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Indispensable pour répondre aux ambitions multiples qui ont accompagné sa formation, qu’elles soient savantes, économiques ou civiques, l’ordre public à la ménagerie du Muséum d’histoire naturelle de Paris est, selon l’administration et notamment Frédéric Cuvier, garde de la ménagerie, mis à mal par l’attitude des gardiens dans le premier tiers du 19e siècle. Dans une certaine mesure, l’administration semble rechercher, parallèlement à la domestication des animaux, celle de son personnel. Respect for public order is essential in order to respond to the scientific, economic or civic goals of the Ménagerie du Muséum d’Histoire naturelle de Paris. In the first third of the nineteenth century, the keepers are held responsible of some of the disorder by the administration and especially by the head of the Ménagerie, Frédéric Cuvier. The administration seems in a sense to look for, together with animal domestication, the domestication of its workers.

Tennessee Williams famously called The Glass Menagerie a ‘memory play’. This remark has been consistently overlooked or misinterpreted by critics, unleashing a tradition of approaching the play in a rather confusing fashion concerning who the characters are and how the playwright uses them. This paper engages with the character of Amanda. First of all, I will trace major transformations in the conception of characters throughout twentieth-century drama, providing background for Williams’s attempt to redefine major aspects of a playwright’s craft such as what a ‘character’ is. Secondly, I will survey a critical tradition surrounding Tom Wingfield’s mother and consider major views concerning the character. Recurrent in them, as my analysis indicates, is the failure to acknowledge her as a tool for the ‘memory work’ Tom carries out. The character is subsequently posited as a fluid entity that helps Tom (and Williams) make sense of the past and explore how their families shaped who they were. As opposed to a realistic play, where so much is given at the start, a ‘memory play’, as Williams seems to have conceived it, remains a cry for the reader to join the playwright in a common search for meaning, one that utilizes, rather than just displays, characters in order to reach standpoints that are far from fixed and immutable.

As robots increasingly become part of our everyday lives, questions arise with regards to how to approach them and how to understand them in social contexts. The Western history of human–robot relations revolves around competition and control, which restricts our ability to relate to machines in other ways. In this study, we take a relational approach to explore different manners of socializing with robots, especially those that exceed an instrumental approach. The nonhuman subjects of this study are built to explore non-purposeful behavior, in an attempt to break away from the assumptions of utility that underlie the hegemonic human–machine interactions. This breakaway is accompanied by ‘learning to be attuned’ on the side of the human subjects, which is facilitated by continuous relations at the level of everyday life. Our paper highlights this ground for the emergence of meanings and questions that could not be subsumed by frameworks of control and domination. The research-creation project Machine Ménagerie serves as a case study for these ideas, demonstrating a relational approach in which the designer and the machines co-constitute each other through sustained interactions, becoming attuned to one another through the performance of research. Machine Ménagerie attempts to produce affective and playful—if not unruly—nonhuman entities that invite interaction yet have no intention of serving human social or physical needs. We diverge from other social robotics research by creating machines that do not attempt to mimic human social behaviours.

Tiyatrobilim ve Çeviribilim alanlarının disiplinlerarası araştırmaya açık olma özellikleri sayesinde tiyatro metinleri çevirisi çift yönlü araştırma alanı yaratmaktadır. Özellikle birden fazla çevirisi olan ve farklı sahnelerde oynanan oyunların incelenmesi, metinlerin çevrildiği döneme ait çeviri poetikası, yaygın çevirmen stratejileri gibi araştırma alanlarında söylemlerin üretilmesine imkân tanımaktadır. Bu çalışmada André Lefevere’in çeviriyi yeniden yazım olarak nitelendiren kuramıyla bağlantı kurarak, erek dizgede farklı dönemlerde hem basılmış hem de sahnelenmiş iki erek metin ele alınmıştır. Amerikan tiyatrosunun önde gelen yazarlarından Tennessee Williams'ın Birinci Dünya Savaşı sonrasında yaşanan Büyük Buhran döneminde geçen, üç kişilik bir ailenin verdiği yaşam mücadelesini ve eve gelen “misafirin” varlığıyla tetiklenen büyük sonunu konu alan The Glass Menagerie metninin Türkçe edebiyat dizgesinde sırasıyla Milli Eğitim Bakanlığı Yayınları ve Mitos Boyut Yayınları tarafından yayımlanan ve Devlet Tiyatroları ile İstanbul Büyükşehir Belediyesi Şehir Tiyatroları gibi ödenekli tiyatrolar ile özel tiyatrolar tarafından sahnelenen çevirmen Can Yücel’in Sırça Kümes ile çevirmen Aytuğ İzat’ın Sırça Hayvan Koleksiyonu metinleri, Marilyn Gaddis-Rose’un uygulaması olan “üç-boyutlu okuma” yöntemidoğrultusunda karşılaştırmalı olarak okunmuştur. Bu okumada erek metinlerde gözlemlenen çevirmen kararları, tiyatro metinleri çevirisi bağlamında ele alınarak, çevirmenlerin kültürel özelliklerin, tiyatro metinlerinin özelliklerinin ve dilsel anlatım özelliklerinin aktarımındaki seçimleri çeşitli alt başlıklarda incelenerek, çevirmen kararları, yorumları ve çeviri anlayışları olarak yorumlanmıştır., Translation of theater texts creates a two-way research area, thanks to the openness of both Theater Studies and Translation Studies to interdisciplinary research. In particular, examining plays that exist in more than one translation and that have been staged in different arenas enables comparative research into areas such as translation poetics and common translator strategies during the period of the translation. In this study, two target texts, both published and staged in different periods, have been scrutinized in connection with the theories of André Lefevere, which characterize translation as rewriting. The texts in question are translations of The Glass Menagerie by Tennessee Williams, one of the leading playwrights of 20th century America. This play, set during the Great Depression in the 1930s, depicts the life struggles of a family of three, whose biggest problems are triggered by the presence of a “guest.” Translations of the play entered the Turkish literary system in the forms of Can Yücel's text Sırça Kümes and Aytuğ İzat's text Sırça Hayvan Koleksiyonu, published by the Ministry of Education and Mitos Boyut Publishing respectively. These translations have been staged by state-funded theaters, such as the State Theaters and the Istanbul Metropolitan Municipality City Theaters, as well as by private theaters. The source and target texts were read comparatively, alongside each other according to the “stereoscopic reading” method of Marilyn Gaddis-Rose. In this comparative reading, the translators’ decisions, as observed in the target texts, were analyzed in the context of the translation of theater texts. The choices made, in terms of the transfer of cultural characteristics, characteristics of theater texts, and linguistic expressions, were examined under various sub-headings and explained as translator’s decisions, versions, and interpretations.

Around the year 411/1021, blind author and controversial freethinker Abū l-ʿAlāʾ al-Maʿarrī (449/1057) wrote Risālat al-ṣāhil wa-l-shāḥij (The Epistle of the Horse and the Mule), a meandering prose work populated by animal characters who talk about Syrian society on the eve of the crusades. The story exudes a brand of fictionality, namely creative literary exaggeration designed to call forth mental pictures, that sets it apart from other animal texts due to the overwhelming ambiguity it creates. The animal characters suffer existential anxiety when, for instance, they realize that concepts like genus (jins) and species (nawʿ) turn out to be fuzzier than they thought, thereby calling into question whether any species—be it biological or linguistic—is a stable class. Animal ontology gets further confused by just-so stories about hybrids and crossbreeds, and by terms for philosophical contingency that question whether talking animals even exist—this is not just a story that did not happen, but a story that cannot happen except in the imagination. On the other hand, those same philosophical terms may yet affirm that speaking animals could exist, and that they have value in themselves, by hinting at their place in a cosmic order that radiates the goodness of its Source.

The integration of literature in English Language Teaching (ELT) has been a contentious issue although it is commonly accepted that literature caters to a whole bunch of opportunities for foreign language teaching. The aim of this study is to point to the idea that incorporating literature into ELT classes can direct foreign language classes into more innovative path as it fosters language development with both traditional and digitally-supported communicative activities designed to develop critical thinking abilities, creativity and learner autonomy. In this regard short stories, with their privileges due to their reader-friendly length, creativity in language use encompassing refined literary elements, and the wide range of subjects they deal with offer many opportunities. In this study to link the theory with real life experiences step by step, following the critical considerations about literature, language and meaning construction, text-selection and the methodology, possible applications based on the short story called The Paper Menagerie by Ken Liu are suggested. Activities encompassing all the phases of reading process are developed to help teachers to overcome potential difficulties in collaboration with their students while creating a classroom atmosphere based on negotiation. The article concludes that reflective teachers, starting to develop their own understanding of literature, language, meaning construction and reading, enable their learners to experience the authenticity and creativity of this valuable source when forming an identity as an independent reader of literature in the second language. Literature holds many opportunities to renovate language classrooms to keep up with the 21st century improvements.

Tennessee Williams, the remarkably outstanding American dramatist of the 1920s, through his plays, presents a marked concern for the identity crisis a woman faces. He projects the crisis arising out of the conflict between a woman’s own aspirations and the traditional role expectations. The Glass Menagerie (1945) depicts the life of two women- Amanda Wingfield and her daughter Laura Wingfield. Amanda is the typical Southern belle that suffered a reversal of economic and social fortune, who withdraws from reality into fantasy. Her daughter Laura, the physically and emotionally crippled heroine of the play is a self-less character who does not speak as much of others. She is extra-ordinarily sensitive and delicate; and her cripple isolates herself into her own illusory world with her own glass menagerie. This paper is an attempt to close study the women protagonists in this play and to reveal that they are a combination of a particular personality type. Williams seems to be interested in the personal and psychological aspects of his women. This paper tries to analyse the psyche of these women and prove that they seem to be more complex and complicated than portrayed in the work.

We classify $SU(2)$-cyclic and $SU(2)$-abelian 3-manifolds, for which every representation of the fundamental group into $SU(2)$ has cyclic or abelian image respectively, among geometric 3-manifolds which are not hyperbolic. As an application, we give examples of hyperbolic 3-manifolds which do not admit degree-1 maps to any Seifert fibered manifold other than $S^3$ or a lens space. We also produce infinitely many one-cusped hyperbolic manifolds with at least four $SU(2)$-cyclic Dehn fillings, one more than the number of cyclic fillings allowed by the cyclic surgery theorem., Comment: 36 pages, 4 figures. v2: accepted version; added Lemma 2.4 to streamline parts of section 2

The nascent global age at the close of the Middle Ages introduced exotic objects from distant lands into Western Europe. Exotica from the natural world – naturalia – were frequently fashioned into ecclesiastical and seigniorial artifacts and housed in treasuries. The materials were sometimes re-identified in their new contexts, such as narwhal tusks understood as unicorn horns, which bestowed upon them additional meanings associated with those allegorical mythical creatures. This work investigates the movement, alteration, and use of such re-identified naturalia in late medieval society leading up to the Age of Discovery. It focuses on naturalia that retained their distinct morphological features after working, following the hypothesis that the identity of the animal, as indexed by a recognizable form or set of physical characteristics, was important. It additionally considers symbolic connotations and occult properties deriving from allegorization of matter to study the role played by the ornamentation of naturalia. This paper explores the discourse between extant tangible objects and contemporary texts such as bestiaries, lapidaries, and alchemical compendia to examine how the iconography of the artifact’s form and the iconology of the ornamentation contributed to the overall signification of the naturalia. Bibliography Sources MAGNUS, Albertus – On Animals: A Medieval Summa Zoologica. Translated and annotated by Kenneth F. Kitchell Jr. and Irven Michael Resnick. Volume 1. Baltimore and London: The Johns Hopkins University Press, 1999. THEOPHILUS – On Divers Arts. Translated by John Hawthorne and Cyril Stanley Smith. New York: Dover Publications, 1979. Studies AINSWORTH, Thomas – “Form vs. Matter”. The Stanford Encyclopedia of Philosophy [Online]. Spring 2016. ZELTA, Edward N. (Ed.) [Accessed 7 February 2018]. 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The furniture of Andre-Charles Boulle is often inextricably linked to the court of Louis XIV and Versailles. Yet this would appear to be something of a mischaracterisation, for only a small percentage of pieces of furniture attributed to Boulle were made for Versailles (and even then, for the Grand Trianon or the Menagerie rather than the main palace). Indeed, what is surprising for objects so often characterised as the nec plus ultra of French craftsmanship is how internationally travelled they are, and how often their first non-French residence was England.

This paper examines ‘fugitive kind’ as a central theme in Tennessee Williams’ The Glass Menagerie. As suggested in most of his works by T. Williams, the two extreme worlds revealed in The Glass Menagerie are that of reality, in which people should strive hard to live through frustration and despair, and that of illusion in which people are making up imaginary worlds to try to escape from the harsh reality of life. The Wingfields, unable to face the reality, are all forced to hide themselves in their own world of illusion, where they find a shelter as fugitive kind: Tom’s retreat into the world of adventure, Laura’s retreat into the fantasy of the glass menagerie, and Amanda’s retreat into the fantasy of her Southern belle days. The characters are inevitably confronted with pain and desperation, whereupon they are frustrated. The most obvious thematic message of this play is that each of the Wingfields is fugitive kind. Based on this perspective, this paper identifies fugitive kind as a pivotal leitmotif in The Glass Menagerie.

This paper offers a typology of university management roles in the age of permanent austerity. The repackaging of every function within the university administration as a cost centre – meaning of course a potential profit centre – has long been seen as an unsustainable market model. Yet perversely it persists, and we would do well to name the hyperbolic functionaries of this administered institutional reconstruction, in a place where a humourless credentialism prevails. The paper revives the work, and temperament, of the early 20th-century sociologist Thorstein Bunde Veblen as a heuristic aid. With Veblen, the protocols of commercial imperative in the state education sector masquerade as education as a social good while the ‘university’ itself is skewered with the tragic realism of forms.

Masculinity is the labeling for men related to sex, identity, responsibility, culture, tradition, and others aspect. Masculinity is also the term of separating position for men from female. The aim of the research was to describe the masculinity values of the men characters in the drama whose name is Tom that he is depressed by his mother. The research employed a descriptive qualitative method with structuralism approach. Data sources were primary and supporting data. The primary data were taken from Tennessee William’s The Glass Menagerie, and supporting data were taken from the books, journals, articles, and internet sources. The research indicated masculinity values in this drama had shown man’s role as a son, man as an independent man, and man as a friend.

La bibliothèque centrale du Muséum national d’histoire naturelle, à Paris, et l’Österreichische National Bibliothek, à Vienne, conservent toutes deux plus de 700 vélins de plantes et d’oiseaux datant du xviie siècle qui sont étonnamment ressemblants. Les vélins parisiens, commandés par Gaston d’Orléans au peintre en miniature Nicolas Robert, puis légués à Louis XIV, sont les premiers d’une collection poursuivie jusqu’au xixe siècle ; les vélins viennois ont été copiés sur ceux de la collection royale pour Colbert par Robert et trois autres miniaturistes, avant d’être vendus en 1728 par le comte de Seignelay. Après avoir évoqué la naissance de la collection parisienne, nous nous sommes intéressées à la carrière et aux conditions de travail des peintres retenus pour exécuter les copies destinées à Colbert, sous l’autorité de ses bibliothécaires, puis à la cession de la collection colbertine au Prince Eugène de Savoie par le libraire Pierre-Jean Mariette. L’examen systématique de la collection viennoise a fait apparaître les modifications matérielles et intellectuelles apportées par Mariette à sa présentation. La comparaison des inventaires dressés de part et d’autre à l’époque a également permis de mettre en évidence les différences entre les deux collections, particulièrement les lacunes de l’une et de l’autre ; ce faisant, elle a, de manière inattendue, révélé l’ampleur des reclassements intervenus au xixe siècle sur la collection du Muséum, dont l’étude complète reste à faire. The Library of the Muséum national d’histoire naturelle in Paris and the Österreichische NationalBibliothek in Vienna both hold more than seven hundred amazingly similar 17th-century paintings on vellum of plants and birds. The Parisian paintings, commissioned by Gaston d'Orléans from the miniaturist Nicolas Robert and then bequeathed to Louis XIV, are the first in a collection that continued until the twentieth century; the Viennese pieces were copied from the royal collection for Colbert by Robert and three other miniaturists, before being sold in 1728 by the Count of Seignelay. After evoking the birth of the Parisian collection, we are interested in the career and working conditions of the painters chosen to execute the copies for Colbert, under the authority of his librarians, and then in the transfer of the Colbertine collection to Prince Eugene of Savoy by the bookseller Pierre-Jean Mariette. The systematic examination of the Viennese collection has revealed the material and intellectual modifications made by Mariette to its presentation. The comparison of the inventories drawn up on both sides at the time has also made it possible to highlight the differences between the two collections, particularly the gaps in both; in so doing, it has unexpectedly revealed the extent of the reclassifications that took place in the nineteenth century in the Museum's collection, the complete study of which has yet to be done.

The genre structure of the “ghost stories” is preserved in the key works of the so-called Southern Gothic, although these works often lack the real ghosts which were repeatedly portrayed in the early British prototypes of the genre. The basic genre technique employed in the “ghost stories” can best be described as “spectralisation”. Flannery O'Connor's “The Enduring Chill” is perhaps the focal text in the analysis of the spectralisation theme in the Southern Gothic fiction, since it evokes various procedures used in the two pivotal works of this American genre: Tennessee Williams's drama The Glass Menagerie and Faulkner's novel Absalom, Absalom! . This paper explores various subcategories of Gothic spectralisation, such as the motifs of “body loss,” romanticisation of death, and fictionalisation of experience.

This chapter looks at the earliest stages in the transnationalisation of the kangaroo and the kangaroo hunt, turning to an English narrative from 1830 in which a exported kangaroo speaks ‘in as good English as if it had been brought up in this country’ – to talk about his life at Windsor Park, Regent’s Park Zoo, and George Wombwell’s travelling menagerie. The kangaroo hunt itself was part of a global narrative to do with travel, adventure and hunting as a rite of passage for young men in particular. The paper looks at Sarah Bowdith Lee’s 1850s hunting novels, as well as Emilia Marrayat Norris’s Jack Stanley (1874; 1882); it discusses some travellers (Count Ludovic de Beauvoir, Augustus Earle, etc.) for whom kangaroo hunting is one hunt among many others on a global itinerary; and it looks at some explorer/settlers (like E.W. Landor) who understood kangaroo hunting through European tropes. Finally, the paper discusses Horace Wheelwright, a European hunter and naturalist who came to Australia in 1852. His Bush Wanderings of a Naturalist (1861) was a British bestseller. Back in London later on, he reads Anne Bowman’s The Kangaroo Hunters (1858), dismissing as inauthentic the work of another female novelist (like Lee and Norris) who had never visited Australia. Afterwards, he dreams about fighting an ‘old man’ kangaroo that assumes ‘a beautiful female form’: the kangaroo hunt here returns to haunt the metropolitan centre as a kind of transnational-erotic reverie.

In November 1828, King George IV presented to the menagerie of the Zoological Society of London a pair of Tibetan Mastiffs (Canis lupus familiaris) sent from Nepal by Brian Houghton Hodgson, the Assistant Resident at the British Residency in Kathmandu. The dogs' stay was brief: within weeks of their arrival, both dogs had succumbed to distemper, a disorder which periodically ran rampant through the Society's collections. However, during their short lives they caught the imagination of those naturalists fortunate enough to see them, and they live on in a number of watercolours commissioned by Hodgson before they started on their journey to Britain. This paper traces the brief existence of the “Thibet watch dogs” in London, paying close attention to their intended and abortive use as a gift to gain favour with the King, and places their portraits within the wider context of Hodgson's work in Nepal.

Biometric authentication systems are increasingly considered in different access control applications. Regarding that users have completely different interactions with these authentication systems, several techniques have been developed in the literature to model distinctive users categories. Doddington zoo is a biometric menagerie that defines and labels user groups with animal species to reflect their behavior with the biometric systems. This menagerie was developed for different biometric modalities including keystroke dynamics. The present study proposes a user dependent adaptive strategy based on the Doddington zoo, for the recognition of the user’s keystroke dynamics. The novelty of the proposed approach lies in applying an adaptive strategy specific to the characteristics of each user of the Doddington zoo menagerie aiming to solve the intra-class variation problems. The obtained results demonstrate competitive performances on significant keystroke dynamics datasets WEBGREYC and CMU.

The problem in this thesis is the analysis of ideal feminist and discriminated feminist from the characteristics of Amanda and Laura is based on the three waves of feminist movements. Both Amanda and Laura represents the different kinds of feminist in literaty work, Amanda is the strong woman as the representation of ideal feminist, whereas Laura is the weak woman as the representation of discriminated feminist. Then, the purpose of research is to describe Laura as the discriminated feminist, Amanda as the ideal feminist, and to explain Laura and Amanda as the ideal and discriminated feminist from The Glass Menagerie.In research methodology, the data collection is performed through library research, which the writer gains the data and information about his object trought the books and other audiovisual equipment that related and relavant to the topic in the form of words or pictures. In the data analysis, it uses genetic structuralism, it looks the external factor of the literature that conveys the internal element of literary work such the actions of the main character, such as characters and author. The findings in this thesis can be seen from the characters of Amanda and Laura represents the different kinds of feminist in literaty work, Amanda is the strong woman as the representation of ideal feminist, whereas Laura is the weak woman as the representation of discriminated feminist. Amanda, a typical southern belle, trapped by the cruel reality, seeks comfort from her glorious past and causes her isolation from her life, which is the embodiment of her alienation. Laura, a fragile and terribly shy girl with a crippled leg, withdraws completely to her own world made of glass animals and eventually isolates from the society. It is her disability and the family environment cause her isolation from the society, which is just the embodiment of her alienation.

This article presents a history of the European bison specimens preserved at the National Museum of NaturalHistory (MNHN) in Paris. The inventory made in 1945 by Jacques Millot, who first noticed the importance of these collections for the conservation of the species, constitutes a starting point of the present analysis. The oldest European bison of the MNHN collection came from the royal menagerie of Versailles. Louis Jean-Marie Daubenton was the first who has published a description of the species, four years before publication of Systema Naturae by Carl Linnaeus. Then Georges Cuvier, when working on the MNHN collections, distinguished the European bison from aurochs and compared it to the American bison. His research has contributed to the development of the notion of “extinct species”. This article presents also the history of the European bison from the Zoo of Cologne and the specimens from Petersburg, by Friedrich von Brandt, with a focus on the difficulties of obtaining specimens of the European bison in XIX century. European bison specimens from the National Museum of Natural History in Paris have played a particularly important role in the history of the species biology. They also offer an interesting perspective for genetic studies on the species.

Theodore Gericault's The Head of a Lioness resists art historical conventions of picturing lions by encouraging up‐close engagement with a wild animal who can paradoxically be construed as both sen...

It starts with a dress, or dresses. Among a menagerie of rainbow variations, certain features are standard: lace and ruffle-decked blouses under jumpers, aprons, or high-waisted belled and crinolined knee-length skirts; more skin covered than bare; headwear including bonnets, miniature hats, or massive bows over ringlets and long tresses. So many ruffles; so much lace (Fig. 1). Beginning in the late 1990s,gothic lolitas—overwhelmingly young women in their teens and twenties, and overwhelmingly girly in their outsized bows, platform Mary Jane shoes, and petticoated skirts—stood out as defiantly, bizarrely out of place and time on the Tokyo street scene, all bright white and concrete in Harajuku, a built-up postwar neighborhood of Tokyo known as a youth haven since the 1960s. More than twenty years later, although most Harajuku fashions have died out in keeping with a fad's typically short life cycle, the gothic lolitas have persisted and even multiplied, thanks in large part to the Internet, which has helped muster an army of misfit girl aristocrats not just in Japan but around the globe.

Expressionism was a movement in art and literature which presented a very subjective view of the world. The movement itself revolted against realism and naturalism, while the technique distorted reality, displayed the human emotions and tried to reveal the psycho-spiritual truth in the Modern world.The Glass Menagerie(1944) tells the story of a broken modern family with three characters- Tom, Laura and Amanda, all of whom live in their own reality. This familys encounter with another worldly character Jim, however, crashed their fragile world around them. In the modern era, when people are often fed extraordinary dreams through different channels, The Glass Menagerie tells the story of sufferings, unfulfilled desires, purposes, ambition, and fear of losing self, familial discord and exposes the reality to them. Tennessee Williams in his play uses expressionism to give his audiences a look into this undetected reality of the world. &nbsp

The inclination of Qajarid kings in establishing both urban and suburban gardens, attests to their preference both a rural as well as an urban lifestyle. Although these gardens were found all over the Iranian territory at the time, the number, the scale, and the intricate design of gardens created in the Qajarid capital Tehran, surpassed those of all the other cities. By the end of Naser al-Din Shah’s rule, there were more than 80 gardens inside the city and almost 35 gardens outside the city walls. There is evidence that suggests the royal family favored the suburban gardens, and many of the urban gardens were actually residences and not mere places of leisure for the nobility. The insistence of the royal family in keeping their suburban pleasure gardens meant that with the urban sprawl many of these gardens experienced a state of neglect, or a change of function. One such case is the Lalezar Garden. Presumed to have been an ancient garden dating back to the Safavid era, it was reused as a royal garden close to the city during the Fath-Ali Shah’s reign (1797–1834 AD). However, by the end of the nineteenth century, it had undergone a series of conversions including a royal pleasure garden, a guesthouse for foreign envoys, and even a menagerie. The remaining documents describe Lalezar as an ensemble of several consecutive gardens, all under the same name, but encompassing several pavilions (kooshks) arranged over an elongated north–south axis. The dimensions of the main axis, as well as the arrangement of the pavilions along the axis are a certain evidence for a discernment of extended vistas during this era. This chapter provides a review of diverse data available and focuses on an analysis of proportion and geometric composition of landscape elements, which is exclusive to this era and discontinued with the disappearance of these gardens.

Die Dissertation entstand im Rahmen des LOEWE-Schwerpunkts „Tier – Mensch – Gesellschaft: Ansätze einer interdisziplinären Tierforschung“, der für vier Jahre (2014–2017) durch das Hessische Ministerium für Wissenschaft und Kunst im Rahmen der Landes-Offensive zur Entwicklung Wissenschaftlich-ökonomischer Exzellenz (LOEWE) gefördert wurde.

Le présent mémoire vise à étudier les pratiques, les enjeux et les modalités du don diplomatique animalier au XIIIe siècle, notamment sous le règne de Frédéric II, Henri III et Louis IX. Pour cela, on présente les concepts et les théories, sociologiques et anthropologiques, du don, particulièrement celles de Marcel Mauss. Ainsi outillé, on appréhende les particularités des cadeaux animaliers diplomatiques au XIIIe siècle. Ensuite, à l’aide d’une recherche sur les descriptions animalières des bestiaires et des encyclopédies médiévales, on montre la puissance symbolique et les particularités physiques et comportementales de la faune offerte. Enfin, à partir de la combinaison des deux premières parties, plusieurs modalités du don sont développées, parmi lesquelles les critères de choix et les préférences fauniques des rois, le contexte et les règles de la réalisation d’un présent et la circulation des animaux offerts. En outre, on souligne combien les bêtes et les oiseaux offerts ont eu une utilité. En effet, on voit que les rois ont mis en scène leurs animaux afin de s’approprier leur symbolique et d’exacerber leur prestige et leur grandeur, lors d’évènements spécifiques ou dans leurs ménageries., The main purpose of this text is to study the practices, the issues and the modalities of the animal diplomatic gift in the 13th century, especially during the reign of Frederick II, Henry III and Louis IX. The analysis is based on the presentation of the sociological and anthropological conceptualizations of the gift, particularly those of Marcel Mauss. They are used to understand the peculiarities of the animal diplomatic gift in the 13th century. Then, a research on animal descriptions of medieval bestiaries and encyclopedias is conducted to show the symbolic power and the physical and behavioral characteristics of the offered wildlife. Finally, several modalities of the donation are developed, such as the selection criteria and the wildlife preferences of the kings, the context and rules of the elaboration of a present and the movement of given animals. In addition, it is shown how the beasts and birds had a real use for the kings. Indeed, they staged their animals in order to appropriate their symbolism and show off their prestige and their greatness, at events or in the menageries.

Commentary on Edward Lear’s work has historically concentrated upon his nonsense by discussing the history of the limerick, Lear’s influence on later writers, his play with words, and the nature of nonsense. Recognizing autobiographical moments in the nonsense, many critics have also indulged in psychoanalytical commentary. It is only within the last two decades that critics have recognized the fact that Lear’s early experience as a natural history illustrator (in the 1820s and 1830s) significantly shaped the subject, the affect, and the matter of his nonsense. Those studying Lear need better to recognize that when Lear was first composing his limericks and nonsense stories, he was in daily contact with zoologist, botanists, taxidermists, and anatomists. As a result of being in the midst of this scientific world, Lear was steeped not only in the imperialist business of collecting from the reach of empire but also in the debates that surfaced concerning the nomenclature of species, the arguments over taxonomy, the notion of hybridity, and even in the loosening of borders and rankings of animals and people. All these pre-Darwinian issues became the foundation for Lear’s nonsense. Through his nonsense drawings and verses, he often mocked imperialist efforts to collect and classify species; he poked fun at the rage to classify; he ridiculed imperialistic practices of making an object out of an animal, and displaced people’s sense of their superiority over animals. He was someone who thought deeply about the relationship between animals and people. This approach underlines the importance of Animal Studies.

In this paper, we seek to unsettle and extend understandings of what constitutes the contemporary family in Western minority world society and consider the material politics that follow from such a reconceptualization. We do this by offering a situated exploration into the caring relations and shared biographies that routinely evolve between children, other than human animals and toys within the family home. An emergent field of scholarship (Hohti and Tammi 2019, Taylor 2011, Malone 2015) reveals child&ndash, animal relations to be charged with various pedagogical and ideological assumptions, which we argue are partly exported to the relations that form between children and their toys. We undertake a close examination of the relationalities between humans and a range of toys as a means to explore the ways in which care and liveliness materialize in childhood play and what this means for our conceptualizations of &lsquo, the family&rsquo, We put to work the idea of queer worlding (Haraway 2008, Osgood and Andersen 2019) and animacy (Chen 2012) alongside Puig de la Bellacasa&rsquo, s (2017, 2011) feminist ethics of care. We then specifically focus on the materiality of robotic toys to illustrate some crucial connectivities and erasures to examine how the queer human&ndash, animal and animate&ndash, inanimate boundaries are reworked and negotiated in childhood play. These processes create a shift in understanding what matters in children&rsquo, s lives and how materiality and affective forces co-constitute the posthuman family. This paper engages critically with the ambivalences and tensions that emerge within the domestic menagerie and extend to a planetary scale in ways that are inherently political.

The political investment on animal resources compelled modern society to a general valorisation of the figure of the animal. Animal's moral issues have not been excluded from this process. Veterinary schools on one hand, and scientific societies that had the opportunity of studying animals alive at the zoological garden in Paris on the other, represent two major institutions which, faced to problems such as disease and captivity, developed a first discourse on animal well-being.

Supporting designers is one of the main motivations for design research. However, there is an ongoing debate about the ability of design research to transfer its results, which are often provided in form of design methods, into practice. This article takes the position that the transfer of design methods alone is not an appropriate indicator for assessing the impact of design research by discussing alternative pathways for impacting design practice. Impact is created by different means – first of all through the students that are trained based on the research results including design methods and tools and by the systematic way of thinking they acquired that comes along with being involved with research in this area. Despite having a considerable impact on practice, this article takes the position that the transfer of methods can be improved by moving from cultivating method menageries to facilitating the evolution of method ecosystems. It explains what is understood by a method ecosystem and discusses implications for developing future design methods and for improving existing methods. This paper takes the position that efforts on improving and maturing existing design methods should be raised to satisfy the needs of designers and to truly support them.

This study intends (a) to heighten awareness of how impoliteness scholarship may enlighten translation research and practice, and (b) to broaden the scope of research in impoliteness studies by considering stage translation data. It examines Tennessee Williams’ play The Glass Menagerie ([1944] 2018) and two of its Greek translated versions (by Nikos Spanias, 1946/1987, Γυάλινος Κόσμος [Glass World] and by Errikos Belies, 2001/2014, Ο Γυάλινος Κόσμος [The Glass World]). It attempts an intra-cultural comparison of the two translations to examine how translators rendered impoliteness in family interaction, taking into account their chronological gap. The study takes an emic perspective to the data, designs a questionnaire eliciting respondents’ evaluation of impolite options and uses Garcia-Pastor’s (2008) model of face-aggravating strategies to account for the findings. Findings show that the second translation conveys the conflict between the main characters in more concrete terms, exploiting more face-aggravating strategies in relation to the first translation. The study also shows that the respondents seem to favour more impolite renderings by considering the characters’ intimate relationships, confirming the connection between intimacy and impoliteness. The significance of the research lies in the fact that it broadens the scope of (im)politeness theory and studies to include another field that could provide data for the research of such instances of interaction, namely translation studies and in that it shows the validity of pragmatics in enlightening translation practice.