Zoos In Postmodernism

"The putative mission of zoos - education and conservation - yield doubtful results, education because its information relies on description and exposition instead of narrative, conservation because only a few large, showy vertebrates receive the most effort. By controlling reproduction and restricting evolution, zoos reduce animals to artifacts - unattached ecological fragments - and ultimately revoke their ontological status as part of the natural world." "Spotte's argument assumes manifestations that impinge on contemporary theories of art, film, literature, photography, and science, the whole anchored securely by the twin poles of semiotics and simulation. This willingness to grapple with high-level theory - and to take intellectual risks - sets Zoos in Postmodernism apart from other treatments of zoos in contemporary western literature."--BOOK JACKET.

Metamorphoses of the Zoo marshals a unique compendium of critical interventions that envision novel modes of authentic encounter that cultivate humanity's biophilic tendencies without abusing or degrading other animals. These take the form of radical restructurings of what were formerly zoos or map out entirely new, post-zoo sites or experiences. The result is a volume that contributes to moral progress on the inter-species front and eco-psychological health for a humankind whose habitats are now mostly citified or urbanizing.

Despite hundreds of millions of visitors each year, zoos have remained outside of the realm of philosophical analysis. This lack of theoretical examination is interesting considering the paradoxical position within which a zoo is situated, being a space of animal confinement as well as a site that provides valuable tools for species conservation, public education, and entertainment. Why Do We Go to the Zoo? argues that the zoo is a legitimate space of academic inquiry. The modes of communication taking place at the zoo that keep drawing us back time and time again beg for a careful investigation. In this book, the meaning of the zoo as communicative space is explored. This book relies on the phenomenological method from Edmund Husserl and a rhetorical approach to examine the interaction between people and animals in the zoo space. Phenomenology, the philosophy of examining the engaged everyday lived experience, is a natural method to use in the project. Despite its rich history and tradition it is interesting that there are very few books explaining “how to do” phenomenology. Why Do We Go to the Zoo? provides a detailed account of how to actually conduct a phenomenological analysis. The author spent thousands of hours in zoos watching people and animals interact as well as talking with people both formally and informally. This book asks readers to bracket their preconceptions of what goes on in the zoo and, instead, to explore the meaning of powerful zoo experiences while reminding us of the troubled history of zoos.

Founded on the premise that zoos are ‘bilingual’—that the zoo, in the shape of its staff and exhibits, and its visitors speak distinct languages—this enlightening analysis of the informal learning that occurs in zoos examines the ‘speech’ of exhibits and staff as well as the discourse of visitors beginning in the earliest years. Using real-life conversations among visitors as a basis for discussion, the authors interrogate children’s responses to the exhibits and by doing so develop an ‘informal learning model’ and a ‘zoo knowledge model’ that prompts suggestions for activities that classroom educators can use before, during, and after a zoo visit. Their analysis of the ‘visitor voice’ informs creative suggestions for how to enhance the educational experiences of young patrons. By assessing visitors’ entry knowledge and their interpretations of the exhibits, the authors establish a baseline for zoos that helps them to refine their communication with visitors, for example in expanding knowledge of issues concerning biodiversity and biological conservation. The book includes practical advice for zoo and classroom educators about positive ways to prepare for zoo visits, engaging activities during visits, and follow-up work that maximizes the pedagogical benefits. It also reflects on the interplay between the developing role of zoos as facilitators of learning, and the ways in which zoos help visitors assimilate the knowledge on offer. In addition to being essential reading for educators in zoos and in the classroom, this volume is full of insights with much broader contextual relevance for getting the most out of museum visits and field trips in general.

A “quirky and absorbing” exploration of the history and mythology surrounding the ravens at the Tower of London (Publishers Weekly). Tales tell of how Charles II, fearful of ancient legends that Britain will fall if the ravens at the Tower of London ever leave their abode, ordered that the wings of the six ravens be clipped. But the truth is that the ravens only arrived at the Tower in 1883, when they were brought in as props in tales of Gothic horror that were told to tourists. The legend itself originated from the summer of 1944, when ravens in London were used as unofficial spotters for enemy bombs and planes. Boria Sax gives us the first book to tell the true story of the ravens, which has far more high drama than any of the tales the tourists get to hear. Its heroes are the raven couple Grip and Mable, who eloped from the Tower together after World War II, leaving it empty and prompting fears that the British Empire would end; Jackie, who kept watch at a brewery; McDonald, who was murdered; and Thor, who could not accept his loss of flight. For over a century, the ravens have been symbols of cruelty, avatars of fate—and cuddly national pets. But Sax shows us how the ravens have come to represent Britain’s natural heritage, without which any nation would be impoverished. This informing and reflective volume addresses the need to connect with animals and the natural world and shows us the human need for wonder at nature. Praise for City of Ravens “Both a delight and a profound illumination of the subject . . . with unexpected and fascinating conclusions.” —Esther Woolfson, author of Corvus “A wonderful contribution to the modern history and mythology of one of the world’s greatest cities.” —Ronald Hutton, Commissioner of English Heritage “Boria Sax traces the history of the ravens in the Tower of London with accurate scholarship and engaging stories.” —John Marzluff, co-author of In the Company of Crows and Ravens “The author delves into the true history and cultural importance of these massive corvids. It’s a lively, entertaining tale, with a few grisly details from real events.” —Anna Sanders, Audubon Magazine

This book is the first to critically examine the many ways in which tourism and animals intersect and aims to make a meaningful contribution to the growing body of knowledge concerning the relationships between animals, tourists and the tourism industry.

In Animals and the Limits of Postmodernism, Gary Steiner illuminates postmodernism's inability to produce viable ethical and political principles. Ethics requires notions of self, agency, and value that are not available to postmodernists. Thus, much of what is published under the rubric of postmodernist theory lacks a proper basis for a systematic engagement with ethics. Steiner demonstrates this through a provocative critique of postmodernist approaches to the moral status of animals, set against the background of a broader indictment of postmodernism's failure to establish clear principles for action. He revisits the ideas of Derrida, Foucault, Nietzsche, and Heidegger, together with recent work by their American interpreters, and shows that the basic terms of postmodern thought are incompatible with definitive claims about the moral status of animals—as well as humans. Steiner also identifies the failures of liberal humanist thought in regards to this same moral dilemma, and he encourages a rethinking of humanist ideas in a way that avoids the anthropocentric limitations of traditional humanist thought. Drawing on the achievements of the Stoics and Kant, he builds on his earlier ideas of cosmic holism and non-anthropocentric cosmopolitanism to arrive at a more concrete foundation for animal rights.

"Themed spaces have, at their foundation, an overarching narrative, symbolic complex, or story that drives the overall context of their spaces. Theming, in some very unique ways, has expanded beyond previous stereotypes and oversimplifications of culture and place to now consider new and often controversial topics, themes, and storylines."--Publisher's website.