Stephanie Rutherford – författare

A wolf's howl is felt in the body. Frightening and compelling, incomprehensible or entirely knowable, it is a sound that may be heard as threat or invitation but leaves no listener unaffected.Toothsome fiends, interfering pests, or creatures wild and free, wolves have been at the heart of Canada's national story since long before Confederation. Villain, Vermin, Icon, Kin contends that the role in which wolves have been cast – monster or hero – has changed dramatically through time. Exploring the social history of wolves in Canada, Stephanie Rutherford weaves an innovative tapestry from the varied threads of historical and contemporary texts, ideas, and practices in human-wolf relations, from provincial bounties to Farley Mowat's iconic Never Cry Wolf. These examples reveal that Canada was made, in part, through relationships with nonhuman animals. Wolves have always captured the human imagination. In sketching out the connections people have had with wolves at different times, Villain, Vermin, Icon, Kin offers a model for more ethical ways of interacting with animals in the face of a global biodiversity crisis.

A wolf's howl is felt in the body. Frightening and compelling, incomprehensible or entirely knowable, it is a sound that may be heard as threat or invitation but leaves no listener unaffected.Toothsome fiends, interfering pests, or creatures wild and free, wolves have been at the heart of Canada's national story since long before Confederation. Villain, Vermin, Icon, Kin contends that the role in which wolves have been cast – monster or hero – has changed dramatically through time. Exploring the social history of wolves in Canada, Stephanie Rutherford weaves an innovative tapestry from the varied threads of historical and contemporary texts, ideas, and practices in human-wolf relations, from provincial bounties to Farley Mowat's iconic Never Cry Wolf. These examples reveal that Canada was made, in part, through relationships with nonhuman animals. Wolves have always captured the human imagination. In sketching out the connections people have had with wolves at different times, Villain, Vermin, Icon, Kin offers a model for more ethical ways of interacting with animals in the face of a global biodiversity crisis.

Arguing that historical analysis is an important, yet heretofore largely underexplored dimension of scholarship in animal geographies, this book seeks to define historical animal geography as the exploration of how spatially situated human–animal relations have changed through time. This volume centers on the changing relationships among people, animals, and the landscapes they inhabit, taking a spatio-temporal approach to animal studies. Foregrounding the assertion that geography matters as much as history in terms of how humans relate to animals, this collection offers unique insight into the lives of animals past, how interrelationships were co-constructed amongst and between animals and humans, and how nonhuman actors came to make their own worlds. This collection of chapters explores the rich value of work at the contact points between three sub-disciplines, demonstrating how geographical analyses enrich work in historical animal studies, that historical work is important to animal geography, and that recognition of animals as actors can further enrich historical geographic research.

Take four emblematic American scenes: the Hall of Biodiversity at the American Museum of Natural History in New York; Disney’s Animal Kingdom theme park in Orlando; an ecotour of Yellowstone and Grand Teton National Parks; the film An Inconvenient Truth. Other than expressing a common interest in the environment, they seem quite dissimilar. And yet, as Governing the Wild makes clear, these sites are all manifestations of green governmentality, each seeking to define and regulate our understanding, experience, and treatment of nature. Stephanie Rutherford shows how the museum presents a scientized assessment of global nature under threat; the Animal Kingdom demonstrates that a corporation can successfully organize a biopolitical project; the ecotour, operating as a school for a natural aesthetic sensibility, provides a visual grammar of pristine national nature; and the film offers a toehold on a moral way of encountering nature. But one very powerful force unites the disparate “truths” of nature produced through these sites, and that, Rutherford tells us, is their debt to nature’s commodification. Rutherford’s analysis reveals how each site integrates nature, power, and profit to make the buying and selling of nature critical to our understanding and rescuing of it. The combination, she argues, renders other ways of encountering nature-particularly more radically environmental ways-unthinkable.

This book examines the challenges and possibilities of conducting cultural environmental history research today. Disciplinary commitments certainly influence the questions scholars ask and the ways they seek out answers, but some methodological challenges go beyond the boundaries of any one discipline. The book examines: how to account for the fact that humans are not the only actors in history yet dominate archival records; how to attend to the non-visual senses when traditional sources offer only a two-dimensional, non-sensory version of the past; how to decolonize research in and beyond the archives; and how effectively to use sources and means of communication made available in the digital age. This book will be a valuable resource for those interested in environmental history and politics, sustainable development and historical geography.

Arguing that historical analysis is an important, yet heretofore largely underexplored dimension of scholarship in animal geographies, this book seeks to define historical animal geography as the exploration of how spatially situated human–animal relations have changed through time. This volume centers on the changing relationships among people, animals, and the landscapes they inhabit, taking a spatio-temporal approach to animal studies. Foregrounding the assertion that geography matters as much as history in terms of how humans relate to animals, this collection offers unique insight into the lives of animals past, how interrelationships were co-constructed amongst and between animals and humans, and how nonhuman actors came to make their own worlds. This collection of chapters explores the rich value of work at the contact points between three sub-disciplines, demonstrating how geographical analyses enrich work in historical animal studies, that historical work is important to animal geography, and that recognition of animals as actors can further enrich historical geographic research.

This book examines the challenges and possibilities of conducting cultural environmental history research today. Disciplinary commitments certainly influence the questions scholars ask and the ways they seek out answers, but some methodological challenges go beyond the boundaries of any one discipline. The book examines: how to account for the fact that humans are not the only actors in history yet dominate archival records; how to attend to the non-visual senses when traditional sources offer only a two-dimensional, non-sensory version of the past; how to decolonize research in and beyond the archives; and how effectively to use sources and means of communication made available in the digital age. This book will be a valuable resource for those interested in environmental history and politics, sustainable development and historical geography.