Relevant bibliographies by topics / International Exhibition (1958 : Brussels)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'International Exhibition (1958 : Brussels)'

Author: Grafiati
Published: 4 June 2021
Last updated: 29 July 2025

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Journal articles on the topic "International Exhibition (1958 : Brussels)"

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Castillo, Greg. "Making a Spectacle of Restraint: The Deutschland Pavilion at the 1958 Brussels Exposition." Journal of Contemporary History 47, no. 1 (2012): 97–119. http://dx.doi.org/10.1177/0022009411422362.

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The Deutschland pavilion at the 1958 Brussels World’s Fair depicted West Germany not only as culturally and technologically modern but also as the antithesis of socialist East Germany and the disgraced Third Reich. International-style architecture and modernist exhibition design were mobilized as instruments of cultural soft power to convey these multiple messages. Hans Schwippert of the postwar German Werkbund choreographed exhibition design, deploying the miracle economy’s modern consumer culture to celebrate the emergence of a post-Nazi society. Egon Eiermann, aided by Sep Ruf, designed the
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Siegelbaum, Lewis. "Sputnik Goes to Brussels: The Exhibition of a Soviet Technological Wonder." Journal of Contemporary History 47, no. 1 (2012): 120–36. http://dx.doi.org/10.1177/0022009411422372.

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The first universal exhibition of the post-Second World War era and a major battleground in the ‘cultural Cold War’, the 1958 Brussels Exposition served as an appropriate venue for the display of Sputniks I and II. As the centerpiece of the enormous Soviet pavilion, the Sputnik replicas enabled the USSR to bask in the reflective glow of its scientific and technological achievement before an international audience of 40 million. Based on archival sources (from Brussels and Moscow) as well as contemporary published material, this article employs a modified version of Stuart Hall's reception theo
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Volodarskaya, Elena A., and Roman A. Fando. "Achievements of Soviet biologists in the exposition of the Palace of Science at the World Exhibition in Brussels. 1958." Herald of an archivist, no. 1 (2025): 99–117. https://doi.org/10.28995/2073-0101-2025-1-99-117.

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The article is devoted to the popularization of the achievements of Soviet science and, in particular, biology at the World Exhibition in Brussels in 1958. The state scientific policy in the USSR during the “Khrushchev thaw” was aimed at expanding international contacts in various natural science, technical and humanitarian disciplines. The Central Committee of the CPSU and the USSR Council of Ministers adopted a number of resolutions regulating the study and implementation of foreign scientific experience for the development of the most important branches of the national economy, as well as t
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Górny, Maciej. "‘Minesweeper’: In Remembrance of Włodzimierz Borodziej (1956–2021)." Acta Poloniae Historica 125 (August 8, 2022): 5–16. http://dx.doi.org/10.12775/aph.2022.125.01.

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The article outlines the life and achievements of Włodzimierz Borodziej, a contemporary historian. Initially a scholar of the history of Polish-German relations, he became the secretary, and later chairman, of the Polish-German Textbook Commission. Then, he engaged himself in the history of diplomacy and international relations; the ‘Polskie Dokumenty Dyplomatyczne’ [Polish Diplomatic Documents] series was established at his initiative. He also occupied various official positions at the University of Warsaw and in the Sejm of the Republic of Poland. In his final decade, he became interested in
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Leustean, Lucian N. "Roman Catholicism, Diplomacy, and the European Communities, 1958–1964." Journal of Cold War Studies 15, no. 1 (2013): 53–77. http://dx.doi.org/10.1162/jcws_a_00308.

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This article investigates the Roman Catholic Church's role in the process of European integration from the first Hallstein Commission in 1958 to the failure of the Holy See's application to establish a diplomatic representation at the European Economic Community in 1964. The article focuses on the Church's response toward emerging European institutions and shows that local mobilization in Luxembourg, Strasbourg, and Brussels was instrumental in shaping relations between the Catholic Church and the European Communities (EC). The Church's position toward the EC, placing local communities as prim
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Fišer, Marcel. "Klid před bouří. Špálova Otava jako šťastný průnik umělcovy osobní historie a národních dějin." AUC PHILOSOPHICA ET HISTORICA 2021, no. 2 (2024): 83–87. http://dx.doi.org/10.14712/24647055.2024.11.

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The interwar work of Václav Špála is considered to be the essence of the “national art” of the First Czechoslovak Republic. Its emblematic manifestation is the extensive series depicting the Otava River from 1929 and 1930. The paper focuses on the painting On the Otava River (1929) from the collection of the Gallery of Fine Arts in Cheb. It has an exceptional position within it, both in terms of its formal qualities and overall concept. Špála himself was aware of this and never sold it, and the painting was acquired by the Cheb gallery in 1966 from his estate. The uniqueness of the painting is
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Sjögren, Ji Sun. "Dream's End." Adoption & Fostering 21, no. 2 (1997): 16–18. http://dx.doi.org/10.1177/030857599702100205.

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Born in Korea, Ji Sun Sjögren grew up in Belgium where she was adopted by her Swiss mother and Swedish father at around the age of two. In ‘A ghost in my country’ ( Adoption & Fostering 20:2, 1996), Ji Sun gave a moving personal account of transracial adoption and the disturbing feelings of being ‘caught between two worlds’. That original testimony was inspired by the experience of visiting her native Korea for the first time, aged 26, when she was invited to to exhibit at an international art exhibition. This follow-up account tells of another, quite different journey to Korea when, after
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Haran, Harsh Hari. "Anti-Suit Injunctions Issued by National Courts In Favour of Arbitration: Need for Greater Judicial Restraint." Asian International Arbitration Journal 11, Issue 2 (2015): 153–68. http://dx.doi.org/10.54648/aiaj2015007.

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Anti-suit injunctions restraining a party from pursuing proceedings in a foreign court, in breach of an arbitration agreement, have typically been issued by common law Courts to enforce arbitration agreements. However, such injunctions violate the judicial sovereignty of foreign courts, prevent the Court from adjudicating upon disputes before it and restrict access to Courts. The fact that these injunctions operate in personam do not justify interference with foreign proceedings. This paper argues that such injunctions are not contemplated by the UNCITRAL Model Law on International Commercial
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Malinovska, Iryna. "“Public Order” as Grounds for Refusal in the Recognition and Enforcement of a Decision in International Commercial Arbitration: Ukrainian Realities and International Experience." Access to Justice in Eastern Europe 5, no. 1 (2022): 154–64. http://dx.doi.org/10.33327/ajee-18-5.1-n000096.

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Background: The question of recognition and enforcement of international commercial arbitration (ICA) decisions, as a prototype of a foreign court decision, finds radically opposite answers in different legal systems and in the doctrine of the ICA. Thus, in the Regulation of the Council (EU) 44/2001 of 22 December 2000 on the jurisdiction, recognition, and enforcement of judgments in civil and commercial matters, formerly the Brussels Convention of 1968 and the Lugano Convention of 1988, the notion of ‘arbitration’ was excluded from the sphere of execution and recognition of foreign court deci
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Tostões, Ana, and Zara Ferreira. "Baukunst and Zeitwille between Europe and America." Heritage of Mies, no. 56 (2017): 2–3. http://dx.doi.org/10.52200/56.a.cp0q3on9.

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Mies enjoyed great prominence in Europe and America. Starting in Europe, his first incursions resulted in the German Pavilion for the Barcelona International Exhibition (1929), the Tugendhat House (1930) and the Krefeld silk factory and houses. The Illinois Institute of Technology (1943-1957), the Lake Shore Drive (1951), the Farnsworth House (1951), the Seagram building (1958) and the Toronto-Dominion Centre (1969), bear witness to his work in North America. Back in Berlin, The Neue Nationalgalerie (1968) testifies to the sublime and perfect achievement of his path towards Baukunst and Zeitwi
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Dissertations / Theses on the topic "International Exhibition (1958 : Brussels)"

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Girard, Max. ""La Grande Emotion". La mise en scène des missions chrétiennes dans les expositions coloniales et universelles : France - Belgique. 1897 - 1958." Thesis, Lyon, 2019. http://www.theses.fr/2019LYSE3010.

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La France et la Belgique organisent plusieurs expositions coloniales internationales et universelles de la fin du XIXe siècle à 1958. Ces deux puissances coloniales y développent une propagande multiforme pour justifier leurs « missions civilisatrices ». Les missionnaires catholiques et protestants participent à ces grandes fêtes. La consultation d’archives des congrégations religieuses (Spiritains, Jésuites…), de l’œuvre de la Propagation de la Foi, de fonds publics français, belges, suédois et du Saint-Siège permet de comprendre comment s’organisent les missionnaires pour participer à ces ex
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Books on the topic "International Exhibition (1958 : Brussels)"

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Mil, De Kooning, Meyer Ronny de, and Bienal Internacional de Arquitetura (4th : 1999 : São Paulo, Brazil), eds. Expo 58: Bruxelas Pavilhão do Brasil. Dept. of Architecture and Urban Planning, University of Ghent, 1999.

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Tribot, Pierre-Jean. Bruxelles 58, année-lumière. CFC-éditions, 2008.

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Stéphany, Pierre. 58 l'expo. Editions Racine, 2008.

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Virginie, Devillez, and Musées royaux des beaux-arts de Belgique., eds. Expo 58: L'art contemporain à l'exposition universelle. Snoeck, 2008.

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Virginie, Devillez, and Musées royaux des beaux-arts de Belgique., eds. Expo 58: L'art contemporain à l'exposition universelle. Snoeck, 2008.

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Mil, De Kooning, Bekaert Geert 1928-, and Expo (International Exhibitions Bureau) (1958 : Brussels, Belgium), eds. L'architecture moderne á l'Expo 58: Pour un monde plus humain. Dexia, 2006.

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Kerckhoven, François Van. De wereld van Expo 58. Witsand Uitgevers, 2018.

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author, Tazelaar Kees 1962, ed. From harmony to chaos: Le Corbusier, Varèse, Xenakis and "Le poème électronique". Uitgeverij Duizend & Een / 1001 Publishers, 2017.

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1917-, Richter Vjenceslav, ed. Expo 58 i jugoslavenski paviljon Vjenceslava Richtera: Expo 58 and the Yugoslav pavilion by Vjenceslav Richter. Horetzky, 2009.

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Johan, Stuyck, ed. Resten van de toekomst: Expo 58, vijftig jaar later. Oogachtend, 2008.

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Book chapters on the topic "International Exhibition (1958 : Brussels)"

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Pimienta, Guy. "22. Iannis Xenakis/Le Corbusier." In Meta-Xenakis, translated by Sharon Kanach. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0390.24.

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Le Corbusier was always able to surround himself with extremely competent people, which was one of his trademarks. As such, Pierre Jeanneret, Charlotte Perriand, Pierre Faucheux, and Iannis Xenakis were exemplary spearheads. Iannis Xenakis introduced himself to Le Corbusier in 1947 to work as an engineer in his Atelier, and the latter immediately integrated him into his AtBat, the agency he had created for the construction of the Housing Unit in Marseille. When Le Corbusier accepted the commission for La Tourette in 1953, he was deeply engaged in his Chandigarh project, so he entrusted the con
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Mallinson, Jonathan. "4. 1910–12: Approaching a Crossroads." In William Moorcroft, Potter. Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.04.

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The accession of George V marked the dawn of a new age, and immediate high-profile interest in the pottery industry from Queen Mary. These years saw the launch of some of Moorcroft’s most ambitious designs, displaying a new palette of rich colours and particularly sophisticated decoration. A highly regarded exhibit at the Brussels International Exhibition of 1910 consolidated his international reputation, and brought renewed prestige (and increasing trade success) for Macintyre’s. His popularity continued to grow in North America, even as the UK’s pottery exports were in steady decline. Diary
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Nijsse, R. "Rebuilding Le Corbusier’s World Exhibition Pavilion; The Poème Electronique in Brussels, 1958." In Tailor Made Concrete Structures. CRC Press, 2008. http://dx.doi.org/10.1201/9781439828410.ch22.

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"Foreign Hospitality Workers at the 1910 Brussels World and International Exhibition." In A Taste of Progress. Routledge, 2016. http://dx.doi.org/10.4324/9781315565309-25.

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Park, William W. "Comparing Arbitration and Court Selection." In Arbitration of International Business Disputes. Oxford University PressOxford, 2006. http://dx.doi.org/10.1093/oso/9780199286904.003.0008.

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Abstract As this book goes to press, breaking news indicates that the enforceability gap between court selection and arbitration may soon be narrowed. At the Peace Palace in the Hague, the Conference on Private International Law agreed on the text of a treaty establishing rules for recognition of court selection agreements. The Convention provides that a choice of court clause will be deemed exclusive and recognized as such. Courts other than the chosen forum must decline jurisdiction. Enforcement is to be granted to judgments of the chosen court, with suitable exceptions for consumer and empl
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Nieto Ruiz, Carolina. "Retelling the History of the Mexico Pavilion at La Biennale di Venezia." In Storie della Biennale di Venezia. Edizioni Ca' Foscari, 2019. http://dx.doi.org/10.30687/978-88-6969-366-3/023.

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This chapter presents a revised history of the Mexico Pavilions in La Biennale di Venezia. Official discourse on Mexican Pavilions published in the twenty-first century contain significant inconsistencies and omissions about Mexico’s twentieth century participations. These inaccuracies have been repeatedly published in the press, effectively rewriting history. I argue that a more complete historical narrative is necessary for a richer understanding of Mexico’s contribution to the international art scene. First, I examine historical inconsistencies in exhibition publications from 2007-17. Next,
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Stangl, Paul. "City Plans." In Risen from Ruins. Stanford University Press, 2018. http://dx.doi.org/10.11126/stanford/9781503603202.003.0003.

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Between 1945 and 1949 a series of modernist plans were developed for Berlin. In this time of political turmoil, planners and politicians projected a broad range of meanings onto the plans. After the founding of the East German state, Lothar Bolz orchestrated the adoption of socialist realism as state policy, requiring a return to traditional urban design. This theory included a range of tenets guiding planning, but Walter Ulbricht intervened to assure that planning would be dominated by a concern for parade routes leading to an immense square in the city center. In response to West Berlin’s in
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Berghaus, Günter. "Theatre Performances In Art Galleries." In Italian Futurist Theatre 1909-1944. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198158981.003.0009.

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Abstract The expansion of the Futurist movement into the fine arts was first signalled to the general public through the publication of a number of manifestos: Manifesto of Futurist Painters (II February 19rn), Technical Manifesto of Futurist Painting (II April 19rn), Futurist Sculpture (II April 1912), and Painting of Sounds, Noise and Odours (II August 1913). The first examples of Futurist paintings and sculptures were presented in March/April 19rn in an exhibition of the Famiglia Artistica in Milan, followed by a number of mixed shows in Venice CTuly 19rn) and Milan CTuly 19rn, December 19r
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Conference papers on the topic "International Exhibition (1958 : Brussels)"

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Martínez Millana, Elena. "Le Corbusier versus Sergei Eisenstein. La construcción de un sueño." In LC2015 - Le Corbusier, 50 years later. Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.824.

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Resumen: Este artículo plantea la revisión de la relación entre el arquitecto Le Corbusier y el cineasta Sergei Eisenstein. Se lanza como hipótesis la posible influencia del cineasta en Le Corbusier. Le Corbusier versus Eisenstein en el sentido más profundo de ‘avanzar en dirección a’: Le Corbusier hacia la cinematografía, no como contraposición. Se esboza el papel de cada figura y su encuentro en el período de 1928-1936, tiempo en que Le Corbusier se aproximó a la Unión Soviética, un contexto que configura un marco complejo a partir del cual es posible entrever aquello que los vincula y que r
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