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THE HAMMOCK: A novel based on the true story of French painter James Tissot portrays ten remarkable years in the life of James Tissot (1836-1902), who rebuilt - and then lost - his reputation in London. THE HAMMOCK is a psychological portrait, exploring the forces that unwound the career of this complex man. Based on contemporary sources, the novel brings Tissot's world alive in a story of war, art, Society glamour, love, scandal, and tragedy.
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.
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.
For generations, the name Steinway has been synonymous with both high culture and American business prowess. Based on exclusive access to family and corporate archives, this vivid and informative book tells the definitive story of the truth behind the myths of the house of Steinway and Sons. Photos.
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.
Collecting David Harvey's finest work on Paris during the second empire, Paris, Capital of Modernity offers brilliant insights ranging from the birth of consumerist spectacle on the Parisian boulevards, the creative visions of Balzac, Baudelaire and Zola, and the reactionary cultural politics of the bombastic Sacre Couer. The book is heavily illustrated and includes a number drawings, portraits and cartoons by Daumier, one of the greatest political caricaturists of the nineteenth century.
A richly illustrated book exploring the origins of the modern fascination for heritage, comparing preservation in France, Germany and England.