Introduction

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Disclosure Statement

No potential conflict of interest was reported by the author(s).

Notes on contributor

Anne O'Neil-Henry is an associate professor of French and Francophone Studies at Georgetown University. She is the author of Mastering the Marketplace: Popular Literature in Nineteenth-Century (University of Nebraska Press, 2017) and the co-editor of French Cultural Studies for the Twenty-First Century (University of Delaware Press, 2017).

Notes

1 Information about the BIE and Expo 2020 can be found at the following website: https://bie-paris.org/site/fr/2020-dubai

2 See this site for information on France’s pavilion https://www.francedubai2020.com/le-pavillon-lumiere-lumieres

3 For more on the precursors to the universal expositions see Greenhalgh (1998).

4 For a comprehensive overview of this exposition, see Pascal Ory’s L’Expo universelle, 1889 (La Mémoire des siècles).

5 According to Robert Rydell and Rob Kroes, Buffalo Bill’s show ‘triggered an overwhelming response’ and its opening performance attracted ‘more than 10,000 people, including French president Sadi Carnot’ (2005, 109).

6 This Ferris wheel, as Geppert notes, ‘stood as the tallest structure on the site’ (Geppert 2010, 94).