In 2011, in one sign of a burgeoning interest in the morality of human interactions with nonhuman animals, a panel hosted by the American Association for the Advancement of Science declared that dolphins and orcas should be legally regarded as persons. Multiple law schools now offer classes in animal law and have animal law clinics, placing their students with a growing range of animal rights and animal welfare advocacy organizations. But is legal personhood the best means to achieving total interspecies liberation? To answer that question, Impersonating Animals evaluates the rhetoric of animal rights activists Steven Wise and Gary Francione, as well as the Earth jurisprudence paradigm. Deploying a critical ecofeminist stance sensitive to the interweaving of ideas about race, gender, class, sexuality, ability, and species, author S. Marek Muller places animal rights rhetoric in the context of discourses in which some humans have been deemed more animal than others and some animals have been deemed more human than others. In bringing rhetoric and animal studies together, she shows that how we communicate about nonhuman beings necessarily affects relationships across species boundaries and among people. This book also highlights how animal studies scholars and activists can and should use ideological rhetorical criticism to investigate the implications of their tactics and strategies, emphasizing a critical vegan rhetoric as the best means of achieving liberation for human and nonhuman animals alike.

A handbook for the theatre-goer, this book has an international range and contains information on actors and actresses, theatrical companies and theatre buildings, and dramatists from Sophocles to Pinter. It also covers technical terms, and explains practical and historical aspects of stagecraft.

It is well known that children's activities are full of pretending and imagination, but it is less appreciated that animals can also show similar activities. Originally published in 2002, this book focuses on comparing and contrasting children's and animals' pretenses and imaginative activities. In the text, overviews of research present conflicting interpretations of children's understanding of the psychology of pretense, and describe sociocultural factors which influence children's pretenses. Studies of nonhuman primates provide examples of their pretenses and other simulative activities, explore their representational and imaginative capacities and compare their skills with children. Although the psychological requirements for pretending are controversial, evidence presented in this volume suggests that great apes and even monkeys may share capacities for imagination with children, and that children's early pretenses may be less psychological than they appear.

This Is The First Volume Of The Six-Volume History Of Indian Theatre. Written By An Eminent Scholar M.L, Varadpande This Veritable Encyclopedia Speaks About An Early Phase Of India S Theatre History, Which Also Is The History Of India S Fine Arts. For The First Time The Origin And Evolution Of Theatrical Arts In India Is Traced In An Elaborate Manner Providing An Insight Into One Of The Oldest Theatrical Traditions Of The World. The Book Draws From The Sources Including Mesolithic Cave Paintings, Ancient Archaeological Finds And Mass Of Literature Belonging To The Vedic And Buddhist Era To Give You The Complete Picture Of India S Theatre History.In A Lucid Style It Tells About Ritualistic Dances And Hunt Dramas Of Aboriginals; Statuettes Of Dancers, Jesters And String Manipulated Puppet Toys Belonging To Earliest Known Urban Civilization Of India The Indus Civilization; Dramatic Rituals Full Of Dancing, Singing And Music; The Dancing Gods And Compositions In Dialogue Form Of Early Aryans; The Troupes Of Actors Moving In The Country Enacting Humorous Plays And Erotic Dances; Efforts Of The State Administration To Impose Entertainment Tax And Strict Code Of Censors And The Flourishing Theatre Of The People. The Book Also Tells About The Advent Of Greeks In India And Their Theatrical Activities, Staging Of A Play Agen In The Military Camp Of Alexander The Great And The Play Written In Greek And Indian Languages Found In Egypt. It Discusses The Problem Of Greek Influence On Indian Theatre In Detail And Speaks About Indian View Of Theatre.This Well-Documented And Profusely Illustrated Work Presents An Enchanting Panorama Of India S Early Theatre History In A Manner At Once Scholarly And Interesting. Known For His Erudition And Profound Scholarship, M.L. Varadpande (B; 1936) Is An Eminent Theatre Historian Of India. His Major Works Published By Abhinav Publications Are Traditions Of Indian Theatre, Ancient Indian And Indo-Greek Theatre, Religion And Theatre And Krishna Theatre In India. His Other Well-Known Works On Indian Theatre Are Invitation To An Indian Theatre And The Critique Of Indian Theatre (Ed.). The Sahita Akademi, India S National Academy Of Letters, Has Published His Book Shripad Krishna Kolhatkar In Marathi (Out Of Print), Hindi (Second Edition) And Punjabi. It Is Now Being Translated Into English. His Forthcoming Works Are The Mahabharata In Performance And Ankia Nat: Vaishnava Opera Of Assam. As A Research Fellow Of The Indian Council Of Historical Research He Is Working On The Research Project Temple Theatre In India.

Sociable Man, which celebrates the work of Nick Fisher, Emeritus Professor of Ancient History at Cardiff University, contains essays by leading classicists, ancient historians and archaeologists on the theme of ancient Greek social behaviour. Fifteen original papers reflect the diversity and the unities in the honorand's interests: politics and law (Hans van Wees on Solon's law of hybris, John K. Davies on the biography of a fourth-century Athenian politician); social values, including honour, dishonour and hybris (Stephen Lambert on honorific inscriptions, Lloyd Llewellyn-Jones on domestic violence, Louis Rawlings on a dog named Hybris, James Whitley on victory dedications, Douglas Cairns on ransom and revenge in Homer); social relations in the Athenian navy (Sam Potts); gender and power (Janett Morgan on gendering of domestic space, Sian Lewis on women and tyranny, Ruth Westgate on animal imagery in mosaics); citizen identity, Athenian (Robin Osborne on the influence of Attic local environments on citizen formation) and Arcadian (James Roy on the Arcadian reputation for backwardness); and sexuality (David Konstan on Alciphron and the invention of pornography, Emma Stafford on masturbation). The papers will be essential reading for researchers and students of ancient Greek literature, history and archaeology. The book also includes tributes by Paul Cartledge and P. J. Shaw, respectively, on Fisher's place in research and teaching of ancient Greek social history.

Evolutionary theory made its stage debut as early as the 1840s, reflecting a scientific advancement that was fast changing the world. Tracing this development in dozens of mainstream European and American plays, as well as in circus, vaudeville, pantomime, and "missing link" performances, Theatre and Evolution from Ibsen to Beckett reveals the deep, transformative entanglement among science, art, and culture in modern times. The stage proved to be no mere handmaiden to evolutionary science, though, often resisting and altering the ideas at its core. Many dramatists cast suspicion on the arguments of evolutionary theory and rejected its claims, even as they entertained its thrilling possibilities. Engaging directly with the relation of science and culture, this book considers the influence of not only Darwin but also Lamarck, Chambers, Spencer, Wallace, Haeckel, de Vries, and other evolutionists on 150 years of theater. It shares significant new insights into the work of Ibsen, Shaw, Wilder, and Beckett, and writes female playwrights, such as Susan Glaspell and Elizabeth Baker, into the theatrical record, unpacking their dramatic explorations of biological determinism, gender essentialism, the maternal instinct, and the "cult of motherhood." It is likely that more people encountered evolution at the theater than through any other art form in the late nineteenth and early twentieth centuries. Considering the liveliness and immediacy of the theater and its reliance on a diverse community of spectators and the power that entails, this book is a key text for grasping the extent of the public's adaptation to the new theory and the legacy of its representation on the perceived legitimacy (or illegitimacy) of scientific work.

The Routledge Handbook of Contemporary Feminist Rhetoric explores the histories, concerns, and possible futures of feminist rhetorical work in the late 20th and early 21st centuries. Featuring work from scholars across disciplines, this book explores where we have been, where we are, and where we might be going. Forwarding key areas of study in feminist rhetoric, the handbook is divided into five interrelated sections—Time: Discovering, Recovering, and Composing our Histories; Space: Setting and Testing Boundaries: Physical and Digital Locales; Movement: Exploring Activism, Migration, and Globalism; Being: Celebrating (and Insisting on) Embodied Praxis; and Becoming: Transforming Hopes into Feminist Practice. Throughout the handbook, contributors survey and document the critical work of feminist rhetoric, pointing to ongoing interests in history, politics, and activism while showcasing new lines of inquiry and new methods of analysis, critique, and intervention. The first of its kind, this accessibly written handbook will be an indispensable resource for scholars and researchers in the fields of rhetoric, writing studies, communication studies, and women’s and gender studies.

With a special focus on education and underrepresented geographical locations, this book is an inclusive collection of theories, discourses, art, identities, and practices related to this discipline.