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In Imperial landscapes we see London, Rome, Paris, Vienna. London is a world trade hub with a hodgepodge urbanism upgrading its landscape to match its global position after cities like Paris, Brussels and Vienna created their own landscapes to match their global status. Rome, the recent capital of Italy wants to become a national symbol and erase centuries of papal power. Paris is consciously targeting rich travellers, intellectuals, artists to become the world capital of pleasure and attract who's who in the World by her beauty. Vienna is trying to combine tradition of her centuries old empire, cultures of her multinational empire and prove the world she is also capital of an industrial power but does not quiet succeed. And a last chapter dedicated to the Bank of England remodelling between 1919-1939 shows the evolution from Imperial to Late Imperial England and its impact on the building concept.
In Imperial Display we see the the Pageant of London in 1911, the colonial exposition of Marseilles, `capital of the French colonies' in 1920, the Iberoamerican Fair of Sevilla in 1929, the colonial displays at Sydenham Crystal Park and the tropical plants in English gardens to analyse the imperial discourse and how Imperial cities see their world.
In Imperial Identities, authors show us Glasgow, imperial municipality and the importance of the Empire for the city, the way empires do impact on man clothing and identities between 1860-1914 and reactions to Empire, the Pan-African Conference of London in 1900. And for a final conclusion, how this imperial age still remains visible/invisible in our societies and prepared us to the multinational and global culture of today.
The book is really worth reading because it explains the whole thinking process beyond those landscapes, tourists guides, displays and attitudes which modelled the cities and the people living in them. Once read you will understand London, Rome, Paris, Vienna, Brussels, Marseilles, Glasgow, Sevilla and other imperial cities and never look at them the same way because of the decoded message it suddenly offers. An excellent complement to `Ornementalism' from David Cannadine.
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