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Cultures of International Exhibitions 1840-1940
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Table of Contents

Contents: Introduction: The margins of exhibitions and exhibitions studies, Marta Filipova. Exhibition as a Concept: A capital in the margins: concepts for a Budapest Universal Exhibition between 1867 and 1917, Miklos Szekely; Barcelona's Universal Exhibition of 1888: an atypical case of a Great Exhibition, Marina Munoz Torreblanca; A marginal exhibition? The all-German exhibition in Berlin, 1844, John R. Davis. Constructing Identities: `Witness to the momentous significance of German labour in Bohemia': exhibitions in the German-speaking regions of Bohemia before the First World War, Tomas Okurka; The nation for itself: the 1896 Hungarian Millennium and the 1906 Romanian National General Exhibition, Samuel D. Albert; The forefront of English commercial centres: Wolverhampton's exhibitions of 1869 and 1902, Marta Filipova. Historicity and Modernity: Nature and the Brazilian state at the Independence Centennial International Exhibition in Rio de Janeiro, 1922, Livia Rezende; The Ghent Universal and International Exhibition of 1913: reconciling historicism, modernity and exoticism, Davy Depelchin; Old London, Old Edinburgh: constructing historic cities, Wilson Smith. Art and Design Exhibited: A red-letter day: evaluating progress in New Zealand's art at Dunedin's international exhibitions, 1865 and 1889, Rebecca Rice; International exhibitions and urban aspirations: Launceston, Tasmania, in the 19th century, Anne Neale; `Urbi et orbi': decentralization and design in Nancy's International Exposition of eastern France 1909, Claire O'Mahony. International Ambitions: Merging peripheries and centres: the transnational interconnectedness of the Helsinki National Exhibition of 1876, Taina Syrjamaa; The last exhibition of the Italian colonial empire: Naples 1938-1940, Giovanni Arena; International ambitions of an exhibition at the margin: Japan's 1903 Osaka Exposition, Jeffer Daykin. Index.

About the Author

Marta Filipova is Honorary Research Fellow, University of Birmingham, UK.

Reviews

"..."discovering" the new geographical regions of international exhibitions, examination of their similarities and specific raison d'etre, is the strength of this volume. It certainly points toward a great number of potential avenues for additional problematizing of presented material. All contributions provide an up-to-date bibliography, which extends the volume's capacity to be an exceptional departure for more advanced studies. There are many surprising ingredients and promising observations to be found throughout the essays, leading one to suspect that the international exhibitions set in the geographical and political margins could in fact become a significant scholarly trend, causing a reassessment of the established scholarship on the subject."

- Andrey Shabanov, European University at St. Petersburg in H-Net: Humanities and Social Sciences Online, 2017

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