Animal Remains

<p>The dream of humanism is to cleanly discard of humanity’s animal remains along with its ecological embeddings, evolutionary heritages and futures, ontogenies and phylogenies, sexualities and sensualities, vulnerabilities and mortalities. But, as the contributors to this volume demonstrate, animal remains are everywhere and so <i>animals remain everywhere</i>. Animal remains are food, medicine, and clothing; extractive resources and traces of animals’ lifeworlds and ecologies; they are sites of political conflict and ontological fear, fetishized visual signs and objects of trade, veneration, and memory; they are biotechnological innovations and spill-over viruses.</p><p>To make sense of the material afterlives of animals, this book draws together multispecies perspectives from literary criticism and theory, cultural studies, anthropology and ethnography, photographic and film history, and contemporary art practice to offer the first synoptic account of animal remains. Interpreting them in all their ubiquity, diversity, and persistence, <i>Animal Remains </i>reveals posthuman relations between human and non-human communities of the living and the dead, on timescales of decades, centuries, and millennia.</p> <p>Animal Remains: An Introduction</p><p>Sarah Bezan and Robert McKay</p><p>I. Fossil Figurations</p><ol> <p> </p> <li>J.G. Ballard’s Fossil Imaginaries: Apocalypse, Deep Time and Deathly Life</li> <i> </i><p>Peter Sands</p> <p> </p> <li>Photographing Dead Animals: Taphonomy as Embedded Media </li> <i> </i><p>Ana María Gómez López</p> <b> </b><p>II. Extinction Futures</p> <p> </p> <li>Snail Trails: A Foray into Disappearing Worlds, Written in Slime</li> <i> </i><p>Thom van Dooren</p> <p> </p> <li>Making Specimens Sacred: Putting the Bodies of Solitario Jorge and Cụ Rùa on Display </li> <i> </i><p>Gitte Westergaard and Dolly Jørgensen</p> <p> </p> <li>A Tale of Two Bucardo: Laña, Celia, and the Contested Meanings of Animal Remains</li> <i> </i><p>Adam Searle</p> <b> </b><p>III. The Political Cultural Lives of Animal Remains </p> <i> </i> <p> </p> <li>Beef, Bull and Ballyhoo: America’s Cattle-Cinema Complex</li> <i> </i><p>Michael Lawrence</p> <p> </p> <li>Read Meat</li> <i> </i><p>Robert McKay</p> <p> </p> <li>Le Voreux: Scenes of Animal Labour in Émile Zola’s <i>Germinal</i> </li> <p>Dinesh Wadiwel</p> <b> </b><p>IV. Empire, Colony: Animal Remains as Infrastructure</p> <i> </i> <p> </p> <li>Making Cows Live: Bovine Remains and the Rise of Hindu Nationalism</li> <i> </i><p>Sundhya Walther</p> <p> </p> <li>Before <i>The Thing</i>: Viruses, Sled Dogs, Seabirds, and Science Fiction</li> <i> </i><p>Lucinda Cole</p> <b> </b><p>V. Ethics and Affects: Mourning Animal Remains</p> <i> </i> <p> </p> <li>Between Data and Affect: Interspecific Accommodation in the Models of Art</li> <i> </i><p>Mark Wilson and Bryndis Snæbjörnsdóttir</p> <p> </p> <li>Up in Smoke: Cremation, Mourning, and the Afterdeaths of Bodily Remains for Companion Animals</li> <i> </i><p>Jane Desmond </p> <i> </i><p> </p> <li>Fish Market, Lagos: Artist Pages and Supporting Statement</li> </ol><p>Steve Baker</p>