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Relevant bibliographies by topics / International Exhibition, Brussels (1910)

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Academic literature on the topic 'International Exhibition, Brussels (1910)'

Author: Grafiati

Published: 25 February 2023

Last updated: 3 March 2023

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Journal articles on the topic "International Exhibition, Brussels (1910)"

1

Declève, Marine. "Reading the Brussels Palimpsest in the History of the Nouveau Plan de Bruxelles Industriel (1910)." Urban Planning 5, no. 2 (2020): 229–42. http://dx.doi.org/10.17645/up.v5i2.2809.

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This article restores the dialogical link between the Nouveau Plan de Bruxelles Industriel avec ses Suburbains, published on the occasion of the 1910 Industrial Exhibition (Verwest, Vanderoost, &amp; Xhardez, 1910a), and the Inventaire Visuel de L’architecture Industrielle de L’agglomération de Bruxelles, produced by Maurice Culot and the team at the Archives d’Architecture Moderne (AAM) between 1980–1982 (Culot &amp; the AMM, 1980–1982). These two kinds of spatialised visual inventories of places dedicated to production brings out a layer of the Brussels palimpsest filled with information that goes beyond the categories of permanence, persistence and disappearance raised by André Corboz and Alain Leveillé’s cartographic implementation of the palimpsest theory in the Atlas du Territoire Genevois (Corboz, 1993). This article compares palimpsest theory as applied to Geneva to the practice of inventory in Brussels. We propose visualising a lisuel layer intended as a visual reading revealed through a process of description, extraction, classification and juxtaposition. This process of visual analysis helps construct a typology of manufacturing production whose traces are embedded in urban space. It shows how a cartographic document informs the 1910 urban project and how local manufacturing companies contributed to its implementation. The contribution of this cartographic investigation is threefold. It concerns forms of manufacturing companies, forms of living, and production of urban space in 1910 Brussels. The Brussels Industrial Exhibition and the spatial story of Louis De Waele’s public works company reveals two patterns of relationships between industrial production and the transformation of urban space.

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2

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 International-style pavilion, celebrated as the architecture of postwar modernity, but in fact derived from a precedent in Third Reich industrial architecture. As an exercise in cold war soft power, West Germany’s Brussels pavilion celebrated the emergence of a West German consumer citizen, while suppressing the presence of a Third Reich past.

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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 theory to analyze Soviet authorities' production (or ‘encoding/writing’) of the exhibit and its appropriation (‘decoding/reading’) by radically different publics – non-Soviet visitors and Soviet readers back home. It argues that the producers exercised only tenuous control over the meaning of Sputnik.

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4

Qtaishat, Khaldoun Said Saleh. "The Problem of Determining the Law Applicable to Damageable Act in the High Seas Pursuant to the Jordanian International Private Law." Journal of Politics and Law 12, no. 1 (2019): 11. http://dx.doi.org/10.5539/jpl.v12n1p11.

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In the present article, the author examines one of the most important issues related to the international private law. This issue is how to determine the law applicable to damageable act in the high seas according to the Jordanian international private law. This problem is represented in the way of how the Jordanian legislator, in general, deals with the law applicable to the damageable act in the Jordanian civil code without dealing with the problem of identifying the law applicable to the damageable act in the high seas, which leads the author to ask and answer about how to determine the law applicable to this damageable act.  The jurisprudence of the international private law pays great deal of attention to the problem of the law applicable to damageable act on the high seas, where many opinions try to solve it. The international community also takes notice of this problem as well as the result of this attention the emergence of the Brussels maritime Collision Convention in 1910. It is worth mentioning that Jordanian legislator has addressed the issue of maritime collision in the Jordanian maritime commercial law which contains numerous provisions that match perfectly with the provisions of the Brussels Collision Convention in 1910.

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5

Naumova, L. G., V. B. Martynenko, and S. M. Yamalov. "(A review). BRAUN-BLANQUETIA. Recueil de travaux de geobotanique / review of geobotanical monographs. Vol. 46. Centenaire de la phytosociologie. CAMERINO, 2010. 423 p." Vegetation of Russia, no. 19 (2011): 143–47. http://dx.doi.org/10.31111/vegrus/2011.19.143.

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Date of «birth» of phytosociology (phytocenology) is considered to be 1910, when at the third International Botanical Congress in Brussels adopted the definition of plant association in the wording Including Flaó and K. Schröter (Flahault, Schröter, 1910; Alexandrov, 1969). The centenary of this momentous event in the history of phytocenology devoted to the 46th edition of the Yearbook «Braun-Blanquetia», which began to emerge in 1984 in Camerino (Italy) and it has a task to publish large geobotanical works. During the years of the publication of the Yearbook on its pages were published twice work of the Russian scientists — «The steppes of Mongolia» (Z. V. Karamysheva, V. N. Khramtsov. Vol. 17. 1995), and «Classification of continental hemiboreal forests of Northern Asia» (N. B. Ermakov in collaboration with English colleagues and J. Dring, J. Rodwell. Vol. 28. 2000).

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6

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 the history of Central and Eastern Europe. He also contributed to the creation of the permanent exhibition at the House of European History in Brussels.

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7

Yook, YoungSoo. "The Japanese Empire’s Appropriation of International · Colonial Expositions as a Cultural Tool of Colonialism: Focusing on the 1910 Japan-British Exhibition and the 1929 Choseon Exhibition." Western History Review 146 (September 30, 2020): 122–53. http://dx.doi.org/10.46259/whr.146.122.

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8

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 an intensive search, Ji Sun finally met up with her birth parents. Like ‘A ghost in my own country’, it is written in collaboration with her adoptive father, Eric Sjögren, who is a journalist living in Brussels.

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9

Vanlandschoot, Romain. "Verdraagzaamheid en pragmatische samenwerking in de Vlaamse beweging. Hugo Verriest en August Vermeylen 1895-1914. Deel 3." WT. Tijdschrift over de geschiedenis van de Vlaamse beweging 72, no. 3 (2013): 207–41. http://dx.doi.org/10.21825/wt.v72i3.12194.

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Deel 3: Hoogtepunt 1910-1914De samenwerking tussen August Vermeylen en Hugo Verriest kende in de laatste jaren voor de Eerste Wereldoorlog een waar hoogtepunt. De toespraak van Verriest op de Brusselse wereldtentoonstelling, 5 juli 1910, in aanwezigheid van koning Albert I, maakte veel ophef, maar stootte ook de liberale opinie voor het hoofd door zijn eenzijdige kijk op de West-Vlaamse literatuur. In 1912 stelde Vermeylen zijn bekende leuze uit 1900 bij: “om iets te zijn moeten we Vlaming zijn. Wij willen Vlaming zijn om Europeeër te worden”. Hij positioneerde de Vlaamse beweging in het groeiende spanningsveld tussen Frankrijk en Duitsland.Het jaar daarop zette Vermeylen zich in, als voorzitter van de Vereniging van Vlaamse Letterkundigen, om op 17 augustus 1913 een grootse hulde te brengen aan de pastoor van Ingooigem, in aanwezigheid van duizenden Vlamingen en Nederlanders. Hij prees hierbij de verdraagzaamheid die Verriest opbracht voor andersdenkenden. Hij waardeerde in hem de “innige samenhang van kunst en leven, die letterkundigen en strijders voor hogere cultuur in Vlaanderen verenigt”. Op de feestelijkheid waren alle generaties sedert het overlijden van Albrecht Rodenbach (1880) aanwezig, “van overal waar Nederlandse taal klinkt”.De laatste vooroorlogse samenwerking betrof de agitatie rond het wetsontwerp van minister Prosper Poullet op het lager onderwijs en de desbetreffende taalregeling voor de Vlaamse kinderen, inzonderheid te Brussel. Op de meeting van 10 februari 1914 voerden de socialistische voorman Alberic Deswarte, de katholieke priester Hugo Verriest en August Vermeylen het woord. Verriest had het over het bevrijdende ‘nadere springtij’ in Vlaanderen. Met zijn allen ijverden zij voor de fundamentele rechten van alle volkskinderen op onderwijs in de moedertaal, vorming en behoorlijke beroepsopleiding. Vermeylen waarschuwde scherp voor het verlies van Brussel door de sterke verfransingsdruk.Als algemeen besluit mag gelden dat de samenwerking van Vermeylen en Verriest in de jaren 1895-1914 een belangrijke bijdrage betekende in de vooruitgang van de Vlaamse beweging.________Tolerance and pragmatic cooperation in the Flemish Movement. Hugo Verriest and August Vermeylen 1895-1914. Part 3: High point 1910-1914During the last years before the First World War the cooperation between August Vermeylen and Hugo Verriest culminated in a true high point. Much was made of Verriest’s address at the Brussels’ world exhibition on 5 July 1910 in the presence of King Albert I, but the speech also offended the liberals because of its one-sided view of West Flemish literature. In 1912 Vermeylen adjusted his well-known slogan from 1900: “in order to be anything, we need to be Flemish. We wish to be Flemish in order to become Europeans”. He positioned the Flemish movement in the growing area of tension between France and Germany.On 17 August of the following year, Vermeylen as chairman of the Association of Flemish Authors dedicated his efforts to pay an elaborate tribute to the parish priest of Ingooigem in the presence of thousands of Flemish and Dutch people. In doing so, he praised the tolerance with which Verriest treated dissidents. He appreciated that Verriest manifested “the close cohesion of art and life, which unites authors and fighters for higher culture in Flanders”. At this festive occasion all generations since the death of Albrecht Rodenbach (1880) were present, “from everywhere where the Dutch language is spoken”.The last time they cooperated before the war related to the turmoil about Minister Proper Poullets’ draft law on elementary education and the relevant language regime for Flemish school children, in particular in Brussels. At the meeting on 10 February 1914, the socialist leader Alberic Deswarte, the Catholic priest Hugo Verriest and August Vermeylen took the floor. Verriest spoke about the liberating ‘approaching spring tide’ in Flanders. All together they dedicated their efforts to the fundamental rights of all working-class children to enjoy education in their native language, to formation and a decent professional training. Vermeylen warned in strong terms about the loss of Brussels because of the strong pressure towards Frenchification.We may draw the general conclusion that the cooperation between Vermeylen and Verriest during the period of 1895-1914 made a major contribution towards the progress of the Flemish movement.

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10

Tingay, Steven. "Indigenous Australian artists and astrophysicists come together to communicate science and culture via art." Journal of Science Communication 17, no. 04 (2018): C02. http://dx.doi.org/10.22323/2.17040302.

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During the International Year of Astronomy in 2009, we initiated a collaboration between astrophysicists in Western Australia working toward building the largest telescope on Earth, the Square Kilometre Array (SKA), and Indigenous artists living in the region where the SKA is to be built. We came together to explore deep traditions in Indigenous culture, including perspectives of the night sky, and the modern astrophysical understanding of the Universe. Over the course of the year, we travelled as a group and camped at the SKA site, we sat under the stars and shared stories about the constellations, and we talked about the telescopes we wanted to build and how they could sit on the Indigenous traditional country. We found lots of interesting points of connection in our discussions and both artists and astronomers found inspiration. The artists then produced <150 original works of art, curated as an exhibition called “Ilgarijiri — Things belonging to the Sky” in the language of the Wadjarri Yamatji people. This was exhibited in Geraldton, Perth, Canberra, South Africa, Brussels, the U.S.A., and Germany over the course of the next few years. In 2015, the concept went further, connecting with Indigenous artists from South Africa, resulting in the “Shared Sky” exhibition, which now tours the ten SKA member countries. The exhibitions communicate astrophysics and traditional Indigenous stories, as well as carry to the world Indigenous culture and art forms. The process behind the collaboration is an example of the Reconciliation process in Australia, successful through thoughtful and respectful engagements, built around common human experiences and points of contact (the night sky). This Commentary briefly describes the collaboration, its outcomes, and future work.

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Dissertations / Theses on the topic "International Exhibition, Brussels (1910)"

1

Edwards, Anthony David. "International exhibitions, British economic decline and the technical education issue 1851-1910." Thesis, University of Liverpool, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366662.

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Books on the topic "International Exhibition, Brussels (1910)"

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Conference proceedings: International exhibition & conference ; Les Pyramides, Brussels, 28 - 30 November 1995. Verl. für Chemische Industrie Ziolkowsky, 1995.

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2

International, Conference and Exhibition on High Performance Computing and Networking (1996 Brussels Belgium). High-performance computing and networking: International Conference and Exhibition, HPCN EUROPE 1996, Brussels, Belgium, April 15-19, 1996 : proceedings. Springer, 1996.

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3

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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4

Mertová, Martina. Byli jsme světoví!: Expo Brusel, Montreal, Ósaka z archivu architekta Miroslava Řepy : pohledy do sbírek Muzea umění Olomouc = We Were World-Class! : Expo Brussels, Monteral, and Osaka from the archive of the architect Miroslav Řepa : collection insights Olomouc Museum of Art. Muzeum umění Olomouc, 2022.

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5

Vittorio, Aureli Pier, ed. Brussels, a manifesto: Towards the capital of Europe : a theory on the city : [the exhibition and the international symposium "A Vision for Brussels, Imagining the Capital of Europe" will be held in the Center for Fine Arts in Brussels, from 16 March to 20 May 2007. NAi Publishers, 2007.

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6

Uluslararası barış konferansları ve Osmanlı Devleti: "Genel Savaş öncesi barış arayışları", (1899-1914) : konferans kararlarının tam metinleri ile birlikte. Beta, 2009.

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7

Strakoš, Martin. Po sorele brusel, kov, sklo, struktury a beton: Kapitoly o architektuře a výtvarném umění 50. a 60. let 20. století od Bruselu po Ostravu. Národní památkový ústav, územní odborné pracoviště v Ostravě, 2014.

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8

Vlad, Laurențiu. Pe urmele "Belgiei Orientului": România la expozițiile universale sau internaționale de la Anvers, Bruxelles, Liège și Gand (1894-1935). Nemira, 2004.

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9

Society, American Numismatic. Catalogue of the International Exhibition of Contemporary Medals: The American Numismatic Society, March 1910. Creative Media Partners, LLC, 2018.

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Catalogue of the International Exhibition of Contemporary Medals: The American Numismatic Society, March 1910. Creative Media Partners, LLC, 2022.

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Book chapters on the topic "International Exhibition, Brussels (1910)"

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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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"Japan and International Exhibitions, 1862–1910." In Commerce and Culture at the 1910 Japan-British Exhibition: Centenary Perspectives. Global Oriental, 2013. http://dx.doi.org/10.1163/9789004235427_005.

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"Food at the 1910 Brussels Exhibition: Spaces of Consumption and the Articulation of National Identity." In A Taste of Progress. Routledge, 2016. http://dx.doi.org/10.4324/9781315565309-18.

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"Anglo-Japanese Imperialism and International Exhibitions in the Age of the ‘New Imperialism’." In Commerce and Culture at the 1910 Japan-British Exhibition: Centenary Perspectives. Global Oriental, 2013. http://dx.doi.org/10.1163/9789004235427_008.

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