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Historians of science are less inclined now than they were a few years ago to regard chemistry as having sprung full-grown from the mind of Antoine-Laurent Lavoisier. Many of the contours of pre-Lavoisierian chemistry have recently been mapped, its Newtonian and Stahlian theoretical traditions have been delineated, and the degree of coherence enforced on the subject by its didactic role has been argued. In addition, the social prominence and cohesion achieved by chemists in various national contexts, such as France, Scotland and Germany, have been investigated. Karl Hufbauer (arguing specifically from the case of Germany) and Christoph Meinel have proposed that the cultural climate of the European Enlightenment provided the language and the social settings in which chemistry could be detached from its previous role as a service-art for medicine, and presented as a science with diverse practical applications.
Alfred Waterhouse's ornate Romanesque building at South Kensington, London, has contained the natural history collections of the British Museum since 1881. First opened to the public on Easter Monday, 18 April, in that year, the British Museum (Natural History) (BM(NH)) has become well-known for the excellence of its exhibition galleries, particularly for its dinosaurs, blue whale, and, more recently, for its revolutionary Hall of Human Biology.
In his famous biography, Ernest Jones turns aside from his central theme at one point to relate a curious episode involving psychoanalysis and Hollywood, in the persons of Freud and the well-known film producer Samuel Goldwyn. Like many others in the film industry, Goldwyn was fascinated with the challenge of exploiting the association between psychoanalysis and sex on screen, but although he approached ‘the greatest love specialist in the world’ with an offer of $100 000 for his co-operation in making a movie, Freud declined and even refused to see him. To some degree, Freud's antagonism sprang from his distaste for America and its values, which he contemptuously dismissed as a blend of crude behaviourism, materialism and consumerism, epitomized in the figure of Goldwyn, whose reputation for vulgarity had preceded his arrival in Europe. But for the most part, he remained sceptical that the theories of psychoanalysis could ever be properly expressed on the silver screen, even when the attempt was made by two close acquaintances, Hanns Sachs and Karl Abraham.