This article examines Chen Ziying, an American-trained Chinese biologist and his prewar efforts to bring his Woods Hole experience from the United States to China between 1930 and 1936. I argue that the Marine Biological Laboratory appears as a prominent American scientific institution in the twentieth century among visiting Chinese students and scholars who were drawn to the American approach of building world-class seaside laboratories to facilitate marine biological study while cultivating a collaborative culture via songs of biology. Chen was (...) one of the leading US-trained Chinese scientists who aspired to the international trend of developing coastal biology in the early twentieth century and was determined to modernize China’s discipline-building of biology with the construction of marine research facilities similar to the MBL. I show that Chen’s efforts of bringing the MBL practice to China took place at a time when science in China was overshadowed by the impulse of nationalism. Despite the nationalistic rhetoric, Chen was able to establish a Chinese connection with Woods Hole by introducing the MBL cultural practices of songs with biological significance. Lyrics from popular biological songs such as “It’s a Long Way from Amphioxus” and “Songs of Amoy” reflect not just Darwinian themes but also a transnational connection between American and Chinese biologists in Republican-era China––a period in modern Chinese history that is often characterized by soaring sentiments of nationalism. This paper sets out to reconsider the interplay of scientific nationalism and scientific internationalism in shaping marine science in modern China, as well as to reflect on the meanings of value-laden terms such as “nationalism” and “foreignness” and their conceptual impacts on writing the historiography of biology in twentieth-century China. (shrink)

ABSTRACT Evolution cartoons served polemical and satirical purposes even before Darwin published On the Origin of Species, and they proliferated afterward. Yet even though Victorian evolution cartoons often pictured Darwin himself as a personification of his theory, by the time of the Scopes trial controversy in the 1920s cartoons about evolution had come to popularize ironically non‐Darwinian views of evolution. Cartoons repeated, reflected, and perpetuated teleological views of evolution and often implicitly associated evolution with prevalent attitudes about race, gender, and (...) social hierarchies. Cartoons drew on old iconographic traditions, expanding them to fit changing historical circumstances, forming a lasting cartoon lexicon. Though adaptable and protean, the language of evolution cartoons, like any language, carries its history with it, and in them we can read the history of the cultural context of evolution controversies. (shrink)