This timely book describes and analyses a neglected area of the history of concern for animal welfare, discussing the ends and means of the capture, transport, housing and training of performing animals, as well as the role of pressure groups, politics, the press and vested interests. It examines primary source material of considerable interdisciplinary interest, and addresses the influence of scientific and veterinary opinion and the effectiveness of proposals for supervisory legislation, noting the current international status and characteristics of present-day practice within the commercial sector. Animal performance has a long history, and at the beginning of the twentieth century this aspect of popular entertainment became the subject not just of a major public controversy but also of prolonged British parliamentary attention to animal welfare. Following an assessment of the use of trained animals in the more distant historical past, the book charts the emergence of criticism and analyses the arguments and evidence used by the opponents and proponents in Britain from the early twentieth century to the present, noting comparable events in the United States and elsewhere.

In 1870 a twenty-six-year-old Paiute, Sarah Winnemucca, wrote to an army officer requesting that Paiutes be given a chance to settle and farm their ancestral land. The eloquence of her letter was such that it made its way into Harper's Weekly. Ten years later, as her people languished in confinement as a result of the Bannock War, she convinced Secretary of the Interior Carl Schurz to grant the requests in her letter and free the Paiutes as well. Schurz's decision unleashed furious opposition from the Bureau of Indian Affairs, cattlemen, and settlers. A campaign of disinformation by government officials followed, sweeping truth aside and falsely branding Paiute chief Egan as instigator and leader of the Indian forces. The campaign succeeded in its mission to overturn Schurz's decision. To this day histories of the war appear to be unanimous in their mistaken claim that Egan led his Paiutes into war. Indian agents' betrayal of the people they were paid to protect saddled Paiutes with responsibility for a war that most opposed and that led to U.S. misappropriation of their land, their only source of life's necessities. With neither land nor reservation, Paiutes were driven more deeply into poverty and disease than any other Natives of that era. David H. Wilson Jr. pulls back the curtain to reveal what government officials hid-exposing the full jarring injustice and, after 140 years, recounting the Paiutes' true and proud history for the first time.

This timely book describes and analyses a neglected area of the history of concern for animal welfare, discussing the ends and means of the capture, transport, housing and training of performing animals, as well as the role of pressure groups, politics, the press and vested interests. It examines primary source material of considerable interdisciplinary interest, and addresses the influence of scientific and veterinary opinion and the effectiveness of proposals for supervisory legislation, noting the current international status and characteristics of present-day practice within the commercial sector. Animal performance has a long history, and at the beginning of the twentieth century this aspect of popular entertainment became the subject not just of a major public controversy but also of prolonged British parliamentary attention to animal welfare. Following an assessment of the use of trained animals in the more distant historical past, the book charts the emergence of criticism and analyses the arguments and evidence used by the opponents and proponents in Britain from the early twentieth century to the present, noting comparable events in the United States and elsewhere.

Wolfgang Iser's study of Walter Pater (1839 94) was first published in German in 1960. It places the English critic, essayist and novelist in a philosophical tradition whose major exponents were Hegel and Coleridge, at the same time showing how Pater differed crucially from these thinkers to become representative of a late Victorian culture critically poised in transition between Romanticism and Modernism. Pater's new definitions of 'beauty' and 'style' in art, his doctrine of 'art for art's sake', his preoccupation with aesthetic existence, his fascination with periods of balance and historical transition are seen in the light of his scepticism towards all systematisation and his view of art as countering human finiteness by capturing the intensity of the moment. This important book, which remains as illuminating now as when it first appeared, will interest those interested in philosophy and aesthetics and Pater specialists alike.