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New Surveys in the Classics, 2004
Famously, Suetonius records the boast of the emperor Augustus that he found Rome made of brick and left it made of marble. Republican Rome had been a powerful and no doubt impressive city. Its physical fabric had been embellished over the centuries with public buildings and monuments erected largely by wealthy aristocrats.
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Famously, Suetonius records the boast of the emperor Augustus that he found Rome made of brick and left it made of marble. Republican Rome had been a powerful and no doubt impressive city. Its physical fabric had been embellished over the centuries with public buildings and monuments erected largely by wealthy aristocrats.
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The Politics of Public Monuments in Dublin
2022Abstract This chapter examines Yeats’s engagement with the politics of Dublin public monuments. The opening recounts his failed efforts to commission a monument to the United Irishman Theobald Wolfe Tone on the corner of St. Stephen’s Green.
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Monumental history: funerary monuments and public memory
2019Archaeologia Cambrensis, 160, 219 ...
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The Public Space and the Monuments of the City
Architectural Theory Review, 2001The relationship between the public spaces of a city and those buildings which represent the significant institutions of the community—the monuments of the city—reflects both the values and the pow...
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In the new millennium, many public monuments around the world have become the target of protests as part of social movements' struggles against inequality and discrimination. Despite research into the significance of toppled statues or damaged monuments and the motives of activists, little attention has been paid to the extent to which iconoclastic ...
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2020
The two aspects are not normally associated with each other. They, too, are referred to in the call for an ethos by the modern public. It is a paradoxical space where the ethos is constantly referred to in the history of Modern aesthetics precisely because it seems unattainable to secularized modernity.
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The two aspects are not normally associated with each other. They, too, are referred to in the call for an ethos by the modern public. It is a paradoxical space where the ethos is constantly referred to in the history of Modern aesthetics precisely because it seems unattainable to secularized modernity.
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Champlieu. Les monuments publics
Revue archéologique de Picardie, 1984Woimant Georges Pierre. Champlieu. Les monuments publics. In: Revue archéologique de Picardie, n°3-4, 1984. Les villes de la Gaule Belgique au Haut-Empire. pp. 265-270.
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Public Monuments, Public Schools, Public Stories
This chapter explores controversies over public monuments and public school curricula as manifestations of a larger struggle over the story of America. It attempts to clarify the smaller debates by explaining the purpose of the relevant practices. Monuments celebrate rather than educate; public schools educate but also shape children into citizens ...openaire +1 more source
The Public Monument and Public Poetry: Stevens, Berryman, and Lowell
Contemporary Literature, 1980In his study of classical monuments, Philipp Fehl calls the commemorative statue "a work of fiction which serves a public purpose." The sculptor accomplishes this purpose, both commemorative and didactic, when he elevates a public memorial to the level of a moral lesson, becoming, in Fehl's words, "a preceptor of mankind."' As Fehl implies, these ...
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