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This article appeared in Harvard Design MagazineFall 1999Number 9 To order this issue or a subscription ID: 608559

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                                                                                                          !"                          "              #           $                   %                                 &    '                &    '           #       # )    $    *           &' &    '      &   '!,    - *  .&                               $     /  0  HARVARD DESIGN MAGAZINE This article appeared in Harvard Design Magazine,Fall 1999,Number 9. To order this issue or a subscription,© 2001 by the President and Fellows of Harvard College and The MIT Press. Not to be reproduced withoutthe permission of the publisher A Social Interpretation of War Memorials,by Jay Winter   1        #                                           *  )            3     4 5 3                                             #             )            &  '       $& '      6       $                     7                  8                      .        5  &   ' 8    +9  !*                                                3        3      %     & '                     7                                   #           "      #    :  3)   :     *   "        4 (( ((#      (;(;  (;2                   37  =   - (;(;(;3          &#x-1;`.2;   #           4 ((        ( =  7  #7         )    $        =          :               = &#x-1;`.2; &#x-1;`.2;   7  =      #    =              $               %    7    7            ?    7    % 5 -    @     *  :                 *7  *7 - (;(;(;     *                               (;+9          #   /  0               :     3    3     (;(;(;2  4 ((   A    7      !#                         (;29     % ,         Constructions of MemoryRemembrance and RedemptionHARVARD DESIGN MAGAZINE FALL 1999© 2001 by the President and Fellows of Harvard College and The MIT Press. Not to be reproduced without the permission of the puCollective memory was decentered,reworked,reiterated in thousands of local war memorials built in the 1920s andscattered throughout the country. The two-minute silence was(and is) a part of such decentered observation,a meditationabout absence,about the million British men whose deathsÑwhose everlasting silenceÑit so movingly evokes.       $      % ,                        &1      '     #                      &  '#              *          #       #  C       @         (;BD      6   6         :                           ,                         3 #             &   '       3 "  &'                   #                   #                               @                      3   #       3  3            A                        :             #                 #                         .  3          3  #         33                     E             F                #   3   3      ,         F        �                    &  '    5              &1   '     &1  G  '#    F     $    F         3  3        5  !-             &  '#  ? A      AHA   ?        *  B(;(B  (B9999�        /B   0#     3         3          �  &   '  &  '    *? A 1       #     ?            &%     '     5  &  '  1       ? 8          *      :    AHA 5  & '                 $? 1        :         :     &'&' &  '        , (+(;(B#      :     G  "    AHA     :     5      #             (;B Constructions of MemoryRemembrance and RedemptionHARVARD DESIGN MAGAZINE FALL 1999© 2001 by the President and Fellows of Harvard College and The MIT Press. Not to be reproduced without the permission of the pu                          AHA    5   AHA 1        #? 1          8      "    ? 1            #  7        ? 1  ,               :       ? 1                                     AHA    1     *        $     &        '#          ? 1     $            #  &% AH' &% A '&    '   , ;5  1          #   & '       ? 1     A 1       : "        8       3               * (;(B       $     5          $                      AHA               5          $                      4    3      3               :     A 1           ,- +D(;(;   & ? 1  K     L             �     ',, (2(;+D    8 .&#                      '        �     6 =   G  :      AH 5  A           # 1          $  1          #    & '            ,     )  ? A   5                      *               #                 #     6 AHA 1        :          1             & '    , 1    $             =         %          (;(B(;(#                               ,                  #       #    $    :  (;+9  129         Constructions of MemoryRemembrance and RedemptionHARVARD DESIGN MAGAZINE FALL 1999© 2001 by the President and Fellows of Harvard College and The MIT Press. Not to be reproduced without the permission of the puAfter the Second World War,the same flaring up of older languages once appropriate to a period of mass mourning did not take place. After 1914 there was a profusion of apocalyptic images in art and literature. After 1945,in commemorative activity,some echoes of this can be heard;      $M M  %     :                          %                            "         !        $                *                       #                 (;BD:                         3  ) 3  # *       *  $* 8        %              (;(       -  A             E                         A      &    ' &         '& K L                        81     '  '          �   *                    "A              &  '    "   #                               �       :       !     &    '!#                    (;(B      (;BD#   & '   M     $  *  5        *                    * (;(B             * (;BD       $     @   $       %                                             )  %      :   3  3         7              : #  1 ((4  E = #  5  ?   ?                  .    ?    4        �     7          # :          (;;2  AHA             &#    ?              $               :         1       #  5 A         A 1          �        A 1 N            #                   1     :         8       "     &     '   # 6  7    �  #       6 6  1     :  *      �             4 ) Constructions of MemoryRemembrance and RedemptionHARVARD DESIGN MAGAZINE FALL 1999© 2001 by the President and Fellows of Harvard College and The MIT Press. Not to be reproduced without the permission of the pu    4    )  4   7  *      A 1 N                  -                         -  4      7       -                     5       -     /  0  7  *         7       *         7         -   )         -         : #              5   :        K 1.- (;;;�       ?   1  L#     4  .   :  �  6       5 1     #                      #                5      "  *     &  '     -                 �  * 1    6              #           35 #   �    5                        3         �  3      5  : #                                     *        3                          *                            #                            &   '  5    *                                                       (  7 � 7 E    (;;  &   +9 '+"         &' -       ! "  /7  .7  E ?  (;;D0  +2- *        # $ % &/% .:(;;+0((B*  &#x-25;&#x.900;   /=  .: ?  (;;B0((9D5  A   '  ( )  6 7 /  .4   E ?  (;DD0+B2I6  &AHA 1   ' & !* B(/(;;I0+((J+(++(2;-  A   &?     .*7  @  '+ &!    =6  /4G .7  E ?  (;+D(96 A &:  . # !'% &,-.* (;;2; Jay Winter     " /0 1   &   %  % .#�   Constructions of MemoryRemembrance and RedemptionHARVARD DESIGN MAGAZINE FALL 1999© 2001 by the President and Fellows of Harvard College and The MIT Press. Not to be reproduced without the permission of the puConfusion has marked the protracted debate over whether toconstruct a Holocaust memorial in Berlin,for no work of artcould possibly support the symbolic weight demanded of amemorial to the Holocaust located within sight of the bunkerof the man who conceived the Final Solution.

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