Relevant bibliographies by topics / International Exhibition (1865 : London, England)

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Academic literature on the topic 'International Exhibition (1865 : London, England)'

Author: Grafiati
Published: 25 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "International Exhibition (1865 : London, England)"

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Byers, Mark. "Hugh Sykes Davies's Petron: Surrealism, Politics, and Hiking." Modernist Cultures 18, no. 4 (2023): 273–91. http://dx.doi.org/10.3366/mod.2023.0409.

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Published a year before the landmark London International Surrealist Exhibition of 1936, Hugh Sykes Davies's prose poem Petron continues to resist both aesthetic and political categorisation. This essay clarifies Petron's contribution to the Surrealist movement in England by reading its densely allusive text as one which limns Surrealist technique and Marxist theory within a specifically English rural setting. Identifying the wanderings of its hero, Petron, as a Surrealist riff on the popular communist hikes or ‘Red Rambles’ of the 1930s, the essay shows how Petron combines radical politics an
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Williams, Graeme Henry. "Australian Artists Abroad." M/C Journal 19, no. 5 (2016). http://dx.doi.org/10.5204/mcj.1154.

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At the start of the twentieth century, many young Australian artists travelled abroad to expand their art education and to gain exposure to the modern art movements of Europe. Most of these artists were active members of artist associations such as the Victorian Artists Society or the New South Wales Society of Artists. Male artists from Victoria were generally also members of the Melbourne Savage Club, a club with a strong association with the arts.This paper investigates the dual function of the club, as a space where the artists felt “at home” in the familiar environment that the club offer
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John, Simon. "A Crusader Duel at the Crystal Palace: The statues of Godfrey of Bouillon and Richard the Lionheart at the Great Exhibition." Journal of Victorian Culture, April 27, 2021. http://dx.doi.org/10.1093/jvcult/vcab011.

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Abstract This article examines the display of two sculptures of medieval figures at the Great Exhibition in 1851. Those sculptures – Carlo Marochetti’s Richard Coeur de Lion and Eugène Simonis’ Godefroid de Bouillon – both honoured figures remembered as crusaders, and are better known in their permanent bronze versions that stand today in London and Brussels respectively. However, it is often overlooked that both works appeared at the exhibition, with Marochetti displaying his work on behalf of England, and Simonis exhibiting his on behalf of Belgium. Their appearance in 1851 stimulated a mult
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"Food Ingredients (FI) Europe International Exhibition and Conference on Food Ingredients, Semi-Finished Products, Product Development, and Quality Control, 5–7 November 2001, London, England, UK." Chemistry International -- Newsmagazine for IUPAC 23, no. 4 (2001). http://dx.doi.org/10.1515/ci.2001.23.4.121b.

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McGowan, Lee. "Piggery and Predictability: An Exploration of the Hog in Football’s Limelight." M/C Journal 13, no. 5 (2010). http://dx.doi.org/10.5204/mcj.291.

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Lincolnshire, England. The crowd cheer when the ball breaks loose. From one end of the field to the other, the players chase, their snouts hovering just above the grass. It’s not a case of four legs being better, rather a novel way to attract customers to the Woodside Wildlife and Falconry Park. During the matches, volunteers are drawn from the crowd to hold goal posts at either end of the run the pigs usually race on. With five pigs playing, two teams of two and a referee, and a ball designed to leak feed as it rolls (Stevenson) the ten-minute competition is fraught with tension. While the pi
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Noyce, Diana Christine. "Coffee Palaces in Australia: A Pub with No Beer." M/C Journal 15, no. 2 (2012). http://dx.doi.org/10.5204/mcj.464.

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The term “coffee palace” was primarily used in Australia to describe the temperance hotels that were built in the last decades of the 19th century, although there are references to the term also being used to a lesser extent in the United Kingdom (Denby 174). Built in response to the worldwide temperance movement, which reached its pinnacle in the 1880s in Australia, coffee palaces were hotels that did not serve alcohol. This was a unique time in Australia’s architectural development as the economic boom fuelled by the gold rush in the 1850s, and the demand for ostentatious display that gather
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Fredericks, Bronwyn, and Pamela CroftWarcon. "Always “Tasty”, Regardless: Art, Chocolate and Indigenous Australians." M/C Journal 17, no. 1 (2014). http://dx.doi.org/10.5204/mcj.751.

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Black women are treated as though we are a box of chocolates presented to individual white women for their eating pleasure, so they can decide for themselves and others which pieces are most tasty (hooks 80). Introduction bell hooks equates African-American women with chocolates, which are picked out and selected for someone else’s pleasure. In her writing about white women who have historically dominated the feminist movement, hooks challenges the ways that people conceptualise the “self” and “other”. She uses a feminist lens to question widespread assumptions about the place of Black women i
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Allmark, Panizza. "Photography after the Incidents: We’re Not Afraid!" M/C Journal 11, no. 1 (2008). http://dx.doi.org/10.5204/mcj.26.

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This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of these images operates
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Allmark, Panizza. "Photography after the Incidents." M/C Journal 10, no. 6 (2008). http://dx.doi.org/10.5204/mcj.2719.

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 This article will look at the use of personal photographs that attempt to convey a sense of social activism as a reaction against global terrorism. Moreover, I argue that the photographs uploaded to the site “We’re Not Afraid”, which began after the London bombings in 2005, presents a forum to promote the pleasures of western cultural values as a defence against the anxiety of terror. What is compelling are the ways in which the Website promotes, seemingly, everyday modalities through what may be deemed as the domestic snapshot. Nevertheless, the aura from the context of t
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10

Webb, Damien, and Rachel Franks. "Metropolitan Collections: Reaching Out to Regional Australia." M/C Journal 22, no. 3 (2019). http://dx.doi.org/10.5204/mcj.1529.

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Special Care NoticeThis article discusses trauma and violence inflicted upon the Indigenous peoples of Tasmania through the processes of colonisation. Content within this article may be distressing to some readers. IntroductionThis article looks briefly at the collection, consultation, and digital sharing of stories essential to the histories of the First Nations peoples of Australia. Focusing on materials held in Sydney, New South Wales two case studies—the object known as the Proclamation Board and the George Augustus Robinson Papers—explore how materials can be shared with Aboriginal people
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Books on the topic "International Exhibition (1865 : London, England)"

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1820-1900, Csanak József, ed. Egy debreceni kereskedő Nyugat-Európában: Csanak József úti levelei 1862-ből. Magyar Tudományos Akadémia Könyvtára, 1987.

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2

Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and "honorable mentions" awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July ll, 1862 ; to which is added [a] succinct account of the Eastern Townships of Lower Canada. s.n., 1985.

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Miles, Henry H. Canada East at the International Exhibition: Catalogue of products from Canada East, medals and honorabe mentions awarded to Canada, and the [d]eclaration of prizes to the colonial exhibitors, July 11, 1862 : to which is added [a] succinct account of the Eastern Townships of Lower Canada. s.n., 1985.

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4

A, Adey R., and Computational Mechanics Centre (Southampton, England), eds. Engineering software IV: Proceedings of the 4th International Conference, Kensington Exhibition Centre, London, England, June 1985. Computational Mechanics, 1985.

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5

Toni, Del Renzio, Scott Duncan, Remy Michel, Herbert Read Gallery, National Museum of Wales, and Laing Art Gallery, eds. Surrealism in England: 1936 and after : an exhibition to celebrate the 50th anniversary of the first international surrealist exhibition in London in June 1936. Kent County Council Education Committee, 1986.

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6

1964-, Colquhoun Kate, ed. The busiest man in England: The life of Joseph Paxton, gardener, architect, and Victorian visionary. David R. Godine, Publisher, 2005.

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International Exhibition of 1862 (ES 5-Vol. Set). Taylor & Francis Group, 2014.

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8

Owen, W., and Taliaferro Preston Shaffner. Illustrated Record of the International Exhibition ... of All Nations, In 1862. University of Cambridge ESOL Examinations, 2014.

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Owen, W., and Taliaferro Preston Shaffner. Illustrated Record of the International Exhibition ... of All Nations, In 1862. University of Cambridge ESOL Examinations, 2014.

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10

Canada East at the International Exhibition, London, 1862: A descriptive catalogue of the mineral and agricultural products, woods, and manufactured articles, etc. on exhibition from Eastern Canada : with a list of the awards of medals and honorable mentions to Canadian exhibitors. s.n., 1987.

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Book chapters on the topic "International Exhibition (1865 : London, England)"

1

Lewittes, Deborah. "Chapter Four." In Shaping the City to Come. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800856547.003.0006.

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This chapter examines the “Live Architecture” Exhibition, also known as the Lansbury Estate, of the 1951 Festival of Britain. Envisioned as part of a utopian scheme for the postwar reconstruction of London, the exhibition was an ongoing, collaborative project to rebuild an area of East London that had been razed during World War II. The chapter will reconceive the project in urban terms, questioning its previous interpretations and offering a new context for its significance that sees it as hopeful and idealistic. By the fifties, the modernist architecture culture that had been slow to settle
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