the richmond local arts museum is a vehicle to investigate a thesis concentrated on correcting the identity of a place that is lost in history. an intentional interruption to the "historic" context of richmond will transform the city. richmond's connection to the civil war will soon be diluted, as it will quickly gain recognition for its progressive actions, through the emergence of a new art and architecture. / Master of Architecture

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Objet sculpté ou gravé, associant l’image et le texte, le monument funéraire se charge des aspirations spirituelles, sociales et artistiques de groupes sociaux divers. Dans un souci de préservation mémorielle, gisants, dalles à effigie, sarcophages ossuaires, bas-reliefs aux représentations diverses (funérailles, absoute, Christ de pitié, crucifixion, Vierge de la Chandeleur), tombeaux monumentaux ou épitaphes, mettent le défunt en scène au terme d’un cheminement de vie culminant à la quête du salut éternel de l’âme. Cette volonté de laisser une trace, de perpétuer son souvenir au-delà de la mort, pousse le commanditaire à mettre en ordre ses affaires, avant d’immortaliser ses derniers espoirs et ses dernières volontés dans la pierre. La grande variété typologique du territoire étudié, compris entre la Petite Camargue et la Catalogne du Nord du XIe au XVe siècle, met en évidence les traditions artistiques funéraires locales, et les apports septentrionaux et plus méridionaux (Espagne, Italie) qu’elles intègrent. Cette approche globale du patrimoine funéraire du littoral méditerranéen et de la société apporte une meilleure compréhension des mentalités religieuses, des pratiques juridiques (testaments) et économiques (dons, legs pieux, fondations de chapelles et d’anniversaires) et enfin esthétiques (somptuosité, ostentation), au seuil du trépas. Le croisement de différentes sources écrites et numériques (base Palissy) conduit à l’élaboration d’un corpus prenant en compte les monuments funéraires retrouvés, mais également disparus dont on garde traces dans les productions anciennes. / Carved ou engraved objet, associating the image and the text, funeral monument embodies the spiritual and artistic aspirations of various social groups. In order to preserve memory, recumbent statues, tombstones with effigy, sarcophagus ossuaries, low-reliefs with various representations (funeral, absolution, Christ of pity, crucifixion, Virgin of the Candlemas), monumental tombs or epitaphs, present the deceased at the end of his journey through life, peaking at the quest of the eternal salvation of the soul. This will to leave a trace, to perpetuate one’s memory beyond death, pushes the one who ordered such tombstone into putting one’s affairs in order before immortalizing his last hopes and his last wills in the stone.The large typological variety of the studied territory, between little “Camargue’ and the north of “Catalogne”, of the 11th to the 15th centuries, highlights the local funerary artistic traditions and the northern contributions or the more southern ones in Europe (Spain, Italy) which they integrate. This comprehensive approach of the funeral heritage of the Mediterranean coastline and the society brings a better understanding of religious mentalities, legal practices (wills), and economic (gifts, pious legacy, foundations of chapels and death birthdays) and lastly esthetic ones(sumptuousness, ostentation) at the threshold of the death. The crossing of various written and digital sources (Palissy bases) has led to the development of a fascinating corpus taking into account the monuments that were found again, but also the ones that disappeared, whose traces are found in the old productions.

Common mullein (Verbascum thapsus) is a non-native plant threatening the integrity of natural ecosystems throughout California. Mechanical, chemical, and biological methods have been utilized for control of common mullein. The objective of this study was to determine which of the following treatment cycles is most effective to reduce populations of common mullein at Lava Beds National Monument: annual (once per year), biennial (once every two years), or no treatment. Vegetation type, natural features, site characteristics, and human disturbance were factors considered when analyzing common mullein distribution and abundance. Forty-five pre-existing plots with populations of common mullein were visited during summer 2005. The interrelationship of common mullein with the surrounding high-desert plant communities was assessed by three vegetation sampling methods. Density, cover, and common mullein stages were measured by point-intercept transects, belt transects, and circular macroplots. Simple linear regressions were performed using common mullein density as the dependent variable with multiple independent variables such as shrub, rock, soil, and grass cover. Analysis of variance test showed no significant relationship between density of common mullein and the three treatment cycles (p > 0.05). However, trends observed imply that annual treatment reduces the population of large rosettes and reproductive stalks over no-treatment and biennial treatment. A bivariate correlation test found the circular macroplot to be similar to belt transects for measuring common mullein density (r = 0.84). / Department of Natural Resources and Environmental Management

Dans les années 1789 à 1913, Toulouse connaît de nombreuses phases pour conserver ses monuments historiques. Les mesures prises visent soit l’institutionnalisation de l’administration du patrimoine soit la mise en valeur des monuments historiques en tant que patrimoine local. Dans cette « invention » s’engagent non seulement l’État et les autorités locales mais aussi les érudits locaux. Ces derniers jouent un rôle non négligeable depuis l’époque révolutionnaire dans la fondation du Musée de Toulouse (1793), l’organisation de ses collections et la conservation des monuments historiques. Considérée comme « seconde ville » de France ou d’Europe, Toulouse doit alors reprendre son essor dans le monde artistique à travers ses pratiques patrimoniales. Par ailleurs, dès lors de la mise en place d’un système national de conservation, la « cité palladienne » voit se créer la Société archéologique du Midi de la France (1831). Au XIXe siècle, les érudits toulousains conservent certains édifices historiques ou œuvres d’art pour la mémoire locale, face à un État, qui, avant du moins la loi de séparation des Églises et de l’État, privilégie uniquement ce qu’il juge être d’intérêt national. Parallèlement à l’institutionnalisation du patrimoine, les savants locaux publient des études ainsi que des ouvrages de vulgarisation et des guides touristiques afin de mettre en avant de moins en moins l’intérêt artistique universel des œuvres que la mémoire locale. Cette valorisation du patrimoine local est d’autant plus indissociable de la création de l’appellation de « ville rose », qui symbolise la particularité architecturale de Toulouse. / Toulouse had conserved its historical monuments between 1789 and 1913. The measures were devoted to the institutionalization and valorization of these monuments as local heritage. Not only the government and local authorities, but local scholars also committed themselves to this long project. These scholars had a significant role since the Revolutionary era in the foundation of the Museum of Toulouse (1793), organization of collections and conservation of historic monuments. Seen as the ‘second city’ of France or Europe, Toulouse should be known in the art world for its conservation practices. At the time of the organization of a national system of conservation of historical monuments, local scholars established the Archaeological Society of the South of France (1831). Their frequent conflicts with the government, local authorities and private owners of monuments started in the nineteenth century. But that situation did not prevent them from conserving some historic buildings, artworks and local memory, unlike the government, which intends to find national or universal interest in these monuments especially before the enactment of the law separating the Church and the State. With the progress of the institutionalization of cultural heritage, the valorization of local heritage reflected lesser universal interest in the art of Toulouse than local historic memory with local historic and art studies and their popular books and guides. It is even more inseparable from the birth of the idea of the ‘Rose City’, which symbolizes the characteristics of the architecture of Toulouse.

Megalithic tombs that originally date back to the early to mid-neolithic are the oldest preserved monument that can be found in Scandinavia. The act of raising big stone structures for the dead shows that the monuments where build to last through time. Prehistoric people from different time periods have reused these monuments on different locations all over Europe. This paper focuses on the monuments in Sweden and it shows that the reuse of megalithic monuments appears in all regions where these monuments can be found. The different reasons to why people wanted to reuse these monuments are also discussed. The paper proposes that the reasons are religious and political. Political the monuments can give inheritance rights which granted land rights among other things.

The thesis is focused on the issue of financing of cultural monuments in the Czech Republic with a special accent on religious monuments. Attention is given to the dominican monastery in Pilsen, its usage and management. There is a definition of cultural heritage in the thesis as well as its general legislative and institutional framework; next chapters target the specifics of the dominican monastery in Pilsen. The fundamental theme of this thesis is the compatibility of a reasonable usage of the potential of the monument with providing/ensuring sufficient financial resources for its administration as well as its operations and functioning. This is closely linked with the concept of object, including the care of cultural heritage and held activities.

Guidé par l’hypothèse que la doctrine des Monuments historiques – entre positions théoriques, appréciations subjectives et arbitrages opportunistes – constitue le point aveugle de la restauration en France depuis la fin du XIXE siècle, ce doctorat propose de rouvrir cette question, à partir des textes et des décisions de Paul Léon (1874-1962), principale responsable du Service des monuments historiques dans l’entre-deux-guerres. Bien que son rôle soit souvent méconnu aujourd’hui, Paul Léon a, en effet, une carrière exemplaire aux Beaux-Arts. Il a été responsable du Service des monuments historiques de 1907 à 1932, membre de la Commission de 1907 à 1962 et directeur des Beaux-Arts de 1919 à 1932. Il est de plus l’historiographe du Service. Par ses nombreux écrits, il est le principal auteur de la propagande du Service des Monument historiques pendant la première moitié du XXE siècle. Paul Léon justifie les pratiques en leur créant un cadre théorique sans énoncer clairement la doctrine, ni que cela ne se ressente. L’étude de ces textes, remarquables à ce sujet par leur cohérence et leur répartition chronologique, permet de mettre au jour la continuité des éléments doctrinaux sous-jacents et d’en observer les effets dans les travaux réalisés. Il est donc également nécessaire de questionner la pratique pilotée par Paul Léon, à travers l’analyse architecturale de projets réalisés : trois restaurations phares de la période (Saint-Rémi de Reims, les places flamandes d’Arras et le Palais des papes d’Avignon), qui permet de comprendre les pratiques du Service. Cette analyse permet aussi d’observer les points de cohérences et les omissions des textes de Paul Léon et l’influence de la pratique sur les discours / Guided by the hypothesis that the doctrine of Historic Monuments - between theoretical positions, subjective assessments and opportunistic arbitrations - has been the blind spot in restoration in France since the end of the 19th century, the objective of this doctoral thesis is to reopen this issue, based on the texts and decisions of Paul Léon (1874-1962), the main head of the historic monuments Department in the interwar period. Although his role is, today, often forgotten. In fact, Paul Léon has had an exemplary career at the Fine-Arts. He was head of the Historic Monuments Department from 1907 to 1932, a member of the Commission from 1907 to 1962 and Director of Fine Arts from 1919 to 1932. He is also the historiographer of the Department.Through his many writings, he was the main author of the propaganda of the historic monuments Department during the first half of the 20th century. Paul Leon justifies the practices by creating a theoretical framework for them without clearly stating the doctrine, without this being felt. The study of these texts, remarkable for their coherence and chronological distribution, reveals the continuity of the underlying doctrinal elements and allows to observe their effects on the work carried out.It is therefore also necessary to question the practice led by Paul Léon, through the architectural analysis of completed projects as three flagship restorations of the period —Saint-Remi de Reims, the Flemish squares of Arras and the Papal Palace in Avignon—, which makes possible to understand the practices of the Department. This analysis also allows to observe the points of consistency and omissions in Paul Léon's texts and the influence of practice on speeches

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Pour respecter les droits d’auteur, la version électronique de ce mémoire a été dépouillée de ses documents visuels. La version intégrale du mémoire a été déposée au Service de la gestion des documents et des archives de l'Université de Montréal / Ce mémoire propose d’étudier les caractéristiques thématiques, formelles, structurelles et fonctionnelles des monuments commémoratifs du XXe siècle. Basée sur un corpus précis d’œuvres exemplaires et illustratrices des tendances contemporaines de représentations, notre recherche portera sur la transformation idéologique de la commémoration en Occident. En effet, au cours de ce siècle, nous assistons au passage d’une célébration des victoires à la commémoration de drames, relatifs aux conflits mondiaux. Nous développerons en un premier temps notre réflexion en analysant le travail des artistes qui eurent la charge de cristalliser et de maintenir la mémoire collective, de l’Antiquité à la Première Guerre mondiale. En un deuxième temps, à l’aide des écrits de James E. Young, nous étudierons les perspectives nouvelles apparues au début des années 1980, du concept de contre-monument à celui du monument-musée, qui tentent de répondre à la crise de la représentation des évènements tragiques du siècle dernier. / This thesis proposes a study of thematic, formal structural and functional features of twentieth century commemorative monuments. Based on a specific corpus of exemplary and illustrative works about the contemporary trend of representation, our research will focus on the ideological transformation of commemoration in the Western world. During the last century, a shift from the celebration of victory to the commemoration of tragedies related to international conflicts has been observed. In a first instance, an analysis will be developed around works made by artists whose task was to maintain and crystallize collective memory. The works studied will cover the period from Antiquity to World War One. Then, using as case studies James E. Young’s works, we will study the new perspectives that appeared at the beginning of the 1980s. This period has witnessed a transition from the concept of counter-monument to the monument-musée, which offers an answer to the representative crisis caused by the tragic events of the last century.