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07-Lehmkuhl-3 Zeitschri des Max-Planck-Instituts für europäische Rechtsgeschichte Rechts R geschichte g Rechtsgeschichte www.rg.mpg.de http://www.rg-rechtsgeschichte.de/rg9 Rg 9 2006 12 – 35 Zitiervorschlag: Rechtsgeschichte Rg 9 (2006) http://dx.doi.org/10.12946/rg09/012-035 Ursula Lehmkuhl Ein Kristallpalast für New York Kulturtransfer und nationale Identitätskonstruktion in den USA vor dem Bürgerkrieg Dieser Beitrag steht unter einer Creative Commons cc-by-nc-nd 3.0 Abstract On July 14, 1853 the second World Exhibition opened its gates in New York. Regarding architec- ture and themes a simple transfer of the London concept was intended. The shi from London to New York was based on a series of more or less successful translations and transfer-processes. The concept of World Exhibition had to be adapted according to organisation, administration, town planning and in general according to the social, economic and cultural settings of the young re- public of the USA. The essay analyzes how pro- cesses of adaptation worked, which essential chang- es they produced and how successful they were in the end. Therefore it works out the specific example of a European-American transfer-process in the 19th century and intends to underline the inherent laws and specific paths of development of such processes. □× 12 Ein Kristallpalast für New York Kulturtransfer und nationale Identitätskonstruktion in den USA vor dem Bürgerkrieg Am 26. Dezember 1851, zwei Monate nach- amerikanischen Ausstellungsgegenstände, ange- dem der Kristallpalast in London, in dem die ers- kündigt, dass er einen Kristallpalast in New York te Weltausstellung stattfand, seine Tore schloss, bauen wolle.2 Viele Ausstellungsgegenstände fasste das Board of Alderman der City of New wurden deshalb erst gar nicht wieder in ihre York den Beschluss, eine Industrial Exhibition Herkunftsländer zurückgeführt, sondern blieben of all Nations in New York durchzuführen. Zu gut verpackt in London und warteten dort auf diesem Zweck sollte am Madison Square ein den Weitertransport nach New York. Die ge- Gebäude aus Stahl und Glas errichtet werden. plante Weltausstellung in den USA intendierte Das Gebäude sollte »good, strong and hand- keine inhaltliche Weiterentwicklung des Ausstel- some« sein und wie der Londoner Kristallpalast lungskonzeptes. Dies war auch angesichts der nach zwei Jahren wieder abgerissen werden. Die zeitlichen Nähe zwischen der Londoner und der New Yorker Kristallpalastausstellung wurde am New Yorker Ausstellung kaum zu erwarten.3 14. Juli 1853 vom amerikanischen Präsidenten Vielmehr sollten der amerikanischen Bevölke- Franklin Pierce mit großem Zeremoniell eröffnet rung die Errungenschaften des technischen Fort- und zählte rund 5000 Aussteller, von denen etwa schritts präsentiert werden. Trotz der für das die Hälfte aus den USA kamen. Jedoch blieben Jahr 1851 beeindruckenden Besucherzahl von die Besucherzahlen ebenso hinter den Erwartun- über sechs Millionen war die Londoner Aus- gen zurück wie die Einnahmen. Der Veranstal- stellung im Hinblick auf das Publikum doch tung gelang es nicht, eine ausreichende interna- letztlich eine europäische Veranstaltung geblie- tionale Beteiligung zu mobilisieren. Als die Schau ben. Reisen zwischen den Kontinenten waren um am 1. November 1854 ihre Pforten schloss, hatte die Jahrhundertmitte noch so beschwerlich und die von einem privaten Unternehmen organisier- kostspielig, dass sie prohibitiv auf die Teilnahme te und finanzierte Weltausstellung ein Defizit amerikanischer Besucher wirkten.4 von 300 000 Dollar erwirtschaftet.1 Den New Auch wenn im Hinblick auf Architektur Yorker Glaspalast ereilte dasselbe Schicksal, wie und Inhalt eine schlichte Übertragung – man es auch sein Londoner Vorbild ein dreiviertel könnte fast von Verpflanzung sprechen – der Jahrhundert später ereilen sollte: Anfang Okto- Londoner Ausstellung in die Neue Welt inten- ber 1858 zerstörte ein spektakuläres Feuer die diert war,5 basierte die Umsetzung des Unter- Eisen-Glas-Konstruktion. nehmens auf einer ganzen Reihe von mehr oder Bereits Ende August 1851, noch während weniger geglückten kulturellen Übersetzungs- der Londoner Weltausstellung, hatte Edward und Transferprozessen. Das Konzept ›Weltaus- Riddle, Kaufmann aus Boston und Beauftragter stellung‹ musste an die organisatorischen, ver- für die amerikanische Ausstellung in London, be- waltungsstrukturellen, städteplanerischen und eindruckt von dem überwältigenden Erfolg der allgemein an die sozialen, wirtschaftlichen und 1 300000 Dollar im Jahr 1854 ent- della relazione speciale anglo- dar, das wöchentlich mit einem sprechen ca. 7 Millionen Dollar americana (2004) 141–64. Umfang von acht vierspaltigen heute. 3 Vgl. hierzu auch die kritischen Seiten erschien. 2 Nicht nur in London, sondern Kommentare des Scientific Ameri- 4 Markus Günther, Auf dem Weg auch in New York wurde über- can, der aufgrund der zeitlichen indieNeueWelt(2005). schwänglich von der »superiority« Nähe zur Londoner Ausstellung 5 Ein zeitgenössischer Beobachter der jungen amerikanischen Nation und weil aus diesem Grund keine kommentierte: »The exhibition berichtet. C. T. Rodgers,Ameri- spektakulären Neuerungen zu er- does not … propose to be a rival, can Superiority at the World’s Fair, warten waren, die Organisation but a continuation of the former, Philadelphia 1852; Ursula einer Weltausstellung in New York and the glory which attached to Lehmkuhl, Una mietitrice come zunächst ablehnte. Der Scientific the one will be transferred to the catalizzatore. La Great Exhibition American war 1845 gegründet other«, New York Daily Times, del 1851 e la costruzione sociale worden und stellte das erste ame- Jan. 31, 1852, 7. rikanische Wissenschaftsmagazin Rg9/2006 Ein Kristallpalast für New York 13 kulturellen Rahmenbedingungen der jungen Re- weltgesellschaftlicher Beziehungen bei, und zwar publik angepasst werden. Wie diese Anpas- gerade auch deshalb, weil sie als Medium na- sungsprozesse abliefen, zu welchen inhaltlichen tionaler Selbstdarstellung und zur Projektion der Veränderungen sie führten und wie erfolgreich eigenen Macht und Größe nach außen dienten. sie letztlich waren, soll am Beispiel der New Weltausstellungen waren zweitens ein ur- Yorker Kristallpalastausstellung von 1853 vor- banes Phänomen, das eng an die Entwicklung gestellt werden. moderner Großstädte gekoppelt war. Weltaus- Die Analyse der Transferprozesse erfolgt stellungen schufen öffentliche Räume, die maß- entlang der drei zentralen Funktionen von Welt- geblichen Einfluss auf die sich im Verlaufe des ausstellungen im 19. Jahrhundert: Erstens und 19. Jahrhunderts herausbildende kommunika- vor allem waren Weltausstellungen im Zeitalter tive Interdependenz zwischen metropolitanem des aufkommenden Nationalismus trotz bzw. und globalem Raum nahmen. Weltausstellun- parallel zum völkerverbindenden Anspruch des genkonstituiertendamiteinPhänomen,das bürgerlichen Internationalismus ein Medium gewöhnlicherweise als Element des Globalisie- und Instrument staatlicher Prestigepolitik. In rungsprozesses des späten 20. Jahrhunderts he- kaum einem anderen Medium wird die für das rausgestellt wird: die »global city«.9 Im öffent- 19. Jahrhundert typische nationalistische Über- lichen Raum der Weltausstellung kommunizier- formung des Universalismus deutlicher.6 Welt- ten Besucher, Berichterstatter, gesellschaftliche ausstellungen sind letztlich »exercises in the Gruppen und Staaten miteinander, verhandel- imagery of nationalism«.7 Gleichzeitig sind Kon- ten dabei gemeinsame Entwicklungsfragen der zeption, Ziele und Format der Weltausstellungen Menschheit und artikulierten Zukunftsdiskurse. Ausdruck des nationenübergreifenden bürger- Auf engstem Raum wurden Politik und Wirt- lichen Zeitgeistes und der ihn prägenden philo- schaft, Wissenschaft und Technik, Bildung, sophischen Denkschulen, die letztlich im Inter- Kunst und Unterhaltung zu einem vielschich- nationalismus des 19. Jahrhunderts konvergier- tigen Beziehungsgeflecht vereint. Der Fortschritt ten: Kosmopolitismus, Pazifismus, Liberalismus der Menschheit sollte auf systematische und ver- und Utilitarismus bildeten die ideellen Folien gleichende Weise präsentiert und ein möglichst für die Weltausstellung. Der friedliche Wettbe- umfassendes Bild der zivilisatorisch-kulturellen werb der Nationen, der sich letztlich als Wett- Entwicklung gezeichnet werden.10 streit der Kulturen darstellte, sollte zum Wohle Drittens waren Weltausstellungen ein In- der ganzen Menschheit den zivilisatorischen strument der Bildung und des Fortschritts und Fortschritt befördern. In kaum einem anderen ein zentrales Symbol der Moderne, die sich in zeitgenössischen Medium findet man eine derart der Architektur u. a. in rationalen Konstruk- prononcierte internationalistische Überhöhung tionsprinzipien und serieller Produktion nieder- nationalistischer Ziele und Interessen. Weltaus- schlug.11 Das architektonische Konzept des stellungen lieferten als kommunikative Vermitt- Kristall- oder Industriepalastes, das bis zur Pa- lungsinstanzen einen Beitrag zur politischen In- riser Weltausstellung 1867 die Weltausstellungs- tegration im jeweiligen Gastgeberland, aber auch architektur dominierte und erst danach vom zwischen den beteiligten Nationen.8 Sie trugen Konzept des Ausstellungsparks abgelöst wurde, damit zur Strukturierung und Transformation visualisierte dabei nicht nur Modernität und 6Dieter Langewiesche,Nation, 8Wolfram Kaiser, Die Welt im All the world’s a fair (1993); Nationalismus, Nationalstaat in Dorf (2000) 3–10. ders., The Open (Laboratory) Deutschland und Europa (2000)
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