LEADER 03736oam 2200541 450 001 9910484276803321 005 20230817192156.0 010 $a9783030038779$b(electronic bk.) 010 $a3030038777$b(electronic bk.) 024 7 $a10.1007/978-3-030-03877-9 035 $a(CKB)4100000007810209 035 $a(MiAaPQ)EBC5732712 035 $a(DE-He213)978-3-030-03877-9 035 $a(EXLCZ)994100000007810209 100 $a20190315d2019 u| 0 101 0 $aeng 135 $aur|n#|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aAnimal visions $eposthumanist dream writing /$fSusan Mary Pyke 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d[2019] 210 4$d©2019 215 $a1 online resource (314 pages) 225 1 $aPalgrave Studies in Animals and Literature,$x2634-6338 311 08$aPrint version 9783030038762 3030038769 320 $aIncludes bibliographical references and index. 327 $a1. Introduction: Emplaced Readerly Devotions -- 2. Artful Dream Writing into the Roots -- 3. Ghosts: of Writing, at Windows, in Mirrors, on Moors -- 4. Moor Loving -- 5. Respecting and Trusting the Beast -- 6. Animal Grace. 330 $aAnimal Visions considers how literature responds to the harms of anthropocentricism, working with Emily Brontė?s Wuthering Heights (1847) and various adaptations of this canonistic novel to show how posthumanist dream writing unsettles the privileging of the human species over other species. Two feminist and post-Freudian responses, Kathy Acker?s poem ?Obsession? (1992) and Anne Carson?s ?The Glass Essay? (1997) most strongly extend Brontė?s dream writing in this direction. Building on the trope of a ludic Cathy ghost who refuses the containment of logic and reason, these and other adaptations offer the gift of a radical peri-hysteria. This emotional excess is most clearly seen in Kate Bush?s music video ?Wuthering Heights? (1978) and Peter Kosminsky?s film Wuthering Heights (1992). Such disturbances make space for a moor love that is particularly evident in Jane Urquhart?s novel Changing Heaven (1989) and, to a lesser extent Sylvia Plath?s poem, ?Wuthering Heights? (1961). Brontė?s Wuthering Heights and its most productive afterings make space for co-affective relations between humans and other animal beings. Andrea Arnold?s film Wuthering Heights (2011) and Luis Buńuel?s Abismos de Pasión (1954) also highlight the rupturing split gaze of non-acting animals in their films. In all of these works depictions of intra-active and entangled responses between animals show the potential for dynamic and generative multispecies relations, where the human is one animal amongst the kin of the world. 410 0$aPalgrave Studies in Animals and Literature,$x2634-6338 606 $aAnimals in literature 606 $aHumanism in literature 606 $aBritish literature 606 $aBritish and Irish Literature$3https://scigraph.springernature.com/ontologies/product-market-codes/833000 606 $aFiction$3https://scigraph.springernature.com/ontologies/product-market-codes/825000 606 $aLiterary Theory$3https://scigraph.springernature.com/ontologies/product-market-codes/812000 615 0$aAnimals in literature. 615 0$aHumanism in literature. 615 0$aBritish literature. 615 14$aBritish and Irish Literature. 615 24$aFiction. 615 24$aLiterary Theory. 676 $a809.93362 700 $aPyke$b Susan Mary$01229286 906 $aBOOK 912 $a9910484276803321 996 $aAnimal visions$92853393 997 $aUNINA