In the wake of recent protests in support of social justice, racial equality, and decolonization, activists, scholars, and community leaders have called for a radical reassessment of monumental practices across the world. As a result, hundreds of monuments and memorials honoring controversial figures and ideals have been removed and altered in the United States and abroad. Despite the increasing acceptance of removing offensive or culturally insensitive monuments, a practice commonly referred to as “iconoclasm,” there has been little consensus on what to do with spaces where statues or monuments have been taken down. This thesis examines both the role of monuments in this new era of post-colonial and racial consciousness by looking at monuments in the Commonwealth of Massachusetts. After reviewing the debates surrounding the removal of controversial statues and memorials, the thesis will focus on various monuments in the state which have been taken down, or have been the center of campaigns calling for their removal. The thesis then concludes by suggesting four design strategies to replace and alter these spaces in order to better honor the history and citizens of Massachusetts and to reflect a more equitable future.

Thesis (Honors)--College of William and Mary, 2008. / Includes bibliographical references (leaves 59-64). Also available via the World Wide Web.

"Durant les 17 années du règne de Louis-Philippe d'Orléans, la France a entièrement restauré ses monuments historiques. La Monarchie de Juillet a entrepris la restauration et l'entretien de ses monuments construits sous l'Antiquité, le Moyen Age et le premier Empire. Parallèlement à l'action des Parlementaires, le Roi des Français, sur les fonds de sa dotation pécuniaire qui lui était versée chaque année par le Trésor Public, a entrepris un vaste plan de restauration des palais placés dans le domaine de la Couronne : Les Tuileries, Saint Cloud, Fontainebleau, Compiègne, Meudon... Il transforma aussi le palais de Versailles en "Musée consacré à toutes les Gloires de la France". Rien que ce chantier lui coûta personnellement la somme de 24 Millions de Francs.La Monarchie de Juillet, qui était un régime né de la révolution de Juillet 1830, devait se construire une légitimité à partir de rien. Ne pouvant se réclamer ni de la Tradition, ni de la gloire des armes, ni même de la Souveraineté du peuple ou du Principe monarchique, la jeune Monarchie de Juillet entama une vaste politique de restauration et d'achèvement de monuments qui dataient notamment de l'Empire et de la Monarchie absolue. Il s'agissait, pour Louis Philippe, de s'approprier l'intégralité de l'héritage politique français, afin de montrer le caractère universel de son régime. C'est ainsi que la Monarchie de Juillet construisit sa légitimité à gouverner la France.Cette thèse analyse les budgets investis dans les monuments français par les Gouvernements et les parlementaires, entre Juillet 1830 et Février 1848 (date de la chute de ce régime), ainsi que la politique conduite dans ce domaine des monuments, personnellement par Louis-Philippe à la même époque. L'auteur à dépouillé intégralement une partie du fonds O/4 des Archives Nationales de France, travail qui n'avait pas été réalisé jusqu'alors avec autant de précisions." / "During the 17 years of the reign of Louis-Philippe d'Orléans, France restored fully its historic monuments. The “Monarchie de Juillet” began the restoration and maintenance of monuments built in ancient times, the Middle Ages and the first Empire. In parallel with the action of Parliament, the King of the French undertook a comprehensive plan of restoration of those palaces belonging to the Crown: the Tuileries, St. Cloud, Fontainebleau, Compiègne, Meudon, drawing from his own endowment fund annually allocated by the public revenue. He also converted the Palace of Versailles into a "museum dedicated to all the glories of France." This site alone cost him 24 millions Francs. The “Monarchie de juillet” which was a regime born of the revolution of July 1830, had to build legitimacy from scratch. Unable to claim to be the fruits of tradition, or military glory, or even the sovereignty of the people or the monarchial principle, the young “Monarchie de Juillet” entered into an extensive policy of restoration and completion in particular of such monuments dating from the Empire and the absolute monarchy. Louis Philippe aimed to take over the entire French political legacy, in order to show the universal nature of his regime. In this way the “Monarchie de Juillet” built its legitimacy to govern France.This thesis analyzes the budgets invested in French monuments by governments and parliamentarians, between July 1830 and February 1848 (the date of the fall of the regime), as well as the personal political commitment of Louis Philippe in the field of monuments, during the same period.The author has fully analysed a part of the fund O / 4 of French National Archives a work that has never been done previously with so much precision.

This study considers five Roman trophy monuments in the context of global versus local culture in the provinces: the Sullan trophy at Chaeroneia, Pompey’s trophy at Panissars, Octavian’s campsite memorial at Nikopolis, Augustus’s Alpine trophy at La Turbie, and Trajan’s Dacian trophy at Adamklissi. Each trophy represents a unique case study of an identifiable Roman form and tradition deemed appropriate for/by a provincial community. These individualized characteristics imply localized negotiation of imperial or global ideas—specifically, a non-Roman’s ability to manipulate Roman concepts emanating from the capital and/or the desire for Romans to these ideas to appeal to a provincial audience. My study of these trophies uncovers a widespread phenomenon that contradicts the assumption that culture was dictated from the center to the periphery, from the elite to the non-elite and from the urban to the rural in the Roman Empire. This dissertation is a response to Simon Keay’s and Nicola Terrenato’s lamentation over the lack of comparative analysis for these recent theories and Andrew Wallace-Hadrill’s challenge to concretize definitions of Romanization. In fact, I demonstrate how these five Roman trophies featured themes legible to a broad audience in the ancient world and specialized narratives that catered to the local scene. Altogether, these case studies represent compelling examples of a much more dynamic kind of Romanization than current scholarship admits. / text

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.

No description available.

Inaug.-Diss.--Fakultät für Geschichtswissenschaft--Bochum--Ruhr-Universität, 2001. / Bibliogr. p. IV-XI.

Diss.--Berlin--Freie Universität, 2001. / Bibliogr. 327-357.

Dissertation--München--Ludwig-Maximilians-Universität, 1999. / Bibliogr. p. 527-560.

Texte remanié de: Diss.--Philosophische Fakultät--Kiel--Christian-Albrechts-Universität, 1994. / Notes bibliogr.