What do people think when they imagine themselves as part of a nation? Nation and Commemoration answers this question in an exploration of the creation and recreation of national identities through commemorative activities. Extending recent work in cultural sociology and history, Lyn Spillman compares centennial and bicentennial celebrations in the United States and Australia to show how national identities can emerge from processes of 'cultural production'. She systematically analyses the symbols and meanings of national identity in these two 'new nations', identifying changes and continuities, similarities and differences in how visions of history, place in the world, politics, land, and diversity have been used to express nationhood. The result is a deeper understanding, not only of American and Australian national identities, but also of the global process of nation-formation.

The 1876 United States Centennial Exhibition in Philadelphia was not only the United States' first important world's fair, it signaled significant changes in the very shape of knowledge. Quarrels between participants in the exhibition represented a greater conflict as the world transitioned between two different kinds of modernity—the Enlightenment of the seventeenth and eighteenth centuries to the High Modern period of the nineteenth and twentieth centuries. At the center of this movement was a shift in the perceived relationship between seeing and knowing and in the perception of what makes an object valuable—its usefulness as a subject of study and learning versus its ability to be bought and sold on the market. Arguments over design of the Centennial reflected these opposing viewpoints. Initial plans were rigidly structured, dividing the exhibits by country and type. But as some exhibitors became more interested in the preferences of their audience, they adopted a more modern stance. Objects traditionally displayed in isolated glass boxes were placed in fictive context—the necklace draped over a mannequin, the vase set on a table in a model room. As a result, the audience could more easily perceive these items as commodities suitable for their own environments and the fair as a place to find ideas for a material lifestyle. Designing the Centennial is a vital first look at the design process and the nature of the display. Bruno Giberti uses official reports of the U.S. Centennial Commission and photographs of the Centennial Photographic Company, as well as the ephemera of the exhibition and literary accounts in books, magazines, and newspapers to illuminate how the 1876 fair revealed changes to come: in future world's fairs, museums, department stores, and in the nature of display itself.

Held in Philadelphia from May 10 through October 10, the 1876 Centennial Exhibition celebrated the 100th anniversary of American independence. Philadelphia hosted 37 nations in five main buildings and 250 additional structures on 285 acres of land. The celebration looked backward to commemorate the progress made over the 100-year period, and it announced to the world that American invention and innovation was on a par with that of our foreign counterparts. Patriotism abounded, as did messages of industrial and commercial prowess that promised a brighter future for all. Over nine million people attended this awesome consumer spectacle, an event that set the tone for a long series of world's fairs yet to come.

Reprint of the original, first published in 1874.

A collected set of congressional documents of the 11th to the 55th Congress, messages of the Presidents of the United States, and correspondence of the State Dept. Many of these pamphlets have been catalogued separately under their respective headings.