This article concerns the related ideas of "presentation" and "representation" with regard to animals and suggests that the prefix "re" indicates a directing agent with its own concerns about the nature and status of animal presence. It further suggests that the representation of animals is perhaps always an expression of human concerns, desires, and imaginings. As with other domesticated nonhuman animals, foxhounds are not present in the world to fulfill their own purposes but there to fulfill these human desires and (...) imaginings and are celebrated as the realization of a complex engagement of humans with the world of animals. The foxhound is central to English foxhunting and is given cultural meaning because of this context.The article offers a close anthropological interpretation of the production of this animal - a complex, cultural creation based on a canine form. (shrink)

Because the notions of "anthropomorphism" and "sentimentality" often are used pejoratively to dismiss research in human-animal studies, there is much to be gained from ongoing and detailed analysis of the changing "structures of feeling" that shape representations and treatments of nonhuman animals. Literary criticism contributes to this project when it pays due attention to differences in historical and cultural contexts. As an example of this approach, a reading of the humanization of cetaceans in Herman Melville's Moby-Dick - and more broadly (...) in nineteenth-century whaling discourse - demonstrates how radically human feelings for nonhuman species are affected by shifting material and ideological conditions. (shrink)