By A. Ratelle
By interpreting culturally major and greatly renowned works of kid's tradition via a posthumanist, or animality reports lens, Animality and kid's Literature and picture argues that Western philosophy's aim to set up a concept of an solely human subjectivity is constantly countered within the very texts that ostensibly paintings to configure human identity.
Animality and kid's Literature and picture explores the query of id formation – child/adult, animal/human – and investigates the overlapping, double-sided rhetorics addressing kids, early life and animals. In her research, Amy Ratelle attracts upon well known and cherished kid's texts, from Black attractiveness and Charlotte's internet to modern movies to mirror at the ways that literature aimed toward a toddler viewers displays and contributes to the cultural tensions created through the oscillation among upholding and undermining the divisions among the human and the animal.
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Extra resources for Animality and Children's Literature and Film
The bill was ultimately defeated. Animal advocates needed to develop a new framework in which to generate support for their anti-cruelty cause. In 1809, Sir Thomas Erskine, a barrister, anti-slavery advocate, and former Lord Chancellor, proposed an anti-cruelty bill that focused on “routine cruelty” such as working horses to exhaustion or beating cattle as they are lead to market. This bill was also defeated, but the focus on visible and everyday abuse set the stage for further Parliamentary and 24 Animality and Children’s Literature and Film public debates around cruelty to animals and animal rights, framed in both Rousseau and Bentham’s language of shared suffering.
While the humans compliment the horses for their service to the judiciary logic of their Animal Virtues, Values and Rights 27 society, the horses remain utterly unclear why their coincidental presence is complimented. The misunderstanding is exacerbated by Dick’s sense of foreboding upon recognizing the horses pulling the carriage as members of his own species who have docilely acquiesced to their roles as labouring servants to humans. For Dick, passive obedience is simply not part of what it means to be a horse.
Velvet’s athleticism is bound up in both her own body and that of her horse. McHugh (2011) further contends that Velvet’s eating habits (or lack thereof) introduce a “micropolitics” regarding mass consumption (p. 81). As such, both food and sport become sites of entanglement, enabling Velvet to actively resist cultural narratives that deprioritize animal subjectivity, particularly for the meat animal. In Black Beauty, the equine body functions as a mechanism bearing multiple rhetorical burdens.
Animality and Children's Literature and Film by A. Ratelle