Interpreting nature: shifts in the presentation and display of taxidermy in contemporary museums in Northern England
Taxidermy is an organised craft which synthesises preserved animal skins with man-made materials to recreate a resemblance of living animals. As products of a cultural practice, displayed and interpreted in museums for the public, taxidermied animals are material manifestations of contingent value judgements. Despite the now widely held view in museum studies that the meanings of museum objects are constructed through their interpretation and reception, and therefore can have a multiplicity of meanings, many museums today continue to present and interpret taxidermied animals as objective species representatives. Although scientific themes continue to be privileged by many museums which maintain natural science as a discrete discipline, various social, ethical and political themes relating to the environment and to relationships between people have become more pronounced in recently redeveloped museums. Using Leeds City Museum, the Great North Museum: Hancock, and Museums Sheffield: Weston Park as case studies, this thesis investigates these changes to trace wider cultural shifts in politics, ethics, education and science. By analysing the frameworks within which museums and their staff operate, this investigation is concerned with the relationship between discourse and social practice in the form of museum exhibitions as a means of creating knowledge. It highlights how the public understanding of the natural world is more mutable than some of the enduring traditions of science may suggest, and how the discourses on science, and the objects through which they are articulated, are subject to cultural shifts which put their meanings in flux. 
This study is both part of, and a response to, an expanding field in museum studies and material culture studies which re-frames taxidermy objects as culturally contingent and therefore reflective of the subject positions of their makers, and the broader contexts of their making. In collating and investigating a diverse collection of archival material, this study recovers some of taxidermy’s histories, and contributes to the historical discourse on the display and interpretation of museum collections.
Museum Through a Lens: Photographs from the Natural History Museum 1880 to 1950
Visit the Natural History Museum - 100 years ago. Featuring a wealth of stunning black-and-white photographs from the Museum's archives, this book offers a real flavour of life at one of London's oldest and most famous visitor attractions, from Victorian times until just after the Second World War. The photographs go back as far as the 1880s, to the earliest years of the Museum, when only a few horsedrawn carriages plied the streets of South Kensington and elephants and gorillas from distant parts of the British Empire were exhibited for the first time. In later years the Museum gardens were to be dug over for vegetable production during the Second World War and whale carcasses were buried in the grounds to allow the flesh to rot away. The book focuses on the unusual events that have taken place over the years, the characters working at and visiting the Museum, and of course the awe-inspiring specimens. Ranging from the amazing to the amusing, the images are evocative and brimming with period detail. The authors are senior archivists and well placed to share their knowledge of the stories that lie behind the silver-nitrate surface of the old photographic prints.
Dead Geographies—And How to Make Them Live
In this introductory paper—which follows the course of the papers included in this special issue—we argue that there are currently four main apprehensions of performance. The first of those apprehensions is provided by the work of Judith Butler on performativity. We then move to a second apprehension—the rather more general notion of performance found in nonrepresentational theory, using as an example the work of Gilles Deleuze. The third apprehension of performance is that taken from work found in the discipline of performance itself. Then, the fourth apprehension concerns the reworking of academic practices as performative.