An illustrated exploration of colors and patterns in the animal kingdom, what they communicate, and how they function in the social life of animals. Are animals able to appreciate what humans refer to as “beauty”? The term scarcely ever appears nowadays in a scientific description of living things, but we humans may nonetheless find the colors, patterns, and songs of animals to be beautiful in apparently the same way that we see beauty in works of art. In Animal Beauty, Nobel Prize–winning biologist Christiane Nüsslein-Volhard describes how the colors and patterns displayed by animals arise, what they communicate, and how they function in the social life of animals. Watercolor drawings illustrate these amazing instances of animal beauty. Darwin addressed the topic of ornament in his 1871 book The Descent of Man and Selection in Relation to Sex, and did not hesitate to engage with criteria of beauty, convinced that animals experienced color and ornament as attractive and agreeable in the same way that we do, and that the role this played in mate choice pointed to a “sexual selection” distinct from natural selection. Nüsslein-Volhard examines key examples of ornament and sexual selection in the animal kingdom and lays the groundwork for biological aesthetics. Noting that color patterns have not been a research priority—perhaps because they appeared to be nonessential luxuries rather than functional necessities—Nüsslein-Volhard looks at recent scientific developments on the topic. In part because of Nüsslein-Volhard's own research on the zebrafish, it is now possible to decipher the molecular genetic mechanisms that lead to production of colors in animal skin and its appendages and control its pattern and distribution.

“A simple, old-fashioned concept...Mother-daughter team Stone and Lowe have obviously perfected the how-tos... theirs begins by telling all—materials, tools, and the basic shaping and attachment instructions. There are more than 35 projects with dolls fashioned on zoo and farm creatures as well as anthropomorphic beings....Color photographs are plentiful.”—Booklist.

Creatures from the animal kingdom represented in exquisite jewelry by renowned masters Cartier, Bulgari, Tiffany & Co., JAR, Belperron, David Webb, Schlumberger, Boucheron, and many other brilliant jewelers. Many of the most imaginative designs by the world's great jewelry houses and artisans take inspiration from the animal kingdom. From Cartier's iconic panthers to Bulgari's snakes and JAR's butterflies, these spectacular objects dripping with precious stones are akin to wearable art. Beautiful Creatures depicts some of the most spectacular beasts ever transformed into sparkling treasures and accompanies a forthcoming special exhibition in the American Museum of Natural History's Allison and Roberto Mignone Halls of Gems and Minerals. The 120 pieces featured date from the mid-1800s to the present, representing species from the realms of land, air, and water. Gorgeous studio photography of the jewelry is complemented by images of iconic personalities, including Elizabeth Taylor, Twiggy, and the Duchess of Windsor wearing famous animal- inspired jewels. Guest curator Marion Fasel relays the stories behind the individual pieces through entertaining anecdotes and reveals the colorful histories and fascinating symbolism of these remarkable creatures in precious gems and metals that intrigue and delight and that we never tire of wearing.

Can philosophy conceive of a perfect animal? Can it think of the animal as anything other than an imperfect human? The book attempts to rethink the Hegelian dialectic so as to render it capable of assigning a proper place to the animal, and in particular the beautiful animal, and to rework the philosophy of nature so as to encompass the fossil. The fossil itself teaches philosophy and in particular the dialectic how it must modify itself in order to encompass the beautiful animal, in the form of what we term the fossilised dialectic, resistant to the spiritualisation which will always leave the animal behind. If philosophy can admit the animal in this way, we might then ask what philosophy can learn from this animal that will have taken up residence in its home? What does a specifically domestic animal teach us? At the very least, it shows us that the function we give to the furnishings of the house is not the only one and perhaps therefore that there is no single unique function. In this way, animals teach us the most philosophical lesson there is: to see the world as it is in itself.

From a fragile canary bird to a strong bear, the animals in these ten short stories can speak to one another. A lion may share a secret with a peacock; a frog can explain something to a grasshopper.-----In these soon-to-be-classic stories for pre-K children, the animals find out some important lessons about life. Children will delight in learning with the animals that it isn't good to envy your friends, you shouldn't look down on others, friends stick together and bragging is bad.-----The perfect stories for settling down little ones for a night of pleasant dreams, Beautiful Animal Stories for Good Children are sure to become much-loved favorites to read again and again!

Decolonial Animal Ethics in Linda Hogan’s Poetry and Prose is a plea for an urgent redefinition of human-animal relations on the basis of a nonanthropocentric animal ethic embraced by premodern Indigenous communities but depreciated by coloniality. Without decolonial revisions of animal subjectivity and personhood, the animal genocide can never truly stop. It is also a close reading of Linda Hogan’s poetry and prose in search of the coordinates of a decolonized animal ethic which would foster interspecies becoming. Having defined the recurring tropes, motifs, and attitudes that underpin Hogan’s treatment of nonhuman animals, the book moves on to trace the way she depicts the human-animal bond, especially in the face of the destructive anthropogenic impact. The major questions guiding the analysis of Hogan’s oevre are as follows: who are the animals we share our earthly lives with; what can they teach us about ourselves; how can animals guide us toward more sustainable futures; and what are the conditions of possibility of an interspecies, human-animal thriving. This book will be of interest to scholars and students of Indigenous Studies, Decolonial Studies, Animal Studies, Ecocriticism, Anthropocene Studies, as well as readers of Linda Hogan’s literary works.

When we think about the Victorian age, we usually envision people together with animals: the Queen and her pugs, the sportsman with horses and hounds, the big game hunter with his wild kill, the gentleman farmer with a prize bull. Harriet Ritvo here gives us a vivid picture of how animals figured in English thinking during the nineteenth century and, by extension, how they served as metaphors for human psychological needs and sociopolitical aspirations. Victorian England was a period of burgeoning scientific cattle breeding and newly fashionable dog shows; an age of Empire and big game hunting; an era of reform and reformers that saw the birth of the Royal SPCA. Ritvo examines Victorian thinking about animals in the context of other lines of thought: evolution, class structure, popular science and natural history, imperial domination. The papers and publications of people and organizations concerned with agricultural breeding, veterinary medicine, the world of pets, vivisection and other humane causes, zoos, hunting at home and abroad, all reveal underlying assumptions and deeply held convictions—for example, about Britain’s imperial enterprise, social discipline, and the hierarchy of orders, in nature and in human society. Thus this book contributes a new new topic of inquiry to Victorian studies; its combination of rhetorical analysis with more conventional methods of historical research offers a novel perspective on Victorian culture. And because nineteenth-century attitudes and practices were often the ancestors of contemporary ones, this perspective can also inform modern debates about human–animal interactions.

In Projecting a Camera, film theorist Edward Branigan offers a groundbreaking approach to understanding film theory. Why, for example, does a camera move? What does a camera "know"? (And when does it know it?) What is the camera's relation to the subject during long static shots? What happens when the screen is blank? Through a wide-ranging engagement with Wittgenstein and theorists of film, he offers one of the most fully developed understandings of the ways in which the camera operates in film. With its thorough grounding in the philosophy of spectatorship and narrative, Projecting aCamera takes the study of film to a new level. With the care and precision that he brought to NarrativeComprehension and Film, Edward Branigan maps the ways in which we must understand the role of the camera, the meaning of the frame, the role of the spectator, and other key components of film-viewing. By analyzing how we think, discuss, and marvel about the films we see, Projecting a Camera, offers insights rich in implications for our understanding of film and film studies.

Reproduction of the original.

This book is written for researchers, students and professionals in areas including animal welfare ethics, animal behaviourists, veterinarians, veterinary nurses, animal welfare counsellors, animal trainers, and professionals and volunteers with an interest in animal welfare ethics. Several of the main areas of ethical inquiry concerning animals are introduced, explained and analysed. Inquiries also cover areas of cultural and religious sensitiveness regarding the welfare of animals, examining the scope of respect for particular cultures and their practical approaches to animal well-being. Unlike many books which feature arguments about ethical theories this book includes elements of personal experience with animals. Although the author is an academic teaching within a university structure, he is also a professional animal trainer.