The rites of man: The British Museum and the sexual imagination in Victorian Britain

In the nineteenth century, the British Museum possessed a locked store of erotic objects. However, this did not serve to sanitize the rest of the collection. I use the evidence of an anonymous tract, Idolomania, set in the context of other literary productions of the time, to show how a wave of anti-Catholic agitation led to claims that the public displays of the British Museum were saturated with morally dangerous material. A wide range of objects, images and motifs were interpreted as evidence of pagan fertility cults, thus throwing into question the seemliness of the Museum's public displays. However, I use the evidence of an anonymous early Victorian tract, Idolomania, set in the context of other literary productions of its times, to show that the early Victorian wave of anti-Catholic moral panic led to claims that the public displays of the British Museum were saturated with morally dangerous material. Although I cannot and do not claim that this was a mainstream view, I do use this tract to emphasise that there is a ongoing tradition of eroticised readings of sculpture galleries, even ones supposedly purged of explicitly sexual material. That this fact is not widely recognised may be to do with dominant conceptualisations of the separation between art and pornography that date from the Victorian age. Much classical and Hindu statuary may indeed have been intended indirectly if not directly to produce erotic responses. And it we want to fully engage with the power of bodily representations in museum collections it may be sensible to openly acknowledge sexual fetishism as a social construction and, therefore, the diversity and unpredictability of arousal

New findings and a new species of the genus Ammothea (Pycnogonida, Ammotheidae), with an updated identification key to all Antarctic and sub-Antarctic species

Specimens of the pycnogonid genus Ammothea collected during the Polarstern cruise XXIII/8 (23 November 2006–30 January 2007) were studied. Nine species were recognized in this collection: Ammothea bentartica, A. bicorniculata, A. carolinensis, A. clausi, A. longispina, A. minor, A. spinosa, A. striata and A. tibialis. Three of them (A. bentartica, A. bicorniculata and A. tibialis) are reported for the second time, enlarging their known geographical and bathymetric range. In the present contribution, the observed morphological variability of all collected Ammothea species is described and discussed. For the identification and description of the material, different museum specimens were consulted. Among them, we have consulted part of the Discovery collection housed at the Natural History Museum in London. That material was initially identified by Isabella Gordon, a reputed author in the field of pycnogonid taxonomy. A new species, based on a museum specimen previously highly confused in the literature, is proposed in the present contribution as Ammothea isabellae n. sp. The new taxon is compared with its closest congeners, especially with A. longispina and A. stylirostris. Finally, we propose an updated dichotomous key to species covering all currently known Antarctic and sub-Antarctic Ammothea specie

A Key and Annotated List of the Scutelleroidea of Michigan (Hemiptera)

Excerpt: Although Hussey (1922) compiled a list of the Hemiptera of Berrien County, and Stoner (1922) contributed a list of the Scutelleroidea of the Douglas Lake region, no publications have dealt with Michigan Scutelleroidea on a state-wide basis. However, collections in the Entomology Museum of Michigan State University (MSU), East Lansing, and in the Museum of Zoology of the University of Michigan (UMMZ), Ann Arbor, indicate that collecting has been extensive throughout the state (Fig. 1). The key and annotated list are based on material I identified in these two collection

Taste à-la-Mode: Consuming foreignness, picturing gender

Art history has enriched the study of material culture as a scholarly field. This interdisciplinary volume enhances this literature through the contributors' engagement with gender as the conceptual locus of analysis in terms of femininity, masculinity, and the spaces in between. Collectively, these essays by art historians and museum professionals argue for a more complex understanding of the relationship between objects and subjects in gendered terms. The objects under consideration range from the quotidian to the exotic, including beds, guns, fans, needle paintings, prints, drawings, mantillas, almanacs, reticules, silver punch bowls, and collage. These material goods may have been intended to enforce and affirm gendered norms, however as the essays demonstrate, their use by subjects frequently put normative formations of gender into question, revealing the impossibility of permanently fixing gender in relation to material goods, concepts, or bodies. This book will appeal to art historians, museum professionals, women's and gender studies specialists, students, and all those interested in the history of objects in everyday lifeN/

Catalogue of the ectoparasitic insects of the bats of Argentina

Taxonomy and distribution of the ectoparasitic insects of bats from Argentina, are reviewed. Seventeen species of Diptera (six of Nycteribiidae and eleven of Streblidae), six species of Siphonaptera (four ofIschnopsyllidae, one of Pulicidae, and one ofStephanocircidae), and seven species of Hemiptera (Polyctenidae) are known presently for Argentina. The information was obtained by reviewing the literature and collecting in the field between 1989 and 1998. The specimens collected in the field were compared with the type material deposited at the Field Museum of Natural History (CHNM).En este primer catalogo de insectos ectoparasitos de murcielagos de la Argentina, se ofrece informacion sobre taxonomia y distribucion. Se conocen actualmente en el pais 17 especies de Diptera (seis de Nycteribiidae yonce de Streblidae), seis de Siphonaptera (cuatro de Ischnopsyllidae, una de Pulicidae y una de Stephanocircidae) y siete especies de Hemiptera (Polyctenidae). Se consulto numerosa literatura sobre los distintos grupos y se reviso abundante material obtenido en viajes de campana realizados desde 1989 a 1998, a numerosas localidades de la Argentina. Se realizaron comparaciones con material tipo del Field Museum of Natural History (CHNM)

The Great Albatross Philippine Expedition and Its Fishes

The Philippine Expedition of 1907-10 was the longest and most extensive assignment of the Albatross's 39-year career. It came about because the United States had acquired the Philippines following the Spanish-American War of 1898 and the bloody Philippine Insurection of 1899-1902. The purpose of the expedition was to surbey and assess the aquatic resources of the Philippine Islands. Dr. Hugh M. Smith, the Deputy Commissioner of the U.S. Bureau of Fisheries, was the Director of the Expedition. Other scientific participants were Frederick M. Chamberlain, Lewis Radcliffe, Paul Bartsch, Harry C. Fasset, Clarence Wells, Albert Burrows, Alvin Seale, and Roy Chapman Andrews. The expedition consisted of a series of cruises, each beginning and ending in Manila and exploring a different part of the island group. In addition to the Philippines proper, the ship also explored parts of the Dutch East Indies and areas around Hong Kong and Taiwan. The expedition returned great quantities of fish and invertebrate speciments as well as hydrographic and fisheries data; most of the material was eventually deposited in the Smithsonian Institution's National Museum of Natural History. The fisehs were formally accessioned into the museum in 1922 and fell under the car of Barton A. Bean, Assistant Curator of Fishes, who then recruited Henry W. Fowler to work up the material. Fowler completed his studies of the entire collection, but only part of it was ever published, due in part to the economic constraints caused by the Depression. The material from the Philippine Expedition constituted the largest single accession of fishes ever received by the museum. These speciments are in good condition today and are still being used in scientific research

Faunistic spider collections in the Museum für Naturkunde Berlin: The collection of Erich Hesse

The ‘Hesse collection’ of spiders (Araneae) and harvestmen (Opiliones) in the Museum für Naturkunde Berlin is documented. Biographical notes on Erich Hesse – a former arachnid curator at the museum (1921–1940) – are provided. The ‘Hesse collection’ was actually put together by other workers, and can be broadly divided into two parts. One comes from Bielinek (= Bellinchen) on the Polish side of the Oder Valley (West Pommerania); now part of the ‘Unteres Odertal’ National Park. This Bielinek material includes notable records of Heriaeus oblongus Simon, 1918 and Gibbaranea ullrichi (Hahn, 1835). The other part of the collection comes from Colbitz-Letzlinger Heide in Saxony-Anhalt, Germany. Notable here are Pistius truncatus (Pallas, 1772) and Philodromus buchari Kubcová, 2004; the latter representing the first record of this species for Saxony-Anhalt

Code of Best Practices in Fair Use for the Visual Arts

This Code of Best Practices provides visual-arts professionals with a set of principles addressing best practices in the fair use of copyrighted materials. It describes how fair use can be invoked and implemented when using copyrighted materials in scholarship, teaching, museums, archives, and in the creation of art.The Code addresses the following five questions:Analytic Writing: When may scholars and other writers about art invoke fair use to quote, excerpt, or reproduce copyrighted works?Teaching about Art: When may teachers invoke fair use in using copyrighted works to support formal instruction in a range of settings, including online and distance teaching?Making Art: Under what circumstances may artists invoke fair use to incorporate copyrighted material into new artworks in any medium?Museum Uses: When may museums and their staffs invoke fair use in using copyrighted works -- including images and text as well as time-based and born-digital material -- when organizing exhibitions, developing educational materials (within the museum and online), publishing catalogues, and other related activities?Online Access to Archival and Special Collections: When may such institutions and their staffs invoke fair use to create digital preservation copies and/or enable digital access to copyrighted materials in their collections