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Between the 1880s and 1980s, British excavations at locations across Egypt resulted in the discovery of hundreds of thousands of ancient objects that were subsequently sent to some 350 institutions worldwide. These finds included unique discoveries at iconic sites such as the tombs of ancient Egypt's first rulers at Abydos, Akhenaten and Nefertiti’s city of Tell el-Amarna and rich Roman Era burials in the Fayum. Scattered Finds explores the politics, personalities and social histories that linked fieldwork in Egypt with the varied organizations around the world that received finds. Case studies range from Victorian municipal museums and women’s suffrage campaigns in the UK, to the development of some of the USA’s largest institutions, and from university museums in Japan to new institutions in post-independence Ghana. By juxtaposing a diversity of sites for the reception of Egyptian cultural heritage over the period of a century, Alice Stevenson presents new ideas about the development of archaeology, museums and the construction of Egyptian heritage. She also addresses the legacy of these practices, raises questions about the nature of the authority over such heritage today, and argues for a stronger ethical commitment to its stewardship. Praise for Scattered Finds 'Scattered Finds is a remarkable achievement. In charting how British excavations in Egypt dispersed artefacts around the globe, at an unprecedented scale, Alice Stevenson shows us how ancient objects created knowledge about the past while firmly anchored in the present. No one who reads this timely book will be able to look at an Egyptian antiquity in the same way again.' Professor Christina Riggs, UEA
In the history of electronic communication, the last quarter of the nineteenth century holds a special place, for it was during this period that the telephone, phonograph, electric light, wireless, and cinema were all invented. In When old Technologies Were New, Carolyn Marvin explores how two of these new inventions--the telephone and the electric light--were publicly envisioned at the end of the nineteenth century, as seen in specialized engineering journals and popular media. Marvin pays particular attention to the telephone, describing how it disrupted established social relations, unsettling customary ways of dividing the private person and family from the more public setting of the community. On the lighter side, she describes how people spoke louder when calling long distance, and how they worried about catching contagious diseases over the phone. A particularly powerful chapter deals with telephonic precursors of radio broadcasting--the "Telephone Herald" in New York and the "Telefon Hirmondo" of Hungary--and the conflict between the technological development of broadcasting and the attempt to impose a homogenous, ethnocentric variant of Anglo-Saxon culture on the public. While focusing on the way professionals in the electronics field tried to control the new media, Marvin also illuminates the broader social impact, presenting a wide-ranging, informative, and entertaining account of the early years of electronic media.
Marks the centenary of the posting of the first Australian High Commissioner in London, so beginning what is today Australia's oldest diplomatic mission. In 1910, when Sir George Reid was appointed its first High Commissioner in London, Australia was a self-governing but not yet sovereign state and the Australian Governor-General remained the most important channel of communication between the Australian and United Kingdom governments until the late 1920s. The book traces the history of the office and in doing so illuminates the larger story of Australian-United Kingdom relations in the twentieth century, the evolution of Australia from British colony to sovereign state and the gradual transition of the United Kingdom from head of an empire to member of the European Union.
A history of Hobart Town, Australia.
Once the State-run Salon in Paris closed, an array of independent Salons mushroomed starting with the French Artists Salon and Womenâ (TM)s Salon in 1881 followed by the Independent Artistsâ (TM) Salon, National Salon of Fine Arts and Autumn Salon. Offering an unparalleled choice of art identities and alliances, together with undreamed-of opportunities for sales, commissions, prizes and art criticism, these great Salons guaranteed the centripetal and centrifugal power of Paris as the â oemodern art centreâ . Lured by the prospect of being exhibited annually in Salons the size of Biennales today, a huge number and national diversity of artists, from the Australian Rupert Bunny to the Spaniards Pablo Picasso and Juan Gris, flocked to Paris. Yet by no means were these Salons equal in power, nor did they work consensually to forge this â oemodern art centreâ . Formed on the basis of their different cultural politics, constantly they rivalled one another for State acquisitions and commissions, exhibition places and spaces, awards, and every other means of enhancing their legitimacy. By no means were the avant-garde salons those that most succeeded. Instead, as this culturo-political history demonstrates, the French Artistsâ (TM) and National Fine Art Salons were the most successful, with the genderist French Artists' Salon being the most powerful and â oeofficialâ . Despite the renown today of Neo-Impressionism, Art Nouveau, Fauvism, Cubism and Orphism, the most powerful artists in this â oemodern art centreâ were not Sonia Delaunay, Ã0/00mile GallÃ(c), Paul Signac, Henri Matisse or even Picasso but such Academicians as LÃ(c)on Bonnat, William Bouguereau, Fernand Cormon, Edouard Detaille, Gabriel Ferrier, Jean-Paul Laurens, Luc-Oliver Merson and AimÃ(c) Morot, who exhibited at the â oeofficialâ Salon supported by the machinery of the State. In its exposure of the rivalry, conflict and struggle between the Salons and their artists, this is an unprecedented history of dissension. It also exposes how, just below the welcoming internationalist veneer of this â oemodern art centreâ , intense persecutionist paranoia lay festering. Whenever Franceâ (TM)s â oecivilizing missionâ seemed culturally, commercially or colonially threatened, it erupted in waves of nationalist xenophobia turning artistic rivalry into bitter enmity. In exposing how rivals became transmuted into conspirators, ultimately this book reveals a paradox resonant in histories that celebrate the international triumph of French modern art: that this magnetic â oecentreâ , which began by welcoming international modernists, ended by attacking them for undermining its cultural supremacy, contaminating its â oecivilizing missionâ and politically persecuting the very modernist culture for which it has received historical renown.