By Peter H. Hoffenberg
The grand exhibitions of the Victorian and Edwardian eras are the lens in which Peter Hoffenberg examines the commercial, cultural, and social forces that helped outline Britain and the British Empire. He specializes in significant exhibitions in England, Australia, and India among the nice Exhibition of 1851 and the competition of Empire sixty years later, taking precise curiosity within the interactive nature of the exhibition event, the long term outcomes for the members and host societies, and the ways that such well known gatherings published 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 critical to developing and constructing a participatory imperial global, and every polity in that global supplied detailed info, viewers, and shows. one of the screens have been advertisement items, operating machines, and ethnographic scenes. shows have been meant to advertise exterior commonwealth and inner nationalism. The imperial overlay didn't erase major alterations yet defined and used them in fiscal and cultural terms.The exhibitions in towns akin to London, Sydney, and Calcutta have been residing and lively public inventories of the Empire and its nationwide political groups. the method of creating and eating such inventories persists this present day within the cultural bureaucracies, museums, and gala's of contemporary realms, the entice culture and social order, and the activities of transnational our bodies.
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Extra info for An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War
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. 28 Commissioners attempted both to exploit the memory of the Crystal Palace and to differentiate the 1862 show at South Kensington by arranging exhibits according “to classes, and not countries,” adding music and painting, and encouraging objects which demonstrated “the progress of Industry and Art” since 1851.
78 Not surprisingly, debates about the Zenana Days in 1884 ﬁlled local newspapers for several weeks, elevating Joubert’s presence and increasing the previously disappointing number of admissions, but also revealing political and social tensions. Joubert’s Australian contemporaries regularly organized ethnological models of and collected curios and weapons from the indigenous Aboriginal communities. On the other hand, they only invited “converted” Mission Station Aboriginals to several exhibitions during the last quarter of the nineteenth century.
97 Exhibitions were more than a revised index or reﬂection of this market idea; they constituted the market. Australians and Indians were both consumers and producers, but their particular niche within the imperial 01-C1483 01/22/2001 4:31 PM Page 23 Exhibitions and the New Imperialism / 23 socioeconomic system was represented at the exhibitions by differences among colonial visitors, workers, and objects. The culture of the market— that is, the practice and language of consumption and production—provided a seemingly neutral and natural representation of these oppositions.
An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War by Peter H. Hoffenberg