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Weird and Wonderful: Dime Museum in America (Anglais) Relié – 30 novembre 1997

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EUR 65,34
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Book by Dennett Andrea Stulman

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Commentaires client les plus utiles sur (beta) 8 commentaires
2 internautes sur 2 ont trouvé ce commentaire utile 
"Come one, Come all!" 27 juillet 2002
Par Un client - Publié sur
Format: Broché
Here's a delightful and informative reference written in a breezy style and enhanced by a keen insight into popular culture and entertainment.
A terrific historical overview of a forgotten genre of education and entertainment, the book has amazing parallels to today's museum extravaganzas - and the author has captured a period and its personalities with aplomb.
A must read for lovers of pop culture, oddities, museums and turn of the century personalities.
2 internautes sur 2 ont trouvé ce commentaire utile 
excellent book not only on the dime museum but also in the.. 4 avril 2001
Par Un client - Publié sur
Format: Broché
general phenomena of exhibiting human anomalies, from this exhibitionary complexes to today's talk shows. this book offers a great overview of how these institutions emerge during the last decades of the 19th century and the impact that they had in exhibition spaces of the 20th century. it is highly recomended for those people interested in cultures of exhibition and collection ususally defined as not legitimate or not institutionalized.
2 internautes sur 2 ont trouvé ce commentaire utile 
Great history, but could use more analysis 5 décembre 2002
Par J. Wiedemer - Publié sur
Format: Broché
This is a highly detailed history of an unusual topic: American dime museums. Dennett does a good job of examining an institution which combined a thirst for `useful knowledge' with amusements and entertainment. Her discussions of the economics of running a dime museum are especially interesting.
I would, however, have liked more cultural analysis and less fact-listing; more conclusion and less premsies.
1 internautes sur 1 ont trouvé ce commentaire utile 
Excellent book 16 mai 2011
Par Samsu - Publié sur
Format: Broché Achat vérifié
This book was a great read and provided the information I was hoping to learn about nineteenth century dime museums. All the information on the subject seems to be scattered about and often lacking. This book ties it together in a succinct yet informative text.
Entertaining and Enlightening! 26 septembre 2014
Par Anonymous - Publié sur
Format: Broché
Dime museums, which offered a variety of amusement for one ticket price, originated in the late 18th and early 19th centuries, and experienced the height of their popularity in the latter half of the 19th century after the Civil War. Dime Museum exhibitions were not about authenticity; illusions, hoaxes and humbuggery were common and anticipated, creating an intellectually gratifying activity for visitors to investigate. Based on the principles of variety and the stimulation of curiosity, exhibits aspired to the weird and wonder inspiring – including curiosities, menageries, theaters, and “freak” shows – which could be terrifying, exotic, and titillating, even sexually erotic; most often exploiting a sense of “otherness.” Experiential and multisensory in nature, sophisticated exhibitions included textured experiences highlighting the visual, but also combining sound, live performers, and even auto-matronics .
Dime Museums were motivated by profit and relied on ticket sales, and many “freak” performers were financially successful and earned great celebrity. Nevertheless, some dime museums purported to be educative, though most rarely were. Still, some dime Museum entrepreneurs, such as P.T. Barnum, were social reformers, and temperance was a popular cause within the museums. Varying in size and quality, dime museums were “democratic” in the sense that the museums were frequented by all social classes and ages, Dime Museums were predominantly urban places (with the greatest proliferation in NYC), but also traveled. Miles Kimball and PT Barnum are two of the most notable and influential Dime Museum entrepreneurs.
Dime Museums declined with the advent of the circus, movie industry and amusement parks at the turn of the twentieth century, to be briefly revived during the Great Depression in the form of Ripley’s “Believe It or Not.” Cultural vestiges remain in popular attraction to fear, thrill, and horror, as well as in voyeuristic experiences, such as those offered by reality television.
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