HUMANIMALIA Vol. 13, No. 1 (Fall 2022) Humanimalia is a biannual journal devoted to the study of human–an- imal relations. It is interdisciplinary, open-access, and peer-reviewed, publishing original articles from a wide range of cultural, historical, philosophical, political, and aesthetic perspectives. Humanimalia has three aims: to explore and advance the vast range of scholarship on human–animal relations, to encourage exchange among scholars working from a variety of disciplinary perspectives, and to promote dialogue between the academic community and those working closely with animals in non-academic fields. We invite innovative works that situate these topics within contem- porary culture via a variety of critical approaches. Ideally, we seek papers that combine approaches, or at the very least draw upon research in other disciplines to contextualize their arguments. As much as possible, we seek papers that acknowledge and seek to advance a more-than-human conception of aesthetics, culture, and society. https:humanimalia.org Cover: Ciao Maschio, 1978 Editorial Board Managing Editor Kári Driscoll Utrecht University Associate Editors Mari Bastashevski Norwegian University of Science and Technology, Trondheim Clemens Driessen Wageningen Univeristy Marianna Szczygielska Czech Academy of Sciences, Prague Kerstin Weich Messerli Research Institute, Unversity of Veterinary Medicine, Vienna Book Reviews Editor Dominic O’Key University of Sheffield Copyeditors Kári Driscoll Dominic O’Key Pauw Vos Layout and Design Mari Bastashevski Kári Driscoll Typsetting Kári Driscoll Editor’s Introduction | iii Humanimalia 13.1 (2022) It gives us great pleasure to present to you this new issue of Humanimalia, the first in its new incarnation, and after a short hiatus during which the journal moved from its original home at DePauw University in Greencastle, Indiana to Utrecht University in the Netherlands. We have a new look, a new logo, and a new ed- itorial team, but we remain committed to promoting a more-than- human conception of aesthetics, politics, culture, and society as we continue the work of the journal in this next phase of its existence. Humanimalia was founded in 2006 by Istvan Csicsery-Ronay and Sherryl Vint, both long-time editors of Science Fiction Studies, in con- sultation with Donna Haraway and China Miéville. At the time, Hum- animalia was the only animal studies journal to be fully online and open-access, and part of its core mission is to promote inter- and transdisciplinary work from across the humanities, natural and so- cial sciences and beyond — the original cfp also invited legal schol- ars, veterinarians, zookeepers, and amateur naturalists to submit their work. This commitment to accessibility and transdisciplinary dialogue remains a key aim of the journal. The first issue was published in 2009, and a further twenty-two is- sues followed over the next twelve years, comprising almost three hundred articles and reviews. In late 2020, Istvan announced his retirement, and for a time it seemed that the journal would cease operations altogether. Luckily, I was able to convince Istvan to hand over the reins to me and I set about arranging for Humani- malia to move to the Netherlands. Fortuitously, this transfer co- incided with the launch of OpenJournals.nl, a newly established open-access publishing platform, which would become Humani- malia’s new home. Meanwhile, I assembled a new team of editors: Marianna Szczygielska (feminist history of science), Clemens Dries- sen (more-than-human geography), Kerstin Weich (philosophy and veterinary medicine), and Mari Bastashevski (art and design). My fellow literary animal studies scholar Dominic O’Key agreed to come onboard as book reviews editor. Together, we have spent the better part of the past two years getting the journal back up and running in its new guise. iv | Editor’s Introduction Humanimalia 13.1 (2022) When it first launched, Humanimalia bore the subtitle “a journal of human/animal interface studies”. In redesigning the journal, we opted to drop the subtitle, feeling that it was no longer necessary given that human–animal studies is now firmly established as a field of inquiry. Nevertheless, it bears emphasizing that the jour- nal retains a particular interest in the question of the various inter- faces between humans and nonhumans, which, in this digitally me- diated age of extinctions, are increasingly not just cultural but also technological. The field of animal studies has long been preoccu- pied with the “disappearance” of animals from everyday modern life and, concomitantly, with the (im)possibility of authentic, un- mediated encounters with nonhuman others. This discourse has often been marked by an underlying suspicion of media and tech- nology, which tends to assume that culturally or technologically mediated encounters with animals are not just qualitatively differ- ent but inherently less “real” than encounters with actual animals in the wild — a view that implicitly buys into the fantasy of unmed- iated access to animals. A fundamental assumption of Humanima- lia’s approach is that the relationship between humans and nonhu- mans is always historically, culturally, and technologically mediated, and, conversely, that history, culture, and technology are and always have been constitutively more-than-human. This principle of universal mediation and humanimal interaction in and through technological interfaces is represented in the journal’s new logo, which was designed by Mari Bastashevski in collabora- tion with a rout of snails using a customized haptic interface. Each dot constitutes a single touch; a line between the dots connects two touches occurring simultaneously. Snails can generate up to six lingering touches simultaneously: three with their bodies, two with their antennae which they use to test where to go next, and one for the trail, which the touchpad registers as a lingering touch. Mari prepared the ground by introducing two baseline 2D geome- tries that constitute the foundation of human design—a circle and a line — and then allowed the snails to build on that. The logo is the choreographic record of two snails dancing across this interac- tive digital plane; a visual representation of the “dance of relating”. Editor’s Introduction | v Humanimalia 13.1 (2022) Humanimalia is devoted to the study of human–animal relations from a wide range of cultural, historical, philosophical, political, and aesthetic perspectives and disciplinary approaches. This broad range is reflected in the current issue, which features six research articles on subjects ranging from taxidermy and display practices of nonhuman primates in natural history museums (Verity Burke) and the construction of nonhuman personalities at several animal shelters in Finland (Nora Schuurman), to human–tiger cohabita- tion in India (Kath Weston) and human–mouse cohabitation in Am- sterdam (Eva Meijer), to the phenomenal presence of dogs in clas- sic Hollywood cinema (Borbála Lászlo), and the hermeneutic and pedagogical challenge and necessity of reading literary animals as animals (John Drew). In order to mark the transition to this new phase in the journal’s his- tory, we wanted to invite some of the founding figures in the field to look back on the past two decades and to look forward to how they see the field developing. We took as inspiration the pioneer- ing series of position papers published by H-Animal under the title “Ruminations” in the mid-2000s. For this issue, we are delighted that Erica Fudge agreed to revisit her Rumination on “The History of An- imals” from 2006. We hope to make this a recurring series of inter- ventions featuring established and emerging scholars in the field. For future issues, we are also actively looking to include a variety of different forms, from proposals (modest or indecent), provocations, roundtables, and special sections to artistic or multi-media contri- butions, and we invite you, our readers, to get in touch with ideas and suggestions. The issue concludes with eight book reviews on a range of recent ti- tles that showcase the transnational scope and growth of the field. For this issue we are bringing back a format that was a hallmark of Humanimalia in the early days, namely the double book review, where two scholars from different disciplinary backgrounds each re- view the same book, in this case Charis Olszok’s recent monograph The Libyan Novel: Humans, Animals and the Poetics of Vulnerability (2020), which is reviewed by Susan McHugh and Nadine A. Sinno. vi | Editor’s Introduction Humanimalia 13.1 (2022) The theme of what McHugh calls “regional creatures” (i.e. non-An- glophone perspectives on animals and animality) continues with Deborah Amberson’s review of Animality in Contemporary Italian Phi- losophy, edited by Felice Cimatti and Carlo Salzani (2020), and in Salzani’s own review of Animals and Humans in German Literature, 1800–2000, edited by Lorella Bosco and Micaela Latini (2020). In his review of Outside the Anthropological Machine, edited by Chiara Men- gozzi (2021), André Krebber wonders “whatever happened to Gior- gio Agamben in human–animal studies” — a question that finds an- other potential answer in Adam Kotsko’s review of Agamben and the Animal (2022) by none other than the ubiquitous Carlo Salzani. Rounding out the issue are Dominic O’Key’s review of Juno Salazar Parreñas’s Decolonizing Extinction (2018) and finally Philip Howell’s review of Chris Pearson’s Dogopolis: How Dogs and Humans Made Modern New York, London, and Paris (2021). Many thanks to the authors and peer reviewers, without whose hard work and generosity we wouldn’t have an issue at all; to everyone at OpenJournals for making the transition as smooth as possible; to our companions and partners, human and nonhuman; and of course to Istvan for giving us the opportunity to continue the work he started. We hope you enjoy reading this issue and we look forward to receiv- ing your feedback and submissions for future issues. On behalf of the editorial team, Kári Driscoll, Managing Editor Utrecht, October 2022