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Journal articles on the topic 'Paris Universal Exposition of 1878'

Author: Grafiati

Published: 4 June 2021

Last updated: 27 July 2025

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1

Vajda, Joanne. "Grand Paris, une histoire de gares en lien avec les grands événements, des Expositions Universelles aux Jeux Olympiques et Paralympiques." Anuarul Institutului de Cercetări Socio-Umane Sibiu 31 (December 31, 2024): 53–76. https://doi.org/10.59277/aicsus.31.05.

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This article aims to show the links between the construction of stations and major events in the Paris metropolis, through the example of three stations now located in the Grand Paris, which allow parallels between the construction of transport infrastructure for the Universal Exhibitions, the 1924 Olympic Games and the Olympic and Paralympic Games that took place 100 years later. On the one hand, we will see how these major events make it possible to rethink mobility in the Grand Paris, and on the other hand, to what extent a station built for the 1878 Universal Exhibition, the one in Colombe

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Carey, Moya, and Mercedes Volait. "Framing 'Islamic Art' for Aesthetic Interiors: Revisiting the 1878 Paris Exhibition." International Journal of Islamic Architecture 9, no. 1 (2020): 31–59. http://dx.doi.org/10.1386/ijia_00003_1.

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Abstract The 1878 Exposition Universelle in Paris is known for the substantial scope and content of its Islamic art displays ‐ the most extensive offered to an international audience by that date. A renewed analysis of this influential event demonstrates that it featured a network of distinct ‐ though often interlinked ‐ installations that come under the label of 'Islamic art', situated across a complex site. These included national initiatives, such as L'Égypte des Khalifes, sponsored by the ruling Khedive of Egypt, and the purpose-built Pavillon de la Perse, constructed by master-builders di

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3

Christoforidis, Michael. "Serenading Spanish Students on the Streets of Paris: The International Projection of Estudiantinas in the 1870s." Nineteenth-Century Music Review 15, no. 1 (2017): 23–36. http://dx.doi.org/10.1017/s1479409817000064.

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Spanish estudiantina plucked string ensembles achieved immense popularity in the last two decades of the nineteenth century and were an important catalyst in the creation of the sonority of a variety of European and American popular musics. Such ensembles had precedents in Spanish student groups dating back to the Renaissance and the rondallas (or groupings of plucked instruments) that were associated with popular outdoor serenades. However, the modern estudiantina movement can be traced back to 1878, and was consciously framed as a modern historical construct. A large grouping of youths and f

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4

Ericson, Mark. "Sovereignty on Display: The Tokugawa Bakufu and the Paris Universal Exposition of 1867." Journal of Japanese Studies 47, no. 2 (2021): 277–311. http://dx.doi.org/10.1353/jjs.2021.0043.

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Cottini, Luca. "An Italian in Paris. De Amicis, the World Exposition of 1878, and the New Culture of Industrial Modernity." Romance Studies 33, no. 3-4 (2015): 218–31. http://dx.doi.org/10.1080/02639904.2015.1124218.

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Turpin, Nancy Lee. "Hot Chocolate: The Social Question in the Chocolate Exhibits at the 1900 Paris Universal Exposition." Journal for the Study of Food and Society 6, no. 2 (2003): 72–77. http://dx.doi.org/10.2752/152897903786769652.

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7

Huhtamo, Erkki. "(Un)walking at the Fair: About Mobile Visualities at the Paris Universal Exposition of 1900." Journal of Visual Culture 12, no. 1 (2013): 61–88. http://dx.doi.org/10.1177/1470412912470523.

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Alix, Sébastien-Akira. "Transnationalising American progressivism and emancipation: Frances B. Johnston and progressive education at the 1900 Paris universal exposition." Paedagogica Historica 55, no. 1 (2018): 55–69. http://dx.doi.org/10.1080/00309230.2018.1550659.

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Biedrońska-Słota, dr Beata. "Kobierce perskie zwane polskimi – szczególny rodzaj mecenatu rodziny Czartoryskich / So-called Polish Persian Carpets – a Peculiar Kind of Czartoryski Family’s Patronage (Summary)." Rozprawy Muzeum Narodowego w Krakowie/Papers of the National Museum in Krakow 13, no. 13 (2025): 56–69. https://doi.org/10.52800/rmnk13.a4.

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The purpose of this article is to show when and why a group of Persian rugs of exceptional artistic class began to be called Polish. Previously, there were many attempts to explain this problem. The rug from Władysław Czartoryski’s collection was also shown before the famous Paris 1878 Exposition at an exhibition in Paris in 1865. In a catalog published a few years later, E. Lièvre attributed the rug to Madżarski’s workshops based on incorrect assumptions. However, several authors considered this attribution. Some justified this name by the fact that such carpets entered Western collections th

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10

González-Almeyda, J. D., E. T. Ayala-Garcia, and R. Prada-Nuñez. "Analysis of the application of physics in the design and construction of architectural projects. The Eiffel Tower." Journal of Physics: Conference Series 2118, no. 1 (2021): 012021. http://dx.doi.org/10.1088/1742-6596/2118/1/012021.

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Abstract This article studied the impact and application of physical concepts in the design and construction of the Eiffel Tower in Paris, an architectural reference that implemented physical concepts in its structural design. A documentary methodological framework was used to establish the importance of the Eiffel Tower in the universal exposition of Paris in 1989 and, to carry out the structural analysis of the work; a quantitative-descriptive approach was used for the recognition of the basic concepts of physics from architecture according to gender, through a survey as a research instrumen

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BRENNI, PAOLO. "IL METEOROGRAFO DI PADRE ANGELO SECCHI." Nuncius 8, no. 1 (1993): 197–247. http://dx.doi.org/10.1163/182539183x00082.

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Abstract<title> SUMMARY </title>During the 19th Century the systematic collecting of meteorological data became a general practice. Several scientists and instrument makers invented new meteorological instruments and improved the existing ones. Probably the most impressive and sophisticated recording apparatus was the meteorograph devised between 1855 and 1865 by the Italian astronomer Padre Angelo Secchi (1818-1878). This huge and complicated machine was presented to the 1867 Paris Universal Exhibition where it was considered the technological masterpiece. The instrument worked in

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Neele, Adriaan C. "The Reception of Edwards’s A History of the Work of Redemption in Nineteenth-century Basutoland." Journal of Religion in Africa 45, no. 1 (2015): 68–93. http://dx.doi.org/10.1163/15700666-12340036.

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A recently discovered manuscript by the French missionary Adolph Mabille (1836-1894) in the Morija Archives, Lesotho, remedies the lack of attention ofA History of the Work of Redemption(hwrhereafter), by Jonathan Edwards (1703-1758) in the nineteenth century. This manuscript found its way from colonial America to Africa through French missionary endeavors in relgious educational training (Paris) and teaching (Basutoland). Edwards’s original aim, and the subsequent publication of ‘outlines of a body of divinity’, converged in nineteenth-century France, where thehwrwas translated in the context

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Lurtz, Casey Marina. "A Confounded Statistic: Turn-of-the-Century Mexican Agriculture in Incommensurable Terms." Americas 80, no. 2 (2023): 291–329. http://dx.doi.org/10.1017/tam.2023.5.

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AbstractIn 1899, municipal officials throughout Mexico sent tables of agricultural statistics to Mexico City to assist in the preparation of a special publication for the 1900 Paris Universal Exposition, where the Mexican government hoped it would impress the world with Mexico's modernity and potential. Though the activity was nothing new, the ways in which municipal officials provided the requested information confounded the national project of both understanding and representing the Mexican countryside. The statistics were never published. This article serves as an introduction to a new data

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Lou, Charnon-Deutsch. "Like Salamanders in a Flame: The Fandango and Foreign Travellers to Spain." Música Oral del Sur, no. 12 (December 4, 2015): 586–603. https://doi.org/10.5281/zenodo.4638635.

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Resumen: La apreciación que los viajeros europeos por el fandango evolucionó desde principios del siglo dieciocho hasta finales del diecinueve. Hacia la segunda mitad del dieciocho, y especialmente durante el diecinueve, los viajeros se entusiasmaron por el baile que con frecuencia comparaban con los bailes que se ejecutaban en Cádiz durante el Imperio Romano. A finales del siglo diecinueve los viajeros franceses se enamoraron especialmente de la sensualidad de las bailaoras, cuyos movimientos describieron con gran detalle para sus lectores. Gradualmente, otros viajeros, e

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Stempniak, Kasia. "Dressing the Eiffel Tower." French Historical Studies 43, no. 2 (2020): 253–70. http://dx.doi.org/10.1215/00161071-8018497.

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Abstract The construction of the Eiffel Tower for the 1889 Universal Exposition sparked “Eiffelomania,” a craze for objects imprinted with the likeness of the tower. This mania reverberated in the fashion world, with journals touting the latest fabrics, colors, and styles named “Eiffel.” But the tower's association with fashion went beyond the materiality of clothing. Careful examination of news reports and fashion chronicles from the fin de siècle period reveals that the tower was frequently cast in sartorial terms. In describing the tower's manner of “dressing,” its “clothing” and “outfits,”

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Linares de la Torre, Oscar. "Apuntes sobre el Palais des Machines de París de 1889: espacio, estructura y ornamento." VLC arquitectura. Research Journal 5, no. 1 (2018): 33. http://dx.doi.org/10.4995/vlc.2018.7713.

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<p><em>The </em>Palais des Machines <em>of the Paris Universal Exposition of 1889, designed by the architect Charles Louis Ferdinand Dutert (1845-1906) and the engineer Victor Contamin (1840-1893), is undoubtedly an icon of the 19</em><em>th </em><em>century architecture: its powerful spatiality, its portentous structure and its straightforward tectonics have rightly received high praise by critics and architects from the second half of the 20</em><em>th </em><em>century. However, critical tradition and historiography from

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17

Emma, López-Bahut. "El viaje de Jorge Oteiza a la Exposición Universal de Bruselas de 1958: de la crítica al proyecto arquitectónico = Jorge Oteiza's trip to the 1958 Universal Exposition in Brussels." rita_ Revista Indexada de Textos Académicos, no. 3 (May 6, 2015): 126–33. https://doi.org/10.24192/2386-7027(2015)(v3)(09).

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La reconstrucción del viaje del escultor Jorge Oteiza desde Irún hasta la Exposición Universal de Bruselas (Bélgica, 1958) permite establecer qué arquitectura visitó, gracias al material documental conservado en su archivo. El objetivo es determinar la influencia de estas experiencias arquitectónicas en sus ideas y proyectos.  En la Exposición reconoce en el Pabellón de Finlandia, obra de Reima Pietilä, el modo de integración del arte y de la arquitectura que él defiende; pero rechaza pabellones basados en a

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18

Кобер, О. И. "About the features of the avant-garde art of Orenburg of the second half of the 20th century: axiological context." Iskusstvo Evrazii [The Art of Eurasia], no. 3(26) (September 30, 2022): 128–41. http://dx.doi.org/10.46748/arteuras.2022.03.011.

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Региональный авангард «второй волны» относится к малоизученным темам современного российского искусствоведения. Актуальность данного исследования обусловлена тем, что впервые оренбургский авангард рассматривается в контексте отечественной культуры. На основе анализа творчества художников, отвергавших догматы официального искусства и отстаивавших право на свое видение художественного мира, научных статей, альбомов и каталогов выставок, статей в прессе указываются основные особенности авангардного искусства Оренбурга. Значительным явлением в культурной жизни города стало создание в начале 1970-х

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19

"Paris, 1889: American artists at the Universal Exposition." Choice Reviews Online 27, no. 06 (1990): 27–3152. http://dx.doi.org/10.5860/choice.27-3152.

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20

"Paris 1900: The "American school" at the Universal Exposition." Choice Reviews Online 37, no. 07 (2000): 37–3713. http://dx.doi.org/10.5860/choice.37-3713.

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21

Zhou, Jing, and Du Cheng. "Pragmatism with a More Scientific Spirit." European Journal of Pragmatism and American Philosophy XVII, no. 1 (2025). https://doi.org/10.4000/13t9l.

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The role of Charles Peirce as the father of pragmatism has long been misunderstood, even though he revised and restated his position several times. In his first exposition of pragmatism in 1877-1878, he emphasized that pragmatism was a method of understanding the meaning of concepts based on practical effects. This exposition had some traces of psychologism, which led to common misunderstandings. In sporadic revisions between 1891 and 1902, Peirce rejected the idea of understanding the meaning of concepts based on individual actions and mental feelings and instead emphasized the importance of

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22

NEDELEA, Gabriel. "IDENTITY DISCOURSE AND EUROPEANISM IN THE ROMANIAN CULTURE OF THE SECOND HALF OF THE 19TH CENTURY." SYNERGY 21, no. 1 (2025). https://doi.org/10.24818/syn/2025/21/1.10.

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This work proposes an analysis of how Romania constructed its national identity discourse, upon its participation in the 1867 Paris Exposition. It shows the relationship between the configuration of the national cultural image and the European culture in the second half of the 19th century. This first presence in a universal exposition, with its own pavilion, was the outcome of a complex diplomatic strategy, supported by cultural means. It also was a major proof of European behaviour, as forms of monographic knowledge and representation of a state were imported. We shall focus on how these for

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23

He, Gary Huafan. "Modern ornament in fin de siècle Paris: Antonin Raguenet’s Matériaux et documents d’architecture et de sculpture." Architectural Research Quarterly, May 4, 2022, 1–16. http://dx.doi.org/10.1017/s1359135522000057.

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This article examines the work of Antonin Raguenet (1839–1920), who directed from his studio in Paris between 1872 and 1914 a vast project of architectural taxonomy, the Matériaux et documents d’architecture et de sculpture. Though unique in its vast geographic scope and empiricist approach, Raguenet’s project remains relatively obscure in the current scholarship of art and architectural history. Published monthly in eight-page pamphlets totaling over five hundred serialised issues, the Matériaux et documents ultimately contained over fourteen thousand illustrations of ornaments collected from

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24

Paccoud, Stéphane. "Les Portraits nationaux à l’Exposition universelle parisienne de 1878 : un projet de galerie historique." Bulletin du Centre de recherche du château de Versailles, 2024. https://doi.org/10.4000/130g1.

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L’Exposition universelle organisée à Paris en 1878 accueille, parmi de multiples événements, une manifestation d’un genre particulier, qui peut être assimilée à la première tentative, en France, de concevoir une exposition temporaire thématique d’art ancien, s’appuyant sur des recherches préalables et sur un discours construit, ne consistant pas uniquement en un rassemblement de pièces diverses obtenues en fonction des disponibilités. Les Portraits nationaux entendent réunir les effigies originales de personnages historiques français, du Moyen Âge au milieu du xixe siècle, en présentant peintu

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25

Barth, Volker. "Signs of Americanization: The United States and the Paris Universal Exhibition of 1867." Nuevo mundo mundos nuevos, 2024. http://dx.doi.org/10.4000/12ho7.

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On the occasion of the Exposition universelle of 1867 the term Americanization first appeared in France. Jules and Edmond Goncourt feared that the exhibition would lead to “the Americanization of France”. My article explores the opposition between the rather unspectacular US-section at the exhibition on the one hand, and the image of an emerging world power on the other. I argue that the notion of Americanization had a threefold function. Firstly, it did not refer to a specific geographic zone, but served as a master discourse absorbing all the phenomena of unfolding French modernity. Secondly

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26

Sternberger, Paul. "Paul Sternberger. Review of "Paris 1900: The “American School” at the Universal Exposition" by Diane Fischer." caa.reviews, March 29, 2000. http://dx.doi.org/10.3202/caa.reviews.2000.55.

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27

Zlatopolski, Dmitrii M., and Valery V. Shilov. "V. S. Kozlov and his Tsifrar-diagrammometer." Voprosy istorii estestvoznaniia i tekhniki 45, no. 3 (2024). http://dx.doi.org/10.31857/s0205960624030031.

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In the late 19th century a military statistician and a pioneers of the Russian cooperative movement, Viktor Semyonovich Kozlov (1842–1920), designed and built a unique mechanical analog computing device he named “tsifrar-diagrammometer”. It was intended for operational visual presentation of numerical results of observations, calculations, experiments, etc. (tsifrar) and for calculating their statistical characteristics (diagrammometer). At the 1889 Paris Exposition this device that represented Russia was awarded the bronze medal. Drawing on the archival records and the materials from the Russ

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28

Shiloh, Ilana. "A Vision of Complex Symmetry." M/C Journal 10, no. 3 (2007). http://dx.doi.org/10.5204/mcj.2674.

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   The labyrinth is probably the most universal trope of complexity. Deriving from pre-Greek labyrinthos, a word denoting “maze, large building with intricate underground passages”, and possibly related to Lydian labrys, which signifies “double-edged axe,” symbol of royal power, the notion of the labyrinth primarily evokes the Minoan Palace in Crete and the myth of the Minotaur. According to this myth, the Minotaur, a monster with the body of a man and the head of a bull, was born to Pesiphae, king Minos’s wife, who mated with a bull when the king of Crete was besieging Athen

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29

Ryder, Paul, and Daniel Binns. "The Semiotics of Strategy: A Preliminary Structuralist Assessment of the Battle-Map in Patton (1970) and Midway (1976)." M/C Journal 20, no. 4 (2017). http://dx.doi.org/10.5204/mcj.1256.

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The general who wins a battle makes many calculations in his temple ere the battle is fought. — Sun TzuWorld War II saw a proliferation of maps. From command posts to the pages of National Geographic to the pages of daily newspapers, they were everywhere (Schulten). The era also saw substantive developments in cartography, especially with respect to the topographical maps that feature in our selected films. This essay offers a preliminary examination of the battle-map as depicted in two films about the Second World War: Franklin J. Shaffner’s biopic Patton (1970) and Jack Smight’s epic Midway

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