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Hybrid Modernities: Architecture and Representation at the 1931 Colonial Exposition, Paris - Hardcover
Synopsis
The 1931 International Colonial Exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The Exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"—the site of rampant sensuality, decadence, and irrationality—and as the laboratory of Western rationality. In Hybrid Modernities, Patricia Morton shows how the Exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture.
At the Exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture.
Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the Colonial Exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.
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About the Author
Patricia A. Morton, an architectural historian, teaches in the Art History Department at the University of California, Riverside.
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Hybrid Modernities: Architecture and Representation at the 1931 Colonial Exposition, Paris
Published by
The MIT Press, 2000
ISBN 10: 0262133628
ISBN 13: 9780262133623
Used
Hardcover
First Edition
Seller: Gleebooks, Sydney, NSW, Australia
Seller rating 4 out of 5 stars
Hardcover. Condition: Near Fine. Dust Jacket Condition: Fine. 1st Edition. 390pp., b/w illus., notes, index. Light dusting to top edge. Otherwise excellent tight clean copy. GL. Seller Inventory # ABE-1600827373828
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Hybrid Modernities: Architecture and Representation at the 1931 Colonial Exposition, Paris
Published by
The MIT Press, 2000
ISBN 10: 0262133628
ISBN 13: 9780262133623
Used
Hardcover
First Edition
Seller: Palimpsest Scholarly Books & Services, Brooktondale, NY, U.S.A.
Seller rating 5 out of 5 stars
Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. 1st Edition. Volume, measuring approximately 7.5" x 9.5", is bound in black cloth, with stamped gilt lettering to spine. Book is in fine condition, with solid binding, clean and bright interior. Previous owner's name is discreetly written at top edge of front flyleaf. Dust jacket exhibits light shelfwear. ix/380 pages. "The 1931 International Colonial Exposition in Paris was a demonstration of French colonial policy, colonial architecture and urban planning, and the scientific and philosophical theories that justified colonialism. The Exposition displayed the people, material culture, raw materials, manufactured goods, and arts of the global colonial empires. Yet the event gave a contradictory message of the colonies as the "Orient"the site of rampant sensuality, decadence, and irrationalityand as the laboratory of Western rationality. In "Hybrid Modernities," Patricia Morton shows how the Exposition failed to keep colonialism's two spheres separate, instead creating hybrids of French and native culture. At the Exposition, French pavilions demonstrated Europe's sophistication in art deco style, while the colonial pavilions were "authentic" native environments for displaying indigenous peoples and artifacts from the colonies. The authenticity of these pavilions' exteriors was contradicted by vaguely exotic interiors filled with didactic exhibition stands and dioramas. Intended to maintain a segregation of colonized and colonizer, the colonial pavilions instead were mixtures of European and native architecture. Anticolonial resistance erupted around the Exposition in the form of protests, anticolonial tracts, and a countercolonial exposition produced by the Surrealists. Thus the Exposition occupied a "middle region" of experience where the norms, rules, and systems of French colonialism both emerged and broke down, unsustainable because of their internal contradictions. As Morton shows, the effort to segregate France and her colonies failed, both at the Colonial Exposition and in greater France, because it was constantly undermined by the hybrids that modern colonialism itself produced.". Seller Inventory # ABE-1728450540994
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Hybrid Modernities: Architecture & Representation At The 1931 Colonial Exposition Paris
Seller: THE CROSS Art + Books, Sydney, NSW, Australia
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23.5 x 18.5cms 380pp many b/w illusts very good+ hardback & dustwrapper The 1931 Exposition demonstrated French colonial policies colonial architecture & urban planning and the theoretical rationalisation for colonialism. At the same time it represented the ''Orient'' as rampantly sexual decadent and irrational. And it pavilions were mixtures of European and native architecture. Seller Inventory # 30044722
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Hybrid Modernities: Architecture and Representation at the 1931 Colonial Exposition, Paris
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Hybrid Modernities: Architecture and Representation at the 1931 Colonial Exposition, Paris
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