The Taxidermist S Manual Or The Art Of Collecting Preparing And Preserving Objects Of Natural History Designed For The Use Of Travellers Conservators Of Museums And Private Collectors

This book presents the history of natural history dioramas in museums, their building and science learning aspects, as well as current developments and their place in the visitor experience. From the early 1900s, with the passage of time and changes in cultural norms in societies, this genre of exhibits evolved in response to the changes in entertainment, expectations and expressed needs of museum visitors. The challenge has always been to provide meaningful, relevant experiences to visitors, and this is still the aim today. Dioramas are also increasingly valued as learning tools. Contributions in this book specifically focus on their educational potential. In practice, dioramas are used by a wide range of educational practitioners to assist learners in developing and understanding specific concepts, such as climate change, evolution or or conservation issues. In this learning process, dioramas not only contribute to scientific understanding and cultural awareness, but also reconnect wide audiences to the natural world and thereby contribute to the well-being of societies. In the simultaneously published book: “Natural History Dioramas – Traditional Exhibits for Current Educational Themes, Socio-cultural Aspects” the editors focus on socio-cultural issues and the potential of using dioramas to engage various audiences with – and in – contemporary debates and big issues, which society and the natural environment are facing.

Ideal for high school and college students studying history through the everyday lives of men and women, this book offers intriguing information about the jobs that people have held, from ancient times to the 21st century. This unique book provides detailed studies of more than 300 occupations as they were practiced in 21 historical time periods, ranging from prehistory to the present day. Each profession is examined in a compelling essay that is specifically written to inform readers about career choices in different times and cultures, and is accompanied by a bibliography of additional sources of information, sidebars that relate historical issues to present-day concerns, as well as related historical documents. Readers of this work will learn what each profession entailed or entails on a daily basis, how one gained entry to the vocation, training methods, and typical compensation levels for the job. The book provides sufficient specific detail to convey a comprehensive understanding of the experiences, benefits, and downsides of a given profession. Selected accompanying documents further bring history to life by offering honest testimonies from people who actually worked in these occupations or interacted with those in that field.

Taxidermy and the Gothic: The Horror of Still Life is the first extended study of the Gothic’s collusion with taxidermy. It tells the story of the emergence in the long nineteenth century of the twin golden ages of the Gothic genre and the practice of taxidermy, and their shared rhetorical and narratological strategies, anxieties, and sensibilities. It follows the thread into twentieth- and twenty-first-century culture, including recent horror film, fiction, television, and visual arts to argue that the Gothic and taxidermy are two discursive bodies, stuffed and stitched together. Moving beyond the well-worn path that treats taxidermy as a sentimental art or art of mourning, this book takes readers down a new dark trail, finding an overlooked but rich tradition in the Gothic that aligns it with the affective and corporeal work of horror and the unsettling aesthetics, experiences, and pleasures that come with it. Over the course of four chapters, it argues that in addition to entwined origins, taxidermy’s uncanny appearance in Gothic and horror texts is a driving force in generating fear. For taxidermy embodies the phenomenological horror of stuckness, of being there. In sum, taxidermy’s imbrication with the Gothic is more than skin deep: these are rich discourses stuffed by affinities for corporeal transgressions, the uncanny, and the counterfeit.