Готові списки джерел за темами / British exhibitions

Добірка наукової літератури з теми "British exhibitions"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "British exhibitions"

1

Kapoor, Punita. "The Punjab Exhibition of 1881 and Politics of the British Raj." Past and Present: Representation, Heritage and Spirituality in Modern India 4, Special Issue (December 25, 2021): 40–48. http://dx.doi.org/10.12944/crjssh.4.special-issue.05.

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In 1849, Punjab was annexed by the English East India Company. This paper deals with the Punjab Exhibition of 1881, where along with textiles, arts and other local handicrafts of India were put on display. Claiming to revive the indigenous Indian arts, crafts and textiles, the exhibition represents the politics of selected exhibits that catered to the taste1 and choice of the British. The exhibition helps in understanding the objective and importance of conducting imperial exhibitions, as exhibitions were also redefining the European homes. A detailed analysis of the exhibition foregrounds how colonial rule redefined the idea and representation of indigenous handicrafts and art. The indigenous handicraft was also immensely being guided by the European market. Thus, the paper focuses on the aspects and strategy adopted by the British at promoting and preserving Indian art and textile. Moreover, efforts at preservation of the arts got institutionalised in the form of art schools. These were set up for the purpose of promoting and building taste for Indian traditional art in the British markets. The paper attempts to understand how the British shaped the notion of heritage and cultural difference between the coloniser and colonised and the ‘self’ and the ‘other’ through the exhibition. By analyzing the Punjab Exhibition 1881, the paper aims to deal with some pertinent issues such as strategic organisation and representation of the exhibits, as well as the legacy of the exhibition during colonial rule. The paper argues that though the British took to organising exhibitions to promote and preserve Indian art and textile, but in reality, it was a disguise aimed at establishing imperial supremacy over the colonised and maintain a hierarchical relationship of aesthetic and traditional culture between the ruler and the ruled.
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2

August, Tom. "The West Indies play Wembley." New West Indian Guide / Nieuwe West-Indische Gids 66, no. 3-4 (January 1, 1992): 193–206. http://dx.doi.org/10.1163/13822373-90001996.

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The Wembley British Empire Exhibition of 1924 familiarized the public with the resources and products of the Empire. In this decade of severe economic dislocation and indebtness attention was now focused on the commercial value of the colonies rather than on the jingoism of earlier exhibitions.
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3

JOHN Ph.D, IDIBEKE AMOS, SUNDAY ETIM EKWERE Ph.D, and PROFESSOR EDEM ETIM PETERS. "VISUAL ART EXHIBITION: A CATALYST FOR SOCIAL UNIFICATION IN NIGERIA." International Journal of Applied Science and Research 05, no. 04 (2022): 01–04. http://dx.doi.org/10.56293/ijasr.2022.5401.

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This paper attempts a definition of the term exhibition with particular attention to Visual Art Exhibition, knowing that there are different forms of exhibitions that may not relate to visual arts. The paper equally highlighted on the various types of exhibitions pointing out the virtual exhibition as a new inclusion that has greatly changed the traditional format of visual art exhibition with its attendant impact on the outcome of the results of exhibitions. The highlighted focuses on the challenges of understanding the scope of the basic types of exhibition in contemporary times, as has been redefined by the concept of virtual exhibition. The relevance of exhibition to artists and the significance to the public is deeply discussed with the aim of positioning visual art exhibition in its rightful place as a catalyst for social change. This assertion could be seen in the significant effort of Kenneth C. Murray as a pioneer curator and organizer of visual art exhibition in Nigeria. Murray was a British Art Teacher in Nigeria who was instrumental to the establishment of Oron Museum in Akwa Ibom State, Nigeria, and he recognized Oron Carvings since 1938 and collected them for permanent art exhibition in the Oron Museum. The above therefore formed the conceptual framework of this paper. The opinions, positions and oppositions of other authorities in this matter are considered as they form the indices for postulating the idea of art exhibition as catalyst for social unification. However, the paper concludes that for the visual art exhibition to function as a catalyst for social unification, the elements of unity and integration must be factors the exhibitions composed of, for it to engender the expression of such feelings of social togetherness.
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4

Pitman, Alexandra, and Fiona Stevenson. "Suicide Reporting Within British Newspapers’ Arts Coverage." Crisis 36, no. 1 (January 1, 2015): 13–20. http://dx.doi.org/10.1027/0227-5910/a000294.

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Background: Many suicide prevention strategies promote media guidelines on suicide reporting, given evidence that irresponsible reporting of suicide can influence imitative suicidal behavior. Due to limited resources, monitoring of guideline adherence has tended to focus on news outputs, with a risk of neglecting other journalistic content. Aims: To determine whether British newspapers’ arts coverage adheres to media guidelines on suicide reporting. Method: Purposive sampling was used to capture current national practice on suicide reporting within newspapers’ arts coverage of exhibitions. Recent major UK exhibitions by artists who had died by suicide were identified: Kirchner, Rothko, Gorky, and Van Gogh. Content analysis of all UK national newspaper coverage of these exhibitions was performed to measure the articles’ adherence to widely accepted media guidelines. Results: In all, 68 newspaper reviews satisfied inclusion criteria, with 100% failing to show full adherence to media guidelines: 21% used inappropriate language; 38% provided explicit descriptions of the suicide; 7% employed simplistic explanations for suicide triggers; 27% romanticized the suicide; and 100% omitted information on sources of support. Conclusion: British newspapers’ arts coverage of exhibitions deviates considerably from media guidelines on the reporting of suicide. The findings suggest scope to improve journalists’ awareness of the importance of this component of suicide prevention strategies.
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5

James, N. "Exhibitions: exotica and exigencies." Antiquity 78, no. 302 (December 2004): 914–15. http://dx.doi.org/10.1017/s0003598x00113559.

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Two exhibitions, in England and France, are showing different ways to promote interest in archaeology and history from regions afar. Sudan: ancient treasures is a lavish and elegant show at the British Museum, London. In Auch, Le crépuscule des dieux, on the Americas, is imaginative but penurious. The first raises an ethical worry, the second a couple of technical principles.Sudan displays some 350 exhibits, from an Acheulian handaxe to Medieval inscriptions, all from the Sudan National Museum, celebrating its centenary. Most are clearly arranged in chronological sections, and amplifying the narrative are an effective introduction and sections on goldwork, pottery and burials. The exhibition is completed by photographs of the multinational Meroe Dam Archaeological Salvage Project, which (it is claimed) has enhanced knowledge of the Sudan’s northern Nile. My visit was amidst a steady flow of highly attentive visitors from the world over and an excited but also attentive school party.
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6

Kirby, Sarah. "Prisms of the musical past: British international exhibitions and ‘ancient instruments’, 1885–1890." Early Music 47, no. 3 (July 24, 2019): 393–407. http://dx.doi.org/10.1093/em/caz043.

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Abstract Nineteenth-century international exhibitions were monumental attempts to represent modernity, ‘progress’ and ‘invention’ through displays of material objects. In materially illustrating a narrative of cultural ‘progress’, these exhibitions sometimes engaged vividly with the past, incorporating displays of historical objects shown in striking contrast to the new manufactures that were their core focus. This article examines musical displays at exhibitions held in London in 1885 and Edinburgh in 1890, where large exhibits of ‘ancient’ musical instruments, scores and related objects were presented. I argue that the display of ‘ancient’ instruments and objects, in blatant contrast to the exhibitions’ theme of modern invention, demonstrates a conceptual breach between past and present, examination of which can reveal larger trends in the late 19th-century’s ambivalent relationship with the past.
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7

Antonova, Lidia. "«Old London»: Reconstruction of a XVIIth Century Street at Exhibitions of the 1880s." Metamorphoses of history, no. 24 (2022): 0. http://dx.doi.org/10.37490/mh2022242.

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The article analyzes the experience of an original exhibition experiment – the reconstruction of XVII th century buildings at the sites of international exhibitions of the 1880s in London. The circumstances of the origin of the idea and implementation in South Kensington «Streets of Old London» are considered. It was an eclectic set of buildings that really existed in the British capital before the 1666 Great Fire and reproduced in almost original form in 1884. Based on exhibition documents, press publications and photographs, a description is given to the appearance of the «street» and its place within the expositions. Based on photographs and printed sources, a description of the buildings themselves is given: typical urban residential buildings, shops, churches, etc. It is concluded that this example illustrates the educational function of the thematic exhibitions in London, their close interweaving with the problems of the city's architecture, as well as the temporality and transiency of such structures. The last is a characteristic feature of the exhibition space.
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8

HILL, KATE. "‘Olde worlde’ urban? Reconstructing historic urban environments at exhibitions, 1884–1908." Urban History 45, no. 2 (March 28, 2017): 306–30. http://dx.doi.org/10.1017/s0963926817000220.

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ABSTRACT:From 1884 until the Franco-British Exhibition in 1908, international and national exhibitions had a fad for including reconstructed historic urban streets in their attractions. This article investigates the meaning of such forms of urban heritage in the light of modernizing cities. It shows that ideas about historical authenticity were complex, and traces this to the ways in which staff and employees, and also the big crowds at the displays, co-produced this meaning. It suggests that visitors particularly constructed meaning through haptic and emotional encounters with the past, providing evidence of the development of new memory practices for modernity.
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9

Abdallah, Monia. "Back to the Future : art contemporain du Moyen-Orient et expositions temporaires au British Museum." Muséologies 9, no. 1 (October 17, 2018): 45–58. http://dx.doi.org/10.7202/1052627ar.

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The confrontation between contemporary and ancient art, within the framework of temporary exhibitions or in the context of permanent collections, is not new, and examples are numerous. This article shows, through a description of a variety of temporary exhibitions organized by the British Museum, bringing together contemporary Middle Eastern and ancient Islamic art, the ideological consequences of such juxtapositions which consistently favour continuity over rift.
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Ergut, Elvan Altan. "Displaying Abroad: Architecture and Town Planning Exhibitions of Britain in Turkey in the Mid-1940s." New Perspectives on Turkey 50 (2014): 145–70. http://dx.doi.org/10.1017/s0896634600006609.

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AbstractThis paper focuses on two exhibitions of architecture and town planning held by Britain in Turkey in the mid-1940s. The use of these exhibitions for propaganda purposes, as well as their reception in the highly politicized context of World War II, requires the study to emphasize the political as well as the professional perspective of the contemporary architectural context. Analyzing why and how these exhibitions were held, and what they displayed as representative of British architecture and town planning, the paper discusses the characteristics of the contemporary discourses and practices of the profession with reference to the national dynamics of each country and their position in the international scene at the dawn of a new era in world history. The aim is to question the relations of power that are conventionally taken to define discursive and practical hierarchies of binary constructs, such as national/international or traditional/modern. Examining the case of the British exhibitions in Turkey, the paper emphasizes instead the necessity of a comparative analysis to evaluate the architectural products in-between or beyond dichotomies as produced in discrete yet interconnected contexts.
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Дисертації з теми "British exhibitions"

1

Edwards, Anthony David. "International exhibitions, British economic decline and the technical education issue 1851-1910." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366662.

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2

Kong, Da. "Imaging China : China's cultural diplomacy through loan exhibitions to British museums." Thesis, University of Leicester, 2015. http://hdl.handle.net/2381/33072.

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China’s worldwide cultural promotion has attracted considerable attention in the past decade. Art exhibitions sent out by the Chinese government, as an important part of such initiatives, have been ever more visible in Western museums. How and why the Chinese government uses such exhibitions, however, has rarely been explored. This study examines how such exhibitions have contributed to China’s cultural diplomacy, through shaping the image of China in the British media. It demonstrates how China’s loan exhibitions contribute to an advanced and civilised, democratic and humanist (with Chinese characteristics), innovative and creative, multi-ethnic and multi-cultural, open, collaborative and peaceful image of China, and how such image is consistent with China’s cultural diplomacy in the new century. This study examines the factors which have an impact on the media interpretation of such exhibitions, namely the image of China in the media. It explores the involvement of the Chinese government and the influence of museum professionals on both sides (China and the UK) in producing and delivering these exhibitions, and the relationships between them. It demonstrates that the Chinese government plays a vital role in delivering loan exhibitions, but the role is more bureaucratic and facilitating, rather than didactic or propagandistic. The Chinese government is aware of the value of loan exhibitions for cultural diplomacy, but still allows the museums involved enough freedom in shaping the exhibitions. This study also considers the operation of China’s current system of managing loan exhibitions, and their implications for China’s cultural diplomacy and Chinese museums. It concludes that the Chinese government should reform the current system to encourage Chinese museums on all levels to actively engage in international collaboration, without intervening in their professional independence.
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3

Winston, Susan. "Great Exhibitions : representing the world at the Great Exhibition, the Crystal Palace at Sydenham and early British films shows." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309960.

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4

Lee, Yunah. "Selling modern British design : overseas exhibitions by the Council of Industrial Design, 1949-1971." Thesis, University of Brighton, 2009. https://research.brighton.ac.uk/en/studentTheses/da8871a2-8a20-4744-a0f1-7d6a3e7a09d9.

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This thesis reviews the notion of British modern design promoted by the Council of Industrial design during 1950s and 1960s through a comparative analysis of the series of overseas exhibitions organised or participated in by the Council of Industrial Design (CoID) between 1949 and 1972.
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5

Spooner, Rosemary Gall. "Close encounters : international exhibitions and the material culture of the British Empire, c.1880-1940." Thesis, University of Glasgow, 2016. http://theses.gla.ac.uk/7386/.

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Apparitions of empire and imperial ideologies were deeply embedded in the International Exhibition, a distinct exhibitionary paradigm that came to prominence in the mid-nineteenth century. Exhibitions were platforms for the display of objects, the movement of people, and the dissemination of ideas across and between regions of the British Empire, thereby facilitating contact between its different cultures and societies. This thesis aims to disrupt a dominant understanding of International Exhibitions, which forwards the notion that all exhibitions, irrespective of when or where they were staged, upheld a singular imperial discourse (i.e. Greenhalgh 1988, Rydell 1984). Rather, this thesis suggests International Exhibitions responded to and reflected the unique social, political and economic circumstances in which they took place, functioning as cultural environments in which pressing concerns of the day were worked through. Understood thus, the International Exhibition becomes a space for self-presentation, serving as a stage from which a multitude of interests and identities were constructed, performed and projected. This thesis looks to the visual and material culture of the International Exhibition in order to uncover this more nuanced history, and foregrounds an analysis of the intersections between practices of exhibition-making and identity-making. The primary focus is a set of exhibitions held in Glasgow in the late-1880s and early-1900s, which extends the geographic and temporal boundaries of the existing scholarship. What is more, it looks at representations of Canada at these events, another party whose involvement in the International Exhibition tradition has gone largely unnoticed. Consequently, this thesis is a thematic investigation of the links between a municipality routinely deemed the ‘Second City of the Empire’ and a Dominion settler colony, two types of geographic setting rarely brought into dialogue. It analyses three key elements of the exhibition-making process, exploring how iconographies of ‘quasi-nationhood’ were expressed through an exhibition’s planning and negotiation, its architecture and its displays. This original research framework deliberately cuts across strata that continue to define conceptions of the British Empire, and pushes beyond a conceptual model defined by metropole and colony. Through examining International Exhibitions held in Glasgow in the late-Victorian and Edwardian periods, and visions of Canada in evidence at these events, the goal is to offer a novel intervention into the existing literature concerning the cultural history of empire, one that emphasises fluidity rather than fixity and which muddles the boundaries between centre and periphery.
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6

Deeter, Burton Charles. "A survey of science fairs in school district 36 (Surrey)." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26806.

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The Surrey School District has sponsored a District elementary schools science fair (grades 4-7) for 21 years and voluntary participation has increased throughout this time. Despite this popularity, no studies have been conducted regarding the science fair. A survey of the elementary schools in the Surrey School District was conducted. The four areas identified for investigation were: (a) participation in school and district science fairs (b) organization of school science fairs (c) relationship between science instruction and science fair participation, (d) teacher participation in science fairs. Two questionnaires were developed. One was distributed to all elementary teachers in Surrey and the other was distributed to all elementary principals in Surrey. Response rates were 77% (teacher's questionnaire, n=346) and 88% (principal's questionnaire, n=59). Data analysis was in the form of frequencies of response expressed in percentages. Some crosstabulatons were calculated. The major findings of the study were: (a) most schools (95%) participate in the science fair, (b) most schools (85%) Include primary students in the science fair, (c) 4 827 Intermediate students (83%) completed a science fair project, (d) all schools encourage public viewing of their science fair, (e) teachers do not vary their science Instructional activities, lnstructonal materials, or their instructonal time, from the fall to the spring, (f) teachers provide extra instructional time and extra-curricular time to assist students with preparation of science fair projects, (g) teachers evaluate science fair product and not the process of completing a science fair project, (h) most teachers (75%) reported a willingness to attend science fair inservice, (i) teachers and principals have very similar attitudes toward science fair, (j) many teachers (n=89) and principals (n=39) made general comments about the science fair. The study recommends that the Surrey Elementary Schools Science Fair be continued and that further study be conducted regarding the type and amount of assistance that elementary students require to complete a science fair project satisfactorily.
Education, Faculty of
Curriculum and Pedagogy (EDCP), Department of
Graduate
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7

Floe, Hilary Tyndall. "The Museum of Modern Art, Oxford (1965-1982) : exhibitions, spectatorship and social change." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:8ecada55-921a-4e6f-a279-92fd2313d459.

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This thesis examines the first seventeen years of the history of the Museum of Modern Art Oxford (MOMA), from its founding in 1965 until c. 1982. It is concerned with the changing relationships between the museum and its audience, focusing on those aspects of the museum's programming that shed light on its role as a public mediator of recent art. This provides a means to consider the underlying values and commitments that informed MOMA's emergence as a leading contemporary art institution. Chapter one examines the museum's relationship to utopian countercultures through the metaphor of the museum as 'garden'; chapter two considers the erstwhile 'permanent' collection and its connection to corporate patronage; chapter three investigates the parallel forces of institutional critique and institutionalization; and chapter four addresses didactic strains in the museum's representation of an emergent multiculturalism. Although dedicated to the history of a single regional gallery, the thematic structure of the thesis provides entry points into historical and theoretical issues of broader relevance. It is based on primary research in the previously neglected archive of what is now known as Modern Art Oxford, supplemented by interviews with artists and former staff members, and by close attention to British art periodicals and exhibition catalogues of the period. It is also informed by critical writings on museums and displays, and by artistic, social and museological histories, allowing the museum's activities to be situated within the cultural politics of these turbulent decades. The thesis suggests that institutional identity - as exemplified by the history of MOMA from 1965-1982 - is porous and discontinuous: the development of the museum over this period is animated by multiple and often contradictory ideals, continuously shaped by pragmatic considerations, and subject to a rich variety of subjective responses.
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8

Clarkson, Verity. "The organisation and reception of Eastern Bloc exhibitions on the British Cold War 'home front' c.1956-1979." Thesis, University of Brighton, 2010. https://research.brighton.ac.uk/en/studentTheses/99502e86-6691-4cc6-82a2-df6c575d6cc9.

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This thesis investigates government-sponsored exhibitions originating in the USSR and Eastern Europe held in Britain between 1956-1979. These incoming manifestations of cultural diplomacy were a locus for cultural exchange during the ideological conflict of the Cold War, providing temporary public spaces in which cultural artefacts from the eastern bloc – perceived as an unfamiliar, isolated and rival territory – were displayed and responded to. This research scrutinises the organisation and reception of these usually reciprocal displays of art, historical artefacts, and commercial goods on the British Cold War ‘home front’.
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9

Heinonen, Alayna. "CONTESTED SPACES IN LONDON: EXHIBITIONARY REPRESENTATIONS OF INDIA, c. 1886-1951." UKnowledge, 2012. http://uknowledge.uky.edu/history_etds/1.

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Following the first world exhibition, the 1851 Crystal Palace Exhibition in London, exhibitions became routine events across the West that merged both education and entertainment to forward political and economic goals. For the most part scholars have taken the frequency, popularity, and propagandistic efforts of exhibitions at face value, viewing them as successful reassertions of the imperial, industrial, and technological superiority of Western nation-states. Though offering valuable insights into the cultural technologies of imperial rule, these works miss the complexities of imperial projects within specific temporal and geographical contexts. This manuscript traces the historical dynamics of India at exhibitions held in London during and after imperial rule: the 1886 Colonial and Indian Exhibition, the 1908 Franco-British Exhibition, the 1924-25 British Empire Exhibition, and the 1951 Festival of Britain. In historicizing the exhibitionary administration and display of India over time, this study argues for a more complex reading of exhibitions in which displays invoked a mélange of meanings that destabilized as well as projected imperial hierarchies. It also examines the ways in which Indians administered, evaluated, and contested imperial displays. Rather than seamlessly reinforcing imperial dominance, exhibitions, located within specific historical contexts, emerged as contested, multifaceted, and even ambiguous portrayals of empires.
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10

Medina, Gonzalez E. I. "Structuring the notion of 'ancient civilisation' through displays : semantic research on early to mid-nineteenth century British and American exhibitions of Mesoamerican cultures." Thesis, University College London (University of London), 2011. http://discovery.ucl.ac.uk/1310263/.

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This research focuses on studying the representation of the notion of ‘ancient civilisation’ in displays produced in Britain and the United States during the early to mid-nineteenth century, a period that some consider the beginning of scientific archaeology. The study is based on new theoretical ground, the Semantic Structural Model, which proposes that the function of an exhibition is the loading and unloading of an intelligible ‘system of ideas’, a process that allows the transaction of complex notions between the producer of the exhibit and its viewers. Based on semantic research, this investigation seeks to evaluate how the notion of ‘ancient civilisation’ was structured, articulated and transmitted through exhibition practices. To fulfil this aim, I first examine the way in which ideas about ‘ancientness’ and ‘cultural complexity’ were formulated in Western literature before the last third of the 1800s. This results in a basic conceptual structure about the notion of ‘ancient civilisation’, which is then analysed in relation to the representations formulated by eight displays on Mesoamerican objects, monuments, and people that date from the 1820s to 1870s, all which have been poorly studied up until now. This work is an original approximation of the history of Mesoamerican archaeology that concludes that early to mid-nineteenth century British and American exhibits structured some aspects of the notion of ‘ancient civilisation’ for the representation of Pre-Columbian cultures by articulating a language code composed of a set of conceptual traits. It also shows that the representation of the notion of ‘ancient civilisation’ through Mesoamerican exhibits was a complex, problematic and changing phenomenon. On one hand, it involved the use of visual, textual, spatial, object-based and performative display technologies and, on the other, the ideas articulated by the displays developed together with the theoretical, conceptual, informational, and socio-political transformations of the era.
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Книги з теми "British exhibitions"

1

Gormley, Antony. Field for the British Isles: Discover field throughout the British Museum. London: British Museum, 2002.

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2

Richard Green (Gallery : London, England). Modern British paintings. London: Richard Green, 1985.

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3

Royal Academy of Arts (Great Britain), ed. Modern British sculpture. London: Royal Academy of Arts, 2011.

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4

Great Britain. Department of Trade and Industry. Industry Economics and Statistics Unit. The future of the British exhibitions industry. [London]: The Unit, 1997.

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5

Caoimhín, Mac Giolla Léith, and Mostyn Art Gallery, eds. Field for the British Isles. Llandudno: Oriel Mostyn, 1994.

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6

British International Miniature Print Exhibition (1st 1989 City of Bristol Museum and Art Gallery). First British International Miniature Print Exhibition. [London: The Council, 1989.

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7

True British. New York: Rizzoli, 2011.

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8

Polish roots, British soil. Edinburgh: City Art Centre, 1994.

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9

Bomberg, David. David Bomberg: A great British artist. London: Bernard Jacobson Gallery, 1988.

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10

Bomberg, David. David Bomberg: A great British artist. London: Bernard Jacobson Gallery, 1988.

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Частини книг з теми "British exhibitions"

1

Codell, Julie F. "International Exhibitions." In A Companion to British Art, 220–40. Oxford: Blackwell Publishing Ltd, 2013. http://dx.doi.org/10.1002/9781118313756.ch10.

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2

Haschemi Yekani, Elahe. "Conclusion: Queer Modes of Empathy as an Ethics of the Archive." In Familial Feeling, 273–91. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-58641-6_6.

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AbstractAddressing the boom of memorial events and special exhibitions as well as the establishment of the International Slavery Museum in Liverpool celebrating the bicentennial of the abolition of the slave trade in 2007, the conclusion of Familial Feeling returns to the question of ethics in dealing with the archive of slavery. Reflecting on methodology in literary studies by contrasting surface reading with approaches that foreground negative affects, Haschemi Yekani, via a recourse to Eve Kosofsky Sedgwick’s “reparative” reading, proposes a queering of empathy that should not rest on a celebratory understanding of the past, as trauma overcome, but serve as a foundation of ongoing tension in contemporary narratives of familial feeling and national belonging. For this purpose, Haschemi Yekani examines the 2007 installation Swallow Hard: The Lancaster Dinner Service by artist Lubaina Himid. The author proposes that by engaging with the messy entanglements of marginalised and hegemonic voices in the establishment of Britishness as familial feeling, one can arrive at more complex reading strategies of the literary sources from the historical archive of the early Black Atlantic and the British novel as well as a less congratulatory contemporary memorial culture that seeks British “Greatness” in the past.
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Pozzi, Laura. "China, the Maritime Silk Road, and the Memory of Colonialism in the Asia Region." In Regions of Memory, 139–60. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-93705-8_6.

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AbstractThis chapter analyzes how the city museums of Shanghai, Hong Kong, and Galle Fort deal with the memory and legacy of colonialism in the framework of the expanding economic and political power of the People’s Republic of China (PRC) in Asia. In the PRC, the historical memory of the country’s colonial past has been shaped by the Chinese Communist Party (CCP). In contrast to the transnational nature of the communist ideology, the CCP’s interpretation of history is strongly nationalist. China’s political expansion in the ex-British colony of Hong Kong and its economic ties to other Asian countries such as Sri Lanka open space for a discussion about its power to influence these countries’ understanding of their own history. How is the expansion of China, defined by many as a neo-colonial power, changing the way other countries in Asia understand the colonial past? Is China able to exports its own vision of colonialism and post-colonial order outside its own borders? This chapter answers these questions through an analysis of the permanent exhibitions of three city museums: The Shanghai History Museum; the Hong Kong Museum of History, and the Galle Fort Museum in Sri Lanka, part of the “One Belt, One Road” project.
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Griffiths, John. "‘Savage South Africa at the Greater British Exhibition’." In Empire and Popular Culture, 125–26. London: Routledge, 2021. http://dx.doi.org/10.4324/9781351024785-20.

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Weltman, Sharon Aronofsky. "Theater, Exhibition, and Spectacle in the Nineteenth Century." In A Companion to British Literature, 68–88. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118827338.ch80.

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Geppert, Alexander C. T. "London 1908: Imre Kiralfy and the Franco-British Exhibition." In Fleeting Cities, 101–33. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281837_4.

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Stephen, Daniel. "Building the Exhibition in India and British West Africa." In The Empire of Progress, 53–80. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137325129_3.

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Ryu, Jiyi. "The Queen's Dolls' House within the British Empire Exhibition: encapsulating the British imperial world." In Popular Culture and Its Relationship to Conflict in the UK and Australia since the Great War, 8–26. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003349310-2.

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Geppert, Alexander C. T. "Wembley 1924: The British Empire Exhibition as a Suburban Metropolis." In Fleeting Cities, 134–78. London: Palgrave Macmillan UK, 2010. http://dx.doi.org/10.1057/9780230281837_5.

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Felsenstein, Frank. "Mr. Punch at the Great Exhibition: Stereotypes of Yankee and Hebrew in 1851." In The Jews and British Romanticism, 17–39. New York: Palgrave Macmillan US, 2005. http://dx.doi.org/10.1007/978-1-137-06285-7_2.

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Тези доповідей конференцій з теми "British exhibitions"

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SATO, Mayuka. "Representations of British women at the British Empire Exhibition, 1924–1925." In 10th International Conference on Design History and Design Studies. São Paulo: Editora Edgard Blücher, 2016. http://dx.doi.org/10.5151/despro-icdhs2016-02_004.

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Terracciano, Alda. "Digital Interaction, Oral History and Archives in Geographies of Information Virtual Exhibition." In 34th British HCI Workshop and Doctoral Consortium. BCS Learning & Development, 2021. http://dx.doi.org/10.14236/ewic/hci2021-w1.3.

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Sarhan, Hazem, and Fatemeh Riazi. "Design of Concrete Gravity Quay Walls - British Standards vs. Eurocode." In Abu Dhabi International Petroleum Exhibition & Conference. Society of Petroleum Engineers, 2016. http://dx.doi.org/10.2118/183334-ms.

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Ferguson, R., and C. Mosher. "Taking the Seismic Temperature of a Glacier: Mount Meager, British Columbia." In 83rd EAGE Annual Conference & Exhibition. European Association of Geoscientists & Engineers, 2022. http://dx.doi.org/10.3997/2214-4609.202210856.

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Whitten, M. D., J. H. Anderson, and G. E. Tinker. "Miscible Flood From Inception: The Brassey Field Development, British Columbia, Canada." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 1989. http://dx.doi.org/10.2118/19655-ms.

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Child P. Eng, Robert, and Simon Mauger P. Geol. "NE British Columbia and NW Alberta Montney: Natural Gas and Power Evolution." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 2019. http://dx.doi.org/10.2118/195823-ms.

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Riazi, N., D. Eaton, and A. Aklilu. "Novel Methods for Characterizing Induced Seismicity in the Montney Formation, British Columbia, Canada." In 82nd EAGE Annual Conference & Exhibition. European Association of Geoscientists & Engineers, 2020. http://dx.doi.org/10.3997/2214-4609.202010283.

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Burden, Kevin, Anastasia Gouseti, Stuart Jeffrey, Mhairi Maxwell, and Daisy Abbott. "THE POTENTIAL OF VIRTUAL 3D MODELS IN PRIMARY AND SECONDARY SCHOOL SETTINGS: THE CASE OF THE 1938 BRITISH EMPIRE EXHIBITION MODEL." In International Technology, Education and Development Conference. IATED, 2016. http://dx.doi.org/10.21125/iceri.2016.1010.

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Rossall, J. W., and O. M. Gurpinar. "A Compositional Simulation Evaluation of the Brassey Artex B Pool, British Columbia, Canada." In SPE Annual Technical Conference and Exhibition. Society of Petroleum Engineers, 1993. http://dx.doi.org/10.2118/26404-ms.

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Podgornova, O., S. Leaney, M. Charara, and E. von Lunen. "Elastic Full Waveform Inversion for Land Walkaway VSP Data from British Columbia, Canada." In 76th EAGE Conference and Exhibition 2014. Netherlands: EAGE Publications BV, 2014. http://dx.doi.org/10.3997/2214-4609.20141413.

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Звіти організацій з теми "British exhibitions"

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Commonwealth Bank of Australia - Premises - Wembley - British Empire Exhibition - 1924. Reserve Bank of Australia, March 2022. http://dx.doi.org/10.47688/rba_archives_pn-000564.

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