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This book argues for the importance of bringing women and gender more directly into the dynamic field of exposition studies. Reclaiming women for the history of world fairs (1876-1937), it also seeks to introduce new voices into these studies, dialoguing across disciplinary and national historiographies. From the outset, women participated not only as spectators, but also as artists, writers, educators, artisans and workers, without figuring among the organizers of international exhibitions until the 20th century. Their presence became more pointedly acknowledged as feminist movements developed within the Western World and specific spaces dedicated to women’s achievements emerged. International exhibitions emerged as showcases of "modernity" and "progress," but also as windows onto the foreign, the different, the unexpected and the spectacular. As public rituals of celebration, they transposed national ceremonies and protests onto an international stage. For spectators, exhibitions brought the world home; for organizers, the entire world was a fair. Women were actors and writers of the fair narrative, although acknowledgment of their contribution was uneven and often ephemeral. Uncovering such silence highlights how gendered the triumphant history of modernity was, and reveals the ways women as a category engaged with modern life within that quintessential modern space—the world fair.
Imperial expositions held in fin-de-siècle London, Paris and Berlin were knots in a world wide web. Conceptualizing expositions as meta-media, Fleeting Cities constitutes a transnational and transdisciplinary investigation into how modernity was created and displayed, consumed and disputed in the European metropolis around 1900.
Volume One: This volume catalogues the distinguished and comprehensive collection of approximately 400 works of American sculpture by artists born before 1865. This publication includes an introduction on the history of the collection's formation, particularly in the context of the Museum's early years of acquisitions, and discusses the outstanding personalities involved. --Metropolitan Museum of Art website.
The 1889 Exposition universelle in Paris is famous as a turning point in the history of French music, and modern music generally. This book explores the ways in which music was used, exhibited, listened to, and written about during the Exposition universelle. It also reveals the sociopolitical uses of music in France during the 19th century.
The 1900 Olympic Games have been termed "The Farcical Games." The events were poorly organized and years later many of the competitors had no idea that they had actually competed in the Olympics. They only knew that they had competed in an international sporting event in Paris in 1900. No official records of the 1900 Olympics exist. Based primarily on 1900 sources, the sites, dates, events, competitors, and nations as well as the event results are compiled herein for all of the 1900 Olympic events, including archery, track and field, cricket, equestrian, fencing, soccer, pelota basque, water polo, and rowing, among other sports.
A richly illustrated book exploring the origins of the modern fascination for heritage, comparing preservation in France, Germany and England.
"With Heath and Medicine on Display, Julie Brown offers the first book-length examination of how international expositions, through their exhibits and infrastructures, sought to demonstrate innovations in applied health and medical practice. " -- Inside dust jacket.