In this thesis, I try to answer the research question “How were the samurai satirized through the usage of anthropomorphic animal imagery in visual art during the Bakumatsu period”. I aim to...Show moreIn this thesis, I try to answer the research question “How were the samurai satirized through the usage of anthropomorphic animal imagery in visual art during the Bakumatsu period”. I aim to explore the use of animals in visual art to depict samurai and the connection between the use of animals and the concept of parody. During these turbulent times from the 1840’s to the 1860’s an increase in political satire is seen in visual art, as such the usage of animal imagery to convey this satire is also seen during these years originating from the Tenpō reforms. Through the concepts of parody, historical context, and various analyses I will have enough material to formulate a conclusion. It shows that the decline of the shogunate did not result in a consistent nationwide rise in grotesque animal portrayals of the samurai. Factors such as place and the level of authoritative power also played significant roles.Show less
Manuscript MMW 10 F 50 is a fifteenth-century book of hours written in Middle Dutch with richly decorated margins. The majority of the figures in these margins are animals, beasts and half-human...Show moreManuscript MMW 10 F 50 is a fifteenth-century book of hours written in Middle Dutch with richly decorated margins. The majority of the figures in these margins are animals, beasts and half-human hybrids. What is the meaning of these figures and why were they placed next to religious texts? To which extent do the animals, beasts and half-human hybrids in the margins of MMW 10 F 50 illustrate the text? Through iconographic research and text-analysis it will become clear what the narrative is behind text and image, what text and image communicate and how they relate to each other.Show less
Cross-linguistic studies have shown that despite variations across languages, universal patterns are found within semantic domains. In sign language linguistics, cross-linguistic studies of the...Show moreCross-linguistic studies have shown that despite variations across languages, universal patterns are found within semantic domains. In sign language linguistics, cross-linguistic studies of the iconic patterns per semantic domain have received major attention in recent years. This study investigates iconicity in the semantic domain of animals in Berbey Sign Language – an emerging family sign language in Mali – and compares it to 10 other sign languages. The results of the analysis of the iconic strategies and iconic image in 10 animal signs reveal notable patterns. An overview of the universal tendencies found in the semantic domain of animals is included in the study as well.Show less
The question of whether animals should gain rights is not uncommon in contemporary society. The strategy that most scholars use to argue for animal rights is to find a specific characteristic that...Show moreThe question of whether animals should gain rights is not uncommon in contemporary society. The strategy that most scholars use to argue for animal rights is to find a specific characteristic that animals and humans both have and which serves as a basis for attributing rights. This paper, using Martha Nussbaum’s capabilities theory, takes a somewhat different road. One of the biggest concerns Nussbaum has with contractarian theories is that they are persistent in conflating the question of “Who frames the Principles of Justice?” with “Whom are the Principles of Justice framed for?”. Instead of ignoring the rights of certain groups by only focusing on species membership, Nussbaum concentrates on the capabilities every being possesses and the importance of enforcing these capabilities. Her theory has further potential than she imagined; we could use Martha Nussbaum’s capabilities approach to prove that not one, but all capabilities that a being has are important when we design a justice system. Capabilities indicate what a being needs to lead a fulfilled and dignified life. As well as enforcing them, we could also use them as a foundation on which the attribution of rights is decided.Show less
A sample of zoomorphic adornos, unearthed at the site of El Flaco (13th - 15th century CE) in the northwest of the Dominican Republic, has been ichnographically analyzed, based on the three-stage...Show moreA sample of zoomorphic adornos, unearthed at the site of El Flaco (13th - 15th century CE) in the northwest of the Dominican Republic, has been ichnographically analyzed, based on the three-stage model as developed by Panofsky (1939), to discover the cultural meaning of the animals identified on the adornos in the known creation narratives and cosmology of the Taíno peoples. This is expected to contribute to the generally unknown cultural relevance of adornos to the pre-colonial communities in the Caribbean archipelago. The iconographical analysis has revealed a close association between the adornos, and the known cosmological views and creation narratives of the Taíno peoples, as recorded by Ramón Pané. A diversity of animals have been identified on the adornos, which include bats, turtles/tortoises, frogs/toads, primates, crocodiles, lizards, rodents and birds. These animals appear to be associated with the spirits of departed ancestors, seduction/deception, fertility, shamanism and the maintenance of a balance between the three realms of the Taíno cosmos.Show less
Stylized depictions of animals with imposing horns, birds and various other animal species are often seen as characteristic for Halaf painted pottery. In fact they remain exceptional as Halaf Fine...Show moreStylized depictions of animals with imposing horns, birds and various other animal species are often seen as characteristic for Halaf painted pottery. In fact they remain exceptional as Halaf Fine Ware is generally dominated by geometric motifs. There is more about these figurative motifs than meets the eye. Apart from species identification, how can we interpret this figurative art? This study investigates the animal symbolism as painted on Halaf Fine Ware ceramic containers from Tell Sabi Abyad, located in the Balikh region of northern Syria. In order to interpret these animal motifs, the study contextualizes the motifs against the zoo-archaeological record, the depositional context, and the context of use. It appears that animals used in art were special, showing an inverse relationship with the faunal record. These animals probably represented seasonality and danger, and they may have been related to taboos and apotropaic magic. Moreover, some animals might have functioned within complex narratives, which were brought to life as the vessels upon which they were painted were discussed during Halaf commensality practices.Show less
