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Jonathon Shears

2 •• Display According to Barton and Bates, ‘the Victorians understood cultural identity as and through the collection, display and labelling of an array of objects’ (2013: p. 59). What was put on display in the Crystal Palace indicates something about what was materially valued by the Victorians but also about Victorian self-confidence in an ability to understand and portray the world around them. The commodities may not have been for purchase, and the Commissioners forbade pricing in the Palace, but there is no doubt that objects on display at the Great

in The Great Exhibition, 1851
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Paul Greenhalgh

example, that the ‘Times’ indexed them not under the standard heading ‘Science, Art, Music and Drama’, or even ‘Politics and Home Affairs’ but under ‘Empire and Foreign Affairs’. The extent of participation by any one nation would normally be gauged by the political, economic and strategic importance of the colonies involved. In the first instance, Britain set the pace for imperial display, before the

in Ephemeral vistas
Jasmine Allen

44 2 A multitude of displays [P]‌ainted glass is the one art treated with indifference –​its specimens are put about anywhere, without classification and without regard to place or distance. – Thomas Gambier Parry, 18671 The varied approaches to displaying stained glass, in both official exhibition buildings and unofficial private pavilions, demonstrated further uncertainty over its classification and display requirements. At these events, stained glass was presented in wide-​ ranging contexts, some of which were more effective and prominent than others

in Windows for the world
Jemma Field

3 Collecting and display In April 1619, Lady Anne Clifford (1590–1676) travelled to Denmark House to pay her respects to the recently deceased Stuart queen. Later recalling in her diary that she had dutifully ‘sat a good while there by the Queen’s corpse’, she added that she ‘then went into the privy galleries and showed my cousin Mary those fine delicate things there’.1 Although Clifford is regrettably circumspect in her description, her actions and comments are importantly suggestive of Anna of Denmark’s reputation as a collector who piqued the interest of her

in Anna of Denmark
The disposal of bodies in the 1994 Rwandan genocide
Nigel Eltringham

8 Display, concealment and ‘culture’: the disposal of bodies in the 1994 Rwandan genocide Nigel Eltringham Introduction In their ethnography of violent conflict, ‘cultures of terror’ 1 and genocide, anthropologists have recognized that violence is discursive. The victim’s body is a key vehicle of that discourse. In contexts of inter-ethnic violence, for example, ante-mortem degradation and/or post-mortem mutilation are employed to transform the victim’s body into a representative example of the ethnic category, the manipulation of the body enabling the

in Human remains and mass violence
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Elisabeth Bronfen

dead body should not be touched by members of the other sex, and above all that Lovelace not be permitted to see her corpse unconditionally: ‘but if … as I am nobody’s, he insist upon viewing her dead whom he ONCE before saw in a manner dead, let his gay curiosity be gratified.’ (IV.416) By pointing to the analogy between her displayed dead body and its

in Over her dead body
Fintan Cullen

Recognition of the relationship between Ireland’s colonial status in the nineteenth century and the display of art and material culture is slowly gaining ground in scholarly research. 1 In a recent publication on the early history of what is now the National Museum of Ireland in Dublin, its present director has usefully reminded us that, at the end of the nineteenth

in Cultural identities and the aesthetics of Britishness
Angela Stienne

, a museum is an exclusionary space. As with the collection of Henry Wellcome, displays of world arts and world cultures were not created to celebrate differences, but rather to demonstrate them. And yet, every year this museum’s programming of inclusive events climaxes in a day of gatherings and celebrations in the museum rooms; the courtyard; and the pedestrian walkway, New Walk. 2 Attached to the iron gates, a sign

in Mummified
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Magistrates, doctors and families, 1840–70
Catherine Cox

4 Insanity on display: Magistrates, doctors and families, 1840–70 In May 1849, Mathew W. appeared before a Carlow petty session hearing charged with seriously assaulting his stepdaughter, Eliza B. Eliza was attacked while trying to protect her mother from Mathew. Evidence of Mathew’s ‘dangerous character’ was provided by several witnesses and during the hearing it emerged that he had been previously confined in an asylum. William Duckett, the presiding magistrate and a governor at Carlow asylum, informed the court that Eliza had called upon him six weeks earlier

in Negotiating insanity in the southeast of Ireland, 1820–1900