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Artefacts created from big game material proliferated during the period between 1870 and 1920 and, through their physical and metaphorical circulation as trophies, mementos, furnishings, garments, and personal accoutrements, became increasingly visible as they percolated from their predominantly elite genesis, into a multiplicity of public, domestic and civic spaces. This study seeks to discern the effect of their dissemination, showing how it impacted on the museum displays, domestic decor, fashionable dress and commodity culture of the era. It reflects the extensive representation of big game hunting, and its material effusions, in the text and images of the expanding periodical press, recognising the contribution of published sources to public reception of these artefacts and their developing role as commodities. My thesis aims to demonstrate that detailed examination of the varied and abundant artefacts which stemmed from big game hunting can offer valuable insights into the social and cultural history of the era and argues that this material's entanglement in Britain's imperial project is too significant to overlook. It contends that the transitions from nature to culture, which these objects illustrate, map the reach of the burgeoning Empire, and plot the dichotomies of late Victorian, and Edwardian, engagements with the natural world and subaltern nations. Scholarly work by John M. Mackenzie and Harriet Ritvo, in the mid 1980's, firmly established the relevance of the examination of material culture, within the contexts of animal studies and imperial history, as a fruitful field for academic research, arguing convincingly for further examination of its varied manifestations. However, a generation later, no comprehensive exploration of those elements appertaining to big game hunting has been attempted. Encouraged by the post-millennial 'material turn' in social history, identified by scholars including Bill Brown (2001), Erica Rappaport (2006) and Frank Trentmann (2009), my work draws on a wealth of contemporaneous factual sources including museum, exhibition and trade catalogues, fashion plates, unpublished correspondence, biographical material, museum records, archival sources and popular fiction, to explore the circulation and representation of big game material culture, during a long fin de siècle, and reveal its extensive influence. As a whole, this thesis seeks to offer a nuanced, detailed and holistic view of the visibility and affect of the material culture of big game hunting in the period.

La propuesta del diseño del museo e infraestructura en Chosica – Chiclayo –Lambayeque, se dirige a recuperar y conservar el patrimonio cultural encontrado en dicha zona ya que se encuentran en total abandono, dicho centro está diseñado como un espacio de acogida, recepción e información para los visitantes y a la vez utilizarse como un espacio para el desarrollo de programas formativos de la población local, que los capacite tanto en conocimiento y respeto de su patrimonio cultural, y de la misma manera poder brindar servicios a los visitantes con el fin que conozcan tanto de los restos arqueológicos encontrados en Chosica, como de la existencia de la población a la que pertenece, conociendo sus dimensiones socioeconómicas y culturales. / The proposal for the design of the cultural interpretation center in Chosica - Chiclayo - Lambayeque, is aimed at recovering and preserving the cultural heritage found in this area since it is in total abandonment. This center is designed as a welcoming, reception and information space for visitors and at the same time to be used as a space for the development of training programs for the local population, to train them in knowledge and respect for their cultural heritage, and in the same way to provide services to visitors in order to learn about the archaeological remains found in Chosica, as well as the existence of the population to which it belongs, knowing its socioeconomic and cultural dimensions.

The history of collection at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts, illustrates concepts of race in the development of museums in Canada from before Confederation to today. Located at intersections of Art History, Museology, Postcolonial Studies and Native Studies, this thesis uses discourse theory to trouble definitions of nation and problematize them as inherently racial constructs wherein 'Canadianness' is institutionalized as a dominant white, Euro-Canadian discourse that mediates belonging. The recent reinstallations of the permanent Canadian historical art galleries at the National Gallery of Canada, the Art Gallery of Ontario and the Montreal Museum of Fine Arts are significant in their illustration of contemporary colonial collection practices. The effectiveness of each installation is discussed in relation to the demands and resistances raised by Indigenous and non-Native artists and cultural professionals over the last 40 years, against racist treatment of Indigenous arts.

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