Zugl.: Jena, Univ., Diss., 2006

Zugl.: Jena, Univ., Diss., 2006

Thesis (Ph. D.)--University of Texas at Austin, 2008. / Vita. Includes bibliographical references.

Thesis (Revise). / Bound. - Contains bibliography (p. 343-368), bibliographical references, notes and indices. - Half title: Pontificia accademia cultorum martyrum.

Thesis (doctoral)--Eberhard-Karls-Universität Tübingen. / Includes bibliographical references.

The practice of architecture exists because man has sought shelter from the forces of the world he finds himself. It is wonder of this same world that has caused him to shape his rooms from age to age. In every instance, he recreates the world within the world with the materials of that world. It is the marks, the cuts, the juxtaposition, and the joining of these materials in which ornament dwells. It is present wherever man has shaped material for construction. It is a whisper when homogenized, and it is a trumpet blast when varied. This thesis will delve into the making of ornament, and my love for it. My first cognizant encounter with architecture, was my fascination with the sculpted stones of the gothic cathedrals. It was the ornament that caused me to be fascinated and to remember. So for this thesis, I sought to imagine walls worth remembering. I wanted to touch every material with my mind's eye so that it might be a gift for others. I wanted to ornate. It seemed best for the design to be sacred and to be in an urban setting. I also thought that the presence of time and aging might help the thesis. I came to choose the program of a catholic cemetery in Philadelphia. I hoped to explore what meaningful marks and arrangements of materials I could impart to this ephemeral world. / Master of Architecture

Since Suetonius, Odes 4 has been the focus of much criticism and apology. Some explanation seems required for Odes 4’s apparent disunity and eclectic mixture of encomium with occasional pieces. My dissertation offers an interpretation of Book 4 by considering it in the light of the Mausoleum of Augustus. By considering the ways in which Horace builds evocations of the Mausoleum into book 4, I argue that there is sustained connection between the two works, which points towards a unified purpose for Odes 4: Horace is building a literary Mausoleum of Augustus. The first chapter establishes the justification for viewing Odes 4 through the lens of the material world by considering the functions of architecture and topography in Horace's models and contemporaries. After studying the ways the city of Rome is used by the Augustan poets and by Horace, the chapter concludes by making a case for understanding Odes 4 as a poetic monument. The second chapter studies the interrelationship between C.3.30 and the Mausoleum. First, I parse out a preliminary list of the Mausoleum's evocations. I then show how Horace evokes the Mausoleum in C.3.30 and recreates it in the poetic sphere. In chapter 3, I revisit Horace's autobiography and Suetonius's statements regarding the origin of Odes 4. I argue that the impetus of Odes 4 is not imperial compulsion but rather Horace's understanding of his own role as poet in the years following his selection by Augustus to compose the Carmen Saeculare. In chapter 4, I make the case for Odes 4 being a literary Mausoleum of Augustus. I first discuss the ways Horace builds his new poetic work upon the foundation of his earlier lyric successes. I then show how Horace uses the themes of time, death and the power of poetry as the brick and mortar of his literary mausoleum. I conclude by showing how Horace praises Augustus in ways that engage specifically with the Mausoleum by incorporating many of its evocations into this book. / text

Univ., Diss.--Jena, 2006.

Les fouilles archéologiques et les prospections conduites à Ghazni ont permis de collecter une grande quantité de documents épigraphiques. Parmi ceux-ci, un corpus inédit d’inscriptions funéraires en langue arabe, gravées sur des tombeaux en marbre, fait l’objet de cette étude qui se base sur un fonds photographique unique, gardé dans les archives de la Mission Archéologique italienne en Afghanistan (1957-1978). Ces tombeaux, datés entre le VIIIe/XVe et le XIIe/XVIIIe siècle, témoignent d’une nouvelle phase d’activité de la ville après la période d’abandon dans laquelle elle fut plongée au VIIe/XIIIe siècle, suite à l’invasion des hordes mongoles. À cette époque, Ghazni perd à jamais son rôle politique et culturel mais la ville continue à jouir d’une réputation de sacralité assurée par la présence de mausolées et de tombeaux vénérables des souverains ghaznévides et des personnages renommés de l’époque qui y furent enterrés. Leurs tombeaux devinrent bientôt des lieux de dévotion populaire et de pèlerinage inscrits dans un circuit dévotionnel d’importance locale. Le prestige historique et religieux de ces monuments est resté intact et s’est renouvelé au fil du temps, les cimetières de la ville ont grandi et se sont multipliés jusqu’à dessiner une nouvelle topographie urbaine. Ces tombeaux et leurs épitaphes permettent de retracer un profil tout-à-fait nouveau de la ville et de ses habitants entre la fin du moyen-âge et l’époque pré-moderne. Il s’agit de monuments authentiques en termes de forme et conception, résultat d’une production qui n’est pas associée à une dynastie ou à une époque particulière, mais qui est fortement enracinée dans la culture locale de la ville / Archaeological investigations and surveys in Ghazni - the ancient capital of the Ghaznavids (late 10th-12th c.) - delivered a large amount of epigraphic documents. Among these, an unpublished corpus of funerary inscriptions engraved on marble tombs is the object of this study, mostly based on the photographic archives of the Italian Archaeological Mission in Afghanistan (1957-1978).These lavishly decorated tombs, dating from the 15th century onwards, bear epitaphs carved in cursive script, which display a combined use of Arabic and Persian. They attest of a new phase of activity of the city and shed new light on Ghazni history, after the long period of dump and destruction it suffered in the aftermath of the Mongol invasion (early 13th century), when the city lost its ancient political and cultural hegemony. Nevertheless, Ghazni witnessed a new renaissance as a religious and pilgrimage centre as the high number of mausoleums, holy shrines and tombs prove. These monuments mostly belong to local prominent personalities and often preserved the echo of their prestige for centuries, attracting later burials and becoming part of a local holy itinerary. Extensive cemeteries and burial sites grew up all around the city, redefining the local sacred topography.The tombs and their epitaphs draw a new sketch of the city and its inhabitants between the late Middle Ages and pre-modern times. They maintained a refined level of craftsmanship along the centuries, showing an outstanding artistic longevity and originality which is the result of a production not associated to a particular dynasty or epoch but deeply rooted in Ghazni local culture

Collective memory emerges within our physical realm through material and spatial manifestations that link personal and collective conceptions of the past and present. The role of the memorial, as the primary urban element of collective memory, aims to encourage selective remembrance and reconciliation as part of a cultural healing process held over time. This thesis is situated in the city of Sofia, at a site of collective traumatic memory: the site of the former G. Dimitrov Mausoleum. Once considered the icon of Bulgarian communism, this building was symbolically demolished in 1999, following the collapse of the regime, leaving a scar in the heart of the city’s fabric and consciousness. This site, along with its abandoned adjacent public square, has become a significant representation of the urge found across all of the former Eastern Bloc countries, to suppress and erase the memory of the recent traumatic past, as a means to heal. However, without any efforts to commemorate, reconcile or face the past, the restrictive environment of oppression during the regime has in turn been replaced by an environment of repression, where mourning has become an impossible task. The modern tradition of public commemoration has been founded upon the notion that permanent monuments as physical objects can become representations of collective memory, preserved through time. Throughout the various attempts to create memorials, this assumption has remained for the most part unquestioned. However, the memorial as such has recently faced a major debate, as the issues of memory and forgetting have emerged as dominant concerns in dealing with the trauma that continues to haunt modern Western culture. Consciously discrediting the reality of the events and the victims associated, the Bulgarian culture has created a form of disconnect between its identity and its collective memory. Challenging the static forms and detached imagery, this proposal will reexamine the traditional definition of the monument as object on pedestal. By revisiting the site where the void left by the demolished mausoleum still haunts those trying to forget, and allowing the memory to emerge back into the collective consciousness, this proposition will allow the trace of the past to be transformed and connected to a new city narrative of remembrance. An engaged and dynamic ritual, beginning and ending at the memorial site, will draw a connection between space, time and memory through a series of new public spaces. Through the recovery of collective memory, it will offer an alternative to the healing process. The memorial is dedicated to the countless victims of censorship and control during the Iron Curtain regime.