Academic literature on the topic 'Exposition universelle de 1867 (Paris, France)'

Sites et végétaux du Canada was an early photographic experiment in botanical illustration. Presented at the 1867 Paris exposition, the album’s 35 albumen prints were part of the Canadian displays. The photographs were a collaborative effort between Joseph-Charles Taché, Canada’s Executive-Secretary at the exposition; Louis-Ovide Brunet, a Catholic priest and botany professor at the Université Laval; and Livernois & Cie, a Québec City photography studio. Previous work has considered the album as the aesthetic accomplishment of Jules-Isaïe Benoît dit Livernois, excluding Taché and Brunet from the art historical narrative. In this paper, I consider the album’s political and botanical contexts, and viewership, to more clearly situate the album in the visual culture of early Canadian science. In its representation of Canadian landscapes and native-plant specimens, the album effectively employed photography to present Canada as a centre of cutting-edge scientific investigation.

Although Joris-Karl Huysmans is mostly known for his famous novel À Rebours (1884), his first steps as a writer were made in art criticism, with an article published in La Revue mensuelle about the landscape painters at the Exposition Universelle that took place in Paris in 1867. From then on, his work as an art critic often echoed his novels, expressing the same views on aesthetics and civilisation. This article discusses to what extent Huysmans's art criticism during the eighteen-eighties comes under the Decadence and an aesthetic of transgression, as well as À Rebours does. Indeed, the art critic promotes a renewal of French painting which would transgress all the prevailing policies. Furthermore, Huysmans himself breaks the laws in various ways: he violates aesthetic rules by blaming academism and standing up for independent painters; he oversteps moral boundaries asserting that art has nothing to do with morality; he infringes social standards by satirizing the bourgeoisie. On numerous occasions, Huysmans uses the transgressive power of humour to show his contempt for the constraints of tradition and his hatred toward his time.

Abstract This article focuses on the French reception of Russian Arts and Crafts in the early 1900s. As a consequence, firstly, of the Russian display at the 1900 “Exposition Universelle,” and, secondly, of the increasing number of Russian exhibitions and other cultural events in Paris, French art periodicals and sections on art in the mainstream press contained many reports about the movement. Several writers expressed their opinion about Russian modern Arts and Crafts and participated in their promotion in France. The main purpose of the article is to shed light on those French critics who were responsible for this process of mediation and the way in which their discourses adopted a comprehensive approach to Russian Arts and Crafts experiments. It examines which artists and which exhibitions were particularly welcomed in around 1906; special attention is paid to Abramtsevo and Talashkino, and, therefore, to Maria Tenisheva.

This article reconsiders the important work of Leroi-Gourhan through the lens of Christopher Johnson's ‘Leroi-Gourhan and the Limits of the Human’ (2011) by returning to the context of French prehistory of the 1860s that lies behind Leroi-Gourhan's discoveries and interpretations of hominid remains and artefacts in the Grotte du Renne. The Exposition universelle of 1867 and French publications of the period capture the importance of ‘préhistoire’ for Second Empire France materialized in Napoleon III's establishment at Saint-Germain-en-Laye of the first national Musée des Antiquités Nationales dedicated to their collections. The archaeological discoveries, and the debates they inspired, did not escape the encyclopaedic bricolage and designs of Flaubert. With delicious clins d'oeil to the question of ‘l'homme fossile’ and ‘l'homme futur’ that he had already debated with Louis Bouilhet, this article uncovers how Flaubert's Légende de Saint Julien details the ‘limits of the human’ in Johnson's reading of Leroi-Gourhan. By returning to ‘real’ counterparts for the legendary Stag in Flaubert's tale, its contextual, allegedly fantastical, ‘préhistoires’ can better be excavated. To find the non-legendary, extreme contemporary, sources for Flaubert's disturbing text crucially informs a critique of the dehistoricization of seeing in post-war French cultural studies and sciences of the human.

Known primarily as a jeweler in the vanguard of Art nouveau and an important collector of the Impressionists, Henri Vever (1854-1942), as his private diaries make clear, was also a foremost connoisseur of Japanese art in fin-de-siècle France, “the most passionate of all,” to Edmond de Goncourt. Well-connected to networks of dealers, museum officials, publications, and sites of sociability such as the dîners japonais, Vever figures among the most prominent members of a second wave of Parisian enthusiasts of Japanese art, active from approximately 1880 to 1900. Under the tutelage of the Japanese art dealers Hayashi Tadamasa and Siegfried Bing and the fine art printer Charles Gillot, Vever constituted a renowned collection of not only Japanese prints but also other art objects previously disregarded by collectors. Vever’s multiple and intersecting identities as luxury craft producer, leading member of professional associations, art historian and critic, collector, and Republican mayor placed him at the forefront of efforts to legitimate the collection and appreciation of Japanese art in France. His diaries also underscore the connections between the worlds of Japanese and Impressionist art collectors, and between proponents of japonisme and Art nouveau. Further, they highlight the importance of the 1900 Paris Exposition universelle as a triumphant moment for japonisme in France, just as they signal the shift on the part of some japonisants, at the same time, from Japanese art towards the decorative arts of the Islamic world.

Abstract Ingres’s portrait of Louis-François Bertin (1832) has been universally accepted as a visual “apotheosis” of the newly powerful early 19th-century bourgeoisie in France. Here, we study the inconsistencies and contestation which contributed to this identification. Beginning with the moment of its first public exhibition in the 1833 Paris Salon, this article traces Bertin’s evolving reputation as an image of its epoch, focusing on its reappearance in public first at the Bazar Bonne-Nouvelle in 1846, and then in the display of Ingres’s works at the Exposition Universelle of 1855. This leads to a critical assessment of how the picture’s role as a political emblem has been related to later assertions that it also exemplified the artist’s incipient modernism. The exhibition of works by Ingres at the Paris Salon d’Automne in 1905 allows us to take stock of claims made about the picture’s status in the early 20th century. However, in contrast to the habitual desire to modernise Ingres (and thereby to detach him from a lingering taint of academicism), this article argues that a key element in the reception of Ingres’s portrait in the second half of the 19th century is a recognition of its rootedness in values emanating from the Revolution of 1789, embodied both in the person of LouisFrançois Bertin and Ingres’s representation of him.

In June 1867 Ismail Pasha, the new Viceroy of Egypt, arrived in Paris to represent his country at the Exposition universelle. The Egyptian pavilion, erected on a large corner of the Champs de Mars, featured a marvellous collection of architectural spaces that included a pharaoh's temple, a mediæval palace ‘richly decorated in the Arabic style’, and a modern-day bazaar showing all manner of merchants and artisans at work. If the temple, designed by the French archaeologist Auguste Mariette, was intended to display artefacts from the most remote corners of Egypt's history, other spaces transported spectators directly to the present, offering what one French commentator called ‘a living Egypt, a picturesque Egypt, the Egypt of Ismail Pasha’. An enormous panorama of the Isthmus of Suez, created by the Suez Canal Company with the help of M. Rubé, set designer from the Opéra, drew long queues of paying customers. Elsewhere visitors could gaze at authentic Egyptian peasants, or Bedouins on white dromedaries, all the races governed by the Viceroy ‘personified by individuals selected with care’, as the critic Edmond About put it. Most dazzling of all was the exhibit within the refabricated royal palace, where the Viceroy himself was the featured attraction: poised on a divan in a bedroom painted to look exactly like the place of his birth, he smoked a hookah and daily received guests from the best Parisian society. The whole sumptuous spectacle, About would conclude, ‘spoke to the eyes as well as to the mind. It expressed a political idea’.

IntroductionIn the wine world, authenticity is not just desired, it is actively required. That demand comes from a complex of producers, distributors and consumers, and other interested parties. Consequently, the authenticity of wine is constantly created, reworked, presented, performed, argued over, contested and appreciated.At one level, such processes have clear economic elements. A wine deemed to be an authentic “expression” of something—the soil and micro-climate in which it was grown, the environment and culture of the region from which it hails, the genius of the wine-maker who nurtured and brought it into being, the quintessential characteristics of the grape variety it is made from—will likely make much more money than one deemed inauthentic. In wine, as in other spheres, perceived authenticity is a means to garner profits, both economic and symbolic (Beverland).At another level, wine animates a complicated intertwining of human tastes, aesthetics, pleasures and identities. Discussions as to the authenticity, or otherwise, of a wine often involve a search by the discussants for meaning and purpose in their lives (Grahm). To discover and appreciate a wine felt to “speak” profoundly of the place from whence it came possibly involves a sense of superiority over others: I drink “real” wine, while you drink mass-market trash (Bourdieu). It can also create reassuring senses of ontological security: in discovering an authentic wine, expressive of a certain aesthetic and locational purity (Zolberg and Cherbo), I have found a cherishable object which can be reliably traced to one particular place on Earth, therefore possessing integrity, honesty and virtue (Fine). Appreciation of wine’s authenticity licenses the self-perception that I am sophisticated and sensitive (Vannini and Williams). My judgement of the wine is also a judgement upon my own aesthetic capacities (Hennion).In wine drinking, and the production, distribution and marketing processes underpinning it, much is at stake as regards authenticity. The social system of the wine world requires the category of authenticity in order to keep operating. This paper examines how and why this has come to be so. It considers the crafting of authenticity in long-term historical perspective. Demand for authentic wine by drinkers goes back many centuries. Self-conscious performances of authenticity by producers is of more recent provenance, and was elaborated above all in France. French innovations then spread to other parts of Europe and the world. The paper reviews these developments, showing that wine authenticity is constituted by an elaborate complex of environmental, cultural, legal, political and commercial factors. The paper both draws upon the social science literature concerning the construction of authenticity and also points out its limitations as regards understanding wine authenticity.The History of AuthenticityIt is conventional in the social science literature (Peterson, Authenticity) to claim that authenticity as a folk category (Lu and Fine), and actors’ desires for authentic things, are wholly “modern,” being unknown in pre-modern contexts (Cohen). Consideration of wine shows that such a view is historically uninformed. Demands by consumers for ‘authentic’ wine, in the sense that it really came from the location it was sold as being from, can be found in the West well before the 19th century, having ancient roots (Wengrow). In ancient Rome, there was demand by elites for wine that was both really from the location it was billed as being from, and was verifiably of a certain vintage (Robertson and Inglis). More recently, demand has existed in Western Europe for “real” Tokaji (sweet wine from Hungary), Port and Bordeaux wines since at least the 17th century (Marks).Conventional social science (Peterson, Authenticity) is on solider ground when demonstrating how a great deal of social energies goes into constructing people’s perceptions—not just of consumers, but of wine producers and sellers too—that particular wines are somehow authentic expressions of the places where they were made. The creation of perceived authenticity by producers and sales-people has a long historical pedigree, beginning in early modernity.For example, in the 17th and 18th centuries, wine-makers in Bordeaux could not compete on price grounds with burgeoning Spanish, Portuguese and Italian production areas, so they began to compete with them on the grounds of perceived quality. Multiple small plots were reorganised into much bigger vineyards. The latter were now associated with a chateau in the neighbourhood, giving the wines connotations of aristocratic gravity and dignity (Ulin). Product-makers in other fields have used the assertion of long-standing family lineages as apparent guarantors of tradition and quality in production (Peterson, Authenticity). The early modern Bordelaise did the same, augmenting their wines’ value by calling upon aristocratic accoutrements like chateaux, coats-of-arms, alleged long-term family ownership of vineyards, and suchlike.Such early modern entrepreneurial efforts remain the foundations of the very high prestige and prices associated with elite wine-making in the region today, with Chinese companies and consumers particularly keen on the grand crus of the region. Globalization of the wine world today is strongly rooted in forms of authenticity performance invented several hundred years ago.Enter the StateAnother notable issue is the long-term role that governments and legislation have played, both in the construction and presentation of authenticity to publics, and in attempts to guarantee—through regulative measures and taxation systems—that what is sold really has come from where it purports to be from. The west European State has a long history of being concerned with the fraudulent selling of “fake” wines (Anderson, Norman, and Wittwer). Thus Cosimo III, Medici Grand Duke of Florence, was responsible for an edict of 1716 which drew up legal boundaries for Tuscan wine-producing regions, restricting the use of regional names like Chianti to wine that actually came from there (Duguid).These 18th century Tuscan regulations are the distant ancestors of quality-control rules centred upon the need to guarantee the authenticity of wines from particular geographical regions and sub-regions, which are today now ubiquitous, especially in the European Union (DeSoucey). But more direct progenitors of today’s Geographical Indicators (GIs)—enforced by the GATT international treaties—and Protected Designations of Origin (PDOs)—promulgated and monitored by the EU—are French in origin (Barham). The famous 1855 quality-level classification of Bordeaux vineyards and their wines was the first attempt in the world explicitly to proclaim that the quality of a wine was a direct consequence of its defined place of origin. This move significantly helped to create the later highly influential notion that place of origin is the essence of a wine’s authenticity. This innovation was initially wholly commercial, rather than governmental, being carried out by wine-brokers to promote Bordeaux wines at the Paris Exposition Universelle, but was later elaborated by State officials.In Champagne, another luxury wine-producing area, small-scale growers of grapes worried that national and international perceptions of their wine were becoming wholly determined by big brands such as Dom Perignon, which advertised the wine as a luxury product, but made no reference to the grapes, the soil, or the (supposedly) traditional methods of production used by growers (Guy). The latter turned to the idea of “locality,” which implied that the character of the wine was an essential expression of the Champagne region itself—something ignored in brand advertising—and that the soil itself was the marker of locality. The idea of “terroir”—referring to the alleged properties of soil and micro-climate, and their apparent expression in the grapes—was mobilised by one group, smaller growers, against another, the large commercial houses (Guy). The terroir notion was a means of constructing authenticity, and denouncing de-localised, homogenizing inauthenticity, a strategy favouring some types of actors over others. The relatively highly industrialized wine-making process was later represented for public consumption as being consonant with both tradition and nature.The interplay of commerce, government, law, and the presentation of authenticity, also appeared in Burgundy. In that region between WWI and WWII, the wine world was transformed by two new factors: the development of tourism and the rise of an ideology of “regionalism” (Laferté). The latter was invented circa WWI by metropolitan intellectuals who believed that each of the French regions possessed an intrinsic cultural “soul,” particularly expressed through its characteristic forms of food and drink. Previously despised peasant cuisine was reconstructed as culturally worthy and true expression of place. Small-scale artisanal wine production was no longer seen as an embarrassment, producing wines far more “rough” than those of Bordeaux and Champagne. Instead, such production was taken as ground and guarantor of authenticity (Laferté). Location, at regional, village and vineyard level, was taken as the primary quality indicator.For tourists lured to the French regions by the newly-established Guide Michelin, and for influential national and foreign journalists, an array of new promotional devices were created, such as gastronomic festivals and folkloric brotherhoods devoted to celebrations of particular foodstuffs and agricultural events like the wine-harvest (Laferté). The figure of the wine-grower was presented as an exemplary custodian of tradition, relatively free of modern capitalist exchange relations. These are the beginnings of an important facet of later wine companies’ promotional literatures worldwide—the “decoupling” of their supposed commitments to tradition, and their “passion” for wine-making beyond material interests, from everyday contexts of industrial production and profit-motives (Beverland). Yet the work of making the wine-maker and their wines authentically “of the soil” was originally stimulated in response to international wine markets and the tourist industry (Laferté).Against this background, in 1935 the French government enacted legislation which created theInstitut National des Appellations d’Origine (INAO) and its Appelation d’Origine Controlle (AOC) system (Barham). Its goal was, and is, to protect what it defines as terroir, encompassing both natural and human elements. This legislation went well beyond previous laws, as it did more than indicate that wine must be honestly labelled as deriving from a given place of origin, for it included guarantees of authenticity too. An authentic wine was defined as one which truly “expresses” the terroir from which it comes, where terroir means both soil and micro-climate (nature) and wine-making techniques “traditionally” associated with that area. Thus French law came to enshrine a relatively recently invented cultural assumption: that places create distinctive tastes, the value of this state of affairs requiring strong State protection. Terroir must be protected from the untrammelled free market. Land and wine, symbiotically connected, are de-commodified (Kopytoff). Wine is embedded in land; land is embedded in what is regarded as regional culture; the latter is embedded in national history (Polanyi).But in line with the fact that the cultural underpinnings of the INAO/AOC system were strongly commercially oriented, at a more subterranean level the de-commodified product also has economic value added to it. A wine worthy of AOC protection must, it is assumed, be special relative to wines un-deserving of that classification. The wine is taken out of the market, attributed special status, and released, economically enhanced, back onto the market. Consequently, State-guaranteed forms of authenticity embody ambivalent but ultimately efficacious economic processes. Wine pioneered this Janus-faced situation, the AOC system in the 1990s being generalized to all types of agricultural product in France. A huge bureaucratic apparatus underpins and makes possible the AOC system. For a region and product to gain AOC protection, much energy is expended by collectives of producers and other interested parties like regional development and tourism officials. The French State employs a wide range of expert—oenological, anthropological, climatological, etc.—who police the AOC classificatory mechanisms (Barham).Terroirisation ProcessesFrench forms of legal classification, and the broader cultural classifications which underpin them and generated them, very much influenced the EU’s PDO system. The latter uses a language of authenticity rooted in place first developed in France (DeSoucey). The French model has been generalized, both from wine to other foodstuffs, and around many parts of Europe and the world. An Old World idea has spread to the New World—paradoxically so, because it was the perceived threat posed by the ‘placeless’ wines and decontextualized grapes of the New World which stimulated much of the European legislative measures to protect terroir (Marks).Paxson shows how artisanal cheese-makers in the US, appropriate the idea of terroir to represent places of production, and by extension the cheeses made there, that have no prior history of being constructed as terroir areas. Here terroir is invented at the same time as it is naturalised, made to seem as if it simply points to how physical place is directly expressed in a manufactured product. By defining wine or cheese as a natural product, claims to authenticity are themselves naturalised (Ulin). Successful terroirisation brings commercial benefits for those who engage in it, creating brand distinctiveness (no-one else can claim their product expresses that particularlocation), a value-enhancing aura around the product which, and promotion of food tourism (Murray and Overton).Terroirisation can also render producers into virtuous custodians of the land who are opposed to the depredations of the industrial food and agriculture systems, the categories associated with terroir classifying the world through a binary opposition: traditional, small-scale production on the virtuous side, and large-scale, “modern” harvesting methods on the other. Such a situation has prompted large-scale, industrial wine-makers to adopt marketing imagery that implies the “place-based” nature of their offerings, even when the grapes can come from radically different areas within a region or from other regions (Smith Maguire). Like smaller producers, large companies also decouple the advertised imagery of terroir from the mundane realities of industry and profit-margins (Beverland).The global transportability of the terroir concept—ironic, given the rhetorical stress on the uniqueness of place—depends on its flexibility and ambiguity. In the French context before WWII, the phrase referred specifically to soil and micro-climate of vineyards. Slowly it started mean to a markedly wider symbolic complex involving persons and personalities, techniques and knowhow, traditions, community, and expressions of local and regional heritage (Smith Maguire). Over the course of the 20th century, terroir became an ever broader concept “encompassing the physical characteristics of the land (its soil, climate, topography) and its human dimensions (culture, history, technology)” (Overton 753). It is thought to be both natural and cultural, both physical and human, the potentially contradictory ramifications of such understanding necessitating subtle distinctions to ward off confusion or paradox. Thus human intervention on the land and the vines is often represented as simply “letting the grapes speak for themselves” and “allowing the land to express itself,” as if the wine-maker were midwife rather than fabricator. Terroir talk operates with an awkward verbal balancing act: wine-makers’ “signature” styles are expressions of their cultural authenticity (e.g. using what are claimed as ‘traditional’ methods), yet their stylistic capacities do not interfere with the soil and micro-climate’s natural tendencies (i.e. the terroir’sphysical authenticity).The wine-making process is a case par excellence of a network of humans and objects, or human and non-human actants (Latour). The concept of terroir today both acknowledges that fact, but occludes it at the same time. It glosses over the highly problematic nature of what is “real,” “true,” “natural.” The roles of human agents and technologies are sequestered, ignoring the inevitably changing nature of knowledges and technologies over time, recognition of which jeopardises claims about an unchanging physical, social and technical order. Harvesting by machine production is representationally disavowed, yet often pragmatically embraced. The role of “foreign” experts acting as advisors —so-called “flying wine-makers,” often from New World production cultures —has to be treated gingerly or covered up. Because of the effects of climate change on micro-climates and growing conditions, the taste of wines from a particular terroir changes over time, but the terroir imaginary cannot recognise that, being based on projections of timelessness (Brabazon).The authenticity referred to, and constructed, by terroir imagery must constantly be performed to diverse audiences, convincing them that time stands still in the terroir. If consumers are to continue perceiving authenticity in a wine or winery, then a wide range of cultural intermediaries—critics, journalists and other self-proclaiming experts must continue telling convincing stories about provenance. Effective authenticity story-telling rests on the perceived sincerity and knowledgeability of the teller. Such tales stress romantic imagery and colourful, highly personalised accounts of the quirks of particular wine-makers, omitting mundane details of production and commercial activities (Smith Maguire). Such intermediaries must seek to interest their audience in undiscovered regions and “quirky” styles, demonstrating their insider knowledge. But once such regions and styles start to become more well-known, their rarity value is lost, and intermediaries must find ever newer forms of authenticity, which in turn will lose their burnished aura when they become objects of mundane consumption. An endless cycle of discovering and undermining authenticity is constantly enacted.ConclusionAuthenticity is a category held by different sorts of actors in the wine world, and is the means by which that world is held together. This situation has developed over a long time-frame and is now globalized. Yet I will end this paper on a volte face. Authenticity in the wine world can never be regarded as wholly and simply a social construction. One cannot directly import into the analysis of that world assumptions—about the wholly socially constructed nature of phenomena—which social scientific studies of other domains, most notably culture industries, work with (Peterson, Authenticity). Ways of thinking which are indeed useful for understanding the construction of authenticity in some specific contexts, cannot just be applied in simplistic manners to the wine world. When they are applied in direct and unsophisticated ways, such an operation misses the specificities and particularities of wine-making processes. These are always simultaneously “social” and “natural”, involving multiple forms of complex intertwining of human actions, environmental and climatological conditions, and the characteristics of the vines themselves—a situation markedly beyond beyond any straightforward notion of “social construction.”The wine world has many socially constructed objects. But wine is not just like any other product. Its authenticity cannot be fabricated in the manner of, say, country music (Peterson, Country). Wine is never in itself only a social construction, nor is its authenticity, because the taste, texture and chemical elements of wine derive from complex human interactions with the physical environment. Wine is partly about packaging, branding and advertising—phenomena standard social science accounts of authenticity focus on—but its organic properties are irreducible to those factors. Terroir is an invention, a label put on to certain things, meaning they are perceived to be authentic. But the things that label refers to—ranging from the slope of a vineyard and the play of sunshine on it, to how grapes grow and when they are picked—are entwined with human semiotics but not completely created by them. A truly comprehensive account of wine authenticity remains to be written.ReferencesAnderson, Kym, David Norman, and Glyn Wittwer. “Globalization and the World’s Wine Markets: Overview.” Discussion Paper No. 0143, Centre for International Economic Studies. Adelaide: U of Adelaide, 2001.Barham, Elizabeth. “Translating Terroir: The Global Challenge of French AOC Labelling.” Journal of Rural Studies 19 (2003): 127–38.Beverland, Michael B. “Crafting Brand Authenticity: The Case of Luxury Wines.” Journal of Management Studies 42.5 (2005): 1003–29.Bourdieu, Pierre. Distinction: A Social Critique of the Judgement of Taste. London: Routledge, 1992.Brabazon, Tara. “Colonial Control or Terroir Tourism? The Case of Houghton’s White Burgundy.” Human Geographies 8.2 (2014): 17–33.Cohen, Erik. “Authenticity and Commoditization in Tourism.” Annals of Tourism Research 15.3 (1988): 371–86.DeSoucey, Michaela. “Gastronationalism: Food Traditions and Authenticity Politics in the European Union.” American Sociological Review 75.3 (2010): 432–55.Duguid, Paul. “Developing the Brand: The Case of Alcohol, 1800–1880.” Enterprise and Society 4.3 (2003): 405–41.Fine, Gary A. “Crafting Authenticity: The Validation of Identity in Self-Taught Art.” Theory and Society 32.2 (2003): 153–80.Grahm, Randall. “The Soul of Wine: Digging for Meaning.” Wine and Philosophy: A Symposium on Thinking and Drinking. Ed. Fritz Allhoff. Oxford: Blackwell, 2008. 219–24.Guy, Kolleen M. When Champagne Became French: Wine and the Making of a National Identity. Baltimore: Johns Hopkins UP, 2003.Hennion, Antoine. “The Things That Bind Us Together.”Cultural Sociology 1.1 (2007): 65–85.Kopytoff, Igor. “The Cultural Biography of Things: Commoditization as a Process." The Social Life of Things: Commodities in Cultural Perspective. Ed. Arjun Appadurai. Cambridge: Cambridge UP, 1986. 64–91.Laferté, Gilles. “End or Invention of Terroirs? Regionalism in the Marketing of French Luxury Goods: The Example of Burgundy Wines in the Inter-War Years.” Working Paper, Centre d’Economie et Sociologie Appliquées a l’Agriculture et aux Espaces Ruraux, Dijon.Latour, Bruno. We Have Never Been Modern. Harvard: Harvard UP, 1993.Lu, Shun and Gary A. Fine. “The Presentation of Ethnic Authenticity: Chinese Food as a Social Accomplishment.” The Sociological Quarterly 36.3 (1995): 535–53.Marks, Denton. “Competitiveness and the Market for Central and Eastern European Wines: A Cultural Good in the Global Wine Market.” Journal of Wine Research 22.3 (2011): 245–63.Murray, Warwick E. and John Overton. “Defining Regions: The Making of Places in the New Zealand Wine Industry.” Australian Geographer 42.4 (2011): 419–33.Overton, John. “The Consumption of Space: Land, Capital and Place in the New Zealand Wine Industry.” Geoforum 41.5 (2010): 752–62.Paxson, Heather. “Locating Value in Artisan Cheese: Reverse Engineering Terroir for New-World Landscapes.” American Anthropologist 112.3 (2010): 444–57.Peterson, Richard A. Creating Country Music: Fabricating Authenticity. Chicago: U of Chicago P, 2000.———. “In Search of Authenticity.” Journal of Management Studies 42.5 (2005): 1083–98.Polanyi, Karl. The Great Transformation. Boston: Beacon Press, 1957.Robertson, Roland, and David Inglis. “The Global Animus: In the Tracks of World Consciousness.” Globalizations 1.1 (2006): 72–92.Smith Maguire, Jennifer. “Provenance and the Liminality of Production and Consumption: The Case of Wine Promoters.” Marketing Theory 10.3 (2010): 269–82.Trubek, Amy. The Taste of Place: A Cultural Journey into Terroir. Los Angeles: U of California P, 2008.Ulin, Robert C. “Invention and Representation as Cultural Capital.” American Anthropologist 97.3 (1995): 519–27.Vannini, Phillip, and Patrick J. Williams. Authenticity in Culture, Self and Society. Farnham: Ashgate, 2009.Wengrow, David. “Prehistories of Commodity Branding.” Current Anthropology 49.1 (2008): 7–34.Zolberg, Vera and Joni Maya Cherbo. Outsider Art: Contesting Boundaries in Contemporary Culture. Cambridge: Cambridge UP, 1997.

L'exposition universelle de 1867 à Paris permet d'examiner l'engouement français pour les expositions. Plusieurs groupes encouragent leur multiplication: les industriels, pour raison de stratégie commerciale; le gouvernement, après le traité de commerce franco-anglais de 1860, pour promouvoir sa politique économique; les élites, pour améliorer l'esthétique industrielle et renforcer la formation professionnelle. Frédéric Le Play, à la tête de la Commission impériale, met son expérience au service de l'organisation et fait apparaître des évolutions majeures: pavillons; ouverture à la question sociale; plus grande autonomie des exposants; développement du gigantisme et du spectacle. L'organisation est un succès; les résultats en sont plus ambigus. L'industrie française se modernise et domine toujours le secteur des arts industriels. Mais les progrès américains et allemands sont réels. Les idées sociales (patronage) rencontrent peu d'écho auprès des ouvriers
The 1867 world fair of Paris permitted to study a certain French craze towards industrial exhibitions. The following groups contributed to the event: industrials - for commercial and strategic reasons, the Government - promoting its economic policy subsequently to the free trade agreement of 1860 between Great Britain and France, the elite -intending to improve product designs and reinforce professional training. The organisation benefited from the experience of Frederic Le Play, head of the Imperial Commission, who contributed to major evolutions. These included pavilions, greater autonomy for exhibitors, working class concerns and the advent of large scale entertainment. The exhibition was an organisational success with mixed results. The French industry had been modernised and France was always the leading nation in arts and crafts. Nevertheless the USA and German states had shown to make rapid progress; Socil concerns of the paternalists had sadely little impact on workers

Le Japon a participé pour la première fois à une exposition universelle qui s'est tenue à Paris en 1867. Ce fut la première occasion qui permit au public français de découvrir la culture japonaise pour donner naissance dans les années 1870 au phénomène culturel nommé le « Japonisme ». Notre étude se focalise sur la participation du Japon aux Expositions universelles de Paris de 1867 et de 1878. , dans la mesure où celles-ci ont contribué au développement des relations franco-japonaises et à l'avènement du « Japonisme » : le « Japon » a été découvert en 1867 et a suscité un grand enthousiasme qui culminait en 1878. Les différentes images du « Japon » se sont formées dans le croisement de plusieurs regards, entre les organisateurs français, les visiteurs et les participants japonais. Ce travail se compose de deux parties. La première partie traite du double aspect de la participation du Japon à l'Exposition de 1867 : d'un côté les « objets » japonais exposés et la réaction des Français (chap. 1) ; d'un autre côté, la question politique et diplomatique liée à cette participation (chap. 2). La deuxième partie trait d'abord du changement de la situation politique et diplomatique des deux pays entre 1867 et 1878, l'expansion de l'intérêt pour la culture japonaise en France, et la préparation du Japon à l'Exposition de 1878 (chap. 3). Nous examinons ensuite plusieurs aspects de l'exposition japonaise et de la réaction des Français en 1878 (chap. 4). Ce chapitre s'intéresse surtout à la céramique japonaise et son influence sur l'art industriel français, puisque c'est celle-ci qui a obtenu le plus de succès à l'Exposition et a contribué ainsi à la diffusion de Japonisme.

Coubertin avait souhaité organiser les premiers Jeux de l’ère moderne à Paris en 1900 dans le cadre de l’Exposition universelle ou en relation avec elle. Mais dès janvier 1894, le Commissaire général de cette Exposition universelle, Alfred Picard, a rejeté sa proposition, préférant organiser des concours d’exercices physiques et de sport sous le contrôle du comité d’organisation de l’Exposition, privant ainsi Coubertin des soutiens qui lui auraient permis d'organiser les Jeux olympiques. Il ne restait alors plus au président du CIO qu’à sauver les apparences, afin d’assurer la survie du mouvement olympique naissant. Il y a si bien réussi que le mythe des Jeux olympiques de 1900 perdure jusqu’à nos jours, entretenu, il est vrai, par le CIO lui-même. Cette thèse se propose de démêler le vrai du faux à propos des « Jeux olympiques » de 1900 qui, de fait, n’ont pas eu lieu
Coubertin wished to organize the first games of the modern era in Paris in 1900, within the framework of, or in connection with, the World Fair. But from January 1894, Alfred Picard, the World Fair General Commissioner, rejected his proposal, rather choosing to organize physical exercises and sport competitions, thus depriving Coubertin of the supports who would have allowed him to organize Olympic Games. Therefore the only solution left for the IOC President was to keep up appearances, in order to ensure the survival of the rising Olympic movement. He made it so well that the myth of the 1900 Olympic Games still goes on, a myth preserved by the IOC itself. The purpose of this thesis is to separate fact from fiction about the so-called 1900 “Olympic Games” which n fact never occurred

La thèse traite de l'Exposition universelle de 1867 dans son ensemble sous forme d'un modèle de communication (émetteur - médium - récepteur). Ce modèle est complété par un chapitre sur la thématique de l'étrange à l'exposition. Les questions adressées concernent les motivations des organisateurs français, les modalités de cette représentation médiatique du monde ainsi que la perception des objets exposés par les onze millions de visiteurs. La divergence fondamentale entre les intentions des organisateurs d'un côté et les interprétations faites par les spectateurs de l'autre constitue le fil rouge de l'analyse qui est basé sur le dépouillement des archives françaises et internationales ainsi que sur une bibliographie de plus de 1. 500 titres
The thesis treats the Paris universal exhibition of 1867 as a communication model (sender - medium - receiver). This model is completed by a chapter on the thematic of the strange/other at the exhibition. The principal questions concern the motivations of the French exhibition organisers, the methods of the representation of the entire world by the means of a specific medium as well as the perception of the show by the over elen million visitors. The fundamental difference between the intentions of the spectators on the other serve as a guide-line for the analysis which is based on data explored in French and international archives and on a bibliography of more than 1. 500 titles

L’année 1900 marque la fin théorique du XIXe siècle, dont les dernières années se caractérisent encore trop souvent dans les esprits par l’opposition irréversible entre académisme et avant-garde. Si le premier est parfois synonyme de sclérose artistique et de peintres vieillissants, la seconde est toujours considérée de nos jours comme victime du système officiel des Beaux-Arts, ne trouvant de salut que dans les réseaux parallèles constitués par les galeries et marchands d’art. L’étude des expositions de peintures ayant eu lieu à Paris au cours de l’année 1900 tend à revenir sur ce présupposé. Les manifestations organisées relèvent de différentes structures, qu’il s’agisse de l’Exposition universelle, du Salon de la Société des Artistes français ou des marchands d’art indépendants néanmoins, toutefois l’analyse approfondie du mode de fonctionnement et du contenu des expositions permet de mettre en lumière les différentes passerelles qui existent à la fin du siècle entre la sphère officielle et la sphère mercantile. C’est donc en confrontant l’intégralité des expositions ayant eu lieu dans la capitale au cours de l’année 1900 que cette thèse propose de rendre compte de la complexité du monde artistique parisien à cette époque, des multiples facettes de l’école picturale française, et surtout de la perméabilité entre académisme, modernité et avant-garde
The year 1900 marks the theoretical end of the 19th century, the last years of which still too often translate in people’s mind to irreversibly opposing Academism and Avant-garde. While the first one is sometimes synonymous of artistic sclerosis and ageing painters, the latter is still considered nowadays as a victim of the Fine Arts official system, finding its salvation only in parallel networks operated by galleries and art dealers. The study of painting exhibitions which took place in Paris during the year 1900 tends to go back on this presupposition. The shows are put together by different structures such as the Universal Exposition, the Salon of the Société des Artistes français or independent art dealers, yet a thorough analysis of their organization and content brings to light the various footbridges that exist between the official and the mercantile spheres at the turn of the century. It is thus by confronting the entirety of the Parisian painting exhibitions in the year 1900 that this thesis offers to render the complexity of the Parisian artistic world of the time, the multiple faces taken on by the pictorial French school, and above all the permeability between Academism, modernity and Avant-garde