This book is devoted to the knowledge of up to 250 years of collecting, organizing and preserving animals by generations of scientists. Zoological Collections are a huge resource for modern animal research and should be available for national and international scientists and institutions, as well as prospective public and private customers. Moreover, these collections are an important part of the scientific enterprise, supporting scientific research, human health, public education, and the conservation of biodiversity. Much of what we are beginning to understand about our world, we owe to the collection, preservation, and ongoing study of natural specimens. Properly preserved collections of marine or terrestrial animals are libraries of Earth's history and vital to our ability to learn about our place in its future. The approach employed by the editor involves not only an introduction to the topic, but also an external view on German collections including an assessment of their value in the international and national context, and information on the international and national collection networks. Particular attention is given to new approaches of sorting, preserving and researching in Zoological Collections as well as their neglect and/or threat. In addition, the book provides information on all big Public Research Museums, on important Collections in regional Country and local District Museums, and also on University collections. This is a highly informative and carefully presented book, providing scientific insight for readers with an interest in biodiversity, taxonomy, or evolution, as well as natural history collections at large.

The name of Carl Hagenbeck is as evocative in Europe as that of P. T. Barnum or Walt Disney in North America. Hagenbeck was the nineteenth century's foremost animal trader and ethnographic showman, known for his enormously popular displays of people, animals, and artifacts gathered from all corners of the globe. The culmination of Hagenbeck's commercial ventures was the opening of his Tierpark near Hamburg in 1907, a dazzling assemblage of constructed exotic environments inhabited by humans and animals. Eric Ames shows that Hagenbeck's various enterprises illustrate a significant evolution in popular culture. Earlier display forms that relied on the collection and presentation of "authentic" artifacts and living beings--the panorama, the zoological garden, the ethnographic collection--gave rise to the self-consciously synthetic forms of entertainment that we now associate with theme parks and films. This shift took place in the context of Hagenbeck's exhibitions, which were simultaneously the apotheosis of the collecting impulse and the germinating source for the creation of fictional spaces that rely for their effect on the spectator's imaginative engagement and interaction with the spectacle. Carl Hagenbeck's Empire of Entertainments locates Hagenbeck's myriad enterprises in the context of colonialism and nascent globalization; ethnography and anthropology; zoological gardens and international expositions; museum culture and visual spectacle; and consumerism and immersive entertainments. By tracing out the divergent lineages of themed environments, Ames offers a vivid reconstruction of the impulses and contradictions that lay behind the visual and display culture of the nineteenth and early twentieth centuries--a culture that forms the foundation of contemporary themed environments. Written in an accessible style with many wonderful images, this book draws on meticulous archival research and a wealth of primary sources not available in English. It is an original and entertaining interdisciplinary study that will appeal to readers interested in visual culture, popular culture, nineteenth-century German history, and film studies, as well as anyone intrigued by the history of such popular entertainments as zoos, museums, panoramas, world's fairs, cinema, theme parks, anthropological exhibitions, and Wild West Shows.

This conference represents the first time in my life when I felt it was a misfor tune, rather than a major cause of my happiness, that I do conservation work in New Guinea. Yes, it is true that New Guinea is a fascinating microcosm, it has fascinating birds and people, and it has large expanses of undisturbed rainforest. In the course of my work there, helping the Indonesian government and World Wildlife Fund set up a comprehensive national park system, I have been able to study animals in areas without any human population. But New Guinea has one serious drawback: it has no primates, except for humans. Thus, I come to this conference on primate conservation as an underprivileged and emotionally deprived observer, rather than as an involved participant. Nevertheless, it is easy for anyone to become interested in primate conserva tion. The public cares about primates. More specifically, to state things more realistically, many people care some of the time about some primates. Primates are rivaled only by birds, pandas, and the big cats in their public appeal. For some other groups of animals, the best we can say is that few people care about them, infrequently. For most groups of animals, no one cares about them, ever.

The Toxic Museum examines the use of pesticides in German museum collections at the end of the 19th and early 20th centuries. It reconstructs the research of substances against harmful insects in museum collections within the historical context of the formation of nation-states, colonialism, a strengthening chemical industry, the First World War, and the resulting broad-based hygiene movement through the lens of the Ethnologisches Museum (Ethnological Museum) in Berlin. Because of their persistence, the consequences of the use of pesticides in museum collections are now unmistakable and well documented in many places. Numerous objects are highly contaminated and are only accessible under difficult conditions regarding occupational health and safety. This creates obstacles for conservation and scientific processing, as well as for mediation in the context of exhibitions and external loans. The most precarious and difficult situations arise when contaminated museum objects are repatriated to their countries of origin. This monograph examines contemporary challenges in the 21st century museum landscape and contextualises the history of pesticide use at the turn of the 20th century. The Toxic Museum will be of great interest to students and scholars working in conservation, museology, monument preservation, art and cultural studies, ethnology, history, and economics.