Anthropomorphism Essays and Research Papers

Instructions for Anthropomorphism College Essay Examples

Title: Anthropomorphism

  • Total Pages: 6
  • Words: 2001
  • References:0
  • Citation Style: None
  • Document Type: Essay
Essay Instructions: How are Anthropomorphic characters used by visual artists as a metaphor for the human condition?

PLEASE USE THREE ARTISTS AS EXAMPLES, take 2 specific works from each artist :
- Art Spiegelman
- John Tenniel
- Alexandre-Gabriel Decamps

Aspects of the art pieces that need to be covered:
1. Symbolism
2. Context
3. Techniques, Materials and Processes
4. Narrative Imagery

http://www.artandpopularculture.com/Zoomorphism
http://observatory.designobserver.com/entry.html?entry=7537

THESE ARE SOME NOTES FROM WRITINGS ONLINE AND OTHER SOURCES FOUND ONLINE. SOME ARE TOO MUCH DETAIL, NOT QUITE ADDRESSING THE ESSAY QUESTION BUT MORE GENERAL
Anthropomorphism is the attribution of uniquely human characteristics to non-human creatures and beings, natural and supernatural phenomena, material states and objects or abstract concepts.
Examples include animals and plants depicted as creatures with human motivation able to reason and converse and forces of nature such as winds, rain or the sun.
The term is derived from two Greek words, ???????? (anthr?pos), meaning human, and ????? (morph?), meaning shape or form. The suffix '-ism' originates from the morpheme -????? or -???? in the Greek language.
Anthropomorphising has appeared in the mythologies of many cultures, as a literary device in fables and allegories, and in many animated films.
prehistoric man used animals as much for art as sustenance. Evidence of early interest in depicting animals pictorially can clearly be found on the walls of the earliest cave dwellings. In prehistoric cave artwork, the primitive artists had no conceptual intention to substitute man and animal, but as the brain developed its powers of contemplation and imagination, animals clearly came to embody and mirror certain human traits.
From that, it was only a short leap from the artist accurately representing nature and animals found in the wild, to transferring their familiar traits onto man.
Art has long been, both a reflection and overt means of revealing the human condition. So as man becomes more conscious of the inner self, animals are used to express a range of characteristics, from the spiritual to the emotional.
It is a common and seemingly natural tendency for humans to perceive inanimate objects and animals as having human characteristics, one which some suggest provides a window into the way in which humans perceive themselves.
The art of anthropomorphism is almost as old as image making.
early Egyptian slaves who poked visual jabs at their respective masters on scraps of papyrus or pieces of stone, veiling and protecting themselves by substituting kindred animal characteristics for human ones. The master never knew he was the butt of the joke, but the slaves understood. From then on, animals bore the symbolic weight of human folly. Whether employed for satire, comedy or fantasy, animals (i.e. manimals) have long been effective metaphoric representations as criticism and commentary, because rather than target a single figure for ridicule, a particular animal carries the weight of all character types.
In religion and mythology, anthropomorphism refers to the perception of a divine being or beings in human form, or the recognition of human qualities in these beings. Many mythologies are concerned with anthropomorphic deities who express human characteristics such as jealousy, hatred, or love.
Somewhere along the sweep of history anthropomorphism was practiced for the sheer joy of giving animals human characteristics — and vice versa. Few things trigger such visceral response as animals dressed in human garb. The incongruity of a beast acting civilized rarely fails to get a laugh.
when Ed Sorel filled a New York City subway car with a menagerie of types it was because it is possible to look at everyone on the morning ride and mentally turn them into animals. No doubt on any given train, like Noah’s storied arc, there are two (or more) of every animal type.
Anthropomorphism is a well-established device in literature. Aesop's Fables, a collection of short tales written or recorded by the ancient Greek citizen Aesop, make extensive use of anthropomorphism, in which animals and weather illustrate simple moral lessons. The Indian books Panchatantra (The Five priniciples) and The Jataka tales employ anthropomorphized animals to illustrate various principles of life.
Anthropomorphism is commonly employed in books for children, such as those by Lewis Carroll, Roald Dahl, Brian Jacques, C.S. Lewis, and Beatrix Potter. Rev. W. Awdry's Railway Series depicts steam locomotives with human-like faces and personalities which leads to the popular tv series.
However, anthropomorphism is not exclusively used as a device in children's literature: Terry Pratchett is notable for having several anthropomorphic characters in his Discworld series, the best-known of which is the character Death. Piers Anthony also wrote a series regarding the seven Incarnations of Immortality, which are Death, Time, Fate, War, Nature, Evil, and Good. Neil Gaiman is notable for anthropomorphising seven aspects of the world in his series Sandman, named the Endless: Destiny, Death, Dream, Destruction, Desire, Despair, and Delirium. Perhaps most famously, George Orwell converted several key actors in the Russian Revolution into anthropomorphic animals in his satire Animal Farm. Garry Kilworth's Welkin Weasels series reverses the idea of carnivores as villains in children's literature. In Art Spiegelman's Maus, a graphic novel about The Holocaust, different races are portrayed as different animals - the Jews as mice, Germans as cats and Poles as pigs, for example.
Spiegelman’s comic Maus, which recounts how Spiegelman’s family survived the Holocaust and its lasting aftershocks. It tells the story of Spiegelman’s parents, Vladek and Anja, who move to New York after surviving Auschwitz in order to raise their second son Art after their first son, Richieu, died during the early stages of the Final Solution.2 Art grows into adulthood in the shadow of his parents’ past, tormented by experiences he did not have and unable to relate to his troubled parents. As we learn throughout the book, Art is motivated to write Maus and inspired to interview his father as a way to better understand his parents. He wants to understand his parents’ struggles and come to terms with his mother’s suicide.
Spiegelman’s Maus, as an intergenerational memoir, serves not only as a Holocaust testimonial, a biography of Spiegelman’s father, and his own
autobiography, but also as an extended essay on the pitfalls of “trying to represent the unrepresentable,” the atrocities of the Holocaust in comic book
form.3 In its simplest terms, Maus is a Holocaust memoir written in comic book form where the Jews are mice and the Germans are cats. To artistically
represent the Holocaust in any medium besides photographic evidence presents “something of an aesthetic quandary.”4 No matter how austere and reverent the tone, illustrations of the Holocaust can seem redundant or trivial against the realism of photographs. Spiegelman realizes that he is unable to compete with the real life horror recorded in newsreels and documentaries; he confronts this issue through simplistic drawings that require the reader’s constant attention.
In this way, Spiegelman is able to create a work that is “psychologically probing, dramatically gripping, and artistically ambitious.”5 He elevated the comic book to the graphic novel, a medium that is fully capable of emotion, remembrance, and healing. Maus’s great influence on later graphic novels of the Holocaust attests to the fact that the graphic novel is an appropriate, authentic, and historically correct medium to discuss the Holocaust.
Spiegelman says: “Ultimately, Maus is about is the commonality of human beings. It’s crazy to divide things down the nationalistic or racial or religious lines. And that’s the whole point, isn’t it? These metaphors, which are meant to self-destruct in my book - and I think they do self-destruct - still have a residual force that allows them to work as metaphors, and still get people worked up over them”.31

For those who do not understand or believe in Spiegelman’s metaphor, Maus loses all meaning. It is only by exposing the metaphors and the storytelling devices that the reader can begin to see the work’s remarkable traditional strategy of relating oral narrative as accurately and authentically as possible. To Spiegelman’s detractors, the most unnerving of his storytelling techniques is his decision to draw Jews as mice, Germans as cats, Poles as pigs, and other ethnicities as specific, stereotypical animal forms. Derived in part from the use of Zyklon B as rat poison, the vernacular and visual stereotypes of the Third Reich (i.e., Jews as “vermin”), and the all-American cartoon figure of Mickey Mouse, Spiegelman’s anthropomorphication may seem crass to those who do not identify with its genius.32 The choice to turn people into animals, as the Hitler quote that opens Maus I makes clear (“The Jews are undoubtedly a race, but they are not human”), toys with biological determinism by metaphorically turning “ethnic and nationalistic conflicts into natural predator/prey relationships.”33
Sir John Tenneil- mostly known for his illustrations to Aesop Fables, Alice in Wonderland and Punch. Tenniels’s illustrations in Alice in Wonderland Tenniel's have taken their place among the most famous literary illustrations ever made.
He did thousands of illustrations for Punch and others, many of them using the toll of anthropomorphism to make political statements on members of parliament or public life- depicting politicians with Vulture heads and so on. He was able to illustrate extreme commentary without stating who it was in the image and without caricaturing the subject. Several of Tenniel's political cartoons expressed strong hostility to Irish Nationalism, with Fenians and Land leagues depicted as monstrous, ape-like brutes, while "Hibernia"—the personification of Ireland—was depicted as a beautiful, helpless young girl threatened by these monsters and turning for protection to "her elder sister", the powerful armoured Britannia.

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References:

References

Anthropomorphism. Retrieved September 10, 2009, from http://www.artandpopularculture.com/Anthropomorphism

Anthropomorphism: New World Encyclopedia. Retrieved September 10, 2009, from http://www.newworldencyclopedia.org/entry/Anthropomorphism

Art for Art's Sake:Spiegelman Speaks on RAW's Past, Present and Future

http://bolhafner.com/stevesreads/ispieg2.html

Art Spiegelman's MAUS: Working-Through the Trauma of the Holocaust. Retrieved September 10, 2009, from http://www2.iath.virginia.edu/holocaust/spiegelman.html

Heller, Steven. In Praise of the Anthropomorphic. Retrieved September 10, 2009, from http://observatory.designobserver.com/entry.html?entry=7537

John Tenniel. Retrieved September 10, 2009, from http://www.absoluteastronomy.com/topics/John_Tenniel

Life of Alexandre-Gabriel Decamps. Retrieved September 10, 2009, from http://www.lib-art.com/artgallery/274-alexandre-gabriel-decamps.html

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Title: double spaced inch margins No title page a separate reference cited page sufficient space end Citations At a minimum cite news source scholarly sources Serious line resources org cited substitute scholarly sources

  • Total Pages: 5
  • Words: 1691
  • Works Cited:3
  • Citation Style: MLA
  • Document Type: Research Paper
Essay Instructions: double-spaced with one-inch margins. No title page and you need not have a separate reference cited page if there is sufficient space at the end.

Citations: At a minimum, you must cite at least one news source, and two scholarly sources, Serious on-line resources (.edu or .org) may also be cited, but these do not substitute for scholarly sources.
Use APA citation style:
http://www.apastyle.org/
.
In this paper, the species of primate or monkey and topical focus is open, but your purpose is to consider the perceived or actual relevance of the behavior of non-human primates to the ?non-scientific? community.

1) Find a news article, radio segment or video reporting on recent (preferably within the last 24 months) research in primate behavior. Please avoid sophisticated popular science sources such as National Geographic or Discover as well as blogs and sources of marginal quality.
You should be searching for coverage of primate behavior research in the well-known popular news media (for example, the Boston Globe, Time, Newsweek, CNBC, FOX News, the Daily Metro, scitechdaily.com). The item should contain enough information for you to track its original source. That is, it should reference a study, investigator or institution that you can locate and, if necessary, contact for the original source material.

2) Within the paper, in approximately 250 words, comment on the how the media covered the item.
What did they zero in on/emphasize/question/doubt? Did they employ anthropomorphism or other tactics to attract interest?
If you were not specifically interested in primatology, what might your response be to the item?


3) Locate the original research upon which this source was based. This might prove challenging. You may write about the process in a paragraph or two, if it is interesting.

4) Discuss the original research in comparison to the news item. Were there any obvious errors or omissions? Distortions? Simplifications? Or was it fairly true to the original research?

5) Using this exercise/topic, discuss the relevance of primate behavior research to the ?non-science? (?lay?) community and the challenges of communicating that relevance. For example, there may be details/arguments that are difficult to explain, or there may be preconceptions that are obstacles to understanding or caring about non-human primates.

I would like you to wirte the paper about a specific research article that I have already found.

http://languagelog.ldc.upenn.edu/nll/?p=3912

This article is a great resource for the paper it addresses key issues that should be included in the paper. The main object of the paper is to compare and contrast scholorly or scientific articles to main stream or non-scientific articles in regards to the specific research that is in the link above. It is easy to see how the main stream media may construe or jump to conclusions on certain research to get attention when the original article might say something completley different. A lot of media articles that covered this story were quick to say that baboons can read without looking at the particulars to the research. That is, the study's key claim is not that baboons can learn to read or to spell or to distinguish English words from non-words in a general sort of way, or even that they necessarily can memorize the spelling of 70-300 specific English words, but rather than the baboons in this study learned something like differences in bigram (letter-pair) frequencies, or perhaps other differences in "the frequency of letter combinations", and used this knowledge to distinguish a smallish set of English words from a larger set of non-words, where "distinguish" means forced-choice discrimination at about 75% correct, where chance would be 50%. the study itself is far more circumspect than the press coverage.

Here are some great scientific articles:
http://www.sciencedaily.com/releases/2012/04/245.htm
http://www.sciencemag.org/content/336/6078/245.abstract
http://languagelog.ldc.upenn.edu/nll/?p=3912

Here are some non-scientific articles:
http://www.foxnews.com/scitech/2012/04/12/see-dan-read-baboons-can-learn-to-spot-real-words/
http://www.abc.net.au/science/articles/2012/04/13/3476907.htm
http://articles.latimes.com/2012/apr/12/science/la-sci-word-recognition-20120413

Please let me know if you have any questions, Regards, thankful student

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Bibliography

Grainger, J. e. (2012, Apr 13). Orthographic Processing in Baboons (Papio, papio). Retrieved from Science: http://www.sciencemag.org/content/336/6078/245.full.html

Liberman, M. (2012, Apr 19). Ask a baboon. Retrieved from Language Log: http://languagelog.ldc.upenn.edu/nll/?p=3912

Press, A. (2012, Apr 12). See Dan read: Baboons can learn to spot real words. Retrieved from Fox News: http://www.foxnews.com/scitech/2012/04/12/see-dan-read-baboons-can-learn-to-spot-real-words

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Title: Sopocles oedip

  • Total Pages: 2
  • Words: 580
  • Bibliography:2
  • Citation Style: APA
  • Document Type: Essay
Essay Instructions: Please use all 2 pages. completly full please.
IV. GREECE ??" FROM MYTHOS TO LOGO

1) In The Humanistic Tradition read Chapter 4 (pp.77-86 and 100-110). Read the tragedy of
Oedipus the King or you can find it in any library..

2) Look up and/or reflect on the meaning of: tragedy, philosophy, psychology, logic, ethics,
mathematics, rhetoric, anthropomorphism, hubris, nemesis, arete, logos.


4) Another CORE critical aspect is “The Inner Self.” Above the gate of the oracle of Delphi in
ancient Greece were two mottoes, which together, express central themes of Greek thought: “Nothing too much” and “Know thyself.” In a 2-3 page essay, analyze the tragic quest of Oedipus in terms of one or both of these two themes.

Fourth Class Meeting (Oct 12):

Lecture. The Greek arche(s). Bull-dancers and “Black Athena”, alphabets and
sky-gods: the rich mix. The “inward turn

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Title: The Capture first book in the Guardians of Ga Hoole series

  • Total Pages: 2
  • Words: 737
  • Sources:1
  • Citation Style: APA
  • Document Type: Research Paper
Essay Instructions: Depicting Anthropomorphism
The Capture, first book in the Guardians of Ga'Hoole series, depicts a sophisticated society of owls that, while retaining most of their natural characteristics, display many human characteristics (anthropomorphism). In a separate paragraph for each describe at least five of the anthropomorphic characteristics of the owl characters and their society. (You must go beyond human emotions, such as love, and human characteristics, such as bravery.)

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Brotherly competition and angst: In human families there is always tension between the children, and brothers have been known to be cruel to each other before they are old enough to know better and to support each other -- and even when they grow into adults brothers can be very cruel to each other, indifferent to each other's feelings. While falling out of the nest onto the ground (only to be kidnapped by the owls of St. Aegolius) was terrible, to later realize it was your own brother owl that shoved you is a nightmare of huge consequences. The St. Aegolius owls were preaching that the "Truth" would reveal purpose. But for the protagonist in this story, "The only truth that Soren knew right now was a deep gizzard-chilling one: His brother had shoved him from the nest" (Lasky, 54). On page 60, Gylfie is trying to get Soren to "pull" himself together and stop fretting about how he misses his family. "What do you mean pull yourself together?" Soren asks. "Do you know what I just figured out about my brother?"

The ruse carried out by Soren and Gylfie: the two captured owls learned to pretend to be marching -- and practiced walking in the "dazed manner" of those that had been moon-blinked -- in order to resist being moon blinked. Yes they were found out, but in the meantime it is very human to devise a strategy to out-think your persecutors, to know in advance what their strategy will be and to conspiratorially plot your escape.

Planning an escape: it took more than just dreaming of being able to fly to prepare Soren and Gylfie for their escape. In a very anthropomorphically thought-out strategy, brought on by a terrible need to go home and the fear of vampire bats sucking their blood, the two "must feel" (and they did) the passion to fly "in their minds" and in their "gizzards" too (Lasky, 138). When 77 British servicemen who had been prisoners in WWII in Poland made their now-famous escape on March 24, 1944 ("The Great Escape"), they got out because they used their best brain-driven tactics. The servicemen had their plans so well rehearsed, they were confident they could slide through the tunnel. In "The Capture," Gylfie and Soren ("I can do it. I can do it!") believed in themselves like humans do when their backs are against the wall. "[Gylfie and Soren] knew that when they escaped, it was essential to find the highest point possible, the point closest to the sky" (Lasky, 140). "Grimble could immediately tell that both owlets were concentrating fiercely" (Lasky, 159).

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