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Exhibiting La Plus Grande France: T...

Shashko, Tanya Delphine.

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Exhibiting La Plus Grande France: The Exposition Coloniale Internationale de Paris and the Musee Permanent des Colonies, 1931--1959.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Exhibiting La Plus Grande France: The Exposition Coloniale Internationale de Paris and the Musee Permanent des Colonies, 1931--1959./
作者:	Shashko, Tanya Delphine.
面頁冊數:	177 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4316.
Contained By:	Dissertation Abstracts International65-11A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3153042
ISBN:	0496134876

Exhibiting La Plus Grande France: The Exposition Coloniale Internationale de Paris and the Musee Permanent des Colonies, 1931--1959.
Shashko, Tanya Delphine.

Exhibiting La Plus Grande France: The Exposition Coloniale Internationale de Paris and the Musee Permanent des Colonies, 1931--1959. - 177 p.

Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4316.

Thesis (Ph.D.)--Stanford University, 2005.

This dissertation explores the historical, cultural, and political contexts in which the Exposition Coloniale International de Paris de 1931 and the French state-sponsored Musee Permanent des Colonies were conceived and constructed to celebrate colonialism and display La Plus Grande France. The first part of the dissertation examines the aims, staging, and focus of the procolonial Exposition Coloniale, as well as opposition to it by the Left and Surrealists who created a Counter-Exposition, La Verite sur les Colonies, used as a platform to denounced the official exposition and oppose colonialism. The study traces the methods and attempts by the procolonialists and anticolonialists to promote their goals, influence public opinion and gain adherents to their cause. While the Exposition Coloniale Internationale was staged by procolonialists as propaganda and was a temporary cultural and entertainment affaire, visited by millions of people, the Musee Permanent des Colonies was envisaged by the parti colonial and other supporters as an enduring monument to the glory of French colonial conquests and accomplishments.

ISBN: 0496134876Subjects--Topical Terms:

1018076
History, European.

Exhibiting La Plus Grande France: The Exposition Coloniale Internationale de Paris and the Musee Permanent des Colonies, 1931--1959.
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245 1 0 $a Exhibiting La Plus Grande France: The Exposition Coloniale Internationale de Paris and the Musee Permanent des Colonies, 1931--1959.
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500 $a Source: Dissertation Abstracts International, Volume: 65-11, Section: A, page: 4316.
500 $a Adviser: Hans Gumbrecht.
502 $a Thesis (Ph.D.)--Stanford University, 2005.
520 $a This dissertation explores the historical, cultural, and political contexts in which the Exposition Coloniale International de Paris de 1931 and the French state-sponsored Musee Permanent des Colonies were conceived and constructed to celebrate colonialism and display La Plus Grande France. The first part of the dissertation examines the aims, staging, and focus of the procolonial Exposition Coloniale, as well as opposition to it by the Left and Surrealists who created a Counter-Exposition, La Verite sur les Colonies, used as a platform to denounced the official exposition and oppose colonialism. The study traces the methods and attempts by the procolonialists and anticolonialists to promote their goals, influence public opinion and gain adherents to their cause. While the Exposition Coloniale Internationale was staged by procolonialists as propaganda and was a temporary cultural and entertainment affaire, visited by millions of people, the Musee Permanent des Colonies was envisaged by the parti colonial and other supporters as an enduring monument to the glory of French colonial conquests and accomplishments.
520 $a The second half of the dissertation focuses on the creation of the Musee Permanent des Colonies and the discourse behind its location, design, decorations, aims, and use of the collections to promote colonialism and La Plus Grande France. For three decades its curators displayed images of the metropole and of France d'Outre-Mer that they believed embodied the legacy and mission civilisatrice of France. The study evaluates the history of the museum as it paralleled the process of French decolonization and demonstrates that the museum's history is more consequential than mere name changes and decline. Despite financial hardships, the deterioration in the quantity and quality of its collections, and the intensified struggle for independence in the colonies, the museum's curators persisted in displaying colonial myths and an idealized vision of La Plus Grande France. When decolonization rendered the museum practically obsolete, the procolonialists and visitors to the museum kept it alive until 1960 when its function officially changed and it became an art museum, the Musee des Arts Africains et Oceaniens.
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