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Written for Gonzaga University, PHIL 301: Ethics, taught by Dr. Charles Lassiter.
2018
Representation of nonhuman animals is a complex and multifaceted subject. Through the act of representation, it is important for us to consider the impact humans have on constructing the identity of nonhuman animals. Due to the variety of ways humans engage in the act of representation, this project looks at how three representative modes (literature, film, and science) shape our understanding of whales and construct a whale’s identity in the process. The study is based on a human-animal studies framework and uses Vinciane Despret’s notion of agencement to deal with the subject of nonhuman identity.Master of Arts in Humanitie
Chapter 4. In: H. Zwart (2008) Understanding Nature: Case Studies in Comparative Epistemology. Dordrecht: Springer, 77-98.
Moby-Dick (1851/1931) is a magnificent novel, an American epic, a literary encyclopaedia, a monument of language. Jean-Paul Sartre (1941/1977) called it a Summa, a gigantic, monstrous, antediluvian book. One may read Moby-Dick for several reasons, and from several perspectives: as a novel of adventure, a psychological case history casting an obsessed sea captain, an anthropological study of nineteenth century maritime life, or a fascinating example of Bakhtinean “heteroglossia”. Whenever reference to Moby-Dick is made, the first thing that will come to mind, no doubt, is the novel’s fantastic plot, more spectacular than tragic, when the great White Whale at last destroys the destroyer of its species. Indeed, Moby-Dick can be read as an affidavit, a persistent effort of Ishmael - its narrator - to convince us of the fact that things like that can really happen - although in the end hardly anyone will believe him. In this chapter, however, Moby-Dick will be read as a literary document that sets out to tell us something about maritime nature, about the wide, unshored, oceanic expanses and its most eminent inhabitant, the whale - the great Sperm Whale to be exact. Melville’s novel constitutes an important file, a chapter in animal history, written in the middle of the nineteenth century, when Darwin was about to publish his Origin of Species. Moby-Dick is a document that pretends to answer the question What is a whale? Or rather, it stages a struggle between several incompatible answers, yielded by incompatible perspectives on marine life, mutually challenging and criticizing one another. Moreover, these answers entail different ethical judgments on the moral status of the whale and on the moral propriety of whaling.
A talk delivered to the newly elected members of the Rutgers University chapter of Phi Beta Kappa, 25 May 2010.
Why Whales: The Hierarchies of Love and Animal Protection, 2023
Which animals deserve our protection and why? How do we justify which animals we care about and place at the forefront of our campaigns? Which animal qualities move us and why? How are intelligence and proximity to other perceived-as-human qualities shaping our advocacy, care and love? Why do we care for whales? In 2021 I conducted research in Iceland for my BA thesis, examining the cultural significance of whales and interspecies relationships. Hunting, fishing, mythology, research and activism are different aspects of this human–whale relationship spectrum. Drawing on my ethnographic data, in this presentation I will re-examine how whales moved from being a monster of the sea, to a merely bigger fish, to a protagonist of campaigns about the protection of the Ocean. Why do so many people feel the need to advocate for them and why are their mammalian, family-oriented nature and intelligence the cornerstones of the argument for their protection? I believe speciesism and anthropocentrism shape the ways we chose to advocate for certain animals at the expense of others. Also, we project human qualities onto these animals, to justify our unjustifiable preferences. By using the example of whales and the discourse around them in Iceland, I will be countering the hierarchies of our love and inequalities of animal protection.
Freudian metapsychology can be used to understand cultural phenomenon, especially when there is conflict between differing groups. Reality television, in depicting such conflicts, provides an opportunity to glimpse the underlying unconscious currents motivating group behavior that are at times, seemingly irrational. The television show Whale Wars is a prime example of this aspect of reality-based television. Through its portrayal of the real conflict between Japanese whalers and the Sea Shepherd Conservation Society, the show reveals unconscious motivations and group dynamics that conform to Freud's theories. This paper will review the psychology of the Sea Shepherds and their relation to the Japanese whalers in an attempt to bring greater perspective and understanding to the conflict.
Anthropozoologica
Anthropozoologica est une revue en flux continu publiée par les Publications scientifiques du Muséum, Paris, avec le soutien du CNRS.
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