I his introduction to this volume, Robert Rydell addresses the throughlines that bind the eight essays together. Focused on Omaha’s World Fairs of 1898 and 1899, the essays, he writes, demonstrate the “complexities of America’s imperial project” (18) at the local, national, and (as with all expositions) transnational levels— a formidable topic, to be sure. A particular strength of this edited collection, however, is the variety of methodologies that the scholars employ. Material culture analysis, for example, uncovers the tangible if not tactile dynamics of the amazing “stuff ” of the fairs. Bonnie M. Miller’s investigation of the commemorative stamps, for instance, reveals the heightened consumerism that underscored the whole endeavor— a consumerism that included white women as symbols of frontier ideals, according to Tracey Jean Boisseau in her essay, “Condensed Loveliness.” In many of the essays, attention to the politics of racial and cultural (re)presentation create compelling comparisons of the exposition’s overt goals and intentions, and the more latent and nuanced Book Reviews

中文翻译：

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1898-1899 年的跨密西西比和国际博览会：世纪末的艺术、人类学和流行文化编辑。温迪·简·卡茨 (Wendy Jean Katz)

在他对本书的介绍中，罗伯特·莱德尔 (Robert Rydell) 阐述了将八篇文章结合在一起的贯穿线。他写道，这些文章专注于 1898 年和 1899 年的奥马哈世界博览会，展示了“美国帝国计划的复杂性”（18）在地方、国家和（与所有博览会一样）跨国层面——一个艰巨的话题，当然。然而，这个编辑过的集合的一个特殊优势是学者们使用的各种方法。例如，物质文化分析揭示了博览会令人惊叹的“东西”的有形（如果不是触觉）动态。例如，邦妮·米勒 (Bonnie M. Miller) 对纪念邮票的调查揭示了强调整个努力的高度消费主义——一种将白人女性作为前沿理想象征的消费主义，根据特蕾西·让·博伊索 (Tracey Jean Boisseau) 在她的文章“浓缩的可爱”中的说法。在许多文章中，对种族和文化（重新）呈现的政治的关注创造了对博览会公开目标和意图的引人注目的比较，以及更潜在和微妙的书评