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The Romance of Natural History, Second Series is a book by Philip Henry Gosse. Contents: Death of Species—Some Died in Early Historic Ages—Some Dying Now—Changes of Land and Water—Tertiary State of Europe—Dinothere of Germany—Sivathere of India—Gigantic Tortoise—Pachyderms of Siberia—Rhinoceros—Mammoth and many more.
My name is Calliope and "I bone for a living." Kidding. I am studying to be a paleontologist though. It's the only thing I've ever wanted to be, and I have finally landed the perfect museum internship to make all of my dino-loving dreams come true. Trouble is, everyone wants me to be a gentle, loving sort of creature, but I'm more of the T-Rex type by nature - the kind who is determined to stomp and tear her way through any obstacle in order to get what she wants. But when a sexy, rumbly-voiced astronomer plummets into my orbit and threatens to break open my hard little heart, my career and my whole way of looking at the world is suddenly on the line. The dinosaurs didn't see their asteroid coming. And I sure as hell wasn't prepared for mine.
The Victorian era heralded an age of transformation in which momentous changes in the field of natural history coincided with the rise of new visual technologies. Concurrently, different parts of the British Empire began to more actively claim their right to being acknowledged as indispensable contributors to knowledge and the progress of empire. This book addresses the complex relationship between natural history and photography from the 1850s to the 1880s in Britain and its colonies: Australia, New Zealand and, to a lesser extent, India. Coinciding with the rise of the modern museum, photography’s arrival was timely, and it rapidly became an essential technology for recording and publicising rare objects and valuable collections. Also during this period, the medium assumed a more significant role in the professional practices and reputations of naturalists than has been previously recognized, and it figured increasingly within the expanding specialized networks that were central to the production and dissemination of new knowledge. In an interrogation that ranges from the first forays into museum photography and early attempts to document collecting expeditions to the importance of traditional and photographic portraiture for the recognition of scientific discoveries, this book not only recasts the parameters of what we actually identify as natural history photography in the Victorian era but also how we understand the very structure of empire in relation to this genre at that time.