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An in-depth and nuanced look at the complex relationship between two dynamic fields of study. While today we are experiencing a revival of world art and the so-called global turn of art history, encounters between art historians and anthropologists remain rare. Even after a century and a half of interactions between these epistemologies, a skeptical distance prevails with respect to the disciplinary other. This volume is a timely exploration of the roots of this complex dialogue, as it emerged worldwide in the colonial and early postcolonial periods, between 1870 and 1970. Exploring case studies from Australia, Austria, Brazil, France, Germany, and the United States, this volume addresses connections and rejections between art historians and anthropologists—often in the contested arena of “primitive art.” It examines the roles of a range of figures, including the art historian–anthropologist Aby Warburg, the modernist artist Tarsila do Amaral, the curator-impresario Leo Frobenius, and museum directors such as Alfred Barr and René d’Harnoncourt. Entering the current debates on decolonizing the past, this collection of essays prompts reflection on future relations between these two fields.
Gathering architectural pieces from all over the world, the Paris Universal Exposition of 1867 introduced to fairgoers the notion of an imaginary journey, a new tourism en place. Through this and similar expositions, the world's cultures were imported to European and American cities as artifacts and presented to nineteenth-century men and women as the world in microcosm, giving a quick and seemingly realistic impression of distant places. elik examines the display of Islamic cultures at nineteenth-century world's fairs, focusing on the exposition architecture. She asserts that certain sociopolitical and cultural trends now crucial to our understanding of historical transformations in both the West and the world of Islam were mirrored in the fair's architecture. Furthermore, dominant attitudes toward cross-cultural exchanges were revealed repeatedly in Westerners' responses to these pavilions, in Western architects' interpretations of Islamic stylistic traditions, and in the pavilions' impact in such urban centers. Although the world's fairs claimed to be platforms for peaceful cultural communication, they displayed the world according to a hierarchy based on power relations. elik's delineation of this hierarchy in the exposition buildings enables us to understand both the adversarial relations between the West and the Middle East, and the issue of cultural self-definition for Muslim societies of the nineteenth century. Gathering architectural pieces from all over the world, the Paris Universal Exposition of 1867 introduced to fairgoers the notion of an imaginary journey, a new tourism en place. Through this and similar expositions, the world's cultures were imported to European and American cities as artifacts and presented to nineteenth-century men and women as the world in microcosm, giving a quick and seemingly realistic impression of distant places. elik examines the display of Islamic cultures at nineteenth-century world's fairs, focusing on the exposition architecture. She asserts that certain sociopolitical and cultural trends now crucial to our understanding of historical transformations in both the West and the world of Islam were mirrored in the fair's architecture. Furthermore, dominant attitudes toward cross-cultural exchanges were revealed repeatedly in Westerners' responses to these pavilions, in Western architects' interpretations of Islamic stylistic traditions, and in the pavilions' impact in such urban centers. Although the world's fairs claimed to be platforms for peaceful cultural communication, they displayed the world according to a hierarchy based on power relations. elik's delineation of this hierarchy in the exposition buildings enables us to understand both the adversarial relations between the West and the Middle East, and the issue of cultural self-definition for Muslim societies of the nineteenth century.