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This paper analyzes the entangled relationship between feline divinanimality and extraterrestrial ontology, which has spawned a New Religious Movement (NRM) called Lyran Starseeds, centered upon a human–feline interspecies coevolution and exogenesis. Alongside offering a detailed exposition of this new intergalactic creature exotheology, I will also analyze the many ways it has been inspired by historical feline veneration and contemporary science fiction film and literature. I shall argue that both offer Lyran Starseeds an epistemological framework to situate and legitimize their intergalactic feline ontology.

Is the tick a machine or a machine operator? Is it a mere object or a subject? With these questions, the pioneering biophilosopher Jakob von Uexküll embarks on a remarkable exploration of the unique social and physical environments that individual animal species, as well as individuals within species, build and inhabit. This concept of the umwelt has become enormously important within posthumanist philosophy, influencing such figures as Heidegger, Merleau-Ponty, Deleuze and Guattari, and, most recently, Giorgio Agamben, who has called Uexküll \"a high point of modern antihumanism.\" A key document in the genealogy of posthumanist thought, A Foray into the Worlds of Animals and Humans advances Uexküll's revolutionary belief that nonhuman perceptions must be accounted for in any biology worth its name; it also contains his arguments against natural selection as an adequate explanation for the present orientation of a species' morphology and behavior. A Theory of Meaning extends his thinking on the umwelt , while also identifying an overarching and perceptible unity in nature. Those coming to Uexküll's work for the first time will find that his concept of the umwelt holds out new possibilities for the terms of animality, life, and the whole framework of biopolitics itself.

This article takes as its motivation an event in which a plant-based version of the space alien, the Extra-Terrestrial ('E.T.'), from the science fiction film bearing its name, was barbecued and served as a meal to participants at a conference. The soy dish produced different reactions: some laughed, while others seemed appalled. These different sentiments provide the basis for a broad green cultural criminology analysis of the traditions of meat-eating, tracing its role in human history and in the barbecue. The purpose of this is to explore why humans treat different categories of animals so differently. To understand the reactions the meal produced, the article addresses two contrasting aspects of the human-non-human animal relationship-'carnism' and 'pet-keeping'-and contemplates these in relation to the reactions to eating E.T. The goal is to expand on the study of the human -animal relationship, particularly speciesism-understood as ideology and practice that legitimise and produce animal abuse through the analytical concept 'categorical discriminatory speciesism'.

Victorian Dogs, Victorian Men: Affect and Animals in Nineteenth-Century Literature and Culture by Keridiana W. Chez is the first monograph located at the intersection of animal and affect studies to examine how gender is produced via the regulation of interspecies relationships. Looking specifically at the development of the human-dog relationship, Chez argues that the bourgeoisie fostered connections with canine companions in order to mediate and regulate gender dynamics in the family. As Chez shows, the aim of these new practices was not to use animals as surrogates to fill emotional vacancies but rather to incorporate them as \"emotional prostheses.\" Chez traces the evolution of the human-dog relationship as it developed parallel to an increasingly imperialist national discourse. The dog began as the affective mediator of the family, then addressed the emotional needs of its individual members, and finally evolved into both \"man's best friend\" and worst enemy. By the last decades of the nineteenth century, the porous human-animal boundary served to produce the \"humane\" man: a liberal subject enabled to engage in aggressive imperial projects. Reading the work of Charles Dickens, George Eliot, Margaret Marshall Saunders, Bram Stoker, and Jack London, Victorian Dogs, Victorian Men charts the mobilization of affect through transatlantic narratives, demonstrating the deep interconnections between animals, affect, and gender.

Two cubs, a wolf and a lion, are rescued by a young woman, Alma, who hides them to ensure they are not separated.

Kazuo Ishiguro’s 2005 science fiction novel Never Let Me Go and Mark Romanek’s 2010 film adaptation depict an alternate past in which human longevity is achieved by harvesting organs from clones. The clones seem ostensibly human and yet are considered nonhuman “creatures.” The book and film use differing strategies to align the nonhuman clones with nonhuman animals, a connection that is often ambivalent and contradictory. This article argues that through narrational and audio-visual address respectively, the reader and viewer are encouraged to bear witness from a liminal, creaturely position.

Victorians were obsessed with animals and used them pervasively in fiction and press as proxies for human races. This article attempts to analyse the animal display as a political commentary in the visual images of Punch or The London Charivari Magazine in the aftermath of the 1857 Mutiny and the growing geopolitical tensions worldwide. In exhibiting and displaying such animals as the lion, the tiger, the crocodile and the bear while dealing with colonial issues, the popular British cartoons acted as complex rhetorical structures that helped to powerfully influence mass opinion and consequently harnessed the public support for the Empire. Non-human animals were not just used for rhetorical purposes: beasts provided their very bodies to fund and fuel imperial projects, carried administrators and armies across and into remote spaces, and instilled fear and fascination in colonized and colonizers alike. While the scholarship recounting this relationship is not new, recent studies built on pioneering environmental and cultural histories (re)introduced many of the salient topics related to the showcasing of animals and imperialism such as conquest, disease, breeding, scientific categorization, animal welfare, vivisection, zoos, hunting, and conservation.

The South African writer John Maxwell Coetzee is well-known for references to animals in his fiction, also given the fact that he and one of his well-known characters, Elizabeth Costello, raise awareness of the cruelty enacted on animals. Many studies have been conducted on Coetzee’s animals, but less attention has been placed on the settings and landscapes in which the animals are situated. Hence, this study aims at understanding the role of the landscapes surrounding the animals via an ecocritical approach. The paper focuses on Coetzee’s fiction featuring Elizabeth Costello, namely, The Lives of Animals (1999), Elizabeth Costello: Eight Lessons (2003), Slow Man (2005), and Moral Tales (2017) by identifying the animals and by discussing the related settings and landscapes. The research concludes that, despite the presence of several animals, there are almost no references to animals in pristine habitats, that most of the animals are in anthropized settings, and that animals’ and humans’ suffering are hidden in a shared landscape. This understanding is discussed as an ecological message about the interlinkages between the human and nonhuman worlds and between animals’ and humans’ wellbeing, also referring to the animal/human interconnectedness within the COVID-19 pandemic.