To make sense of the material afterlives of animals, this book draws together multispecies perspectives from literary criticism and theory, cultural studies, anthropology and ethnography, photographic and film history, and contemporary art practice to offer the first synoptic account of animal remains.

A multi-disciplinary and inter-disciplinary volume exploring the damage to the arts, arts’ funding and education through the rhetoric, manipulation and auditing of value. The collection includes contributions from anthropology, the history of art, literature, education, musicology, political science, and philosophy.

Reflecting on a moment when a vegan meal was presented to him as “lesbian food,” McKay’s essay critiques the concept of “species,” drawing on Judith Butler’s deconstruction of the sex/gender opposition. Social life, he argues, is shaped by “compulsory humanity,” a disposition in which species functions as a regulatory ideal rather than a biological essence. McKay works this critical stance into a positive description of being vegan by turning to Wittgenstein’s concept of the “form of life,” and the way his (...) thought has been developed in relation to animal ethics. McKay’s claim is that thinking of veganism as a form of life allows for making sense of the profound form of identification with others that it expresses, evading and challenging the very notion of being human. (shrink)

This article offers an analysis of Alice Walker's novel The Temple of My Familiar. It critiques the claim that humans' ability to use language, regarded in this article as equivalent to one sense of the word representation, marks the essential difference of humans from animals. The argument has two stages. The first claims that the novel offers a way to bridge this supposed fundamental difference in order that representation, in a second sense of speaking or advocating for animals, can effectively (...) occur. Importantly, the context of this is Walker's anti-oppressive politics of race and gender. It analyzes the portrayal of characters who understand their lives, the past, and their relationships with nonhuman animals by creating myths and stories, rather than via conventional written history. The second stage of the argument shows that this essentially creative understanding of worldviews other than the "norm" of western culture transcends the distance that language is said to insinuate between humans and animals. Creative, imaginative understanding allows humans to get close to animals."Can one speak of the animal? Can one approach the animal?". (shrink)