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Kavanagh 1989:137–138.
R. Poliquin 2008, “The Matter and Meaning of Museum Taxidermy,” Museum and
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Ibid., 123.
J. Berger 1980, “Why Look at Animals?” in About Looking (London: Vintage, 1993),
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Poliquin 2012:96.
L. Barber 1980, The Heyday of Natural History, 1820–1870 (London: Jonathan Cope),
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Poliquin 2012:96.
P. Wakeham 2008, Taxidermic Signs: Reconstructing Aboriginality (Minneapolis:
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M. Simpson 1999, “Immaculate Trophies,” Essays on Canadian Writing, no. 67 (Sum-
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Ibid., 77.
J. M. MacKenzie 1988, The Empire of Nature: Hunting, Conservation, and British Impe-
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D. J. Haraway 1984, “Teddy Bear Patriarchy: Taxidermy in the Garden of Eden,” Social
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J. Niesel 1994, “The Horror of Everyday Life: Taxidermy, Aesthetics, and Consumption
in Horror Films,” Journal of Criminal Justice and Popular Culture 2, no. 4: 61–80.
A. Hitchcock, dir., 1960, Psycho [film] (Shamley Productions); T. Hooper, dir., 1986, The
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Niesel 1994:61.
David Shrigley, Jake and Dinos Chapman, Noble and Webster, Damien Hirst, Zhang
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Schieferstein, Paola Pivi, Christiane Mobus, Huang Yong Ping, Jeroen Diepenmaat,
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Dune Varela, Nicolas Lamas, Danielle van Ark, and Mark Fairnington.
Berger 1980; S. Baker 1993, Picturing the Beast: Animals, Identity, and Representation
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S. Baker 2000, The Postmodern Animal (London: Reaktion).
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