The number of ways in which humans interact with animals is almost incalculable. From beloved household pets to the steak on our dinner tables, the fur in our closets to the Babar books on our shelves, taxidermy exhibits to local zoos, humans have complex, deep, and dependent relationships with the animals in our ecosystems. In Displaying Death and Animating Life, Jane C. Desmond puts those human-animal relationships under a multidisciplinary lens, focusing on the less obvious, and revealing the individualities and subjectivities of the real animals in our everyday lives. Desmond, a pioneer in the field of animal studies, builds the book on a number of case studies. She conducts research on-site at major museums, taxidermy conventions, pet cemeteries, and even at a professional conference for writers of obituaries. She goes behind the scenes at zoos, wildlife clinics, and meetings of pet cemetery professionals. We journey with her as she meets Kanzi, the bonobo artist, and a host of other animal-artists—all of whom are preparing their artwork for auction. Throughout, Desmond moves from a consideration of the visual display of unindividuated animals, to mourning for known animals, and finally to the marketing of artwork by individual animals. The first book in the new Animal Lives series, Displaying Death and Animating Life is a landmark study, bridging disciplines and reaching across divisions from the humanities and social sciences to chart new territories of investigation.
As unique as the city it describes, Annapolis, City on the Severn builds on the most recent scholarship and offers readers a fascinating portrait into the past of this great city.
Provides an account of US tourism in Waikiki from 1900 to 1999. The book juxtaposes cultural tourism with "animal tourism", suggesting that the relationship between the viewer and the viewed is ultimately based on concepts of physical difference harking back to the 19th century.
From fur coats to nude paintings, and from sports to beauty contests, the body has been central to the literal and figurative fashioning of ourselves as individuals and as a nation. In this first collection on the history of the body in Canada, an interdisciplinary group of scholars explores the multiple ways the body has served as a site of contestation in Canadian history in the nineteenth and twentieth centuries. Showcasing a variety of methodological approaches, Contesting Bodies and Nation in Canadian History includes essays on many themes that engage with the larger historical relationship between the body and nation: medicine and health, fashion and consumer culture, citizenship and work, and more. The contributors reflect on the intersections of bodies with the concept of nationhood, as well as how understandings of the body are historically contingent. The volume is capped off with a critical introductory chapter by the editors on the history of bodies and the development of the body as a category of analysis.
From Shamu the dancing whale at Sea World to Hawaiian lu'au shows, Staging Tourism analyzes issues of performance in a wide range of tourist venues. Jane C. Desmond argues that the public display of bodies—how they look, what they do, where they do it, who watches, and under what conditions—is profoundly important in structuring identity categories of race, gender, and cultural affiliation. These fantastic spectacles of corporeality form the basis of hugely profitable tourist industries, which in turn form crucial arenas of public culture where embodied notions of identity are sold, enacted, and debated. Gathering together written accounts, postcards, photographs, advertisements, films, and oral histories as well as her own interpretations of these displays, Desmond gives us a vibrant account of U.S. tourism in Waikiki from 1900 to the present. She then juxtaposes cultural tourism with "animal tourism" in the United States, which takes place at zoos, aquariums, and animal theme parks. In each case, Desmond argues, the relationship between the viewer and the viewed is ultimately based on concepts of physical difference harking back to the nineteenth century.
The day isn t far off when no college student can graduate without having given serious thought to our relations with animals, and to how to make our relations with animals less detrimental for them. Animal studies, clearly, is a burgeoning field. Jane Desmond has been a pioneer in the field for years, conducting research onsite at major museums, taxidermy conventions, pet cemeteries, a professional conference for pet obituary writers, attending primatology meetings, and many behind-the-scenes visits to zoos as well as hands-on work with veterinary medicine, in which she has recently earned a degree. In this book, we accompany the author as she meets Kanzi the bonobo, watches an elephant paint, attends a weeklong training session on how to enrich the lives of animals in confinement, and helps prepare animal-made art for auction. Desmond focuses on the ways we relate to animals that underscore and highlight real animals with real individuality, and with their own subjectivities. The book plunges us into the world of museums (taxidermy), of pet cemeteries, of animal obituaries, of mourning and not mourning (including roadkill as objects), and also of art markets in animal-generated art. She is committed to preserving and informing our sense of (once) living, breathing, sweaty, noisy, moving animals active on the page. This is the inaugural volume in our new Animal Lives series, of which Desmond is the Directing Editor. This book beautifully exemplifies the series goal of bridging disciplines and reaching across divisions among the humanities and social sciences to chart new territories of investigation.
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