Those nonhuman beings called "animals" pose philosophical and ethical questions that go to the root not just of what we think but of who we are. Their presence asks: what happens when "the other" can no longer safely be assumed to be human? This collection offers a set of incitements and coordinates for exploring how these issues have been represented in contemporary culture and theory, from Jurassic Park and the "horse whisperer" Monty Roberts, to the work of artists such as Joseph Beuys and William Wegman; from foundational texts on the animal in the works of Heidegger and Freud, to the postmodern rethinking of ethics and animals in figures such as Singer, Deleuze, Lyotard, and Levinas; from the New York Times investigation of a North Carolina slaughterhouse, to the first appearance in any language of Jacques Derrida's recent detailed critique of Lacan's rendering of the human/animal divide.

This book explores representations of animals and animality across the span of literary history, from the Middle Ages to the present.

In the popular imagination, art history remains steeped in outmoded notions of tradition, material value and elitism. How can we awaken, define and orientate an ecological sensibility within the history of art? Building on the latest work in the discipline, this book provides the blueprint for an ‘ecocritical art history’, one that is prepared to meet the challenges of the Anthropocene, climate change and global warming. Without ignoring its own histories, the book looks beyond – at politics, posthumanism, new materialism, feminism, queer theory and critical animal studies – invigorating the art-historical practices of the future.

This book is the first critical anthology to examine the controversial history of the zoo by focusing on its close relationship with screen media histories and technologies. Individual chapters address the representation of zoological spaces in classical and contemporary Hollywood cinema, documentary and animation, amateur and avant-garde film, popular television and online media. The Zoo and Screen Media: Images of Exhibition and Encounter provides a new map of twentieth-century human-animal relations by exploring how the zoo, that modern apparatus for presenting living animals to human audiences, has itself been represented across a diverse range of moving image media.

What does it mean to think beyond humanism? Is it possible to craft a mode of philosophy, ethics, and interpretation that rejects the classic humanist divisions of self and other, mind and body, society and nature, human and animal, organic and technological? Can a new kind of humanities-posthumanities-respond to the redefinition of humanity's place in the world by both the technological and the biological or "green" continuum in which the "human" is but one life form among many? Exploring how both critical thought along with cultural practice have reacted to this radical repositioning, Cary Wolfe-one of the founding figures in the field of animal studies and posthumanist theory-ranges across bioethics, cognitive science, animal ethics, gender, and disability to develop a theoretical and philosophical approach responsive to our changing understanding of ourselves and our world. Then, in performing posthumanist readings of such diverse works as Temple Grandin's writings, Wallace Stevens's poetry, Lars von Trier's Dancer in the Dark, the architecture of Diller+Scofidio, and David Byrne and Brian Eno's My Life in the Bush of Ghosts, he shows how this philosophical sensibility can transform art and culture. For Wolfe, a vibrant, rigorous posthumanism is vital for addressing questions of ethics and justice, language and trans-species communication, social systems and their inclusions and exclusions, and the intellectual aspirations of interdisciplinarity. In What Is Posthumanism? he carefully distinguishes posthumanism from transhumanism (the biotechnological enhancement of human beings) and narrow definitions of the posthuman as the hoped-for transcendence of materiality. In doing so, Wolfe reveals that it is humanism, not the human in all its embodied and prosthetic complexity, that is left behind in posthumanist thought.

Established in 1836, the Bristol Zoo is the world’s oldest surviving zoo outside of a capital city and has frequently been at the vanguard of zoo innovation. In The Wild Within, Andrew Flack uses the experiences of the Bristol Zoo to explore the complex and ever-changing relationship between human and beast, which in many cases has altered radically over time. Flack recounts a history in which categories and identities combined, converged, and came into conflict, as the animals at Bristol proved to be extremely adaptive. He also reveals aspects of the human-animal bond, however, that have remained remarkably consistent not only throughout the zoo’s existence but for centuries, including the ways in which even the captive animals with the most distinct qualities and characteristics are misunderstood when viewed through an anthropocentric lens. Flack strips back the layers of the human-animal relationship from those rooted in objectification and homogenization to those rooted in the recognition of consciousness and individual experience. The multifaceted beasts and protean people in The Wild Within challenge a host of assumptions--both within and outside the zoo--about what it means to be human or animal in the modern world.

Re-Imagining Nature: Environmental Humanities and Ecosemiotics explores new horizons in environmental studies, which consider communication and meaning as core definitions of ecological life, essential to deep sustainability. It considers landscape as narrative, and applies theoretical frameworks in eco-phenomenology and ecosemiotics to literary, historical, and philosophical study of the relationship between text and landscape. It considers in particular examples and lessons to be drawn from case studies of medieval and Native American cultures, to illustrate in an applied way the promise of environmental humanities today. In doing so, it highlights an environmental future for the humanities, on the cutting edge of cultural endeavor today.

The spread of empires in the nineteenth century brought more than new territories and populations under Western sway. Animals were also swept up in the net of imperialism, as jungles and veldts became colonial ranches and plantations. A booming trade in animals turned many strange and dangerous species into prized commodities. Tigers from India, pythons from Malaya, and gorillas from the Congo found their way—sometimes by shady means—to the zoos of major U.S. cities, where they created a sensation. Zoos were among the most popular attractions in the United States for much of the twentieth century. Stoking the public’s fascination, savvy zookeepers, animal traders, and zoo directors regaled visitors with stories of the fierce behavior of these creatures in their native habitats, as well as daring tales of their capture. Yet as tropical animals became increasingly familiar to the American public, they became ever more rare in the wild. Tracing the history of U.S. zoos and the global trade and trafficking in animals that supplied them, Daniel Bender examines how Americans learned to view faraway places and peoples through the lens of the exotic creatures on display. Over time, as the zoo’s mission shifted from offering entertainment to providing a refuge for endangered species, conservation parks replaced pens and cages. The Animal Game recounts Americans’ ongoing, often conflicted relationship with zoos, decried as anachronistic prisons by animal rights activists even as they remain popular centers of education and preservation.

Humans are animals who fictionalize other animals to asse their "humanness." We are philosophical animals who philosophize about our humanity by projecting images onto a mirror about other animals. Spanning literature, philosophy, and ethics, the thread uniting The Philosophical Animal is the bestiary and how it continues to inform our imaginings. Beginning with an exploration of animals and women in the literary work of Coetzee, famous for his book on the Lives of Animals, Eduardo Mendieta then dives into the genre of bestiaries in order to investigate the relation between humanity and animality. From there he approaches the works of Derrida and Habermas from the standpoint of genetic engineering and animal studies. While we have intensely modified many species genetically, we have not done this to ourselves. Why? Finally, Mendieta deals with the political and ethical implications suggested by this question before ending on an autobiographical note about growing up around so-called animals, and in particular horses.

Founded amid the urban commotion of Washington, DC, before the dawn of the twentieth century, the National Zoological Park opened to “preserve, teach, and conduct research about the animal world.” Entangled Encounters at the National Zoo is a study of this important cultural landmark from 1887 to 1920. Centered on the animals themselves, each chapter looks from a different angle at the influential science of popular zoology in order to shed new light on the complex, entangled relationships between humans and animals. Daniel Vandersommers’s goal is twofold. First, through narrative, he shows how zoo animals always ran away from the zoo. This is meant literally—animals escaped frequently—but even more so, figuratively. Living, breathing, historical zoo animals ran away from their cultural constructions, and these constructions ran away from the living bodies they were made to represent. The author shows that the resulting gaps produced by runaway animals contain concealed, distorted, and erased histories worthy of uncovering. Second, Entangled Encounters at the National Zoo demonstrates how the popular zoology fostered by the National Zoo shaped every aspect of American science, culture, and conservation during the Gilded Age and Progressive Era. Between the 1880s and World War I, as intellectuals debated Darwinism and scientists institutionalized the laboratory, zoological parks suddenly appeared at the heart of nearly every major American city, captivating tens of millions of visitors. Vandersommers follows stories previously hidden within the National Zoo in order to help us reconsider the place of zoos and their inhabitants in the twenty-first century.