This article addresses the issue of professionalization in the life sciences during the second half of the nineteenth century through a survey of British entomological periodicals. It is generally accepted that this period saw the rise of professional practitioners and the emergence of biology. However, recent scholarship has increasingly shown that this narrative elides the more complex processes at work in shaping scientific communities from the 1850s to the turn of the century. This article adds to such scholarship by examining (...) the ways in which the editors of four entomological periodicals from across this time frame attempted to shape the communities of their readership, and in particular focuses upon the apparent divide between ‘mere collectors’ and ‘entomologists’ as expressed within these journals. Crucially, the article argues that non-professional practitioners were active in defining their own distinct identities and thereby claiming scientific authority. Alongside the periodicals, the article makes use of the correspondence archive of the entomologist and periodical editor Henry Tibbats Stainton, which has hitherto not been subject to sustained analysis by historians. (shrink)

The article considers how the use of duplicates and the practice of photography interacted in museums of ethnography, contributing to the ambivalent framing of ethnographic objects as items that can be both scientific specimens and works of art. It focuses on the Musée d'ethnographie du Trocadéro in Paris and on the key period of its reorganization between 1928 and 1935, which was central to the institutionalization of French ethnology. By examining the place of duplicates in this museum, as well as (...) the major role attributed to photographs of objects and their materiality, the paper shows that these others of the ethnographic artefacts, often considered separately from their originals, still participated in the same project: the development of the museum and its growing cultural influence. While the duplicates positioned the museum in the various networks of the scientific community, the photographs appealed to the avant-garde, amateurs, African and Oceanian art dealers and the general public. (shrink)

This article will investigate the ways in which Polish illustrated press contributed to communicating and reporting the work of Polish émigré naturalists working in Latin America to the Polish general public living in the Prussian, Russian and Austrian partitions of the Polish‐Lithuanian Commonwealth 1844–1885. It examines the ways in which illustrations were used to shape the public's opinion about the significance of these migrants’ scientific achievements. The Polish illustrated press, its authors and editors were instrumental in shaping the public's perceptions (...) of the reach of Polish scientists, and exploring their impact on broader scientific debates, thereby situating Polish people and their work in a global context. The didactic and opinion‐making role of the illustrated press was highly influential among Polish audiences during this period, at a time when the survival of Polish identity, culture, language, and education was uncertain. Illustrated weeklies were one of the vectors through which high science was made accessible to the Polish public. A study of pictures in Polish illustrated press will help to explain how they contributed towards shaping the images in the public eye of naturalists’ scientific work, and discourses about science and its actors more broadly. (shrink)