Placing Animals

As Julie Urbanik vividly illustrates, non-human animals are central to our daily human lives. We eat them, wear them, live with them, work them, experiment on them, try to save them, spoil them, abuse them, fight them, hunt them, buy and sell them, love them, and hate them. Placing Animals is the first book to bring together the historical development of the field of animal geography with a comprehensive survey of how geographers study animals today. Urbanik provides readers with a thorough understanding of the relationship between animal geography and the larger animal studies project, an appreciation of the many geographies of human-animal interactions around the world, and insight into how animal geography is both challenging and contributing to the major fields of human and nature-society geography. Through the theme of the role of place in shaping where and why human-animal interactions occur, the chapters in turn explore the history of animal geography and our distinctive relationships in the home, on farms, in the context of labor, in the wider culture, and in the wild.

As Julie Urbanik vividly illustrates, non-human animals are central to our daily human lives. We eat them, wear them, live with them, work them, experiment on them, try to save them, spoil them, abuse them, fight them, hunt them, buy and sell them, love them, and hate them. Placing Animals is the first book to bring together the historical development of the field of animal geography with a comprehensive survey of how geographers study animals today. Urbanik provides readers with a thorough understanding of the relationship between animal geography and the larger animal studies project, an appreciation of the many geographies of human-animal interactions around the world, and insight into how animal geography is both challenging and contributing to the major fields of human and nature-society geography. Through the theme of the role of place in shaping where and why human-animal interactions occur, the chapters in turn explore the history of animal geography and our distinctive relationships in the home, on farms, in the context of labor, in the wider culture, and in the wild.

This book presents a new perspective on the social milieu of the Early and Middle Neolithic in Central Europe as viewed through relations between humans and animals, food acquisition and consumption, as well as refuse disposal practices. Based on animal bone assemblages from a wide range of sites from a period of over 2,000 years originating in both the North European Plain lowlands and the loess uplands, the evidence explored in the book represents the Linear Band Pottery Culture (LBK), the Lengyel Culture, and the Funnel Beaker Culture (TRB) allowing us to follow the dynamic development of early farmers from their emergence in the area north of the Carpathians up to their consolidation and stabilization in this new territory.

"How do people who love animals translate that devotion into helping creatures who are not our pets? How do we express our care for animals when that means different things to omnivores and vegetarians-or, say, to hunters and non-hunters? Barbara J. King, a widely read expert on animal cognition and emotion, here guides readers through the difficult choices and deep rewards of turning empathy into action on behalf of animals. King discusses our relationship to animals in five different contexts: our homes, the wild, zoos, our food system, and research facilities such as biomedical laboratories. She offers a host of ways in which each of us can be better, and do better, for animals. Acting to improve animals' lives can, she shows, immeasurably enrich our own. True, there is also heartache and the risk of burnout from endlessness of animal rescue the dilemmas that attend it. But King's focus is on the joys. She describes the "happiness lift" that she herself has experienced joining with other activists on behalf of animals destined for slaughter or confined in sub-standard zoos-and in rescuing dozens of cats, some of whom we meet in this book. This is a book for anyone who cares for animals and wishes to do more for them, whether it's learning to live peaceably with spiders in the home or join with others to rescue our more dramatically endangered animal friends"--

Showing how to depict some of nature's most dazzling creatures, this book's careful demonstrations simplify the process of painting and drawing wildlife. Instruction is geared to working with pencil, oil, and watercolor, utilizing the particular properties of each medium to portray hair, fur, and feathers, and more. 150 color and 50 b&w illustrations.

A collection of stunning images from some of the world's leading photographers of animals in the human environment. HIDDEN: Animals in the Anthropocene is an unflinching book of photography about our conflict with non-human animals around the globe. Through the lenses of thirty award-winning photojournalists, HIDDEN shines a light on the invisible animals in our lives: those with whom we have a close relationship and yet fail to see. The animals we eat and wear; the animals we use for research, work, and for entertainment; the animals we sacrifice in the name of tradition and religion. HIDDEN is a historical document, a memorial, and an indictment of what is and should never again be. Showcased by award-winning designer David Griffin, HIDDEN represents the work of thirty photojournalists who have documented--and continue to document--animal stories. Their exhaustive and in-depth work has resulted in some of the most compelling and historic images of animals ever seen. Among them are (in alphabetical order): Aaron Gekoski, Aitor Garmendia, Amy Jones, Andrew Skowron, Britta Jaschinski, Daniel Beltrá, Djurattsalliansen, Francesco Pistilli, Jan van Ijken, Joan de la Malla, Jo-Anne McArthur, Jose Valle, Kelly Guerin, Kristo Muurimaa, Konrad Lozinski, Louise Jorgensen, Luis Tato, Murdo MacLeod, Paul Hilton, Sabine Grootendorst, Selene Magnolia, Stefano Belacchi, Tamara Kenneally, and Timo Stammberger. "The photojournalists featured in Hidden have entered some of the darkest, most unsettling places in the world. The images they have captured are a searing reminder of our unpardonable behavior towards animals and will serve as beacons of change for years to come."--Joaquin Phoenix, actor "I am, quite simply, in awe of these photographers. In a way, they are like war photographers, except witness to a war that so many people choose to suppress that exists. This takes enormous inner strength and bloody-minded determination, because they cannot save any of the animals that they photograph; they can only hope that their photos will help illuminate the mass extermination that unfolds every second of every day across the planet. To me, they are heroes. Not just for one day, but over and over and over again."--Nick Brandt, photographer