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Relevant bibliographies by topics / Exposition universelle (1900 : Paris, France). United States

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Academic literature on the topic 'Exposition universelle (1900 : Paris, France). United States'

Author: Grafiati

Published: 26 July 2024

Last updated: 31 July 2025

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Journal articles on the topic "Exposition universelle (1900 : Paris, France). United States"

1

Lovings-Gomez, Lauren. "The Lost Narrative of Natalia Shabelsky’s Collection of Russian Textiles." Textile Society of America Symposium Proceedings, 2021. http://dx.doi.org/10.32873/unl.dc.tsasp.0117.

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A culturally significant, vibrant group of textiles gathered in the nineteenth century by Natalia Leonidovna Shabelsky, praised by critics and celebrated worldwide, was nearly lost to history. Born in Taganrog, Russia, in 1841, Shabelsky moved after her marriage to a rural estate in the Lebedinsky region where she developed an interest in the indigenous textile practice of ethnic Russia. She collected and preserved examples of embroidery and lace, as towel ends and costume accessories, all filled with traditional motifs such as the Tree of Life, the Sirin, and the Mother Goddess in her various

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2

Barth, Volker. "Signs of Americanization: The United States and the Paris Universal Exhibition of 1867." Nuevo mundo mundos nuevos, 2024. http://dx.doi.org/10.4000/12ho7.

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On the occasion of the Exposition universelle of 1867 the term Americanization first appeared in France. Jules and Edmond Goncourt feared that the exhibition would lead to “the Americanization of France”. My article explores the opposition between the rather unspectacular US-section at the exhibition on the one hand, and the image of an emerging world power on the other. I argue that the notion of Americanization had a threefold function. Firstly, it did not refer to a specific geographic zone, but served as a master discourse absorbing all the phenomena of unfolding French modernity. Secondly

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3

Michele Guerra. "Cinema as a form of composition." TECHNE - Journal of Technology for Architecture and Environment, May 25, 2021, 51–57. http://dx.doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to “Techne”, I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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4

Michele, Guerra NA. "Cinema as a form of composition." November 17, 2021. https://doi.org/10.36253/techne-10979.

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Technique and creativity Having been called upon to provide a contribution to a publication dedicated to "Techne", I feel it is fitting to start from the theme of technique, given that for too many years now, we have fruitlessly attempted to understand the inner workings of cinema whilst disregarding the element of technique. And this has posed a significant problem in our field of study, as it would be impossible to gain a true understanding of what cinema is without immersing ourselves in the technical and industrial culture of the 19th century. It was within this culture that a desire

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Books on the topic "Exposition universelle (1900 : Paris, France). United States"

1

Smith, Shawn Michelle. Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (A John Hope Franklin Center Book). Duke University Press, 2004.

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Smith, Shawn Michelle. Photography on the Color Line: W. E. B. du Bois, Race, and Visual Culture. Duke University Press, 2004.

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Photography on the Color Line: W. E. B. Du Bois, Race, and Visual Culture (A John Hope Franklin Center Book). Duke University Press, 2004.

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