This thesis presents a comparison of zoos and zoological gardens in the United States, Europe, and Asia. After an examination of these entities, the appeal and educational value of particular species is determined.

While human-animal relations have always been part of human cultures the public zoo is a relatively recent phenomenon that reflects very specific elements of Western cultures’ modern ideas about, and relationships with, nonhuman animals. By becoming such a familiar part of popular culture the zoo naturalises these ideas as well as certain modes of looking at and interacting with animals. In this thesis I argue that as literary works contemporary novels provide a valuable defamiliarisation of zoos which encourages the re-examination of the human attitudes and practices that inform our treatment of nonhuman animals. Through my analysis of J.M. Ledgard’s novel 'Giraffe', Diane Hammond’s 'Hannah’s Dream', Lydia Millet’s 'How The Dead Dream', Valerie Martin’s 'The Great Divorce' and Ben Dolnick’s 'Zoology' I explore the inherently anthropocentric social construction of nonhuman animals in human discourses and the way the novels conform to or subvert these processes. I demonstrate that nonhuman animal characters are constructed through a process of identification which involves naming, recognising the existence of their emotions and mediating their nonhuman forms of communication. Anthropocentric tendencies both aid and hinder this identification, for example the human valuing of sight over the other senses that sees eyes become important literary symbols and the gaze a crucial part of interaction and attributing meaning. Gaze and observation are also fundamental to the concept of the zoo where human treatment of nonhuman animals is represented in visual terms in the relationship between powerful spectator and disempowered object. Drawing on texts from multiple disciplines I argue that the anthropocentric nature of socially constructed nonhuman animals in human discourses means that any study of these animals is actually concerned with the human ideologies and processes that create them; as a site of captivity that markets wildness and freedom the paradoxical nature of the zoo provides the literary setting for an exploration of these themes.

The project is an astronomical educational facility with entertainment features. The main feature of the facility is the planetarium. The site of the project is located in The National Zoological Gardens forecourt in the northern part of the Inner City Tswane. / Dissertation (MArch(Prof))--University of Pretoria, 2008. / Architecture / unrestricted

To seek the essence of architecture in the provision of physical control would be to reduce architecture to mere building1. This dissertation questions the accepted pre-eminence of the rational over the intuitive in architectural design. Further investigation into the question forms a themed theoretical discourse around the origins of architecture, or enclosure and the escapism provided by ornamentation. The question is not restricted to the current architectural context and is discussed and ordered by the title trilogy. The investigation departs from a mythical scale gradually focussing to the macro and micro theories, ending on a site contextual level. Anima is the feminine Latin root for ‘soul’ or ‘spirit’, also ‘animal life’ (related to a creature’s breath); Technic is from the Latin technicus which means ‘details’ and ‘methods’. Combined, the words anima and technic refer to an imaginative creative ability, mediation between the unconscious and conscious mind2. Animatechnic becomes a mythological state of process and becoming in which the art of making or representation blurs the boundary between the emotional artisan and the technician; it is further viewed as a simile to the origins of architecture and the art of enclosure. Architecture as Escapism presents the post-modern theoretical debate regarding representation in the current age of production and consumerism, where the authenticity of product and experience plays a vital role. Ornamentation and representation provides objects with narrative lines and places objects in a metaphorical position against each other. The relevance of this understanding to the dissertation is in a possible neo-archaic approach to inventiveness and meaning in an age of production devoid or illusive of sacred being or awareness. ZOO becomes the metaphysical space where the situations of enclosure and escapism accumulate in multiple forms, a place where man’s perceptions of authenticity and reality is challenged. The concepts within the ZOO situation crystallises in the National Zoological Gardens of South Africa (NZG). ZOO is regarded as a collective, a world within a world, a representation in itself of the post modern situation, a microcosm. NZG is the place where, the situations and conditions of the mythical and further theoretical discourse are staged. It is a place where contemporary Animal and Man meets; a landscape of enclosure, cages or artificially copied habitats and representations to provide escapism. ZOO is a space where the collection of Animal and Man can be observed on a global spectrum; the mythical tempus of Paradise, of primordial plenitude. The dissertation aims to communicate the interconnectedness of the trilogy and investigates, interprets and gives form to the discourse and the metaphors or analogies surrounding the theme on various theoretical scales. The project hopes to inform intuitive design approaches by documenting and illustrating the design process involved. The building is redesigned and reinterpreted throughout the process. The investigation should therefore, be seen as the near final synthesis of method or the becoming of a structure and not the rationalised drive to a product. / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted

The subject of this dissertation is the Zoological Gardens of the Zoological Society of London (f. 1826) in the nineteenth century. Located in Regent s Park, it was the express purpose of the Gardens (f. 1828) to function as a testing-ground for acclimatisation and to demonstrate the scientific impor­tance of various animal species. The aim is to analyse what the Gardens signified as a recreational, educational and scientific institution in nineteenth-century London by considering them from four different perspectives: as a pan of a newly-founded society, as a part of the leisure culture of mid-Victorian London, as a medi­ator of popular zoology and as a constituent of the Zoological Society's scientific ambitions. After an introduction which describes the devlopment of European zoos, Chapter two recapitu­lates the early years of the Society and the Gardens. The original aims of the Society—science and acclimatisation located in a museum and zoological garden—as stated in various prospectuses, are examined. The implications of acclimatisation, it being a problematic practice, are outlined and the connections between acclimatisation, the Society, the Gardens and the British Empire are also briefly considered. The founding of the Gardens is extensively described as well as how the animals were obtained and how exhibits were arranged. Chapter three is based primarily on the popular response to the Gardens in the 1850s when, after a period of decline, the institution once again became a common London visiting-place. The most important questions of this chapter concern the public and how it reacted to the Gardens of this period. The financial problems preceding the five years between 1850 and 1855 ^ described as well as how the Society managed to regain its popularity. This process was closely linked to the decision in 1847to let non-members of the Society enter the Gardens, and the implications of this resolution are discussed. As a background to the Gardens' popularity, two other London recreations are also described: the Colosseum Panorama and the Surrey Zoological Garden. The Surrey Zoological Gar­den especially is interesting, as it was a rival of the Society's Gardens, and the different attractions of these establishments are considered. Chapter four focuses on the official and non-official guidebooks to the Gardens and the implica­tions of these as mediators of popular zoology. The historical and cultural connection between the guidebooks and travel handbooks is oudined and also how the genre as a whole is constructed. The progress and development of the Society's guidebooks during the nineteenth century is described and the differences between these guidebooks and the non-official ones are examined. Finally, with the aid of Victorian children's books, I argue that the guidebooks can literally be considered as travel handbooks since a visit to the Gardens may be regarded as a journey of knowledge. Chapter five is an in-depth study of the zoological science of the Gardens. The scientific work of the Society is briefly described, starting with the Committee of Science and Correspondence, and the Proceedings of the Zoological Society of London. The Proceedings reports that base their findings on animals in the Gardens are then described together with minor detours into the history of taxonomy and morphology. / digitalisering@umu

Suivant les récents développements historiographiques dans le champ de l’histoire des animaux, cette thèse aborde l’histoire des jardins zoologiques du côté des bêtes elles-mêmes. Elle examine donc non seulement les politiques humaines de gestion des animaux de zoo, mais aussi leurs influences sur les corps et les comportements des animaux, et leurs évolutions mutuelles. L’examen débute à la fondation du jardin zoologique, c’est-à-dire au moment de la création de la ménagerie parisienne du Jardin des Plantes en 1793, et se centre, outre sur cette institution originelle, sur le jardin zoologique de Londres, créé en 1828, et celui d’Anvers, fondé en 1843. Pour écrire l’histoire des animaux de zoo, la thèse mobilise une méthodologie qui mêle des indicateurs descriptifs – témoignages sur les corps et comportements animaux, sur les infrastructures de captivité, sur les soins et l’alimentation dont bénéficient les bêtes, .... – et quantitatifs – étude sérielle sur la longue durée des entrées et sorties d’animaux ainsi que des longévités des primates et des grands félins. L’évolution de ces différents indices est examinée au sein d’un cadre chronologique régi par les politiques des gestionnaires de zoos. Ainsi, après une première partie débutant à la fondation des institutions étudiées, une seconde s’ouvre au début du XXe siècle, alors que le marchand allemand Carl Hagenbeck ouvre en 1907 un zoo privé à Stellingen, près de Hambourg, qui popularise un nouveau type de présentation des bêtes, par lequel celles-ci sont exposées durant la journée en plein air et séparées du public par des fossés. Enfin, une troisième partie s’amorce à partir des années 1950, lorsque les zoos s’attellent à la mise en œuvre d’une nouvelle fonction, celle de protection des espèces ex situ, s’ajoutant aux trois autres traditionnellement endossées (récréative, éducative, scientifique).L’examen des vies des bêtes sous l’influence des politiques humaines aboutit à élaborer une nouvelle chronologie des zoos, qui distingue un long XIXe siècle, dévoreur de vies animales ; une seconde phase, hygiéniste, à partir de l’entre-deux-guerres, caractérisée par les volontés des gestionnaires de rationaliser les conditions de captivité, mais dont les incidences sur les vies animales sont toutefois réduites ; enfin une troisième, attentive aux animaux, du milieu des années 1970 à nos jours, qui permet la naissance d’une nouvelle économie animale des zoos, qui voit l’atténuation des ponctions en milieu naturel pour la plupart des taxons (spécifiquement les mammifères et les oiseaux).Ce faisant, l’étude met aussi en évidence, à rebours des discours finalistes de l’historiographie officielle, des permanences, immanentes à la captivité des animaux dans le contexte des zoos. Il s’agit d’une part de l’expression par les bêtes de comportements anormaux dans des proportions qui dépassent le niveau anecdotique ; il s’agit d’autre part de l’approvisionnement en milieu naturel, qui, bien qu’en déclin dans le contexte du bouleversement de l’économie animale, persiste jusqu’à nos jours en nombre important pour les taxons moins considérés, soit les poissons et les invertébrés, et se réincarne en de nouveaux avatars pour les autres (ponctions dans le cadre des programmes de protection, captures scientifiques, ...). / Following in the footsteps of recent developments in the French historiography, this dissertation aims at balancing the attention given to humans and animals. The research therefore focuses on human policies concerning the management of animals kept in zoological gardens, as well as on their consequences on the bodies and behaviors of animals, and on mutual influences between humans and animals.The study begins with the birth of the zoological garden, i.e. the creation of the Jardin des Plantes Menagerie in 1793, and focuses on this institution as well as on the London Zoo, created in 1828, and the Antwerp Zoo (1843). In order to write the history of zoo animals, the method uses both descriptive indicators – testimonies on animals bodies and behaviors, on captive environments, on animal cares, handling and food, ... – and quantitative indicators – long-term study of the arrivals and departures, births and deaths of animals and of the longevity of Primates and Pantherinae in captivity. The evolution of these indicators takes place in a chronological framework based on the policies designed to manage zoo animals. The first part begins with the foundation of the zoological gardens. The second one starts at the beginning of the 20th century, when German dealer Carl Hagenbeck opened a zoo in Stellingen, near Hamburg (1907) which popularized a new way to display the animals, in open-air enclosures separated from the public by ditches. The third part starts in the 1950’s, when zoos implemented a new function, one of ex situ conservation, in addition to their other traditional recreative, educative and scientific missions.This study of animal lives under human influence results in a new chronology of zoological gardens, discerning a long 19th century, that consumed animal lives, a second phase, hygienist, from the interwar period, marked by the managers’ willingness to rationalize the conditions of captivity, without much influence on animals lives and longevity, and a third one, from the mid-1970’s to the present time, characterized by increased attention to zoo animals and their well-being, allowing the birth of a new animal economy of zoological gardens, by which in situ captures decline for most taxa (specifically mammals and birds).The dissertation also shows, in opposition with the finalist discourses of the official historiography, somes continuities, immanent to animal captivity in the context of zoological gardens. Abnormal behaviors in animals especially appear in proportions exceeding the anecdotal level. Another important phenomenon pointing to continuities is the collecting in the wild which, although it declined at the same rhythm that the new animal economy developed, has persisted to this day, profusely for the least considered taxa (fishes and invertebrates), and resurfacing in new iterations for mammals, birds, reptiles and amphibians (capture for purposes of conservation, for scientific collecting, ...).

The project originated as a means to find a solution to the lack of legibility that the National Zoological Gardens’ entrance expresses where it is situated on the Northern gateway into the Pretoria CBD. In order to develop an appropriate responsive architecture, the proposed solution aims to find the requirements for a successful public interface for tourist attractions and the local community. Attention will also be given to the transitional spaces between the natural environments of the Zoo and the city. The aim firstly is to steer away from mono-functional urban spaces and tourist attractions hidden behind built barrier, in order to ensure that the architecture will be an asset to tourism and the general public. / Dissertation (MArch(Prof))--University of Pretoria, 2010. / Architecture / unrestricted

The main aim of this diploma thesis is to create quests by which children of younger school age get acquainted with the environment of Hluboká Zoo. It includes methodological materials for teachers. Quests were created based on theoretical and practical knowledge. Their aim is to arouse interest in nature. As a teaching aid, it can be used not only by the school but also by the general public for educational and educational purposes. The thesis also contains information about Questing, outdoor games, leisure, out-of-school teaching and training in zoos.

M. Tech. Architecture (Professional) / The National Research Foundation has recognized the zoo as a critical player towards the conservation of animal heritage in southern Africa. Yet, as we have seen, tantamount to having outstanding research methods, is having the needed facilities to deploy them effectively. In order for this to come to bare, the zoo requires a careful assessment of architectural concerns. This thesis presents exactly those. The wildlife medical centre here proposed precipitates out of a comprehensive study engaging the following issues of concern; zoo healthcare and rehabilitation, sub-nature and animal architecture. The proposed site location currently supports the out-dated hospital (built in 1969), which is on the zoo's south-eastern corner along Boom Street. Its facilities include a veterinary hospital, research laboratories, a bio-bank, temporary wards, and rehabilitation wards whose design derives not only from traditional matters of architectural concern but also the informed, first-hand knowledge of the animals' needs and preferences as understood by the zoo's staff. Additionally, the proposed design exposes and showcases the zoo's research facilities along its public interface in order to better serve its educational efforts. Thus, this proposal presents the means for promoting conservation awareness and, at the same time, empowers its dedicated staff.

Orientador: Lúcia Eustáchio Fonseca Ribeiro / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-22T15:22:03Z (GMT). No. of bitstreams: 1 Venturini_RacheldeCastro_M.pdf: 6049730 bytes, checksum: f0134aea73d73c6237ae3ad68877e47e (MD5) Previous issue date: 2013 / Resumo: A pesquisa aqui apresentada busca o entendimento, sob o ponto de vista das Artes Visuais, do processo criativo dos recintos expositivos pertencentes à exposição "O Caminho da Serpente". Sediada na Fundação Parque Zoológico de São Paulo (FPZSP), essa mostra é direcionada para a manutenção e exposição da população de serpentes pertencente à Fundação. Contudo, o seu objetivo não se limita a apresentar ao público espécimes nativos e exóticos em um cenário "bonito" e, sim, construir um ambiente propício ao bem-estar dos animais, bem como a vivências que resultem na educação ambiental e no vínculo positivo do visitante com as serpentes. Dentro desse projeto expositivo abrangente, encontra-se o objeto de estudo: o processo de criação coletivo e multidisciplinar de ambientações realistas, fundadas na representação de um habitat selvagem, e destinadas à manutenção e exposição de um ser vivo. E considerando que a pesquisa está imersa em um contexto de interface entre áreas, abarcando a criação em artes visuais, bem como o universo dos zoológicos, optou-se por abordar e discutir esse mesmo objeto, a partir de um elemento que sempre se manteve como campo propício de englobar a criação, identificado como mediador de ambos os universos e constantes em todo o processo: a paisagem / Abstract: The research presented here seeks to understand, under the point of view of the Visual Arts, the creative process of exhibition venues belonging to the exhibition "O Caminho das Serpentes". Headquartered in the Zoological Park of São Paulo, this show is directed to the maintenance and exposure of the population of snakes belonging to the Foundation. However, its goal is not limited to present to the public native and exotic specimens in a "beautiful "scenario, and yes, build an environment favorable to the welfare of animals, as well as the experiences that result in environmental education and the positive bond of the visitor with snakes. Within this extensive exhibition project, is object of study: the processes of creating collectives and multidisciplinary realistic ambientations, based on the representation of a wildlife habitat and designed to the maintain and exposure of a living being. And considering that research is embedded in a context of interface between areas, encompassing the creation in visual arts as well as the world of zoos, it was decided to address and discuss the same subject, from an element that always kept as favorable field to encompass creation, identified as a mediator of both universes and constant throughout all process: the landscape / Mestrado / Artes Visuais / Mestra em Artes Visuais