Teaching Documents by Mandy Paige-Lovingood
This course is designed to introduce undergraduates to the theories, practices, methods, and case... more This course is designed to introduce undergraduates to the theories, practices, methods, and case studies of public history. We will examine the various ways in which historians work beyond the walls of the classroom where their work is read, seen, heard, and interpreted by various popular audiences. Public history, therefore, becomes a tool for facilitating conversations about the past with various communities, schools, companies, and administrations.
HI 233 Global History from 1750 to Present Syllabus, 2021
Overview: This course surveys the making of the world from 1750 to the present. Topics include: t... more Overview: This course surveys the making of the world from 1750 to the present. Topics include: the French Revolution, Haitian Revolution, the Ottoman Empire Tanzimat, the development of the Nation-States, the rise of Empires, WWI and WWII, inter-war reconfigurations of colonial empires, socialist movements and revolutions, and struggles for political and economic independence among newly independent nations, and contemporary global conflicts over ethnicity, religion, resources, disease, and the environment. We will, moreover, discuss how terms, such as modernity and globalization, have become popular concepts for describing a range of political, economic, social, and cultural changes that have altered societies, increased connections around the world, and created new forms of economy, difference, production, and consumption. Their enormous impacts have been felt around the globe for the past two centuries and carry on into the present day. Thus, in this course, we will analyze the historical actors and their perspectives, forces, and themes foundational to the development of the "modern" world, including but not limited to revolution, democracy, politics, nationalism, economics, and gender dynamics. The evolution of these processes, moreover, will shape our understanding of global events to provide context and to understand their wider social, political, and cultural impacts within society and its many power structures. As such, we will consider how these different themes and processes have influenced each other and affected world histories around the globe. Course Structure: This course is scheduled for one hour and fifteen minutes. Each day, the structure will vary based on the topic for the week. The structure can be either full lecture for the day, lecture and an activity, or an activity for the entire period. Students will complete activities in groups, with partners, or as individuals. This is an introductory lecture-survey course for both majors and non-majors. Your final grade will be based on attendance, completion of course readings, and your active participation in discussion. Important information for lectures and all class assignments, including those for extra credit, will be located on the course Moodle site. You can access the site at WolfWare (https://wolfware.ncsu.edu/) and then log in using your student ID and password.
This introductory museum studies course introduces students to museums and their curating practic... more This introductory museum studies course introduces students to museums and their curating practices in a global context. Classes will discuss the social, cultural, and political positions of museums, the evolution of its function, the different theories and practices of display, the act of collecting, the position and role of the visitor, the role of the curator, cross-cultural connections and conversations, digital museums, and public collaboration. Students will gain vocabulary and hands on experience on how museums produce, interpret, and exhibit knowledge and learn to think critically about the ways in which history, objects, geography, cultural difference, and social hierarchies intersect within museums and their exhibitions.
Papers by Mandy Paige-Lovingood
International Public History, 2022
Upon the designation of Versailles as a World Heritage Site, UNESCO renamed the Petit Trianon the... more Upon the designation of Versailles as a World Heritage Site, UNESCO renamed the Petit Trianon the Domaine de Marie-Antoinette (Estate of Marie-Antoinette). Subsequent tourist materials, such as travel guides and website directories, reiterated this redesignation and retell the site's historical past through the life of Marie-Antoinette, thereby casting Madame de Pompadour and the Comtesse du Barry to the periphery. This essay analyzes visitor Instagram photos and Tripadvisor reviews to understand how UNESCO's uniting of the queen's memory with the Petit Trianon affects tourist interpretation and meaning making. It considers the consequences of the universalization of a single narrative to recount a multiactor history and highlights the continued erasure of Madame de Pompadour and Comtesse du Barry taking place in visitors' retelling of the Petit Trianon's past.
MANDY PAIGE-LOVINGOOD: Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Th... more MANDY PAIGE-LOVINGOOD: Breaking with Convention: Mme de Pompadour’s Refashioning of the ‘Self’ Through the Bellevue Turqueries (Under the direction of Dr. Melissa Hyde) In 1750 the sexual relationship between Mme Pompadour and Louis XV ended, resulting in the maîtresse-en-titre’s move out of Versailles and into the Château de Bellevue. Designed by Pompadour and with the financial support of the king, the château offered her a place away from court etiquette and criticism, a private home for her and Louis XV to relax. Within Bellevue, her bedroom (la chambre a la turq) was decorated with Turkish furnishings, textiles and Carle Van Loo’s three-portrait harem series. Specifically, my thesis will explore Pompadour’s chambre a la turque and Van Loo’s A Sultana Taking Coffee, the only self-portrait of Mme de Pompadour in the series, to exhibit her adoption and depiction of the French fashion trend of turquerie. Here, I suggest Pompadour’s adoption of harem masquerade was a political campa...
A diatribe against Marie-Antoinette originated in France during the mid-eighteenth-century and ha... more A diatribe against Marie-Antoinette originated in France during the mid-eighteenth-century and has carried on into present day discourse. Sadly, our views of Marie-Antoinette tend to be shaped by two hundred year-old opinions that were likely not fully accurate. So who was Marie-Antoinette? Over the past century, more and more scholars, biographers, and filmmakers have attempted to answer this question. Yet have we received a proper depiction of Marie-Antoinette or are we still presented with a representation that communicates the past condemnations of eighteenth-century France? Is it possible that Marie-Antoinette was the foolish and thoughtless woman Norma Shearer played in the Stephan Zweig inspired biopic Marie-Antoinette? Or maybe she was the sweet, naive, and careless dauphine/queen who never fully understood the importance of her position that was depicted in Sofia Coppola's film Marie-Antoinette. Similarly, Benoît Jacquot's movie Farewell My Queen, based on Chantal Thomas' book, also tried to offer its viewer a softer image of the queen, but Marie-Antoinette still came off as a selfish woman. Although all are excellent in their own way, they do not explore who Marie-Antoinette really was both before and after her arrival to France. These depictions fail to investigate how Marie-Antoinette was able to be both the archduchess of Austria and the dauphine and queen of France at the same time. I am equally concerned that most eighteenth-century scholars have traditionally interpreted images of Marie-Antoinette after 1770 as representing a French aristocratic woman, dauphine, and queen. Their classification of Marie-Antoinette's identity as solely French dismisses her childhood experiences in Austria and the deep-rooted effects her family, upbringing, and country had on the development of her adult identity. Like the French courtiers of 1770, historians regard Marie-Antoinette's remise as the moment in which she completely surrendered her Austrian identity in exchange for her newly assigned role as dauphine of [...]
Books by Mandy Paige-Lovingood
(New York: Routledge, 2022)
From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edi... more From aesthetic promenades in noble palaces to the performativity of religious apparatus, this edited volume reconsiders some of the events, habits and spaces that contributed to defining exhibition practices and shaping the imagery of the exhibition space in the early modern period.
The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.
Uploads
Teaching Documents by Mandy Paige-Lovingood
Papers by Mandy Paige-Lovingood
Books by Mandy Paige-Lovingood
The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.
The contributors encourage connections between art history, exhibition studies, and architectural history, and explore micro-histories and long-term changes in order to open new perspectives for studying these pioneering exhibition-making practices. Aiming to understand what spaces have done and still do to art, the book explores an underdeveloped area in the field that has yet to trace its interdisciplinary nature and understand its place in the history of art.