"By the late nineteenth century, Hagenbeck had emerged as the world's undisputed leader in the capture and transport of exotic animals. His business included procuring and exhibiting indigenous peoples in highly profitable spectacles throughout Europe and training exotic animals - humanely, Hagenbeck advertised - for circuses around the world.

There are complex & often surprising connections between our imagining of animals & our cultural environment. Topics discussed in this collection include fox hunting, pet cloning, animatronic characters & how we displace our fear of aging onto our dogs.

Gorgeous Beasts takes a fresh look at the place of animals in history and art. Refusing the traditional subordination of animals to humans, the essays gathered here examine a rich variety of ways animals contribute to culture: as living things, as scientific specimens, as food, weapons, tropes, and occasions for thought and creativity. History and culture set the terms for this inquiry. As history changes, so do the ways animals participate in culture. Gorgeous Beasts offers a series of discontinuous but probing studies of the forms their participation takes. This collection presents the work of a wide range of scholars, critics, and thinkers from diverse disciplines: philosophy, literature, history, geography, economics, art history, cultural studies, and the visual arts. By approaching animals from such different perspectives, these essays broaden the scope of animal studies to include specialists and nonspecialists alike, inviting readers from all backgrounds to consider the place of animals in history and art. Combining provocative critical insights with arresting visual imagery, Gorgeous Beasts advances a challenging new appreciation of animals as co-inhabitants and co-creators of culture. Aside from the editors, the contributors are Dean Bavington, Ron Broglio, Mark Dion, Erica Fudge, Cecilia Novero, Harriet Ritvo, Nigel Rothfels, Sajay Samuel, and Pierre Serna.

An elucidating collection of ten original essays, Making Animal Meaning reconceptualizes methods for researching animal histories and rethinks the contingency of the human-animal relationship. The vibrant and diverse field of animal studies is detailed in these interdisciplinary discussions, which include voices from a broad range of scholars and have an extensive chronological and geographical reach. These exciting discourses capture the most compelling theoretical underpinnings of animal significance while exploring meaning-making through the study of specific spaces, species, and human-animal relations. A deeply thoughtful collection — vital to understanding central questions of agency, kinship, and animal consumption — these essays tackle the history and philosophy of constructing animal meaning.

In Images of Savages, the distinguished psychologist Gustav Jahoda advances the provocative thesis that racism and the perpetual alienation of a racialized 'other' are a central leagacy of the Western tradition. Finding the roots of these demonizations deep in the myth and traditions of classical antiquity, he examines how the monstrous humanoid creatures of ancient myth and the fabulous "wild men" of the medieval European woods shaped early modern explorers' interpretations of the New World they encountered. Drawing on a global scale the schematic of the Western imagination of its "others," Jahoda locates the persistent identification of the racialized other with cannibalism, sexual abandon and animal drives. Turning to Europe's scientific tradition, Jahoda traces this imagery through the work of 18th century scientists on the relationship between humans and apes, the new racist biology of the 19th century studies of "savagery" as an arrested evolutionary state, and the assignment, especially of blacks, to a status intermediate between humans and animals, or that of children in need of paternal protection from Western masters. Finding in these traditional tropes a central influence upon the most current psychological theory, Jahoda presents a startling historical continuity of racial figuration that persists right up to the present day. Far from suggesting a program for the eradication of racial stereotypes, this remarkable effort nevertheless isolates the most significant barriers to equality buried deep within the Western tradition, and proposes a potentially redemptive self-awareness that will contribute to the gradual dismantling of racial injustice and alienation. Gustav Jahoda demonstrates how deeply rooted Western perceptions going back more than a thousand years are still feeding racial prejudice today. This highly original socio-historical contextualisation will be invaluable to scholars of psychology, sociology and anthropology, and to all those interested in the sources of racial prejudice.

In Civilized Creatures, Jennifer Mason challenges some of our most enduring ideas about how encounters with nonhuman nature shaped American literature and culture. Mason argues that in the second half of the nineteenth century the most powerful influence on Americans' understanding of their affinities with animals was not increasing separation from the pastoral and the wilderness; instead, it was the population's feelings about the ostensibly civilized animals they encountered in their daily lives. Americans of diverse backgrounds, Mason shows, found it attractive as well as politic to imagine themselves as most closely connected to those creatures who shared humans' aptitude for civilized life. And to the minds of many in this period, national prosperity depended less on periodic exposure to untamed, wild nature than it did on the proper care and keeping of such animals within suburban and urban environments. Combining literary analysis with cultural histories of equestrianism, petkeeping, and the animal welfare movement, Civilized Creatures offers new readings of works by Susan Warner, Nathaniel Hawthorne, Harriet Beecher Stowe, and Charles W. Chesnutt. In each case, Mason demonstrates that understanding contemporary relationships between humans and animals is essential for understanding the debates about gender, race, and cultural power enacted in these texts.

Why have elephants—and our preconceptions about them—been central to so much of human thought? From prehistoric cave drawings in Europe and ancient rock art in Africa and India to burning pyres of confiscated tusks, our thoughts about elephants tell a story of human history. In Elephant Trails, Nigel Rothfels argues that, over millennia, we have made elephants into both monsters and miracles as ways to understand them but also as ways to understand ourselves. Drawing on a broad range of sources, including municipal documents, zoo records, museum collections, and encounters with people who have lived with elephants, Rothfels seeks out the origins of our contemporary ideas about an animal that has been central to so much of human thought. He explains how notions that have been associated with elephants for centuries—that they are exceptionally wise, deeply emotional, and have a special understanding of death; that they never forget, are beloved of the gods, and suffer unusually in captivity; and even that they are afraid of mice—all tell part of the story of these amazing beings. Exploring the history of a skull in a museum, a photograph of an elephant walking through the American South in the early twentieth century, the debate about the quality of life of a famous elephant in a zoo, and the accounts of elephant hunters, Rothfels demonstrates that elephants are not what we think they are—and they never have been. Elephant Trails is a compelling portrait of what the author terms "our elephant."