LEADER 03390nam 22005415 450 001 9911001463403321 005 20240923160924.0 010 $a3-030-03877-7 024 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 $ePosthumanist Dream Writing /$fby Susan Mary Pyke 205 $a1st ed. 2019. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2019. 215 $a1 online resource (314 pages) 225 1 $aPalgrave Studies in Animals and Literature,$x2634-6346 311 08$a3-030-03876-9 320 $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,$x2634-6346 606 $aEuropean literature 606 $aFiction 606 $aLiterature$xPhilosophy 606 $aEuropean Literature 606 $aFiction Literature 606 $aLiterary Theory 615 0$aEuropean literature. 615 0$aFiction. 615 0$aLiterature$xPhilosophy. 615 14$aEuropean Literature. 615 24$aFiction Literature. 615 24$aLiterary Theory. 676 $a809.93362 676 $a820.9362 700 $aPyke$b Susan Mary$01818471 906 $aBOOK 912 $a9911001463403321 996 $aAnimal Visions$94377648 997 $aUNINA