Zoopoetics: Animals and the Making of Poetry

Hume, Angela

doi:10.1093/isle/isu138

Cited by 3 publications

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“…The dog, chained and abused, decides to set himself free and inspires other oppressed animals to follow suit. This work utilises human language, a principal ingredient of anthropomorphism, but it is in the function of communicating nonhuman animals' subjectivity, critiquing species hierarchisation and its inherent potential for abuse of power, and enabling nonhuman animals to express their agency [83]. Implicitly, in this folk tale, human violence against other animals is denounced and the right of domination is questioned.…”

Section: About a Doggiementioning

confidence: 99%

Zoofolkloristics: Imagination as a Critical Component

Brooks Pribac,

Golež Kaučič

2024

Animals

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Nonhuman animal protagonists of folklore texts in the European space have tended to be perceived primarily as performing a symbolic and metaphoric function. But behind the symbols and the metaphors hide real flesh-and-blood nonhuman animals, and flesh-and-blood humans interacting with them, mostly from a position of power. The emerging discipline of zoofolkloristics considers nonhuman animals in their own right. Through critical analysis of folklore material, zoofolkloristics examines the role of animals and power relations within the interspecies entanglement with the aim of deconstructing the oppressive system and establishing multispecies justice. We begin this paper with a brief reflection on the ‘historical animal’ as an embodied being and a human construct. We then perform a critical re-reading of three animal-related folklore texts from the Slovenian tradition and, applying Hubert Zapf’s concept of imaginative counter-discourse, consider the potential of imagination as a methodological tool in the transformative program of zoofolkloristics. Implications for animal ethics, liberation, and conservation are also discussed.

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Section: About a Doggiementioning

confidence: 99%

Zoofolkloristics: Imagination as a Critical Component

Brooks Pribac,

Golež Kaučič

2024

Animals

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“…Unlike other literary genres, the argument goes, poetry offers an engagement with language that allows for peculiar encounters with nonhuman animals. In a nutshell, thanks to the use of metaphors and similes and the manipulation of sound and rhythm (the «music» of poetry); 53 the resistance to rules and codes (poetry's «inherent playfulness») and the openness of forms of expression; 54 the gesturality that allows to re-enact, recreate, mimic, or respond to the gestures of animals, 55 poetry allows for truer and deeper encounters with animality. This linguistic freedom allows to invent new forms of contact with the nonhuman other, with the embodied reality of the individual being -«a shock of surprise, recognition, joy, or fear»which in turn involves a transcending of one's individual humanity.…”

Section: Flying On the Bat's Backmentioning

confidence: 99%

Looking at bats

Salzani

2022

BALT

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Thomas Nagel’s 1974 essay “What Is It Like to Be a Bat?”[1] is one of the most cited texts on the problem of consciousness, and its theses have been discussed and debated in many different fields, from philosophy of mind to animal cognition and animal ethics. Nagel’s argument, that it is ultimately impossible for us to know what it is like to be a bat for a bat given the extreme differences in sensory experience between humans and bats, has come under fire from very different and even opposed perspectives: if, on the one hand, science-oriented philosophers and scholars accused him of underestimating and ultimately curtailing the power of scientific inquiry, on the other researchers in the humanities and animal ethics indicted him of defeatism for dismissing the power of imagination in bridging the species gap. In what follows, I will present and contrast two such positions, the critique of Nagel by neurophilosopher[2] Kathleen Akins and a very different approach to bat lives through poetry, exemplified by two poems by Ted Hughes (1930-1998) and Les Murray (1938-2019). The goal of counterposing these two different ways of looking at bats is not only or not much that of suggesting a preferable approach to bats’ otherness (though this is also what I will do), but also of emphasizing the aesthetic dimension of our relationship with the animal other and the role it plays in our ethical decision-making. [1] T. Nagel, “What Is It Like to Be a Bat?”, in The Philosophical Review, vol. 83, n. 4, 1974, pp. 435-450. [2] Neurophilosophy is an interdisciplinary field at the intersection of philosophy and the neurosciences in which traditional philosophical problems about the nature of the mind are approached through current findings within the neurosciences.

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“…Sin embargo, las comparaciones insecto/humano corren el riesgo de caer en humanizaciones o antropomorfizaciones reduccionistas que centran la atención en el factor humano y no tanto en el animal. Por eso, autores como Moe (2014) han propuesto otro tipo de aproximaciones a lo animal en la poesía, lo cual ha abierto el panorama a nuevas e innovadoras interpretaciones de los textos poéticos. Concretamente, se trata del concepto de zoopoética, el cual plantea que los animales son sujetos que participan activamente en el proceso creativo.…”

Section: Introductionunclassified

Patitas de insectos en medio de las páginas: la zoopoética entomológica de Eduardo Chirinos en tres de sus poemas

Rosas-Romero

2024

452ºF

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La obra de Eduardo Chirinos (1960-2016), a pesar de la exigua atención crítica que ha recibido en los últimos años, es sumamente relevante al momento de aproximarse a la representación poética de todo tipo de animales, especialmente de los insectos. En este artículo, hago un repaso de las teorías y conceptos más importantes del campo de los estudios animales, para así proponer una lectura zoopoética de la obra del autor peruano en tres poemas pertenecientes a dos poemarios de 2013: 35 lecciones de biología (y tres crónicas didácticas) y Coloquio de los animales. El concepto de zoopoética, estudiado por Aaron Moe, Kári Driscoll y Eva Hoffmann, entre otros, sostiene que los animales no son solamente sujetos simbólicos que se prestan a metaforizaciones y otros recursos retóricos, sino que también son agentes de representación activos dentro del texto literario, donde su animalidad entra en diálogo con la desnudez animal del propio ser humano, en palabras de Derrida. Bajo esta perspectiva, la obra de Chirinos puede interpretarse como una compleja red zoopoética, donde los insectos contribuyen creativamente a la producción de su poesía, pensamiento y visión de mundo.

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Zoopoetics: Animals and the Making of Poetry

Cited by 3 publications

References 0 publications

Zoofolkloristics: Imagination as a Critical Component

Zoofolkloristics: Imagination as a Critical Component

Looking at bats

Patitas de insectos en medio de las páginas: la zoopoética entomológica de Eduardo Chirinos en tres de sus poemas

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