By Peter H. Hoffenberg
The grand exhibitions of the Victorian and Edwardian eras are the lens in which Peter Hoffenberg examines the industrial, cultural, and social forces that helped outline Britain and the British Empire. He specializes in significant exhibitions in England, Australia, and India among the good Exhibition of 1851 and the competition of Empire sixty years later, taking designated curiosity within the interactive nature of the exhibition adventure, the long term results for the contributors and host societies, and the ways that such well known gatherings printed dissent in addition to celebration.Hoffenberg indicates how exhibitions formed tradition and society inside of and throughout borders within the transnational operating of the British Empire. The exhibitions have been principal to setting up and constructing a participatory imperial international, and every polity in that global supplied unique details, viewers, and shows. one of the screens have been advertisement items, operating machines, and ethnographic scenes. indicates have been meant to advertise exterior commonwealth and inner nationalism. The imperial overlay didn't erase major ameliorations yet defined and used them in financial and cultural terms.The exhibitions in towns equivalent to London, Sydney, and Calcutta have been dwelling and lively public inventories of the Empire and its nationwide political groups. the method of establishing and eating such inventories persists at the present time within the cultural bureaucracies, museums, and gala's of recent realms, the attract culture and social order, and the activities of transnational our bodies.
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Extra resources for An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War
A natural comparison with the “Great” Exhibition resulted. Its role as a watershed became even more apparent as the event receded into history and memory. The Great Exhibition seemed one of the key events of the century as Victorians and Edwardians considered their age. ” It is impossible to ignore the burden of the 1851 exhibition, which both haunted and provoked the organizers of post–Crystal Palace exhibitions. Ofﬁcial and unofﬁcial records highlight this sense of history and tradition. Years after 1851, exhibition commissioners in England and the colonies struggled to realize the expectations stimulated by the Hyde Park publicists.
The imperial world was conceived and grasped as a picture that included nationalist and social shapes and shades. The Doulton frescoes suggested such imperial and national readings on the diffusion of art, industrialism, and thus culture. Here were the various values and types of labor, people, and materials within the modern or “Second” British Empire integrated by culture (rather than politics) as a participatory practice that could be represented in the traditionalist language of visual art.
Empire and nation could be envisioned, illustrated, and imagined according to common ethnographic terms and visual modes at the exhibitions. The envisioning of the material and social worlds at the exhibitions made public and visible much that was generally private and invisible. The exhibitions revealed, for example, peoples, goods, and machines usually hidden behind walls of various types and, in doing so, made visible and comprehensible various commercial and social links. These illustrated the growing ideologies of Britain’s New Imperialism and colonial nationalism in living pictures.
An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War by Peter H. Hoffenberg