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The Arctic region has been the subject of much popular writing. This book considers nineteenth-century representations of the Arctic, and draws upon an extensive range of evidence that will allow the 'widest connections' to emerge from a 'cross-disciplinary analysis' using different methodologies and subject matter. It positions the Arctic alongside more thoroughly investigated theatres of Victorian enterprise. In the nineteenth century, most images were in the form of paintings, travel narratives, lectures given by the explorers themselves and photographs. The book explores key themes in Arctic images which impacted on subsequent representations through text, painting and photography. For much of the nineteenth century, national and regional geographical societies promoted exploration, and rewarded heroic endeavor. The book discusses images of the Arctic which originated in the activities of the geographical societies. The Times provided very low-key reporting of Arctic expeditions, as evidenced by its coverage of the missions of Sir John Franklin and James Clark Ross. However, the illustrated weekly became one of the main sources of popular representations of the Arctic. The book looks at the exhibitions of Arctic peoples, Arctic exploration and Arctic fauna in Britain. Late nineteenth-century exhibitions which featured the Arctic were essentially nostalgic in tone. The Golliwogg's Polar Adventures, published in 1900, drew on adult representations of the Arctic and will have confirmed and reinforced children's perceptions of the region. Text books, board games and novels helped to keep the subject alive among the young.

Jasmine Allen

both nineteenth-​century exhibition buildings and railways. 161 Stained glass as propaganda The Battle of Bouvines: a model of victory Throughout the nineteenth century, historic events were reimagined and revived to strengthen and validate recent military campaigns. At the Paris Exposition of 1889, stained glass windows commemorating the historic Battle of Bouvines, commissioned for the church of Saint-​Pierre, Bouvines, were exhibited in the ogival bays of the Galerie des Machines, where they served as both a local and national symbol of French victory in times

in Windows for the world
The changing role of migration museums in Australia
Andrea Witcomb

concerned with defining relations between different cohorts of people. The arguments will be developed with reference to two Australian museums – the Migration Museum in Adelaide, which uses the more conventional pedagogies of looking, reading and listening, and the Immigration Museum in Melbourne which is experimenting with a pedagogy of feeling alongside the other three. The inspiration for describing interpretative approaches as a form of ‘pedagogy’ comes from Tony Bennett’s3 work on late nineteenth-century exhibitions and his focus on the way in which they embodied

in Curatopia
Open Access (free)
Colonial body into postcolonial narrative
Elleke Boehmer

the ‘Oriental’ female compared to those of the male, as well as with the genital size and sexual prowess of African men.8 He quite explicitly exhibits the other as sexual body. In early nineteenth-century exhibitions of Saartjie Baartman, the ‘Hottentot Venus’ – like Margaret Cadmore, a Southern African extreme other – the fleshy, ‘animal’ black was represented to the eyes of Europe as a single female body. It was evidence as concrete as it was possible to obtain of the implacable physicality of the other woman.9 Under colonialism such representations of course

in Stories of women
Breandan Gregory

Introduction The nineteenth-century exhibition, in whatever country it was held, was an apparently amorphous hotchpotch of artistic, technological and trade exemplars, sights and wonders informative and diverting, more or less centred on a stated theme. Twentieth-century attempts at providing a rationale have too often foundered on the rocks of national pride, racial superiority or the discerned

in Acts of supremacy
Abstract only
Jasmine Allen

exhibitors gain commissions and influence abroad, and considers the ways in which these events shaped exhibitors’ reputations. Finally, Chapter  5 discusses how the exhibition environment stimulated new iconographies and meanings in stained glass, thinking particularly about how the exhibits reflected, and 13 14 14 Windows for the world influenced, some of the global political themes of the nineteenth-​century exhibitions: nationalism, imperialism, and human variety. In spite of recent interest in transnational and global art histories, and recognition that

in Windows for the world
Public spectacles and plebeian expertise, 1840–80
Peter Hobbins

. 49 John Cann, Snakes Alive! Snake Experts & Antidote Sellers of Australia (Kenthurst: Kangaroo Press, 1986 ), pp. 24–5. 50 Peter H. Hoffenberg, ‘“A science of our own”: nineteenth century exhibitions, Australians and the history of science’, in Brett M. Bennett and Joseph M

in Venomous encounters
Abstract only
The British Empire and the Crystal Palace, 1851–1911
Jeffrey Auerbach

the ‘Improvement’ of the World (New Haven, CT: Yale University Press, 2000). On Orientalism and nineteenth-century exhibitions, see Timothy Mitchell, ‘The World as Exhibition’, Comparative Studies in Society and History 31 (1989), pp. 217–36. 17 Illustrated London News , 4 October 1851

in Exhibiting the empire
Fintan Cullen

1846 . 48 As Barrett has pointed out in his analysis of the contents of various mid-nineteenth-century exhibitions, the numerous images of Ireland exhibited in Dublin and Cork in the 1850s and 1860s were always ‘more than balanced by scenes from Britain, France, Italy and other places’. The Dublin exhibition of 1865, for example, devoted a whole gallery to ‘soldiers who had won the Victoria Cross in

in Cultural identities and the aesthetics of Britishness
Isabel Rousset

, he believed a building ought to be legible to everyone. Beginning with the rise in popularity of interior design in the 1870s, professional and lay interest in the applied arts grew towards the end of the nineteenth century. Exhibitions, magazines, trade shows, and public lectures all helped disseminate knowledge about domestic design. 8 When Muthesius founded the Werkbund

in The architecture of social reform