Thesis (MA)--University of Montana, 2010. / Contents viewed on June 14, 2010. Title from author supplied metadata. Includes bibliographical references.

Dans la représentation collective, les monuments aux morts sont construits au lendemain de la Grande Guerre pour supporter les mémoires des victimes du conflit. Pour beaucoup ils constituent aussi une partie du patrimoine communal. Pourtant, cette définition est réductrice et n'englobe pas la réalité de cet objet mémoriel. Sa genèse est à discuter et la multiplicité de ses formes sont à prendre en compte pour comprendre ses fonctions anciennes et actuelles. Ce travail insiste sur l'évolution de ces constructions en un siècle. Il ne se conçoit pas uniquement le cadre de la commune puisque les paroisses et des groupements privés sont également à l'origine d'édifices. De nombreux conflits sont à l'origine de nouveaux édifices ou de modifications sur d'anciennes constructions. Les deux guerres mondiales ne sont pas les seules à générer une mémoire matérialisée par ces monuments et les guerres liées aux décolonisations ou encore les OPEX sont désormais à prendre en considération.Depuis la Grande Guerre, un monument aux morts est l'expression d'un hommage envers ceux qui ont combattu pour la France et qui en sont morts, quelque soit la période et le lieu concernés. Il convenait donc d'en savoir davantage sur les conditions de décès au cours des guerres, ainsi que la manière dont les défunts et les endeuillés sont gérés. Les questions matérielles et organisationnelles de la construction sont aussi à analyser pour mieux comprendre la diversité des résultats obtenus. Enfin l'étude des inaugurations puis des commémorations permettent d'appréhender les utilisations successives de ces monuments. Il convenait d'analyser ces points en fonction des conflits concernés pour dresser le bilan sur un siècle d'évolution et d'adaptation d'un objet de célébration et de commémoration de la mort collective au combat. / In the collective representation, war memorials have been built after the Great War to support the memories of the victims of both world wars. For many they are also a part of the city heritage. However, this definition is simplistic and does not include the reality of this object. Its genesis is to discuss and the multiplicity of its forms is to be considered to understand its past and current functions. This work emphasizes the evolution of these structures over a century. It does not only perceive the framework of the city since parishes and private groups are also behind buildings. Old memorials have been altered and new ones have been built so as to include several new conflicts. The two World Wars are not the only ones to generate a memory embodied by these objects and wars related to decolonization or External Operations are now to be taken into consideration.Since the Great War, a war memorial has been an expression of tribute to those who fought for France and who died of it, whatever the period. It was therefore appropriate to inquire about the conditions of death in war, and how the deceased and its close relations in mourning are taken care of. The material and organisational issues of the construction are also analyzed to better understand the diversity of results. Finally the study of inaugurations and commemorations allows to understand the successive uses of these monuments. These points based on the involved conflicts had to be analysed in order to evaluate an object of celebration and commemoration of collective death in battle over one century of evolution and adaptation.

Magister Artium - MA / The study through the topic: An investigation of Zimbabwe's contemporary heritage practices of memorializing war: A case study of the Heroes' Acres in Matabeleland South Province focuses on post liberation war memorialisation and management in the post-colonial state of Zimbabwe. It analyses the emergence and management of war memorials and shrines in the form of heroes' acres, in the province of Matabeleland South in Zimbabwe from 1988 to 2010. Zimbabwe attained independence in 1980 after a long protracted war waged by two guerrilla movements against the unilaterally declared independent state of Rhodesia led by Ian Smith. Post-1980, ZANU (PF) became the dominant political party in the new state now renamed Zimbabwe. A national memorialisation structure was established soon after independence; charged with ensuring a befitting memorialisation of the war of liberation. Post-independence political contradictions between the parties notwithstanding, the results of the 1980 election showed an ethnicized landscape, a trajectory that has been at the centre of the national political discourse. Political disturbances in the Matabeleland and Midlands provinces became one of the most important and interesting historical issues that unsettled the nation in respect of memorialisation. Against this background, this research proposes to assess how political actors contributed to the issue of memorializing a war in post-1980 Zimbabwe. Using the central question which arose from a critique of Zimbabwe's memorialisation structure as a graded one, in which the local site subordinates the national, the research aims to examine whether the shifts in the political and management spheres of the heroes acres as represented by the inclusive government currently governing the country and the transferring of management duties of heroes acres to the National Museums and Monuments of Zimbabwe, has managed to challenge the claim made above. By embarking on this work, the research aims to examine whether the local memorial sites actually act as mere subordinates in a deliberate graded structure to the national shrine represented by the National Heroes' Acre in Harare, within the politics of memorialisation.

Read some more and check the prototypes at http://www.stiber.se/commonfate.html. / War Memorials are often forgotten statues, right in the center of town, but still out of our sight. They do not tell you enough to understand them, neither are you interested in putting effort into getting to know and learn from them. This paper investigates how the web could be used to create a war memorial that is more alive, captivating and empathy awakening. There has been some virtual war memorials getting constructed since the web started to bloom, but we could not find a single one that had actually fully explored the potential of the web, and what it might have to offer for the creation of war memorials. Researching the web as a media, experience design, and information visualization, we find possibilities to mourn, commemorate and heal on virtual ground. Inspiring reflection and contemplation are another two purposes of The Common Fate Memorial. War memorial studies give us the background information needed, and ceremony mechanics are studied for further inspiration. Our findings are implemented in flash prototypes, which are user tested and evaluated.

The 'never again' slogan to genocide, expressed by the United Nations Organization in 1948, after the Armenian and Jewish genocides has not been a barrier to other genocides whose Holocausts are a product. In 1994 in Rwanda, genocide occurred and the Kigali Memorial Center of Genocide is one of the Memorials (Holocaust) which stands as a reminder of the horror, in order to inform the community to keep watching. This raised the curiosity of the researcher, to analyze how these new symbols can contribute to restore and revitalize social and cultural values in the context of Rwanda. The inside of the house offers on opportunity to visit the displayed history in which the genocide is rooted, including the period of genocide through survivors' experiences represented in short movies and by the material used in the killings. There is a room reserved for displays of the others' genocides in the world. Outside the house, mass graves surrounded by a garden, announce the burial place and a documentary place. The first chapter is the general introduction of the study and outlines the framework of the study. The second chapter offers the syntheses of the literature review that it presents the social and political context in which the genocide took root. The third chapter offers the theoretical framework which deals with the nature of culture and its influence in the understanding of the Kigali Memorial Center of Genocide. The fourth chapter focuses on the fieldwork methodology. This study makes use of the qualitative approach. The primary data was collected through in-depth interviews of twenty one individuals and discussions with four focus groups with ten respondents in each group. Respondents were randomly chosen. The secondary data was used to complete the primary data. The fifth chapter is the presentation of the research findings. The findings reveal that after completing the construction of the Kigali Memorial Center of Genocide in 2004, spontaneous and organized visits to the Kigali Memorial Center of Genocide have taken place. This 'window' of what happened, inspires visitors and communities that there is a need to understand the past which can help in building a hopeful future together, for sustainable peace. The sixth chapter is the conclusion of the study which makes with recommendations and suggests further research. / Thesis (M.Soc.Sc.)-University of KwaZulu-Natal, Pietermaritzburg, 2007.

My work seeks to understand the origins of national identity as it pertains to the Anzacs of Australia and New Zealand, their service at the Battle of Gallipoli, and its use in the establishment of a white, male creation myth in both nations following the end of World War One. I furthermore plan to examine how this Anzac myth excluded and even erased the place of marginalized communities in the birth of Australia and New Zealand as modern nations. In other words, my thesis explores both the insiders and the outsiders of the Anzac myth. My cutting-edge research aims to build upon the small but growing scholarship about these "forgotten" Anzacs and their role in the construction of nationhood. Much has been written about white male Anzacs, and by writing this thesis, I hope to contribute to bridging this disparity in the scholarly literature. Not only will I highlight the roles of women and people of color in greater detail, but I will also analyze how the formation of the Anzac myth systematically excluded them in the first place. The work also explores the ramifications and implications of this exclusion in Australia and New Zealand as increasingly multicultural nations. In sum, it brings together three threads of research: the formation of national identity in these nations, the paradox of the public's reverence of the failed military campaign of Gallipoli, and the exclusion of the "forgotten" women Anzacs and people of color.

La Bretagne a perdu beaucoup d’hommes dans la Grande Guerre. Le patrimoine commémoratif qui a été créé pour les honorer est à la mesure de cette saignée humaine. Dans quelle mesure celui-ci reflète-t-il des traditions et une culture particulières ? Comme partout en France, des monuments glorificateurs ou patriotiques ont été élevés en l’honneur des combattants, mais la Bretagne a aussi tenu à souligner son identité propre. Une longue tradition religieuse se marque sur la plupart des édifices ; la forte spécificité culturelle qui caractérise la province a donné naissance à une statuaire d’inspiration régionaliste où figurent des personnages en costume local et des inscriptions en langue bretonne. La même affirmation identitaire se retrouve dans les églises. La volonté de commémorer le sacrifice est constante. Elle s’exprime dans deux hôtels de ville par des panneaux peints. Un monument national à la mémoire des marins morts pour la France a été édifié à la pointe de la Bretagne. Un mémorial régional, de nature religieuse, perpétue plus spécifiquement le souvenir des Bretons morts à la guerre. Hors du commun, ce patrimoine, auquel est venue s’ajouter par la suite une nécropole nationale, témoigne de l’histoire de la région et de la vitalité de sa culture. / Brittany lost many of its men in the Great War. The heritage of memorials and commemorations created to honour them is commensurate with the magnitude of this human slaughter. To what extent does such a heritage reflect traditions and a specific culture? As throughout France glorifying and patriotic memorials were erected to pay homage to the soldiers, but Brittany also wanted to emphasize its own identity. A long religious tradition is reflected in most of the monuments; the strength of the province's own specific culture gave rise to regionally inspired statuary with characters portrayed in local costume and inscriptions in the Breton language. The same assertion of identity is to be found in the churches. There is a constant desire to commemorate the sacrifice. In two town halls this is depicted in painted panels. A national memorial in remembrance of the sailors who died for France was erected at the western extremity of Brittany. A regional memorial, of a religious nature, is more specifically dedicated to the memory of those Bretons who died in the war. This uncommon heritage, to which was later added a national necropolis, bears witness to the region's history and to the vitality of its culture.

No description available.

Architect and soldier Sir J.J. Talbot Hobbs was born on 24 August 1864 in London. After migrating from England to Western Australia in the late 1880s, Hobbs designed many buildings that were constructed in Perth, Fremantle, and regional areas of the State. Although Talbot Hobbs has previously been recognised as a significant and influential contributor to architecture in Australia, his development as an architect has not been documented, nor has his design output undergone critical analysis. A number of problems confront attempts to interpret Hobbs' contribution to architecture. One is that a number of his most prominent building designs have been demolished. Another is that national recognition for his achievements as a First World War Army General have overshadowed his extraordinarily productive pre and post-war career as an architect. Military service was intrinsic to his character, and thus is woven in to this architectural biography. The thesis examines Hobbs' life and work, filling the gap in documented evidence of his contributions, and fitting it within the context of Australian architectural and social history. The main proposition to be tested is whether Hobbs' Australian architecture, of English derivation, combined with vast community service, warrants his recognition as an architect and citizen of national significance. Completely new important issues, information, discussion and facts that have resulted from the research for this thesis are: 1. Biographical knowledge about Hobbs' life – including his upbringing, education and training in England, and his fifty years of comprehensive work and community service in and for Australia; 2. The elucidation of the late nineteenth and early twentieth century architectural issues that were relevant to Hobbs and other architects in Western Australia; 3. Examination of the important works of Hobbs' architect predecessors and contemporaries in Perth, and the setting of his own work within this context; 4. Revelation of his primary and pivotal role in war memorial design and organisational work for the far-flung theatres of Australian Army conflicts and selected personal design works within Australia itself during 1919-38; and 5. A chronology and summary of Hobbs' life, with thorough documentation of his output as a sole practitioner in the period 1887-1904 by development of a detailed web-based database - an extremely valuable tool for future researchers.

This study addresses a tension in contemporary studies of public memory between ideology criticism and postmodern critique. Both strategies of reading public memory rely on a representational logic derived from the assumption that the source for comparison of a memory text occurs in a more fundamental text or event. Drawing heavily from Michel Foucault, the study proposes an alternative to a representational reading strategy based on the concepts of regularity, similitude, articulation, and cultural formation. The reading of Vietnam Veterans Memorial and the Galveston County Vietnam Memorial serves as an example of a non-representational regularity enabled by the cultural formation of pastoral power.