This book investigates these assumptions by systematically exploring the relationship between participation in international exhibitions, the state of the economy, and the issue of technical education from a British perspective between 1850 and 1910.

International exhibitions were a key feature of the cultural landscape of the second half of the nineteenth century. They provided the most powerful nations with a stage on which they could affirm their status as world leaders. Increasingly they also allowed emerging nations to celebrate their growing economic and industrial prowess. In Britain the potential challenge this presented to the exiting order was noted by a few contemporary observers who, because of what they had seen at exhibitions, were convinced that the country was at risk economically. They regarded technical education as the remedy to cure this perceived ill. Historians of this period have similarly concluded that British complacency towards this issue led to decline. This book investigates these assumptions by systematically exploring the relationship between participation in international exhibitions, the state of the economy, and the issue of technical education from a British perspective between 1850 and 1910. The book begins with the 1867 Paris exhibition; it examines the enquiries into technical education that it generated in England and ends with the Royal Commission on Scientific Instruction and the Advancement of Science. It then examines the link between the 1876 Philadelphia and the 1878 Paris exhibitions and the Royal Commission on Technical Instruction. The 1884 and 1885 London exhibitions, the Royal Commission on the Depression of Trade, and the Technical Instruction Act are also studied. The study then moves to the 1893 Chicago and the 1900 Paris exhibitions. This is followed by an examination of the International Exhibitions Committee, which was established in the early part of the twentieth century toundertake research into the link between exhibitions and the well being of British trade. This represents a unique and rarely used source with which to explore the issue at the heart of this work. Finally, the study establishes that commercial rather than technical education had been the want of the age. This unique volume will be a valuable addition to collections in British history, international trade, history of education, and history of economics.

Examining four major institutions, Michele Strong considers the experiences of working men and women, particularly artisans, but also young apprentices and clerks, who travelled abroad as participants in an educational reform movement spearheaded by middle-class liberals.

This book explores British reflections of Japanese education between 1858 and 1914, by referring to accounts by British observers, derived from documentary sources such as newspapers, journal articles, published books, and official reports. Hiraoka argues that British attitudes and comments on Japanese education reflect concerns about their own education system. International economics and politics of the time, as well as the voices of the Japanese, are also taken into account. British interpretations of the advantages of Japanese education are explained with two seemingly contradictory views: traditions inherited in Japan, and modern institutions newly introduced using the Western model. The book illustrates how this dual view of Japan affected the rise and fall of British interest in Japanese education over half a century. It also explores a broad range of phenomena – educational reforms, legislation and practice, science networks, exhibitions, international trade, and military affairs – to observe how Japanese education was viewed by the British. It consults a wide range of primary sources, most of which are published or digitally archived. Shedding new light on the transnational history of the educational relationship between Japan and Britain, this book will be an attractive base for future researchers in the fields of history of education, cultural history, and comparative education.

"International exhibitions were among the most significant cultural phenomena of the late nineteenth century. These vast events aimed to illustrate, through displays of physical objects, the full spectrum of the world's achievements, from industry and manufacturing, to art and design. But exhibitions were not just visual spaces. Music was ever present, as a fundamental part of these events' sonic landscape, and integral to the visitor experience. This book explores music at international exhibitions held in Australia, India, and the United Kingdom during the 1880s. At these exhibitions, music was codified, ordered, and all-round 'exhibited' in manifold ways. Displays of physical instruments from the past and present were accompanied by performances intended to educate or to entertain, while music was heard at exhibitors' stands, in concert halls, and in the pleasure gardens that surrounded the exhibition buildings. Music was depicted as a symbol of human artistic achievement, or employed for commercial ends. At times it was presented in nationalist terms, at others as a marker of universalism. This book argues, by interrogating the multiple ways that music was used, experienced, and represented, that exhibitions can demonstrate in microcosm many of the broader musical traditions, purposes, arguments, and anxieties of the day. Its nine chapters focus on sociocultural themes, covering issues of race, class, public education, economics, and entertainment in the context of music, trading these through the networks of communication that existed within the British Empire at the time. Combining approaches from reception studies and historical musicology, this book demonstrates how the representation of music at exhibitions drew the press and public into broader debates about music's role in society"--Page 4 of cover.

The 19th century in Western culture was a time of both confidence and turbulence. Industrial developments resulted in a number of benefits from a growing middle class to efficiency, convenience and innovation across a range of fields from engineering to architecture. Alongside these improvements, the century began with the extended period of the Napoleonic Wars and was further disrupted by rebellions and revolutions both within Europe and in India, South America and other parts of the world. Slavery was abolished and urbanization increased dramatically. These myriad developments were reflected throughout the period in the proliferation of types of furniture, along with their categorization as 'industrial art' at the international exhibitions and world fairs and the increasingly adventurous range of materials that were sometimes used in their construction. Nonetheless, a strong antiquarian/historicist strand also prompted interest in the revival of past styles in areas of art and design, including furniture. Drawing upon a wealth of visual and textual sources, this volume presents essays that examine key characteristics of the furniture of the period on the themes of Design and Motifs; Makers, Making, and Materials; Types and Uses; The Domestic Setting; The Public Setting; Exhibition and Display; Furniture and Architecture; Visual Representations; and Verbal Representations.

The specialization thesis—the idea that nineteenth-century science fragmented into separate forms of knowledge that led to the creation of modern disciplines—has played an integral role in the way historians have described the changing disciplinary map of nineteenth-century British science. This volume critically reevaluates this dominant narrative in the historiography. While new disciplines did emerge during the nineteenth century, the intellectual landscape was far muddier, and in many cases new forms of specialist knowledge continued to cross boundaries while integrating ideas from other areas of study. Through a history of Victorian interdisciplinarity, this volume offers a more complicated and innovative analysis of discipline formation. Harnessing the techniques of cultural and intellectual history, studies of visual culture, Victorian studies, and literary studies, contributors break out of subject-based silos, exposing the tension between the rhetorical push for specialization and the actual practice of knowledge sharing across disciplines during the nineteenth century.

An irresistible call lured Australian artists abroad between 1890 and 1914, a transitional period immediately pre- and post-federation. Travelling enabled an extension of artistic frontiers, and Paris – the centre of art – and London – the heart of the Empire – promised wondrous opportunities. These expatriate artists formed communities based on their common bond to Australia, enacting their Australian-ness in private and public settings. Yet, they also interacted with the broader creative community, fashioning a network of social and professional relationships. They joined ateliers in Paris such as the Académie Julian, clubs like the Chelsea Arts Club in London and visited artist colonies including St Ives in England and Étaples in France. Australian artists persistently sought a sense of belonging, negotiating their identity through activities such as plays, balls, tableaux, parties, dressing-up and, of course, the creation of art. While individual biographies are integral to this study, it is through exploring the connections between them that it offers new insights. Through utilising extensive archival material, much of which has limited or no publication history, this book fills a gap in existing scholarship. It offers a vital exploration re-consideration of the fluidity of identity, place and belonging in the lives and work of Australian artists in this juncture in British-Australian history.

To many in the United Kingdom, the British public school remains the disliked and mistrusted embodiment of privilege and elitism. They have educated many of the country’s top bankers and politicians over the centuries right up to the present, including the present Prime Minister. David Turner’s vibrant history of Great Britain’s public schools, from the foundation of Winchester College in 1382 to the modern day, offers a fresh reappraisal of the controversial educational system. Turner argues that public schools are, in fact, good for the nation and are presently enjoying their true “Golden Age,” countering the long-held belief that these institutions achieved their greatest glory during Great Britain’s Victorian Era. Turner’s engrossing and enlightening work is rife with colorful stories of schoolboy revolts, eccentric heads, shocking corruption, and financial collapse. His thoughtful appreciation of these learning establishments follows the progression of public schools from their sometimes brutal and inglorious pasts through their present incarnations as vital contributors to the economic, scientific, and political future of the country.

The Japan-British exhibition in London, 1910 was the most concerted and systematic attempt by Meiji Japan to explain its traditional society and arts, modern industry and empire, to its most important international ally, Great Britain. This is a facsimile edition of the original book compiled and edited for the exhibition by Count Hirokichi Mutsu (1869-1942) and published in London and Tokyo in four parts in 1910 and 1911 by the Imperial Japanese Commission. This compendium of newspaper and journal articles, starting in March 1909 and ending in December of 1910, covers the preparation, activities and immediate aftermath of the Exhibition. Making widely available a veritable treasure trove of information and insight, it will be of interest to students and scholars of Japan and Britain alike, providing authoritative insights into contemporary attitudes in each country towards the other.