Disability and animality have frequently been conjoined in American literature as the limit cases of cognition, language, and narrative. In modern and contemporary fiction, this intersection is not just thematic, but also an opportunity for formal experimentation. My dissertation considers a century-spanning group of authors that includes William Faulkner, Zora Neale Hurston, Toni Morrison, and contemporary disabled writers and artists such as Jillian Weise, Kathy High, and Sharona Franklin. It uses a combination of close reading, historical research, and theoretical analysis to argue that some of the last century’s most influential literary experiments have built upon aesthetic modes associated with both disability and animality. For instance, in The Sound and the Fury, Benjy Compson’s famously associative narration is driven as much by canine-identified sensory tendencies of smell and touch as it is by human cognitive difference, and the folkloric interludes central to Their Eyes Were Watching God are catalyzed by the work-debilitated body of a mule. Few scholars have recognized the extent to which disability and animality are entangled as aesthetic categories, because each field has typically disavowed the other: disability studies makes “full humanity” a goal while assuming the inferiority of nonhumans, and animal studies often elevates nonhuman species by emphasizing their intelligence and physical abilities. My project bridges this impasse by showing how disability and animality come together to push language and literature in new directions, revealing an unrecognized literary tradition in which narratorial capacity, ethical consideration, and even access to the text do not depend on supposedly human-defining abilities like spoken language and written literacy.

The following dissertation examines the philosophy of the animal as it appears in twentieth-century British and American literature. I argue that evolutionary theory, along with the Romantic emphasis on sympathy, creates an historical shift in our perception of humans and nonhumans. Beginning with Herman Melville's classic novel, Moby-Dick, the whale represents what I call a transitional animal figure in that the whale not only shows the traditionally symbolic literary animal but also the beginnings of the twentieth century shift toward the literal animal-as-subject. My proposed comparative analysis consists of a return to classic existential and phenomenological philosophers with animal studies in mind. A handful of critical essays in recent years have conducted just such an analysis. My contribution extends these philosophical endeavors on the animal and applies them to major literary authors who demonstrate a notable interest in the philosophy of animals. The first chapter of the dissertation begins with D.H. Lawrence, whose writings in selected essays, St. Mawr, and "The Fox" continue considerations made by Melville concerning animal being. Because Lawrence often focuses on gender, sexuality, and intuition, I discuss how a Heideggerian reading of animals in Lawrence adds value to interpretations of his fiction which remain unavailable in analyses of human subjects. In Chapter Two, I move on to William Faulkner's classic hunting tale of "The Bear" and other significant animal sightings in his fiction and nonfiction. For Faulkner, the animal subject exists in the author's particular historical climate of American environmentalism, modernism's literary emphasis on visuality, and race theory. / This combination calls for a natural progression from a Heideggerian existential phenomenology: a contemporary Sartrean reading of animal being. Finally, the last chapter examines J.M. Coetzee, an author whose texts show the accumulated existential and phenomenological progression in the philosophy of the animal with a combined interest in current political and social issues surrounding animal life in the twentieth and twenty-first centuries. / by Jamie Johnson. / Thesis (Ph.D.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

This dissertation of limited scope, part of a Course-work Master’s in Ancient Languages and Cultures, consists of five chapters which deal with issues relating to the perception and literary treatment of non-human animals in African and Classical traditional stories involving animal characters. The focus of the research was placed upon arguing that: human characteristics were attributed to animal creatures in the myths/traditional stories from both cultures; both cultures made attempts to explain how certain animals became domesticated and how others remained wild; mythical thinking is not a preserve of one culture, it is rather part of human nature; mythical monsters are present in both cultures and that they have always to be destroyed by man, though not easily; myths served several functions for both cultures, ranging from educational entertainment to socializing purposes, to making attempts to explain ancient man’s environment and its happenings. The study was undertaken in the hope of enabling certain recommendations to be formulated, on the basis of the findings, to effect a better and more informed strategy for teaching Classical Mythology and Classics, in general, in the Mawian/African context. / Classics & World Languages / M. A. (Specialisation in Ancient languages and culture)

This dissertation of limited scope, part of a Course-work Master’s in Ancient Languages and Cultures, consists of five chapters which deal with issues relating to the perception and literary treatment of non-human animals in African and Classical traditional stories involving animal characters. The focus of the research was placed upon arguing that: human characteristics were attributed to animal creatures in the myths/traditional stories from both cultures; both cultures made attempts to explain how certain animals became domesticated and how others remained wild; mythical thinking is not a preserve of one culture, it is rather part of human nature; mythical monsters are present in both cultures and that they have always to be destroyed by man, though not easily; myths served several functions for both cultures, ranging from educational entertainment to socializing purposes, to making attempts to explain ancient man’s environment and its happenings. The study was undertaken in the hope of enabling certain recommendations to be formulated, on the basis of the findings, to effect a better and more informed strategy for teaching Classical Mythology and Classics, in general, in the Mawian/African context. / Classics and World Languages / M. A. (Specialisation in Ancient languages and culture)

Living in tune with nature means respecting the natural environment and realizing its power and the ways it manifests in daily life. This essay focuses on the ways in which respect for nature is expressed through animal imagery in Zora Neale Hurston's Their Eyes Were Watching God, Mark Twain's "The Stolen White Elephant," Roughing It, and Pudd'nhead Wilson, and Jack London's The Call of the Wild. Each author encouraged readers to seek the benefits of nature in order to become better human beings, forge stronger communities, and develop a more unified nation and world. By learning from the positive example of the animals, we learn how to share our world with them and with each other.

This dissertation is comprised of a collection of poems preceded by a critical preface. The preface considers the consumed animal body as a metaphor in contemporary American poetry, specifically in the works of Galway Kinnell, Li Young Lee, and Brigit Pegeen Kelly. The consumption of the mute creature allows the poet to identify the human self in the animal other, and serves as a metaphor for our continuity with the natural world. I revise Owen Barfield’s notion of “original participation,” positing that through imaginative participation, the poet and the reader can identify the animal within the self, and thus approach a fuller understanding of both the self and the outside world. We identify the animal other within the human self, and in of this act of relating, we are able to temporarily transgress the boundaries of the individual self to create art that expresses continuity with the outside world. This argument brings about a discussion of text as an act of consumption, and the way and which this can symbolize the ways in which the self is altered through the act of reading. The book-length collection of poems, entitled Marvels of the Invisible, won Tupelo Press’s 2014 Berkshire prize for a first or second book of poetry. The poems look to sources like 17th and 18th century scientific letters, modern and contemporary art, and recent studies in biological phenomena in order to parse the intersection between personal experience and the outside world. The title of the collection points to the conceptual interests of the book: through the lens of scientific phenomena, memory, and personal history, one begins to see that what seems very small (the ant under a microscope, a Russian nesting doll, two people on horseback) are, in fact, individual offerings that articulate one’s place in the cosmos. The collective voice I advocate in the critical preface appears in these poems, especially “Echolocation,” “My Name in Sleep,” “Civilization,” and “Narrative,” all of which make use of the animal-as-metaphor. This collective voice is particularly female, and deals with motherhood, loss, and childhood experience. Poetry, as part-myth, longs to transgress the felt boundaries of the self; it must see that self as inextricably dependent on the natural world.

In this dissertation, I show how 20th century African-American women writers such as Zora Neale Hurston, Alice Walker, and Toni Morrison utilize animals-as-trope in order to illustrate the writers' humanity and literary vision. In the texts that I have selected, I have found that animals-as-trope functions in two important ways: the first function of animal as trope is a pragmatic one, which serves to express the humanity of African Americans; and the second function of animal tropes in African-American women's fiction is relational and expresses these writers' "ethic of caring" that stems from their folk and womanist world view. Found primarily in slave narratives and in domestic fiction of the 19th and early 20th centuries, pragmatic animal metaphors and/or similes provide direct analogies between the treatment of African-Americans and animals. Here, these writers often engage in rhetoric that challenges pro-slavery apologists, who attempted to disprove the humanity of African-Americans by portraying them as animals fit to be enslaved. Animals, therefore, become the metaphor of both the abolitionist and the slavery apologist for all that is not human. The second function of animals-as-trope in the fiction of African-American women writers goes beyond the pragmatic goal of proving African-Americans's common humanity, even though one could argue that this goal is still present in contemporary African-American fiction. Animals-as-trope also functions to express the African-American woman writer's understanding that 1) all oppressions stem from the same source; 2) that the division between nature/culture is a false onethat a universal connection exists between all living creatures; and 3) that an ethic of caring, or relational epistemology, can be extended to include non-human animals. Twentieth-century African-American writers such as Hurston, Walker, and Morrison participate in what anthropologists term, "neototemism," which is the contemporary view that humankind is part of nature, or a vision that Morrison would most likely attribute to the "folk." This perspective places their celebration of the continuous relations between humans and animals within a spiritual, indeed, tribal, cosmological construction. What makes these particular writers primarily different from their literary mothers, however, is a stronger sense that they are reclaiming the past, both an African and African-American history. What I hope to contribute with this dissertation is a new perspective of African-American women writers' literary tradition via their usage of animals as an expression of their "ethic of caring" and their awareness that all oppression stems from a single source.

This paper will identify and analyze the literary phenomenon of the preponderance of the transfer of dumb animal. traits, including mannerisms, instincts and brute social behavior to human beings as found in the prose of Rafael Arevalo Martlnez of Guatemala. This literary phenomenon has been called.zoomorphimn and psychozoology.

Ambivalent Ecologies: Representations of the Nonhuman in African American Literature, 1830-1940, argues that nonhuman animals and ecological phenomena are central to the projects undertaken by African American authors from the antebellum slave narrative through the interwar period. In four chapters that focus on the Anglophone literature of nineteenth century abolition, the late nineteenth-century conjure tales of Charles W. Chesnutt, Jean Toomer’s Cane, and Zora Neale Hurston’s Their Eyes Were Watching God, I contend that there are as many differences in how these authors marshal the nonhuman as there are similarities. Following this insight, I tease out the unevenness and tensions in these representations across the tradition. Tracing the influence of literary genre and historical developments on representations of the nonhuman, I contend that these mark a site or perhaps a vector of profound ambivalence. Pushing beyond paradigms that reflexively position the work of black creative intellectuals as always already critical of Western liberal humanism, I offer a more nuanced set of close-readings that stay with the trouble of what I theorize as the ecological ambivalence that animates African American literature’s relationship toward the colonial categories the Human, or Man. Drawing on the work of Sylvia Wynter, Zakiyyah Jackson, Frantz Fanon, and others, I position this ambivalence as a key feature of the ecology of African American life.