Cultures of International Exhibitions 1840-1940

Contents: Introduction: The margins of exhibitions and exhibitions studies, Marta Filipová. Exhibition as a Concept: A capital in the margins: concepts for a Budapest Universal Exhibition between 1867 and 1917, Miklós Székely; Barcelona’s Universal Exhibition of 1888: an atypical case of a Great Exhibition, Marina Muñoz Torreblanca; A marginal exhibition? The all-German exhibition in Berlin, 1844, John R. Davis. Constructing Identities: ‘Witness to the momentous significance of German labour in Bohemia’: exhibitions in the German-speaking regions of Bohemia before the First World War, Tomáš Okurka; The nation for itself: the 1896 Hungarian Millennium and the 1906 Romanian National General Exhibition, Samuel D. Albert; The forefront of English commercial centres: Wolverhampton’s exhibitions of 1869 and 1902, Marta Filipová. Historicity and Modernity: Nature and the Brazilian state at the Independence Centennial International Exhibition in Rio de Janeiro, 1922, Livia Rezende; The Ghent Universal and International Exhibition of 1913: reconciling historicism, modernity and exoticism, Davy Depelchin; Old London, Old Edinburgh: constructing historic cities, Wilson Smith. Art and Design Exhibited: A red-letter day: evaluating progress in New Zealand’s art at Dunedin’s international exhibitions, 1865 and 1889, Rebecca Rice; International exhibitions and urban aspirations: Launceston, Tasmania, in the 19th century, Anne Neale; ‘Urbi et orbi’: decentralization and design in Nancy’s International Exposition of eastern France 1909, Claire O’Mahony. International Ambitions: Merging peripheries and centres: the transnational interconnectedness of the Helsinki National Exhibition of 1876, Taina Syrjämaa; The last exhibition of the Italian colonial empire: Naples 1938-1940, Giovanni Arena; International ambitions of an exhibition at the margin: Japan’s 1903 Osaka Exposition, Jeffer Daykin. Index.