Relevant bibliographies by topics / Panama Pacific International Exposition 1915 San Francisco

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  2. Dissertations / Theses
  3. Books
  4. Book chapters
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Academic literature on the topic 'Panama Pacific International Exposition 1915 San Francisco'

Author: Grafiati
Published: 28 July 2024
Last updated: 31 July 2025

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Journal articles on the topic "Panama Pacific International Exposition 1915 San Francisco"

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Markwyn, Abigail. "Fair Labor." Boom 5, no. 1 (2015): 62–70. http://dx.doi.org/10.1525/boom.2015.5.1.62.

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Labor relations during the run up to and duration of the Panama-Pacific International Exposition in 1915 have been called the “Pax Panama Pacifica” thanks to unwritten agreements between fair planners and key labor unions in San Francisco. Fair planners intended to use the exposition to declare California’s ascendance as an economic stronghold in the Pacific, but the staging of it involved work that was inexorably bound with local, domestic, class, race, and gender conflicts in the Progressive Era. This article looks at why avoiding labor strife was critical to fair organizers’ objectives, and
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Young, Phoebe S. K. "To Show What Will Be By What Has Been." Boom 5, no. 1 (2015): 71–78. http://dx.doi.org/10.1525/boom.2015.5.1.71.

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San Diego vied with San Francisco to host the 1915 World’s Fair. San Francisco won, but San Diego went ahead and staged the International Panama-California Exposition. Planners of both fairs traded on ideas of empire to raise their cities’ profiles and capitalize on increased commercial opportunities promised by the newly opened Panama Canal, but they took very different approaches. In San Diego, city leaders saw themselves as inheritors of Spain’s colonial empire and as the critical link to a new American empire at the intersection of Latin America and the Pacific. They also saw themselves as
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Osborne, Thomas J. "California." Boom 5, no. 1 (2015): 4–11. http://dx.doi.org/10.1525/boom.2015.5.1.4.

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San Francisco’s 1915 Panama-Pacific International Exposition, celebrating the opening of the Panama Canal, symbolized California’s desire for preeminence in Pacific trade and naval power. The expected reopening of an enlarged Panama Canal in 2015 is causing shippers, ports, and military strategists to reassess how the Golden State should adapt to the ever-growing importance of the Pacific world in global affairs. Such ongoing and future adaptations to the enlarged Panama Canal will continue to underscore and augment California’s perennially close ties to the Pacific world.
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Andréoli de Villers, Jean-Pierre. "Les futuristes à la Panama Pacific International Exposition de San Francisco en 1915." Ligeia N°57-60, no. 1 (2005): 5. http://dx.doi.org/10.3917/lige.057.0005.

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Putman, John. "Empire on Display: San Francisco’s Panama-Pacific International Exposition of 1915." Southern California Quarterly 96, no. 3 (2014): 354–57. http://dx.doi.org/10.1525/scq.2014.96.3.354.

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Findling, J. "Empire on Display: San Francisco's Panama-Pacific International Exposition of 1915." Journal of American History 101, no. 1 (2014): 290. http://dx.doi.org/10.1093/jahist/jau228.

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MISHIMA, Masahiro. "THE DESIGN OF THE JAPANESE PAVILION AT PANAMA-PACIFIC INTERNATIONAL EXPOSITION IN SAN FRANCISCO, 1915." Journal of Architecture and Planning (Transactions of AIJ) 69, no. 576 (2004): 185–90. http://dx.doi.org/10.3130/aija.69.185_1.

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Medero, Santiago. "Arquitectura, imagen y estado." Anales de Investigación en Arquitectura 10, no. 1 (2020): 29–45. http://dx.doi.org/10.18861/ania.2020.10.1.2967.

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El artículo propone adentrarnos, a través de un caso particular, en la problemática de la representación del Estado a través de la arquitectura a comienzos del siglo XX, cuando las bases del Uruguay moderno aún se encontraban en construcción. Mediante la revisión de un antecedente inmediato, una exposición del Ministerio de Obras Públicas en 1914 publicada en la Revista de la Asociación Politécnica del Uruguay, se reflexiona sobre el envío uruguayo a la Panama-Pacific International Exposition de 1915, celebrada en la ciudad de San Francisco, en Estados Unidos. Los edificios, representados a tr
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MISHIMA, Masahiro. "THE SIGNIFICANCE OF THE JAPANESE PAVILION AND ITS GARDEN IN SAN FRANCISCO, PANAMA-PACIFIC INTERNATIONAL EXPOSITION 1915." Journal of Architecture and Planning (Transactions of AIJ) 70, no. 593 (2005): 187–94. http://dx.doi.org/10.3130/aija.70.187_4.

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Baldacci, Luigi. "À propos du pavillon futuriste italien à la Panama Pacific International Exposition de San Francisco (février-décembre 1915)." Ligeia N° 77-80, no. 2 (2007): 5. http://dx.doi.org/10.3917/lige.077.0005.

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Dissertations / Theses on the topic "Panama Pacific International Exposition 1915 San Francisco"

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Applegate, Heidi. "Staging Modernism at the 1915 San Francisco World's Fair." Thesis, 2014. https://doi.org/10.7916/D8X63K13.

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Drawing upon theories concerning visuality, spectatorship, consumption, and the institutionalization of culture, this dissertation considers the ways that the art exhibition at the Panama Pacific International Exposition (PPIE) attempted to make modern art accessible and acceptable to a mass audience in America. The story of the exhibition in the Palace of Fine Arts demonstrates how the American artistic establishment incorporated modernism into the conservative idiom of a major international exposition by promoting a definition and understanding of "modern" art that was distinctly national, c
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Books on the topic "Panama Pacific International Exposition 1915 San Francisco"

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Bruce, Anthony. San Francisco's exposition year: The 1915 Panama-Pacific International Exposition. Trifoil Press, 2016.

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2

Bonnett, Wayne. City of dreams: Panama-Pacific International Exposition. Windgate Press, 1995.

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3

(Tokyo, Japan) Shinsekai Shinbunsha. Panama Taiheiyō Bankoku Daihakurankai shashinchō: The Panama-Pacific International Exposition of 1915 : picture book. Panama Taiheiyō Bankoku Daihakurankai. Daiichi = The Panama-Pacific International Exposition of 1915. No. 1. Bunsei Shoin, 2008.

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4

Ninomiya, Risaku. Omoshiroio San Furanshisuko: Exciting city San Francisco. Bunsei Shoin, 2014.

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5

Ewald, Donna. San Franciso invites the world: The Panama-Pacific International Exposition of 1915. Chronicle Books, 1991.

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6

James, Juliet. Palaces and courts of the exposition: A handbook of the architecture, sculpture and mural paintings with special reference to the symbolism. California Book Company, 1989.

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Bruml, Laura. Electric lights dazzling: An account of one family's visit to the 1915 Panama-Pacific International Exposition, from the diary of Laura (Foote) Bruml. Info-Miner Research, 1999.

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8

Flacco, Anthony. The hidden man: A novel of suspense. Mortalis Ballantine Books, 2008.

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9

Flacco, Anthony. The Hidden Man. Random House Publishing Group, 2008.

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10

Li, Xuangong. Banama Taiping Yang wan guo bo lan hui yao lan. Beijing zhong xian tuo fang ke ji fa zhan you xian gong si, 2012.

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Book chapters on the topic "Panama Pacific International Exposition 1915 San Francisco"

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Hudson, Lynn M. "“This Is Our Fair and Our State”." In West of Jim Crow. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043345.003.0003.

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This chapter chronicles the simultaneous appearance of D. W. Griffith’s film, The Birth of a Nation and the opening of the Panama Pacific International Exposition (PPIE) in San Francisco in 1915. The PPIE celebrated, among other things, San Francisco’s recovery from the 1906 earthquake and fire, and the building of the Panama Canal. For African Americans, this fair, like the 1893 Columbian Exposition in Chicago, allowed them to demonstrate their contributions to the nation. The fairs also presented possibilities for black citizens to critique discrimination within and outside the fairgrounds.
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Peterson, William. "Introduction." In Asian Self-Representation at World’s Fairs. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch01.

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The chapter sets out the rationale for and structure for this inquiry into Asian self-representation at World’s Fairs, or international expositions. Using a case-studies approach, the book will consider how independent Asian nations have sought to shape and control the ways in which they were represented at these events. China and Japan at the San Francisco Panama Pacific International Exposition in 1915 are the focus of the first two chapters, followed by Japan in at the 1939-1940 New York World’s Fair, and China at Expo ’88 in Brisbane. Other fairs and nations examined in the 100-year span o
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"Emma Goldman: “The Philosophy of Atheism” 1916." In Milestone Documents of World Religions. Schlager Group Inc., 2011. https://doi.org/10.3735/9781935306191.book-part-084.

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Emma Goldman's essay “The Philosophy of Atheism” was published in Mother Earth in 1916, but an earlier version was delivered as a lecture for the Congress of Religious Philosophies on July 29, 1915, as part of the Panama-Pacific International Exposition in San Francisco. This locates the essay in the context of Goldman's extensive lecture tours and of one of the most important radical journals in U.S. history. The journal was edited by Goldman and Alexander Berkman from its founding in 1906 until it ceased publication in August 1917 under pressure from the U.S. government for its opposition to
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Snyder, Sherri. "Nine." In Barbara La Marr. University Press of Kentucky, 2017. http://dx.doi.org/10.5810/kentucky/9780813174259.003.0010.

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The chapter opens with an explanation of the pre–World War I dance craze that has seized the country and given rise to the appearance of ballroom dance teams, the nation’s latest brand of celebrity. Reatha’s departure for San Francisco, host to the 1915 Panama-Pacific International Exposition (San Francisco World’s Fair), to obtain dancing employment is then noted and complete documentation of her career as a professional dancer begins. Her love affair and dance partnership with Robert Carville, a professional dancer, are meticulously addressed; she changes her name to Barbara La Marr, develop
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Peterson, William. "The Master of the Form." In Asian Self-Representation at World’s Fairs. Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789462985636_ch02.

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By the early 20th century, Japan was the master of the international exhibition format. With over fifty years of experience at world’s fairs in the West, Japan knew how to market its culture and products in a manner appealing to the Western consumer of both high art and decorative objects. The 1915 Panama Pacific International Exposition provided the country with a unique opportunity to create a strong and lasting imprint on American bodies in the country pavilion site with its famed gardens and exotic, kimono-clad women. As the epicenter of Asian migration, San Francisco also offered unique o
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Graves, Michael. "Henry Hornbostel." In Invisible Giants. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195168839.003.0029.

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Abstract Mr.Jenry Hornbostel was a Pittsburgh-based architect and Beaux- Arts exponent who has, unfairly, been little recognized outside his immediate circle, or beyond the time of his practice, which spanned the first four decades of the last century. Despite receiving an Honorable Mention in the prestigious Chicago Tribune Competition and being selected to design the Pennsylvania Pavilion for the 1915 Panama-Pacific Exposition in San Francisco, Hornbostel has remained an architect known chiefly to the cognoscenti. I first came upon his works at Emory University in Atlanta, Georgia, for whose
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Conference papers on the topic "Panama Pacific International Exposition 1915 San Francisco"

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Rogers, Jerry R., and Luis D. Alfaro. "The 1915 Panama-Pacific International Exposition in San Francisco and Panama Canal Model, Conference and Proceedings." In ASCE Global Engineering Conference 2014. American Society of Civil Engineers, 2014. http://dx.doi.org/10.1061/9780784413739.009.

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