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Essays on over 90 fairs held between 1851 and 1988.
Essays on over 90 fairs held between 1851 and 1988.
From the French and Indian War in 1754, with Benjamin Franklin's Join or Die cartoon, to the present war in Iraq, propaganda has played a significant role in American history. The Historical Dictionary of American Propaganda provides more than 350 entries, focusing primarily on propaganda created by the U.S. government throughout its existence. Two specialists, one a long-time research librarian at the U.S. Information Agency (the USIA) and the State Department's Bureau of Diplomacy, and the other a former USIA Soviet Disinformation Officer, Martin J. Manning and Herbert Romerstein bring a profound knowledge of official U.S. propaganda to this reference work. The dictionary is further enriched by a substantial bibliography, including films and videos, and an outstanding annotated list of more than 105 special collections worldwide that contain material important to the study of U.S. propaganda. Students, researchers, librarians, faculty, and interested general readers will find the Historical Dictionary of American Propaganda an authoritative ready-reference work for quick information on a wide range of events, publications, media, people, government agencies, government plans, organizations, and symbols that provided mechanisms to promote America's interests, both abroad and domestically, in peace and in war. Almost all entries conclude with suggestions for further research, and the topically arranged bibliography provides a further comprehensive listing of important resources, including films and videos.
The post–World War II science-based technological revolution inevitably found its way into almost all international expositions with displays on atomic energy, space exploration, transportation, communications, and computers. Major advancements in Cold War science and technology helped to shape new visions of utopian futures, the stock-in-trade of world’s fairs. From the 1940s to the 1980s, expositions in the United States and around the world, from Brussels to Osaka to Brisbane, mirrored Cold War culture in a variety of ways, and also played an active role in shaping it. This volume illustrates the cultural change and strain spurred by the Cold War, a disruptive period of scientific and technological progress that ignited growing concern over the impact of such progress on the environment and humanistic and spiritual values. Through the lens of world’s fairs, contributors across disciplines offer an integrated exploration of the US–USSR rivalry from a global perspective and in the context of broader social and cultural phenomena—faith and religion, gender and family relations, urbanization and urban planning, fashion, modernization, and national identity—all of which were fundamentally reshaped by tensions and anxieties of the Atomic Age.
How did one long and expensive party change a city forever? World Expo 88 was the largest, longest, and loudest of Australia's bicentennial events. A shiny 1980s amalgam of cultural precinct, shopping mall, theme park, travelogue, and rock concert, Expo 88 is commonly credited as the catalyst for Brisbane's 'coming of age'. So how did an elaborate and expensive party change a city forever? We'll Show the World explores the shifting social and political environment of Expo 88, shaped as much by Queensland's controversial premier Sir Joh Bjelke-Petersen as it was by those who reacted against him. It shows how something initially greeted with outrage, scepticism, and indifference came to mean so much to so many, how a state better known for eliciting insults enchanted much of the nation, and how, to Brisbane, Expo was personal.
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world
America in 1904 was a nation bristling with energy and confidence. Inspired by Theodore Roosevelt, the nation’s young, spirited, and athletic president, a sports mania rampaged across the country. Eager to celebrate its history, and to display its athletic potential, the United States hosted the world at the 1904 Louisiana Purchase Exposition in St. Louis. One part of the World’s Fair was the nation’s first Olympic games. Revived in Greece in 1896, the Olympic movement was also young and energetic. In fact, the St. Louis Olympics were only the third in modern times. Although the games were originally awarded to Chicago, St. Louis wrestled them from her rival city against the wishes of International Olympic Committee President Pierre de Coubertin. Athletes came from eleven countries and four continents to compete in state-of-the-art facilities, which included a ten-thousand-seat stadium with gymnasium equipment donated by sporting goods magnate Albert Spalding. The 1904 St. Louis Olympics garnered only praise, and all agreed that the games were a success, improving both the profile of the Olympic movement and the prestige of the United States. But within a few years, the games of 1904 receded in memory. They suffered a worse fate with the publication of Coubertin’s memoirs in 1931. His selective recollections, exaggerated claims, and false statements turned the forgotten Olympics into the failed Olympics. This prejudiced account was furthered by the 1948 publication of An Approved History of the Olympic Games by Bill Henry, which was reviewed and endorsed by Coubertin. America’s First Olympics, by George R. Matthews, corrects common misconceptions that began with Coubertin’s memoirs and presents a fresh view of the 1904 games, which featured first-time African American Olympians, an eccentric and controversial marathon, and documentation by pioneering photojournalist Jessie Tarbox Beals. Matthews provides an excellent overview of the St. Louis Olympics over a six-month period, beginning with the intrigue surrounding the transfer of the games from Chicago. He also gives detailed descriptions of the major players in the Olympic movement, the events that were held in 1904, and the athletes who competed in them. This original account will be welcomed by history and sports enthusiasts who are interested in a new perspective on this misunderstood event.
In the depths of the Great Depression, when America's future seemed bleak, nearly one hundred million people visited expositions celebrating the "century of progress." These fairs fired the national imagination and served as cultural icons on which Americans fixed their hopes for prosperity and power. World of Fairs continues Robert W. Rydell's unique cultural history—begun in his acclaimed All the World's a Fair—this time focusing on the interwar exhibitions. He shows how the ideas of a few—particularly artists, architects, and scientists—were broadcast to millions, proclaiming the arrival of modern America—a new empire of abundance build on old foundations of inequality. Rydell revisits several fairs, highlighting the 1926 Philadelphia Sesquicentennial, the 1931 Paris Colonial Exposition, the 1933-34 Chicago Century of Progress Exposition, the 1935-36 San Diego California Pacific Exposition, the 1936 Dallas Texas Centennial Exposition, the 1937 Cleveland Great Lakes and International Exposition, the 1939-40 San Francisco Golden Gate International Exposition, the 1939-40 New York World's Fair, and the 1958 Brussels Universal Exposition.
When it comes to the production and distribution of mass culture, no country in modern times has come close to rivaling the success of America. From blue jeans in central Europe to Elvis Presley's face on a Republic of Chad postage stamp, the reach of American mass culture extends into every corner of the globe. Most believe this is a twentieth-century phenomenon, but here Robert W. Rydell and Rob Kroes prove that its roots are far deeper. Buffalo Bill in Bologna reveals that the process of globalizing American mass culture began as early as the mid-nineteenth century. In fact, by the end of World War I, the United States already boasted an advanced network of culture industries that served to promote American values. Rydell and Kroes narrate how the circuses, amusement parks, vaudeville, mail-order catalogs, dime novels, and movies developed after the Civil War—tools central to hastening the reconstruction of the country—actually doubled as agents of American cultural diplomacy abroad. As symbols of America's version of the "good life," cultural products became a primary means for people around the world, especially in Europe, to reimagine both America and themselves in the context of America's growing global sphere of influence. Paying special attention to the role of the world's fairs, the exporting of Buffalo Bill's Wild West show to Europe, the release of The Birth of a Nation, and Woodrow Wilson's creation of the Committee on Public Information, Rydell and Kroes offer an absorbing tour through America's cultural expansion at the turn of the century. Buffalo Bill in Bologna is thus a tour de force that recasts what has been popularly understood about this period of American and global history.
Since their inception with New York's Crystal Palace Exhibition in the mid-nineteenth century, world's fairs have introduced Americans to “exotic” pleasures such as belly dancing and the Ferris Wheel; pathbreaking technologies such as telephones and X rays; and futuristic architectural, landscaping, and transportation schemes. Billed by their promoters as “encyclopedias of civilization,” the expositions impressed tens of millions of fairgoers with model environments and utopian visions. Setting more than 30 world’s fairs from 1853 to 1984 in their historical context, the authors show that the expositions reflected and influenced not only the ideals but also the cultural tensions of their times. As mainstays rather than mere ornaments of American life, world’s fairs created national support for such issues as the social reunification of North and South after the Civil War, U.S. imperial expansion at the turn of the 20th-century, consumer optimism during the Great Depression, and the essential unity of humankind in a nuclear age.