By Carol Freeman, Elizabeth Leane, Yvette Watt
Contemplating Animals attracts at the services of students proficient within the organic sciences, humanities, and social sciences to enquire the advanced and contradictory relationships people have with nonhuman animals. Taking their cue from the explicit 'animal moments' that punctuate those interactions, the essays have interaction with modern concerns and debates valuable to human-animal reports: the illustration of animals, the sensible and moral matters inseparable from human interactions with different species, and, maybe so much challengingly, the compelling facts that animals are themselves contemplating beings. Case reports specialise in concerns resembling animal emotion and human 'sentimentality'; the illustration of animals in modern paintings and in fresh movies reminiscent of March of the Penguins, chuffed toes, and Grizzly guy; animals' reports in catastrophic occasions equivalent to typhoon Katrina and the SARS outbreak; and, the risk of overvaluing the function people play within the earth's ecosystems. From Marc Bekoff's relocating preface via to the final essay, "Considering Animals" foregrounds the common, occasionally uncanny, exchanges with different species that disturb our self-contained existences and produce into concentration our stricken relationships with them. Written in an available and jargon-free kind, this assortment demonstrates that, within the face of species extinction and environmental destruction, the jobs and fates of animals are too vital to be left to anybody educational self-discipline.
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17 Diamond, “Difficulty of Reality,” 56. On Diamond’s distancing herself from an easy confidence in philosophy’s grasp of things, see her observation on the following page that the very “language of philosophical skepticism” creates the serious problem that “[p]hilosophy characteristically misrepresents both our own reality and that of others, in particular those ‘others’ who are animals,” 57. Considering Animals / Baker 28 terms of the precariousness of trying to get the latter to impact on the former in any secure or “consistent” or “coherent” manner.
11 *** So, back to the question with which this essay began: What does art add? What does art bring to the cause of animal rights that cannot be delivered by the terrible and necessary photographs and film footage of animal abuse that are all-toofamiliar to animal advocates? It does not bring answers, or certainties, or “information” in any straightforward sense, though there’s certainly an intention on the part of these artists to engage with what they see as truth or truths. ” Yet this uncertainty can be seen as something to be welcomed.
28 Michael Medved, quoted in J. ” 29 Richard Lowry, quoted in J. ” 30 See Chris, Watching Wildlife, 154–5 for an analysis of the media response to Central Park Zoo’s “gay penguins” in 2004. 34 One feature of March of the Penguins which enabled its deployment by Christian conservatives is its presentation of penguin existence as eternal and unchanging. Again, this can be tied to genre. ”37 March of the Penguins follows this pattern: the penguins, viewers are told, have been making their home on the ice for “thousands of generations,” but no mention is made of evolution, adaptation, or fossil evidence.