‘What is to become of the Crystal Palace?’ The Crystal Palace after 1851

After 1851 ◽  
2017 ◽  
Author(s):  
Kate Nichols ◽  
Sarah Victoria Turner
Keyword(s):  
Twentieth Century ◽  
Art World ◽  
The South ◽  
Crystal Palace ◽  
International Exhibitions ◽  
Art Works ◽  
Nineteenth And Twentieth Centuries ◽  
Sydenham Crystal Palace ◽  
Great Exhibition

This introductory chapter explores and establishes the Sydenham Crystal Palace in relation to existing scholarship on the Great Exhibition of 1851. The Sydenham Palace combined education, entertainment and commerce, and spans both nineteenth and twentieth centuries. We resituate it as an important location within the London art world and establish the broader connections it had with rival ventures such as the South Kensington Museum and the numerous international exhibitions in the period. We set out the new possibilities for the analysis of both nineteenth- and twentieth-century visual and material cultures opened up by this unique venue, problematising the periodisation of art works and attitudes into discretely ‘Victorian’ and ‘Edwardian’ categories.

From Ajanta to Sydenham: ‘Indian’ art at the Sydenham Palace

After 1851 ◽  
2017 ◽  
Author(s):  
Sarah Victoria Turner
Keyword(s):  
Twentieth Century ◽  
Material Culture ◽  
The South ◽  
Crystal Palace ◽  
A Site ◽  
Victoria And Albert Museum ◽  
Great Exhibition ◽  
Indian Art

Discussions about the display of Indian art and material culture in the Victorian imperial metropolis have largely focused on the Great Exhibition of 1851 and its progeny, the South Kensington Museum (now the Victoria and Albert Museum). However, the Crystal Palace at Sydenham Hill was an important, but much overlooked, location of imperial and colonial display well into the twentieth century. This essay begins by examining the Sydenham Palace at a site of imperial spectacle from its opening in 1854 and well into the twentieth century. Relevant events included the African Exhibition of 1895, the opening of the Victoria Cross Gallery in the same year and the Colonial Exhibition of 1905, and the display of Major Robert Gill’s copies of the frescoes from the Buddhist rock-cut temples at Ajanta in India (until they were destroyed by fire in 1866). The crowning occasion in the Sydenham series of imperial events was the Festival of Empire in 1911 which celebrated the ascension of George V as ‘King-Emperor’. Taking the 1911 Festival as a case study, this essay explores the complex and often conflicting narratives of empire that were communicated through the courts and grounds at Sydenham.

Introduction

Pal Joey ◽  
2020 ◽  
pp. 1-12
Author(s):  
Julianne Lindberg
Keyword(s):  
Twentieth Century ◽  
Musical Theater ◽  
The Other ◽  
The South ◽  
South Side ◽  
Other Hand ◽  
Aesthetic Values

The introductory chapter establishes the significance of Pal Joey in its own time by delving into the more controversial aspects of the show and its reception. The unconventional qualities of Pal Joey begin with its setting (a “cheap” nightclub in the South Side of Chicago), its cynicism, and its sexually frank characters. Its brazen depiction of flawed people—desperately grasping for a more secure class position, for fame, for sex, or for love—divided critics; on one hand, Pal Joey was praised for its depiction of seemingly real-to-life people. On the other hand, critics questioned the merits of giving these characters time on stage. This chapter ends with a consideration of Pal Joey’s unsettled canonic status and its role in reinforcing aesthetic values that hardened in the mid-twentieth century, and still inform the reception of musical theater.

scholarly journals Exhibitions, patents, and innovation in the early twentieth century: evidence from the Turin 1911 International Exhibition

2019 ◽  
Vol 24 (3) ◽  
pp. 578-600 ◽  
Author(s):  
Giacomo Domini
Keyword(s):  
Twentieth Century ◽  
International Exhibition ◽  
Primary Products ◽  
Early Twentieth Century ◽  
Depth Analysis ◽  
International Exhibitions ◽  
Do So ◽  
French Model ◽  
Great Exhibition

Abstract This paper investigates the relevance for innovation of international exhibitions. While the first of these events, i.e., London’s 1851 Great Exhibition, was an “exhibition of innovations,” many of the subsequent ones, following the model of industrial exhibitions developed in France, did not select exhibits based on novelty. In fact, they displayed a large spectrum of products, ranging from machines to primary products. Therefore, the suitability of data from their catalogs for proxying innovation, and their relationship to the traditional patent measure, should be better qualified. To do so, this paper performs an in-depth analysis of the Turin 1911 international exhibition, a medium-sized representative “French-model” exhibition. It matches a new database, built from the catalog of this event, with patents granted in Italy, revealing substantial differences. Furthermore, it evaluates how inventors could use the exhibition to promote their ideas, establish their reputation, and develop their career.

The Origin of the British People: Archaeology and the Festival of Britain

Antiquity ◽  
1951 ◽  
Vol 25 (97) ◽  
pp. 4-8 ◽  
Author(s):  
Jacquetta Hawkes
Keyword(s):  
Historical Consciousness ◽  
The South ◽  
The Past ◽  
Crystal Palace ◽  
Festival Of Britain ◽  
The Mind ◽  
British People ◽  
Great Exhibition

A hundred years ago, when Paxton's Crystal Palace went up among the elms of Hyde Park, it would never have entered the mind even of the Prince Consort that it should contain a section devoted to British Antiquity. The Great Exhibition was a glorification of the Present, of Progress, and its most conspicuous salute to the past took the form of a proliferation of Gothic ornament, and Pugin's gorgeous Medieval Court. The 1951 Festival of Britain exhibition on the South Bank will include a pavilion illustrating the Origin of the British People with material drawn almost entirely from the discoveries of British archaeology made since 1851. I do not think that this can be regarded as a tribute to the progress of our subject in any simple sense, rather it is a result of the development of the historical consciousness so characteristic of our time, and of which this progress itself forms a part. However, without further metaphysic, it remains a fact that one of the two official lines of entry into the South Bank Exhibition will be through a pavilion where many hundreds of thousands of people will find it difficult not to give at least a passing glance at a display of British prehistory.

Introduction

Moonlighting ◽  
2019 ◽  
pp. 1-46
Author(s):  
Nathan Waddell
Keyword(s):  
Twentieth Century ◽  
Twentieth Century Literature ◽  
Early Twentieth Century ◽  
Art Works ◽  
Century Literature

This introductory chapter suggests that the customary critical focus on formal correspondences between literary and musical art works doesn’t help us grasp how the modernists knew that so many references to Beethoven’s life and music in and around 1900 were references to conventional ways of talking and writing about his life and music, references which had by that point long since become part of the cultural vernacular. It argues that once we allow for a modernist musicality in this sense, we open up the possibility of a new way of talking about the place of the Beethovenian in early twentieth-century literature—we make it feasible to see modernist writers not only as the inheritors of Beethovenian rebelliousness, but also as critics of the very rhetorical means with which the rebelliousness of Beethoven acquired legendary status.

After 1851

2017 ◽  
Keyword(s):  
Twentieth Century ◽  
Social History ◽  
Crystal Palace ◽  
The Social ◽  
Long Time ◽  
History Of ◽  
Great Exhibition

‘The 10th of June, 1854, promises to be a day scarcely less memorable in the social history of the present age than was the 1st of May, 1851’ boasted the Chronicleon 10 June 1854, comparing the opening of the Crystal Palace, newly installed on the crown of Sydenham Hill, to that of the Great Exhibition. Many contemporary commentators deemed the Sydenham Palace’s contents superior, the building more spectacular and its educative potential much greater than its predecessor. Yet their predictions proved to be a little wide of the mark, and for a long time, studies of the Great Exhibition of 1851 have marginalised the Sydenham Palace. This collection of essays will look beyond the chronological confines of 1851 and address the significance of the Crystal Palace as a cultural site, image and structure well into the twentieth century, even after it was destroyed by fire in 1936.

Valades ousitanes, architettura e rigenerazione

ARCHALP ◽  
2020 ◽  
Vol 2020 (N. 4 / 2020) ◽  
Author(s):  
Antonio De Rossi ◽  
Laura Mascino
Keyword(s):  
Twentieth Century ◽  
Cultural Heritage ◽  
Technological Innovation ◽  
Drop Out ◽  
The South ◽  
Po Valley ◽  
Famous Book ◽  
Drop Out Rates ◽  
Symbolic Image ◽  
Recovery And Reuse

It hasn’t even been half a century since, in 1977, the famous book by Nuto Revelli entitled Il mondo dei vinti was published. A symbolic image, which summed up with powerful evocative efficacy the dramatic process of depopulation and dissolution of traditional Alpine societies during the twentieth century. A phenomenon that found its epicenter in the valleys of Carnia and in the south-east of France, and especially in the Piedmont’s valleys of the Cuneo area, with drop-out rates that will reach even 80-90% of the population. A little over forty years have passed by since Nuto Revelli’s book was published and since then a lot seemed to have changed. Today many prestigious and successful tourist and winter centers are experiencing a growing crisis of image and public, while the once neglected Valades ousitanes live an unprecedented season, focused on enhancing the trinomial of natural, historical, and cultural heritage. Maira Valley, Ostana in the Po Valley, Paraloup and Rittana in the Stura Valley, the upper Varaita Valley, the phenomena of rebirth are affecting all the Occitan valleys, with interesting resettlement processes that have their engine in who are defined «the new mountaineers». This renaissance of the Occitan valleys is accompanied by new forms of architecture that focus on the theme of the recovery and reuse of heritage, of dialectical confrontation with environmental and historical contexts, but without forgetting the contemporary and technological innovation.

Modernism and the Absent Event of Romance

2017 ◽  
Author(s):  
Julian Murphet
Keyword(s):  
United States ◽  
New Media ◽  
The South ◽  
Media System ◽  
System P ◽  
Aesthetic Ideology

This introductory chapter lays the groundwork for the substantive analyses to follow. It foregrounds Faulkner’s profound continuing attachment to romance tropes which his more modernist aesthetic sensibilities would increasingly deem invalid. It argues that Faulkner’s primary artistic challenge was finding ways and means to “manage” his anachronistic romanticism, via technical strategies of omission, repression, and tropological masking. The chapter both considers the lingering aesthetic ideology of romance in the modern United States, especially the South, and outlines a genealogy of literary tactics Faulkner was able to employ in order to discipline it, before introducing the major new formal device for which he was responsible: masking romance with figures taken from the new media system.

Introduction

2017 ◽  
Author(s):  
James Whitehead
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural History ◽  
Intellectual History ◽  
Historical Sociology ◽  
Cultural Representations ◽  
History Of ◽  
Television Film ◽  
Popular Image

The introductory chapter discusses the popular image of the ‘Romantic mad poet’ in television, film, theatre, fiction, the history of literary criticism, and the intellectual history of the twentieth century and its countercultures, including anti-psychiatry and psychoanalysis. Existing literary-historical work on related topics is assessed, before the introduction goes on to suggest why some problems or difficulties in writing about this subject might be productive for further cultural history. The introduction also considers at length the legacy of Michel Foucault’s Folie et Déraison (1961), and the continued viability of Foucauldian methods and concepts for examining literary-cultural representations of madness after the half-century of critiques and controversies following that book’s publication. Methodological discussion both draws on and critiques the models of historical sociology used by George Becker and Sander L. Gilman to discuss genius, madness, deviance, and stereotype in the nineteenth century. A note on terminology concludes the introduction.

Eating Out in the Nineteenth and Twentieth Centuries: Changes in Food and in Social Identities

2018 ◽  
Author(s):  
Christel Lane
Keyword(s):  
Twentieth Century ◽  
Social Identities ◽  
Rapid Urbanization ◽  
General Terms ◽  
Quality Of Food ◽  
Nineteenth And Twentieth Centuries ◽  
Eating Out ◽  
Gender And Nation ◽  
The Impact

This chapter examines the impact of rapid urbanization and industrialization on food and eating out. It draws attention to the growing standardization of food and, with greater class differentiation, to the growing diversity in eating-out venues. Class, gender, and nation are again used as lenses to understand the different eating-out habits and their symbolic significance. Towards the end of the twentieth century, pubs moved more fully towards embracing dining. However, the quality of food, in general terms, began to improve significantly only towards the end of the century, and hospitality venues also moved towards selling food from diverse national origins.

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