The recent 'animal turn' in geography has contributed to a critical examination of the inseparable geographies of human and non-human animals, and has a clear ethical dimension. This paper is intended to explore these same ethical issues through a consideration of the historical geography of petkeeping as this relates to the death and commemoration of favourite household animals. The emergence of the pet cemetery, towards the end of the 19th century, is a significant step in itself, but this was only (...) one element in a radical reappraisal of the place of non-human animals in human sensibility and spirituality. For some bereaved pet-owners, the old question of the immortality of animal souls was retrieved and transformed, and sustained by a raft of unorthodox theological and spiritual speculation. The significance of this late Victorian and Edwardian response to non-human animals is assessed and treated as a problem of ethics, as a counterweight to the dominant anthropocentrism of past times and ours. (shrink)

The author applies a feminist analysis to animal advocacy initiatives in which gendered and racialized representations of female sexuality are paramount. Feminists have criticized animal advocates for opposing the oppression of nonhuman animals through media images that perpetuate female objectification. These critiques are considered through a close examination of two prominent campaigns by PETA (People for the Ethical Treatment of Animals). The author argues that some representations of female sexuality may align with a posthumanist feminist ethic and need not be (...) read as sexist. Examining PETA’s famous anti-fur ads and the more recent Milk Gone Wild campaign, the author identifies where PETA’s campaigns are objectionable under a feminist ethic and where they are subversive of an anthropocentric and male-dominated order alike. The article thus recuperates part of PETA’s work from feminist critiques, but also reveals the constructions posthumanist advocacy should exclude to avoid elevating the status of nonhuman animals at the expense of women. (shrink)

This essay analyses how Virginia Woolf's critically under-examined children's story about Nurse Lugton connects the becoming-artistic of writing to animal becomings. Examining the links between creativity and the other-than-human via Gilles Deleuze and Elizabeth Grosz, I claim that the ‘animation’ of the stitched animal figures on Nurse Lugton's ‘canvas’ reveals that art is the enlivenment of vibratory and affective qualities, as opposed to a monumentalising of symbols or concepts. Moreover, the curtain in Woolf's story should be read as creative materiality (...) itself, its folds participating in the self-varying dynamism of the virtual and actual. My analysis of the two published versions of the story, and their accompanying illustrations, outlines an affirmative bio-poetics at the heart of Woolf's aesthetic project and suggests that Woolf's creative sources are embedded in inhuman, biological forces. (shrink)