Search

Copyright of Memorias is the property of Fundacion Universidad del Norte and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ARTS: Artuklu Journal of Art & Humanities is the property of Mardin Artuklu University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arq.urb is the property of Arq.urb and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Our research is dedicated to the study of the various aspects of the activity of one of the greatest and most talented folk craftsmen of Maramureș. In the beginning, I focused on the data on the place of origin, emphasizing the characteristics and traditions of the place, especially wood processing. I then referred to the craftsman's family and the role his grandfather Gavrilă Hotico Herenta-Vâju played in introducing him to the secrets of woodworking. The investigation part highlights the areas of his activity: that of wooden monument restorer, representing the stage of his youth. Then we focused on the particularly rich and sustainable activity dedicated to the transfer of objects and monuments from the households of the villages where they were built within the exterior sections of the museums from, Cluj, Sighetu Marmatiei and Bucharest. The last part of the study is reserved for the craftsman's activity in the field of artistic woodworking. [ABSTRACT FROM AUTHOR]

Copyright of Zgodovinski Casopis is the property of Zveza Zgodovinskih Drustev Slovenije and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tourism & Regional Development / Turystyka i Rozwój Regionalny is the property of Warsaw University of Life Sciences (SGGW), Faculty of Economic Sciences and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Pixo: Revista de Arquitetura Cidade e Contemporaneidade is the property of Pixo Revista de Arquitetura Cidade e Contemporaneidade and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

For the first time in the study of art, this article presents, in an integrated manner, the view of imaginative-stylistic originality of sculptural heritage of the Lviv women of that period, which has not been explored until the present time, and it provides new biographical details. Based on the principles of A. Rodin, A. Maillol and E.-A. Bourdelle, the artists developed the ideas of post-impressionism, neo-symbolism and archaization on a local basis. They were especially interested in the problems of form and construction, rhythmic composition and simplification of all elements. The desire for generalized and closed volumes as well as geometrized forms sometimes led to a rethinking of cubism. After 1930, avant-garde works, close to the principles of constructiv-ism, cubism, futurism and geometric abstractionism, appeared. They also used bold technical innovations: col-lages, synthesis of sculpture and painting. [ABSTRACT FROM AUTHOR]

The dematerialization of analog media is the most significant element of the digital transition caused by this wave of technological change. The relationship of man with his environment through the mediation of technology is beginning to navigate a universe whose implications and limits are still unknown. This paper is interested in the dimension of movement that digital technologies give to architecture and the perception of historic buildings. A movement that manifests itself in curved forms, in skin and patterns, in a new architectonics, or even in 3D mapping projection shows, where digital plays the role of the main actor and where classical facades constitute the theater of this staging. We will deal with certain effects of this paradigmatic transition which turns out to be inseparable from the understanding of the trades and the societies in which they operate. We will also try to reposition the historic monument as well as the role assigned to it by memory in this new technological environment marked by the production of the image. Virtuality brought by dematerialization operates on several registers. Using 3D Mapping projection, virtuality goes even further than reconstructing the image of a past; this technology is able to deconstruct reality. [ABSTRACT FROM AUTHOR]

Copyright of Patrimônio e Memória is the property of Centro de Documentacao e Apoio a Pesquisa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Efforts to build a memorial to Lithuanian freedom fighters in Lukiškės Square in Vilnius have been fruitless for the third decade. During this period, as many as four competitions for artistic ideas were organized, but due to the dissatisfaction of various groups in society, no project was implemented in the square. The article analyzes the 2012-2020 period, which is framed by two state-organized competitions. Applying Ernesto Laclau and Chantal Mouffe’s discourse theory, it is aimed to open the very core of the conflict and to explain how and what historical memories of the Lithuanian freedom fighters are articulated by competing discourses consisting of linguistic and non-linguistic practices. Statements of politicians, cultural professionals, and the public in the national media and their modus operandi allow to identify opposite concepts of freedom, state, freedom fighters, monument, and its functions, and to single out the essential trophy of the competing discourses, an idea on which the public sharply disagrees.

What is the nature of memorials? Traditionally, memorials have been conceptualized as lasting entities preserving memories of our shared pasts. This paper challenges this view. My aim is to retheorize our practices of memorialization by examining the role that ephemerality plays in experiential memorials. Rather than fixed structures of meaning, experiential memorials are unstable careers whose significance depends on viewers’ performative engagement. I provide evidence for my thesis by developing a critical interpretation of Qi Kang’s Nanjing Massacre Memorial Hall (NMMH) as an example of experiential memorial. The fragmented nature of the here and now frees visitors’ experiences. Like the wind propelling Benjamin’s Angelus Novus into future and progress, the ephemerality of NMMH’s experience unchains its significance from the constriction of dominant narratives of vengeance and resentment. If liberated temporally, the experience of memorials may help us not only to never forget, but also to find reconciliation.

Abstract: Security Policy and Memory Politics: Establishing the Soviet Liberation Monument in Kirkenes, 1945–1952 A few kilometers from the border with Russia, in the town of Kirkenes in the easternmost corner of Northern Norway, there stands a bronze statue of a Soviet soldier looking out over the borderland. The Soviet Liberation Monument, as the statue is called, was unveiled in 1952 by the Norwegian authorities, in gratitude for the Soviet liberation of the East Finnmark area in 1944. The statue has served as a meeting place for regular commemorative ceremonies involving the Norwegian and Soviet authorities, throughout the Cold War and up until the present. This article explores the interplay between security policy and memory politics at the onset of the Cold War by examining the seven-year long process of establishing this monument. As the Iron Curtain descended over Europe, the monument and the memories attached to it became important tools with which Norway developed a critical dialogue with its great-power neighbor. The article shows how the Norwegian Ministry of Foreign Affairs learned how to use the collective memories of the Soviet liberation to ensure Norway’s security-policy goal of low tension in its relations with the USSR.

Les monuments funéraires sont connus de longue date au Sahara et au Maghreb. Leur aspect est très varié et laisse entrevoir des types distincts selon les régions et suivant l'époque de leur construction. Très peu d'entre eux, cependant, ont été étudiés et ne sont connus que par de brèves notes de prospection. Le logiciel de photographies satellitaires Google Earth permet aujourd'hui de procéder à un décompte et d'identifier les morphologies sans avoir à se rendre sur le terrain. Ce sont plus de 2000 monuments du Sud marocain qui sont ici inventoriés et classés par type. Ils sont étudiés dans le contexte saharien et maghrébin. The funeral monuments are well known for a long time in the Sahara and the Maghreb. Their shape is diversified and leads us to hint different types according to the regions and during the periods they were built. Nonetheless, very few were studied and they are only known through short notes of prospecting. The software Google Earth , furnishing satellite photography, allows to distinguish the very morphologies of these monuments, without any necessity to move on the ground. More than 2000 monuments from the South of Morocco are inventoried and classed by type in the present note. They are studied in the general context of the Sahara and the Maghreb. [ABSTRACT FROM AUTHOR]

Copyright of Horizons of Politics / Horyzonty Polityki is the property of Jesuit University Ignatianum in Krakow and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In a stinging critique of the work of Danh Vo, Claire Bishop argues that he reduces moments of historical significance to pretexts for ornamental displays. In stressing the need for sustained engagement with historical trauma, she aligns herself with Theodor Adorno and others who have identified a waning historical consciousness in modern society and culture. Writers descended from Adorno have put forward models for an art of remembrance, including 'memory sculpture' (Andreas Huyssen) and the 'counter-monument' (James Young). A closer examination of Vo's work suggests that he borrows elements of both of these models in works that display powerful but contrasting investments in the past. Bishop's analysis is harsh. The ornamental motifs that dismayed her are crucial to a practice in which the continuing relevance of the past is established through the conflict between different attitudes to the objects it leaves behind. [ABSTRACT FROM AUTHOR]

Copyright of História da Historiografia is the property of Sociedade Brasileira de Teoria e Historia da Historiografia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Scientific Journal of the Military University of Land Forces is the property of Gen. Tadeusz Kosciuszko Military Academy of Land Forces and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of the article is to analyse the metaphor of the garden as a metaphor which allows one to give an account of the conditions of the Earth subject to human actions and - more importantly - to sketch a Utopian project of going beyond the Anthropocene. A new understanding of the garden modifies the traditional view of it as a paradise, where a harmony between humans and nature reigns. Today, gardens are often approached as places of cooperation, negotiation as well as of tensions and conflicts among human beings and other-than-human beings, that is as places where numerous relationships create a human and other-than-human community. The analyses will start with an interpretation of Alan Sonfist's Time Landscape (1978-), a public park in Manhattan that was conceived of as a reconstruction of the local precolonial landscape and at the same time as its monument. Sonfist's work is a good illustration of how the metaphor of the garden is nowadays interpreted and - I contend - it may be also seen as a monument of the Anthropocene. [ABSTRACT FROM AUTHOR]

Copyright of Zeszyty Prawnicze Biuro Analiz Sejmowej is the property of Kancelaria Sejmu and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Politologija is the property of Vilnius University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

To embody a collective history of Isfahan through a symbolic and monumental physical space, the ‎recent past (Sabzeh Meidan) is replaced by a new place named Imam Ali square. This research, ‎emphasizing the political aspect of memory and forgetting\remembering, has approached a critical ‎turning towards the experience of a social group that is ignored in the mentioned project. This ‎study, adopting grounded theory methodology and interview method, explores the lived experience ‎of those local tradespersons in the area who are still working there. The concept of “semantic ‎inversion of the monument”, as the core category in research findings, describes the nature of the ‎monument construction in experience of the studied group. Produced as “imaginative geographies”, ‎monumental public spaces could inverse the top-down organized memories through local ‎narratives.

This work discusses how ideas are constructed in the design process of architecture projects, identifying what enables their emergence, development, selection and elimination. A qualitative and exploratory research method was used. The basic assumption is that ideas are mainly the result of knowledge, although influenced by subjective factors of the designer: criticism acts as a filter of ideation, thus governing the process of selection and disposal of ideas. Theories, assumptions and arguments of other researchers on the subject of creativity were confronted with the findings presented. This revealed a pattern in the construction of ideas during architectural design processes that puts into question the theory in which ideas arise from the interaction between designers and their sketches.

Gatekeepers, celadores, vigilantes, somatenes, guardias. Todos los humanos somos, en alguna medida, cancerberos de nuestra esencia, cuidadores de lo que concebimos como nuestro y apropiado, coherente y permitido; pero ¿nos autoriza eso a supervisar lo que otros, en el marco de una sociedad pluriétnica, multicultural, diversa y distinta, tienen a bien decir, crear o gritar? La censura, la prohibición y las asunciones egoístas sobre lo que debe, o no, plasmarse en las superficies públicas de nuestros territorios —arte o exigencia, denuncia o alabanza— constituyen el asunto de este texto: un oxímoron a la memoria efímera de la protesta, un monumento a la fugacidad de los gritos que muchos se esfuerzan en callar. Gatekeepers, vigilantes, security guards. All humans are, to some extent, gatekeepers of our essence, caretakers of what we conceive as ours and appropriate, consistent and permitted; but does that entitle us to supervise what others, within the framework of a multiethnic, multicultural, diverse, and different society, would like to say, create or shout? Censorship, prohibition and selfish assumptions about what should or should not be reflected on the public surfaces of our territories —art or demand, denunciation or praise— are the subject of this text: an oxymoron to the ephemeral memory of the protest, a monument to the transience of the shouts that many try to silence. Gatekeepers, porteiros, vigilantes, somatenes, guardas. Todos os humanos somos, de alguma maneira, cérberos de nossa essência, cuidadores do que concebemos como nosso e próprio, coerente e permitido. Mas, isso dá-nos a autoridade para monitorizar o que outros, no contexto da sociedade pluriétnica, multicultural, diversa e distinta, dizem, criam ou gritam? A censura, a proibição e as suposições egoístas sobre o que deve, ou não, plasmarse nas superfícies públicas de nossos territórios —arte ou exigência, denúncia ou louvor— constituem o centro de este artigo: o oximóron à memória efémera da protesta, um monumento à fugacidade dos gritos que muitos trabalham por calhar.

Il saggio descrive il ruolo svolto dallo scultore toscano Corrado Feroci nel processo di occidentalizzazione del regno del Siam prima e della Thailandia poi. Con i suoi ritratti e le sue sculture monumentali l'artista ha cambiato radicalmente il modo con cui la classe dirigente ha tramandato la propria immagine, oltre a fondare la prima accademia di belle arti a Bangkok indirizzando con il suo insegnamento tutti i principali artisti thailandesi del secondo Novecento.

The emerging need to secure the long-term preservation of the archaeological sites and monuments of Greece against the growing threats of climate change is considered a pressing issue for the Hellenic Ministry of Culture and Sports. The impacts of climate and weather-related risks (extreme weather events associated with floods and intense and gusty winds, forest fires, drought-erosion-landslides, rising sea-levels, etc.) are recognised as emerging threats that compromise the integrity and values of the cultural and natural environment. In recent years, a systematic and targeted national effort has been implemented to improve the resilience of cultural sites to climate change by planning and implementing central and regional policies that address heritage needs and provide the methodology and technical tools to identify, measure, evaluate and counter the impacts of climate change on cultural heritage on a medium and long-term basis. As part of this process, climate change is being taken into consideration within the framework of drafting integrated management plans for 15 Greek sites that are included on the UNESCO World Heritage List, an ongoing project implemented by the Directorate of Prehistoric and Classical Antiquities of the Ministry. In this article we attempt to highlight the pilot character of these plans for integrating into management policies climate-related aspects that need to be addressed in a coordinated manner. This will help not only to achieve the national goals regarding the preservation and adaptation of cultural heritage to counter the effects of climate change, but to prevent and mitigate the specific dangers not only for the World Heritage Properties but, gradually, for all Greek cultural monuments and archaeological sites.

While in Frankfurt a few weeks ago, I visited the site of the Dom/Römer project, a series of 35 buildings that are under construction in the historical center of Frankfurt am Main. While most of the buildings are going to be modern interpretations of the houses that once stood on the small parcels in Frankfurt’s city center, fifteen of the buildings will be historical reconstructions of historical buildings. As I approached the building site, I walked along a fence that had been covered with a vinyl picture of an artist’s rendition of the finished project. Scrawled across the picture was a graffito: “Bitte richtig alt. Kein Zombie!” The term “zombie” has been a battle cry for anti-reconstructionists from all over Germany as they watch historical reconstruction projects fill the empty spaces in their destroyed historical city centers. In this paper, I will investigate the current discourse that has conflated architecture with necromancy in German city planning. Are these reconstructions the signs of a crisis in Modernism, a sweeping wave of uncritical nostalgia, or dangerous returns to evil ideologies of the past? Using Walter Benjamin’s Kunstwerk essay, I will explore the role of historical reconstruction as medial architecture, buildings that function more like film than the so-called “authentic” architecture that is preferred by the current generation of Denkmalpfleger. What happens when a destroyed Bauwerk reaches the age of its technological reproducibility? These “zombie” buildings, I will argue, reveal mythical underpinnings in the projects of Modernism and the religious practices inherent in the concept of authenticity historical monuments.

This article traces the commission, design, and public reception for New York City's Women's Rights Pioneers Monument as a case study for the contentious politics of monument-building. The Central Park statue—as of this writing, not yet realized—has followed a protracted, frequently contested path since its conception in 2015. It was originally designed to depict women's rights activists Susan B. Anthony and Elizabeth Cady Stanton for the centennial anniversary of the Nineteenth Amendment. What began as an initially well-received initiative to correct the gender imbalance in the city's public art became mired in controversy amid the politically charged atmosphere of the election of Donald Trump to the U.S. presidency. I argue that, while the polarity of contemporary politics amplified the statue's controversy, the tensions at play are the product of more than 170 years of conflicts inherent in the progressive activism of the American woman suffrage movement and commemorations of it. [ABSTRACT FROM AUTHOR]

The Tanzanian landscape has a long history with exiled nationalist organisations from South Africa, Namibia, Zimbabwe, and Mozambique. The case of Mozambique is unique. It was in Dar es Salaam that FRELIMO (Front for the Liberation of Mozambique) was born in 1962; but the great Mozambican nationalist Edward Mondlane was assassinated in the same city in 1969. This paper presents the ruins of the FRELIMO camp in Nachingwea, Tanzania, to elaborate the state of preservation of the monuments and how such preservation may contribute to sustainable peace between these two neighbouring countries. There are recognisable photographs and written historical documents concerning FRELIMO in both Mozambican and Tanzanian libraries, museums, and archives. Adding the landscape as another layer of evidence juxtaposes the limitations unveiled in other sources; enhances our understanding of the activities that took place during exile including those of the subalterns (residential houses, food carriers, couriers, recruiting sergeants and foot soldiers); and underlines the process of how sites of African liberation struggles are remembered and memorialised. [ABSTRACT FROM AUTHOR]

Die Neue Nationalgalerie in Berlin entstand von 1965 bis 1968 nach den Plänen des Architekten Ludwig Mies van der Rohe. Nach fast 50‐jähriger Nutzung musste die denkmalgeschützte Architekturikone saniert werden. Mit der Planung dieser anspruchsvollen Sanierungsmaßnahme wurde 2012 das Büro David Chipperfield Architects beauftragt. Die Bestandsfassade wies keine Möglichkeit zur Aufnahme thermischer Dehnungen auf, was in der Vergangenheit zu Zwängungen und Verwerfungen der Konstruktion und häufig zu Glasbrüchen der übergroßen Scheiben führte. Bei der fassadentechnischen Sanierungsplanung mussten die konstruktiven Restriktionen behoben werden; das Ganze denkmalgerecht, wie das Ergebnis zur Wiedereröffnung des Mies‐Baus seit April 2021 beweist. Neue Nationalgalerie Berlin – Restoration of the facade. The „Neue Nationalgalerie" in Berlin was built from 1965 to 1968 according to the plans of the architect Ludwig Mies van der Rohe. After almost 50 years of use, the listed architectural icon had to be renovated. In 2012, David Chipperfield Architects was commissioned to plan this ambitious renovation project. The existing facade had no possibility of absorbing thermal expansions, which in the past led to constraints and distortions of the construction and often to glass breaks of the oversized panes. In the facade renovation planning, the structural restrictions had to be removed; the whole thing is in accordance with monument regulations, as the result for the reopening of the Mies building since April 2021 proves. [ABSTRACT FROM AUTHOR]

Condemned as a "forgery of history," Budapest's "Memorial to the Victims of the German Invasion of 1944" depicts Hungary as a victim of Nazi aggression, ignoring the state's active participation in the deportation and murder of Hungarian Jews, Roma, homosexuals, and others. Since 2014, activists have maintained the nearby living memorial, inviting visitors to leave mementoes and converse about Hungary's past, current events, and the national future. Reperforming the official monument, the living memorial disrupts the government's problematic revisionism. We theorize reperformance as a tool for engaging the politics of contested memory and modeling democratic culture. [ABSTRACT FROM AUTHOR]

This article has as its object the monument dedicated to the aviators De Pinedo and Ribeiro de Barros who crossed the Atlantic in 1927. We analyze the composition of the fascist project of Heróis da Travessia, seeking to understand the role of the myth of Rome in the construction of ties between the community of Italians in São Paulo and Italy during the Ventennio. Through the examination of Italian foreign policy, which promoted the crociere aeree as propaganda, and the iconographic analysis of its materiality, which mobilizes signs associated with the cult of romanity, we demonstrate that the monument is structured above all as a compliment to Mussolini's Italy. [ABSTRACT FROM AUTHOR]

Keywords: commemoration; contemporary; memory; monument; statue EN commemoration contemporary memory monument statue 222 231 10 01/17/22 20220101 NES 220101 Young, James E. (2016). (Upton, 7,9) He introduces typical civil rights forms of the funereal marker, great leader monument, populist monuments, and general African American history monuments in the context of the already-existing Euro-American traditions of equestrian monuments, common funereal commemoration, and the all-pervasive influences of war memorials, and Christian themed variations. Upton's study argues that far from being limited in expression, such ordinary monuments, even those modeled on gravestones, are part of a broad "democratization of monument building" and are actually rich and evocative and engaged in a dramatic struggle in public space (Upton, 15). Having established the parameters of the social shaping of the commemorative landscape, Upton turns to a series of chapters focused on relatively famous civil rights monuments, the first addressing what most would consider the most iconic of civil rights subjects, Martin Luther King, Jr. Acknowledging King statues as part of a "great leader" monument typology, Upton dryly refers to their being generally "bland" (Upton, 98) in physical appearance. [Extracted from the article]

In 1968, a monument for Albert Schweitzer (1875-1965) was erected in Weimar. It is presumably the fi rst of its kind honouring the doctor, theologian, and pacifi st, who was internationally renowned for his engagement in Lambaréné’s hospital in Gabon. The erection of the statue was organised by the German Democratic Republic (GDR), and, thus, represented the socialist state’s ardour and support for Albert Schweitzer. In particular, the Christian Democratic opposition party, together with its chairman Gerald Götting, sought to popularise Albert Schweitzer in the GDR. The monument though – sculpted by Gerhard Geyer in 1968 – employs a racialised imagery that contributes to a colonialist iconography of Albert Schweitzer, a phenomenon not restricted to East Germany. In Weimar – a showcase of state socialism – the monument represents a specifi c place of encounter and memorial and, thus, enacts a historical politics of remembrance. Nonetheless, common knowledge of the history of aid for Lambaréné is rare in Weimar and Eastern Germany. [ABSTRACT FROM AUTHOR]

Copyright of Moenia: Revista Lucense de Lingüística & Literatura is the property of Universidad de Santiago de Compostela, Servicio de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Anthropologica is the property of CASCA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Studies of the deterioration of alabaster products have been conducted in many countries; however, this topic is still an inexhaustible source for scientists. Alabaster from different regions has its own distinctive morphological peculiarities. Climatic conditions, air pollution, storage and operation conditions affect the conservation state of the stone to a certain extent. Without sufficient information about the causes of stone degradation, it is impossible to estimate the risks of its destruction under the influence of external factors and to provide appropriate recommendations on the storage conditions of monuments. In order to determine the causes of destruction of the alabaster monuments and to study the nature of the stone surface contamination, a number of fields, microscopic and comprehensive thermal studies were conducted. Based on the study results, the nature of alabaster destruction was outlined, the danger of atmospheric and anthropogenic factors was estimated, and the comparison of the change in material composition of the crystalline mass of the alabaster surface layer was carried out. Study results are presented in the form of photography and microphotography, summary tables of thermal analysis, comparison of thermogravimetric curves of the alabaster fragment and encrustation with a near-surface layer of alabaster. [ABSTRACT FROM AUTHOR]

Located on a cleared koppie called “Kolrand” in the Eastern Cape, the Karel Landman Monument (KLM) was designed by Gerhard Moerdijk. Its foundation was laid on 16 December 1938, and the monument itself was unveiled a year later. But rather than being a straightforward outgrowth of the celebrations that surrounded the Centenary of the Great Trek, it is revealed that the KLM was mired in controversy about Karel Landman’s standing as a “Voortrekker” and the monument’s legitimacy. It is argued also that, despite seeming unusual, it deploys visual tropes that can be discerned in other monuments that emanated from the Centenary Trek. Furthermore, it is proposed that its visual language is tied into Afrikaner imaginaries that held sway in the late 1930s. In its inclusion of a globe and its treatment of the trek motif within it, the KLM is underpinned by a conception of South Africa’s place in the world that is at odds with a British imperialist vision of the Cape and Egypt as civilising points at either end of a dark hinterland. It would seem instead to be tied into conceptions of the heartland of Africa as an abode in which the white Afrikaner enjoys a God-given predominance and may perhaps even be linked to conceptions of Monomotapa which were an influence on Moerdijk. [ABSTRACT FROM AUTHOR]

This article proposes a reading of Pasolini's The Ashes of Gramsci (Le ceneri di Gramsci) as a crucial reflection on the inheritance of Gramsci's notion of collective man in post-war Italy and the different ways in which instances of power and hegemony are expressed through language and lived within the spaces of a newly rebuilt city. While the concepts of collective man and multitudes will become the central paradigms shaping the Italian cultural left in the late 20th and 21st century, these notions are here explored for their linguistic and visual power. The poem brings forth some of the keywords destined to dominate the Italian political and intellectual discourse, while its meticulous construction mirrors, as well as contradicts, the scattered and disorderly Roman architecture that constitutes its setting. For this reason, the poem represents what Jacques Derrida has called a hauntology, or an ontology that is at once what is and what is not. [ABSTRACT FROM AUTHOR]

Copyright of Space & Form / Przestrzeń i FORMA is the property of West Pomeranian University of Technology, Department of Architecture & Urban Planning and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Kultura Slowian is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

What is the nature of memorials? Traditionally, memorials have been conceptualized as lasting entities preserving memories of our shared pasts. This paper challenges this view. My aim is to retheorize our practices of memorialization by examining the role that ephemerality plays in experiential memorials. Rather than fixed structures of meaning, experiential memorials are unstable careers whose significance depends on viewers' performative engagement. I provide evidence for my thesis by developing a critical interpretation of Qi Kang's Nanjing Massacre Memorial Hall (NMMH) as an example of experiential memorial. The fragmented nature of the here and now frees visitors' experiences. Like the wind propelling Benjamin's Angelus Novus into future and progress, the ephemerality of NMMH's experience unchains its significance from the constriction of dominant narratives of vengeance and resentment. If liberated temporally, the experience of memorials may help us not only to never forget, but also to find reconciliation. [ABSTRACT FROM AUTHOR]

Copyright of kul-tur: Revista Interdisciplinària Sobre la Cultura de la Ciutat is the property of kul-tur: Revista Interdisciplinaria Sobre la Cultura de la Ciutat and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The megalithic and non-megalithic monuments of the Kelabit Highlands gained prominence in archaeological circles and in public eyes through the pioneering research conducted by Tom Harrisson from the late 1940s to the 1970s. From the mid-1970s to 2000, however, there was a lack of new archaeological research on the monuments of the Kelabit Highlands. This changed beginning in the 2000s with new interests in the monuments of the Kelabit Highlands in terms of their preservation and conservation (Cluny and Chai 2007; Hitchner 2009), as well as in archaeological research (Barker et al. 2008; Barker et al. 2009; Lloyd-Smith et al. 2010; Lloyd-Smith 2012; Lloyd-Smith et al. 2013; Lloyd-Smith et al. 2017). With new findings coming to the fore in recent years, this paper reviews the present state of knowledge on the megalithic and non-megalithic monuments in the Kelabit Highlands of Sarawak. This review is based on the study of existing literature and archival research, as well as archaeological excavations and surveys, and ethnographic research conducted in the field by the author. First, this article discusses previous archaeological research conducted on the monuments. Following that, this article discusses the chronology of the monument building tradition in the Kelabit Highlands and the typology of monuments. Next, this article focuses on the social contexts of monument building, as well as the cultural significance of monuments to the Kelabit people. By employing both archaeological and ethnographic perspectives, this article contributes a more holistic and nuanced understanding of a monument building tradition in the Kelabit Highlands that began more than 2,000 years ago and continued until around the middle of the 20th century. [ABSTRACT FROM AUTHOR]

Copyright of Tyragetia is the property of National Museum of History of Moldova and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)