Talk:Exposition Universelle (1900)

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The moving walkway

I read the aritcle and evenctrl+f'd it, and cant find any mention of the moving walkway. My source is the following: https://www.youtube.com/watch?v=cSwrIkUzn7c (its my comment in the old english) The moving walkway was a marvel in its day and is interesting to see, as it has the entire handrail move as well. 137.229.64.109 (talk) 00:58, 26 March 2013 (UTC)[reply]

McKinley's assassination in 1901

Just a question - McKinley died 10 months after the 1900 fair closed. Does the "End of the Fair" section perhaps belong in the page about the 190*1* world's fair instead? [casual but detail-oriented reader]

Yes. The section here appears to be misplaced, as it refers to the closing of the Pan-American Exposition. I've removed it.--S Philbrick (Talk) 01:00, 19 November 2013 (UTC)[reply]

I think this article needs to reference French imperialism and its civilizing mission evident within the foreign exhibits. At no point does this article discuss the human zoos and Sub-Saharan Africans that was present. The section titled "Foreign pavilions and event" is limited, and only speaks of other European nations that were represented there. I'm not sure if the African exhibitions should form a new section because they were depicted in a mostly demeaning and racially savage/inferior way (differently than the other European nations). This article overall lacks a discussion of the imperialistic goals of France and the corresponding misrepresentations of African societies at this time. This essay is helpful: Dana S. Hale, "Sub-Saharan Africans: 'Uncivilized Types.'" in Races on Display: French Representations of Colonized Peoples, 1886-1940 (2008), 23-46. — Preceding unsigned comment added by Erikelly93 (talk • contribs) 10:31, 6 November 2014 (UTC)[reply]

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How much change is okay?

Some sections of this don't even convey any real meaning. For example, "The widely loved entranceway was painted by Albert Besnard and Paul Albert Laurens, and is known to be the only artifact of decorative troupes.[8] The intricately designed iron flowed into a seamless pattern and paired with the colonnade of pink marble drew in visitors.[8] The piece was associated with the French pavilion.[8]

I have no idea what "decorative troupes" means. Is it supposed to tell us that this is the only known surviving work of Besnard and Laurens? Then it needs to say that.

It sounds like the iron (iron what?) is getting grabby and snagging visitors. All rather kraken-like behavior for architecture. I will hazard a guess they meant, but could not express, that the iron made a seamless pattern with the colonnade of pink marble. But I'm not going to go get their reference book and try to hunt out how much of this is plagiarism without quotation.

As for the idea that a particular entryway is associated with a particular building of which it is a part ... isn't that like saying the dome of St. Paul's cathedral is associated with that British building? In short, completely redundant non-information?

I notice the problem of foggy writing is associated with the person who considers a footnote does not need more precision than "somewhere in a hundred pages of this book." 141.239.177.153 (talk) 12:52, 24 September 2018 (UTC)[reply]

50 million visitors?

This article states that the exhibition had 50 million visitors. What is the source for this figure? If the show was open every day of the week, some 238,000 people must have visited every day. The population of Paris at the time was about 2.5 million. Obviously there were many foreign and provincial visitors, but could the infrastructure of the city really support these numbers? RicardoJuanCarlos (talk) 18:38, 25 April 2024 (UTC)[reply]