A caged animal in the heart of the city, thousands of miles from its natural habitat, neurotically pacing in its confinement . . . Zoos offer a convenient way to indulge a cultural appetite for novelty and diversion, and to teach us, albeit superficially, about animals. Yet what, conversely, do they tell us about the people who create, maintain, and patronize them, and about animal captivity in general? Rather than foster an appreciation for the lives and attributes of animals, zoos, (...) in Randy Malamud's view, reinforce the idea that we are, by nature, an imperial species: that our power and ingenuity entitles us to violate the natural order by tearing animals from the fabric of their ecosystems and displaying them in an "order" of our own making. In so doing, he argues, zoos not only contribute to the rapid disintegration of our ecosystems, but also deaden our very sensibilities to constraint, spatial disruption, and physical pain. Invoking an array of literary depictions of animals, from Albee's Zoo Story and Virginia Woolf's diaries to the films of Harold Pinter and the poetry of Marianne Moore, Reading Zoos links culture, literature, and nature in an engaging and accessible introduction to environmental ethics, animal rights, cultural critique, and literary representation. (shrink)

Mesoamericans' rich spiritual beliefs about the importance of animals and about the correlation between the well-being of animals and that of human beings contrast with a diminutive respect accorded to animals in industrialized cultures. Some vestige of a parallel sensibility, however - granting animals an aura of dignity relatively independent of anthropocentric constructions - may be detected in the animal poetry of selected Western writers including Marianne Moore, Gary Snyder, and José Emilio Pacheco. Such animal poetry, although possessing no explicit (...) links to Mesoamerican spirituality, may represent an ethos extant in industrial-world culture that quietly celebrates - as Mesoamerican culture does more unabashedly - the sanctity and parity of nonhuman animals. (shrink)

We model the conventional meaning of utterances that combine two distinct clause types: a (positive) declarative or imperative (in rare cases, interrogative) anchor and a (negative) interrogative tag, such as won’t you?. We argue that such utterances express a single speech act, and in fact, a single conventional update of the conversational scoreboard. The proposed model of this effect is a straightforward extension of prior proposals for the semantics of declaratives, imperatives, and preposed-negation interrogatives. Ours is the first unified account (...) of these phenomena that addresses the sentential force of these utterances and outlines how the speech act effects arise from the scoreboard update and contextual factors. We enrich the conversational scoreboard, interpreted as a model of sentential force, to include graded commitments and non-at-issue meanings. A consequence of our model is that modified utterances can create “blended” speech acts which share some, but not all, properties with the unmodified utterances. The proposal has implications for models of other utterance modifiers, as well as for negative interrogatives and negation in general, and for imperative/jussive constructions. (shrink)

Do the rich descriptions and narrative shapings of literature provide a valuable resource for readers, writers, philosophers, and everyday people to imagine and confront the ultimate questions of life? Do the human activities of storytelling and complex moral decision-making have a deep connection? What are the moral responsibilities of the artist, critic, and reader? What can religious perspectives—from Catholic to Protestant to Mormon—contribute to literary criticism? Thirty well known contributors reflect on these questions, including iterary theorists Marshall Gregory, James Phelan, (...) and Wayne Booth; philosophers Martha Nussbaum, Richard Hart, and Nina Rosenstand; and authors John Updike, Charles Johnson, Flannery O'Connor, and Bernard Malamud. Divided into four sections, with introductory matter and questions for discussion, this accessible anthology represents the most crucial work today exploring the interdisciplinary connections between literature, religion and philosophy. (shrink)

ABSTRACT The BiRCh Project (The Corpus of Bilingual Russian Child Speech) involves collecting a longitudinal audio corpus of Russian spoken by children and their families in Russia, Ukraine, Germany, the U.S., and Canada. We are building a large-scale corpus based on a subset of this data, the “Parsed and Audio-aligned Corpus of Bilingual Russian Child and Child-directed Speech (BiRCh)” with two basic components: (1) 1-million-word transcripts which are time-aligned with the audio speech signal and fully textsearchable, and (2) a 500K-word (...) morphologically annotated and parsed portion of the transcripts, also audio-aligned. We are using this corpus to investigate various phenomena in the linguistic input and the developmental trajectory of heritage bilinguals, e.g., case, gender, passives, impersonals, politeness markers, disfluencies, and discourse markers. This article focuses on the challenges and solutions of the BiRCh development and the implications for research on the richly annotated data provided by the corpus. (shrink)

RESUMO O projeto BiRCh (The Corpus of Bilingual Russian Child Speech, Corpus de fala de crianças bilíngues em russo) envolve a construção de um corpus longitudinal composto de gravações de fala em russo produzida por crianças e suas famílias na Rússia, Ucrânia, Alemanha, EUA e Canadá. Estamos construindo um corpus de larga escala com base no conjunto dessas gravações, o ‘Parsed and Audio-aligned Corpus of Bilingual Russian Child and Child-directed Speech (BiRCh)’, com os dois componentes básicos: (1) as transcrições de (...) um milhão de palavras alinhadas com os arquivos de áudio, em que pode ser realizada a busca textual, e (2) as transcrições de 500 mil palavras anotadas morfologicamente e analisadas sintaticamente, também alinhadas com os arquivos de áudio. Estamos utilizando o corpus para investigar os diversos fenômenos no input linguístico e na trajetória do desenvolvimento de falantes de herança, tais como o uso de caso, gênero, construções passivas e impessoais, marcadores de polidez, disfluências e marcadores discursivos. Este artigo enfoca os desafios e soluções no processo da construção do BiRCh e as implicações para a pesquisa com base nos dados detalhadamente anotados fornecidos pelo corpus. (shrink)

En 1945, 51 países firmaron la Carta de San Francisco, que dio nacimiento a las Naciones Unidas. Veinte eran latinoamericanos; catorce, europeos. En 2022, la ONU se ha expandido hasta abarcar a 193 miembros. Veinte son latinoamericanos, los mismos que en la fundación, pero hoy 51 son europeos. Este libro monumental pretende explicar, entre otras cosas, por qué los estados europeos viven fusionándose y dividiéndose mientras los latinoamericanos, una vez consolidados, duran para siempre – pero funcionan peor. Las causas, se (...) aduce, hay que buscarlas un siglo y medio atrás…. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Petrification of Cleopatra in Nineteenth Century Art MARGARET MALAMUD MARTHA MALAMUD What did Cleopatra look like? Was she a Roman, a Ptolemaic Greek, an Egyptian, an African? Was she a precocious child, a devastatingly beautiful seductress, an astute practitioner of imperial politics, a murderess, a longnosed blue-stocking? [Figure 1] Cleopatra is dead, but “Cleopatra ” exists in the eye of the beholder. What other human being has been (...) portrayed in such “infinite variety”? In her life, and even more in her afterlife, the protean queen of the Nile has, like a shaft of sunlight focused through a magnifying glass, clarified and set ablaze underlying ideologies and overt assertions of race and gender, manifested differently in disparate times and places. Here we consider two case studies of nineteenth century representations of Cleopatra in stone: William Wetmore Story’s Cleopatra (1860) and Edmonia Lewis’s The Death of Cleopatra (1876). [Figarion 28.1 spring/summer 2020 Figure 1: Bust of Cleopatra VII, 40–30 bce, Altes Museum, Berlin. 32 the petrification of cleopatra ure 2] Story, a wealthy and well-connected white expatriate living in Rome, gave the famous queen features that deviated from classicizing portrayals of the queen and struck critics as startling and original. American artist Edmonia Lewis, of Black West Indies / Ojibwa Native American descent, lived and worked in Rome, but as a poor, racially-mixed female artist she moved in quite different social circles than Story. Her decision to sculpt the Egyptian queen as a white woman Figure 2: William Wetmore Story, Cleopatra, 1858; this carving 1869, Metropolitan Museum of Art, New York. Margaret Malamud, Martha Malamud 33 dying in agony during the last moments of her suicide shocked and fascinated critics. Both works display a very different understanding of women, the Orient, the Classical past, and the exotic Black other. We understand and contextualize these strikingly different representations of Cleopatra by looking at the comments of contemporary writers and critics. Lewis and her Death of Cleopatra inspired the twenty-first century Black poet Tyehimba Jess, with whose poetic evocation of Lewis and her work we conclude. In the middle of the nineteenth century, when most portrayals were of Cleopatra as a classical Greek beauty, William Wetmore Story boldly gave the famous queen African features. Story, an American emigré artist and “cultural influencer,” was living in Rome on the eve of the American Civil War. While there, he sculpted Cleopatra, which he began in 1858, completed in 1860, and exhibited to great acclaim at the 1862 World Exposition in London. Story was from Boston, where abolitionist sentiments were prominent, and was well aware of racial politics in the United States. Concerned by British support for the American South, he wrote a series of letters from Rome to the British Daily News in December of 1861 in which he denounced the institution of slavery, explained why he was devoted to the Union, and urged British neutrality in the Civil War. His Cleopatra was a provocative abolitionist statement. From the late eighteenth century on, free African Americans faced two pressing tasks: to refute charges that they were racially inferior to white people and to insert themselves into the historical record. ManyAfrican Americans and their supporters argued that there was a clear connection between ancient Africa (Ethiopia and Egypt) and the classical world based on their reading of classical texts and late eighteenth and early nineteenth century world histories. Educated African Americans documented the debt of Greece and Rome to Egyptian civilization, and repeatedly pointed out that Egypt was a major source of the cultural achievements of Greco-Roman an- 34 the petrification of cleopatra tiquity.It was conventional wisdom that Egyptian civilization influenced Greece. What was new and controversial was the assertion of a racial connection between ancient Egyptians and modern African Americans. Abolitionists used this constructed racial history to argue that the magnificent civilization of ancient Egypt and its influences on Greek and Roman culture were proof that African Americans were not racially inferior and therefore fully worthy to be citizens with equal rights in the American Republic.1 By the 1860s it had become a commonplace in American abolitionist circles that antiquity ’s most famous queen was... (shrink)

Metamorphoses of the Zoo marshals a unique compendium of critical interventions that envision novel modes of authentic encounter that cultivate humanity's biophilic tendencies without abusing or degrading other animals. These take the form of radical restructurings of what were formerly zoos or map out entirely new, post-zoo sites or experiences. The result is a volume that contributes to moral progress on the inter-species front and eco-psychological health for a humankind whose habitats are now mostly citified or urbanizing.