuality help constitute the boundaries of the human and the animal as such. This essay argues that vertebrate land animals have most frequently formed the basis for racialized human-animal comparisons and the gender-sexual paradigms that underwrite them, and proposes instead a turn to invertebrate sea animals. In speculative fiction, these alien creatures offer a more complex interface for the racialized gender and sexual registers of human-animal imaginaries. In particular, erotic monster fiction by Alice Xavier recasts the meaning of animality as a figure of the erotic by transforming octopi and anemones into nonbinary-gendered objects of human desire. If animality is a crucial figure for how humans imagine animals in order to reimagine ourselves, then Alien Seed’s fantasies about invertebrate animals create more space for trans and nonbinary genders in ways deeply entangled with the nonhuman world.
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Pielak, Chase. « HUNTING GWENDOLEN : ANIMETAPHOR INDANIEL DERONDA ». Victorian Literature and Culture 40, no 1 (mars 2012) : 99–115. http://dx.doi.org/10.1017/s106015031100026x.
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In George Eliot'sDanielDeronda, animal vitality figures prominently in shaping the human shell, to use an opening animal metaphor. Approaching the significance of the animal leads to a reading of Gwendolen Grandcourt's character as a responsible creature. Gwendolen is Eliot's heroine, one half of the pair of protagonists around whom the novel revolves. Eliot's fantastic character takes shape in three movements, each punctuated by its own animal metaphor: Gwendolen morphs from Lamia to mastered-animal to white doe. Animal imagery appears at the edge of the human, the point at which humanity gains and loses subjectivity, and Gwendolen's novel is fundamentally one of finding her place in the world, her singularity, her responsibility. Images of animals stand in the linguistic gaps – in the places words fail – to figure the subject.1Animals appear at the end of the ability of language to mean. Nevertheless, this analysis is not intended to encompass the complex range of animal representations in George's Eliot's oeuvre, or even to catalog every example inDaniel Deronda. Instead, it suggests the possibility of using animal metaphor as a map for reading a Victorian heroine.
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Koirala, Saroj. « Inclusion and Repression of Animal Figures in the Short Fiction of Chekhov and Bangdel ». Literary Studies 33 (31 mars 2020) : 102–8. http://dx.doi.org/10.3126/litstud.v33i0.38065.
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Fiction is largely a domain of human beings having anthropocentrism as its organizing principle. However, the genre sometimes employs non-human animals too as characters which can be viewed as an innovative tool of modern narratology. Through the use of de-anthropomorphized characters such works provide space for an interpretation of animal behavior and their consciousness.
Universally, human beings have kept companion pets as domestic animals are believed to be sentient beings compared to wild ones. For instance, archeological records of 15 millenniums have reported that dogs used to live together with humans because of their faithful companionship. Animals, therefore, abound in literature across all ages and cultures, but only rarely have they been the focal point of systematic literary study (McHugh 487). As a result, more recent literary criticism has focused on the ethics and the politics of human-animal bonds (HAB), animal communication, animal emotion and so on.
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Mak, Cliff. « Joyce's Indifferent Animals : Boredom and the Subversion of Fables in Finnegans Wake ». Modernist Cultures 11, no 2 (juillet 2016) : 179–205. http://dx.doi.org/10.3366/mod.2016.0134.
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This piece explores the multitude of animal figures in Joyce, especially with regards to his engagement with the classical moral mode of the beast fable. Drawing from a number of texts throughout Joyce's corpus – from his early essays on Dante and Defoe to the fables in Finnegans Wake – I show how a young Joyce's poetics of boredom (as derived from Giordano Bruno) informs his later work through the figure of the animal. Granting his animal figures a certain amount of agency, Joyce uses them to subvert the didacticism of fables, the colonial instrumentalization associated with this didacticism, and even the cultural authority of modernism itself, his own work included.
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Costall, Alan. « Lloyd Morgan, and the Rise and Fall of "Animal Psychology" ». Society & ; Animals 6, no 1 (1998) : 13–29. http://dx.doi.org/10.1163/156853098x00023.
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AbstractWhereas Darwin insisted upon the continuity of human and nonhuman animals, more recent students of animal behavior have largely assumed discontinuity. Lloyd Morgan was a pivotal figure in this transformation. His "canon, " although intended to underpin a psychological approach to animals, has been persistently misunderstood to be a stark prohibition of anthropomorphic description. His extension to animals of the terms "behavior" and "trial-and-error, " previously restricted to human psychology, again largely unwittingly devalued their original meaning and widened the gulf between animals and humans. His insistence that knowledge of animal psychology could be trusted solely to "qualified" observers initiated the exclusion from science of the informal and intimate knowledge of animals gained by pet owners, animal trainers, and other scientific outsiders. The presumption, however, that animals, in contrast to people. are to be understood solely as "strangers, " begs, rather than addresses, the question of animal-human continuity.
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Purnomo, Agus Dody, et Yasmin Adila Ramdan. « KAJIAN ELEMEN ESTETIS DAN SIMBOLIS CANDRASENGAKALA PADA TAMANSARI GUA SUNYARAGI DI CIREBON ». Naditira Widya 16, no 2 (27 décembre 2022) : 123–34. http://dx.doi.org/10.24832/nw.v16i2.494.
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Candrasengkala atau kronogram sudah dikenal oleh masyarakat di Jawa sejak zaman Hindu di Nusantara. Candrasengkala merupakan tetenger atau pengingat suatu peristiwa penting, seperti kelahiran, kematian, dan sebagainya. Dalam candrasengkala digunakan bentuk visual figur binatang yang diambil dari cerita pewayangan atau mitologi India. Binatang-binatang ditampilkan dengan pengolahan visual berupa gambar, relief, dan patung. Masing-masing figur binatang tersebut mengandung watak angka tahun dan makna simbolis. Hingga sekarang masih sedikit penelitian yang mengkaji candrasengkala di Tamansari Gua Sunyaragi di Cirebon. Penelitian ini bertujuan untuk mengetahui elemen estetis dan simbolis figur binatang pada candrasengkala yang terdapat di Tamansari Gua Sunyaragi, di Cirebon, Jawa Barat. Penelitian ini merupakan kajian deskriptif terhadap aspek tangible Tamansari Gua Sunyaragi berupa figur-figur binatang yang dilandasi mitologi India. Hasil penelitian memperlihatkan bahwa material batu dan batu karang diolah menjadi karakter-karakter figur gajah, burung garuda, dan ular, sehingga tampilan visualnya membentuk “candrasengkala”, sekaligus sebagai cuplikan kisah dari cerita pewayangan. Dengan demikian, dapat dipahami bahwa candrasengkala merupakan salah satu bentuk seni rupa Nusantara dan kreativitas kearifan lokal. Keberadaanya dapat menjadi sumber inspirasi dalam pengembangan karya seni rupa, desain, dan kriya Nusantara ke depan. Penelitian ini diharapkan dapat menjadi referensi tentang kajian binatang-binatang mitologis dalam candrasengkala di Tamansari Gua Sunyaragi.The Javanese are familiar with “candrasengkala” or chronogram which developed in Nusantara since the Hindu era. The “candrasengkala” is a “tetenger” or a reminder of important occurrences, such as birth, death, etc. “Candrasengkala” often uses visual forms of animal figures drawn from “wayang” stories or Indian mythology. Animals are featured with visual processing into depictions of figures, reliefs, and sculptures. Each animal figure contains disposition number of years and bears symbolic meanings. Until today there is little research that focuses on “candrasengkala” in Tamansari Gua Sunyaragi in Cirebon. This study aims to determine the aesthetic and symbolic elements of animal figures in “candrasengkala” at Tamansari Gua Sunyaragi, in Cirebon, West Java. This research is a descriptive study of the tangible aspects of Tamansari Gua Sunyaragi in the form of animal figures based on Indian mythology. The study resulted that stone and coral materials are processed into figures of elephants, eagles, and snakes, thus the visual appearance forms a "candrasengkala", as well as snippets of “wayang” stories. Therefore, it is understood that “candrasengkala” is a form of Nusantara art and creativity of local wisdom. Its existence can be a source of inspiration in the future development of Nusantara fine arts, designs and crafts. This research may be used as a reference for further studies of mythological animals in “candrasengkala” at Tamansari Gua Sunyaragi.
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Losa, Annik Dubied, et Claudine Burton-Jeangros. « Human and Nonhuman Animals, Mutually at Risk : A Study of the Swiss Information Media ». Society & ; Animals 19, no 4 (2011) : 337–55. http://dx.doi.org/10.1163/156853011x590006.
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AbstractNowadays, relationships between nonhuman animals and humans are debated, often in relation to issues associated with the risks they represent for each other. On the one hand, new diseases and accidents indicate that animals are not as innocuous as they were long thought; on the other hand, the now questioned human impact on the natural environment is considered a risk for animals. This research analyzed these contrasting images of animals in the Swiss information media. Of the five main animal figures identified over the last 30 years, this paper focuses on the Undesirable Animal and the Victim Animal. These two figures have existed throughout the observed period; in contrast to Victim Animals, however, who appear fairly infrequently, Undesirable Animals have become more and more common in the last decade, usually in relation to a specific issue (such as the avian flu). This suggests that the media more often convey the dominant anthropocentric relationship to animals, reflecting a preoccupation with the protection of humans against dangerous animals, whereas the protection of animals from humans is considered less important. Recent controversies demonstrate, however, that the frontier between “us” and “them” is regularly renegotiated.
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Wardana, I. Ketut, Putu Sri Astuti et Niluh Sukanadi. « THE CHARACTER EDUCATION BUILDING IN BALINESE FIGURATIVE SPEECH WITHIN ECO-CULTURAL SUSTAINABILITY ». International Journal of Social Science 2, no 2 (3 août 2022) : 1227–40. http://dx.doi.org/10.53625/ijss.v2i2.2129.
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Balinese literature reflects numerous philosophical and spiritual concepts to live in harmony within the social and natural environment. Instead of identifying and describing the types of figurative speech, this study determined whether the figure of speech in Balinese literature reflected the education formation within Eco-cultural sustainability. Through a qualitative approach Balinese simile, metaphor, analogy, and personification found in 51 stanzas written in 7 lines to 10 lines were collected by a note-taking technique to know the dominant use of the figure of speech, characteristics, and education values. Each expression was analyzed using content analysis. The findings revealed that Balinese literature under investigation was composed of 42% comparative figures, 36% contradictive figures, and 22% correlative figures. Simile and metaphor were mostly expressed in Sampik Ingtai and the contradictive figure including hyperbole and irony took the second place. However, the number of animals, nature, and plants used as comparative words-object are rare and nearly extinct. This study enhanced a model of Ecocultural pedagogy to actualize character education for students’ social care and respect for the environment. So, the figure of speech in Balinese literature plays a prominent role in developing students’ affective competence holistically to gain sustainable intelligence, skills, and human value.
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Smith, Michael. « The Animal in Pope’s Essay on Man ». TRACE ∴ Journal for Human-Animal Studies 7 (7 avril 2021) : 118–42. http://dx.doi.org/10.23984/fjhas.97071.
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Why are there so many animals referenced in Alexander Pope’s poem Essay on Man? Traditionally, animals were separated from man throughout history. Namely, the animal was denied logos and access to the polis. However, this article claims that neither of these traditions hold true throughout Pope’s work. Rather, man is placed on a level on par with the animal in order to “vindicate the ways of God to man,” Pope’s explicit purpose of the poem. The article concludes that the agnostic figure of the animal, oddly, becomes the “guarantor” of God’s ways in the eyes of man through its comparison with man.
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Halperin, Charles J., et Ann M. Kleimola. « Humans as Animals, Animals as Humans in Seventeenth-Century Russia ». ВИВЛIОθИКА : E-Journal of Eighteenth-Century Russian Studies 6 (7 décembre 2018) : 46–57. http://dx.doi.org/10.21900/j.vivliofika.v6.546.
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The boundary between human and animal in seventeenth-century Russia was more porous than has been realized. In several witchcraft cases supposedly-bewitched humans were described as speaking like animals. Muscovite hagiography and miracle stories also portrayed the demon-possessed as speaking and acting like animals. This dehumanization of humans as animals constitutes the polar opposite of the anthropomorphizing of animals as humans in bestiaries, which depicted animals as possessing human characteristics. Visual evidence corroborates these connections between the bewitched and demon-possessed on the one hand, and animals on the other, by picturing demons and humans turning to sin with animal characteristics. Early demonic representations featured the eidalon, a Greek-based figure with animal features. This textual and visual material from seventeenth-century Muscovy zoomorphized the bewitched and demon-possessed by categorizing their behavior as beastly, as that of wild animals, and by projecting the attributes and emotions of animals onto human beings. Attributing human traits to an animal might be a compliment but ascribing traits to a human could only be a criticism, thus demonstrating and confirming the Muscovite premise of human superiority over animals.
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Wolch, Jennifer, et Marcus Owens. « Animals in Contemporary Architecture and Design ». Humanimalia 8, no 2 (20 mars 2017) : 1–26. http://dx.doi.org/10.52537/humanimalia.9628.
Texte intégralRésumé :
What are animals doing in design? How do designers see, care for, and use animals? In this paper we analyze an array of design projects featuring animals, identifying intersections between human-animal studies (HAS) and design studies, and discussing the broader social significance of the figure of the animal or animality in design. First, we review the literature at this convergence between these two fields. Next, we discuss the results of our snowball survey of animal design projects across several prominent design blogs. We consider the distribution of attention designers delegate to certain animals, the standardization of certain animal designs, and which designs circulate in the design public sphere, revealing cultural blind spots and biases of designers. Finally, this paper asks how animal design tactics highlight broader social transformations related to the mobilization of perception, behavior and desire as technical practices with functional outcomes. This paper argues that the study of design as a hybrid aesthetic and technical practice yields unique insights both into studies of technics and technology as well as human-animal relations. This paper proposes such a view helps frame both studies of design as well as human relations with nonhuman animals more broadly.
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Legenza, Laurel, John D. Lee, Brooke J. Olson, Song Gao, Kyle McNair, Ethan Lucas, Jessica L. Hite et Thomas R. Fritsche. « 229. A Novel ‘One Health’ Approach to Understanding the Relationship of Antimicrobial Resistance Characteristics Among Humans, Bovines, and Canines ». Open Forum Infectious Diseases 8, Supplement_1 (1 novembre 2021) : S224—S225. http://dx.doi.org/10.1093/ofid/ofab466.431.
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Abstract Background ‘One Health’ recognizes the interconnectivity of humans with their production and companion animals, and the environment. Emergence and transmission of antimicrobial resistance (AMR) within and between these compartments is a recognized global threat that requires further understanding to design interventions protecting both human and animal health. In this study we identified resistance gene targets and clonotypes of Escherichia coli recovered from human, canine and bovine hosts and applied non-linear dimensionality reduction and visualization techniques to identify genetic relationships that may otherwise be unobservable within the data. Methods Non-duplicative E. coli isolates (N=3398; see Figure captions) were collected from humans, canines, bovines from the Midwest USA. We identified beta-lactamase gene targets for third-generation cephem multidrug resistant isolates and performed clonotype analysis on each. Uniform Manifold Approximation (UMAP) was used to create a two-dimensional “map” of the high dimensional space of the genetic results to identify similarities between both infecting and colonizing isolates, and between susceptible and resistant isolates in humans and animals in the study region (see Figure captions). Results The resulting “map” highlights similarities in: 1) genetic patterns of AMR among animals and humans, and 2) links between isolates that are infecting and colonizing in humans and canines (Figures 1-2). Our results suggest that there is strong genetic overlap linking human and animal patterns of AMR. UMAP also identified genetic segments that are unique to humans, distinct outliers, and suggest limited exchange among the neighboring counties (Figure 3). Figure 1. Distribution of infection and surveillance isolates shows distinct clusters and distribution within host species in the UMAP space. Each panel of the figure shows the same UMAP space with the labeled species in color and the other points in grey as a reference. The UMAP space is a non-linear two-dimensional representation of the genetic information contained in the clonotype analysis. UMAP is a dimensionality reduction technique similar to principal component analysis (PCA), except that it uses a non-linear combination of the underlying dimensions, which highlights the local structure and grouping of the cases. For more details see: Diaz-Papkovich, A., Anderson-Trocmé, L., & Gravel, S. (2021). A review of UMAP in population genetics. Journal of Human Genetics, 66(1), 85–91. Infection isolates: no bovine isolates tested, canine n=190, human n=115. Surveillance isolates: bovine n=175, canine n=747, human n=2171. Figure 2. Distribution of resistant and susceptible isolates shows the resistant cases are distributed in small clusters surrounding a large cluster of predominantly susceptible cases. This figure plots the same cases on the same UMAP space as Figure 1. The only difference is the color that distinguishes between resistant and susceptible cases. Resistant isolates: bovine n=91, canine n=300; human n=238. Susceptible isolates: bovine n=84. canine=637, human n=2048. Figure 3. The proportion of cases from each cluster in four adjoining counties varies considerably. The dark bars show the proportion of cases falling into each cluster for each county. The light bars provide a reference point for interpreting the dark bars by showing the proportion of cases falling into each cluster across all four counties. When the dark bars exceed the light bars it indicates that the proportion of cases in that cluster exceeds that of the neighboring counties, such as Cluster 2 for Taylor county and Cluster 3 for Marathon county. All counties shown include a population of at least 20,000. These stipulations are in compliance with federal (HIPAA) guidelines. Conclusion The results support that UMAP is a valuable tool for visualizing genetic AMR links across species. Human-animal transmission is likely for disparate and common clonotypes. Disclosures All Authors: No reported disclosures
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THEODORIDIS (Ι. ΘΕΟΔΩΡΙΔΗΣ), Y., S. SOTIRAKI (Σ. ΣΩΤΗΡΑΚΗ) et E. PAPADOPOULOS (Η. ΠΑΠΑΔΟΠΟΥΛΟΣ). « Observations on blood figure of sheep infected with Dicrocoelium dendriticum ». Journal of the Hellenic Veterinary Medical Society 50, no 4 (31 janvier 2018) : 300. http://dx.doi.org/10.12681/jhvms.15725.
Texte intégralRésumé :
Total protein, serum albumin, serum iron and haematocrit of 21 mixed breed female sheep were examined in order to clarify the pathogenicity of Dicrocoelium dendriticum in these animals. The animals were placed individually in metabolic cages and divided into three groups depending on the presence of the worm burden, after their slaughtering and liver examination. The first one was composed of six animals with high D. dendriticum burden (4.800-8.180 parasites), the second of seven with a moderate burden (400-2.720 parasites) and the third which was composed of eight animals, was the control and its worm burden ranged between 0 and 37 parasites. In the begining of the experiment, all sheep were treated, with anthelmintic drugs and an insecticide against cestode and nematode parasites and ectoparasites. Additionally, the control group was treated with a drug against D. dendriticum. All sheep were free of Fasciola hepatica and lung nematodes. During the study, three blood samplings were taken for total protein,serum albumin and serum iron and every day for haematocrit. The first blood sampling was taken the same day with the anthelmintic treatment and the other two, three and four weeks later. There were no statistically significant differences when the group mean values were compared either between the different dates of sampling in the same group or between the different groups,with the exception of serum albumin in the highly infected group, which appeared to be improved in the 2nd and 3rd blood examinations. Finalty, according to the not significant changes in the blood figures, in combination with the other radioisotopic measurments, which took place earlier, is concluded, that D. dendriticum, appart from local lesions, does not seem to infuence the animal health in general.
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Trott, Josehine F., Amy E. Young, Bret R. McNabb, Xiang Yang, Thomas F. Bishop et Alison L. Van Eenennaam. « 19 Comparative Evaluation of Human-edible Animal Products Derived from Offspring of Genome Edited and Control Cattle ». Journal of Animal Science 99, Supplement_3 (8 octobre 2021) : 11–12. http://dx.doi.org/10.1093/jas/skab235.020.
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Abstract Risk assessments of genetically modified (GM) animals include evaluating whether milk and meat derived from the GM animal is as nutritious to humans and/or animals as traditionally-bred animals. The underlying assumption of this comparative approach is that traditionally-bred animals have a well-established history of safe use. The goal of this project was to provide empirical data on the development and nutritional composition of animal products derived from the offspring of a genome edited dairy bull, homozygous for the dominant PC Celtic POLLED allele. The bull was crossed with horned Hereford (HH) cows (pp) to obtain five male and one female heterozygous hornless (RC) calves. Hereford, Angus and Holstein bulls were also bred to Hereford cows to produce five HH calves, two polled Angus/Hereford (AH) calves, and three horned Holstein/Hereford (HO) calves (with 25% genetic identity to the hornless offspring), respectively as contemporary controls. Weights were recorded at 8 months, 1 year and slaughter (n = 9–16). Following calving, individual quarters of the RC heifer (RC.calf1), one HO heifer (HO.calf2), two horned HH heifers, and one contemporaneous hornless AH cow (3113) were milked at varying timepoints during the first seven weeks of lactation. Meat samples were collected from the 6 hornless RC calves and 3 horned HO comparator offspring after slaughter. Proximate analysis was conducted for meat and milk samples. Cattle that inherited a POLLED allele from the genome-edited bull showed no differences in their overall growth (Figure 1) or meat composition (Figure 2) when compared to contemporary controls. Milk composition varied between animals and by days in milk (DIM), although values were within the normal range reported in peer-reviewed literature (Figure 3). Bovine milk composition is known to be influenced by breed, nutrition, parity, and DIM, making it difficult to obtain appropriate comparators in experiments with a limited number of GM animals.
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MAJKA, C. G. « The Mycteridae, Boridae, Pythidae, Pyrochroidae, and Salpingidae (Coleoptera : Tenebrionoidea) of the Maritime Provinces of Canada. Zootaxa, 1250, 37–51. (ERRATUM) ». Zootaxa 1281, no 1 (7 août 2006) : 68. http://dx.doi.org/10.11646/zootaxa.1281.1.5.
Texte intégralRésumé :
In the article, figures 4 and 5 were unfortunately reversed. The legend for figure 4 (on page 44) corresponds with the map printed on page 45, and the legend for figure 5 (on page 45) corresponds with the map printed on page 44.
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Khudyakov, Yuliy S., et Kubatbek Sh Tabaldiev. « Archers on the Petroglyphs of Kara-Too in Kyrgyzstan ». Archaeology and Ethnography 18, no 7 (2019) : 142–47. http://dx.doi.org/10.25205/1818-7919-2019-18-7-142-147.
Texte intégralRésumé :
Purpose. The article analyzes in details two small petroglyphic compositions with human figures and hoofed animals made in the technique of dotted engraving on rocky ridges, which were discovered in the mountains of Kara-Too, a part of the mountain range of Tian Shan in Kyrgyzstan, and provides a brief description of another similar composition. Results. We summarized the primary events of researching rock graphic arts compositions in mountains, particularly those located in the northern part of the Kyrgyz Republic. The first imagery group, which was discovered at the site Kara-Too, demonstrates a dismounted archer wearing a rounded head-dress and keeping a bow and arrow in his hand, with a bow quiver hung to his belt, and a profile imagery of a hoofed animal with two protuberances on its back, which probably means that the animal is a camel. The second petroglyphic composition shows two archers with bows and arrows in their hands, who are hunting goats. We also give a brief description of the third multi-figure composition present at this petroglyphic location. It includes an imagery of a horseman, some horses, a dog, mountain goats and sheep or Altai argali, as well as a construction with walls and a double-pitch roof. Conclusion. The images of humans and animals in the petroglyphic composition of Kara-Too, which were described in the article, apparently relate to the Late Bronze Age and Early Iron Age.
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Rockett, Ben, et Sam Carr. « Animals and Attachment Theory ». Society & ; Animals 22, no 4 (2 juillet 2014) : 415–33. http://dx.doi.org/10.1163/15685306-12341322.
Texte intégralRésumé :
The study of nonhuman animals in the context of attachment theory is steadily growing. This paper sought to pull together recent literature in order to review, summarize, and discuss (a) animals as attachment figures, (b) the conceptualization of attachment quality in human-animal bonds, and (c) the role of animals in assisting the development of human-human attachment.
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Babu, Arathi, et Pius T.K. « Meat and Animal Identity in Manjula Padmanabhan’s The Island of Lost Girls ». RESEARCH HUB International Multidisciplinary Research Journal 9, no 6 (30 juin 2022) : 01–03. http://dx.doi.org/10.53573/rhimrj.2022.v09i06.001.
Texte intégralRésumé :
Meat is concomitant with animals. Modern practices such as factory farming have separated the consumers from knowing about the origin of their source of meat and the conditions of animals in such farms. In Animal Studies, meat is a problematic term as it is always associated with the soulless meat of animals. Animal Rights theorists argue that even humans can be food for other beings but the dominant anthropocentric thinking of our times disallows them to be conceived as ecologically embodied beings. The Island of Lost Girls is a speculative fiction that figures several marine animals that are reduced to meat. The article probes the connection between the category of meat and animal identity, the hyperseparation of animals and humans and the anthropocentric thinking prevalent in the dystopian world of the novels using theories of animal rights activists such as Val Plumwood, Gary L. Francione and David Eaton.
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Khudiakov, Yu S., et A. Yu Borisenko. « Images Depicting Archers on Cholpon-Ata Petroglyphs in Kyrgyzstan ». Problems of Archaeology, Ethnography, Anthropology of Siberia and Neighboring Territories 27 (2021) : 719–22. http://dx.doi.org/10.17746/2658-6193.2021.27.0719-0722.
Texte intégralRésumé :
The article is intended to study several images depicting archers embossed on stone boulders, located near the present settlement Cholpon-Ata, which is situated at the northern coast of Issyk-Kul Lake in the Kyrgyz Republic. These anthropomorphous characters are made on the surface of large boulders as a part of hunting scenes, or in a single fashion. The archers are displayed ready for shooting at disproportionally large figures of wild ungulate animals, mountain goats, and argali. They are performed in the animal style traditional for the Saki period Tian Shan petroglyphs supplemented with ornament elements, put on croup or on the largest part of the torso of these wild ungulate animals. Figures of hunters are depicted bearing bows in their hands. The images show compound bows and arrows with tips of different shapes. A single figure of a horseman is displayed riding a horse and holding bow with taken off bowstring, placed in the bow quiver. Weapons, bows, arrows of the ancient archers are shown in a position ready for shooting at various targets or in a stowed position. Bows are shown with concave shoulders in the firing direction and placed bowstrings. Separate bows are shown with shoulders tops oriented towards the firing direction. The tops of several arrows are highlighted. One of such tops is issued in a semicircular ending. Based on these images of bows and arrows, ancient nomads of the Scythian and Saki times in Tian Shan regarded bows and arrows as the main type of hunting weapon, and possibly used them for hunting widely.
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Howes-Jones, Daryl. « The complex song of the warbling vireo ». Canadian Journal of Zoology 63, no 12 (1 décembre 1985) : 2756–66. http://dx.doi.org/10.1139/z85-411.
Texte intégralRésumé :
The song of the warbling vireo (Vireo gilvus) was described as a nested hierarchy consisting of four levels: song, figure patterns, figures, and figure regions. Song appeared to be organized as a set of nested undulations or cycles of tone of between 2 and 160 Hz. The dominant feature of song is its complex rhythmic structure. The complexity of song was considered to result from flexibility in the rules which governed how undulations on the various levels were combined. The first and last three figures of song showed characteristic shape. The figure repertoire was graded in form and similar among individuals. Figure patterns gradually changed in consecutive songs and during the season, forming what appeared to be a continuously changing set of themes with variations. Despite this variation, neighbouring males shared a greater number of figure patterns in their repertoires than more distant males. Redundancy, as measured in the first half of song, increased at the onset of nest building and was greatest when the male was sitting on the nest. Characters or structures in song that potentially encode species, individual, contextual, or motivational information were described.
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Birch, Dinah. « 'THAT GHASTLY WORK' : RUSKIN, ANIMALS AND ANATOMY ». Worldviews : Global Religions, Culture, and Ecology 4, no 2 (2000) : 131–45. http://dx.doi.org/10.1163/156853500507780.
Texte intégralRésumé :
AbstractJohn Ruskin (1819-1900)—art critic, architectural historian and writer—became, in his later work, increasingly interested in the relationship between human and animal life. As an art critic, he was concerned with the representation of human and animal figures and, in particular, with anatomical studies; whilst he had a longstanding interest in scientific concepts, in particular in the ways in which evolutionary theory changed understandings of animals. This paper explores how Ruskin rejected both the anatomical approach to animals studied in art, and the dissection of animals by scientists. Instead, this paper argues, Ruskin proposed that the lives of animals should be regarded with respect, reverence and responsibility.
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Maligana, Muhammad Djafar Wittiri, et Irma Rochmawati. « Desain Video Animasi 2 Dimensi Kisah Perjuangan Martha Khristina Tiahahu ». DIVAGATRA - Jurnal Penelitian Mahasiswa Desain 2, no 2 (30 octobre 2022) : 257–72. http://dx.doi.org/10.34010/divagatra.v2i2.8319.
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Hero is a term for anyone who is extraordinarily meritorious to his nation. Through the figure of a hero, a symbol of struggle, defending the truth, and sacrifice, always maintained and passed down from generation to generation. The hero is also one of the important figures that must be known by all the people around him, not only remembering in his heart and thanking him, but also by imitating the attitudes and actions of the heroes. However, heroes who have many values that can be imitated are increasingly being forgotten by the younger generation. Early recognition is needed so that children can recognize and know the heroes of national independence in order to become a better generation, especially teenagers in Indonesia. The purpose of the design is to introduce the history and national independence hero figures from the Maluku Islands, namely Martha Khristina Tiahahu. The media used as a solution to the problem is by using interactive information communication, looks fun, and interesting, also is in demand by the public, especially teenagers, and can be accessed easily so that information about this problem can be spread out to the general public, especially students. Animation is a film that is the result of hand work in the form of moving images.
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Nisha, P. R. « Ban and benevolence : Circus, animals and Indian state ». Indian Economic & ; Social History Review 54, no 2 (avril 2017) : 239–66. http://dx.doi.org/10.1177/0019464617695676.
Texte intégralRésumé :
Social sciences and humanities have recently begun posing enquiries such as do animals have histories, memories and subjectivities. Circus animals hardly figure in the discourses on animals while a wide variety of animals existed in the rings globally as performers and workers. The ban of the training and performance of certain wild animals by the Ministry of Environment and Forests, India in 1991 was a watershed moment for the almost 150-year-old circus industry in the subcontinent. This article explores the legal battle that followed the ban, various discourses around animals, both wild and captive, the human and non-human association in circuses and the history of animal training and performance and critically examines the ideas of rescue, rehabilitation and conservation. The acquisition, taming and trade of animals are implicated in the history of hunting, wildlife policies of the colonial and postcolonial states in India. The ‘rescue’ and ‘rehabilitation’ of animals from the ‘private’ circus companies to the ‘public’ zoos would unravel how the very idea of scientific conservation becomes a violent guile of state and civil society actively propagating the binary of cruelty and mercy. The article will also briefly discuss the questions of intimacy and emotions between the animal and the animal trainer beyond the common representations.
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구본현. « Animal Figure and Its Meaning in Painting Poetry ». DONG-BANG KOREAN CHINESE LIEARATURE ll, no 61 (décembre 2014) : 87–124. http://dx.doi.org/10.17293/dbkcls.2014..61.87.
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WELTER-SCHULTES, F. W., R. KLUG et A. LUTZE. « Les figures des plantes et animaux d'usage en medecine, a rare work published by F. A. P. de Garsault in 1764 ». Archives of Natural History 35, no 1 (avril 2008) : 118–27. http://dx.doi.org/10.3366/e0260954108000119.
Texte intégralRésumé :
Between 1764 and 1767 the artist and naturalist F. A. P. de Garsault published several editions of the five-volume work Les figures des plantes et animaux d'usage en medecine, in which hundreds of plants (four volumes) and animals (one volume) were figured and presented with French and Latin names. A strict absence of polynominal Latin names in the animal volume is a surprising contrast to the botanical volumes where many polynominal names were used. Although several Latin zoological names entered taxonomy in the years after 1764, some of which are still in current usage, the rare work has remained almost unknown to zoologists. Zoologists presumably have not found the work any more in libraries since long before 1900, because in zoological publications work and taxa have erroneously been attributed to the physician and zoologist E. L. Geoffroy, while in botanical bibliographies Garsault's true authorship was maintained.
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Hamood, Albert W., et Eve Marder. « Corrigendum : Animal-to-Animal Variability in Neuromodulation and Circuit Function : Figure 5. » Cold Spring Harbor Symposia on Quantitative Biology 79 (2014) : 309. http://dx.doi.org/10.1101/sqb.2014.79.026955.
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Tsetskhladze, Goca Revazovic, et N. V. Vashakidze. « Terracotta figures of Animals from Colchis ». Dialogues d'histoire ancienne 20, no 1 (1994) : 109–25. http://dx.doi.org/10.3406/dha.1994.2148.
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Mkhitaryan, Irina. « Personification as Manifestation of Author’s Ironical Attitude from the Title-Text Correlation Standpoint (in the novel Animal Farm by G. Orwell) ». Armenian Folia Anglistika 13, no 1-2 (17) (16 octobre 2017) : 29–36. http://dx.doi.org/10.46991/afa/2017.13.1-2.029.
Texte intégralRésumé :
The paper attempts at presenting the author’s ironical attitude in the allegorical novel “Animal farm” written by G. Orwell. Here we posit the idea that the author’s ironical attitude can be embodied by personification, a figure of speech, which makes inanimate objects, animal characters or abstract ideas seem just like people by giving them human traits. The article also clarifies the role of context in defining the title-text correlation, which is best marked by the superiority of pigs ruling the farm instead of people. Hence, the former Manor Farm comes to be named Animal farm, postulating the abilities and strength of animals.
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Adham, Mouad. « Le symbolisme de l’analogie proustienne ». Non Plus 7, no 13 (30 juin 2018) : 61–78. http://dx.doi.org/10.11606/issn.2316-3976.v7i13p61-78.
Texte intégralRésumé :
Les figures d’analogie dans À la recherche du temps perdu de Marcel Proust sont un support du symbolisme implicite et de ce qui n’est pas exprimé au sens propre. En effet, la plume proustienne recourt à des métaphores qui se réfèrent au règne animal pour décrire la médiocrité et l’absurdité du mode de vie des aristocrates et de la haute société européenne. Lorsque le thème de la métaphore représente un aristocrate, le phore de la même figure désigne un animal et invite le lecteur par conséquent à déchiffrer les intentions implicites du texte. Grâce au classement des figures animales recensées, nous avons constaté que la critique implicite des aristocrates et des grands bourgeois se fait par une identification aux corps des animaux, à des parties de leur corps ou à leur geste. Le symbolisme de ces figures permet d’insinuer une pensée cachée dans le texte et qui peut être celle de Proust lui-même qui vivait et admirait jadis les grandes réceptions aristocratiques avant de se retirer de ce monde et se consacrer à la réalisation de son œuvre.
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Barlam, Tamar F., et Kalpana Gupta. « Antibiotic Resistance Spreads Internationally Across Borders ». Journal of Law, Medicine & ; Ethics 43, S3 (2015) : 12–16. http://dx.doi.org/10.1111/jlme.12268.
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Antibiotic resistance (ABR) poses an urgent public health risk. High rates of ABR have been noted in all regions of the globe by the World Health Organization. ABR develops when bacteria are exposed to antibiotics either during treatments in humans or animals or through environmental sources contaminated with antibiotic residues (Figure, Panel A). Spread beyond those administered antibiotics occurs through direct contact with the infected or colonized person or animal, through contact or ingestion of retail meat or agricultural products contaminated with ABR organisms, or through the environment. ABR bacteria spread from individuals to populations and across countries (Figure, Panel B).
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Wessman, Anna. « Animals on display : animal motifs, human-animal relations and social semiotics in the Bronze Age rock carvings from Enköping and Norrköping, Sweden ». Current Swedish Archaeology 26, no 1 (10 juin 2021) : 189–218. http://dx.doi.org/10.37718/csa.2018.12.
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Animals make up one of the most common motif groups in south Scandinavian Bronze Age rock art, with depictions of pigs and horses, as well as wild animals like red deer and wild boar, occurring in almost all rock art areas. Despite their ubiquity, their treatment in previous research has been inadequate. In this article, the display of animals in the rock art tradition is mapped out and discussed from a perspective based in human-animal relations and social semiotics. The animal figures are analyzed in terms of species, sex, human practice and regional articulations, as well as in relation to the wider archaeological record. The results reveal that animal motifs probably had a dual role during the Bronze Age, showing both the biological reality and the social and symbolic values that were connected to animals. In addition, the animals depicted in rock art also worked as carriers of semiotic resources, which manifested human social and societal ideas and ideals.
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Smutný, Luboš, Šárka Smutná, Jana Kindlová, Miloslav Šoch, Václav Škeřík et Luboš Zábranský. « THE USAGE OF INFORMATION TECHNOLOGY FOR EVALUATION OF ANIMAL WELFARE ». Acta Universitatis Cibiniensis. Series E : Food Technology 17, no 2 (1 décembre 2013) : 137–44. http://dx.doi.org/10.2478/aucft-2013-0022.
Texte intégralRésumé :
Abstract up to date information systems collect data from technological process, facts about production, reproduction and health of animals. On the base of all figures of these measurable values and evaluation of observable characteristics we can do the classification of the total rate of animal welfare. Physical activity of animals is affected by many factors during the day, especially satisfying basic needs, i.e. feed intake, social manifestations, etc. Vitalimeter is recording physical activity of the animal, including the type of movement, standing and lying time, number of leap.
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Albtoush, Mohammad Abedltif, et Sakina Suffian Sahuri. « Beyond Predator and Prey : Figuring Corruption through Animal Metaphoric Scenarios in the Jordanian Context ». English Language and Literature Studies 7, no 2 (30 mai 2017) : 110. http://dx.doi.org/10.5539/ells.v7n2p110.
Texte intégralRésumé :
Combining a cognitive approach based on Lakoff’s Conceptual Metaphor Theory and a pragmatic approach based on Critical Metaphor Analysis, this study investigates the use of ANIMAL metaphoric scenarios to figure corruption as a relationship between predators and prey and the cultural implications in the Jordanian context. It also seeks to identify the diverse functions performed by the use of ANIMAL metaphors. Data for the study consist of 10 excerpts taken from a satire-genre discourse “sawalief.com”. My argument is that all animal metaphors in the corpus promote the contrast between the ACTIVITY of corrupters and the PASSIVITY of the citizenry and that the goal of this rhetoric is to move the PASSIVE citizenry into ACTION by shaming them into fighting corruption. This is clearly illustrated through the use of two types of ANIMAL metaphoric scenarios: ACTIVE ANIMALS representing corrupters and politicians, and PASSIVE ANIMALS representing the citizens. In addition, the use of these metaphors performs diverse functions: ideological, cognitive, and rhetorical.
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Lauzon, Samuel, et Jose Fernandez-Triana. « Corrigenda : A biodiversity hotspot for Microgastrinae (Hymenoptera, Braconidae) in North America : annotated species checklist for Ottawa, Canada ». ZooKeys 927 (16 avril 2020) : 153–54. http://dx.doi.org/10.3897/zookeys.927.52153.
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In a paper about the biodiversity of Microgastrinae (Hymenoptera: Braconidae) in Ottawa Canada (Fernandez-Triana et al. 2016) some figure captions are incorrect. That includes three cases where the species name shown does not correspond with the actual species being depicted in those figures. To correct those mistakes, we detail below the correct captions for the corresponding figures.
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Janda, Laura A. « Figure, Ground, and Animacy in Slavic Declension ». Slavic and East European Journal 40, no 2 (1996) : 325. http://dx.doi.org/10.2307/309473.
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Perkins, David. « Wordsworth and the Polemic Against Hunting : "Hart-Leap Well" ». Nineteenth-Century Literature 52, no 4 (1 mars 1998) : 421–45. http://dx.doi.org/10.2307/2934060.
Texte intégralRésumé :
Increasing compassion for animals led in Wordsworth's era to a polemic against hunting. Wordsworth's "Hart-Leap Well" is part of this campaign. Wordsworth's strategy and arguments in the second part of "Hart-Leap Well" are typical of the discourses that attacked hunting, chiefly for its cruelty, but Wordsworth was unusual in also leading readers in the first part of the poem to sympathize with the hunter's emotions, and he illustrates in the figure of Sir Walter the warrior virtues that hunting was said by its defenders to inculcate. The poem reaches more deeply, however, to explore irrational grounds of hunting's appeal in Sir Walter's enlarged sense of secure dominance, power, lust, and megalomania in the aftermath of the chase. As with Coleridge's Ancient Mariner, egoistic self-assertion expresses itself in killing an animal and is figured as solitude. Just as Sir Walter embodies "the coarser pleasures of my boyish days" (as Wordsworth represents them in various poems), the figure of the poet possesses the more reflective, sensitive, and profound awareness that Wordsworth credits to his adult self. In "Hart-Leap Well" Sir Walter's mentality is that of the historical past, and the poet's represents the future. The poem offers a version of the Enlightenment plot of history as the moral progress of mankind. But in the end the poem may contemplate, with pleasure, the vanishing of mankind from the face of the earth, while nature remains in its beauty.
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Spriggs, Hermione. « ‘Uurga shig’ – What is it like to be a lasso ? Drawing figure–ground reversals between art and anthropology ». Journal of Material Culture 21, no 4 (20 août 2016) : 405–28. http://dx.doi.org/10.1177/1359183516662673.
Texte intégralRésumé :
How might a singular object, a herdsman’s lasso known as the ‘ uurga’, facilitate a fresh understanding of cosmology and human–animal relationships in nomadic Mongolia? ‘ Uurga shig’ re-evaluates the performance of an object as an agentive social participant and the role of drawing as an anthropologically relevant method, outlining the need for interdisciplinary exchange between the fields of participatory art and anthropology. With a starting point of Alfred Gell’s thesis of ‘Traps as artworks and artworks as traps’ (1996), the lasso presents an alternative point of view to the western ‘zoological framing’ criticized by Massumi (‘What animals teach us about politics’, 2014). Instead the uurga functions as a non-Euclidean drawing tool, a frame through which to better understand the fluid relationships underpinning human–animal codependency on the Mongolian steppe. From the line on a page to the ‘drawing through’ of a thread in a needle and the ‘drawing in’ of a wild horse in nomadic Mongolia, the author explores the application of drawing as an intimate method for analyzing moving relationships. With a focus on the drawn line as a connecting device that lends itself to figure–ground reversal, she extends the application of drawing as a prosthetic technology, one that might be used to catalyze a perspectival shift into the worlds of other animals.
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Shetty, Sandhya. « Cruel Husbandry ». Comparative Studies of South Asia, Africa and the Middle East 42, no 3 (1 décembre 2022) : 638–55. http://dx.doi.org/10.1215/1089201x-10148129.
Texte intégralRésumé :
Abstract Long read in relation to public health and gender/sexual mores, Katherine Mayo's Mother India (1927) has rarely been viewed from an animal studies perspective. This article proposes that the animal, tethered to the woman question and to the figure of the Muslim, is integral to the book's imperialist apologetics. Investigations of physical cruelty to women and to animals build Mayo's case against Hindu nationalists' bid for self-rule. Highlighting cruelty alongside the question of dietary choice, Mayo interrogates the self-representation of the Hindu vegetarian as nonviolent, rewriting him instead as rapacious carnivore in every sense but the literal. Mobilized in different contexts and modes, the abused animal becomes part of Mayo's arsenal of shaming rhetoric, as does the figure of the “internationalist” Muslim who is imagined as bulwark against the Hindu vegetarian and as dysgenic threat and “world-menace.” Mother India's political-theological engagement with “the Muslim” as the iconoclastic meat eater pits him against the unfit, diabetic Hindu in a fantasy of carnivory and carnage that enacts a wished-for solution to the problem of defending empire.
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Dunn, Amy L., et Bahig M. Shehata. « Blood Induced Cartilage Changes in a Hemophilia A Murine Model. » Blood 110, no 11 (16 novembre 2007) : 1152. http://dx.doi.org/10.1182/blood.v110.11.1152.1152.
Texte intégralRésumé :
Abstract Background: Hemophilia A results from a congenital deficiency of clotting factor VIII. Patients with hemophila are unable to generate adequate thrombin during blood coagulation and therefore have a bleeding diathesis. Degenerative joint disease is the largest source of morbidity for hemophilic patients. The pathophysiology of this process is poorly understood but clinically, repeated bleeding into a joint leads to changes in the synovium, articular cartilage and underlying bone. It is not well known how quickly cartilage changes occur or if animal age has any impact on susceptibility to blood induced cartilage damage. Materials and Methods: The E16 fVIII knockout mouse is a well-established model for hemophilia research. These mice contain a targeted disruption of the factor VIII gene at exon 16 (E16) in a C57BL/6 background. Despite having no detectable circulating fVIII activity they rarely suffer from spontaneous hemarthroses. Therefore hemarthroses was mimicked by injecting 5 μL of autologous whole blood into the hind knee. Six male mice per group in each of three ages; 12, 24 and 52 weeks were utilized. The animals were sacrificed 48 hours after injection. The injected and control contralateral knee joint from each animal was fixed in 10% formalin and then mounted in paraffin. After decalcification, five micrometer sections through the joint were obtained. Joint architecture was examined after hematoxylin and eosin staining. Proteoglycan content of articular cartilage was evaluated after alcian blue staining as part of the modified Mankin score. The pathologic specimens were also scored utilizing Valentino’s visual bleeding score. The Student’s t-test was utilized for significance testing. Results: All mice showed evidence of blood remaining in the injected joint at 48 hours. The mean visual bleeding score was significantly higher for the injected knees versus the control knees of all age groups p<0.001. The mean visual bleeding score was significantly between the 12 and 24 week animals p=0.0112 and the 12 and 52 week animals p=0.0379, but not between the 24 and 52 week animals p=0.5423. The modified Mankin score was significantly higher between the injected and control knees of all age groups as seen in Figure 1 where the mean and standard deviation is shown for 6 animals in each group. Interestingly, one control knee in a 24 week old animal demonstrated synovial hyperplasia and decreased proteoglycan staining but had no evidence of blood in the joint. This likely represented a previous spontaneous hemorrhage. The modified Mankin score was highest for the 12 week old animals and lowest for the 52 week animals but did not achieve statistical significance p=0.5746. Conclusions: Injection of autologous blood mimicked clinical hemarthrosis. Evidence of decreased proteoglycan staining of articular cartilage was evident within 48 hours of blood exposure. Additionally, there was a trend toward more prominent proteoglycan loss in the youngest animals. Figure Figure
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Kozlovic, Anton Karl. « The Cinematic Christ-figure : From Everyman to Antihero-antichrist ». Khazanah Theologia 5, no 1 (2 janvier 2023) : 1–20. http://dx.doi.org/10.15575/kt.v4i3.20034.
Texte intégralRésumé :
In this second century of the Age of Hollywood and the reign of moving image culture, popular feature films are nowadays the lingua franca of our youth throughout Western society, and the natural home of numerous sacred subtexts; most notably the cinematic Christ-figure, but hitherto unexplicated in-depth to date. Consequently, a broad review of the critical religion-and-film literature plus a close reading of selected feature films utilizing humanist film criticism as the guiding analytical lens (i.e., examining the textual world inside the frame, but not necessarily the world outside the frame), revealed at least six (but not necessarily mutually exclusive) categories of the cinematic Christ-figure, namely: (1) Everyman Christ-figures: Earth-sourced Humans, (2) Alien Christ-figures: Extraterrestrial Messiahs, (3) Female Christ-figures: Gender Swapping Jesuses, (4) Animal Christ-figures: Veterinary Versions, (5) Inanimate Christ-figures: The Holy Non-living, and (6) Antihero-antichrist-figures: The Shadows of the Christos. To ensure category robustness, they were sourced from different directors, genres, countries, aesthetic styles, and release decades. Each category was briefly explicated and illustrated herein. It was concluded that the sacred subtexts subgenre within the exciting emerging field of religion-and-film is immense, under-explored, awaiting (re-)discovery, and with a promising future worthy of further investigation and pedagogic deployment within the classroom, home or pulpit. All of which strongly implies that these cinematic extra-ecclesiastical sources of insight function as modern-day missionaries that expands theological discussion far beyond Bible readings and tracking of the Apostle’s journeys that more often had to be endured by students rather than enjoyed.