General World's Fair Materials

Articles

• Journal of the American Art Pottery Association. 18:3 (2002) [Special Issue “Art Pottery of the World's Fairs]

• Astley, Stephen. "Fountains as Spectacle at International Expositions 1851-1915." Fountains: Splash and Spectacle Eds. Marilyn F. Symmes and Kenneth A. Breisch. New York: Rizzoli in association with the Smithsonian Institution,1998.

• Denson, Andrew. "Muskogee's Indian International Fairs: Tribal Autonomy and the Indian Image in the late 19th Century." Western Historical Quarterly 34:3 (2003): 332-345.
  

  Describes the Indian International Fairs, an annual multitribal event held in Muskogee, Oklahoma from 1874 through the 1890's. Native Americans were among its organizers, judges, speakers, competitors, and attendees.

• Domingues, Heloisa Maria Bertol. "As Demadas Cientificas E A Particpaçäo Do Brasil Nas Exposiçöes Internacionais Do Secuco XIX." Quipu [Mexico] 12:2 (1999): 203-215.

• Driggs, Christopher G. "Nevada at the World's Fair." Nevada Historical Society Quarterly 42:3 (1999): 91-139.
  

  Nevada's participation in a series of World's Fairs from 1862 in London to San Francisco in 1940. The article discusses the effort to lure permanent residents fading in favor of a drive to attract tourists with money to the state.

• Ekström, Anders. "International Exhibitions and the Struggle for Cultural Hegemony." Uppsala Newsletter 12 (Fall 1989): 6-7.
  

  This article summarizes Swedish participation in various nineteenth-century world's fairs. Ekström discusses Swedish exhibitions in light of national consciousness, industrial development, and the establishment of cultural hegemony. Applying Antonio Gramsci's concept of hegemony, the author argues that the Swedish exhibition at the world's fair at Stockholm in 1897 represented a "manifestation of hegemony" which legitimized the social dominancy of industrialists.

• Ferguson, Eugene S. " Expositions of Technology, 1851-1900." Technology in Western Civilization. Eds. Melvin Kranzberg and Carroll Jr. Pursell. New York: Oxford University Press, 1967. 706-726.

• Gilbert, Anne. "Fair Souvenirs Offer Memories and History." Antiques and Collecting Magazine 107:4 ( June 2002): 28-30,63-65.

• Harris, Moira F. "Breweries, Medals and Three World's Fairs." American Breweriana Journal 102 (Jan.-Feb. 2000): 12-17.
  

  A look at three World's Fairs: the Philadelphia Centennial Fair (1876), the World's Columbian Exposition (1893), and the Louisiana Purchase Exposition (1904), and the brewery involvement in each.

• Harris, Neil. "Expository Expositions: Preparing for the Theme Parks." Designing Disney's Theme Parks. Ed. Karal Ann Marling. Paris: Flammarion, 1997. 19-28.

• Harrison, Alfred C. Jr. "John Ross Key's World's Fair Paintings." Antiques 165:3 (2004): 78-87.
  

  The painter was the best source for color renditions of the fairs in the late 19th and early 20th centuries: a descriptive article about not only the paintings but art at the various fairs.

• Holliday, Laura Scott. "Kitchen Technologies: Promises and Alibis, 1944-1966." Camera Obscura 47 (2001): 79-131.

• Kosmider, Alexia. "Refracting the Imperial Gaze onto the Colonizers: Geronimo Poses for the Empire." ATQ 15: 4(Dec. 2001): 317-32.
  

  Information on the proliferation of world's fairs during the 19th and 20th centuries in which fairs served as vehicles that enabled the masses to consume the ideology of imperialism

• LeCroy, Hoyt. "Music of the Atlanta Expositions: 1881, 1887, 1895." Journal of Band Research 30: 1 (1994): 53-68.

• Marchand, Roland. "The Designers Go to the Fair, I: Walter Dorwin Teague and the Professionalization of Corporate Industrial Exhibits, 1933-1940." Design History: An Anthology. Ed. Dennis P. Doordan. Cambridge: MIT Press, 1995: 89-102.

• Mills, Stephen F. "The Contemporary Theme Park and its Victorian Pedigree." European Contributions to American Studies 24 (1992): 78-96.
  

  Mills argues that today's Disney theme parks originated from the earliest Victorian world's fairs. What follows is an in depth comparison, with special attention to their economic and social impact, between early world's fairs and the Disney theme parks. Mills looks in particular at the common elements found in the Chicago 1893 exposition and the Centennial exposition of 1876. Includes a short bibliography.

• Mitchell, Timothy. "Orientalism and the Exhibitionary Order." Colonialism and Culture.Ed. Nicholas Dirks. Ann Arbor: University of Michigan Press, 1992.

• Morgensen, Margit. "Technology and the World Exhibitions: Experiences of Danish Military Officers 1870-1900." ICON: Journal of the International Committee for the History of Technology 5 (1999): 100-121.

• Murray, Stuart. "Canadian Participation and National representation at the 1851 London Great Exhibition and the 1855 Paris Exposition Universelle." Historie Sociale [Canada] 32:63(2001):1-22.
  

  Canada's participation in London and Paris showed the progress Canada was making in its evolution from colony to nation at a time when Canada was rethinking its ties with Britain.

• Nelson, Steve. "Walt Disney's EPCOT and the World's Fair Performance Tradition." TDR-The Drama Review 30:4 (1986): 106.

• Ogata, Amy F. "Viewing Souvenirs: Peepshows and the International Expositions." Journal of Design History 15:2(2002): 69-82.
  

  Considers how 19th and early 20th c. international expositions were represented in peepshow souvenirs: folding paper devices that gave a three dimensional view and its implications for popular consumerism and collective memory.

• Peck, Steven W. "From Paris to Hannover." Alternatives Journal 26:1 (2000): 1-2.

• Peters, Tom F. "Patterns of Technological Thought: Buildings from the Sayn Foundry to the Galerie des Machines." Building the Nineteenth Century. Cambridge.: MIT Press, 1996. 205-280.
  

  This chapter illustrates the use of cast iron, wrought iron and steel including examples of the Crystal Palace of 1851, and the Eiffel Tower and the Galerie des Machines from the 1889 Paris Exhibition.

• Pinot de Villechenon, Florence. "L'Amerique Latine dans les Expositions Universelles." Revue Historique (France) 289: 2 (1993): 511-20.

• Reinhardt, Richard. "World's Fair." American Heritage 52: 6(Sept. 2001): 37.
  

  Evaluates the condition of the world's fair in the U.S., and the failure of fairs to fulfill promises.

• Schiele, Bernard. "Creative Interaction of Visitor and Exhibition." Visitor Studies: Theory, Research, and Practice. Vol. 5. Jacksonville, Ala.: The Visitor Studies Association, 1993.
  

  Mentions briefly the Chicago World's Fair of 1934 and the New York World's Fair of 1939-1940 as turning points in the evaluation of exhibitions. The 1934 World's Fair was the "first large-scale exhibition to highlight the message content of the objects and artifacts being presented" thus putting the objects displayed into context for the public.

• Vaughan, C. "Ogling Igorots:The Politics and Commerce of Exhibiting Cultural Otherness, 1898-1913."Freakery: Cultural Spectacles of the Extraordinary Body. Ed. Rosemarie Garland Thomson. New York: New York University Press, 1996:219-233.

• Vennman, Barbara. "Dragons, Dummies, and Royals: China at American World's Fairs, 1876-1904." Gateway Heritage 17:2 (1996): 16-31.
  

  The images of China that were presented at these early world's fairs was determined not by the Chinese people, but by the Chinese Customs Service under the direction of British officials. The images that were constructed and the restrictions placed by fair organizers on Chinese participation served the purpose of justifying and affirming exclusionary international and domestic policies and imperialism by Western powers. This article looks at the changes that occurred in Chinese exhibitions during this time and how this related to American perceptions of China. Includes photographs and a brief bibliography.

• Weeks, Jim. "Gettysburg: Display Window for Popular Memory." Journal of American Culture. 21:4 (1998): 41-56.
  

  Gettysburg exhibits were displayed from the 1876 Philadelphia Centennial Exposition to the 1939 World's Fair in New York, showing everything from photographs of the battle to collections of relics and dioramas.

• Winner, Langdon. "An Alternative World's Fair Could Playfully Debunk Myths About Technological Progress," Technology Review 94 (February 1991): 94.
  

  Winner argues that the idea of unlimited progress through technological change has been debunked by 200 years of such "progress," and is no longer a fitting theme for international exhibitions. He offers instead the theme of "Humanity in a Postmodern World," with exhibits to illustrate the ironies and unkept promises of technological progress.

Dissertations

• Ackermann, Marsha E. "Cold Comfort: The Air Conditioning of America." Ph.D. Dissertation: University of Michigan, 1996.
  

  Ackermann addresses the historical role of air conditioning in the transformation of American life. Chapter III in particular examines the relationship between the 1930s American world's fairs, their promotion of futuristic, "utopian" living, and the power of technology as a means of achieving a perfect, climate-controlled environment.

• Aso, Noriko. "The Emergence of a Discourse on Traditional Japanese Arts and Crafts, 1868-1945." Ph.D. Dissertation: University of Chicago, 1997.
  

  Following the Meiji Restoration, Japan dealt with issues such as the relation of tradition to modernity and its position as a nation-state in an international context. The discourse on native arts and crafts provided one arena through which these issues could be debated. The first chapter of this dissertation focuses on official Japanese representations from international exhibitions in the last half of the nineteenth century, as was determined by government officials. Includes bibliography and numerous illustrations.

• Beezley, Paul Richard. "Exhibiting Visions of a New South: Mississippi and the World's Fairs, 1884-1904." Ph.D. Dissertation: University of Mississippi, 1999.
  

  Mississippi's exhibits at the industrial expositions between 1884 and 1904 show the evolution of how Mississippians wanted to recreate their society in the years following the Civil War. New South boosters led this effort, but were assisted initially by both white women and African Americans. Each group created their own exhibit, reinforcing this forward looking ideal without reference to the late war or white supremacy. Each group used their exhibit to remake their national images.

• Benson, Gwen Young. "The Façade and the Reality: World's Fairs Celebrate Progress and Unity While American Novelists Reveal Social Disparity and Individual Isolation." Ph.D. Dissertation: Oklahoma State University, 1997.
  

  Benson explores the question of identity for the nation and the individual by looking at American world's fairs and the imagery of the home in American literature. She explains that although American representation at the fairs projected an image of national progress, prosperity, and unity strengthened by Victorian ideals, American authors of the time reveal through their writing a different image. The image they construct is one in which the individual is highly uncertain and is grasping for a place and identity in a society which is changing rapidly. The industrialism, materialism, and expansionism that the fairs promote have confounded the once simple life of the individual and the literature tells of the individual's effort to cope with these changes. Benson examines in particular the 1876 Centennial Exhibition, the 1893 World's Columbian Exposition, and the 1915 Pan-American Exhibition. Illustrations and a bibliography are included.

• Burris, John Paul, Jr. "Religion and Anthropology at Nineteenth-Century International Expositions:From the Great Exhibition to the World's Parliament of Religions,1851-1893." Ph.D. Dissertation:University of California, Santa Barbara,1997.
  

  Burris looks at the development of the history of religion in the historical context of international expositions. He focuses in particular on the Crystal Palace exposition and the World's Columbian Exposition. He also looks at the first World's Parliament of Religions while assessing the implications of the omission of African and Native Americans from the parliament. Includes a bibliography.

• Dymond, Anne Elizabeth. "Exhibiting Provence: Regionalism, Art and the Nation 1890-1914 France." Ph.D. Dissertation: Queen's University at Kingston, Canada, 2000.
  

  Dymond looks at regional groups that resented the nation's homogenization of diverse cultures. Of particular interest is her second chapter looking specifically at the Paris 1900 Exposition Universelle and the 1906 Exposition Coloniale de Marseille.

• Edwards. Douglas Michael. "Fair Days in the ‘Zone of Plenty': Exhibit Networks and the Development of the American West." Ph. D. Dissertation: University of Maryland College Park, 2001.
  

  From the 1876 Centennial Exposition to the 1915 Panama Pacific Exposition, western states and territories continually exhibited their commitment to "progress."

• Elkin, Noah C. "Promoting a New Brazil: National Expositions and Images of Modernity, 1861-1922." Ph.D. Dissertation: Rutgers University, 1999.
  

  Over the course of the six decades between 1860 and 1922, the Brazilian government used expositions and elaborate pageants that comprised an inventory of Brazil's economic, social and cultural resources to define and project an idealized image of a modern Brazil. Even as Brazil slowly industrialized, expositions consistently fashioned a vision of a nation rich in resources and potential.

• Endersby, Linda Eikmeier. "Expositions, Museums, and Technological Display: Building Cultural Institutions for the ‘inventor citizen' in the late 19th century United States." Ph.D. Dissertation: Massachusetts Institute of Technology, 1999.
  

  Focuses on the intersections between industry, engineers, international expositions, and museums in the nineteenth century by considering the cases of the Smithsonian's National Museum and the Field Columbian Museum.

• Fernsebner, Susan R. "Material Modernities: China's Participation in World's Fairs and Expositions, 1876-1955." Ph. D. Dissertation: University of California, San Diego, 2003.

• Harvey, Bruce Gordon. "World's Fairs in a Southern Accent: Atlanta, Nashville, and Charleston." Ph.D. Dissertation: Vanderbilt University, 1998.
  

  During the last two decades of the nineteenth century, southern leaders endeavored to involve their region in the international exposition movement in order to boost the southern economy and integrate it on a national scale. The South also looked at expositions as a way of improving their regional image and bringing the South in line with the rest of the country. Includes a bibliography.

• Heaman, Elisabeth Anne. "Commercial Leviathan: Central Canadian Exhibitions at Home and Abroad During the Nineteenth-Century." Ph.D. Dissertation: University of Toronto, 1996.

• Hoffenberg, Peter. "To Create a Commonwealth: Empire and Nation at English, Australian, and Indian Exhibitions, 1851-1914." Ph.D. Dissertation: University of California, Berkeley, 1993.
  

  Hoffenberg analyzes international expositions from the Great Exhibition to the Festival of Empire Exhibition and the impact these events had on imperial relations between England, Australia, and India. He argues that these events helped to establish and regulate the economic and political imperial roles of different racial groups. Includes a bibliography.

• Jayes, Janice Lee. "'Strangers to Each Other': The American Encounter with Mexico, 1877-1910." Ph.D. Dissertation: American University, 1999.

• Larson, Judy L. "Three Southern World's Fairs: Cotton States and International Exposition, Atlanta, 1895; Tennessee Centennial, Nashville, 1897; South Carolina Inter-State, Charleston, 1901/2" Ph.D. Dissertation: Emory University, 1998.
  

  World's fairs were a way in which cities could construct and promote new images of themselves. In the South, fair organizers felt the need to address two issues - first, the image of the South as "coarse" and backward, and second, the perceived division and animosity between the North and the South. The Fine Arts Buildings, Woman's Building's, and Negro Buildings at each of the three fairs are assessed to explore these themes. A bibliography is included.

• Lockyer, Angus Edmund. "Japan at the Exhibition, 1867-1970." Ph.D. Dissertation: Stanford University, 2000.
  

  This dissertation examines Japanese participation in and representation at international exhibitions between 1867 and 1970, together with the domestic expositions modeled on these. Expositions never functioned very efficiently to communicate truths about Japan. Exposition design was the outcome of lengthy bureaucratic negotiation, exhibits were not easily subordinated to didactic purposes, and visitors tended to see what they wanted, rather than what they were meant to.

• Mehta, Binita. "India as Spectacle: The Representation of India in French Theater." Ph.D. Dissertation: City University of New York, 1997.

• Murphy, Joseph Claude. "Exposing the Modern: World's Fairs and American Literary Culture, 1853-1907." Ph.D. Dissertation: University of Pennsylvania, 1997.

• Staackman, Gloria Starr. "Fifteen American Impressionists: Genteel Traditionalists in a Changing World." Ph.D. Dissertation: University of Hawaii, 1994.
  

  Staackman argues that American Impressionism, the dominant and accepted art form between the World's Columbian Exposition of 1893 and the Panama Pacific International Exposition of 1915, was forgotten in the light of Modern Art because it did not respond to the changes of the time. American Impressionism made its debut at the 1893 exposition and the prominence of the style amongst the paintings featured at the 1915 exposition indicate the height of the movement. Modern Art, however, had been introduced in 1913 and by 1930 it had come to dominate the art world. The lives of 15 artists are studied in this work. Includes biographies of the artists and a bibliography.

• Venable, Charles L. "Silver in America, 1840-1940: Production, Marketing, and Consumption." Ph.D. Dissertation: Boston University, 1993.
  

  Technology, transportation, and new tariffs caused a boom in the production of silver. World's fairs were one way in which silver wares were advertised and marketed to consumers. World's fairs boasted the "most spectacular" silver marketing exhibitions. The participation of several manufacturers in the world's fairs is discussed in Chapter 5.

Monographs

• Ahlström, Göran. Technological Development and Industrial Expositions, 1850-1914. Lund: Lund University Press, 1996.
  

  Focuses on the key features of international industrial exhibitions during the latter half of the nineteenth and beginning of the twentieth centuries. Includes discussion on their purpose and scope as well as Swedish participation in these events. Ahlström endeavors to trace Swedish technological and industrial development from an international perspective while asserting that although communications were poor by today's standards, international exhibitions provided a venue for the international exchange of information about technology. Includes bibliography.

• Beauchamp, K.G. Exhibiting Electricity. IEEE History of Technology Series, vol. 21. London: Institution of Electrical Engineers, 1997.
  

  Traces the history of public and technical exhibitions from the 18th century to the present: showing how exhibitions presented electrical innovation and manufacturing to the public especially in 19th c. exhibitions in the U.S. and abroad.

• Blaisdell, Marilyn. San Francisciana: Photographs of 3 World's Fairs. San Francisco: The Author, 1994.
  

  Photos from the California Midwinter International Exposition, the Pan-Pacific International Exposition, and the Golden Gate International Exposition.

• Brown, Julie K. Making Culture Visible: Photography and Display at Industrial Fairs, International Expositions and Institutional Exhibitions in the U.S., 1847-1900. Amsterdam: Harwood Acad. 2001.

• Burris, John P. Exhibiting Religion: Colonialism and Spectacle at International Expositions, 1851-1893. Charlottesville: University Press of Virginia, 2001.
  

  Survey of world's fairs from the Great Exhibition to the Columbian Exposition as pivotal forums in which various religions came into contact with one another and the results.

• Celik, Zeynep. Displaying the Orient: Architecture of Islam at Nineteenth-Century World's Fairs. Berkeley: University of California Press, 1992.

• Friz, Richard, ed. The Official Price Guide to World's Fair Memorabilia. New York: House of Collectibles, 1989.
  

  This handbook is organized by type of object, and provides a glimpse of the range of material culture the fairs generated, from postcards to commemorative ceramics and clothing. Includes a listing of collectors' organizations and a brief bibliography.

• Gere, Charlotte. European Decorative Arts at the World's Fairs, 1850-1900. The Metropolitan Museum of Art Bulletin, vol. 56, no. 3. New York: Metropolitan Museum of Art, 1999.
  

  This issue of the Metropolitan Museum of Art Bulletin features selected, prizewinning European decorative artifacts that are owned by the museum and were exhibited at the world's fairs from the London Great Exhibition of 1851 to the Paris Centennial Exposition of 1900. According to Gere, the pieces selected for this publication were acknowledged masterpieces of their time and represent "expressions of the highest possible skill and artistic taste." Gere's introduction provides a concise, yet thorough overview of the impact of nineteenth-century world's fairs on artistic design and consumption. The rest of the work contains beautiful color and black and white photographs and drawings as well as descriptions of the artifacts and the artists who created them. A short bibliography is also included.

• Gordon, Beverly. Bazaars and Ladies Fairs: The History of the American Fundraising Fair. Knoxville: University of Tennessee Press, 1998.
  

  This work examines the bazaar, or the "fundraising fair," as the "'woman's fair', the female manifestation of the broader fair phenomenon." Particularly valuable to feminist scholarship, women were able to participate and gain control within bazaars much more easily than in mainstream, male-identified expositions. In their 175 year history, fundraising fairs gave women the opportunity to express their visions and priorities as well as their skills and creativity. Gordon involves the reader in a chronological look at the fundraising fair while interjecting discussions about individuals who worked at fairs.

• Greenhalgh, Paul. Ephemeral Vistas: The Expositions Universelles, Great Exhibitions and World's Fairs, 1851-1939. Manchester, U.K.: Manchester University Press, 2000.

• Hamon, Philippe. Expositions: Literature and Architecture in Nineteenth-Century France. Translated by Katia Sainson-Frank and Lisa Maguire. Berkeley: University of California Press, 1992.
  

  Hamon sees theExposition universelle as a phenomenon where urban landscapes became stages and the culture of image was promoted and perpetuated. "A study of the extended metaphor of exposition," Hamon explores nineteenth-century "expositionitis" by looking at the literary representation of architecture.

• Heller, Alfred E. World's Fairs and the End of Progress: An Insider's View. Corte Madera, Calif.: World's Fair, Inc., 1999.
  

  Heller provides an introspective and personal look into the world's fair experience. Having attended the 1939 Golden Gate International Exposition as a child, Heller has since then spent his life attending and researching international expositions. Some of the key themes discussed are the power of the world's fair as an experience, their historical relevance, the blurring distinction between expos and other entertainment forms, the changes that have occurred within world's fairs over time, and what he feels future expo organizers should be mindful of in the future.

• Hoffenberg, Peter. An Empire on Display: English, Indian, and Australian Exhibitions from the Crystal Palace to the Great War. Berkeley: University of California Press, 2001.
  

  The author examines the economic, cultural, and social forces that helped define Britain and the British Empire. He takes special interest in the interactive nature of the exhibition experience: the long term consequences for the participants and host societies, and the ways in which such popular gatherings revealed dissent as well as celebration.

• Hunter, Stanley K. Footsteps at the American World's Fairs: The International Exhibitions of Chicago, New York and Philadelphia, 1853-1965: Revisited in 1993. Glasgow: Exhibition Study Group, 1996.

• Jacobson, Matthew Frye. Barbarian Virtues: the United States encounters Foreign Peoples at Home and Abroad. New York: Hill and Wang, 2000.

• Jakle, John. City Lights: Illuminating the American Night. Baltimore: Johns Hopkins University press, 2001.
  

  Includes a chapter entitled "Lighting the World's Fairs," and examines many fairs from the Crystal Palace to Seattle in 1962.

• Kirshenblatt-Gimblett, Barbara. Destination Culture: Tourisms, Museums, and Heritage. Berkeley: University of California Press, 1998.
  

  Includes an essay "Exhibiting Jews," tracing the history of important displays of Jewish ritual objects from the Crystal Palace Exhibition of 1851 to the New York World's Fair of 1939.

• Mattie, Erik. World's Fairs. New York: Princeton Architectural Press, 1998.

  Millions around the world have attended international expositions for the last 150 years. This book is the only illustrated history covering all the major fairs. Over thirty world's fairs are examined in terms of architecture and style beginning with the 1851 Paris exposition and ending with a prospectus of the Hanover fair of 2000, includes numerous photographs and illustrations.

• McKenna, Neil and Paula Snyder. Great Exhibitions. London: Channel 4 Television, 1999.
  

  Produced by BSS to accompany Great Exhibitions shown on Channel 4 in August 1999 " From the Crystal Palace to the Festival of Britain 1851-1951."

• Mitchell, Timothy. Colonising Egypt. Berkeley: University of California Press, 1991.

• Nye, David E. Narratives and Spaces: Technology and the Construction of American Culture. New York: Columbia University Press, 1997.
  

  Part three of this work deals with the history of lighting at world's fairs from 1880 to 1939 and the "successful integration of new machines into the American sense of space." Chapter eight looks at the 1939 New York World's Fair and "European Self-Representations."

• Pilato, Denise E. The Retrieval of a Legacy: Nineteenth Century American Women Inventors. Westport, Conn.: Praeger, 2000.
  

  The final chapter includes insights from industrial expositions including the 1876 Centennial Exposition and the 1893 World's Columbian Exposition, and women's contributions and technological innovations.

• Pinot de Villechenon, Florence and Jean- Louis Cohen. Fêtes Géantes: Les Expositions Universelles, Pour Quoi Faire? Paris: Autrement, 2000.

• Pinot de Villechenon, Florence. Les Expositions universelles. Paris: Presses universitaires de France, 1992.

• Roche, Maurice. Mega-Events and Modernity: Olympics and Expos in the Growth of Global Culture. London: Routledge, 2000.

• Rossen, Howard M. World's Fair Collectibles: Chicago, 1933 and New York, 1939. Atglen, Pa.: Schiffer Pub., 1998.
  

  This guide includes color photographs and prices for memorabilia from both world's fairs. Short descriptions of each fair are included. Also included are a short bibliography and an index.

• Rydell, Robert W. and Nancy E. Gwinn, eds. Fair Representations: World's Fairs and the Modern World. European Contributions to American Studies, vol. 27. Amsterdam: VU University Press, 1994.
  

  In this volume, Rydell and Gwinn bring together key articles by various authors that deal with the world's fair and exposition phenomenon. They argue that much of today's modern culture has its roots in world's fairs of the past. World expositions can be seen as manifestations of the struggle by societies to give "meaning to modernity" and to properly represent their social realities. Studying the world's fairs helps us to understand the extent to which they modernized the world and the effect they have on how we currently see and understand the world around us. The volume is divided into three sections: "Representing Others," "Interrogating Cultures," and "Documenting Fairs." Nine articles and the annotated bibliography to which this bibliography is an addendum to are included.

• Schroeder-Gudehus, Brigitte and Anne Rasmussen. Les Fastes du Progŕes: Le guide des Expositions Universelles, 1851-1992. Paris: Flammarion, 1992.

• Smithsonian Institution Libraries. World's Fairs, 1851-1940: An Exhibition of the Smithsonian Institution Libraries, February 12-August 26, 1992 Washington, D.C.: SIL, National Museum of American History, 1992.
  

  This large-type text accompanied the exhibition and was developed for the visually impaired. Includes dates, attendance, and descriptions of several world's fairs as well as a short reading list.

• Tenorio-Trillo, Mauricio. Mexico at the World's Fairs: Crafting a Modern Nation. Berkeley: University of California Press, 1996.

• Thomas, Richard W. Life for Us is What We Make It: Building Black Community in Detroit, 1915 - 1945. Bloomington: Indiana University Press, 1992.
  

  Thomas surveys the Seventy-Five Years of Negro Progress Exhibition, held in Detroit in 1940. Exhibits were designed to demonstrate the accomplishments of African Americans in the seventy-five years since emancipation. Conciliatory in its approach, the exhibition featured a Negro Hall of Fame that included persons who had worked for black social progress regardless of their race.

• Van Wesemael, Pieter. Architecture of Instruction and Delight: a Socio-historical Analysis of World Exhibitions as a Didactic Phenomenon (1798-1851-1970). Rotterdam: Uitgeverij, 2001.
  

  Deals with the genesis and development of the 19th and 20th c. World Exhibitions as a didactic phenomenon, and how architecture, and later urbanism, played a key role in it.

• Wörner, Martin. Vergnügen und Belehrung: Volkskultur auf den Weltausstellung, 1851-1900. Münster, Germany: Waxmann, 1999.

Web Sites

• Expo Museum: World's Fair History, Architecture and Memorabilia
  Website: Connect to website

• Expositions Universelles et Internationales
  Website: Connect to website

• Fairs & Expositions: American History
  Website: Connect to website

• The BIE: Bureau International des Expositions
  Website: Connect to website

• World's Fairs and Expositions: Defining America and the World: 1876-1916
  Website: Connect to website

Paris Industrial Exposition of 1806

Articles

• Hafter, Daryl M. "The Business of Invention in the Paris Industrial Exposition of 1806." Business History Review 58 (1984): 317-35.
  

  The infusion of inexpensive English goods into the French market signaled the dawn of the Industrial Revolution. French work traditions and the work force hindered the development of a similar movement in France. The Paris Industrial Exposition was launched in an effort to encourage French businesses to modernize. Hafter concludes that the exposition lead to the beginning of modern light industry in France.

Great Exhibition of the Works of Industry of All Nations, London 1851

Articles

• Briggs, Asa. "Exhibiting the Nation." History Today 50:1 (2000):16-25.
  

  Compares the social contexts and the goals of Britain's three modern international exhibitions: the 1851 Great Exhibition, the 1951 Festival of Britain, and the 2000 Millenium Dome.

• Buchanan, Angus, Stephen K. Jones and Ken Kiss. "Brunel and the Crystal Palace." Industrial Archaeology Review 17 (Autumn 1994): 7-21.
  

  This article focuses on the structure of the Crystal Palace and the process that its key engineers underwent to construct it and then relocate it. It looks in particular at the role of Isambard Kingdom Brunel. Includes diagrams, photographs, and other illustrations.

• Carriere, Marius. "Dr. Samuel Bond and the Crystal Palace Medal." West Tennessee Historical Society Papers 41 (1987): 1-3.
  

  Carriere provides a brief description of the rise of cotton production in West Tennessee, and Samuel Bond's receipt of a prize medal for cotton at the London exhibition.

• Coleman, Earle E. "The Exhibition in the Palace: A Bibliographical Essay." Bulletin of the New York Public Library 65 (September 1960): 459-75.

• Colvin, Peter. "Muhammad Ali Pasha, the Great Exhibition of 1851, and the School of Oriental and African Studies Library." Libraries and Culture 33:3 (1998): 249-259.

• Fuchs, Eckhardt. "Räume und Mechanismen der Internationalen Wissenschftskommunikation und Ideenzirkulation vor dem Ersten Weltkrieg." Internaltionales Archiv Für Sozialgeschichte der Deutschen Literatur [German] 27:1 (2002): 125-43.

• Hassam, Andrew."Portable iron Structures and Uncertain Colonial Spaces and the Sydenham Crystal Palace." Imperial Cities:Landscape, Display and Identity. Ed.Felix Driver and David Gilbert.Manchester:Manchester University Press,1999.

• Hopkins, David. "Art and Industry: Coalbrookdale Co. and the Great Exhibition." History Today [Great Britain] 52:2(2002): 19-25.
  

  Transformation of the Coalbrookdale Company from a mass producer of iron to a supplier of decorative art objects illustrates how Britain's Great Exhibition of 1851 influenced the union of art and industry.

• Mainardi, Patricia. "The Unbuilt Picture Gallery at the 1851 Great Exhibition." Journal of the Society of Architectural Historians 45: 3 (1986): 294-99.
  

  Presents documents related to a plan to build a specially designed gallery for the exhibition of paintings. Adds new dimensions to traditional history which states that the French were the first to exhibit fine arts as part of the 1855 Universal Exposition. The intended design of the gallery suggests that the fine arts were considered a part of tradition and not something to be featured in the Crystal Palace alongside other forms of modern industry.

• Morson, A.F.P. "The Great Exhibition of 1851." Pharmaceutical Historian 27:3 (1997): 27-30.
  

  Describes the chemical, raw materials and pharmaceutical exhibits at the Fair, both British and foreign, the prizes won, and their importance in later years.

• Oliver, Richard. "The Ordnance Survey and the Great Exhibition of 1851." Map Collector 50 (1990): 24-28.
  

  Only certain sections of the Ordnance Survey map were completed by the time they were to be exhibited at the world's fair. The maps that were initially displayed did not include Scotland. Discussion of survey styles and the subsequent incorrect mapping of Scotland are included.

• Peters, Tom F. "How Creative Engineers Think." Civil Engineering 68:3 (1998): 58-51.
  

  Discusses the building of the Crystal Palace, including the relationship between architect Joseph Paxton and builder Charles Fox.

• Peterson, M.J. "The Emergence of a Mass Market for Fax Machines." Technology in Society 17: 4 (1995): 469-82.
  

  Author mentions briefly the development of fax machines in the 1840's and their being exhibited at the Crystal Palace.

• Purbrick, Louise. "Knowledge is Property: Looking at Exhibits and Patents in 1851 (Henry Cole's Great Exhibition at London's South Kensington Museum)." Oxford Art Journal 20:2 (1997):53-60.

• Reynolds, Diana J. "The Great Exhibition of 1851." Events that Changed Great Britain Since 1869. Frank W. Thackery and John E. Findling, eds. Westport, Conn: Greenwood Press, 2002.

• Shifman, B. "The Fourdinois Sideboard at the 1851 Great Exhibition (Second Empire Furniture)." Apollo- The Magazine of the Arts 156: 491 (Jan. 2003): 14-21.

• Smithhurst, Peter. "Observations on the Crystal Palace Exhibition." Tools & Technology 19:1 (2001): 9-10.
  

  Manufacturing centers throughout England and the world saw the 1851 Exhibit as an opportunity to show their achievements to the world and included several pioneers in manufacturing techniques.

• The Society's History Study Group. "Symposium on 'Exhibition and Celebration': the RSA and the Great Exhibition of 1851, the Festival of Britain of 1951 and plans for the Millennium." RSA Journal 143 (May 1995): 43-59.
  

  See specifically the first three speeches: Allan, D.G.C. "The Society of Arts and the National Repository" Bonython, Elizabeth. "The Planning of the Great Exhibition of 1851" Hobhouse, Hermione. "The Legacy of the Great Exhibition" Allan's speech sheds light on the connection between the Great Exhibition and the Society. Bonython introduces the key individuals who took part in organizing the Great Exhibition and the process that they went through. Hobhouse delves into the lasting impact of that first world exposition: tourism, successor exhibitions, and the South Kensington estate of the Royal Commission for the Exhibition of 1851.

• Zaitsev, Valentin Pavlovich. "Pervye Vsemirnye Promyshlennye vystavki V Londone." Novaia I Noveishaia Istoriia [Russia] 4(2001): 188-193.

Dissertations

• Auerbach, Jeffrey A. "Exhibiting the Nation: British National Identity and the Great Exhibition of 1851." Ph. D. Dissertation: Yale, 1995.

Monographs

• Auerbach, Jeffrey. The Great Exhibition of 1851: A Nation on Display. New Haven: Yale University Press, 1999.
  

  Held in London's Crystal Palace, "was the world's first industrial exposition," and for Britons became a defining event of the mid-19th century. Reveals how the event was conceived, planned, and why it was such a success.

• Birbineau, Lorenza Stevens and Karen Kilcup, ed. From Beacon Hill to the Crystal Palace: the 1851 Travel Diary of a Working Class Woman. Iowa City: University of Iowa Press, 2002.
  

  Documents the six month European Grand Tour of a domestic servant who traveled with a well known and wealthy family of Boston's Beacon Hill.

• Bizup, Joseph. Manufacturing Culture: Vindications of Early Victorian Industry. Charlottesville: University of Virginia Press, 2003.
  

  Looks into the factory system and its social consequences as well as the social and commercial benefits that culminated in the Great Exhibit of 1851.

• Bosback, Franz and John R. Davis. Die Weltausstellung von 1851 und Ihre Folgen: The Great Exhibition and its Legacy. München: Saur, 2002.
  

  In English and German: Papers from a joint conference with the Prince Albert Society, the Victorian Society, and the Royal Society of Arts.

• Colquhoun, Kate. A Thing in Disguise: the Visionary Life of Joseph Paxton. London: Fourth Estate, 2003.
  

  Biography of the landscape architect of the Great Exhibition and how his work influenced the future of landscape architecture.

• Davis, John R. The Great Exhibition. Stroud, Gloustershire: Sutton, 1999.
  

  Provides a history of the way the Exhibition was organized and took place while looking at the Exhibition's wider influence and the historical debates surrounding it.

• Hobhouse, Hermione. The Crystal Palace and the Great Exhibition: Art, Science, and Productive Industry: a History of the Royal Commission for the Exhibition of 1851. London: Althone Press, 2002.

• Leapman, Michael. The World for a Shilling: How the Great Exhibition of 1851 Shaped a Nation. London: Headline, 2001.
  

  Examines the story of how the exhibition came into being, the key characters who made it happen, and the tales behind the exhibitions: why so many would spend a day's wages to see the Exhibition.

• Purbrick, Louise. The Great Exhibition of 1851: New Interdisciplinary Essays. Manchester, UK: Manchester University Press, 2001.

Web Sites

• 1851 Project: The Great Exhibition (National Art Library)
  Website: Connect to website

• The Crystal Palace, or The Great Exhibition of 1851: An Overview
  Website: Connect to website

Expositions Universelles, Paris 1855

Articles

• Vincente, Filipa Lowndes. "The Future is a Foreign Country: The Visit of the King of Portugal, Dom Pedro V, to the Parisian Exposition Universelle of 1855." Journal of Romance Studies 3:2 (2003): 31-48.

London International Exhibition on Industry and Art, 1862

Articles

• Gregory, Martin. "Sewing Machines at the London Exhibition of 1862." ISMACS News: Journal of the International Sewing Machine Collectors' Society 72 (2001): 4-9.

Expositions Universelles, Paris 1867

Articles

• Troyen, Carol. "Innocents Abroad: American Painters at the 1867 Exposition Universelle, Paris." American Art Journal 16 (Autumn 1984): 3-29.
  

  Wanting to present the best examples of American art in Paris to show that America's artistic skill matched its industrial prowess, a committee of the nation's leading artistic minds were gathered to select pieces to present as a part of its fine art exhibit. American cultural confidence was shattered, however, when only one medal was awarded to an American work, placing them below the French and English. This article includes discussion of individual works that were part of this exhibition, illustrations and reproductions of some of the artwork, and an index of all the works that comprised the exhibition.

Dissertations

• Nikou, Mehrangiz. "National Architecture and International Politics: Pavilions of the Near Eastern Nations in the Paris International Exposition of 1867." Ph.D. Dissertation: Columbia University, 1997.
  

  The concept of national pavilions was debuted at the 1876 exposition. However, instead of Near Eastern countries of the Ottoman Empire defining their own identity through national architecture, their cultural identity was determined by the representations constructed by European commissioners and architects. These representations reflected the interests of Napolean III's political agenda. Includes illustrations and a bibliography.

Weltausstellung Vienna, Austria 1873

Articles

• Lackner, Mónika."Pasture Romance:Installation, National Self-Representation at the Vienna World Fair 1873."Making and Breaking of Borders:Ethnological Interpretations, Presentations: 303-309.Helsinki:Finnish Literature Society,2003.

Monographs

• Osman Hamdi Bey. 1873 Yilinda Türkiye ‘de halk Giysileri: Elbise-I Osmaniyye. [Turkish] Karaköy-Istanbul: Sabanci Universitesi, 1999.

• Tsunoyama, Yukihiro. Win Bankokuhaku no Kenkyu. [Japanese] Suita-shi: Kansai Daigaku Shuppanbu, 2000.

Web Sites

• Vienna International Exposition: Weltausstellung in Wien 1873 [Japanese and English]
  Website: Connect to website

United States Centennial International Exhibition, Philadelphia 1876

Articles

• Bonnell, Andrew. "Cheap and Nasty: German Goods, Socialism, and the 1876 Philadelphia World Fair." International Review of Social History 46: 2 (2001): 207-226.

• Donnelly, Max. "British Furniture at the Philadelphia Centennial Exhibition, 1876." Furniture History 36 (2001): 91-120.

• Fischer, Felice. "The Centennial Exhibition, the Philadelphia Museum of Art, and Hector Tyndale." Antiques 163:3 (2002): 97-107.

• Halen, Widar. "Christopher Dresser, the Centennial Exhibition and the Anglo-American Dialogue." Antiques 160 (Sept. 2001): 354-60.

• Howe, Jeffrey. "A Monster Ediface: Ambivalence, Appropriation, and the Forging of Cultural identity at the Centennial Exhibition." Pennsylvania Magazine of History and Biography 126:4 (2002): 635-650.

• Myers, Susan and Susan Padwee. Special issue of Tile Heritage devoted to tiles at the Centennial Exhibition. Tile Heritage 6:2 (2002).

• Nolan, Marianne. "A Century of Industrial Progress: Lighting Products at the Centennial Exhibition 1876." The Rushlight 65:3 (1999): 2-11.
  

  Describes the exhibiting and awarding of gas and glassware lighting fixtures at the fair. Includes listings of manufacturers and short descriptions of lighting fixtures as well as discussion of how exhibits were judged. Illustrations are also included.

• Pitman, Jennifer. "China's Presence at the Centennial Exhibition, Philadelphia, 1876." Studies in the Decorative Arts. 10: 1 (2002-2003): 35-73.
  

  Details the national exhibit by the Chinese government at the Exhibition: China displayed and sold a wide variety of decorative arts, increasing the influence of Chinese styles in the U.S..

• Remberger, Sebastian. "Billig and Schlecht: Franz Reuleaux zu den Weltausstellungen in Philadelphia 1876 und Chicago 1893." Kultur & Technik (July-Sept. 2000): 42-51.

• Winpenny, Thomas R. "The Phoenix Tower and the Struggling Centennial Exhibition of 1876: A Tale of What Might Have Been." The Pennsylvania Magazine of History and Biography 124:4 (October 2000): 547-555.

• Yount, Sylvia. "A ‘New Century' for Women: Philadelphia's Centennial Exhibition and Domestic Reform." Philadelphia's Cultural Landscape. Ed. Katharine Martinez and Page Talbott. Philadelphia:Temple University Press, 2000.

Dissertations

• Giberti, Bruno. "The Classified Landscape: Consumption, Commodity Order, and the 1876 Centennial Exhibition at Philadelphia." Ph.D. Dissertation, University of California, Berkeley, 1994.
  

  Giberti explores the discourse that surrounded the order and classification of objects at the Centennial Exhibition. The order and classification of objects determined all aspects of the exhibition's structure such as the organization of the site and architecture of the buildings and helped to develop a consumer-oriented environment. [Based on abstract from Dissertation Abstracts Online]

• Laidlaw, Christine. "The American reaction to Japanese Art 1853-1876." Ph. D. Dissertation: Rutgers University, New Brunswick, 1996.
  

  Japanese art affected American art in the 1860s and 1870s and had an impact on art, architecture, and views of nature. This influence became much more widely dispersed to the public at the International Exposition in 1876.

• Owen, Nancy Elizabeth. "Women, Culture and Commerce: Rookwood Pottery, 1880-1913." Ph.D. Dissertation: Northwestern University, 1997.
  

  Chapter 4 of this dissertation is dedicated to the presence of Rookwood pottery - "the largest, longest lasting, and arguably most important American Art Pottery," according to the author - at international expositions. She notes that the American Art Pottery movement began as a result of the perceived inferiority of American ceramics at the Centennial International Exhibition of 1876. The first part of Chapter 4 looks at Rookwood participation at the fairs and the effort to distinguish the ceramics internationally. The second part consists of a case study of objects that were considered to be key examples of "American" art. Includes a bibliography and illustrations.

Monographs

• Fisher, Felice. West Meets East: China and Japan at the Centennial Exhibition. [Brochure] Philadelphia: Philadelphia Museum of Art, 2001.

• Giberti, Bruno. Designing the Centennial: a History of the 1876 International Exhibition in Philadelphia. Lexington: University Press of Kentucky, 2002,
  

  Behind the scenes look at the planning of America's "first important world's fair:" the conflicts between the players - scientists and engineers, planners and politicians demonstrate wider cultural clashes. Investigates the design process by considering the nature of display: what people were looking at, and how they were looking.

• Owen, Nancy Elizabeth. Rookwood and the Industry of Art: Women, Culture, and Commerce, 1880-1913. Athens: Ohio University Press, 2001.
  

  Discusses the Philadelphia Centennial Exhibition at length and its influence on the rise of pottery art.

Web Sites

• The Centennial Exhibition Philadelphia 1876
  Website: Connect to website

Exposition Universelle, Paris 1878

Articles

• Davis, Shane Alder. "'Fine Clothes on the Alter': The Commodification of Late Nineteenth-Century France." Art Journal 48 (Spring 1989): 85-89.
  

  French department stores and exhibitions conspired to change the French vision of womanhood from that of the thrifty republican housewife to the well-adorned Parisian fashion plate. Davis draws examples from the popular women's press to demonstrate this shift, and argues that these visions were incompatible and ultimately harmful to female identity.

Exposition International d'Electricite, Paris 1881

Articles

• Fox, Robert. "Thomas Edison's Parisian Campaign: Incandescent Lighting and the Hidden Face of Technology Transfer." Annals of Science 53 (1996): 157-93

• Segreto, Luciano. "Financing the Electric Industry Worldwide: Strategy and Structure of the Swiss Electric Holding Companies, 1895-1945." Business and Economic History 23: 1 (1994): 162-75.
  

  Makes reference to Thomas Edison's demonstration of incandescent lighting at the 1881 exposition as the start of the electric industry in Europe. He focuses primarily on the electric industry in Switzerland.

International Cotton Exposition, Atlanta 1881

Articles

• Funderburke, Richard. "An Architect for the New South: The Atlanta Years of Edmund G. Lind, 1882-1893." Georgia Historical Quarterly 81: 1 (1997): 25-51.
  

  The Cotton Exposition was the event that drew national attention to Atlanta and gave new life to the New South movement. The exposition is also known for drawing talented and enterprising individuals to Atlanta including Edmund Lind. This article focuses primarily on the professional development of Edmund Lind while living in Atlanta after the exposition. Includes drawings.

• Newman, Harvey K. "Atlanta's Hospitality Businesses in the New South Era, 1880-1900." Georgia Historical Quarterly 80: 1 (1996): 53-76.
  

  Discusses primarily early hotels such as the Kimball House and businesses like traveling circuses. The impact of prohibition is also addressed. Mention is made of the 1881 Cotton Exposition while the 1895 Cotton Exposition is dealt with in more detail.

Monographs

• Newman, Harvey K. Southern Hospitality: Tourism and the Growth of Atlanta. Tuscaloosa: University of Alabama Press, 1999.

North Carolina Exposition, 1884

Articles

• Sumner, Jim L. "Let Us Have a Big Fair: The North Carolina Exposition of 1884." North Carolina Historical Review 69 (1992): 57-81.
  

  The North Carolina Exposition represented an effort by the state's citizens to show the nation that it adhered to the industrial message of the New South. Men who represented the industrial goals which North Carolina endeavored to achieve comprised the committee that organized this fair. North Carolina's participation in early world's fairs is discussed briefly. The planning, organizing, and attendance at the exposition are also addressed. Includes photographs.

Exposition Universelle, Paris 1889

Articles

• Aubain, Laurence. "La Russie a l'Exposition Universelle de 1889." Cahiers du Monde Russe (France) 37: 3 (1996): 349-67.

• Ducrey, Guy. "L'Andalouse et l'almée: Quelques danseuses "sauvages" aux Expositions Universelles." Sociopoetique de la Danse[Paris]: Anthropos (1998): 461-475.

• Fey, Ingrid E. "Peddling the Pampas: Argentina at the Paris Universal Exposition of 1889." Latin American Popular Culture: an Introduction. Ed. William H. Beezley and Linda A. Curcio-Nagy. Wilmington, DE.: SR Books, 2000.

• Fey, Ingrid E. "Zwischen Zivilisation und Barbarei: Latin Amerika auf der Pariser Weltausstellung von 1889." Comparitiv [Germany] 1999 9(5-6): 15-28.

• Fink, Lois. "American Art at the 1889 Paris Exposition: The Paintings They Love to Hate." American Art 5 (1991): 34-53.
  

  Fink examines the American art work that was presented at the 1889 Exposition Universelle and again at a recent exhibition entitled "Paris 1889: American Artists at the Universal Exposition" in the context of the criticism that it received in the past and in the present day. She discusses the role of science as well as the ideological changes of the time that formed the basis of American artistic styles. Includes photographs and reproductions of some of the exhibited art.

• Levin, Miriam R. "The City as a Museum of Technology." Industrial Society and its Museums 1890-1990: Social Aspirations and Cultural Politics, ed. Brigitte Schroeder-Gudehus, Philadelphia: Harwood Academic, 1992. 27-36
  

  Levin looks at the city of Paris as a living museum of technology. She includes a brief history of the Exposition Universelle of 1889 as one instance in which Republican reformers in the Third Republic transformed Paris into a museum. Includes drawings and photographs.

• Lombard, Denys. "Le Kampong Javanais a L'Exposition Universelle de Paris en 1889." Archipel [France] 43(1992): 115-129.

• Oudoire, Jean-Marie. "Le Palais des Machines, un palais de la republique." Revue du Nord 71 (Juillet - Decembre 1989): 1031-35.

• Stamper, John W. and Robert Mark. "Structure of the Galerie Des Machines, Paris, 1889." History and Technology 10: 3 (1993): 127-38.
  

  Analyzes the structure of the Galerie Des Machines. Reveals through photo elastic modelling that although this historic building was the one of most impressive of its time, it was not as structurally efficient. Includes a description of the building, photographs and diagrams, and a mathematical analysis.

• Yasuda, Kyo. "1889 Nen Pari Bankoku Hakurankai Ni Okeru Jawa Buyo To Ongaku Ni Tsuite." Tonan Ajia Kenkyu [Japan] 36:4(1999): 505-524.

Dissertations

• Cooley, Kristin Nicole. "The 1889 and 1900 Paris Universal Expositions: French Masculine Nationalism and the American Response." M.A. Thesis: University of Arizona, 2001.
  

  Universal expositions of the later nineteenth century were opportunities for the host country to reinforce its sense of nationalism and to showcase its technological progress or, read differently, the progress of man. This thesis examines nationhood as defined in terms of masculinity at the 1889 Paris Universal Exposition, which demonstrated French technological, colonial, and artistic superiority over all other nations

• Fernandez, Maria Auxiliadora. "The Representation of National Identity in Mexican Architecture: Two Case Studies (1680 and 1889)." Ph.D. Dissertation: Columbia University, 1993.
  

  The author uses the government commissioned Pavilion of Mexico from the Universal Exposition as her 1889 case study. She argues that perspectives on national identity can be extracted by looking at Mexican architecture. She adds that foreign influences play a major role in formulating the national identity of a colony. The structure is analyzed in the context of Mexican social and political history. Includes illustrations and a bibliography.

• Portebois, Yannick. "Le Fauters d'Orthographe: Les Ecrivains et la Reforme de l'Orthographe, de l'Exposition Universelle de 1889 a la Premiere Guerre Mondiale." Ph.D. Dissertation: University of Montreal, 1996.

World's Columbian Exhibition, Chicago 1893

Articles

• Adams, Judith A. "The Promotion of New Technology through Fun and Spectacle: Electricity at the World's Columbian Exposition." Journal of American Culture 18: 2 (1995): 45-55.
  

  Although electricity was debuted at the 1876 exposition, it was not generally accepted and considered safe until its uses were promoted at the 1893 exposition. Adams asserts that amusement parks and fairs have successfully promoted new technology because they are presented in a way that is "fun." Venues such as the Electricity Building and mechanisms like the moveable sidewalk and the Ferris wheel were some ways in which the benefits of electricity were demonstrated. Includes a short bibliography.

• Bank, Rosemarie K. "Representing History: Performing the Columbian Exposition." Theatre Journal 54:4 (2002):589-606.
  

  Examines the 1893 Exposition, and particularly at performances of "Buffalo Bill's Wild West" show.

• Brown, Julie K. "Recovering Representations: U.S. Government Photographers at the World's Columbian Exposition, Chicago 1893." Prologue 29:3 (1997): 218-31.
  

  Instead of relying on commercial sources for documentation, the government decided to photograph its own exhibitions at the Chicago world's fair. The author asserts that this decision indicates the great amount of importance placed by the government on its representation at this type of venue.

• Brown, Julie K. "The Baltimore & Ohio and Pennsylvania Railroad Displays: Chicago World's Columbian Exposition, 1893." History of Photography 24:2 (Summer 2000): 155-162.
  

  The article focuses on the use of photography for corporate display at the Exposition in order to show some of the complexities of the corporate image making process.

• Burton, Shirley J. "Obscene, Lewd, and Lascivious: Ida Craddock and the Criminally Obscene Women of Chicago, 1873-1913." Michigan Historical Review 19: 1 (1993): 1-16.
  

  Burton addresses the prosecution of women during this period under the federal obscenity law. Ida Craddock was one such woman who spoke in defense of Fahreda Mahzar, also known as "Little Egypt," a belly dancer who performed at the "A Street in Cairo" exhibit at the world's fair. Although her performance was one of the most popular, conservative critics attempted to censor it by demanding its closure.

• Carr, Carolyn Kinder and Sally Webster. "Mary Cassatt and Mary Fairchild MacMonnies: The Search for Their 1893 Murals." American Art 8:1 (1994): 52-69.
  

  The murals painted by the two artists along with the building in which they were housed celebrated women and their progress. Unfortunately, the two murals, Modern Woman by Cassatt and Primitive Woman by MacMonnies, cannot be found. Feminist scholarship and interest in "The White City" have recently uncovered clues that may lead to their recovery. Photographs of the murals are included.

• Carriere, Marius. "Samuel Bond and the Crystal Palace Model." West Tennessee Historical Society Papers 41 (1987): 1-3.

• Casey, Constance K. "Culture and Commerce." Chicago History 22: 3 (1993): 4-19.

• Clarke, Jane H. "The Art Institute's Guardian Lions." Art Institute of Chicago Museum Studies 14 (1988): 46-55.
  

  Clarke's brief history of the lions designed by Edward L. Kemeys for the Art Institute of Chicago also contains information on the design of the sculptural decoration of the World's Columbian Exposition.

• Cressman, Jodi. "Helen Keller and the Mind's Eyewitness." Western Humanities Review 54:2 (Fall 2000): 108-23.
  

  The psychologist Joseph Jastrow's pavilion at the 1893 Fair put Helen Keller and all of her struggles on display. In her performances with Sullivan, the audience of the fair were rendered witnesses of Keller's consciousness.

• Davis, Merle. "Sundays at the Fair: Iowa and the Sunday Closing of the 1893 World's Columbian Exposition." Palimpsest 74: 4 (1993): 156-9.
  

  Many states, including Iowa, had "blue laws" which made certain activities on the Christian Sabbath illegal. A debate arose over whether or not the World's Columbian Exposition should remain open on Sundays. Iowa and several other states decided to close their exhibits on Sundays, while the rest of the fair remained open.

• Dean, Andrea Oppenheimer. "Revisiting the White City." Historical Preservation 45: 2 (1993): 42-49, 97-98.
  

  Although the fair was lauded by critics of the day as a wonder of urban planning and architecture, in retrospect it can be seen as halting the development of modern and functional American architecture. Dean delves into this debate by bringing to light its historical context and by analyzing the design of several key buildings. Includes photographs.

• Dillon Diane. "Mapping Enterprise: Cartography and Commodification at the 1893 World Columbian Exposition."Nineteenth Century Geographies Ed. Helena Michie and Ronald Thomas. New Brunswick: Rutgers University, 2003.

• Ebling, Charles W. "You Call That Damn Thing a Boat? More Than a Century Ago, Ships that Looked Like Nuclear Submarines were Everywhere on the Great Lakes." American Heritage of Invention and Technology. 17:2 (2001): 25-27.
  

  Examines the history of shipbuilding around the Great Lakes including ships that were used for the 1893 Columbian Exposition as ferryboats to carry visitors between downtown Chicago and the fairgrounds.

• Garfinkle, Charlene G. "Lucia Fairchild Fuller's 'Lost' Woman's Building Mural." American Art 7: 1 (1993): 2-7.
  

  Up until recently, all of the murals of the Woman's Building were thought to be lost or destroyed. Only one, Fuller's The Women of Plymouth, has been located in New Hampshire. Includes photographs of the mural.

• Gilbert, Emily. "Naturalist Metaphors in the Literatures of Chicago, 1893-1925." Journal of Historical Geography (Great Britain) 20:3 (1994): 283-304.
  

  Gilbert analyzes the use by turn of the century writers of organic metaphors to describe the modern city. She contextualizes this discussion by also looking at "other cultural projects of the period," one of which was the 1893 World's Columbian Exposition.

• Gilbert, James. "A Contest of Cultures." History Today 42 (July 1992): 33-39.
  

  The author asserts that the exposition's designers constructed the fair in a way that would promote "high culture," or the "superiority of European art and architecture and American Victorian moral sensibilities." This metaphor is explored by comparing and contrasting the manifestation of high culture, the White City, and its opposite as embodied in the Midway.

• Gullett, Gayle. "'Our Great Opportunity': Organized Women Advanced Women's Work at the World's Columbian Exposition of 1893." Illinois Historical Journal 87 (1994): 259-76.
  

  Organized women saw the Columbian Exposition as a chance to promote "organized womanhood" and the advancement of women. They also wanted to promote women's work, believing that all work was valuable if it remained faithful to women's "moral responsibilities to wards home and society." The efforts made at the exposition strengthened the women's movement and expanded the notion of women's politics.

• Harris, Leo. "Wrecking to Save: The Chicago House Wrecking Company." Journal of the West 38:4(October 1999):65-74.
  

  Russian immigrant Moses Harris established a successful salvage business that reused materials from world's fairs. His companies included the Chicago House Wrecking Company and the Columbia Exposition Salvage Company in which he pioneered techniques for preserving historical materials by reusing them.

• Harris, Moira F. "Curt Teich Postcards of Minnesota." Minnesota History 54: 7 (1995): 304-15.
  

  Harris expounds the historical value of studying postcards, specifically those of the Curt Teich Printing Company. The debut of the postcard at the 1893 world's fair is mentioned briefly.

• Harris, Neil. "Dream Making." Chicago History 23: 2 (1994): 44-57.

• Hinsley,Curtis M."The World as Marketplace: Commodification of the Exotic at the World's Columbian Exposition, Chicago, 1893." Exhibiting Cultures:The Poetics and Politics of Museum DisplayWashington>:Smithsonian Press,1991.344-65.

• Hunt, Sylvia. "'Throw Aside the Veil of Helplessness': A Southern Feminist at the 1893 World's Fair." Southwestern Historical Quarterly 100: 1 (1996): 48-62.
  

  Hunt looks at the life and philosophy of Sue Huffman Brady, a woman representing the South who delivered a speech to the Congress of Women. By examining her life and the participation of other women at the fair, an assessment can be made about the extent to which southern women experienced concepts such as "separate spheres" and "feminism" in the context of the contemporary women's movement.

• Hutton, John. "Picking Fruit: Mary Cassatt's Modern Woman and the Woman's Building of 1893." Feminist Studies 20: 2 (1994): 318-48.
  

  Although Cassatt's mural, Modern Woman, was derided by critics of the time, their criticisms are testament to the way in which her depiction of women broke boundaries in the late nineteenth century. Her nontraditional use of Eve and Eden imagery has been the subject of contemporary feminist discussion.

• Kasson, Joy S. "At the Columbian Exposition, 1893." Buffalo Bill's Wild West: Celebrity, Memory, and Popular Culture. New York: Hill and Wang, 2000: 93-122.

• Kennedy, Charles A. "When Cairo Met Main Street: Little Egypt, Salome Dancers, and the World's Fairs of 1893 and 1904."Music and Culture in America, 1861-1918. Ed. Michael Saffle. New York: Garland Publishing, 1998. 271-298.

• Klasey, Jack. "Who Invented the Ferris Wheel?" American History Illustrated 28: 4 (1993): 60-63.
  

  Klasey contemplates the true origin of the Ferris wheel asserting that although George Washington Gale Ferris is credited with its invention, its conceptual beginnings can be traced to earlier sources. He also touches upon the patent difficulties that Ferris encountered soon after the wheel's debut.

• Madsen, Carol Cornwall. "Decade of Detente: The Mormon-Gentile Female Relationship in Nineteenth-Century Utah." Utah Historical Quarterly 63: 4 (1995): 298-319.

• Madsen, Carol Cornwall."The Power of Combination': Emmeline B. Wells and the National and International Councils of Women." Brigham Young University Studies 33: 4 (1993): 646-73.
  

  Mentions the convening of the first meeting of the International Council of Women at the 1893 exposition and the impact this had on women's activism worldwide. Wells' participation in this meeting provided the impetus for her work in further developing women's networks.

• Massa, Ann. "'The Columbian Ode' and Poetry, A Magazine of Verse: Harriet Monroe's Entrepreneurial Triumphs." Journal of American Studies 20: 1 (1986): 51-69.
  

  Massa discusses the performing of Harriet Monroe's "The Columbian Ode" at the opening ceremonies of Dedication Day at the 1893 exposition as well as the establishment of the first journal dedicated to the publication and criticism of poetry.

• McCarthy, Michael P. "Should We Drink the Water?: Typhoid Fever Worries at the Columbian Exposition." Illinois Historical Journal 86: 1 (1993): 2-14.
  

  Polluted drinking water from Lake Michigan caused a typhoid fever epidemic in Chicago from 1890-1892. The British raised concerns about the Columbian Exposition because of the typhoid fear. The movement to rid Chicago of this disease provides a historical look at solving public health problems and improving sanitation and water supply mechanisms.

• Meister, Chris. "The Texas State Building: J. Reily Gordon's Contribution to the World's Columbian Exposition." Southwestern Historical Quarterly 98: 1 (1994):1-24.
  

  Meister recounts the story of Texan participation in the fair and the process of selecting and then modifying Gordon's building design. The building's stylistic affect on subsequent architectural designs is also discussed.

• Miller, Daniel T. "The Columbian Exposition of 1893 and the American National Character." Journal of American Culture 10 (Summer 1987): 17-22.
  

  Miller relies on contemporary published accounts of the fair to identify three "national traits": insecurity, discord and optimism.

• Miller, Donald L. "The White City." American Heritage 44:4 (1993): 70-87.
  

  Although the World's Columbian Exposition was an amazing and historic event for the nation, it was even more so for the city of Chicago. Rising out of the ashes of the Great Fire of 1871, this world's fair marked a moment in time when Chicago was at its greatest and most dynamic. Miller traces both its rise and its fall in the shadow of economic depression.

• Mills, Stephen F. "The Presentation of Foreigners in the Land of Immigrants: Paradox and Stereotype at the Chicago World Exposition." European Contributions to American Studies 34 (1996): 251-65.
  

  Mills is concerned primarily with the presentation of the Irish by the British at the Chicago world's fair. The Irish, he argues, were presented as the "modern," "after" product of Great Britain's civilization processes.

• Nathan, Marvin. "Visiting the World's Columbian Exposition at Chicago in July 1893: A Personal View." Journal of American Culture 19: 2 (1996): 79-102.
  

  Analyzes a letter written by an "ordinary" visitor, Annie Finette Lynch, about her experiences at the Chicago world's fair. Includes the text of the letter, which was written to her younger sister, as well as numerous photographs.

• Ochsner, Jeffrey Karl. "In Search of Regional Expression: The Washington State Building at the World's Columbian Exposition, Chicago, 1893." Pacific Northwest Quarterly 86: 4 (1995): 165-77.
  

  Although the Washington State building was commended for its uniqueness and beauty, its design was ultimately determined not by the state, but by D.H. Burnham, the fair's chief of construction. Burnham's choice for the building's design is indicative of eastern civic and business leaders' preconceived notion of western states as rural and primitive.

• Paddon, Anna R. and Sally Turner. "African Americans and the World's Columbian Exposition." Illinois Historical Journal 88:1 (1995): 19-36.
  

  African American community leaders gathered in Chicago to deliberate how they should react to their exclusion from the fair's planning and exhibitions. The authors argue that their exclusion and the consequential process of responding to it helped to the lay the groundwork for twentieth century black political, social, and artistic movements.

• Paddon, Anna R. and Sally Turner."Douglass's Triumphant Days at the World's Columbian Exposition." Proteus 12:1 (1995): 43-47.
  

  Paddon and Turner trace the change of heart that Frederick Douglass had for the Chicago world's fair, having first denounced it along with Ida B. Wells before its opening and then using his appointed position as commissioner from Haiti to champion the causes of African Americans within fair venues. They also include discussion of his address, "Honor to Their Race."

• Palmer, Richard F. "Postcard Craze Engulfs the Great Lakes." Inland Seas 50: 1 (1994): 39-45.
  

  Discusses the origin and popularity of the postcard, mentioning the issuing of numerous souvenir postcards at the Chicago world's fair. Collecting and care and handling of postcards is also addressed.

• Patton, Phil. "Mammy: Her Life and Times." American Heritage 44: 5 (1993): 78-87.
  

  Patton traces the evolution of the multi-faceted American icon, Mammy. He looks closely at Aunt Jemima, the commercial image used to sell baking goods, who made her debut at the World's Columbian Exposition.

• Patton, Phil. "Sell the Cookstove if Necessary, but Come to the Fair." Smithsonian 24: 3 (1993): 38-51.
  

  Patton provides a general yet comprehensive overview of the World's Columbian Exposition phenomenon which encompasses the public's reaction, its architecture and splendor, and its commercialism. Patton also discusses aspects of racism and sexism at the fair including the segregation and exclusion of African Americans and the condescending nature with which Asians, Native Americans, and women were treated.

• Phipps, Linda S. "The 1893 Art Institute Building and the ‘Paris of America': Aspirations of Patrons and Architects in Late Nineteenth-Century Chicago," Art Institute of Chicago Museum Studies 14: 1 (1988): 28-45.

• Rabinovitz, Laura."The Fair View: The 1893 Chicago World's Columbian Exposition." For the Love of Pleasure: Women, Movies, and Culture in Turn of the Century Chicago. New Brunswick: Rutgers University Press, 1998: 47-67.

• Raibmon, Paige."Theatres of Contact: The Kwakwak'wakw Meet Colonialism in British Columbia and the Chicago World's Fair." Canadian Historical Review 81: 2(June 2000):157-191.
  

  Focuses on the reaction of spectators to the performers from Vancouver Island during the Fair. Description of the version of the hamasta, or cannibal dance, a spiritually and politically important tribal initiation rite, and assertion of their cultural persistence.

• Reinhart, Richard. "The Midway Plaisance--Notorious Ancestor of Today's Amusement Parks." World's Fair 12 (April-June 1993): 15-19.
  

  Reinhart captures the lasciviousness of the Midway, the first amusement area officially part of an American fair.

• Ridge, Martin. "Turner the Historian: A Long Shadow." Journal of the Early Republic 13: 2 (1993): 132-44.
  

  Mentions briefly Frederick Jackson Turner's address, "The Significance of the American Frontier in American History," given at the 1893 world's fair.

• Rudwick, Elliot and August Meier. "Black Man in the ‘White City': Negroes and the Columbian Exposition, 1893." Phylon 26 (Winter 1965): 354-61.

• Rydell, Robert. "The Chicago World's Columbian Exposition of 1893: ‘And was Jerusalem Builded Here?'" Representing the Nation: A Reader: Histories, Heritage, and Museums. Ed. D. Boswell and Jessica Evans. London: Routledge, 1999.

• Savory, Jerold J. "Cartoon Commentary." Chicago History 23: 1 (1994): 32-57.

• Shaw, Marian. "The Fair in Black and White." Chicago History 22: 2 (1993): 54-72.

• Steiner, Michael. "Parables of Stone and Steel: Architectural Images of Progress and Nostalgia at the Columbian Exposition and Disneyland." American Studies 42:1 (2001): 39-67.
  

  As a way to gauge changing perceptions of technological progress, compares public attitudes toward Chicago's 1893 World's Columbian Exposition to those toward Disneyland since its 1955 opening. Fairgoers of 1893 were fascinated and overwhelmed by the technological features offered at the Chicago exposition, while early visitors to Disneyland longed for the Old West, while also marveling at what tomorrow could bring.

• Swaim, Ginalie, Becky Hawbaker, Lisa Moran, and Bill Silag. "Iowans at the 1893 World's Columbian Exposition: What They Took to the Fair, What They Did There, and What They Brought Home." Palimpsest 74: 4 (1993): 161-87.

• Tehranian, Katherine Kia. "The Chicago Columbian Exposition of 1893: A Symbol of Modernism." Proceedings of the National Conference on American Planning History 5 (1993): 500-511.
  

  Traces the development of urban planning in America as well as the significance of it at the Chicago world's fair. The planning of this exposition was one of the first large scale projects in which a group of experts was brought together to work collaboratively.

• Vaillant, Derek."Preludes of Reform:the Chicago Jubilee,Thomas 'summer nights' concerts,and the 1893 World's Columbian Exposition." Sounds of Reform:Progressivism and Music in Chicago,1873-1935.Chapel Hill: UNC Press, 2003.

• Valis, Noël. "Women's Culture in 1893: Spanish Nationalism and the Chicago World's Fair." Letras Peninsulares 13:2-3(2001):633-64.

• Vendl, Karen and Mark Vendl. "The Mines and Mining Building of the World's Columbian Exposition, 1893: A Photographic Essay." Mining History Journal 8 (2001): 30-41.
  

  The architecture and internal design of the Mines and Mining Building, one of 14 primary exhibit halls constructed for Chicago's 1893 World's Columbian Exposition, recognized the industry's importance to America's economy, workforce, and culture by showcasing mineral samples, new technology, and production methods from mines in Colorado, Montana, Michigan, and other states, as well as several other nations.

• Weimann, Jeanne Madeline. "The Great 1893 Woman's Building: Can We Measure up in 1992." MS Magazine 41(March 1983): 65-67.

• Wills, Garry. "Sons and Daughters of Chicago." New York Review of Books 61: 11 (June 1994): 52-59.
  

  A review of several books on Chicago and the World's Columbian Exposition, principally on the architecture of the fair, the Women's Pavilion, and Chicago architects including Daniel Burnham, H.H. Richardson and Frank Lloyd Wright.

• Wilmerding, John. "Essential Reading." American Art 11: 2 (1997): 28-35.
  

  This piece primarily discusses the life of Henry Adams and his autobiography, The Education of Henry Adams. Adams' philosophy on learning was changed by his visit to the 1893 world's fair and what he saw as "an image of American unity."

• Wilson, Matthew. "The Advent of the 'Nigger': The Careers of Paul Laurence Dunbar, Henry O. Tanner, and Charles W. Chesnutt." American Studies 43:1 (2002): 5-50.

• Wilson, William H. "The World's Columbian Exposition and the City Beautiful Movement: What Really Happened?" Proceedings of the National Conference on American Planning History 5 (1993): 487-99.
  

  Asserts that the "White City" influenced the City Beautiful movement in terms of design