Dissertations / Theses on the topic 'Monuments'
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Houlton, Thomas. "Using monuments." Thesis, University of Sussex, 2016. http://sro.sussex.ac.uk/id/eprint/60993/.
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Weber, Matthew John. "Industrial monuments." Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4790.
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While traveling home from work we may glance out our windows at these industrial structures whose fluorescent lights glow throughout the night. These places, often located on the outskirts of the cityscape, leave the viewer with a mix set of emotions. First, our reactions to the height, shape and form, whose towers and beams stretch high into the sky, loom over our tiny human frames. Regardless of the beauty that may be offered to the viewer at first glance, there is an underlying feeling of disgust and disregard, as these manufacturing plants stand as the agents of our environment issues in this era.
This initial, fleeting, sense of wonder is what draws me to these locations as a photographer. There is a type of ordered rhythm that these locations embody, a type of ceaseless production whose beauty is within the confines of its method of production. Every pipe and tube has a specific purpose, which leads to uniformity in shape and positioning. Every light is set to illuminate the space, not only for functionality, but also for security. Every road, wall and doorway is placed just so in order to maximize efficiency. These places manufacture, process, and ship raw materials in vast sums every single day all across the globe. They provide us with all the tools and materials we need to make our society function, but more importantly, they allow us to transform our surroundings into whatever we may choose. Inside, engines thump and grind at a steady pace. Conveyor belts hum as they slide down their tracks. Outside, a truck comes in through the entrance to pick up its order, followed by another, and still another after that.
In following some of the same techniques laid out by photographers before me, my hope is to capture the massive amount of details and nuisances of these locations. The night skies serve as the constant throughout these images, grounding these locations in the same timeframe; at once connecting them in this fashion, but also allowing each of them to be it's own unique structure as they reach up into the black sky in varying fashions. My hope for the viewer lies in a reassessment of these locations. While they do presume, as any images of industrial locations do of this era, to speak about the connection between manufacturing and environmental issues, my hope is that they are able to offer much more. While they are connected with these problems, they are also connected with the solutions to these problems, and in this regard, deserve a second glance, and hopefully, a second evaluation of their aesthetic qualities.
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DelGenio, Kathryn A. "Meaning and Monuments: Morality, Racial Ideology, and Nationalism in Confederate Monument Removal Storytelling." Scholar Commons, 2019. https://scholarcommons.usf.edu/etd/7778.
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In this thesis I examine the reproduction of nationalism and white supremacy within Confederate monument removal (CMR) storytelling, and the ways collective identity and emotions are implicated within these reproductions. Using reader generated CMR narratives published in a Southern newspaper, the Augusta Chronicle, I conduct narrative analysis in order to identify key story elements, moral arguments, and cultural codes present in the public CMR debate. Findings indicate that two sharply contested narratives emerge during this debate, one calling for the protection of Confederate monuments and one calling for the removal of Confederate monuments. Further, though these contested stories produce opposing moral value judgements of Confederate monuments, they rely on similar cultural and emotion codes, frames, and rhetorical moves which reproduce nationalism and white supremacy. Through reifying national mythologies, constructing individuals as citizens, rhetorically isolating racism and slavery, and reproducing racialized capitalism, CMR narratives on both sides of the debate become sites where nationalism and white supremacy are perpetuated. These findings indicate that there is an important relationship between collective memory and cultural meaning-making processes related to identity and emotions. Further, findings also suggest that collective memory narratives, particularly contested or oppositional narratives, are important sites facilitating continuity in hegemonic systems. Because of their key role in perpetuating nationalism and white supremacy, it is possible that collective memory narratives may also be spaces where the interruption of hegemonic systems can also be facilitated.
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Mare, EM. "Monumental complexity: searching for the meaning of a selection of South African monuments." South African Journal of Art History, 2007. http://encore.tut.ac.za/iii/cpro/DigitalItemViewPage.external?sp=1000805.
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In this article I will try to answer two basic questions concerning a selection of representative South
African monuments erected by different groups adhering to various ideologies. Firstly, what truths
and values did patrons and designers intend to express in the Rhodes Memorial (Cape Town), the
Afrikaans Language Monument (Paarl), the Women's Monument (Bloemfontein), the Voortrekker
Monument (Pretoria), the Samora Machel Monument (Mbuzini), the Heroes' Monument (Durban)
and Freedom Park (Pretoria)? Secondly, how did their meaning change over time on various issues
such as gender, language, ethics, site, historiographry, the dialectics between different monuments,
the problematics of heroism, as well as ethnic difference, especially when viewed from a postcolonial
vantage point? However, the notions of "truth" and "values" in the ideological context of monuments
are ambiguous, as can be ascertained from a brief survey of the methodologies applied and conclusions
drawn by researchers representing those disciplines that most often deal with the subject matter
of monuments. These are: art history, architectural history, cultural history, history, postcolonial studies,
and occasionally also practitioners of other disciplines such as philosophy and anthropology.
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Holtorf, Cornelius. "Monumental past : interpreting the meanings of ancient monuments in later prehistoric Mecklenburg-Vorpommern (Germany)." Thesis, University of Wales Trinity Saint David, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.683308.
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Bowdler, Roger Hugh. "Monuments of decay and resurrection : themes of mortality in 17th century English church monuments." Thesis, University of Cambridge, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.386333.
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Brophy, Kenneth. "The cursus monuments of Scotland." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/2476/.
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Angée, John O. "How monuments shape urban identity." FIU Digital Commons, 2005. http://digitalcommons.fiu.edu/etd/1533.
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Monuments in our society commemorate historical events, acts or heroes, and educate people about them. Monuments are landmarks that stand out from other buildings to give the city identity and order.
This thesis asks how a monument can be designed to project a clear image at a distance and articulate a spatial experience at close range.
Two important monuments that form part of the life of America serve as examples: (1) The Statue of Liberty, in the New York Harbor, that has become the visual icon of New York if not the nation and (2) The Holocaust Memorial in Miami Beach, Florida, that leads the visitor through a poignant experience at close range.
The second part of the thesis is the design of a monument and museum for The Port of Miami, as part of the Port Boulevard Enhancement Project, sponsored by the Florida Foreign Trade Association, to celebrate the trade pioneers who helped Miami-Dade County achieve its prominence.
The site for the monument is located at Biscayne Boulevard and Fifth Street, between Bayside Market Place and The American Airlines Arena in downtown Miami, at the Biscayne Bay.
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Manoukian, Hagob. "Monuments of The Ones Before." Thesis, KTH, Arkitektur, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-298724.
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Architecture and Film - A Symbiotic Relationship. This project is not intented to be revolutionary, but rather exploratory. To delve deeper into ones interests and better understand them. My architectural studies are five years young, and my passion for film has been with me for as long as I can remember. That is why I see my diplomaproject as an opportunity to bring both worlds that fuel my creativity together. I do not see myself as an architect without being a filmmaker and I cannot create worlds as a filmmaker without exploring architecture. ---------------------------------------------- An anomaly was detected in the northern region of Europe. Satellite images show an island not included in any of our maps on which monolithic structures are resting. The clean geometry and the elusive dimensions show monuments difficult to specify in time. These monuments seem ancient, but they are not primitive. They show advanced knowledge of our celestial bodies from however long ago. These are The Monuments of The Ones Before. Once, before our time. To you the reader: We have made a startling discovery… This is the birthplace of astronomy.
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Carpentier-Vanhaverbeke, Valérie. "Le vie des monuments de l'Etat : histoire de la Caisse nationale des monuments historiques (1912-1978)." Paris, EPHE, 2014. http://www.theses.fr/2014EPHE4005.
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La Caisse nationale des monuments historiques, rebaptisée Centre des monuments nationaux au seuil du XXIe siècle, fut créée en 1914 dans le climat de crise qui, pour le service des Monuments historiques, a suivi la séparation des églises et de l’État. Elle devait apporter compléments de ressources et souplesse budgétaire grâce à la formule en vogue de l���établissement public, et a connu de multiples transformations au fil des décennies. Imaginée à l’origine pour recevoir dons, legs, et ressources fiscales, la Caisse a finalement été alimentée par les droits d’entrée instaurés dans les monuments historiques après la guerre, et à partir de la fin des années 1920, par le développement d’une activité commerciale. Banquière discrète de la direction des Beaux-Arts durant l’Entre-deux-guerres, la Caisse s’empare peu à peu des enjeux du développement touristique des monuments historiques, timidement dans les années 1930, et plus nettement à partir de Vichy puis des années 1950. Après la création du ministère des Affaires culturelles, une réforme importante fait de l’établissement public en 1965 un organisme d’exploitation des monuments historiques aux attributions élargies, cherchant à rendre la vie au patrimoine. La machine administrative se met en place progressivement, les rapports à la tutelle parfois tendus illustrent les enjeux nouveaux de l’action de la Caisse. L’étude de cette administration culturelle au long du XXe siècle porte sur les hommes, les procédures, les moyens, les résultats, dans une perspective d’histoire du patrimoineThe “Caisse nationale des monuments historiques”, renamed “Centre des monuments nationaux” at the beginning of the XXIth century, was created in 1914, in a period of crisis for the Department of Historic Buildings in France, after the separation of churches and state. It was created as a public body like many others institutions during the same period in order to provide more money with flexibility; and it was transformed many times during the following decades. First, the institution was supposed to receive donations, legacies, and money from taxes, but finally it mainly received entrance fees that began to be collected after the War in historic buildings, and since the end of the 1920s, incomes from commercial activities. It discreetly provided money for the Department of Arts between the wars, but since the 1930s, World War II, and the 1950s, the institution has become more important because of the development of cultural tourism. After the creation of the Ministry of Culture, an important reform occurred in 1965, and the institution became in charge of the exploitation and presentation of historic buildings, in order to give them a second life. The administration grew progressively, new challenges appeared, and the relationships between the institution and the Ministry became sometimes difficult. This study deals about people, procedures, means, and results, in order to build the story of a cultural administration
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Thät, Eva. "Monuments and minds : monument re-use in Scandinavia in the second half of the first millennium AD." Thesis, University of Reading, 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.415539.
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Martin, Michel. "Les monuments équestres de Louis XIV." Paris 4, 1985. http://www.theses.fr/1985PA04A031.
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Lehmam, Zineb. "Étude esthétique des monuments religieux Almohades." Paris 1, 1993. http://www.theses.fr/1993PA010608.
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L'analyse esthétique de onze monuments religieux almohades a confirmé la connaissance et l'utilisation par les architectes de la période de traces géométriques connus depuis l'antiquité ainsi que, l'existence de structures mathématiques sous-jacentes aux formes architecturales et décoratives. Une relation entre les formes utilisées et leur sens philosophique et ou mystique a été relevée; ce qui a permis une véritable appréciation des valeurs esthétiques architecturales et décoratives.
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Hafiz, Dalia O. "Alexandria Underwater Museum For Sunken Monuments." Thesis, Virginia Tech, 2011. http://hdl.handle.net/10919/42166.
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This thesis is a study of a journey in the deep mystery of the eastern harbor on the Mediterranean sea in the city of Alexandria. For
Herodotus, the four major elements for civilizationâ s development overtime are water, air, land, and fire. In this project, the effort is made to connect three of the four elements within an architectural context: â Underwater museumâ .
The building orientation, shape and location allow a discovery of the building elements and shape consequently while participating in the
building visit. From street level, the building can be seen as a simple curved wall on the harbor facing the sea. While pursuing the passage in
the journey, the building shape and components start to build the experience. Different lighting conditions, vertical and horizontal circulation methods, building form and structure are used to direct the journey starting from sky and land, through water, to underwater, then finally discovering the ruins at the seabed.Master of Architecture
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Ezzdine, Rana. "Endommagement des monuments historiques en maçonnerie." Thesis, Bordeaux 1, 2009. http://www.theses.fr/2009BOR13787/document.
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La pierre monumentale subit au fil du temps des mécanismes de dégradation physiques, chimiques et biologiques qui détruisent l’épiderme des monuments et affectent la structure porteuse et sa stabilité. La compréhension des mécanismes de dégradation est nécessaire pour les gestionnaires d’ouvrages surtout que les études menées jusqu’à présent sont souvent incomplètes. Dans cette problématique, une étude de la dégradation de la pierre calcaire de Blaye est réalisée en collaboration avec le projet européen Medachs et la mairie de Blaye. Cette étude est composée de deux parties principales réalisées sur le site et en laboratoire. L’étude in-situ consiste à appareiller une pierre de façon à avoir la température de l’air et à la surface, à l’extérieur et à l’intérieur du bâtiment, et à 3 profondeurs dans la pierre. Un modèle numérique alimentée par les résultats des mesures expérimentales est élaboré pour estimer la valeur de la conductivité thermique du matériau. La pierre est alors découpée en 3 épaisseurs et la conductivité thermique est calculée pour chaque épaisseur en appliquant une méthode d’optimisation (Powell). La variation de la conductivité est directement liée à celle de la porosité et donc de l’état d’altération du matériau. L’étude au laboratoire est réalisée en deux étapes. En premier temps, des éprouvettes du matériau vierge en provenance de la carrière locale sont utilisées pour caractériser l’état initial du matériau. Pour cela, des paramètres physiques (masse volumique, porosités) et des paramètres mécaniques (vitesse ultrasonore et résistance mécanique) sont mesurés et identifiés. En deuxième temps ,nous réalisons des essais de vieillissement accéléré par action des sels et par action des cycles hygrothermiques. Les essais montrent la fragilité du matériau et mettent en évidence une résistance très faible face à la cristallisation de sels. Le travail réalisé, à la fois en laboratoire et in-situ, met en évidence la nécessité de mieux comprendre les mécanismes de dégradation et de mieux connaitre le matériau en particulier au niveau de l’action des sels. On propose de réaliser des essais qui prennent plus en compte les conditions d’exposition de la pierre (température, nature des sels, etc.)Monumental stone is exposed to alteration caused by physical, chemical and biological mechanisms of degradation. With time, these mechanisms can destruct the monument epidermis and endanger the structure stability. The complex mechanisms of stone degradation are not fully understood. Our scientific knowledge is incomplete. Within the framework of the maintenance of historical monuments, a study of Blaye limestone alteration is realized with the collaboration of the European project Medachs and the town hall of Blaye. Our study can be divided into two major parts : an in-situ study and a laboratory study. The on site study consists on measuring the temperature evolution at the internal and external surface of a chosen stone in the building as well as the temperature evolution at the air in the inside and the outside of the building and at three depths in the stone. A numerical model is built in order to estimate the thermal conductivity of the stone based on the measurements results. The model consists on considering that the stone is composed of three layers characterized with three different values of the thermal conductivity. These values are estimated by using an optimization algorithm (Powell). The thermal conductivity varies with the porosity and thus can be considered as an indicator of the stone damage On the other hand, the laboratory study is realized in two stages. At first, the physical and the mechanical parameters of the original material are estimated by carrying out different measurements (relative density, porosiy, ultrasonic velocity, and compressive resistance). The samples that were used for the measurements were extracted from the local quarry. Then two types of accelerated ageing tests were realized : salt crystallization and hydro-thermal cycles. The results of the tests showed a low resistance of the material especially to salt crystallization. At the end, the results of the in-situ and the laboratory study show the fragility of the material and highlight the need and the importance of a better understanding of the degradation mechanisms. The effect of the environmental conditions should be included in the studies in order to have a clear image about the variation of the material resistance to salt crystallization with the exposure conditions (temperature, type of salts, etc.)
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Moyer, Matthew E. Clarke Bede. "Monuments to water and air systems." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/6576.
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The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Title from PDF of title page (University of Missouri--Columbia, viewed on November 19, 2009). Thesis advisor: Bede Clarke. Vita. Includes bibliographical references.
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Collier, Melanie Dawn. "Deciphering the Messages of Baltimore's Monuments." W&M ScholarWorks, 1994. https://scholarworks.wm.edu/etd/1539625868.
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Hammer, Felix. "Die geschichtliche Entwicklung des Denkmalrechts in Deutschland /." TÜbingen : J.C.B. Mohr, 1995. http://catalogue.bnf.fr/ark:/12148/cb370244135.
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Haak, Abigail. "Defining monumental realities : a study of inscriptions as monuments in the urban landscapes of Ephesus and Aphrodisias." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.439734.
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Labno, J. J. "The monumental body and the Renaissance child : funeral monuments in Poland and their European context (1500-1650)." Thesis, University of Sussex, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419825.
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Emerick, Keith. "From frozen monuments to fluid landscapes : the conservation and preservation of ancient monuments from 1882 to the present." Thesis, University of York, 2003. http://etheses.whiterose.ac.uk/9961/.
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The first half of this research considers the origins of the prevailing approach to the conservation and presentation of ancient monuments, particularly those in the guardianship of the state. Beginning with the definition of preservation principles in the nineteenth century, the research examines the creation of a government preservation office and the introduction of preservation legislation. The second half of the research examines the changes taking place in the theoretical approaches to Cultural Heritage Management, much of which derives from experience in Australia and America, and considers this work alongside a new agenda for 'the heritage' in England where it is overtly stated that the heritage industry and conservation can be used to address social issues such as urban and rural regeneration and social exclusion. The implications of the current Government and peer reviews of conservation practice and primary legislation have also been considered in order to determine their impact on the status of the familiar preserved ruin, ideas of 'monumentality', the role of the heritage manager and the politicization of heritage. It is argued in this thesis that the preservation and presentation approach of the Office of Works and its successors has conditioned our understanding of the past, making the introduction of a new paradigm unnecessarily confrontational. This research contributes to a number of areas of knowledge. The origins and development of conservation practice in England have received relatively little analysis and the expansion of the Office of Works in the first quarter of the twentieth century has yet to be analysed in detail. Similarly British conservation practice in an Imperial context - particularly that in the Levant - has received very little critical consideration and it is believed that this research presents the first assessment of the career of George H. Jeffery, Curator of Ancient Monuments, Cyprus.
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Fitzsimons, Rodney Desmond. "Monuments of Power and the Power of Monuments: The Evolution of Elite Architectural Styles at Bronze Age Mycenae." Cincinnati, Ohio : University of Cincinnati, 2006. http://rave.ohiolink.edu/etdc//view?acc_num=ucin1155651443.
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Thesis (Ph. D.)--University of Cincinnati, 2006.Advisor: Dr. Gisela Walberg. Title from electronic thesis title page (viewed Dec. 20, 2009). Keywords: Mycenae; Mycenaean Architecture; Mycenaean Palaces; Mycenaean State Formation; Mycenaean Tholos Tombs; Shaft Graves. Includes abstract. Includes bibliographical references.
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Mazel-Nguyen, Claire. "Les monuments funéraires à Paris (1610-1715)." Paris 10, 2003. http://www.theses.fr/2003PA100093.
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Cette étude repose sur le corpus de l'ensemble des monuments funéraires (120) commandés et placés dans les églises parisiennes entre 1610 et 1715 et s'interroge sur les causes de leur succès durant cette période. La première partie s'attache à l'histoire de la réception et permet d'appréhender les perceptions multiples de cet objet. Dans la deuxième partie, on s'interroge sur les fonctions assignées au monument dans l'église : quel est son rapport avec la dépouille du défunt ? Aide-t-il au salut humain ? Pourquoi l'Eglise, en ces temps de Contre-Réforme, favorise-t-elle un tel art ? La troisième partie s'intéresse aux motivations d'ordre social des commanditaires, questionnant plus spécifiquement le pouvoir des images en matière de propagande et de légitimation, concepts qu'il faut manier, en dernière analyse, avec prudence. Enfin, la quatrième et dernière partie a pour objet la «poétique» des monuments funéraires, c'est-à-dire la façon dont ils sont pensés, conçus et fabriquésThis is a study of the collection of funeral monuments ordered and placed in Parisian churches between 1610 and 1715 and it questions the cause of their success during this period. The first part is about the history of the « reception » and it allows us to understand numerous perceptions of the funeral monument. The second part questions what function the monument has in the church : what is the relation between it and the dead body ? Does it help human salvation ? Why does the church favor such art at this time of Counter Reformation ? The third part considers the social motivations the commissioners had. It more specifically questions the power of the images had as means of propaganda and justification. In the final analyses, one has to handle these concepts with care. The subject of the fourth and last part is the «poetics» of the funeral monuments, that is to say, the way they were conceived, designed and made
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Giraud-Labalte, Claire. "Les Angevins et leurs monuments : 1800-1840." Lyon 2, 1994. http://www.theses.fr/1994LYO20046.
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Etude de l'emergence du concept de monument historique entre 1800 et 1840 dans le departement de maine-et-loire. Les relations entretenues par les angevins avec leurs monuments anciens, depuis la fin de la revolution jusqu'a la creation officielle du service des monuments historiques, sont analysees au travers des regards poses par les contemporains (personnalites, erudits, et artistes locaux ou etrangers) et des actions entreprises (demolition, reutilis ation, restauration). Les reponses donnees par les angevins aux sollicitations du gouvernement en matiere de monuments, l'engagement des antiquaires, et les interventions architecturales sont les principaux indicateurs d'une lente evolution de la prise de conscience patrimoniale locale. Le maine-et-loire semble se situer vers 1840 parmi les departements francais les plus soucieux de la reconnaissance et de la preservation de leur patrimoine monumentalThis study deals with the emergence of the concept of the historic monument between 1800 and 1840 in the department of maine et loire. The relationships between the angevins and their monuments, from the end of the revolution to the official creation of a department of historic monuments, are analyzed through the opinions of contemporary personalities (sholars, local or foreign artists) and the actions undertaken (demolition, new uses, rehabilitation). The way the angevins responded to the government's initiatives as far as monuments were concerned, the commitment of antiquaries, and the architectural interventions are the main indicators of the slow evolution of their awareness of their local heritage. In 1840 the department of maine et loire seems to be among the most interested in the recognition and the conservation of their monuments
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Samwanda, Biggie. "Postcolonial monuments and public sculpture in Zimbabwe." Thesis, Rhodes University, 2013. http://hdl.handle.net/10962/d1006825.
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The study critically examines public art in postcolonial Zimbabwe‘s cities of Harare and Bulawayo. In a case by case approach, I analyse the National Heroes Acre and Old Bulawayo monuments, and three contemporary sculptures – Dominic Benhura‘s Leapfrog (1993) and Adam Madebe‘s Ploughman (1987) and Looking into the future (1985). I used a qualitative research methodology to collect and analyse data. My research design utilised in-depth interviews, observation, content and document analysis, and photography to gather nuanced data and these methods ensured that data collected is validated and/or triangulated. I argue that in Zimbabwe, monuments and public sculpture serve as the necessary interface of the visual, cultural and political discourse of a postcolonial nation that is constantly in transition and dialogue with the everyday realities of trying to understand and construct a national identity from a nest of sub-cultures. I further argue that monuments and public sculpture in Zimbabwe abound with political imperatives given that, as visual artefacts that interlace with ritual performance, they are conscious creations of society and are therefore constitutive of that society‘s heritage and social memory. Since independence in 1980, monuments and public sculpture have helped to open up discursive space and dialogue on national issues and myths. Such discursive spaces and dialogues, I also argue, have been particularly animated from the late 1990s to the present, a period in which the nation has engaged in self-introspection in the face of socio-political change and challenges in the continual process of imagining the Zimbabwean nation. Little research focusing on postcolonial public art in Zimbabwe has hitherto been undertaken. This study addresses gaps in this literature while also providing a spring board from which future studies may emerge.Microsoft� Word 2010
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Lanfranchi, François de. "Inventaire des monuments dolméniques de la Corse." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37606962v.
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Láskaris, Nikólaos G. "Monuments funéraires paléochrétiens (et byzantins) de Grèce /." Athènes : les éditions historiques Stéfanos D. Basilopoulos, 2000. http://catalogue.bnf.fr/ark:/12148/cb388500346.
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Bokbot, Youssef. "Habitats et monuments funéraires du Maroc protohistorique." Aix-Marseille 1, 1991. http://www.theses.fr/1991AIX10030.
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Nos connaissances sur les temps protohistoriques au maroc ont nettement evolue. Jusqu'a recemment, on niait purement et simplement l'usage des metaux par les paleoberberes avant l'arrivee des commercants pheniciens. Les donnees disponibles actuellement permettent d'affirmer que le maghreb occidental a connu un age du cuivre et un age du bronze. Ces deux epoques sont tres sensibles aux influences venues de la peninsule iberique. Il existe cependant des documents qui militent en faveur d'une metallurgie locale. L'age du fer au maroc est caracterise par l'essor des habitats de hauteur a caractere defensif et par la multiplication et la diversification des monuments funeraires. Ceux-ci tiennent leur prototype soit de la peninsule iberique soit du sahara. Mais il existe egalement des types de monuments propres au maroc. En l'absence de mobilier caracteristique, ces divers monuments se refusent, pour la plupart, a toute tentative de datationOur knowledge about protohistoric times in morocco has greatly evolved. Until lately, the scientific community has always denied simply and purely, the use of metals by paleoberber populations before the arrival of the phoenician traders. The data available today allow us to say that the western maghreb knew a cooper age and a bronze age. The two ages are very sensitive to the influences coming from the iberic peninsula. However, documents in favour of a local metallurgical industry exist. The iron age in morocco is characterized by the development of the high habitat with a defensive aspect and the multiplication and the diversification of funerary monuments. These funerary monuments get their prototype either from the iberic peninsula or from the sahara. But there exist also some types of monuments which are characteristic of morocco. Since characteristic documents are not yet found, it is difficult to put a date on the majority of these monuments
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Xandri, Guitart Marcel. "Monuments "a los caídos por dios y por España" a Catalunya, 1939 a 1970." Doctoral thesis, Universitat Autònoma de Barcelona, 2016. http://hdl.handle.net/10803/394062.
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Aquesta tesi doctoral investiga la interacció que existí entre els ajuntaments i les institucions centrals del govern franquista respecte la gestació dels monuments “a los Caídos por Dios y por España” (o “por la Patria”) erigits a Catalunya entre 1939 i 1970, és a dir des de la victòria de les tropes “nacionals” fins gairebé els darrers anys de la dictadura, i amb una pluralitat d’aspectes relacionats amb aquestes obres que es construïren a l’espai públic amb fins propagandístics, sovint substituint-ne d’altres de commemoració o estil rebutjats pel nou règim instaurat. Així, s’ha descrit els cerimonials o actes rituals d’homenatge relacionats amb aquests monuments, així com el tractament arquitectònic i urbanístic que s’atorgà als espais que allotjaven les obres impulsades per les corporacions municipals i les particularitats locals i factors socioculturals i raons d’organització i normatives que haurien influït en l’elecció d’uns models tipològics i estilístics i llurs emplaçaments i en la gènesi dels projectes i l’execució de les obres, elements en els que s’evidencia un escenari caracteritzat per una multiplicitat de situacions distintes.
La part inicial d’aquest treball es centra en la base teòrica, el context històric i els aspectes de ideològics, propagandístics, estètics i relatius a la idiosincràsia del règim franquista que foren determinants per a la gestació d’aquests monuments. L’anàlisi de les realitats locals s’ha portat a terme per poblacions, agrupant les iniciatives monumentals que es van impulsar, i classificades en quatre grans àmbits territorials: l’àrea de proximitat de Barcelona, la Catalunya central, les terres de Ponent i les comarques nord-orientals. La ciutat de Barcelona s’analitza separadament, com a capital i degut a la seva singularitat, tant en el tarannà artístic i urbanístic com per la seva complexitat i diversitat de monuments.
La reconstrucció de les casuístiques dels diferents municipis i els comportaments dels ajuntaments respecte els procediments seguits, la cronologia i temporalitat amb la que els monuments foren aprovats, dissenyats i erigits i l’elecció dels projectes han demostrat que, contràriament a l’estesa visió d’uniformitat amb la que sovint es contempla aquest període històric, no existia un criteri unificat o una interpretació unitària de les directrius, els estàndards i les normes en la matèria. També s’ha comprovat, en línies generals, una evolució entre les obres construïdes amb major immediatesa en consolidar-se l’ascens de Franco, els monuments definitius que s’alçaren durant els primers dos terços dels anys quaranta i els que veieren la llum amb posterioritat. Tanmateix, també s’ha pogut identificar divergències entre, per una banda, zones en què es preferí seguir una tendència continuista d’uns cànons i convencions estètics com la geometria quadrangular, la sobrietat, les formes classicitzants, la severitat i la verticalitat, que responien a uns dictàmens i principis que, de manera genèrica i difusa, havien emès els dirigents o teòrics propers al règim i integrants del pensament feixista espanyol, i unes ciutats que, per altra banda, apostaren per certa innovació i progrés estilístic i cercaren certa originalitat i diferenciació en les creacions que exhibiren en els seus espais urbans. Relacionat amb aquest fet, cal dir que s’ha revelat, en la compilació de la documentació de tramitació d’aprovació dels projectes per part del poder central, que el control fou major durant el primer franquisme, imposant modificacions que són mostra del moment de major obstinació i rigidesa del règim i, com a resultat, redirigint les decisions locals. Paral·lelament, s’han trobat casos en què es projectaren i aprovaren monuments que mai s’arribaren a construir i en què s’adoptà una solució commemorativa alternativa.This dissertation explores the interaction between local governments and the central institutions of the Franco post-military coup regime regarding the creation and construction of the monuments dedicated to the “Caídos por Dios y por España” (the fallen members of the Fascist bloc) erected in Catalonia between 1939 and 1970 (from the victory of the Fascist troops until the last years of the dictatorship) and a number of related issues. The new monuments were used as part of the propaganda artillery of the totalitarian regime of Franco for its construction of a collective memory and the vindication for legitimacy of conferring heroism to the fallen and linking their death to the laudable subjugation to the will of God, while contributing to the imposition of “Catholic-National” identity. It describes the ceremonial or rituals of homage related to these monuments, as well as the architectural treatment given to the urban spaces that housed the works promoted by the municipalities, often replacing other monuments of remembrance or style that were rejected by the new regime installed, as well as the local particularities and sociocultural factors and organizational reasons and regulations that would have influenced the choice of stylistic and typological models and their locations and the genesis of the project and execution of the works, aspects that demonstrate a scenario characterized by a multiplicity of different situations. The initial part of this work focuses on the theoretical framework, the historical, ideological and aesthetic context and in regard to the idiosyncrasy of the Francoist regime which were decisive in the gestation of these monuments. The analysis of local realities has been carried out and presented within a classification by towns and geographic areas: the zone of proximity to Barcelona, Central Catalonia, the West of the region and the Northeast. Barcelona is analyzed separately, as the capital and due to its uniqueness in both urban and artistic character as to its complexity and diversity of monuments. The approach to the various situations, decisions and performance shown by the different local council authorities of the different towns regarding the procedures followed, the chronology and timing with which the monuments were approved, designed and erected and the projects chosen have proved that, in contrast to the widespread view of uniformity of this historical period, there was no unified criterion or unitary interpretation of guidelines, standards and regulations on the matter. It has also demonstrated an evolution, though unevenly, among the works built with greater immediacy after the rise of Franco, the planned monuments that rose during the first two thirds of the forties and those that saw the light later. However, significant differences have been identified between, on the one hand, areas with a remarkable tendency of continuity to preserve the aesthetic canons and conventions (quadrangular geometry, sobriety, classical shapes, severity, verticality), adopting recognizable patterns and respecting to generic principles dictated by the rulers and theoreticians of the Spanish fascism, and, on the other hand, cities that opted for a certain innovation and progress in terms of style and sought originality and differentiation in their creations exhibited in the public space. In addition to this, and revealed by the compilation of documentation of project approval processing, it has been found out that the control by the central power was higher during the first period of the dictatorship imposing changes that are proof of a the moment of greatest obstinacy and rigidity of the regime and, as a result, redirecting local decisions. Simultaneously, several monuments were conceived and approved but never brought to reality.
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Tanchoux, Philippe. "Heurs et malheurs de l'administration chargée de la protection des monuments historiques en France; 1830-1848." Centre for Local Government, 2008. http://clg-cgl.politics-and-society.ca/.
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Herbin, Frédéric. "Monuments, espaces, histoire : les monuments votifs et honorifiques du sanctuaire d'Apollon à Délos, à l'exclusion des bâtiments comportant un toit." Paris 1, 2010. http://www.theses.fr/2010PA010721.
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Cette thèse traite de la question des monuments votifs et honorifiques du sanctuaire d' Apollon à Délos, soit principalement des bases de statues et de trépieds qui y sont encore conservées et qui couvrent une période allant de l' époque archaïque à l' époque impériale (VIIe s. Av. -IIIe s. Ap. ). Une description de près de 200 fondations et monuments encore in situ est complétée par l' analyse de plus de 150 dédicaces qui ont été trouvées dans le sanctuaire lors de la fouille. L'analyse détaillée, illustration et comparaisons avec d'autres sites à l'appui, des caractères architecturaux de ces monuments amènent à reconsidérer leur chronologie. La typologie de ses monuments adopte de nombreuses formes, allant de la simple monolithique plinthe au monument à plusieurs colonnes. La répartition spatiale de ces vestiges permet de retracer largement l' évolution du paysage monumental et des espaces de circulations à l'intérieur du sanctuaire. A partir des données recueillies par l' étude des inscriptions et des autres vestiges, il est possible de retracer une histoire de la pratique de l'offrande monumentale dans le sanctuaire délien. Aux origines, c'était une pratique pieuse, qui a très vite, semble-t-il, pris une connotation politique, tout à fait caractéristique de l'esprit agonistique grec.
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Clark, Douglas. "The neo-monument : monuments of dissent and their emergence in western culture in the late 20th and early 21st century." Thesis, Bath Spa University, 2017. http://researchspace.bathspa.ac.uk/10426/.
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This research addresses contemporary art practice and the monument in the 21st Century. In doing this, the notion of the monument in this research is considered to be an art object, conceived by artist(s) to memorialise, remind, instruct, or warn the public, as in the original derivation of the word ‘monument’. The late 20th Century started to see, in part, the democratisation of the monument. Here I propose that he traditional monument has always been political and a tool of the ruling elite. However, where previously the ‘Establishment’ influence was absolute, in recent times, some artists have sought creative space to place more controversial work in the public arena. Released from the restraints of authority, new monuments have been created that question the vicissitudes of our existence and it is this field of artistic practice that is the central issue in this research. Unlike monuments of the past, although they might have sprung from an historical event, these new monuments are less about memorial and more about the present. Often they ask demanding questions of our culture, our governments and of us, the people. Significantly, they are ‘monuments of dissent’ and because of their rejection of the status quo, it is proposed here that they should be termed ‘Neo-Monuments’. Whereas traditional monuments were normally to be found on the street, in the square or park, these spaces have now been augmented by an increasing number of publicly accessed galleries. We will see that there is now a more open-minded approach to critical, questioning even provocative monuments, and that we are seeing them both in galleries and in the public milieu. It will be argued that they are however still viable forms of communication. This research is informed by the creation, exploration, experimentation and analysis of my own art practice. Conclusions gained from this practice will be used to inform this research. Additionally, case studies of other artists engaged with the form and development of the neo-monument will be analysed to understand their rationale, and from this to determine what sets their work apart and allows them to be regarded as a neo-monument. This research will reflect on art-monuments created from the last quarter of the 20th Century until the present.
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Haurie, Béatrice. "Les monuments publics de Raymond Delamarre (1890-1986)." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2012. http://tel.archives-ouvertes.fr/tel-00745740.
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Premier grand prix de sculpture en 1919, le parisien Raymond Delamarre se positionne dans le nouvel ordre plastique néo-classique du groupe des prix de Rome des années 20 (peintres Dupas, Roganeau, Billotey, Pougheon et Despujols, sculpteurs Foucault, Janniot, Martial et Vézien, graveur Decaris, architectes Carlu, Roux-Spitz et Azéma). Porté par nature au colossal, il se libère de l'académisme de l'école des Beaux-Arts et concilie sa spécificité de médailleur et d'artiste-décorateur avec celle de la monumentalité. Recevant ses commandes d'architectes souvent prix de Rome, il est avant tout un sculpteur élégant aimant les allégories. Ses œuvres complexes se situent entre tradition décorative, hyperréalisme et modernité classicisante. Il puise sa plasticité volumétrique et ses simplifications aux sources de l'art grec archaïque et ses modèles techniques et stylistiques à la toreutique romaine. Sensible aux maniéristes italiens, il se réfère aussi à l'art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l'Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l'expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d'une identité nationale de l'art et montre qu'elle peut donner naissance à des créations puissantes, rythmées et inventives.italiens, il se réfère aussi à l'art français sous toutes ses formes. Il emprunte leurs sinuosités à Ingres, Burne-Jones et l'Art nouveau, au synthétisme de Bourdelle et au style Art déco. La théorie des profils de Rodin lui apprend sa gymnastique de la vue. Janniot lui inspire les étagements des figures dans ses reliefs monumentaux. Sa recherche de références fiables donne une valeur historiciste, didactique et symbolique à ses œuvres qui, après guerre, deviennent parfois trop systématiques. Il excelle dans l'expression de formes lisibles, aux lignes poétiques originales, qui doivent aux audaces des cubistes. Il affirme la continuité d'une identité nationale de l'art et montre qu'elle peut donner naissance à des créations puissantes, rythmées et inventives.
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Swart, Rosemary Helen. "Environmental protection of geological monuments in South Australia /." Title page, contents and abstract only, 1992. http://web4.library.adelaide.edu.au/theses/09ENV/09envs973.pdf.
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Carrington, David Leonard. "English church monuments to 1750their survival and conservation." Thesis, University of York, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.530112.
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Easter, Clive James. "Church monuments of Devon and Cornwall c1660-c1730." Thesis, University of Plymouth, 2006. http://hdl.handle.net/10026.1/747.
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This thesis is concerned with an analysis of church monuments in the south west peninsular counties in the period 1660-1730 and sees the monument within this region as a culturally significant object that has hitherto been largely ignored. The focus of this thesis is an analysis of the monuments themselves based on a photographic archive. This is complemented by an examination of wills and the requests for monument and other status indicators contained in those documents. The thesis also considers how the placement of the monument is an indication of social status or status pretensions and how the materials used in the manufacture of the monument also have a status dimension. Chapter 1 examines the available literature and establishes the methodology of the project. Chapter 2 looks at issues surrounding wealth and commemoration including the role of the church and the death ritual as practised at that time. Chapter 3 considers the patterns of monument distribution and also provides an analysis of the component parts of the monument. Chapter 4 focuses on the work of artists and workshops and shows that of the two major workshops working in the early seventeenth century - John Weston of Exeter and the Jeweils of Barnstaple - more examples of their work have been identified as a result of this study. The chapter also looks at examples of work from artists outside the region and probable work from London yards has been identified. The final chapter looks at issues surrounding social status. The interpretations of modern authors are considered and the chapter goes on to show how status is expressed on the monument. Patterns of distribution by social status are examined and an analysis is provided of peninsular counties monuments based on social status models.
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Loveday, Roy. "Cursuses and related monuments of the British Neolithic." Thesis, University of Leicester, 1985. http://hdl.handle.net/2381/27649.
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Excavated sites provide the morphological criteria for cursus identification. Two principal plans exist: type A (convex terminals), type B (squared terminals); and three structural forms: ditched enclosures, pit (?post) defined enclosures and linearbanks. Application to cropmarks reveals a continuum from very short (5Om) to greatly elongated sites (564Om), divisible into groups titled MAJOR and MINOR CURSUSES and OBLONG DITCHES. The latter grade into cropmarks of ovate and trapeziform plan necessitating initially common treatment as ELONGATED DITCHES. Some may represent former multiple round barrows but the principal oblong ditch range is set apart. To an even greater degree than cursuses these are concentrated in the Midland/East Anglian region. Despite 1st millennium bc dates for three sites (two European) the majority can be ascribed to the Neolithic. Two types of monument are indicated: long mortuary enclosures and turf built long barrows. Long mortuary enclosures are distinguished from palisade enclosures(mound features) and regarded like shallow flanking ditches elsewhere (eg Dalladies) as delimiting the intended barrow precinct. Mounds probably stood within some priorto plough erosion but the heavy demands of turf construction ensured that they attained monumental permanence in the Midland / East Anglian region. Bank barrows with nominal mounds may also have been common there (extended oblong ditches). They represent the other element needed for Later Neolithic cursus development. It is suggested that this ancestry best explains cursus purpose: as a temenos associated with ancestral/mortuary practices. Extreme proportions ensured siting on extensively, rather than intensively, utilized land (in some cases wooded) but exceptional demands on land and labour are indicated only in Wessex and East Yorkshire. AIthough cursuses were probably the earliest pan tribal monuments, the form seems to have been refined during the 2nd millennium in their early heartland to the virtual exclusion of henges.
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White, Adam Charles Fawcett. "Church monuments in Britain c.1560 - c.1660." Thesis, Courtauld Institute of Art (University of London), 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321279.
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Harris, Amy Louise. "The funerary monuments of Ireland 1560-1660 A.D." Thesis, University of Sussex, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429734.
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DANZIGER, LEILA MARIA BRASIL. "ABSENT BODIES: BERLIN AND THE MONUMENTS OF AUSCHWITZ." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2003. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=4270@1.
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COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIORO trabalho expõe os novos desafios das práticas do monumento, reativadas pela tarefa - aporética, por definição, - da memória de Auschwitz. A partir do contexto mais amplo da arte moderna e contemporânea, os monumentos ao Holocausto são vistos como imprescindíveis na construção da República de Berlim. No infindável debate sobre o colossal Monumento aos judeus assassinados da Europa, a construir-se no centro da capital da Alemanha reunificada, espelham-se, exaustivamente, ampla gama de questões historiográficas, memoriais e identitárias. Por outro lado, uma rede de obras dispersas propiciam diferentes inscrições da insanável ausência dos judeus na cidade. Nestes (anti) monumentos, percebemos Berlim como oficina da história e a arte contemporânea face ao imperativo ético do testemunho.
The work presents the new challenges of monument practices, revived by the so-called paradoxical task of Auschwitz memory. From the broader context of modern and contemporary art, the monuments to Holocaust are seen as essential to the construction of the Berlin Republic. The endless debate on the colossal Monument to Jews slaughtered in Europe, to be built in the centre of the capital of the reunited Germany, reflects questions such as history, memory and identity to the fullest. On the other hand, a network of scattered works provide different accounts of the irremediable lack of Jews in the City. In such (anti) monuments, we see Berlin as a history workshop and the contemporary art in view of the ethical imperative of witnessing.
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Roche, Marie-Jeanne. "Niches à bétyles et monuments apparentés à Petra." Paris 10, 1985. http://www.theses.fr/1985PA100241.
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Láskarīs, Nikólaos G. "Monuments funéraires paléochrétiens (et byzantins) de la Grèce." Paris 1, 1991. http://www.theses.fr/1991PA010639.
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La topographie funéraire présente l'introduction des inhumations dans les églises qui sont divisées en quatre catégories, cimetériales, paléochrétiennes, désaffectées et mésobyzantines. La pénétration des tombes dans la ville constitue un autre sujet important. De l'analyse des données on présente la disposition de la tombe et du défunt selon les coutumes chrétiennes. On trouve les formes des tombes déjà connues et particulièrement celle en berceau. De l'étude du mobilier trouvé, lampes, vases, monnaies etc. Il résulte que les coutumes anciennes persistent mais à une échelle réduite. L'étude des martyria concerne un petit nombre de martyria authentiques, triconques, tétraconques et d'autres formes. On étudie aussi la problématique de la forme et de la fonction dans d'autres bâtiments des mêmes formes. On présente d'autres cas dont l'identification est prématurée ou fausse. L'étude de la basilique de St Démétrius de Thessalonique a un intérêt particulier par la pluralité des éléments et les considérations qui dépassent les faits archéologiques. La catacombe de Melo et le cimetière rocheux de Methoni constituent des exemples implantes sur les côtes méditerranéennes avec toutes les caractéristiques de ceux de Rome et de la Sicile. Le monument de Thèbes présente beaucoup de problèmes d'identification et le cimetière de Samos offre une disposition particulière. Les représentations de la peinture sont de styles variés d'une réminiscence latine et d'une thématologie païenne, thèmes bibliques d'un style élégant et d'une datation avancée. . .
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Ben, Hassen Habib. "Thignica (Ai͏̈n-Tounga) : son histoire et ses monuments." Paris 4, 2003. http://www.theses.fr/2003PA040013.
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Thignica, l'actuelle Ai͏̈n-Tounga est un site archéologique du nord-est dde la Tunisie. Il se trouvait dans l'Antiquité, sur la voie qui reliait Carthage à Theveste. C'était une ancienne agglomération imprégnée de culture punique. Cette étude essaie de retracer son histoire municipale; la ville passe de cité indigène (civitas) au statut de municipe à l'époque de Septime Sévère. Une découverte récente atteste qu'elle était dirigée à l'époque punique par des suffetes. L'étude essaie d'expliquer et d'interpréter l'expression qui mentionne les "deux parties de la ville" : "utraque pars civitatis thignicensis". Ensuite la thèse aborde l'étude des différents monuments de la ville, et ce à la lumière des nouvelles découvertes épigraphiques : mises au jour à l'occasion de fouilles pratiquées récemment. Une description détaillée (concernant ces monuments) accompagnée d'une analyse architecturale et de plans inédits, sont livrés ici au monde scientifique avec des essais de datation et d'interprétationThignica, actually Ain-Tounga, is an archeological site located in the north-west of Tunisia. In the Antiquity, we could find it on the way that connected Carthage to Theveste. It used to be an old Numid agglomeration marqued deeply with punic culture. This study tries to tell us about its local history. The city moves from native city (civitas) to the statute of "municipum" on the period of Septime Severe. A recent dicovery proves that it was led during the punic era by suffetes. The study tries to explain and interpret the expression that mentioned "the two sides of the town" : 'utraque pars civitatis thignicensis". The the thesis attempts to study the different monuments ofthe town through recent epigraphical discoveries, realised during excavations practiced on the site. A detailed description concerning these monuments is accompagned with architectural analysis and the unknown plans, all this isaddesses to the scientific community, with essays of datation and interpretation
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Ahmed, Khaled. "Les monuments civils d'Alexandrie à l'époque gréco-romaine." Lyon 2, 2003. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2003/ahmed_k_notice.
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L'ensemble de notre étude porte sur les monuments civils d'Alexandrie à l'époque Greco-romaine. En effet, la gloire et l'épanouissement de la ville d'Alexandrie à cette époque ont fait qu'elle soit dotée d'un certains nombres de "symboles" civils, l'exemple le plus révélateur fut le Phare. L'étude consiste en une approche détaillée de chacun de ces monuments civils. Dans certains cas, le suivi est depuis l'origine de la conception jusqu'à l'effondrement ou la disparition, dans d'autres cas, c'est le suivi de l'évolution de celui ci et l'état dans lequel il se trouve de nos jours. Une liste de ces monuments fut dressée dans cet ouvrage, enrichie par des commentaires tissés à la lumière des fouilles et tout particulièrement les fouilles sous marines qui ont prix beaucoup d'ampleur vers la fin du 20ème siècle. Les manuscrits arabes qui sont traduits au cours de ce travail ont été de grand recours, ils nous ont aidés à avoir une image de la ville et ses monuments civils à l'époque arabo-musulmane. Une partie du travail fut consacrée aux métropoles grecques en Egypte telle que Naucratis et Ptolémai͏̈s afin de pouvoir établir une comparaison avec Alexandrie et souligner la position politique et stratégique dont elle jouissait à cette époque non seulement en Egypte mais aussi dans tout le bassin Méditerranéen. L'Avant Alexandrie, et les activités égyptiennes sur la Méditerranée avant l'arrivée d'Alexandre le Grand sont des points qui ont été mis en exergue. D'ailleurs, nous avons évoqué les diverses raisons avancées jusque là concernant la fondation de cette ville. Cette étude présente également une description générale de l'Alexandrie greco-romaine d'après les textes égyptiens et grecs. Un ensemble de cartes intéressantes se trouve à l'appui dans l'espoir de faciliter la lecture et de la rendre plus accessible.
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Persson, Sophia. "New Urban Monuments: Critical Urbanism as Curatorial Practice." Thesis, Malmö universitet, Fakulteten för kultur och samhälle (KS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-21576.
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New Genre Public Art was originally defined by Suzanne Lacy in 1991 as an activist approach to the public; it was a type of public art that was often created outside the institutional structure which brought the artist into direct engagement with the audience, while addressing social and political issues. In 1993, the public art exhibition ’Culture in Action’, curated by Mary Jane Jacob, marked a conceptual shift from static to dynamic public art. The exhibition is considered a landmark event in the development of public art as it was among the first projects to frame communities as the structure and content of its art.During the past decade (2010–2020), urban development has become incorporated as an integral part of the work of the Public Art Agency Sweden, and the agency have established their own curatorial department in order to curate and produce their own public art exhibitions. As Public Art Agency Sweden is a State agency, their work is largely determined by official policies formulated by the Swedish government. This thesis analyzes the contemporary policies of urban public art by conducting an interdisciplinary critical discourse analysis that merges art history, curatorial– and urban studies, in order to trace the influence of discourse to how Public Art Agency Sweden has operated within this intersection during the last decade––ultimately to discuss what the Swedish policies on public art strive to achieve and the risks, ethics and responsibilities of the emerging field of urban, context-based curatorship.
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Reeder, Jane Clark. "Agyieus and baluster, aniconic monuments in Roman art /." Providence (R.I.) : Louvain-la-Neuve : Center for old world archaeology and art, Brown university ; Institut supérieur d'archéologie et d'histoire de l'art, Collège Erasme, 1995. http://catalogue.bnf.fr/ark:/12148/cb39142317n.
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Ahmed, Khaled Empereur Jean-Yves. "Les monuments civils d'Alexandrie à l'époque gréco-romaine." Lyon : Université Lumière Lyon 2, 2003. http://theses.univ-lyon2.fr/sdx/theses/lyon2/2003/ahmed_k_notice.
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Toupal, Rebecca, and Richard W. Stoffle. "Traditional Resource Use of the Flagstaff Area Monuments." Bureau of Applied Research in Anthropology, University of Arizona, 2004. http://hdl.handle.net/10150/272100.
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Under Cooperative Agreement Number H8601010007, BARA contracted with the
NPS to amend the document review with primary data from representatives of the tribes that were found to be historically and culturally affiliated with Sunset Crater Volcano, Walnut Canyon, and Wupatki National Monument. Additionally, this addendum to the affiliation study includes information about traditional uses of park resources as described by tribal representatives. This information is critical to park management and for compliance with various laws, regulations, executive orders, and policies so that park managers can better address tribal requests for continued access and use of park resources.
The first purpose of this study is to amend the completed literature search with primary data collected with tribal representatives of the six ethnic groups. This data will provide contemporary validation of the literature search and contribute additional information related to tribal affiliation.
The second purpose of this study is to provide primary data about past and present tribal uses of park resources. As a Traditional Use Study of park resources, this effort contributes information essential to park management as well as to compliance with a myriad of laws, regulations, executive orders, and NPS policies.
The specific objectives of this study include identification of natural resources at each park that are used for traditional purposes, descriptions of the cultural importance of these resources, and, where possible, links between contemporary resource use and records of historic use.
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Lee, Karen M. "The historical development of Zimbabwe's museums and monuments." Thesis, University of St Andrews, 1996. http://hdl.handle.net/10023/15127.
Full textAbstract:
The history of Zimbabwe's museums and monuments begins with the coming of British settlers to the colony of Rhodesia in 1890. By 1902 Rhodesia had one fully functional museum called the Rhodesia Museum. This museum concentrated on geology and natural history, two areas that the new colonists were anxious to explore and exploit in order to build up the country's young economy. In 1936 the Rhodesia Museum was nationalised and in the next twenty years two more museums were added to the National Museums of Southern Rhodesia organisation. Although the museums emphasised their objectivity as research and educational centres they also followed government policies that promoted white colonial culture over that of the indigenous black population. This suppression of the African heritage was more marked in the settlers' attitudes towards the country's monuments. At Great Zimbabwe and Matopos, both traditionally significant for local blacks, the white colonists supported interpretations that justified their rale over the African and rejected any involvement of the black tribes in the history of these two monuments. During the 1950s the museums and monuments conformed to the white administration's agenda and took an increasingly biased stand against the Africans, who had started to demand a greater say in the government of Rhodesia. By the time civil war broke out between black and white Rhodesians in 1966, these cultural organisations had become political tools for the colonial cause. This made their situation difficult when after fourteen years the black nationalists won the right to rule Zimbabwe. However, because of their unique ability to mirror the political, social and economic circumstances of the country the museums and monuments remain important contributors to Zimbabwe's cultural history and heritage.
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Ammar, Hakim. "Les monuments des eaux à Sala dans l'Antiquité." Paris 1, 2007. http://www.theses.fr/2007PA010563.
Full textAbstract:
Intitulée Les Monuments des eaux à Sala dans l'Antiquité, cette recherche s'inscrit dans la continuité des travaux conduits sur l'hydraulique en Maurétanie tingitane. Elle a permis de parvenir à des résultats importants. Notre travail s'articule en trois parties. La première partie donne un aperçu sur les citations de Sala et de Chellah dans les sources classiques et arabes, ainsi qu'un historique concernant les recherches qui ont été faites sur cette cité et sur ses abords immédiats. La seconde jette un éclairage sur les them1es du forum. La troisième porte sur quatre autres monuments à savoir un aqueduc, un nymphée, un château d'eau et des fontaines. Une description détaillée, une chronologie relative, lorsqu'elle est possible, suivie d'une datation faite sur la base de sondages que nous avons implantés, ont intéressé ces monuments.