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008 230127t20202020nyu fo d z eng d
010 _a2019026550
020 _a9781501748226
_qprint
020 _a9781501748233
_qPDF
024 7 _a10.1515/9781501748233
_2doi
035 _a(DE-B1597)9781501748233
035 _a(DE-B1597)534374
035 _a(OCoLC)1107068945
040 _aDE-B1597
_beng
_cDE-B1597
_erda
050 0 0 _aDS666.M8
072 7 _aHIS003000
_2bisacsh
082 0 4 _a305.6/970977866074
_223
084 _aonline - DeGruyter
100 1 _aHawkins, Michael C.
_eautore
245 1 0 _aSemi-Civilized :
_bThe Moro Village at the Louisiana Purchase Exposition /
_cMichael C. Hawkins.
264 1 _aIthaca, NY :
_bCornell University Press,
_c[2020]
264 4 _c©2020
300 _a1 online resource (156 p.) :
_b9 b&w halftones
336 _atext
_btxt
_2rdacontent
337 _acomputer
_bc
_2rdamedia
338 _aonline resource
_bcr
_2rdacarrier
347 _atext file
_bPDF
_2rda
490 0 _aNIU Southeast Asian Series
505 0 0 _tFrontmatter --
_tContents --
_tPreface --
_tAcknowledgments --
_tIntroduction: The Complicated and Collaborative Art of Colonial Display --
_t1. Sensational Savages --
_t2. Nostalgia and the Familiar Savage --
_t3. Measuring Moros --
_tConclusion: The Paradox of Preservation and Performative Extinction --
_tEpilogue --
_tNotes --
_tBibliography --
_tIndex
506 0 _arestricted access
_uhttp://purl.org/coar/access_right/c_16ec
_fonline access with authorization
_2star
520 _aSemi-Civilized offers a concise, revealing, and analytically insightful 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 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. They, through their official yet nondescript designation as "semi-civilized," undermined and mediated the various binaries structuring the Exposition. Hawkins demonstrates, represented an unexpectedly welcomed challenge to the binary logic and discomfort of the display.As Semi-Civilized shows, the display was collaborative and the Moros exercised unexpected agency, by negotiating, how the display was both structured and interpreted by the public. Fair-goers were actively seeking an extraordinary experience. Exhibit organizers framed it, but ultimately the Moros provided it. And therein lay a tremendous amount of power.
538 _aMode of access: Internet via World Wide Web.
546 _aIn English.
588 0 _aDescription based on online resource; title from PDF title page (publisher's Web site, viewed 27. Jan 2023)
650 0 _aEthnology
_zPhilippines
_xExhibitions
_xHistory
_y20th century.
650 0 _aHuman zoos
_zMissouri
_zSaint Louis
_xHistory
_y20th century.
650 0 _aImperialism in popular culture
_zMissouri
_zSaint Louis
_xHistory
_y20th century.
650 0 _aMuslims
_zPhilippines
_xExhibitions
_xHistory
_y20th century.
650 4 _aMidwest.
650 4 _aU.S. History.
650 7 _aHISTORY / Asia / General.
_2bisacsh
653 _aMoros, Empire, Exposition, Philippines, colonial studies, American empire.
850 _aIT-RoAPU
856 4 0 _uhttps://doi.org/10.1515/9781501748233?locatt=mode:legacy
856 4 0 _uhttps://www.degruyter.com/isbn/9781501748233
856 4 2 _3Cover
_uhttps://www.degruyter.com/document/cover/isbn/9781501748233/original
942 _cEB
999 _c223432
_d223432