The Mythology of the Animal Farm in Children’s Literature: Over the Fence analyzes the ways in which myths about farmed animals’ lives are perpetuated in children’s materials. Specifically, this book investigates the use of five recurring thematic devices in about eighty books for young children published during the past five decades. The close readings of texts and images draw on a wide range of fields, including animal theory, psychoanalytic and Marxian literary criticism, child development theory, histories of farming and domestication, and postcolonial theory. In spite of the underlying seriousness of the project, the material lends itself to humorous and not overly heavy-handed explications that provide insight into the complex workings of a literary genre based on the covering up of real animal lives.
The Mythology of the Animal Farm in Children's Literature: Over the Fence analyzes the ways in which myths about farmed animals' lives are perpetuated in children's materials. Drawing on a diverse range of fields of inquiry, this book investigates the use of five recurring thematic devices in about eighty books for young children published during the past five decades.
The Coloniality of Animal Monstrous Othering in Children’s Books, Films, and Toys examines how the portrayal of animals as physically distorted, behaviorally depraved, and intellectually defective serves to justify their debasement, violation, and destruction in materials directed toward young consumers. The author argues that this animal monstrous Othering arises from the Eurocentric belief in humans’ natural superiority over animals and the right to categorize animals in accordance with a scale of worthiness that parallels the subjugation of racialized persons. The chapters examine a variety of canonical figures like the dissolute wolf of Red Riding Hood stories and the disfigured titular character of the Wonky Donkey picture book alongside non-canonical animals including reprobate pigs, degenerate sharks, self-centered flamingos, and wicked piranhas. To counter this animal debasement, Varga juxtaposes these readings with an examination of materials that articulate harmonious animal-human interrelationships without dependence on styles of anthropomorphism that diminish animality.
Whether a secularized morality, biblical worldview, or unstated set of mores, the Victorian period can and always will be distinguished from those before and after for its pervasive sense of the "proper way" of thinking, speaking, doing, and acting. Animals in literature taught Victorian children how to be behave. If you are a postmodern posthumanist, you might argue, "But the animals in literature did not write their own accounts." Animal characters may be the creations of writers’ imagination, but animals did and do exist in their own right, as did and do humans. The original essays in Animals and Their Children in Victorian explore the representation of animals in children’s literature by resisting an anthropomorphized perception of them. Instead of focusing on the domestication of animals, this book analyzes how animals in literature "civilize" children, teaching them how to get along with fellow creatures—both human and nonhuman.
Virtually every famous nineteenth-century writer (Harriet Beecher Stowe, Nathaniel Hawthorne, Ralph Waldo Emerson)— and many not so famous—wrote literature for children; many contributed regularly to children’s periodicals, and many entered the field of nature writing, responding to and forwarding the century’s huge social and cultural changes. Appreciating America’s unique natural wonders dovetailed with children’s growth as citizens, but children’s journals often exceeded a pedagogical purpose, intending also to entertain and delight. Though these volumes aimed at a relatively conservative and mostly white, middle-class, and affluent audience, some selections allowed both children and their parents room for imaginative escape from restrictive social norms. Covering a period that initially regarded children’s natural bodies as laboring resources, Stronger, Truer, Bolder traces the shifting pedagogical impulse surrounding nature and the environment through the transformations that included America’s nineteenth century emergence as an industrial power. Karen L. Kilcup shows how children’s literature mirrored those changes in various ways. In its earliest incarnations, it taught children (and their parents) facts about the natural world and about proper behavior vis-à-vis both human and nonhuman others. More significantly, as periodical writing for children advanced, this literature increasingly promoted children’s environmental agency and envisioned their potential influence on concerns ranging from animal rights and interspecies equity to conservation and environmental justice. Such understanding of and engagement with nature not only propelled children toward ethical adulthood but also formed a foundation for responsible American citizenship.
Throughout the centuries philosophers and poets alike have defended an essential difference—rather than a porous transition—between the human and animal. Attempts to assign essential properties to humans (e.g., language, reason, or morality) often reflected ulterior aims to defend a privileged position for humans.. This book shifts the traditional anthropocentric focus of philosophy and literature by combining the questions “What is human?” and “What is animal?” What makes this collection unique is that it fills a lacuna in critical animal studies and the growing field of ecocriticism. It is the first collection that establishes a productive encounter between philosophical perspectives on the human–animal boundary and those that draw on fictional literature. The objective is to establish a dialogue between those disciplines with the goal of expanding the imaginative scope of human-animal relationships. The contributions thus do not only trace and deconstruct the boundaries dividing humans and nonhuman animals, they also present the reader with alternative perspectives on the porous continuum and surprising reversal of what appears as human and what as nonhuman.
A companion picture book to the award-winning film, "The Biggest Little Farm"! Welcome to Apricot Lane Farm, a unique world full of true stories about heartwarming animals’ relationships and the special people who care for them. When Emma the pig arrives at the Apricot Lane Farm, she is about to give birth to piglets. But she is also sick, and after her seventeen babies arrive, Emma is unable to care for them. Taking care of seventeen piglets and a sick mama pig is a challenge for Farmer John and his team. But the cure for Emma reminds them what is most important—for pigs and for humans: love and friendship. Saving Emma the Pig is a heartfelt picture book from John Chester, with gorgeous illustrations from Jennifer L. Meyer
♥♥Animal Farm by George Orwell♥♥ From The Writer of the Books Like : 1. 1984 2. Animal Farm Down and Out in Paris and London 3. Homage to Catalonia 4. Burmese Days 5. The Road to Wigan Pier 6. Keep the Aspidistra Flying 7. Coming Up for Air 8. Why I Write About the Author : Eric Arthur Blair (25 June 1903 – 21 January 1950), known by his pen name George Orwell, was an English novelist, essayist, journalist and critic. His work is characterised by lucid prose, social criticism, opposition to totalitarianism, and support of democratic socialism. ♥♥Animal Farm by George Orwell♥♥ Orwell produced literary criticism and poetry, fiction and polemical journalism. He is known for the allegorical novella Animal Farm (1945) and the dystopian novel Nineteen Eighty-Four (1949). His non-fiction works, including The Road to Wigan Pier (1937), documenting his experience of working-class life in the industrial north of England, and Homage to Catalonia (1938), an account of his experiences soldiering for the Republican faction of the Spanish Civil War (1936–1939), are as critically respected as his essays on politics and literature, language and culture. ♥♥Animal Farm by George Orwell♥♥ Blair was born in India, and raised and educated in England. After school he became an Imperial policeman in Burma, before returning to Suffolk, England, where he began his writing career as George Orwell—a name inspired by a favourite location, the River Orwell. He lived from occasional pieces of journalism, and also worked as a teacher or bookseller whilst living in London. From the late 1920s to the early 1930s, his success as a writer grew and his first books were published. He was wounded fighting in the Spanish Civil War, leading to his first period of ill health on return to England. During the Second World War he worked as a journalist and for the BBC. The publication of Animal Farm led to fame during his life-time. During the final years of his life he worked on 1984, and moved between Jura in Scotland and London. It was published in June 1949, less than a year before his death. ♥♥Animal Farm by George Orwell♥♥ About the book : Animal Farm is a satirical allegorical novella by George Orwell, first published in England on 17 August 1945. The book tells the story of a group of farm animals who rebel against their human farmer, hoping to create a society where the animals can be equal, free, and happy. Ultimately, the rebellion is betrayed, and the farm ends up in a state as bad as it was before, under the dictatorship of a pig named Napoleon. ♥♥Animal Farm by George Orwell♥♥ According to Orwell, the fable reflects events leading up to the Russian Revolution of 1917 and then on into the Stalinist era of the Soviet Union. Orwell, a democratic socialist, was a critic of Joseph Stalin and hostile to Moscow-directed Stalinism, an attitude that was critically shaped by his experiences during the May Days conflicts between the POUM and Stalinist forces during the Spanish Civil War. The Soviet Union had become a totalitarian autocracy built upon a cult of personality while engaging in the practice of mass incarcerations and secret summary trials and executions. In a letter to Yvonne Davet, Orwell described Animal Farm as a satirical tale against Stalin ("un conte satirique contre Staline"), and in his essay "Why I Write" (1946), wrote that Animal Farm was the first book in which he tried, with full consciousness of what he was doing, "to fuse political purpose and artistic purpose into one whole". ♥♥Animal Farm by George Orwell♥♥ The original title was Animal Farm: A Fairy Story, but U.S. publishers dropped the subtitle when it was published in 1946, and only one of the translations during Orwell's lifetime kept it. Other titular variations include subtitles like "A Satire" and "A Contemporary Satire". Orwell suggested the title Union des républiques socialistes animales for the French translation, which abbreviates to URSA, the Latin word for "bear", a symbol of Russia. It also played on the French name of the Soviet Union, Union des républiques socialists soviétiques. ♥♥Animal Farm by George Orwell♥♥
The Animal Other in Narratives of Conquest: Uncanny Encounters investigates the functions of nonhuman animal imagery in diverse narratives of the Conquest of the Americas. The author's explications of film, poetry, literary and popular fiction, and theme park spaces draw on postcolonial and animal theory, deconstructive and Freudian literary criticism, and radical social theory. She argues that animals in these texts function on two levels: while they play a key role in the development of both Indigenous and European characters, depictions of their treatment and symbolic charge consistently work to disrupt narratives that seek to present the Conquest as a mutually beneficial "encounter" between two cultures. The close readings of animal imagery in texts ranging from Pablo Neruda's poetry to the animated film The Road to El Dorado represent a fresh approach to questions surrounding the depictions of Indigenous Americans and the motivations, tactics, and lasting contributions of the invading culture.
The essays in this volume provide a theorization of what we might call the “denatured” wild, in other words a notion of environmental “restoration” or "reinhabitation" that recognizes and reconfigures the human factor as an interdependent entity. Acknowledging the contributions of Marco Armerio, Serenella Iovino, Giovanna Ricoveri, Patrick Barron and Anna Re among others, Ecocritical Approaches to Italian Culture and Literature: The Denatured Wild negotiates the ground within the historicizing, theoretical perspectives, and surveying spirit of these writers. Despite the central role that nature has played in Italian culture and literature, there has been an evident lack of critical approaches free of the bridles of the socio-political manipulations of nationalism. The authors in this collection, by recognizing the groundbreaking work of many non-Italian ecocritics, challenge the narrowly defined conventions of Italian Studies and illuminates complexities of an Italian ecocriticism that reveals a rich environmentally engaged literary and cultural tradition.
