PDF Animal Visions Posthumanist Dream Writing Susan Mary Pyke Ebook Full Chapter
PDF Animal Visions Posthumanist Dream Writing Susan Mary Pyke Ebook Full Chapter
PDF Animal Visions Posthumanist Dream Writing Susan Mary Pyke Ebook Full Chapter
https://textbookfull.com/product/the-animal-ethics-reader-susan-
j-armstrong/
https://textbookfull.com/product/small-animal-clinical-
techniques-2nd-edition-susan-m-taylor/
https://textbookfull.com/product/gendered-voices-feminist-
visions-classic-and-contemporary-readings-7th-edition-susan-m-
shaw/
https://textbookfull.com/product/writing-back-american-
expatriates-narratives-of-return-first-edition-susan-winnett/
A Pocket Guide to Writing in History Ninth Edition Mary
Lynn Rampolla
https://textbookfull.com/product/a-pocket-guide-to-writing-in-
history-ninth-edition-mary-lynn-rampolla/
https://textbookfull.com/product/evergreen-a-guide-to-writing-
with-readings-11-edition-edition-susan-fawcett/
https://textbookfull.com/product/dream-psychology-freud/
https://textbookfull.com/product/animal-biography-re-framing-
animal-lives-andre-krebber/
https://textbookfull.com/product/visions-for-intercultural-music-
teacher-education-heidi-westerlund/
PALGRAVE STUDIES IN ANIMALS AND LITERATURE
Animal Visions
Posthumanist Dream Writing
Series Editors
Susan McHugh
Department of English
University of New England
Biddeford, ME, USA
Robert McKay
School of English
University of Sheffield
Sheffield, UK
John Miller
School of English
University of Sheffield
Sheffield, UK
Various academic disciplines can now be found in the process of executing an
‘animal turn’, questioning the ethical and philosophical grounds of human
exceptionalism by taking seriously the nonhuman animal presences that haunt
the margins of history, anthropology, philosophy, sociology and literary s tudies.
Such work is characterised by a series of broad, cross-disciplinary questions.
How might we rethink and problematise the separation of the human from
other animals? What are the ethical and political stakes of our relationships with
other species? How might we locate and understand the agency of animals
in human cultures? This series publishes work that looks, specifically, at the
implications of the ‘animal turn’ for the field of English Studies. Language
is often thought of as the key marker of humanity’s difference from other
species; animals may have codes, calls or songs, but humans have a mode of
communication of a wholly other order. The primary motivation is to muddy
this assumption and to animalise the canons of English Literature by r ethinking
representations of animals and interspecies encounter. Whereas animals are
conventionally read as objects of fable, allegory or metaphor (and as signs of
specifically human concerns), this series significantly extends the new insights
of interdisciplinary animal studies by tracing the engagement of such figura-
tion with the material lives of animals. It examines textual cultures as variously
embodying a debt to or an intimacy with animals and advances understanding
of how the aesthetic engagements of literary arts have always done more than
simply illustrate natural history. We publish studies of the representation of ani-
mals in literary texts from the Middle Ages to the present and with reference to
the discipline’s key thematic concerns, genres and critical methods. The series
focuses on literary prose and poetry, while also accommodating related discus-
sion of the full range of materials and texts and contexts (from theatre and film
to fine art, journalism, the law, popular writing and other cultural ephemera)
with which English studies now engages.
Series Board
Karl Steel (Brooklyn College)
Erica Fudge (Strathclyde)
Kevin Hutchings (UNBC)
Philip Armstrong (Canterbury)
Carrie Rohman (Lafayette)
Wendy Woodward (Western Cape)
Animal Visions
Posthumanist Dream Writing
Susan Mary Pyke
School of Culture and Communication
University of Melbourne
Parkville, VIC, Australia
© The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer
Nature Switzerland AG, part of Springer Nature 2019
This work is subject to copyright. All rights are solely and exclusively licensed by the
Publisher, whether the whole or part of the material is concerned, specifically the rights
of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction
on microfilms or in any other physical way, and transmission or information storage and
retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology
now known or hereafter developed.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors and the editors are safe to assume that the advice and
information in this book are believed to be true and accurate at the date of publication.
Neither the publisher nor the authors or the editors give a warranty, express or implied,
with respect to the material contained herein or for any errors or omissions that may have
been made. The publisher remains neutral with regard to jurisdictional claims in published
maps and institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgements
v
vi Acknowledgements
vii
viii Contents
Glossary 287
Index 309
CHAPTER 1
Introduction:
Emplaced Readerly Devotions
humans that are (most often) cis, white, male and in a position of
influence.
The marginalisation of most animals as a reduced category is so
entrenched, the assumption of dominion so ‘natural’, that innovative lit-
erary resistance is needed to depict animalities in ways that make room
for a specific creature’s personhood. I suggest that literary depictions
that seek post-anthropocentric ways of seeing the world can be enriched
through dream writing. Dreams offer unexpected and moving ways of
viewing the world that are not obvious in a conscious state. Depictions
of dreams are often accompanied by an intense form of writing.
Mesmerising and affective texts dream with their readers in surprising
ways that can unsettle the given, including the unconscious privileging
of one species over others. French feminist philosopher Hélène Cixous
has brilliantly argued—and demonstrated through her own writing—that
when creative works give themselves over to the affect of words—when
they dream write—they can open new conceptual spaces for their read-
ers. Cixous characterises dream writing by drawing on her engagement
with the philosopher, Jacques Derrida, and by association, with psycho-
analytic thought. Sigmund Freud is the always-present ghost in the sensi-
tive thinking of these two theorists.
Dream writing is a practice, and Cixous is an exemplary dream writ-
ing practitioner. Thinking my species into less harmful relations with
other species, begins, for me, with dream writing nonhuman animals
with personhood, leaving space for cognitions beyond human under-
standing. Anthropomorphism must be faced critically in this process, as
writing and reading nonhuman animals as would-be-humans can erase
nonhuman agency. Being specific about animal similarities and differ-
ences helps, as does being tuned into the individual predilections of each
animal, no matter their species. This non-anthropocentric dream writing
invites readers to re-imagine themselves as the vulnerable animals they
are, co-dependent with other species in a shared and fragile world.
My emphasis on dream writing is not intended to take away from
foundational efforts to understand nonhuman species in and for them-
selves. Indeed, it is such work that allows literature to granulate and
change the ways animal subjects, animal people, are written and read.
Peter Singer’s Animal Liberation (1975) achieves a great deal of
ground-breaking work towards this end, and his thinking is politically
enriched with the feminist perspective in Carol Joy Adams’s The Politics
6 S. M. PYKE
of Meat (1990). Cultural theorists Cary Wolfe and Rosi Braidotti add
distinct yet related modes of post-anthropocentric thinking to such dis-
courses of animal advocacy. Gruen’s work, grounded in a lifetime of
fighting animal exploitation, gathers her thinking under practically the-
orised terms, where empathy and sanctuary are couched in stories of the
rodents and primates that have shaped her life. Together, these thinkers
offer a strong argument that a shift towards a more socially just world
requires fundamental changes in cross-species relations.
Philosophical developments in animal justice are increasingly inform-
ing literary analysis. I was introduced to literary animal studies through
Grace Moore’s insightful reading of the triangulations between dogs
and humans in the work of Charles Dickens, in a prescient collection of
works, Victorian Animal Dreams (2007). This led to my first paper at
an animal studies conference, where I met the indefatigable political sci-
entist and animal advocate, Siobhan O’Sullivan. Not only did her pecan
love cake offer the final sweet push that turned me vegan, a brilliant
workshop she arranged, with Anat Pick, Robert McKay and Tom Tyler,
committed me to this area of study.
Like resetting a body’s habits of reading and eating, resetting lan-
guage for change is difficult and often contested. My investigation into
dream writing activates key conceptualisations that indicate the directions
of my research. I provisionally define these terms in their first use, and
in the glossary following my final chapter. Words can hold humans in
ontological stasis. Even the difficulties in using the term animal are clear,
as indicated by the fissures Descartes identifies in his own thinking. Peter
Harrison suggests Descartes’ position is not clear cut, detailing his read-
iness to include humans in the category animal, and making the point
that while he only granted ‘thought and self-consciousness’ to humans,
he had no doubt that other species could feel (1992, 220). Derrida com-
plicates these destructive divisions between humans and other animals
with the neologism ‘l’animot’, a difficult but helpful term, well summa-
rized by Mathew Calarco as an escape from the ‘metaphysically-laden
concept’ of animal (2009, n.p.). I await a word that allows for the mul-
tiplicity of animal people. Such terms are needed to improve the relation-
ships between humans and other animal species.
There are promising struggles towards a new vocabulary. Critical
theorist and feminist Donna Haraway offers a range of terms that blur
harmful distinctions between species. Her term ‘littermates’ is par-
ticularly appealing (2016, 31). Perhaps there is another like-term that
1 INTRODUCTION: EMPLACED READERLY DEVOTIONS 7
Metaphor helps humans make physical sense of their world. The central
text that drives my analysis, Emily Brontë’s Wuthering Heights, published
in 1847, is brilliantly metaphorical. This wonderfully complex novel, still
being reprinted and downloaded as I write these words, offers an alter-
native to anthropo-theological thinking, even while—or sometimes
because—it describes its characters through all kinds of animals. A range of
textual responses to this canonical text echo Brontë’s non-anthropocentric
metaphorical inflections. Their readings create a body of works that
demonstrate the importance of Brontë’s text to literary animal studies.
These textual responses to Brontë’s canonical novel offer more than
superficial reflections of this work’s triangular love story. Unlike many
Wuthering Heights remakes, the texts I consider here lead their readers
and audiences deeper into the dark inchoate expanse of dream writing
that marks Brontë’s work. In taking this direction, they offer a radical
affect that may encourage less harmful human relations with other ani-
mals. The lyrical poetics in Anne Carson’s “The Glass Essay” (1997),
is an especially generative response to Brontë’s novel. I also respond
strongly to Kathy Acker’s “Obsession” (1992). Like Carson’s work, this
is a long poem, but where Carson’s poem speaks to visions, Acker offers
her readers a nightmare. Carson and Acker, through their works, reveal
themselves as dream readers of Brontë’s text. Similarly, dream readings
are performed, again very differently, through the two novels I focus on
here; Jane Urquhart’s Changing Heaven (1989) and Stevie Davies’ Four
Dreamers and Emily ([1996] 2002). Plath’s dreamy modernist poem,
“Wuthering Heights” (1961), while brief, is also a fascinating textual
response to Brontë’s Wuthering Heights.
In addition, I focus on four audio-visual adaptations in my sur-
vey of dream readers. I begin with the unprecedented modulations of
Kate Bush’s pop-song “Wuthering Heights” (1978a), emphasising
the ‘red dress’ music video produced at the time of her single’s release
(1978b). The significant reference to this work in Christina Andreef’s
arthouse film Soft Fruit (1999) helps qualify this work for inclusion.
I read William Wyler’s early Hollywood Wuthering Heights (1939)
for one ghostly scene with Lockwood, and also consider the political
silence of Cathy in Peter Kosminsky’s mainstream Wuthering Heights
(1992). I spend considerable time with Luis Buñuel’s surreal Abismos de
Pasión (1954), focusing on this work’s allowance for animals other than
humans, and I also analyse the depictions of different species in Andrea
Arnold’s critically acclaimed Wuthering Heights (2011). As with other
1 INTRODUCTION: EMPLACED READERLY DEVOTIONS 11
the first generation that repeat in the second, there is a dizzying confu-
sion of names that are continually switched in the appellations of other
characters. There is Nelly, Ellen and Mrs Dean, one person, known dif-
ferently by other characters. Then there is the interchangeability between
Cathy (Catherine) Linton née Earnshaw, and her daughter, Catherine
(Cathy) Heathcliff née Linton. While not wanting to obscure this impor-
tant confusion, for clarity’s sake here, I will refer to Catherine Linton née
Earnshaw as Cathy, and Catherine Heathcliff née Linton, as Catherine
and use Nelly, not Ellen or Mrs Dean.
This productive refusal to honour the myth of the rational indi-
vidual is at its most psychologically revealing in the descriptions that
fuse Cathy and Heathcliff. As Cathy (Catherine Linton née Earnshaw)
famously tells Nelly (the elderly Mrs Dean and the youthful Ellen),
‘I am Heathcliff ’ ([1847] 1997, 82). This is no empty boast. The
younger socially ambitious Cathy marries Heathcliff ’s rival, Edgar,
based on a perceived need for economic power. In a doubling motion,
the older Heathcliff seeks economic security that will give him agency
over his life. The older Heathcliff becomes unrestrainedly passion-
ate as the younger Cathy gives full vent to her emotions. The older
Cathy is as hypersensitive as the fragile younger Heathcliff. Vitally,
the sharing of subjectivities between Cathy and Heathcliff splits fur-
ther, to include the other creatures that join them in the moor. To
re-employ Steven Vine’s delightful terminology, Heathcliff and Cathy
shapeshift through the ‘wuther of the other’ (1994, 339). Cathy iden-
tifies with the lapwings of the moor, moving through her life in col-
laboration with the wind. Together, she and Heathcliff wing their
ways across the buffeting gusts of their life just as they run from ‘the
top of the Heights to the park, without stopping’ ([1847] 1997, 48).
They flock together, are cruelly tarred with the same feathers. There
is a fluidity of being that flows between Cathy, Heathcliff and other
creatures. Similarly, the coltish Heathcliff tosses his ‘mane’, herding
Cathy in his thoughts (59). Animal psychologist Gala Argent points
out that equine interactions are focused on working together; horses
are ‘inherently cooperative’ (2012, 113). Heathcliff and Cathy see the
other’s intent and move together with this equine synchrony. They
herd together, protect each other against a predatory world. The
vulnerable animality of Heathcliff and Cathy brings the dangers that
humans present to other animals into focus, and the compassion in
16 S. M. PYKE
Matthew McManus, not so much for the answers provided by his work,
but rather for the still-relevant questions Schelling raises. For McManus,
Schelling allows for ‘paradoxes of the infinite’ that shape human con-
sciousness (2017, 251). In this unknowable space, potentialities are cre-
ated that ‘unfurl’ as ‘material events’ (259). Schelling’s dynamic world of
contingent relations aligns with the neo-Spinozian interconnected reci-
procity I find in Brontë’s novel and portions of its afterlife. This line-
age is important. As Rigby explains, ‘contemporary ecological discourses’
are informed by Goethe’s view of the world as an interconnected whole,
where the human is just another thread in the web (2004, 28). Brontë’s
novel, and the textual responses I discuss here, resonate with such under-
standings of the world.
Some readings of Romantic naturalism, particularly of Goethe, tend
towards a universalism that is at odds with Brontë’s more dynamic
view of the world. Pioneering ecocritic, James McKusick, suggests
Goethe’s thinking involves a ‘holistic paradigm’ (2000, 11). There is a
risk that this perspective can lead to anthropocentric hubris, reflected in
McKusick’s well-meaning suggestion that such thinking provides a ‘con-
ceptual and ideological basis for understanding the potential of salvaging
our damaged world’ (11). As eco-theological philosopher Bruce Foltz
argues, ecological concerns with ‘salvaging’ the world can be utilitar-
ian and humanly limited (1995, 17). The world might prefer to ‘remain
what it is’, with human intervention given up for more open relations
that allow other beings to dynamically move towards their ‘own possi-
bilities’ (17). There are ethical flaws in metaphors of organized unity,
activated to ideologically position humans as the mastermind of control.
This is a thread of anthropo-theological spin.
Holistic interpretations of Romantic naturalism justify the power that
humans willfully exercise over other species. Such human-centred view-
points often appropriate Charles Darwin’s work to describe nature as a
battle of teeth and claws, won or lost wars. His metaphor of the ‘tangled
bank’, in part conceptualised through his engagement with the thinking
of Goethe and Humboldt, need not be read in this way ([1859] 1968,
459). I interpret this entanglement through a neo-Spinozian account of
intensities, where as part of that bank, I give and take, as do the beings
around me. This reading of Darwinian entanglement suggests sets of
relations much closer to Rigby’s response to Goethe. As Rigby describes
it, Goethe saw humans as playing only one part in a far greater music,
18 S. M. PYKE
and forward to my own time. Humans are the central species in Brontë’s
Wuthering Heights, but her depiction of other animals as interacting
subjects is a minor gesture that changes the novel’s performance. In
this disruptive minor gesture, that allows for complex psychic realities
for all creatures, Brontë’s Wuthering Heights contributes to an ongoing
and multitudinous dissidence that undoes dualistic tendencies to divide
humans from other animals. By depicting a shared non-hierarchical ani-
mality between species, Brontë contributes to what Williams calls the
‘historical flaws and fissures’ that challenge the powerful ‘narrative of the
Enlightenment’ (2008, 9). Such disturbances to presumed boundaries
between rationality and response correspond with the non-anthropocen-
tric aspects of the Romantic project of the imagination. These minor ges-
tures coalesce towards change.
Brontë’s attentive relationship to the world around her speaks to this
literary and philosophical inheritance. In particular, her poetry and novel
are, like Romantic poet William Wordsworth’s poems, deeply emplaced.
However, her writing operates to the side of his humanist gestures. Her
family’s admiration of Wordsworth is illustrated by Judith Barker, the
preeminent biographer of the Brontë family, in her report that Emily’s
brother Branwell wrote to Wordsworth seeking mentorship, a significant
act. No less significant is that fact that Wordsworth ‘did not deign to
reply’ to his ardent admirer (1994, 264). The Brontës’ social and phys-
ical writing context differed from that of Wordsworth, as a moor differs
from a lake, and as a parson differs from the lawyer of a corrupt Earl. It
is true, however, that like Wordsworth’s poetry, Brontë’s work reflects
a specific response to her social circle, her range of reading and her sus-
tained relationship with the physical surroundings in which she lived and
wrote. As literary critic Scott Hess argues, Wordsworth’s response to
place did not reinforce a Romantic ‘universal ecological ideal of holism
and harmony with nature’, but rather, spoke from a ‘specific social and
cultural position’ (2012, 7). This position reflected ‘historically specific
constellations of social, discursive and material practices’ (2). McKusick’s
thinking is in accord, insofar as he describes Wordsworth’s ‘ecolect’ as a
‘uniquely ecological idiom’ that evolves through his ‘distinctive way of
perceiving and responding to the natural world’ (2000, 44). The imag-
inative ecolects of Wordsworth and Brontë can be read together as cel-
ebrating specific human meanings created through their relations with
their nonhuman worlds, including the books that they read and the
places they inhabited.
Another random document with
no related content on Scribd:
⁷But be ye strong, and let not your hands be
slack: for your work shall be rewarded.
7. be ye strong, etc.] The prophet’s warning is continued in this
verse.
the abominations] compare 1 Kings xiv. 23, 24, xv. 12, 13.
the hill country of Ephraim] The term describes the hilly country
between the plain of Esdraelon and the territory of Benjamin.
were not taken away ... days] So also 1 Kings xv. 14, but a direct
contradiction of the Chronicler’s statement in xiv. 3! Two
explanations seem possible; either, “Israel” (contrary to the frequent
usage of the word in Chronicles, see xi. 3) here denotes the
Northern Kingdom as distinct from Judah, in which case xiv. 3 is to
be taken as referring only to Judah, or perhaps these verses 16‒19
are an addition to Chronicles inserted by someone who thought the
Chronicler had wrongfully neglected 1 Kings xv. 13‒15.
Chapter XVI.
1‒6 (= 1 Kings xv. 17‒22).
Asa asks help of Ben-hadad.
2. silver and gold] In 1 Kings, “all the silver and the gold that were
left.”
Ben-hadad] At least three kings of Syria bore this name, the two
others being severally (1) a contemporary of Ahab (1 Kings xx. 1 ff.),
(2) a contemporary of Jehoash the grandson of Jehu, 2 Kings xiii.
25.
4. and they smote] The places smitten were all in the extreme
north of Israel.
all the store cities] In 1 Kings, “all Chinneroth ” (i.e. the district
west of the Sea of Galilee). As this was a very fruitful district, the
“store cities” of the Chronicler may be only another name for it.
Geba and Mizpah] The names signify, “the hill and the watch-
tower.” Geba is mentioned in 2 Kings xxiii. 8, evidently as being on
the northern boundary of Judah. Yet, be it noted, it was only 7 miles
north of Jerusalem, whilst Mizpah was about 5 miles north-west of
the capital. For Mizpah see Jeremiah xli. 1‒9. See also note on xiv.
6‒8.
which he had hewn out for himself] This clause is absent from 1
Kings.
divers kinds of spices] Mark xvi. 1; John xii. 3, 7, xix. 39, 40.
a very great burning] Compare xxi. 19. What is here meant is not
cremation of the body, but only a burning of spices; Jeremiah xxxiv.
5.
Chapters XVII.‒XX.
The Reign of Jehoshaphat.
Chapter XVII.
1‒6.
The character of the reign.
10. the fear of the Lord] Compare xx. 29; Genesis xxxxv. 5.
the Arabians] compare xxi. 16. The term is here used to signify
the desert tribes, in particular those on the south and south-west of
Judah. It would be specially impressive to the contemporaries of the
Chronicler, because by that period an Arabian people, the
Nabateans, had established a powerful state to the south of Judah.
On the other hand the Philistines would of course be familiar from
the references to them in Samuel and Kings. The tradition that
tribute was received from them and from some desert tribes may
possibly be correct, especially if Zerah’s army was Arabian (xiv. 8,
note) and if Asa’s victory over him is historical.