| Dario Martinelli |
Introduction |
353–368 |
| Otto Lehto |
Studying the cognitive states of animals: Epistemology, ethology and ethics |
369–422 |
| Gisela Kaplan |
Animals and music: Between cultural definitions and sensory evidence |
423–453 |
| Karel Kleisner, Marco Stella |
Monsters we met, monsters we made: On the parallel emergence of phenotypic similarity under domestication |
454–476 |
| Timo Maran |
John Maynard Smith’s typology of animal signals: A view from semiotics |
477–497 |
| Stephen Pain |
From biorhetorics to zoorhetorics |
498–508 |
| Regina Rottner |
Are “non-human sounds/music” lesser than human music?
A comparison from a biological and musicological perspective |
509–524 |
| William Sayers |
Animal vocalization and human polyglossia in Walter of Bibbesworth’s thirteenth-century domestic treatise in Anglo-Norman French and Middle English |
525–541 |
| Helena Telkänranta |
Conditioning or cognition? Understanding interspecific communication as a way of improving animal training (a case study with elephants in Nepal |
542–557 |
| Morten Tønnessen |
Abstraction, cruelty and other aspects of animal play
(exemplified by the playfulness of Muki and Maluca) |
558–579 |
| Kadri Tüür |
Bird sounds in nature writing: Human perspective on animal communication |
580–613 |
| Elina Vladimirova |
Sign activity of mammals as means of ecological adaptation |
614–636 |
| Carlo Brentari |
Konrad Lorenz’s epistemological criticism towards Jakob von Uexküll |
637–660 |
