scholarly journals History of the world's fair : being a complete and authentic description of the Columbian exposition from its inception

1893 ◽  
Author(s):  
Benjamin Cummings Truman
Keyword(s):  
World's Fair ◽  
Columbian Exposition ◽  
History Of

Americanism Musically: Nation, Evolution, and Public Education at the Columbian Exposition, 1893

2003 ◽  
Vol 27 (2) ◽  
pp. 137-155 ◽  
Author(s):  
Kiri Miller
Keyword(s):  
New World ◽  
Active Role ◽  
American Music ◽  
World's Fair ◽  
Musical Culture ◽  
Speculative Philosophy ◽  
Musical Thought ◽  
Columbian Exposition ◽  
History Of ◽  
Definition Of

The Columbian Exposition (the World's Fair in Chicago, 1893) was intended to represent the entire progress of human history, with American civilization as its culminating triumph. The Exposition celebrated the four-hundredth anniversary of Columbus's discovery of the New World; it restaged that discovery in myriad ways: from the display of ““savage races”” on the Midway to the construction of an emergent American middle class as civilization's newest noble savages, hungry for education. Music was an integral part of the Exposition. America's musical elite took an active role in the fair's promotion and design. The Exposition also stimulated a flood of writing on the nature and future of ““truly American”” music. This article examines American musical culture at the Exposition, with attention to music as art, science, and commerce three categories at the heart of the Exposition's formal definition of music. The network of mutual reinforcements, contradictions and the related concepts of nation, race, and evolution has powerful implications for the ensuing history of music in America. Analysis of the educational agenda of music at the Exposition suggests it taught its visitors--5 to 10 percent of the American population--a great deal about race, class, nationhood, and their identity as consumers. Reading the musical criticism, speculative philosophy, and patriotic grandstanding that accompanied the fair shows how musical thought of the day relied on evolutionary theory.

scholarly journals Black Women in the ‘White City’

1974 ◽  
Vol 8 (3) ◽  
pp. 319-337 ◽  
Author(s):  
Ann Massa
Keyword(s):  
Black Women ◽  
World's Fair ◽  
Hundredth Anniversary ◽  
History Of ◽  
Chicago World's Fair

The scope of the Chicago World's Fair of 1893, which celebrated, albeit a year late, the four hundredth anniversary of Columbus's discovery of America, ranged over many centuries, numerous nations and almost every type of human achievement. The 27 million people who came to the five months long Fair were able to see Grace Darling's boat or Spanish galleons of Columbus's time; they could follow the history of transport from coracles to cars; they could see the latest in Krupp's cannon and Bell's telephone in a classically styled Machinery Hall six times the size of the Coliseum. With the exception of Louis Sullivan's golden Transportation Pavilion, the buildings which housed the Fair, covered uniformly with staff, composed a classical ‘White City’, grouped round a complex of lagoons and fountains on Chicago's Lake Front.

Disposing of Modernity

2020 ◽  
Author(s):  
Rebecca S. Graff
Keyword(s):  
Twentieth Century ◽  
Waste Disposal ◽  
Mineral Water ◽  
World's Fair ◽  
Frank Lloyd Wright ◽  
Historical Trends ◽  
Transformative Power ◽  
Urban America ◽  
World's Columbian Exposition ◽  
Columbian Exposition

Through archaeological and archival research from sites associated with the 1893 World’s Columbian Exposition in Chicago, Disposing of Modernity explores the changing world of urban America at the turn of the twentieth century. Featuring excavations of trash deposited during the fair, Rebecca Graff’s first-of-its kind study reveals changing consumer patterns, notions of domesticity and progress, and anxieties about the modernization of society. Graff examines artifacts, architecture, and written records from the 1893 fair’s Ohio Building, which was used as a clubhouse for fairgoers in Jackson Park, and the Charnley-Persky House, an aesthetically modern city residence designed by Louis Sullivan and Frank Lloyd Wright. Many of the items she uncovers were products that first debuted at world’s fairs, and materials such as mineral water bottles, cheese containers, dentures, and dinnerware illustrate how fairs created markets for new goods and influenced consumer practices. Graff discusses how the fair’s ephemeral nature gave it transformative power in Chicago society, and she connects its accompanying “conspicuous disposal” habits to today’s waste disposal regimes. Reflecting on the planning of the Obama Presidential Center at the site of the Chicago World’s Fair, she draws attention to the ways the historical trends documented here continue in the present.

scholarly journals Let There Be a Firmament in the Midst of the Waters

2016 ◽  
Vol 6 (1) ◽  
pp. 130-136
Author(s):  
Brock Winstead
Keyword(s):  
International Relations ◽  
San Francisco ◽  
San Francisco Bay ◽  
World's Fair ◽  
Golden Gate ◽  
Design History ◽  
International Exposition ◽  
History Of ◽  
The Creation ◽  
Treasure Island

Treasure Island in San Francisco Bay was created to host the Golden Gate International Exposition, a World’s Fair, in 1939-40. The fair was an expression of an idealized order of both design and international relations. Neither survived much longer than the fair itself. The author considers the creation and re-creation of Treasure Island and the problem of building for an uncertain, ultimately unknowable future. This article is a critical appreciation of Andrew Shanken’s Into the Void Pacific, a design history of the fair.

The Columbian Exposition—The Chicago World’s Fair

2017 ◽  
Author(s):  
Jean E. Snyder
Keyword(s):  
African American ◽  
African Americans ◽  
Frederick Douglass ◽  
American Music ◽  
World's Fair ◽  
Public Performance ◽  
African American Music ◽  
World's Columbian Exposition ◽  
Columbian Exposition ◽  
Chicago World's Fair

This chapter focuses on Harry T. Burleigh's participation in the 1893 World's Columbian Exposition, also known as the Chicago World's Fair, as representative of African American music. The exposition was designed to celebrate four centuries of progress toward building a lively industrial nation, which Chicago seemed to symbolize. It drew Americans from across the country, in company with Europeans, royals as well as commoners, to see whether the Americans might very literally be able to outshine the Paris Exposition of 1889. Despite resistance by the fair commission, there was some official representation of African Americans. This chapter examines how the World's Fair gave Burleigh, together with Frederick Douglass and Ida B. Wells, the opportunity to address issues of representation and the ambiguous role that music and public performance could play in confronting discrimination and racist stereotyping.

Chicago’s Game

2017 ◽  
Author(s):  
Christopher Lamberti
Keyword(s):  
Sense Of Community ◽  
First Century ◽  
Professional Sport ◽  
World's Fair ◽  
History Of ◽  
Distinct Sense ◽  
And Gender ◽  
Sports Heroes ◽  
The City ◽  
Traditional Class

This chapter examines 16-inch, no-glove softball, described by one enthusiast as “Chicago's game,” and suggests that it is an “important part of the city's heritage.” Throughout the 1930s and1940s, softball provided Chicago with sports heroes and some of its most colorful sports moments before television. Following the 1933 World's Fair, softball became a professional sport in Chicago. Virtually unknown outside the city's greater metropolitan area, Chicago-style softball is played with a larger, softer ball called the “Clincher” fielded by ten position players (the tenth usually stationed behind second base) with their bare hands. At the beginning of the twenty-first century, 16-inch softball in the city proper remains strongest with African Americans. This chapter traces the history of 16-inch softball in Chicago and argues that the sport was not only an expression of traditional class and gender identities and relations, but also instilled a distinct sense of community among those who played and followed it.

Archaeology and Cultural Policy in Ottoman Tunisia Part I: Muhammad Khaznadar (1865–70)

2020 ◽  
Vol 37 (1) ◽  
pp. 265-289
Author(s):  
Ridha Moumni
Keyword(s):  
Cultural Policy ◽  
World's Fair ◽  
International Reputation ◽  
History Of ◽  
National Museums ◽  
Archaeological Artifacts ◽  
Great Reforms

Abstract During the period of the “Great Reforms” (1837–81), the Ottoman province of Tunisia underwent major changes in its political, military, and economic arenas. This was also the case in the field of archaeology, where the history of excavations in Tunisia had been characterized by competition among foreign archaeologists seeking to enrich their national museums as a reflection of European imperialism. This dynamic would soon change thanks to Muhammad Khaznadar, the elder son of the grand vizier Mustafa Khaznadar. Through a unique trajectory that led him to study with the French historian Ernest Desjardin in Paris from 1863 to 1865, Muhammad Khaznadar developed a passion for antiquities that he would later apply by being the first Tunisian to excavate Carthage. The young dignitary rapidly gathered an important collection of antiquities that he displayed at the World’s Fair in Paris and acquired an international reputation as a modern man. Soon, he secured a “monopoly over antiquities,” which prevented the export of archaeological artifacts from Tunisia. Based on unpublished archives, this inquiry focuses on the rise of Muhammad Khaznadar as a collector and his role in the major cultural reforms that led Tunisians to claim the material remains of their pre-Islamic heritage.

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