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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 story of the world-famous monument and the extraordinary world’s fair that introduced it, by the author of Conquering Gotham and Urban Forests In this first general history of the Eiffel Tower in English, Jill Jonnes-acclaimed author of Conquering Gotham-offers an eye- opening look not only at the construction of one of the modern world's most iconic structures, but also the epochal event that surrounded its arrival as a wonder of the world. In this marvelously entertaining portrait of Belle Époque France, fear and loathing over Eiffel's brash design share the spotlight with the celebrities that made the 1889 Exposition Universelle an event to remember-including Buffalo Bill and his sharpshooter Annie Oakley, Thomas Edison, and artists Whistler, Gauguin, and van Gogh. Eiffel's Tower is a richly textured portrait of an era at the dawn of modernity, reveling in the limitless promise of the future.
"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.
This intriguing study of Mexico's participation in world's fairs from 1889 to 1929 explores Mexico's self-presentation at these fairs as a reflection of the country's drive toward nationalization and a modernized image. Mauricio Tenorio-Trillo contrasts Mexico's presence at the 1889 Paris fair—where its display was the largest and most expensive Mexico has ever mounted—with Mexico's presence after the 1910 Mexican Revolution at fairs in Rio de Janeiro in 1922 and Seville in 1929. Rather than seeing the revolution as a sharp break, Tenorio-Trillo points to important continuities between the pre- and post-revolution periods. He also discusses how, internationally, the character of world's fairs was radically transformed during this time, from the Eiffel Tower prototype, encapsulating a wondrous symbolic universe, to the Disneyland model of commodified entertainment. Drawing on cultural, intellectual, urban, literary, social, and art histories, Tenorio-Trillo's thorough and imaginative study presents a broad cultural history of Mexico from 1880 to 1930, set within the context of the origins of Western nationalism, cosmopolitanism, and modernism. This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1997.
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.
A richly illustrated book exploring the origins of the modern fascination for heritage, comparing preservation in France, Germany and England.
This richly illustrated volume explores Edison's inventive and personal pursuits from 1888 to 1889, documenting his responses to technological, organizational, and economic challenges.Thomas A. Edison was received at the 1889 Paris Exposition Universelle--the World's Fair--as a conquering hero. Extravagantly fêted and besieged by well-wishers, he was seen, like Gustave Eiffel's iron tower, as a triumphal symbol of republicanism and material progress. The visit was a high-water mark of his international fame.Out of the limelight, Edison worked as hard as ever. On top of his work as an inventor, entrepreneur, and manufacturer, he created a new role as a director of research. At his peerless laboratory in Orange, New Jersey, he directed assistants working in parallel on multiple projects. These included the "perfected" phonograph; a major but little-recognized effort to make musical recordings for sale; the start of work on motion pictures; and improvements in the recovery of low-grade iron ore. He also pursued a public "War of the Currents" against electrical rival George Westinghouse. Keenly attuned to manufacturing as a way to support the laboratory financially and control his most iconic products, Edison created a new cluster of factories. He kept his manufacturing rights to the phonograph while selling the underlying patents to an outside investor in a deal he would regret. When market pressures led to the consolidation of Edison lighting interests, he sold his factories to the new Edison General Electric Company. These changes disrupted his longtime personal and professional relations even as he planned an iron-mining project that would take him to the New Jersey wilderness for long periods.The ninth volume of the series, Competing Interests explores Edison's inventive and personal pursuits from 1888 to 1889, documenting his responses to technological, organizational, and economic challenges. The book includes 331 documents and hundreds of Edison's drawings, which are all revealing and representative of his life and work in these years. Essays and notes based on meticulous research in a wide range of sources, many only recently available, provide a rich context for the documents.
"The pictures in this book bring the argument about reuse and preservation into focus. What is worthy of retaining and what is dispensable? What are the criteria for considering whether a structure should be retained or demolished? How do you define the parameters of taste and utility in making decisions to preserve or destroy? How will future generations regard the destruction of certain structures, will we be considered cultural vandals for not having retained more of the structures that seemed irrelevant at the time? The preservation argument is heightened in the case of the exhibitions sites, as by definition an exhibition is considered a temporary event."--Page 9.