Bioarchaeological Analyses and Bodies 2018
DOI: 10.1007/978-3-319-71114-0_2
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“Whatever Was Once Associated with him, Continues to Bear his Stamp”: Articulating and Dissecting George S. Huntington and His Anatomical Collection

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Cited by 11 publications
(8 citation statements)
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“…Robert J. Terry started the R. J. Terry Anatomical Collection in 1910, influenced by his mentors George S. Huntington and Sir William Turner [23,33]. Between 1893 and 1921, at Columbia University, Huntington collected between 7000 and 8000 human skeletons from unclaimed individuals [15]. As Huntington's health declined, bone elements from the collection were traded or gifted to other institutions [15].…”
Section: Anatomical Collectionsmentioning
confidence: 99%
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“…Robert J. Terry started the R. J. Terry Anatomical Collection in 1910, influenced by his mentors George S. Huntington and Sir William Turner [23,33]. Between 1893 and 1921, at Columbia University, Huntington collected between 7000 and 8000 human skeletons from unclaimed individuals [15]. As Huntington's health declined, bone elements from the collection were traded or gifted to other institutions [15].…”
Section: Anatomical Collectionsmentioning
confidence: 99%
“…Between 1893 and 1921, at Columbia University, Huntington collected between 7000 and 8000 human skeletons from unclaimed individuals [15]. As Huntington's health declined, bone elements from the collection were traded or gifted to other institutions [15]. Approximately 3070 partial skeletons that remained from the Huntington Collection are now housed at the National Museum of Natural History [14,15].…”
Section: Anatomical Collectionsmentioning
confidence: 99%
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“…While my work with the women in the Huntington Collection requires that I take seriously the physical body, “the workings of blood, flesh, bones, and muscles,” I also need space for other ways of knowing the Black female experience, many of which do not fit the traditional scope of biological anthropology (McKittrick 2010, 123). I also do not feel comfortable claiming to “speak for the dead,” and instead acknowledge the postmortem careers of the women I study and collaborate with (Lans 2018; Verdery 1999). McKittrick (2010) turns to the work of artist Willie Bester, whose Sarah Baartman sculpture is made from recycled steel.…”
Section: Rereading Bodiesmentioning
confidence: 99%