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Este trabalho analisou questões de Ética Animal nos quadrinhos de Turma da Mônica Jovem e Chico Bento Moço, revistas em estilo mangás retratando personagens de Mauricio de Sousa como adolescentes. Para isso, foi realizado um panorama sobre a relação entre Estética, Ética e cultura popular, com destaque para estudos de Jean-Marie Guyau e foi verificado o histórico do pensamento ético sobre os animais na História do Mundo, desembocando em Tom Regan, Gary Francione, Sônia Felipe e Carlos Naconecy. Também se realizou um histórico da representação dos animais na História das Artes Visuais, com destaque para Franz Marc; e o mesmo com os quadrinhos infantis de Mauricio de Sousa, com destaque para o porco Chovinista; uma história em que Chico Bento tentava degolar um peru, mas se arrependeu; o tiranossauro vegetariano Horácio; e as tentativas do personagem mudo Humberto de libertar um canário e um peixe-dourado do negro Jeremias. Entre os autores estudados para as análises, destacam-se Umberto Eco, pela metodologia de interpretação de texto; Antonio Candido, pelos estudos do personagem de ficção; e Mikhail Bakhtin, pela estética do Grotesco. Nas revistas em estilo mangá de Mauricio de Sousa, foram analisados o seu discurso extra-ficcional e princípios gerais enunciados pelos protagonistas sobre os animais; a relação entre humanos e animais selvagens perigosos, silvestres inofensivos e animais de estimação. Verificou-se elevada valorização do critério ambiental, exceto quando está em jogo o consumo de animais. Os casos anteriores foram comparados com a representação do tratamento dos animais mortos e explorados na indústria alimentícia: porcos, vacas, galinhas, peixes e abelhas. Verificou-se que discursos dos protagonistas e o extra-ficcional do autor de amor, paz e proteção generalizados pelos animais são frequentemente incoerentes com atitudes observadas nos personagens e em relação às mensagens identificadas nas histórias, com destaque para a pesca recreativa de Chico Bento. Foi verificado o fenômeno do \"afetismo letal ou coisificador\", termo cunhado nesta pesquisa para designar que, diferentemente do que ocorre na realidade, há certos animais tratados pelo mesmo protagonista com afeto e outros da mesma espécie mortos ou escravizados por seus hábitos de consumo ou atitudes diretas. Cenários idílicos no campo comunicam mensagens enganosas em relação ao que ocorre via de regra no meio rural com os animais; assim como não se valorizou e informou adequadamente sobre os alimentos mais saudáveis na dieta vegetariana. Personagens vegetarianas foram identificadas e análises sobre sua representação e associações decorrentes foram deduzidas. Elas são novidade nestes quadrinhos, porém são exclusivamente mulheres e bruxas com poderes sobrenaturais, com particular e coincidente exposição de seus corpos. Positivamente quanto aos direitos animais, destaca-se história em que a protagonista Mônica e a vegetariana Denise resgatam porcos lembrando uma ação direta de ativismo da Frente de Libertação Animal (ALF); e outra em que Mônica demonstrou aversão ao trabalho na pecuária, apesar de não ser vegetariana. Magali, a personagem de Mauricio de Sousa tradicionalmente mais associada à alimentação, demonstrou forte tendência ao vegetarianismo, além de ocorrerem muitos episódios em que expressou sua compaixão pelos animais e sensibilidade. / This work analyzed issues on Animal Ethics in the comics Turma da Mônica Jovem and Chico Bento Moço, publications in manga style picturing characters by Mauricio de Sousa as teenagers. First, we made a panorama about the relationship among Aesthetics, Ethics, and popular culture, with highlights to studies by Jean-Marie Guyau; we traced the ethical thinking on animals in the World History, arriving to Tom Regan, Gary Francione, Sônia Felipe and Carlos Naconecy. We researched the representation of animals in the History of Visual Arts, with highlights to Franz Marc. The same with the childish comics of Mauricio de Sousa, emphasizing the pig Chovinista; a story where Chico Bento tried to behead a turkey, but regretted it; the vegetarian Tyrannossaurus Horácio; and attempts of the mute Humberto of releasing a canary and a golden-fish from the black Jeremias. Among the characters studied for the analysis, there are: Umberto Eco, for the methodology of text interpretation; Antonio Candido, for studies on the character of fiction; and Mikhail Bakhtin, for the aesthetic of the Grotesc. In manga comics of Mauricio de Sousa, we analyzed his extra-fictional discourse and general principles enunciated by the main characters about the animals; the relationship between humans and savage dangerous animals, innofensive wild animals and pets. We noticed how high valued was the environmental criterium, except when the consumption of animals is at stake. The former cases were compared to the representation of the animals killed and exploited in the food industry: pigs, cows, chickens, fish and bees. We noticed that discourses of the characters and the extra-fictional discourse of generalized love, peace and protection for animals are often incoherent with attitudes observed in the characters and in relation to the messages identified in the stories, mainly noticing the recreative fishing by Chico Bento. We verified the phenomenum of \"letal or slavering affectism\", concept created in this research to designate that, differently from reality, there are certain animals treated by the same character with affection and others of the same species killed or slavered by his or her habits of consumption or direct attitudes. Idyllic scenaries in the rural area communicate deceiving messages in relation to what happens usually in the rural zone with animals; also, the healthiest vegetarian food were not valued and adequately informed. Vegetarian characters, novelties in these comics, are exclusively women and witches with supernatural powers, and with coincidental exhibition of their bodies. Positively for animal rights, there\'s importance in a story where the character Mônica and the vegetarian Denise rescue pigs, which remind us a direct action of activism by Animal Liberation Front (ALF); and other story where Mônica revealed aversion to working with cattle exploitation, although shes not vegetarian. Magali, the Mauricio de Sousa\'s character traditionally most associated to food, expressed a strong tendency to vegetarianism, and we can see also many episodes in which she showed compassion to animals and sensitivity.

This thesis addresses the moral permissibility of illegal acts of animal liberation in the form of civil disobedience, acts of rescue, and acts of sabotage. Animal liberation movements have been the subject of much media and political attention, with particular focus on use liberationist strategies of intimidation, vandalism, and harassment. Governments have mobilised state apparatus in surveillance, infiltration, and investigation, and have characterising radical activism as 'terrorism'. The variety of illegal activities aimed at preventing harm to non-human animals, particularly those involving violence towards property or persons, have often been classified together under the term 'animal liberation' and assumed to be wrong. I argue that the assumption of wrongness is questionable because it fails to give significant weight to the justification for acts of animal liberation. I pose the question as to whether and what illegal practices of animal liberation are ethically justifiable. I begin by arguing that non-human animals are worthy of moral consideration for their own sake, because their sentience above a basic level, particularly their capacity to suffer, gives moral agents reasons to acknowledge and respect their goods. Following this, I defend the claim that liberal democratic states that fail to treat animals living within them with respect are unjust. This injustice provides a justification for civil disobedience on behalf of non-human animals. Following this, I argue that beings worthy of moral consideration are owed positive duties of aid and easy rescue and I extend third-party intervention theory to non-human animals under threat from humans. I explore the limits to the duties of aid and intervention, using principles drawn from those of humanitarian intervention to identify duty bearers, and I weigh those duties against duties to fellow citizens and the state.

The oppression of nonhuman animals in Western culture observed in societal institutions and practices such as the factory farm, hunting, and vivisection, exhibits alarming linkages and parallels to some episodes of the oppression of human animals. This work traces the foundations of anthropocentrism in Western philosophy and connects them to the oppressions of racism, sexism, and ethnocentrism. In outlining a uniform theory of oppression detailed through the marginalization, isolation, and exploitation of human and nonhuman animals alike, parallels among the groups emerge as the fused oppression of each exhibits a commonality among them. The analysis conducted within this work highlights the development and sustainment of oppression in the West and illuminates the socio-historical tendencies apparent in the oppression of human and nonhuman animals alike.

This thesis is a work of practical philosophy situated at the intersection of bioethics, environmental ethics, and social and political thought. Broadly, its topic is the moral status of nonhuman animals. One of its pivotal aims is to encourage and foster the “sympathetic imaginative construction of another’s reality” and to determine how that construction might feed back on to understandings of ourselves and of our place in this world that we share with so many other creatures. In the three chapters that follow the introduction, I explore a concept (vulnerability), a tradition in moral philosophy (the ethic of care), and a philosopher (Wittgenstein) that are not often foregrounded in discussions of animal ethics. Taken together, these sections establish a picture of other animals (and of the kinship that humans share with them) that can stand as an alternative to the utilitarian and rights theories that have been dominant in this domain of philosophical inquiry. In my fifth and sixth chapters, I extend this conceptual framework by turning to the work of Michel Foucault. Here, I develop a two-pronged approach. The first direction – inspired by Foucault’s work on “technologies of power” – is a broad, top-down engagement that explores many of the social apparatuses that constitute the power-laden environments in which human beings and other animals interact. I focus on the slaughterhouse in particular and argue that it is a pernicious institution in which care and concern are rendered virtually impossible. The second direction – inspired by Foucault’s later work on “technologies of the self” – is a bottom-up approach that looks at the different ways that individuals care for, and fashion themselves, as ethical subjects. Here, I examine the dietary practice of vegetarianism, arguing that it is best understood as an ethical practice of self-care. One virtue of my investigation is that it enables a creative synthesis of disparate strands of philosophical thought (i.e. analytic, continental, and feminist traditions). Another is that it demonstrates the philosophical importance of attending to both the wider, institutional dimension of human-animal interactions and to the lived, embodied experiences of individuals who must orient themselves and live their lives within that broader domain. This more holistic approach enables concrete critical reflection that can be the impetus for social, and self-, transformation.

There are several ways in which people can relate to eating or not eating animals. This essay is focussing two main strategies: Making distances and drawing borders. Today, there are several reasons for not eating meat, including environmental reasons, individual and public health reasons, ethical reasons and more. Yet, people eat more meat than ever. According to the UN, this is a major problem. In 2006 the report Livestock’s long shadow pointed out that meat consumption was a bigger problem from an environmental point of view, than global transports, including air-traffic. At the same time, western societies are becoming both more animal friendly (when it comes to companion animals) and more animal abusive (when it comes to production animals). There seems to be a lot of empathy for animals, yet people choose to hurt them, kill them and eat them. This essay, with a feministic approach, tries to reveal what mechanisms are behind this ambigous behaviour. The findings suggest that the border line between humans and animals is blurred due to several reasons. / Att äta eller inte äta djur är en fråga som det går att förhålla sig till på olika sätt. Den här uppsatsen fokuserar på två huvudstrategier: Avståndstagande och gränsdragningar. I dag finns många anledningar till att inte äta kött, till exempel miljöskäl, hälsoskäl (såväl individuella som folkhälsomässiga), etiska skäl med flera. Ändå äter jordens befolkning mer kött än någonsin. Enligt FN är det ett stort problem. Rapporten "Livestock's long shadow" som kom ut 2006, pekar ut köttkonsumtionen som ett större miljöproblem än världens samlade transporter, inklusive flygtransporter. Samtidigt, håller västerländska samhällen på att bli allt mer djurvänliga (när det handlar om sällskapsdjur) och allt mer djurfientliga (när det handlar om så kallade produktionsdjur). Det finns uppenbarligen mycket empati för djuren, ändå väljer människor att göra dem illa,  döda dem och äta dem. Den här uppsatsen försöker ur ett feministiskt perspektiv undersöka de mekanismer som ligger bakom detta ambivalenta beteende. Resultatet tyder på att gränsen mellan människa och djur är en kulturell konstruktion som håller på att suddas ut, av flera skäl.

In der Dissertation wird die Frage untersucht, ob es gerechtfertigt ist, Tieren Rechte zuzuschreiben. Die Theorie der Tierrechte des amerikanischen Philosophen Tom Regan zählt zu den bedeutendsten Ansätzen der Tierethik. Die Idee der Tierrechte findet jedoch nicht nur Befürworter, sondern auch Gegner. Es gibt vier Positionen, die man oft zur Argumentation gegen Tierrechte verwendet. Diese vier Positionen sind: (1) die Lehre der Tierautomaten von Descartes, (2) die Lehre der indirekten Pflichten von Kant, (3) der Kontraktualismus von John Rawls und (4) der Präferenz-Utilitarismus von Peter Singer. Aus der Diskussion mit diesen vier Positionen ergibt sich, dass keine von ihnen einer kritischen Prüfung standhalten kann. Somit ist die Möglichkeit, dass Tiere Rechte haben, nicht ausgeschlossen. Es gelingt Regan jedoch nicht, eine solide Grundlage für seine Theorie der Tierrechte zu bieten. Das bedeutet nicht, dass man auf die Idee der Tierrechte verzichten muss. Es wird gezeigt, dass man mit der Theorie der Gerechtigkeit im Sinne von Aristoteles moralische Rechte der Tiere begründen kann.

This thesis is a work of practical philosophy situated at the intersection of bioethics, environmental ethics, and social and political thought. Broadly, its topic is the moral status of nonhuman animals. One of its pivotal aims is to encourage and foster the “sympathetic imaginative construction of another’s reality” and to determine how that construction might feed back on to understandings of ourselves and of our place in this world that we share with so many other creatures. In the three chapters that follow the introduction, I explore a concept (vulnerability), a tradition in moral philosophy (the ethic of care), and a philosopher (Wittgenstein) that are not often foregrounded in discussions of animal ethics. Taken together, these sections establish a picture of other animals (and of the kinship that humans share with them) that can stand as an alternative to the utilitarian and rights theories that have been dominant in this domain of philosophical inquiry. In my fifth and sixth chapters, I extend this conceptual framework by turning to the work of Michel Foucault. Here, I develop a two-pronged approach. The first direction – inspired by Foucault’s work on “technologies of power” – is a broad, top-down engagement that explores many of the social apparatuses that constitute the power-laden environments in which human beings and other animals interact. I focus on the slaughterhouse in particular and argue that it is a pernicious institution in which care and concern are rendered virtually impossible. The second direction – inspired by Foucault’s later work on “technologies of the self” – is a bottom-up approach that looks at the different ways that individuals care for, and fashion themselves, as ethical subjects. Here, I examine the dietary practice of vegetarianism, arguing that it is best understood as an ethical practice of self-care. One virtue of my investigation is that it enables a creative synthesis of disparate strands of philosophical thought (i.e. analytic, continental, and feminist traditions). Another is that it demonstrates the philosophical importance of attending to both the wider, institutional dimension of human-animal interactions and to the lived, embodied experiences of individuals who must orient themselves and live their lives within that broader domain. This more holistic approach enables concrete critical reflection that can be the impetus for social, and self-, transformation.

At its core, this book represents an attempt to outline and clarify a concept of ‘wisdom’. Building upon an established tradition of ‘philosophy as a way of life’ the discussion focuses on an understanding of a model of philosophy which sets a union of the virtues as its ultimate goal (finding models of non-ethical and primarily academic philosophy to be lacking). Aristotle’s practical wisdom and Plato’s humble, human wisdom are found to be complimentary in certain key respects and useful (in conjunction) in describing the nature of this ‘wisdom’ as a state of moral expertise and broad insight (an understanding of, and action according to, that which is most important). An account is given of the kind of moderate moral realism which is able to account for the ‘moral facts’ which are necessary to render this sort of moral knowledge viable. This moderate realism is founded upon a similarly moderate or compromising epistemology which will itself constitute a recurring theme of this ‘wisdom’. Moving from this metaethical and epistemological fuondation, some account is given of the sort of practical means by which this moral knowledge might be arrived at with the suggestion that traditional analytic and cogitative practices must be combined with far more anthropological ‘living-with’ practices in order that this moral learning can be plausible. Further to this suggestion of an amalgam of philosophy and anthropology, an effort is made to describe the sense in which aesthetic and ethical insight converge in this process of recognising moral knowledge and that, as such, ‘true philosophy’ must also allow for artistic (particularly narrative and poetic) methods. Having made a case for the practice of philosophy to move substantially away from its conventional means, the latter half of the book sets out a specific model of ‘living-with philosophy’ in an attempt to demonstrate this novel model of philosophy and the more detailed nature of wisdom. This ‘case study’ takes the shape of living-with other living things and the stories and lessons which have unfolded through the author’s own life with the non-human world. Due to the fundamental (practically, emotionally and conceptually fundamental) and particularly varied nature of living with (by and through) non-human life, organic vegetable gardening is taken as a good (if not the best) means of realising this process of moral learning. This discussion focuses upon the way in which close living with non-human life can and should highlight the manner in which various virtues which are fundamental to a union of virtue can appear to be in conflict (particularly what might be called ‘compassion’ and ‘prudence’). Ultimately an attempt is made to describe the way in which these conflicts can and should be found to be complimentary to the realisation of wisdom through a subtle, complex but intuitive process of balancing. The book concludes with an examination of this act of balancing, particularly ‘in the face of death’, and the way in which it is commensurate with moods and attitudes of quietness, poignancy and good humour. It is found that wisdom, the union of virtues, is more than the sum of its parts, that it is characterised particularly by these kinds of attitude (echoing the moderation and humility explored at the outset).

Este trabalho analisou questões de Ética Animal nos quadrinhos de Turma da Mônica Jovem e Chico Bento Moço, revistas em estilo mangás retratando personagens de Mauricio de Sousa como adolescentes. Para isso, foi realizado um panorama sobre a relação entre Estética, Ética e cultura popular, com destaque para estudos de Jean-Marie Guyau e foi verificado o histórico do pensamento ético sobre os animais na História do Mundo, desembocando em Tom Regan, Gary Francione, Sônia Felipe e Carlos Naconecy. Também se realizou um histórico da representação dos animais na História das Artes Visuais, com destaque para Franz Marc; e o mesmo com os quadrinhos infantis de Mauricio de Sousa, com destaque para o porco Chovinista; uma história em que Chico Bento tentava degolar um peru, mas se arrependeu; o tiranossauro vegetariano Horácio; e as tentativas do personagem mudo Humberto de libertar um canário e um peixe-dourado do negro Jeremias. Entre os autores estudados para as análises, destacam-se Umberto Eco, pela metodologia de interpretação de texto; Antonio Candido, pelos estudos do personagem de ficção; e Mikhail Bakhtin, pela estética do Grotesco. Nas revistas em estilo mangá de Mauricio de Sousa, foram analisados o seu discurso extra-ficcional e princípios gerais enunciados pelos protagonistas sobre os animais; a relação entre humanos e animais selvagens perigosos, silvestres inofensivos e animais de estimação. Verificou-se elevada valorização do critério ambiental, exceto quando está em jogo o consumo de animais. Os casos anteriores foram comparados com a representação do tratamento dos animais mortos e explorados na indústria alimentícia: porcos, vacas, galinhas, peixes e abelhas. Verificou-se que discursos dos protagonistas e o extra-ficcional do autor de amor, paz e proteção generalizados pelos animais são frequentemente incoerentes com atitudes observadas nos personagens e em relação às mensagens identificadas nas histórias, com destaque para a pesca recreativa de Chico Bento. Foi verificado o fenômeno do \"afetismo letal ou coisificador\", termo cunhado nesta pesquisa para designar que, diferentemente do que ocorre na realidade, há certos animais tratados pelo mesmo protagonista com afeto e outros da mesma espécie mortos ou escravizados por seus hábitos de consumo ou atitudes diretas. Cenários idílicos no campo comunicam mensagens enganosas em relação ao que ocorre via de regra no meio rural com os animais; assim como não se valorizou e informou adequadamente sobre os alimentos mais saudáveis na dieta vegetariana. Personagens vegetarianas foram identificadas e análises sobre sua representação e associações decorrentes foram deduzidas. Elas são novidade nestes quadrinhos, porém são exclusivamente mulheres e bruxas com poderes sobrenaturais, com particular e coincidente exposição de seus corpos. Positivamente quanto aos direitos animais, destaca-se história em que a protagonista Mônica e a vegetariana Denise resgatam porcos lembrando uma ação direta de ativismo da Frente de Libertação Animal (ALF); e outra em que Mônica demonstrou aversão ao trabalho na pecuária, apesar de não ser vegetariana. Magali, a personagem de Mauricio de Sousa tradicionalmente mais associada à alimentação, demonstrou forte tendência ao vegetarianismo, além de ocorrerem muitos episódios em que expressou sua compaixão pelos animais e sensibilidade. / This work analyzed issues on Animal Ethics in the comics Turma da Mônica Jovem and Chico Bento Moço, publications in manga style picturing characters by Mauricio de Sousa as teenagers. First, we made a panorama about the relationship among Aesthetics, Ethics, and popular culture, with highlights to studies by Jean-Marie Guyau; we traced the ethical thinking on animals in the World History, arriving to Tom Regan, Gary Francione, Sônia Felipe and Carlos Naconecy. We researched the representation of animals in the History of Visual Arts, with highlights to Franz Marc. The same with the childish comics of Mauricio de Sousa, emphasizing the pig Chovinista; a story where Chico Bento tried to behead a turkey, but regretted it; the vegetarian Tyrannossaurus Horácio; and attempts of the mute Humberto of releasing a canary and a golden-fish from the black Jeremias. Among the characters studied for the analysis, there are: Umberto Eco, for the methodology of text interpretation; Antonio Candido, for studies on the character of fiction; and Mikhail Bakhtin, for the aesthetic of the Grotesc. In manga comics of Mauricio de Sousa, we analyzed his extra-fictional discourse and general principles enunciated by the main characters about the animals; the relationship between humans and savage dangerous animals, innofensive wild animals and pets. We noticed how high valued was the environmental criterium, except when the consumption of animals is at stake. The former cases were compared to the representation of the animals killed and exploited in the food industry: pigs, cows, chickens, fish and bees. We noticed that discourses of the characters and the extra-fictional discourse of generalized love, peace and protection for animals are often incoherent with attitudes observed in the characters and in relation to the messages identified in the stories, mainly noticing the recreative fishing by Chico Bento. We verified the phenomenum of \"letal or slavering affectism\", concept created in this research to designate that, differently from reality, there are certain animals treated by the same character with affection and others of the same species killed or slavered by his or her habits of consumption or direct attitudes. Idyllic scenaries in the rural area communicate deceiving messages in relation to what happens usually in the rural zone with animals; also, the healthiest vegetarian food were not valued and adequately informed. Vegetarian characters, novelties in these comics, are exclusively women and witches with supernatural powers, and with coincidental exhibition of their bodies. Positively for animal rights, there\'s importance in a story where the character Mônica and the vegetarian Denise rescue pigs, which remind us a direct action of activism by Animal Liberation Front (ALF); and other story where Mônica revealed aversion to working with cattle exploitation, although shes not vegetarian. Magali, the Mauricio de Sousa\'s character traditionally most associated to food, expressed a strong tendency to vegetarianism, and we can see also many episodes in which she showed compassion to animals and sensitivity.