Mito Jaula

8/16/2019 Mito Jaula

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http://culturedecanted.com/2014/08/27/semiotics-of-the-birdcage/

http://magnet.xataka.com/en-diez-minutos/isis-ha-lanzado-una-app-para-ninos-esto-es-lo-ue-puedes-aprender-con-ella

THE SEMIOTICS OF THE BIRDCAGE

The birdcage as a symbol and metaphor has been used across many human cultures Mo!"n# $rom

%hen %e l"!ed "n hunteratherer soc"et"es unt"l ult"mately %e too' "t %"th us "nto ne% urban

en!"ronments It(s a remar'ably culturally per!as"!e symbol and "t(s easy to dra% many transculturaland h"stor"cal compar"sons

The $ocus o$ th"s "n!est"#at"on "s pr"mar"ly ho% %e use the b"rdca#e motif "n modern %estern culture

Ho%e!er) "n order to understand the *b"rdca#e( %e also need to understand the broader conte+t

o$ cages "n soc"ety Furthermore) loo'"n# at ho% %e sem"ot"cally use the b"rdca#e "n commun"cat"on,

$rom a psycholo#"cal perspect"!e to e+plore the cage as a conta"ner&metaphor that $orms ho% %e

th"n'

For anyone that read my last post on our lo!e-hate relat"onsh"ps %"th c"t"es) they m"#ht see a

cont"nuat"on o$ th"n'"n# here I %as "nterested "n *rats "n a ma.e( across the last t%o posts I(!e made

as an analo#y that people use to e+pla"n modern l"!"n# The end po"nt o$ my last post the ne%

Dan"sh /oo) /ootop"a %as a conclud"n# obser!at"on 0"n some %ays "t "s a re!ersal o$ the trad"t"onal

.oo model 1h"le th"s has central"sed !"e%"n# s"m"lar to 2eremy Bentham(s 3anopt"con 3r"son) "t

doesn(t e!o'e the *al%ays obser!ed( nature that that des"#n "ntended or the lac' o$ natural

en!"ronment that many contemporary .oos ha!e Th"s "s a cage-less des"#n $or the an"mals

4althou#h %e %al' "nto a ca#e to see them5

http://culturedecanted.com/2014/08/27/semiotics-of-the-birdcage/http://cartome.org/panopticon1.htmhttp://cartome.org/panopticon1.htmhttp://www.projetogap.org.br/en/noticia/cages-21st-century/http://cartome.org/panopticon1.htmhttp://www.projetogap.org.br/en/noticia/cages-21st-century/http://culturedecanted.com/2014/08/27/semiotics-of-the-birdcage/


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DO 1E THI67 1E(RE CAGED8

I$ you do any type o$ 9ual"tat"!e pro:ect"!e %or' %"th people that l"!e "n c"t"es) you #et s"m"lar

analo#"es and metaphors pepper"n# the"r lan#ua#e) "n ho% they tal' about l"!"n# "n c"t"es or mo!"n#

throu#h them Th"s "s not to su##est that e!eryth"n# they th"n' about c"ty l"$e "s ne#at"!e) but that the

compound"n# e$$ects o$ stru##l"n# to ma"nta"n "nd"!"dual"ty and a sense o$ "ndependence amon#st

so many people results "n some cons"stenc"es "n urban e+per"ences Be"n# one o$ the masses)

%"th"n the condensed nature o$ c"ty&l"!"n# results "n d"rect compar"sons to th"n#s %e cage "n order toe+press ho% they $eel about the"r l"!es; *I $eel l"'e a rat "n a ma.e() *%e(re stac'ed l"'e battery hens

"n my apartment bloc'( or *c"t"es are #ett"n# cro%ded) %e(re l"'e sard"nes "n a can(

“A shopping cart flipped upside down forms a cage that I use to protect myself from consumerism.”


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Jarod Kintz

I$ brands re$lect bac' our dreams) asp"rat"ons and $ears) perhaps a 9u"c' loo' at t%o campa"#ns $or

lead"n# brands m"#ht be "n$ormat"!e here They both re!ol!e around the "dea o$ $reedom, $"rstly)

there "s the "con"c Harley Da!"dson campa"#n *


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I(ll e+plore some other ad!ert"sements $urther "n) but "t "s surpr"s"n#ly easy to $"nd e+amples o$ the

*ca#e( as an ad!ert"s"n# metaphor, re$lect"n# that not be"n# *ca#ed( "s both resonant and mot"!at"n#

The use o$ the b"rdca#e "s not l"m"ted to ad!ert"s"n# E# "t(s "nterest"n# to re$lect on a

recent"nstallat"on art p"ece "n Sydney) Austral"a) %here b"rdca#es %ere hun# as part o$ a street&

scape art pro:ect 1h"le the #oal %as to *source "nno!at"!e and e+c"t"n# "deas to temporar"ly

trans$orm our C"ty lane%ays %"th en#a#"n# art%or's and "nsp"r"n# "deas() th"s :u+tapos"t"on appears

to be e!o'"n# the e+act oppos"te 0 ca#ed l"$e and an absence o$ $reedom or naturalness "n the c"ty

http://www.indesignlive.com/articles/in-review/sydney-laneways-seek-curatorshttp://www.indesignlive.com/articles/in-review/sydney-laneways-seek-curators


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READI6G FOR1ARD


6/46

This discussion has two parts:

>


7/46

alternati%e" critical interpretation &uic#ly emerged" counterposing the image of disciplinization by

modern institutions to that of liberation.

The ca#e as a metaphor"c symbol spea's to the d"sc"pl"n"sat"on o$ $reedom My obser!at"on o$ the

ca#e metaphor "s by no means or"#"nal In >) Ma+ 1eber) the soc"olo#"st) co"ned the term *"ron

ca#e( to re$er to the "ncreased rat"onal"sat"on "nherent "n the de!elopment o$ 1estern cap"tal"sm

soc"et"es;

'(uritanism has played a part in creating the 'iron cage) in which modern man has to e*ist + an

increasingly bureaucratic order from which the 'spontaneous en,oyment of life) is ruthlessly

e*punged. '!he (uritan)" $eber concludes" 'wanted to wor# in a calling we are forced to do so)

Geor#e R"t.er bel"e!es that modern soc"ety has ta'en th"s a step $urther) d"scuss"n# 1eber(s *"ron

ca#e( he bel"e!es;

A society characterized by rationality is one which emphasizes efficiency" predictability" calculability"

substitution of nonhuman for human technology" and control o%er uncertainty. !he model of

rationalization" at least in contemporary America" is no longer the bureaucracy" but might be better

thought of as the fast-food restaurant. As a result" our concern here is with what might be termed

the “/conaldization of 0ociety.”

1h"lst there are bene$"ts to the *pred"ctab"l"ty( and *spec"al"sat"on( o$ %hat "s a!a"lable to a soc"ety)

th"s un"$orm"ty also rubs a#a"nst d"scourses o$ $reedom and sel$&e+press"on Rat"onal"ty leads to

e$$"c"ency as a #oal) and that "n "tsel$ becomes an "ncreas"n#ly pressured #oal that %e ha!e to l"!e

up to In the process o$ rat"onal"sat"on %e $eel dehuman"sed 0 %h"ch "s %hat ca#es do

psycholo#"cally

1HE6 1E THI67 THROGH CAGES)THE *CAGE( IS A CO6TAI6ER&META3HOR

So) "$ %e accept that human"ty m"#ht $eel *ca#ed( "n %ays by the success o$ our modern"ty pro:ect)

th"s ra"ses psycholo#"cal cons"derat"ons It(s "nterest"n# $rom a sem"ot"c perspect"!e to understand

ho% and %hy %e use cage symbol"sm) more spec"$"cally) the birdcage Ta'"n# a step bac') all ca#es

can be de$"ned as conta"ner&metaphors The role o$ metaphor"c thou#ht "s de$"ned by


8/46

6ot all metaphors are e9ual) some st"c' "n our m"nds %"th a more *natural $"t(;

7ot all metaphors" howe%er" are created e&ual. 0ome metaphors are not so easily modified or

manipulated to ser%e rhetorical purposes. $ithin the broad uni%erse of metaphors" some seem

more natural than others8almost as if they are not being “chosen” at all.

A container-metaphor evokes a sense of a ‘vessel’ – this is one of these pervasive and sticky

metaphors. 1e use th"s type o$ metaphor on a re#ular bas"s across a %"de ran#e o$ th"n'"n#) e#

1hen %e tal' o$ ar#uments) "t "s "n terms o$ conta"nment; @our ar#ument doesn(t ha!e much

content) or @our ar#ument "s empty) or That ar#ument has holes "n "t) or That ar#ument %on(t

hold %ater) etc I$ ar#uments can be e"ther hot&or&cold) /oltn 7!ecses has been able to "dent"$y

that *En#l"sh) 2apanese) Ch"nese) Hun#ar"an) 1olo$) /ulu) 3ol"sh) and others) possess the

metaphor an angry person is a pressurized container to !ar"ous de#rees( So) the %ay %e ma'e

sense o$ the %orld) %"th some conte+tual cultural d"$$erences) "s the same "rrespect"!e o$ the

lan#ua#e used Th"s "s not :ust ho% %e perce"!e ne#at"!e emot"ons, more pos"t"!e emot"ons such as

happ"ness or lo!e are also e!o'ed throu#h the conta"ner&metaphors across both eastern and

%estern cultures Cross culturally there appears to be a common usa#e by d"$$erent cultures o$

the body as a conta"ner $or our emot"ons 1e can tal' about soc"et"es as be"n# conta"ned) e# %hen

%e th"n' o$ a happy soc"ety) they are "n harmony and tran9u"l, %hen they are not they are at bo"l"n#

po"nt Th"s su##ests that some o$ the potency o$ the ca#e as a conta"ner&metaphor "s that "t

connotes a !ery emot"onal and !"sceral response "n our th"n'"n#

1hen %e loo' more spec"$"cally at ca#es) as a spec"$"c !ar"at"on o$ conta"ner&metaphor) there are

many d"$$erent types G"!en that "n th"s "n!est"#at"on I(m pr"mar"ly "nterested "n the b"rdca#e) I(ll only

br"e$ly d"scuss some %ays that ca#es are used "n d"$$erent conte+ts

Cages have oth restrictive and protective functions in how they are used. The moredom"nantmean"n# "s restr"ct"!e; *A structure o$ bars or %"res "n %h"ch b"rds or other an"mals "s con$"ned(

Ca#es restr"ct $reedom "n the %ay that they l"m"t mo!ement Ho%e!er) ca#es are d"$$erent $rom other

types o$ "mpr"sonment "n that they allo% both the "mpr"soned and 'eeper to see each other The

"mpr"soned "s permanently a%are o$ %hat "s on the other s"de 0 the allure o$ $reedom

3aul Duro) "n d"scuss"n# the rhetor"c o$ frames as a mean"n# construct "n our th"n'"n# ma'es the

po"nt that *$rames( create the"r mean"n#) as much "n %hat they conta"n but also "n %hat they 'eep

out The protecti%e cage "s someth"n# that 'eeps the dan#er on the outs"de o$ the ca#e 3erhaps

the most sensat"onal !ers"on o$ th"s "s the shar' ca#e, to someth"n# more access"ble such as an

electr"c l"#ht bulb ca#e) or e!en the human heart %"th"n a r"b&ca#e All o$ these "llustrate that ca#es

can be de$"ned by %hat they 'eep out) as %ell as %hat they restr"ct %"th"n

http://publish.uwo.ca/~epercy/files/Percy%20et%20al_2011_StickyMetaphors.pdfhttp://www.unc.edu/~plmiller/writing/What_Metaphors_Really_Mean_short.pdfhttp://www.unc.edu/~plmiller/writing/What_Metaphors_Really_Mean_short.pdfhttp://www.acta.sapientia.ro/acta-philo/C2-2/philo22-1.pdfhttp://books.google.com.au/books?id=8Htv_BxCmssC&pg=PA67&lpg=PA67&dq=container+metaphor&source=bl&ots=pJaz52sXH_&sig=bBKwIPgZoxNgRa3q78g-EMx4hSQ&hl=en&sa=X&ei=MHj0U--CBNWVuATwmoG4DQ&ved=0CE0Q6AEwDTgK#v=onepage&q=container%20metaphor&f=falsehttp://books.google.com.au/books?id=8Htv_BxCmssC&pg=PA67&lpg=PA67&dq=container+metaphor&source=bl&ots=pJaz52sXH_&sig=bBKwIPgZoxNgRa3q78g-EMx4hSQ&hl=en&sa=X&ei=MHj0U--CBNWVuATwmoG4DQ&ved=0CE0Q6AEwDTgK#v=onepage&q=container%20metaphor&f=falsehttp://yeniweb.mersin.edu.tr/edergi/index.php/ded/article/viewFile/21/21http://www.cityofsydney.nsw.gov.au/community/community-support/multicultural-communities/living-in-harmony-festivalhttp://www.cityofsydney.nsw.gov.au/community/community-support/multicultural-communities/living-in-harmony-festivalhttp://www.cityofsydney.nsw.gov.au/community/community-support/multicultural-communities/living-in-harmony-festivalhttp://usa.chinadaily.com.cn/opinion/2011-08/11/content_13091011.htmhttp://usa.chinadaily.com.cn/opinion/2011-08/11/content_13091011.htmhttp://www.oxforddictionaries.com/definition/english/cagehttp://www.oxforddictionaries.com/definition/english/cagehttp://www.oxforddictionaries.com/definition/english/cagehttp://www.cambridge.org/asia/catalogue/catalogue.asp?isbn=9780521461481http://www.cambridge.org/asia/catalogue/catalogue.asp?isbn=9780521461481http://publish.uwo.ca/~epercy/files/Percy%20et%20al_2011_StickyMetaphors.pdfhttp://www.unc.edu/~plmiller/writing/What_Metaphors_Really_Mean_short.pdfhttp://www.acta.sapientia.ro/acta-philo/C2-2/philo22-1.pdfhttp://books.google.com.au/books?id=8Htv_BxCmssC&pg=PA67&lpg=PA67&dq=container+metaphor&source=bl&ots=pJaz52sXH_&sig=bBKwIPgZoxNgRa3q78g-EMx4hSQ&hl=en&sa=X&ei=MHj0U--CBNWVuATwmoG4DQ&ved=0CE0Q6AEwDTgK#v=onepage&q=container%20metaphor&f=falsehttp://books.google.com.au/books?id=8Htv_BxCmssC&pg=PA67&lpg=PA67&dq=container+metaphor&source=bl&ots=pJaz52sXH_&sig=bBKwIPgZoxNgRa3q78g-EMx4hSQ&hl=en&sa=X&ei=MHj0U--CBNWVuATwmoG4DQ&ved=0CE0Q6AEwDTgK#v=onepage&q=container%20metaphor&f=falsehttp://yeniweb.mersin.edu.tr/edergi/index.php/ded/article/viewFile/21/21http://www.cityofsydney.nsw.gov.au/community/community-support/multicultural-communities/living-in-harmony-festivalhttp://usa.chinadaily.com.cn/opinion/2011-08/11/content_13091011.htmhttp://usa.chinadaily.com.cn/opinion/2011-08/11/content_13091011.htmhttp://www.oxforddictionaries.com/definition/english/cagehttp://www.oxforddictionaries.com/definition/english/cagehttp://www.cambridge.org/asia/catalogue/catalogue.asp?isbn=9780521461481


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“Insanity is relati%e. It depends on who has who loc#ed in what cage.”

9ay :radbury

1hen %e tal' o$ pol"t"cal boundar"es) the ca#e "s a $re9uent metaphor Graeme Morton) et al

e+plores the concept o$ Scotland be"n# a gilded cage "n "ts de!elopment, the ca#e has been l"n'ed

to d"scuss"ons on Br"t"sh "mm"#rat"on, "t has been used by Rash"d 7hal"d" as a metaphor $or h"s story

o$ the 3alest"n"an people, or "n Austral"a $or the cred"b"l"ty o$ pol"t"cal prom"ses There are many

more e+amples $rom pol"t"cal narrat"!es) the cons"derat"on here "s that %e can see both the

protect"!e and restr"ct"!e aspects o$ the ca#e symbol"sm throu#h these e+amples "n ho% %e tal'

about soc"ety and pol"t"cs Ho% %e tal' about our soc"et"escollectively can e contained within

the cage metaphor.

MAI6 T@3ES OF CAGES 1E FI6DTODA@

Cages still connote animals as a primary thought. There are many active causes that argue

for the more humane treatment of domestic! commercial and .oo an"mals Global att"tudes

to%ards ca#ed an"mals are not the same, there has been an "ncreas"n# trend to perce"!e ca#es as

ne#at"!es "n the 1estern %orld

http://www.euppublishing.com/doi/abs/10.3366/shr.2013.0167http://www.euppublishing.com/doi/abs/10.3366/shr.2013.0167http://das.sagepub.com/content/17/5/563.short?rss=1&ssource=mfrhttp://das.sagepub.com/content/17/5/563.short?rss=1&ssource=mfrhttp://www.amazon.com/The-Iron-Cage-Palestinian-Statehood/dp/B003GAN1PChttp://www.smh.com.au/federal-politics/federal-election-2013/abbotts-cage-of-commitments-20130906-2tai3.htmlhttp://www.smh.com.au/federal-politics/federal-election-2013/abbotts-cage-of-commitments-20130906-2tai3.htmlhttp://www.smh.com.au/federal-politics/federal-election-2013/abbotts-cage-of-commitments-20130906-2tai3.htmlhttp://www.euppublishing.com/doi/abs/10.3366/shr.2013.0167http://das.sagepub.com/content/17/5/563.short?rss=1&ssource=mfrhttp://www.amazon.com/The-Iron-Cage-Palestinian-Statehood/dp/B003GAN1PChttp://www.smh.com.au/federal-politics/federal-election-2013/abbotts-cage-of-commitments-20130906-2tai3.html


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1hen %e th"n' o$ ca#ed an"mals) "t %as the Roman Emp"re that set the standard $or ca#ed $"#ht"n#&

matches as enterta"nment The colosseums %ere spectacles o$ cruelty that "n!ol!ed ca#ed an"mals

and men


11/46

Th"s trad"t"on o$ ca#e&$"#ht"n# sur!"!es today "n a more relat"!ely pantom"m"c $orm "npro$ess"onal

%restl"n#;

';ages are one of the oldest form of enclosures used in professional wrestling. According to some

historians" the first ;age /atch of any #ind too# place on June


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There "s st"ll a trad"t"on "n :ud"c"al systems o$ re$err"n# to a de$endant(s ca#e M Cher"$

Bass"oun" has su##ested that the reason $or these or"#"nated $rom the m"ddle&a#es) *The or"#"nal

rat"onale $or do"n# "t %as the $ear that cr"m"nal de$endants %ould attac' or "nt"m"date %"tnesses or

:ud#es( Or $rom another perspect"!e) a %ay o$ say"n# guilty till pro%en innocent

3erhaps the cruelest use o$ the *ca#e( %as "n a pract"ce 'no%n as @ibbeting ) %here the o$$ender

%as hun# "n an "ron ca#e to d"e and be testament) throu#h e+ample) to the rule o$ la% Th"s %as

$amously part o$ the comed"c "ntroduct"on to Capta"n 2ac' Sparro% "n 3"rates o$ the Car"bbean

One o$ the most $amous pol"t"cal use o$ th"s pun"shment %as "n MKnster) Germany) %here the

#"bbets st"ll han# "n the centre o$ the c"ty today

http://www.npr.org/2011/08/05/138993974/behind-bars-a-brief-history-of-the-defendant-s-cagehttp://www.npr.org/2011/08/05/138993974/behind-bars-a-brief-history-of-the-defendant-s-cagehttp://www.npr.org/2011/08/05/138993974/behind-bars-a-brief-history-of-the-defendant-s-cagehttp://pirates.disney.com/http://pirates.disney.com/http://pirates.disney.com/http://www.npr.org/2011/08/05/138993974/behind-bars-a-brief-history-of-the-defendant-s-cagehttp://www.npr.org/2011/08/05/138993974/behind-bars-a-brief-history-of-the-defendant-s-cagehttp://pirates.disney.com/


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As part of the reformation responses across #urope! the giets were the mortal

punishment of the Anabapt"sts >" /Bnster had become a (rotestant city" and now found itself under attac#

by the ;atholic :ishop" who was also its established temporal ruler. In the course of the conflict" the

radical Anabaptists gained e%er more support in Cebruary 3=>D" they won the ma,ority on the city

council and declared /Bnster to be the “7ew Jerusalem”.

!he siege around the city became e%er tighter" and no outside support materialized" so that finally"

through treachery and after se%eral failed attempts" the :ishop was able to reta#e the city on =.

The three "ron ca#es suspended $rom the to%er o$ St ?;

http://www.muenster.de/stadt/tourismus/presse/html/anabaptist-city.htmlhttp://www.muenster.de/stadt/tourismus/presse/html/anabaptist-city.htmlhttp://www.wumingfoundation.com/italiano/downloads.shtmlhttp://www.wumingfoundation.com/italiano/downloads.shtmlhttp://www.thetimes.co.uk/tto/archive/article2304779.ecehttp://www.muenster.de/stadt/tourismus/presse/html/anabaptist-city.htmlhttp://www.wumingfoundation.com/italiano/downloads.shtmlhttp://www.thetimes.co.uk/tto/archive/article2304779.ece


14/46

35>< 8 August >" $illiam Jobling" for the murder of 7icholas Cairless. !he body was gibbeted on

Jarrow 0la#e on August E" and at night on the >3st it was stolen and secretly disposed of by some

persons un#nown.

Today "ncarcerat"on o$ l"!"n# people "s b"# bus"ness almost "ndustr"al"sed "n some nat"ons The S

has more than ?? m"ll"on people beh"nd bars and th"s "s "ncreas"n# At the end o$ ?>?) *There are

)LPL pr"sons "n operat"on "n the S) more than $our t"mes the number o$ second&place Russ"a at

>)?(

Earl"er th"s year a 6e% @or' art"st turned h"s roo$top stud"o apartment "nto a :a"l cell) o$$er"n#

*"nmates( an "ncarcerat"on e+per"ence $or J> a n"#ht As an accommodat"on o$$er) "t "s some%here

bet%een penal&tour"sm and a un"9ue A"rbnb e+per"ence

The art"st accounts that;

'/ost of August is already boo#ed and 0eptember seems to be filling up fast. !he artist says his

latest piece" which is meant to double as a psychological e*perience" represents how he felt when

he arri%ed to the 'states as an immigrant because in his mind" e%eryone is li%ing in a cage).

http://www.salon.com/2012/10/15/us_has_more_prisoners_prisons_than_any_other_country/http://www.familybailbonds.com/blog/2014/07/1-per-night-jail-is-advertising-for-prisoners/#sthash.2TQaqyzX.dpufhttp://www.familybailbonds.com/blog/2014/07/1-per-night-jail-is-advertising-for-prisoners/#sthash.2TQaqyzX.dpufhttp://www.salon.com/2012/10/15/us_has_more_prisoners_prisons_than_any_other_country/http://www.familybailbonds.com/blog/2014/07/1-per-night-jail-is-advertising-for-prisoners/#sthash.2TQaqyzX.dpuf


15/46

A SHORT HISTOR@ OF THE

BIRDCAGE

'@od lo%ed the birds and in%ented trees. /an lo%ed birds and in%ented cages)

Jac&ues e%al

It appears that %e ha!e al%ays had a $asc"nat"on %"th b"rdca#es or perhaps) b"rds&"n&ca#es One o$

the earl"est b"rd *ca#es( %as bu"lt the 3a9u"me Ind"ans) Casas Grandes R"!er ) o$ the 3re&Columb"an

3uebloan commun"ty that around &>AD %ho %ere breed"n# scarlet Maca%s) %"th a

ded"cated house to th"s $unct"on The early Gree's) Romans) By.ant"um all ha!e e+amples o$ b"rds&"n&ca#es "n l"terature and on pottery

'$e ha%e started to confine in prison the animals to which nature had allotted the s#y)

(liny

$y the time of the Roman Republ"c there was an increasing trend towards status displays

of collection amongst the aristocracy The role o$ ca#ed&b"rds and status "s someth"n# that

cont"nues "n b"rdca#e symbol"sm to today Freder"c' 2ones bel"e!es that ca#ed b"rds "n houses %as

someth"n# that %as un"9uely Roman;

from the late 9epublic on" there is 9oman e%idence for the caged-bird as a feature of domestic

interior ornament in both prose and %erse" in a di%ersity of genres" and there is also a limited

amount of e%idence from 9oman art. !his phenomenon is something new and distincti%ely 9oman"

as was the toga" the genre of %erse satire

Mo!"n# "nto the >th Century) %e can $"nd b"rd ca#es "n $anc"$ul scenes) "n MS Bodley P

http://whc.unesco.org/en/list/560http://www.thamesandhudson.com/Pompeii_and_the_Roman_Villa/9780500514368http://bestiary.ca/manuscripts/manu1085.htmhttp://whc.unesco.org/en/list/560http://www.thamesandhudson.com/Pompeii_and_the_Roman_Villa/9780500514368http://bestiary.ca/manuscripts/manu1085.htm


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R"chard Randall bel"e!es that *The "nterest "n stran#e and colour$ul b"rds and an"mals "n med"e!al

%estern Europe %as an e+press"on o$ the $asc"nat"on %"th the unusual) %"th monsters) %"th the

%e"rd and e+ot"c( At th"s t"me) they "ncreas"n#ly are ment"oned as part o$ the costs and accounts o$

castle "n!entor"es throu#h Europe

B"rdca#es cont"nued to be a status symbol throu#h the >P th and >th Centur"es "n both the 1est and

East

http://bit.ly/XLSMTWhttp://bit.ly/XLSMTWhttp://bit.ly/XLSMTW


17/46

One %ay o$ th"n'"n# about the"r presence "s that they d"d spea' to the %orldl"ness o$ the"r o%ners

Althou#h as accepted status&symbols) the"r presence m"#ht ha!e been mot"!at"on enou#h) l"'e

many cultural trends Most pa"nt"n#s o$ the t"me sho% them as ob:ects o$ prom"nence and note

%"th"n compos"t"ons In a %orld %"thout rad"o) "t m"#ht ha!e been a %ay o$ creat"n# a d"$$erent

amb"ence "n a house It(s also l"'ely that there %ere more pract"cal reasons to ha!e b"rds "n ca#es)

outs"de o$ aesthet"c cons"derat"ons They %ere also a portable larder *B"rd ca#es %ere ha%'ed by

peddlers alon# the streets) as %ere the b"rds themsel!es) and coo's 'ept b"rds $atten"n# "n them

outs"de the"r larders(

B"rdca#es are a #lobal art $orm, "t "s easy to "dent"$y many d"$$erent trad"t"ons o$ early b"rdca#es;

There are many s"tes ded"cated to the more modern $orms o$ b"rd ca#es on the "nternet, so many

that "t(s not necessary to labour th"s d"scuss"on %"th e+amples o$ the"r per!as"!eness across

cultures here Althou#h) %e can ma'e t%o m"scellaneous obser!at"ons on the"r role;

> F"rstly) that many %estern cultures ha!e lar#ely stopped 'eep"n# b"rds "n ca#es $or $ood on

a personal le!el, %h"le th"s "s st"ll a trad"t"on "n the East Th"s m"#ht "mpact on ho% 1estern cultures

perce"!e the b"rdca#e as a status "tem more than a pract"cal one

? Second) that the"r use as a *canary "n a ca#e( $unct"on"n# as a m"ne alert $or to+"c #asses

stopped "n >

Th"s "s not to su##est that %e no lon#er ca#e b"rds The n"ted 6at"ons est"mates that there are

more than ?> B"ll"on ch"c'ens on the planet today) %"th the !ast ma:or"ty o$ those be"n# "n ca#es

The allure o$ e+ot"c b"rds "s part o$ a b"ll"on dollar "lle#al bus"ness today

http://bit.ly/XLSMTWhttp://www.chinadaily.com.cn/photo/2010-06/04/content_9937405.htmhttp://www.chinadaily.com.cn/photo/2010-06/04/content_9937405.htmhttp://news.bbc.co.uk/onthisday/hi/dates/stories/december/30/newsid_2547000/2547587.stmhttp://faostat.fao.org/site/573/DesktopDefault.aspx?PageID=573#ancorhttp://bit.ly/XLSMTWhttp://www.chinadaily.com.cn/photo/2010-06/04/content_9937405.htmhttp://news.bbc.co.uk/onthisday/hi/dates/stories/december/30/newsid_2547000/2547587.stmhttp://faostat.fao.org/site/573/DesktopDefault.aspx?PageID=573#ancor


18/46

“!he illegal wildlife trade is now the fourth most lucrati%e transnational crime after drugs" arms and

human traffic#ing. It is estimated to be worth between 3F and


19/46

“of all wild animals" the bird has always been closest to human#ind because so much of its life

can be readily obser%ed and appreciated. Clight and song ma#e birds e*ceptionally noticeable in

e%ery sort of en%ironmentthe %ery attributes that ma#e them familiar to us" flight and song still

retain an air of mystery that sets birds apart from other animals. H!his familiarity and transcendence

Hhas gi%en birds a wider range of meaning and symbol in literature than any other animal.”

3erhaps "t "s th"s "dent"$"cat"on %"th them that has led to more arch"tectural $orms o$ ca#es 0

su##est"n# they are l"'e people Althou#h) th"s also re$lects a pro:ect"on o$ our o%n urban l"!"n# 0

that our houses are ca#es) as d"scussed abo!e

A central cons"derat"on) "s that th"s close human connect"on does appear to be dr"!en more by the

sounds they ma'e than the appearance o$ b"rds alone In Southeast As"a) %e can see cultural

$est"!als that celebrate th"s nature o$ son#

http://www.telegraph.co.uk/news/picturegalleries/picturesoftheday/10718377/Pictures-of-the-day-24-March-2014.html?frame=2861024http://www.telegraph.co.uk/news/picturegalleries/picturesoftheday/10718377/Pictures-of-the-day-24-March-2014.html?frame=2861024


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It(s not :ust son#) as a soc"al&an"mal) %e ha!e a part"cular $asc"nat"on %"th the only an"mal that can*tal'( l"'e us

1h"ch has been a common theme o$ humour "n popular culture


21/46

At the other end o$ *h"#h( culture) Mo.art had a spec"al relat"onsh"p %"th an "nsp"rat"onal pet starl"n#

On ?Pth May) >P he purchased h"s starl"n# and three years later bur"ed "t %"th much pomp and

ceremony


22/46

Mo.art(s starl"n# %as a European Starl"n# Th"s %as a b"rd that Sha'espeare re!ered $or the"r !o"ce

and son#, as a result ? %ere "ntroduced "n the >(s to support theatre product"ons "n 6@C

Escap"n# the"r ca#es) the"r populat"on "n the SA e+ceeds ? m"ll"on today

The human &ualities of the ird can also e seen in how we descrie collectives of different

species of irds. Those that are more reno%n %"th human l"'e !o"ces or th"n'"n# ha!e more

human l"'e and emot"onal descr"pt"ons; a parl"ament o$ o%ls) a party o$ :ays) a p"ty"n# o$ turtledo!es)

a brood o$ hens) a company o$ parrots) a colony o$ pen#u"ns) a charm o$ $"nches) an e+altat"on o$lar's) a con#re#at"on o$ plo!ers etc

THE SEMIOTICS OF THE BIRD CAGETODA@

To summar"se th"s d"scuss"on) cages resonate %"th us because they spea' to the ma"n d"scourses

o$ modern l"$e; freedom and discipline 1e use conta"ner&metaphors across a %"de ran#e o$

th"n'"n#) many o$ these emot"onal Ca#es e!o'e a sense o$ e"ther restr"ct"n# our $reedom or o$

protect"on B"rdca#es ha!e many poss"ble connotat"ons but %e can ma'e some obser!at"ons;

> There "s a her"ta#e o$ b"rdca#es be"n# associated with social status displays –

part"cularly around the "dea o$ collect"n# amon#st the soc"al el"te

http://www.indiana.edu/~aviary/Research/Mozart's%20Starling.pdfhttp://animals.nationalgeographic.com.au/animals/birding/european-starling/http://www.indiana.edu/~aviary/Research/Mozart's%20Starling.pdfhttp://animals.nationalgeographic.com.au/animals/birding/european-starling/


23/46

? B"rdca#es are symolic of a loss of freedom for the ird ut also a frame of

appreciation of their natural wonder.

They conta"n b"rds that are symbol"c "n the"r o%n r"#ht and humanity has a long tradition

of pro'ecting meaning onto our feathered friends.

1hen %e start to loo' at the use o$ the b"rdca#e "n modern %estern culture there are some !eryd"st"nct themes Most o$ these re!ol!e around the adorat"on o$ the pretty-bird as an ob:ect o$ status

There "s also a stron# assoc"at"on o$ the $emale #ender %"th b"rds So) $rom a $em"n"st perspect"!e)

b"rdca#es are symbols o$ oppress"on

“Animals often become e*plicit or implicit %ehicles for commentary on the issues" because of the

ease in which they are metaphorically associated with certain human groups" especially those that

seemed to share their subordinate" dependent status”

Louise 9obbins

1OME6 I6 BIRD CAGES

http://www.cpt.org/files/US%20-%20Bird%20Cage%20of%20Sexism.pdfhttp://www.cpt.org/files/US%20-%20Bird%20Cage%20of%20Sexism.pdfhttp://books.google.com.au/books/about/Elephant_Slaves_and_Pampered_Parrots.html?id=9tAW0J97M4gC&redir_esc=yhttp://www.cpt.org/files/US%20-%20Bird%20Cage%20of%20Sexism.pdfhttp://books.google.com.au/books/about/Elephant_Slaves_and_Pampered_Parrots.html?id=9tAW0J97M4gC&redir_esc=y


24/46

There are many brands that replace the *pretty b"rd( %"th a model "n the ca#e as an ob:ect o$ des"re

They employ the ca#e as a $rame to the"r pro:ected status and des"rab"l"ty, and at the same t"me

symbol"cally e!o'e the #lamour and attract"!eness o$ the b"rd

Clearly) the b"rd as a metaphor $or $em"n"n"ty "s !ery present here The slan# $or %omen "n many

%estern cultures "s *ch"c'(s( or *b"rds( 1h"le th"s can be used pos"t"!ely by %omen as "n the *D"+"e

Ch"c's() "t can also be dero#atory by men as d"sm"ss"!e) *ch"c' $l"c's( or *ch"c' l"t( O!erly mother"n#

%omen are re$erred to as *mother hens( It "s "d"omat"c to use an"mals as analo#"es) *%omen eat l"'e

sparro%s) men eat l"'e p"#s( In French) the slan# $or prost"tute "sgrue %h"ch means the b"rd Crane 0

both ha!"n# one le# up %a"t"n#

In $act) the term %e use $or alcohol"c dr"n's %here youn# men and %omen court "s called acoc#tail

There are many poss"ble or"#"ns o$ th"s %ord) %"th or"#"ns bel"e!ed to be "n Br"ta"n and the SA)

$rom be"n# the coc'ed ta"l o$ a horse) to the *coc' ta"l"n#s( o$ the stop coc# o$ a cas' Another

e+planat"on "s that the Coc'ta"l or"#"nat"n# $rom a Coc'erel chas"n# ta"l That %e th"n' o$ %omen as

b"rds can be seen "n $ash"on 0 espec"ally h"#h&end $ash"on 0 s"nce b"rdca#es are status symbols $or

the %ealthy $rom Roman t"mes I$ %e loo' at the h"story o$ $ash"on) %e can see that %omen(s $ash"on

has loo'ed more ornithomorphic amon#st more el"te soc"al #roups on both s"des o$ the Atlant"c Th"s

m"#ht ha!e contr"buted to the or"#"ns o$ th"s soc"al

http://www.telegraph.co.uk/luxury/travel/1256/the-surprising-history-of-the-cocktail.htmlhttp://www.telegraph.co.uk/luxury/travel/1256/the-surprising-history-of-the-cocktail.html


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There "s) o$ course) a subte+t here that early $ash"on "n!ol!ed l"terally caging %omen

These*cr"nol"ne( dresses %ere ca#es that appear "n the >(s) %"th up to pett"coats o!er them

They apparently "llustrated people o$ a part"cular soc"al mob"l"ty

Today much o$ the ornithomorphic $ash"on trends centre on *fascinator ( head p"eces as h"#hly

styl"sed headdress e!o'"n# the pluma#e o$ b"rds Th"s can be obser!ed ethno#raph"cally atthe


26/46

O$ course) the "rony here "s that "n nature) "t "s the male that #ets all dressed up and %or's hard $or

the $emale(s attent"on, and "t "s the $emale that "s e"ther *drab( or natural depend"n# on your

perspect"!e


27/46

BIRDS AS 3RE@

There are numerous *comed"c( rout"nes about *th"#hs( and *breasts() throu#h these poultry

assoc"at"ons) that $rame %omen as ob:ects $or male consumpt"on


28/46

Or more ne#at"!ely throu#h "ma#es that e!o'e the ca#e dancers 0 %omen as commod"ty


29/46

Th"s theme o$ the ensla!ement o$ %omen "n ca#es has a lon# h"story) the ta%dry mo!"es $rom the

(s and P(s %ere e+amples o$ th"s


30/46

1e also $"nd th"s th"n'"n# "n ma"nstream ad!ert"s"n# The men(s $ash"on brand *n"!ers"ty Ro%

Manhattan( had a ran#e o$ ad!ert"sements "n the (s that su##ested that success$ul men had

captured %omen 0 these are so stereotyp"cal chau!"n"st"c and se+"st they almost appear appears to

be sat"re today


31/46

The origins of this type of thinking might have come from the e(otic promise of pleasure

palaces for the princes in the mysterious east. 1here the Harems %ere called the *Golden

Ca#e( $"lled %"th attract"!e *b"rds( The or"#"ns o$ the "dea o$ *the #olden ca#e( $"lled %"th beaut"$ul and

e+ot"c %omen at the bec' and call o$ men come $rom con$used understand"n#s o$ the Ottoman

Harems It(s also poss"ble to cons"der the Ge"sha trad"t"ons %"th"n th"s sphere 0 althou#h they are

not necessar"ly se*ually sub:u#ated as the %omen o$ Ottoman harems That d"$$erent cultures ha!e

all de!eloped s"m"lar concept"ons o$ %omen-b"rds "n ca#es spea's to a shared underly"n# conta"ner&

metaphor at %or'

http://musfem.wordpress.com/2012/04/25/the-politics-of-reproduction-in-the-golden-cages/http://musfem.wordpress.com/2012/04/25/the-politics-of-reproduction-in-the-golden-cages/http://musfem.wordpress.com/2012/04/25/the-politics-of-reproduction-in-the-golden-cages/http://musfem.wordpress.com/2012/04/25/the-politics-of-reproduction-in-the-golden-cages/http://musfem.wordpress.com/2012/04/25/the-politics-of-reproduction-in-the-golden-cages/


32/46

$ird Cages are also used to evoke the singer the chanteuse! which historically performed for

men.


33/46

Alternat"!ely) the b"rd ca#e has been used to su##est a t"me o$ l"berat"on and #ro%th 4althou#h st"ll

"n relat"on to men5


34/46

Ho%e!er) the ca#e does st"ll e!o'e a sense o$ con$"nement %"th no %ay out) as "s "llustrated "n th"s

po%er$ul ant"&prost"tut"on campa"#n that alludes to the #"bbet ca#e


35/46

FASHIO6 A6D THE BIRDCAGE

It(s "nterest"n# that the $ash"on %orld turns an "nd"$$erent eye to much o$ the ne#at"!e b"rdca#e

"ma#ery Clearly) there "s st"ll an allure and ma#"c to e!o'"n# the *pretty b"rd( The rare) e+ot"c and

beaut"$ul creature that "s on d"splay 0 the eternal 9uest to be des"rable Th"s must be resonat"n# %"th

the consumers o$ these $ash"on trends as %ell In $act) "n $ash"on "t(s easy to $"nd *ca#e( "ma#ery

across many plat$orms


36/46

Althou#h there "s d"$$erent"at"on and a%areness o$ symbol"sm here The messa#e o$ both


37/46

CHA6E< AS CASE STD@

O$ all the lu+ury brands) Chanel has made the most $re9uent use o$ the b"rdca#e metaphor and

symbol"sm 4they ha!e many other modes o$ ad!ert"sement5 One o$ the"r most $amous campa"#ns

%as %"th the youn# Qanessa 3arad"s) perhaps not "ron"cally dep"cted as a parad"se b"rd, %here the

actress and s"n#er "s l"terally * l)esprit de ;hanel ( The cumulat"!e e$$ect o$ the ad "s to e!o'e

connotat"ons o$ #lamour ) French culture and style that many compet"n# lu+ury brands try to

assoc"ate %"th the"r products Here) the *b"rd( as a s"ren o$ attent"on) %here %"th a dab you can be

trans$ormed to seduce others %"th your style and se+ual appeal

http://jes.sagepub.com/content/29/3/269.citationhttp://jes.sagepub.com/content/29/3/269.citation


38/46

http;--youtube-sGtm:/@u:

http://youtu.be/sGtmjZ9Yuj0http://youtu.be/sGtmjZ9Yuj0


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Th"s symbol"sm has been used "n ho% they ha!e e!ol!ed the"r brand "cono#raphy They ha!e

produced :e%ellery that spea's to both the pos"t"!e and ne#at"!e $acets o$ b"rdca#e symbol"sm;

l"berat"on and be"n# ca#ed Althou#h) a more char"tably "nterpretat"on "s that "nstead o$ be"n# ca#ed)

"s that they are the $ocused ob:ect o$ des"re

Some o$ the more recent ads appear to be challen#"n# the more ne#at"!e s"de o$ the ob:ect"$"cat"on

o$ %omen "n ca#es Here the %oman cannot see that she "s already an ob:ect o$ beauty and "s $ree

o$ the ca#e Althou#h) the $rame she "s "n st"ll su##ests lu+ury and a #olden ca#e


40/46

Another campa"#n that appears more ne#at"!e and e!o'es the "dea that th"s art"cle started %"th) "s

that our apartments are the ca#es %e see' to escape $rom) espec"ally $rom the her"ta#e o$ the"r useo$ the b"rdca#e A#a"n the *$rame( o$ the ad!ert"sement "s that the model "s one o$ lu+ury and %ealth


41/46

C


42/46

1e can loo' at some o$ the ad!ert"s"n# that "s used here to populate th"s sem"ot"c s9uare


43/46

1hat %e $"nd "s that all $our art"culat"ons o$ mean"n# are present "n modern d"scourse There are

some cons"derat"ons here S"nce %e th"n' "n conta"ner&metaphors) %e th"n' o$ our modern l"!es "n

terms o$ be"n# throu#h the t%o modern d"scourses; $reedom and d"sc"pl"ne The tens"on po"nt be"n#

ho% *trapped( %e $eel "n the modern c"t"es %e en#a#e %"th

1hen the b"rdca#e "s treated as a symbol that e!o'es the !erb o$ be"n# ca#ed 4or ne#at"on o$5 %e

$"nd that "t spea's to modern l"$e The pos"t"!e "s not to sho% the ca#e but be"n# outs"de o$ the ca#e

1hen the b"rdca#e "s an "ndependent symbol) "t has a ma"n connotat"on o$ be"n# a $rame $orsometh"n# beaut"$ul) rare) #lamourous) styl"sh) popular) colour$ul and enterta"n"n# Ho%e!er) these

are character"st"cs that are !ery $em"n"ne "n nature 1e there$ore tend to see t%o ma"n e+press"ons

o$ th"s;

> The b"rdca#e as a $rame $or $ocus"n# attent"on on the %oman as des"rable and #lamorous


44/46

? The b"rdca#e as a $rame that ob:ect"$"es %oman and l"m"ts the"r e9ual"ty

The 9uest"on "s) %"th the $ash"on "ndustry so cons"stently us"n# th"s symbol) ho% "s "t $ram"n# ho%

%e perce"!e %omen "n soc"ety8

3erhaps the $ash"on "ndustry are success$ully per$orm"n# a !ers"on o$ the Thaumatrope tr"c'

de!eloped by 2ohn Ayrton "n >?L, "t(s an "llus"on that the b"rd "s "n the ca#e and I(m loo'"n# at the

%ron# s"de o$ the "ssue

“I am no bird no net ensnares me1 I am a free human being with an independent will”

;harlotte :ronte" Jane yre

http://courses.ncssm.edu/gallery/collections/toys/html/exhibit06.htmhttp://courses.ncssm.edu/gallery/collections/toys/html/exhibit06.htmhttp://courses.ncssm.edu/gallery/collections/toys/html/exhibit06.htm


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