Details

<p> Acknowledgements<br> List of illustrations, Figures and Tables</p>
<p> <a><strong>Introduction:</strong></a> Representing Extinction: Art, Science and Afterimages<br> <em>Valérie Bienvenue and Nicholas Chare</em></p>
<p> <strong>Part I: Dialogues about Extinction</strong></p>
<p> <strong>Chapter 1.</strong> The Dinosaur as Cultural Symbol and Totem: W.J.T. Mitchell in Conversation<br> <em>W.J.T. Mitchell</em></p>
<p> <strong>Chapter 2.</strong> Visualizing Extinction: Harriet Ritvo in Conversation<br> <em>Harriet Ritvo</em></p>
<p> <strong>Chapter 3.</strong> ‘Putting Nature Back Together Again’: Stuart Pimm in Conversation<br> <em>Stuart Pimm</em></p>
<p> <strong>Part II: Indigenous Peoples and Extinction</strong></p>
<p> <strong>Chapter 4.</strong> The Beothuk, the Great Auk and the Newfoundland Wolf: Animal and Human Genocide in Canada’s Easternmost Province<br> <em>Nicholas Chare</em></p>
<p> <strong>Chapter 5.</strong> Cultural Memory of Recent Extinctions: A Chinese Perspective<br> <em>Samuel T. Turvey</em></p>
<p> <strong>Chapter 6.</strong> Grief, Extinction, and <em>Bilhaa </em>(Abalone)<br> <em>hagwil hayetsk </em>(Charles R. Menzies)</p>
<p> <strong>Part III: Representing Avian and Insect Extinctions</strong></p>
<p> <strong>Chapter 7.</strong> Sparrows with teeth and claws? Reconstructing the Cretaceous Enantiornithes (Aves: Ornithothoraces)<br> <em>Jingmai O’Connor</em></p>
<p> <strong>Chapter 8.</strong> Rare Birds and Rare Books The Species as Work of Art<br> <em>Gordon M. Sayre</em></p>
<p> <strong>Chapter 9.</strong> The Virtual Realities of Species Revivalism: Restoring the Kaua‘i ‘Ō<span>‘ō Bird in Jakob Kudsk Steensen's <em>Re-Animated<br> Sarah Bezan</em></span></p>
<p> <strong>Chapter 10.</strong> Insects, Spiders, Snails and Empathy: Representing Invertebrate Extinctions in Natural History Museums<br> <em>Pedro Cardoso</em></p>
<p> <strong>Part IV: Representing Extinct Plants and Fungi</strong></p>
<p> <strong>Chapter 11.</strong> Reconstructing Lycopsids Lost to the Deep Past<br> <em>Jeffrey P. Benca</em></p>
<p> <strong>Chapter 12.</strong> Ellis Rowan, Extinction and the Politics of Flower Painting<br> <em>Jeanette Hoorn</em></p>
<p> <strong>Chapter 13.</strong> Towards Extinction: Mapping the Vulnerable, Threatened and Critically Endangered Plant in ‘Moments of Friction’<br> <em>Dawn Sanders</em></p>
<p> <strong>Chapter 14.</strong> Sweetness, Power, Yeasts, and Entomo-terroir<br> <em>Robert R. Dunn, Monica C. Sanchez and Matthew Morse Booker</em></p>
<p> <strong>Part V: Representing Extinct Mammals</strong></p>
<p> <strong>Chapter 15.</strong> Animal Extinction, Film and the Death Drive<br> <em>Barbara Creed</em></p>
<p> <strong>Chapter 16.</strong> Tasmanian Tiger: Precious Little Remains<br> <em>David Maynard</em></p>
<p> <strong>Chapter 17.</strong> From the General to the Particular: Piecing together the Life and Afterlife of A544, Louis XVI’s Quagga<br> <em>Valérie Bienvenue</em></p>
<p> <strong>Part VI: Exhibiting Extinction</strong></p>
<p> <strong>Chapter 18.</strong> Three Variations on the Theme of Extinction: Looking Anew at the Art and Science of Mark Dion<br> <em>Anne-Sophie Miclo</em></p>
<p> <strong>Chapter 19.</strong> The Exhibition of Extinct Species: A Critique<br> <em>Norman MacLeod</em></p>
<p> <strong>Chapter 20.</strong> Exhibiting Extinction: Thylacines in Museum Display<br> <em>Kathryn Medlock</em></p>
<p> <strong>Afterword</strong><strong>:</strong> After Extinction<br> <em>Valérie Bienvenue and Nicholas Chare</em></p>
<p> Contributors<br> Index</p>

<p> <strong>Valérie Bienvenue</strong> is a doctoral candidate in the Department of History of Art and Film Studies at the Université de Montréal. Her thesis critically examines human-equine relations through the prism of modern art and visual culture. Prior to her academic career, she worked for ten years in equestrian circles, including teaching bareback riding and rehabilitating horses suffering from physical and psychological trauma. She is the author of several articles and book chapters.</p>