The rules are simple: 1) Don't get attached. 2) Don't fall in love. 3) One night only. No matter what. Cassidy Cambridge has made a name for herself by following these rules. She hasn't let herself get distracted by her growing desire for a mate. She hasn't allowed herself to fall for any man at all, but when she finds herself in need of a date for her cousin's wedding, every rule she's ever followed is about to go out the window. A dating mixer gone wrong leads to a chance encounter with someone who is entirely wrong for her, but Matthew isn’t a tiger like Cassidy. He’s a lion whose company could have an incredible impact on their shared community. Is Cassidy ready for that? Is he?
Using testimonies written between the middle of the eighteenth century and the beginning of the twenty-first, nourished by ethology and the human and social sciences, Feline Cultures extends the unique track of animal studies that Éric Baratay pursues from book to book. As with his Animal Biographies: Toward a History of Individuals, Baratay breaks the model of human exceptionalism to create innovative accounts of these animals’ lives in a way that challenges the reader’s thinking about animals. Baratay is not interested in seeing how humans think about or treat these animals. Instead, he chooses to observe the animal’s perspective to document how individual cats have carried out their lives. He writes from the point of view of these animals to understand what they felt and experienced and how they reacted. Whether they be street cats, farm cats, pet cats, companion cats, or "catdogs,” cats show a great plasticity of behavior. This book establishes that cats have their own cultures and adaptations and, therefore, their own history. Through tight portraits, the dynamic construction of what we can call cultures is revealed. Here we are far from the eternal portrait of the cat—independent, unpredictable, and mysterious—that has become commonplace. For each of the domestic cats whose existence can be reconstructed from his sources, Baratay pays attention to their perceptions of the world, their sensations and their emotions, their sensitivity and character, their bodily expressiveness, and their interactions with the environment, other animals, and humans. Ethology becomes, under the alert pen of Éric Baratay, an ethnology.
Even people who live with cats and have good reason to know better insist that cats are aloof and uninterested in relating to humans. Janet and Steven Alger contend that the anti-social cat is a myth; cats form close bonds with humans and with each other. In the potentially chaotic environment of a shelter that houses dozens of uncaged cats, they reveal a sense of self and build a culture—a shared set of rules, roles, and expectations that organizes their world and assimilates newcomers.As volunteers in a local cat shelter for eleven years, the Algers came to realize that despite the frequency of new arrivals and adoptions, the social world of the shelter remained quite stable and pacific. They saw even feral cats adapt to interaction with humans and develop friendships with other cats. They saw established residents take roles as welcomers and rules enforcers. That is, they saw cats taking an active interest in maintaining a community in which they could live together and satisfy their individual needs. Cat Culture's intimate portrait of life in the shelter, its engaging stories, and its interpretations of behavior, will appeal to general readers as well as academics interested in human and animal interaction.
“No one writes about the subjects of sexuality, desire, the shadow, and diabolism with such relish, and when I read her words I feel both smarter and less afraid of my own ‘tabooed’ feelings and thoughts. Like a cat, Kristen sees in the dark, as she guides us gracefully forward with her vision of unapologetic, feminine power.” —From the Foreword by Pam Grossman, author of Waking the Witch: Reflections on Women, Magic, and Power The cat: A sensual shapeshifter. A hearth keeper, aloof, tail aloft, stalking vermin. A satanic accomplice. A beloved familiar. A social media darling. A euphemism for reproductive parts. An epithet for the weak. A knitted—and contested—hat on millions of marchers, fists in the air, pink pointed ears poking skyward. Cats and cat references are ubiquitous in art, pop culture, politics, and the occult, and throughout history, they have most often been coded female. From the “crazy cat lady” unbowed by patriarchal prescriptions to the coveted sex kitten to the dreadful crone and her yowling compatriot, feminine feline archetypes reveal the ways in which women have been revered and reviled around the world—in Greek and Egyptian mythology, the European witch trials, Japanese folklore, and contemporary film. By combining historical research, pop culture, art analyses, and original interviews, Cat Call explores the cat and its indivisible connection to femininity and teases out how this connection can help us better understand the relationship between myth, history, magic, womanhood in the digital age, and our beloved, clawed companions.
From the proto-cinematic sequencing of animal motion in the nineteenth century to the ubiquity of animal videos online, the histories of animal life and the moving image are enigmatically interlocked. Animal Life and the Moving Image is the first collection of essays to offer a sustained focus on the relations between screen cultures and non-human animals. The volume brings together some of the most important and influential writers working on the non-human animal's significance for cultures and theories of the moving image. It offers innovative analyses of the representation of animals across a wide range of documentary, fiction, mainstream and avant-garde practices, from early cinema to contemporary user-generated media. Individual chapters consider King Kong, The Birds, The Misfits, The Cove, Grizzly Man and Microcosmos, the work of Sergei Eisenstein, Robert Bresson, Malcolm Le Grice, Peter Greenaway, Carolee Schneemann and Isabella Rossellini, and YouTube stars Christian the lion and Maru the cat.
Calarco (California State Univ., Fullerton) examines the question of the animal in major Continental thinkers like Heidegger, Levinas, Agamben, and Derrida. He takes to task the belief that Anglo philosophy alone boasts of a strong tradition on this issue. He admits, however, that although these post-Enlightenment thinkers were committed to examining and refiguring philosophical concepts and human existence, most resort to dogmatic anthropocentric concepts, specifically the traditional dualism of human/animal--a type of essentialism. For example, despite being critical of an ontotheological thesis of animals, Heidegger nonetheless writes of an "abyssal" difference between human and animal life. Calarco's basic thesis is that this binary is no longer defendable, forever destroyed by the sciences and humanities. Most promising is Derrida, the only major Continental thinker to date who thoroughly rejects the human/animal distinction and envisions the philosophically enormous task of rethinking politics and ethics outside this tradition. Derrida begins with humankind's pre-philosophical encounter with animals as fellow beings capable of suffering, embodied and "vulnerable" (although this last description is problematic as it is, arguably, a continuation of humans' desire to infantilize animals). This important analysis is long overdue. Summing Up: Highly recommended. Upper-level undergraduates through faculty/researchers. Upper-division Undergraduates; Graduate Students; Researchers/Faculty. Reviewed by M. A. Betz.
Drawing on a wide range of texts - from philosophical ethology to classical texts, and from continental philosophy to literature - Cimatti creates a dialogue with Flaubert, Derrida, Temple Grandin, Heidegger as well as Malaparte and Landolfi explores what human animality looks like, with a particular focus on the work of Gilles Deleuze.
Slavoj Žižek is one of today's leading theorists, whose polemical works span topics from German idealism to Lacanian psychoanalysis, from Shakespeare to Beckett, and from Hitchcock to Lynch. Critical through and through of both post-modern ideological complacencies-e.g., the death of the subject and the return to ethics-and pre-modern ones-e.g., the re-enchantment of the world, the embrace of postcritique-Žižek doubles down on the virtues of the modern, on what it means to be modern, and to ask modern questions (about the subject, nature, and political economy) in the age of the Anthropocene. This volume takes up the challenges laid out by Žižek's iconoclastic thinking and its reverberations in an array of fields: philosophy, psychoanalysis, political theory, literary studies, and film studies, among others. Žižek's multi-disciplinary appeal attests to the provocation, if not scandal, of his politically incorrect thought. Understanding Žižek, Understanding Modernism makes the force and inventiveness of Žižek's writings accessible to a wide range of students and scholars invested in the open question of modernism and its legacies.
Ranu and his father must face a terrible truth, learning that Ranu’s mother has died in an attempt to feed her family. Only later do they realize that the mysterious events that have been occurring may not be a coincidence… Ranu had a pleasant life for some time, until his mother, Leia, died. Ever since, he has had a phobia. Water. As things seem to get worse, Ranu can’t stop feeling that something or someone is watching his every move… Tran thought everything was well until that one fateful night, when everything went wrong. Since then, he’s been lost on how to raise his cub, knowing the bond with his own son is breaking. Overwhelmed and confused, he feels as if he should’ve taken Leia’s place, but when he finds someone else...can he ever let go of the past to be happy again? Terra always believed in hope and destiny. Even as everything she cared about started to be taken over by unwanted power, she always thought things would get better. When she has trekked some way from her original home to start over...is this what she really wanted, to escape, but to leave everyone behind within the danger? As these three leopards learn to face their fears and find strength within themselves, everything might not be as it seems. Someone is watching, waiting, for the perfect moment to pounce. Ranu and Terra know a dangerous secret, and must be careful on what they do...in order to not be the ones...hunted.
Reading a text is an ethical activity for Emmanuel Levinas. His moral philosophy considers written texts to be natural places to discover relations of responsibility in Western philosophical systems which are marked by extreme violence and totalizing hatred. While ethics is understood to mean a relationship with the other and reading is the appropriation of the other to the self, readings according to Levinas naturally entail relationships with the other. Levinas's own writings are often frought with the struggle between his own maleness, the concerns of feminism, and the Judaism that marks his contributions to the debates of the Talmud. This book uses male feminism as its perspective in presenting the applications of Levinas's ethical vision to texts whose readings have presented moral dilemmas for women readers. Levinas's philosophical theories can provide keys to unlock the difficulties of these texts whose readings will provide models of reading as ethical acts beginning with the ethical contract in Song of Songs where the assumption of a woman writer begins the elaboration of issues that sets a male reader as her other. From the reader's vantage point of seeing the self as other, other issues of male feminism become increasingly poignant, ranging from the solicitude of listening to Céline (Chapter 2), the responsibility for noise in Nizan (Chapter 3), the asymmetrical pattern of face-to-face relationships in Maupassant (Chapter 4), the sovereignty of laughter in Bataille and Zola (Chapter 5), the call of the other in Italo Svevo (Chapter 6), the Woman as Other in Breton (Chapter 7), the ethical self in Drieu la Rochelle (Chapter 8), the response to Hannah Arendt (Chapter 9), and the vulnerability of Bernard-Henri Lévy (Chapter 10). The male feminist reader is thus the incarnation of the struggle at the core of the issues outlined by Levinas for the act of reading as an ethical endeavor.
