000			05332cam a2200385Mi 4500
001			ocn894024949
003			OCoLC
005			20240726105007.0
008			131018s2014 tnu ob 001 0 eng d
040			_aP@U _beng _epn _erda _cP@U _dOCLCO _dVALIL _dYDXCP _dE7B _dOCLCQ _dOCLCF _dCOO _dEBLCP _dNT
020			_a9781621900788 _q((electronic)l(electronic)ctronic)
043			_an-usu--
050	0	4	_aT395 _b.W675 2014
049			_aNTA
100	1		_aHarvey, Bruce G. _q(Bruce Gordon), _d1963- _e1
245	1	0	_aWorld's fairs in a Southern accent Atlanta, Nashville, and Charleston, 1895-1902Bruce G. Harvey.
250			_aFirst edition.
260			_aKnoxville : _bThe University of Tennessee Press, _c(c)2014.
300			_a1 online resource (pages cm)
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
504			_a2
505	0	0	_aWhy would Southern urban leaders want to create world's fairs? -- _tLocal issues and private money -- _tBroader issues : international, federal, state, and local money -- _tDesigning the look of the expositions : architecture, landscape, sculpture -- _tOpening the expositions -- _tCommercial and government exhibits -- _tNoncommercial exhibits -- _tNational unity and Southern profit at the special "days" -- _tThe woman's departments -- _tThe negro departments -- _tWrapping up the fairs.
520	0		_aThe South was no stranger to world and rsquo;s fairs prior to the end of the nineteenth century. Atlanta first hosted a fair in the 1880s, as did New Orleans and Louisville, but after the 1893 World and rsquo;s Columbian Exposition in Chicago drew comparisons to the great exhibitions of Victorian-era England, Atlanta and rsquo;s leaders planned to host another grand exposition that would not only confirm Atlanta as an economic hub the equal of Chicago and New York, but usher the South into the nation and rsquo;s industrial and political mainstream. Nashville and Charleston quickly followed suit with their own exhibitions. In the 1890s, the perception of the South was inextricably tied to race, and more specifically racial strife. Leaders in Atlanta, Nashville, and Charleston all sought ways to distance themselves from traditional impressions about their respective cities, which more often than not conjured images of poverty and treason in Americans barely a generation removed from the Civil War. Local business leaders used large-scale expositions to lessen this stigma while simultaneously promoting culture, industry, and economic advancement. Atlanta and rsquo;s Cotton States and International Exposition presented the city as a burgeoning economic center and used a keynote speech by Booker T. Washington to gain control of the national debate on race relations. Nashville and rsquo;s Tennessee Centennial and International Exposition chose to promote culture over mainstream success and marketed Nashville as a and ldquo;Centennial City and rdquo; replete with neoclassical architecture, drawing on its reputation as and ldquo;the Athens of the south. and rdquo; Charleston and rsquo;s South Carolina Inter-State and West Indian Exposition followed in the footsteps of Atlanta and rsquo;s exposition. Its new class of progressive leaders saw the need to reestablish the city as a major port of commerce and designed the fair around a Caribbean theme that emphasized trade and the corresponding economics that would raise Charleston from a cotton exporter to an international port of interest. Bruce G. Harvey studies each exposition beginning at the local and individual level of organization and moving upward to explore a broader regional context. He argues that southern urban leaders not only sought to revive their cities but also to reinvigorate the South in response to northern prosperity. Local businessmen struggled to manage all the elements that came with hosting a world and rsquo;s fair, including raising funds, designing the fairs and rsquo; architectural elements, drafting overall plans, soliciting exhibits, and gaining the backing of political leaders. However, these businessmen had defined expectations for their expositions not only in terms of economic and local growth but also considering what an international exposition had come to represent to the community and the region in which they were hosted. Harvey juxtaposes local and regional aspects of world and rsquo;s fair in the South and shows that nineteenth-century expositions had grown into American institutions in their own right. Bruce G. Harvey is an independent consultant and documentary photographer with Harvey Research and Consulting based in Syracuse, New York. He specializes in historic architectural surveys and documentation photography.
530			_a2 _ub
650		0	_aExhibitions _zSouthern States _xHistory _y20th century.
650		0	_aExhibitions _zSouthern States _xHistory _y19th century.
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1083154&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hT.. _m2014 _QOL _R _x _8NFIC _2LOC
994			_a02 _bNT
999			_c85353 _d85353
902			_a1 _bCynthia Snell _c1 _dCynthia Snell