Public Monuments and the Development of Siamese Nationalism, 1908-1945

A careful study of Siam's public monuments is the key to understanding the development of the Siamese nation in its formative period, from 1908 to 1945. As Siam's elites attempted to modernize the state in order to compete with the more developed powers of the West, they recognized that nationalism could potentially be used as a force to increase popular unity, consolidate modernization programs, legitimize their own authority, and protect the country from foreign conquest. The problem they faced, however, was how best to communicate nationalism to the people. Different factions throughout this era had their own idea of what it meant to be Siamese, and all of them wanted to control the national image. But literacy in Siam was extremely low, and art too expensive for most individuals to possess. Public political monuments, the focus of this thesis, therefore became the primary means of manifesting and propagating the underlying tenets of the new Siamese nation. Public monuments express the changing imaginings of the Siamese nation in this period of enormous transformations and turbulence, through the motives behind their commissioning, the political messages they convey, and popular reactions to the monuments. Three primary strains of Siamese nationalism emerged during this period: royalist nationalism, republican nationalism, and military nationalism. These three imaginings of the nation continually developed and interacted with each other, but each was particularly dominant at a given time in Siamese history. Monuments of the royalist period (1908-1925) embody the desire of Siam's kings to not only promote national pride amongst the Siamese people, but also advocate an image of nation and king as one. Monuments of the republican period (1925-1939) express the changing and sometimes contradictory events of their times, as they demonstrate new national values based on the sovereignty of the people, the value of the constitution, and the growing power of the military. And monuments of the military period (1939-1945) espouse an assertive and militaristic national image of warfare, patriotism, authority, and vigor. This thesis explores the nationalistic themes expressed in these monuments, and how these themes played out in the course of Siam's wider history.

40 20th Century Spanish Sculptresses

This article presents a compilation of female artists who carried out their sculptural work during the twentieth century. With a brief presentation of each of them I want to implement visibility and the importance of incorporating their works to the collective imagery in order to be added to Spanish contemporary arts history. Some of them have public monuments of great popular recognition but their names have not been mentioned yet. Some others have “minor” works but they were relevant teachers to other artists. A few of them have extensive monographs about their life and their works. While others have almost gone unnoticed, but the proof of their professional career’s existence seems fundamental to us and they must be incorporated to history either through text books, university research works, ideally achieving a supported research project, to provide them the visibility their works and their vital trajectories deserve.

A topographical and historical description of the county of York; containing an account of its towns, cathedral, castles, antiquities, churches, monuments, public edifices, picturesque scenery, the residences of the nobility, gentry, &c. accompanied with biographical notices of eminent and learned men to whom this county has given birth.

A separate issue, with new t.-p., of a part of v. 16 of The beauties of England and Wales.

Recueil générale des anciennes lois françaises, depuis l'an 420 jusqu'à la révolution de 1789 : contenant la notice des principaux monuments des Mérovingiens, des Carlovingiens et des Capétiens, et le texte des ordonnances, édits, déclarations, lettres-patentes, réglemens, arret̂s du Conseil, etc., de la troisième race, qui ne sont pas abrogés, ou qui peuvent servir, soit à l'interprétation, soit à l'histoire du droit public et privé, avec notes de concordance, table chronologique et table générale analytique et alphabétique des matières /

t.I. 420-1270.--t.II. 1270-1308.--t.III. 1309-1327.--t.IV. 1328-1357.--t.V. 1357-1380.--t.VI. 1380-1400.--t.VII. 1401-1413.--t.VIII. 1414-1437.--t.IX. 1438-1460.--t.X. 1461-1483.--t.XI. 1483-1514.--t.XII. 1546.--t.XIII. 1546-1559.--t.XIV. 1559-1589.--t.XV. 1589-1610.--t.XVI. 1610-1643.--t.XVII. 1643-1661.--t.XVIII. 1661-1671.--t.XIX. 1672-1686.--t.XX. 1686-1715.--t.XXI. 1715-1736.--t.XXII. 1737-1774.--t.XXIII. 1774-1776.--t.XXIV. 1776-17777.--t.XXV. 1777-1778.--t.XXVI. 1779-1781.--t.XXVII. 1781-1784.--t.XXVIII. 1785-1789.--[t.XXIX] Table.

A topographical and historical description of Norfolk; containing an account of towns, castles, antiquities, churches, monuments, public edifices, picturesque scenary, the residences on nobility, gentry, etc., accompanied with biographical notices of eminent and learned men to whom this country has given birth,

Includes bibliography.

La carte postale et la représentation des espaces public et intime

La carte postale est un kaléidoscope de vues, d’ornements et de couleurs, qui consacre un tout petit espace au message. C’est à la photographie et aux procédés de reproduction photomécaniques que revient le mérite d’avoir industrialisé la production de la carte postale. Et ce sont les clichés de villes, avec leurs monuments et leurs paysages, qui confèrent à la carte postale son statut de moyen de communication de masse et qui lui concèdent une affinité avec l’industrie du tourisme. La carte postale s’est ainsi emparée de l’ambition photographique de reproduire le monde, s’alliant aux « besoins de l’exploration, des expéditions et des relevés topographiques » du médium photographique à ses débuts. Ayant comme point de départ la carte postale, notre objectif est de montrer les conséquences culturelles de la révolution optique, commencée au milieu du XIXe siècle, avec l’invention de l’appareil photo, et consumée dans la seconde moitié du XXe siècle, avec l’apparition de l’ordinateur. En effet, depuis l’apparition de l’appareil photographique et des cartes postales jusqu’au flux de pixels de Google Images et aux images satellite de Google Earth, un entrelacement de territoire, puissance et technique a été mis en oeuvre, la terre devenant, en conséquence, de plus en plus auscultée par les appareils de vision, ce qui impacte sur la perception de l’espace. Nous espérons pouvoir montrer avec cette étude que la lettre traditionnelle est à l’email ce que la carte postale est au post que l’on publie dans un blog ou dans des réseaux comme Facebook et Twitter. À notre sens, les cartes postales correspondent à l’ouverture maximale du système postal moderne, qui d’universel devient dépendant et partie intégrante des réseaux télématiques d’envoi. Par elles sont annoncés, en effet, la vitesse de transmission de l’information, la brièveté de la parole et l’hégémonie de la dimension imagétique du message, et pour finir, l’embarras provoqué par la fusion de l’espace public avec l’espace privé.

[Vue du rond-point des Champs-Élysées où sont érigés des monuments commémoratifs de plusieurs grandes victoires] : [photographie de presse] / [Agence Rol]

Référence bibliographique : Rol, 55018