'Une fleur que ses yeux éteints ne peuvent plus contempler': women's sculpture for the dead

From the moment that women sculptors emerged, they have been creating sculptures for the dead, in multiple forms. Many of them specialized in the art of portraying, which was in high demand for wax figures, statues and funeral monuments. The fact that those, along with war memorials, often played on the area of emotions –which was traditionally viewed as ‘female’– apparently made the choice for a woman sculptor even more acceptable. The commissions for funeral monuments and war memorials more often came through unofficial rather than official channels, creating better opportunities for female artists

Preoccupied by the past - the case of Estonia's Museum of Occupations

The nation is born out of the resistance, ideally without external aid, of its nascent citizens against oppression [...] An effective founding struggle should contain memorable massacres, atrocities, assassinations and the like, which serve to unite and strengthen resistance and render the resulting victory the more justified and the more fulfilling. They also can provide a focus for a "remember the x atrocity" historical narrative.(1

Warriors, heroes and companions: negotiating masculinity in Viking-Age England

Detailed analysis of the construction of gender identities has transformed our understanding of many aspects of early medieval society, yet the study of the Vikings in Britain has largely remained immune to this branch of scholarship. In responding to this lacuna, this paper examines the gendered dimension of the funerary record of the Scandinavians in England in the ninth and tenth centuries, and suggests that the emphasis on masculine display, in both the burial and the sculptural record, is not merely a quirk of survival, but rather it has much to reveal about the negotiation of lordship in the context of conquest and settlement

Monumentos y esculturas en vía pública. Donostia-San Sebastián

La presente comunicación va a tratar sobre los monumentos y esculturas municipales situados en la vía pública que podemos contemplar hoy, en la ciudad de San Sebastián. Para acercarnos a las obras, hemos establecido la siguiente clasificación: a) Las esculturas o monumentos erigidos a personas como reconocimiento a su labor o su persona. En ellas, se deja constancia y recuerdo duradero en la ciudad de esa persona y/o su obra a través de un monumento y contribuyera a embellecer las calles y paseos de la ciudad. b) Las esculturas colocadas en la ciudad con el único fin de embellecer sus jardines, calles y plazas.Donostia hiriko kaleetan gaur egun ikus ditzakegun udal monumentu eta eskulturak dira komunikazio honen gaia. Obra horietara hurbildu ahal izateko, honako sailkapen hau ezarri dugu: a) Pertsona batzuei eraikiriko eskultura edo monumentuak, beraien lanaren edo pertsonaren aldeko esker onaren erakusgarri. Halakoetan, pertsonaren edo/eta haren obraren oroitzapen iraunkorra agertu nahi da monumentu baten bidez eta hiriko kale eta pasealekuak edertzen laguntzen dute. b) Hiriko lorategi, kale eta plazak edertzea helburu bakarra duten hirikoeskulturak.Cette communication traitera des monuments et des sculptures municipales, situés sur la voie publique, que nous pouvons contempler aujourd'hui dans la ville de Saint-Sébastien. Pour nous approcher des oeuvres, nous avons établi la classification suivante: a) Les sculptures ou monuments érigés à des personnes en reconnaissance de leur travail ou de leur personne. Parces monuments, on laisse un témoignage et un souvenir durable dans la ville de cette personne et/ou de son oeuvre à travers un monument qui contribuera à embellir les rues et les promenades de cette ville. b) Les sculptures placées dans la ville à seule fin d'embellir ses jardins, ses rues et ses places.The present communication is about the monuments and municipal sculptures located in the streets and squares that we can contemplate today, in the town of San Sebastian. To approach such works, we have established the following classification: a) Sculptures or monuments erected to people in recognition of their work or their personal characteristics. With such works, there is a lasting memory in the city of such people and/or their work by means of a monument that also contributes to embellish the town's streets and promemades. b) The sculptures placed in the town with the single finality of embellishing their gardens, streets and squares

Mussolini\u27s Gladius: The Double-Edged Sword of Antiquity in Fascist Italy

Mussolini and the Fascist Party used a plethora of propaganda techniques in order to suggest the renewal of the old Roman Empire with the rise of the Italian Fascist Party. Through the use of ideology, race issues, religion, educational control, posters, theatre, architecture, and archeology, the Fascists used the Roman past to glorify modern Italy and the Fascist party. The Fascists’ use of these Roman allusions made their own deficiencies more apparent and led to a general failure of their propaganda program in terms of creating a new Italian identity focused upon the Ancient Roman past

From Ethnographical Subjects to Archaeological Objects: Pierre Loti on Easter Island (Rapa Nui)

In 1872 French sailor Pierre Loti visited the desolate Pacific island of Rapa Nui. Descriptions in his diary and drawings were published and received great public interest. Here were all the ingredients to satisfy nineteenth century ideas of the exotic: remote, tropical, cannibal inhabited, strange rituals and frenzied dancing, and in addition – the ruins of an ancient and unknown civilisation. But Loti had visited the island almost at the end of its occupation by its indigenous people. The large stone statues had not been erect for some time, even though he recorded them as being so, and its population had been decimated. So Loti’s graphic and written descriptions were embellished for his audience, a fact that is almost as interesting as the real fate of Rapa Nui.Fil: Schavelzon Chavin, Daniel Gaston. Universidad de Buenos Aires. Facultad de Arquitectura y Urbanismo. Instituto de Arte Americano e Investigaciones Estéticas ; Argentin

Scottish Archaeological Research Framework: Future Thinking on Carved Stones

No abstract available

The Posthumous Depiction of Youths in Late Hellenistic and Early Imperial Gymnasia

Dieser Beitrag untersucht posthume Ehrungen und Darstellungen von jungen Männern im Gymnasion, die in der Forschung bislang nicht umfassend untersucht worden sind. Nach einem Überblick über das bekannte Skulpturenrepertoire in Gymnasia werden die epigraphischen Quellen posthumer Ehrungen von jungen Männern diskutiert, die im Gymnasion trainierten und vorzeitig verstarben. Der Fokus liegt dann auf der Identifizierung von Skulpturen die, dem Kontext und der Ikonographie zufolge, als posthume Ehrungen von Jugendlichen gedient haben könnten. Darunter ist z.B. die Statue des Kleoneikos von Eretria. Es wird dargelegt, dass drei verschiedene ikonographische Typen für diese Ehrungen verwendet wurden: der nackte ‚heroische‘ Typ, der Himation-Typ und die Herme