Semi-civilized : the Moro village at the Louisiana Purchase Exposition
著者
書誌事項
Semi-civilized : the Moro village at the Louisiana Purchase Exposition
(NIU Southeast Asian series)
Northern Illinois University Press, an imprint of Cornell University Press, 2020
- : hardcover
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [125]-135) and index
内容説明・目次
内容説明
Semi-Civilized offers a concise, revealing, and analytically penetrating view of a critical period in Philippine history. Michael C. Hawkins examines Moro (Filipino Muslim) contributions to the Philippine exhibit at the St. Louis World's Fair in 1904, providing insight into this fascinating and previously overlooked historical episode.
By reviving and contextualizing Moro participation in the exposition, Hawkins challenges the typical manifestations of empire drawn from the fair and delivers a nuanced and textured vision of the nature of American imperial discourse. In Semi-Civilized Hawkins argues that the Moro display provided a distinctive liminal space in the dialectical relationship between civilization and savagery at the fair. The Moros offered a transcultural bridge. Through their official yet nondescript designation as "semi-civilized," they undermined and mediated the various binaries structuring the exposition. As Hawkins demonstrates, this mediation represented an unexpectedly welcomed challenge to the binary logic and discomfort of the display.
As Semi-Civilized shows, the Moro display was collaborative, and the Moros exercised unexpected agency by negotiating how the display was both structured and interpreted by the public. Fairgoers were actively seeking an extraordinary experience. Exhibit organizers framed it, but ultimately the Moros provided it. And therein lay a tremendous amount of power.
目次
Introduction: The Complicated and Collaborative Art of Colonial Display
1. Sensational Savages
2. Nostalgia and the Familiar Savage
3. Measuring Moros
Conclusion: The Paradox of Preservation and Performative Extinction
Epilogue
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