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Postcard 3- Sophie McGing
12018-10-18T00:19:38-07:00Sigi Jöttkandt4115726eb75e75e43252a5cbfc72a780d0304d7d309862Symbolificationplain2018-10-18T00:20:32-07:00Sigi Jöttkandt4115726eb75e75e43252a5cbfc72a780d0304d7dI am intrigued by the e-concept of “symbolification” whereby a bird is imbued with a human-imposed symbolism that detracts from the significance of the bird itself. The Bird-Atmosphere world describes this process of symbolification as “anthropocentric.” Anthropocentrism was the major theme in mine and Caitlin’s living book chapter, which focused on human intrusion into the various watery worlds and the devastating effects that result from this imposition. The Albatross, a sea dwelling bird, is the primary focus of our close reading text, The Rime of the Ancient Mariner. Within this poem, and more generally, the Albatross is typically seen as an omen of good luck for sailors as their presence indicated land was nearby, a religious symbol (Jesus was sometimes referred to as a bird), an emblem of innocence, and representative of the interaction of land and sea, inhabiting both landscapes equally throughout their lifetimes. Significantly, The Rime of the Ancient Mariner as a text itself has resulted in the further “symbolification” of the Albatross, whereby the word “albatross” has become a metaphor for a psychological burden that feels like a curse, directly correlating to the Mariner’s experiences after the senseless murder of the Albatross in Coleridge’s poem. This process of “symbolification” in undeniably anthropocentric, as humans consider non-human beings merely in relation to the human experience, and can be witnessed in literature, folklore and as a part of a broader collective human consciousness.
- Sophie McGing
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1media/1200px-White_Doves_at_the_Blue_Mosque_(5778806606).jpg2018-09-13T14:47:22-07:00Concept: Symbolification12A new way of considering animal representations in literatureimage_header2021-05-03T03:03:14-07:00 Symbolification : The process by which historical literary interpretation reduces an otherwise multifaceted ‘subject’ into an ‘object’, by way of using it only to signify something else.
Example: the symbolification of the dove: the dove is equated with peace symbolically, and thus we have ‘symbolified’ it. It has been reduced to a sort of icon that signifies something it is not, therefore objectifying the creature and detracting from its subjective existence.
This thought arose after discussing and considering the concept of ‘charismatic megafauna’, which is a term used in conservation to denote a creature with enough of a popular presence to gain a following for conservation efforts. An animal such as a lion or polar bear easily gains the public’s attention, and by association, gains funding and support. I considered the plight of many “unattractive” animals, and the struggle for conservationists to make them ‘marketable’, as it were. From this I tried to narrow my thinking towards avians, and their social reception. Birds are often viewed as things of beauty to be watched or listened to in wonder, which would explain their overwhelming presence in poetry. I wondered if poetry and the Canon’s avian literary presence didn’t do a disservice to birds, considering concerns of objectifying sentient creatures, and of course the ethical considerations of the eco-critical lens.
Arguably, representing a bird as a symbol for another thing detracts from the bird itself, and leads by its very nature to an anthropocentric interpretation of the meaning of the bird. As eco-critics then, perhaps it is our job to ‘de-symbolify’ not just the bird, but other creatures in literature. By removing the romantic notion of the bird, will we also remove our rose-tinted glasses further and look more towards the reality of the struggle our natural world faces? But no, ignoring the many diverse cultural symbols tied up in literary representations of the natural world would do a disservice to the work itself, as well as the lineage it is drawing from.
Instead, rather than suggesting that there is something inherently wrong with using animals symbolically, I would argue that it is our responsibility to be aware of the symbolic nature of many representations of non-human life, and to have the ability to look past this and consider the ‘subjectivity’ of these creatures in more depth. Instead of simply overlooking the historical interpretations, we should acknowledge them, but also offer an alternative narrative to the accepted reading of particular works. In doing so, we may encourage a deeper discourse around the rights of the animal ‘subject’, rather than simply allowing these creatures to remain symbolic ‘objects’ in our cultural imaginations.
Related reading:
Orr, Yancey. "Animal Magnetism: Perceiving Environmental Objects as Social Subjects among Balinese Looking at Roosters." Visual Anthropology 28.2 (2015): 127-36. Web.
Orton, David. "Both Subject and Object: Herding, Inalienability and Sentient Property in Prehistory." World Archaeology 42.2 (2010): 188-200. Web.
Skibins, Jeffrey, C. Powell, and Robert Hallo. "Charisma and Conservation: Charismatic Megafauna’s Influence on Safari and Zoo Tourists’ Pro-conservation Behaviors." Biodiversity and Conservation 22.4 (2013): 959-82. Web.
Small, Ernest. "The New Noah's Ark: Beautiful and Useful Species Only. Part 2. The Chosen Species." Biodiversity 13.1 (2012): 37-53. Web.
Weinfield, Henry. "A. D. Hope's 'The Death of the Bird': Between Romantic Symbol and Modernist Anti-symbol." Southerly 68.3 (2008): 161-71. Web.