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Berger, John. About Looking. London: Writers and Readers, 1980. Braidotti, Rosi. ‘Animals, Anomalies, and Inorganic Others’. 2 (2009): 526–32. Burns, Khephra. ‘Tall Horse: Performance Script’. Journey of The Tall Horse: A Story of African Theatre. By Mervyn Millar. London: Oberon Books, 2006. 237–77. Burt, Jonathan. Animals in Film. London: Reaktion, 2002. Chaudhuri, Una. 2009. ‘“Of All Nonsensical Things”: Performance and Animal Life’. 2 (2009): 520–25. Coetzee, J. M. The Lives of Animals. Ed.

New York: Columbia UP, 2011. Root, Deborah. Cannibal Culture: Art, Appropriation, and the Commodification of Difference. Boulder, CO: Westview Press, 1996. Rothfels, Nigel. Savages and Beasts: The Birth of the Modern Zoo. Baltimore: Johns Hopkins UP, 2002. ——. 2 (2009): 480–86. Tait, Peta. Wild and Dangerous Performances: Animals, Emotions, Circus. Basingstoke: Palgrave Macmillan, 2012. Wolfe, Cary. 2 (2009): 564–75. ——. What Is Posthumanism? Minneapolis: University of Minneapolis Press, 2010. 2 The Scramble for Elephants: Exotic Animals and the Imperial Economy John Simons In 1987 Harriet Ritvo’s influential book The Animal Estate was the first major statement of the thesis that one can trace a relationship between the contours of Imperialism and the representation and status of exotic animals in nineteenth-century Britain.

A puma from South America would cost £40 from the London docks because of the freight charge, but one could be had for £10 in Hamburg. In fact, by 1903 Albert had all but abandoned the animal trade and was concentrating on the curio business. John Hamlyn kept going, but in 1916 his published price list bears out the decline in the trade with the only animals of real value being an antelope at £25, emus at £12 each, a twelve foot anaconda at £15 and an eight foot one at £6. Everything else was of lower value and less interesting and the fact that he was doing a bulk deal on raccoons (selling them at £3 each or £5 for two) shows something of the state into which the business had fallen.

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