America at the World Fairs, 1851–1893*

Keyword(s):  
1989 ◽  
Vol 31 (2) ◽  
pp. 195-216 ◽  
Author(s):  
Carol A. Breckenridge

In the second half of the nineteenth century, objects from India were repeatedly assembled for display at international exhibitions, known then and now as world fairs. Their transience and ephemerality set world fairs apart as extraordinary phenomena in the world of collecting. They are special because, despite the permanence they imply, they do not last; they come and they go. Their buildings are constructed, and then, by international charter, they are deconstructed. They are also special because they place objects in the service of commerce and in the service of the modern nation—state, with the inevitable imperial encounters that these two forces promote. In doing so, they yoke cultural material with aesthetics, politics and pragmatics.


1950 ◽  
Vol 55 (4) ◽  
pp. 833 ◽  
Author(s):  
Merle Curti
Keyword(s):  

Iraq ◽  
2019 ◽  
Vol 81 ◽  
pp. 107-125
Author(s):  
J. DeGrado

Recent studies of cultural interaction in the Assyrian empire have focused on the process of assimilation and the production of alterity. In this article, I argue that Assyrian royal rhetoric goes beyond emphasizing simple difference, instead using depictions of cultural diversity to demonstrate the truly universal nature of the empire. I elucidate this rhetoric by comparison the world fairs of the 19th and early 20th-centuries. These fairs advanced European imperialism by allowing visitors to explore the vast extent of empire. I argue that the enumeration of exotic tribute in Assyrian texts and the iconographic depiction of foreigners on reliefs similarly served to concretize Assyrian power. Unlike modern European empires, however, Assyrians did not consider ethnicity to be constitutive of citizenship. Thus, while the Assyrian approach to diversity was certainly instrumentalizing, it was also inclusive of cultural difference. In this respect, the Assyrian understanding of human diversity shares much in common with the way the empire treated other types of difference, ranging from topographic variation to biodiversity. From the imperial vantage point, each of these elements had the potential to be tamed in a way that highlighted the control of the king over the four quarters of the world.


2013 ◽  
Vol 10 (2) ◽  
pp. 347-351 ◽  
Author(s):  
STEFANIE GÄNGER ◽  
SU LIN LEWIS

This forum explores new directions in global intellectual history, engaging with the methodologies of global and transnational history to move beyond conventional territorial boundaries and master narratives. The papers focus on the period between the last decades of the nineteenth century and the first decades of the twentieth, an era in which the growth of cities, burgeoning print cultures and new transport and communications technology enabled the accelerated circulation and exchange of ideas throughout the globe. The proliferation of conferences, world fairs, and international congresses, the growing professionalization and definition of academic disciplines, and the enhanced circulation of scholarly journals and correspondence enabled intellectuals around the world to converse in shared vocabularies. Much of the scholarship on early twentieth-century intellectual history in the non-Western world has been viewed through the binary relationships of metropole and colony, or as nationalist reactions to colonial domination. This cluster widens the framework to consider the way in which intellectuals formed scholarly networks and gathered multiple influences to articulate new visions of community and society within a wider world of ideas. The multiplicity of imperial and transnational pathways allowed not only for “centers of calculation” in colonial metropoles, but also for points of convergence and encounter outside Europe. As these papers show, the routes by which ideas travelled brought forth a global republic of letters, composed of diverse “centers” for the collection and production of knowledge by intellectuals operating in different parts of the world.


1970 ◽  
pp. 39
Author(s):  
Brita Brenna

A true and vividpicture of the world; world exhibitions and museum history Norwegian participarion in Internarional Exhibirions, World Fairs and Expositions Universelles in the last century and its potential relationship to museum history is the subject of this paper. It starts with a juxtaposition of EXP0'98 in Lisbon and the international exhibitions that were arranged in the last century. The juxtaposition highlights how the cultural effects of ideas are transmitted by international exhibitions and how the rationale for such events has changed since the 19th century. This comparison serves as a background for a discussion of the exhibitions of the last century in museological terms. It is argued that there are good reasons for a comparison and for viewing the international exhibitions in the light of the development of museums and museum practice. 


2012 ◽  
Vol 5 ◽  
pp. 517-519
Author(s):  
Zsuzsanna Tóth
Keyword(s):  

None.


2018 ◽  
Vol 45 (2) ◽  
pp. 212-231
Author(s):  
Christina Vollmert

The 1891 International Electrotechnical Exhibition in Frankfurt am Main displayed a wide range of technological inventions and advancements from around the world. Inspired by the big world fairs, organisers staged spectacular arrangements of exhibits and technological inventions combined with theatrical entertainment. This article will take as its focus a specific performative aspect of a water spectacle, called ‘Tatzelwurm’ – a fantastical environment inspired by the poem ‘ Zum feurigen Tatzelwurm’ by German novelist Joseph von Scheffel, which was dedicated to a Bavarian tavern on top of a waterfall. Repurposed to depict the power of steam engines within the context of the Electrotechnical Exhibition, this tavern was built on an artificial rock above an electrically powered waterfall. Besides the interplay between new inventions and theatricality in the nineteenth century, the article focuses on the ecology of this scenery. The exhibition actually cost more money to build than it ever earned back in visitor revenue. Using Alfons Paquet's concept of Schauwert (value of aesthetic experience) and Joseph Pine/James Gilmore's concept of the Experience Economy I will illustrate that theatrical environments produce their own value on aesthetic terms.


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