2010
DOI: 10.1080/10486801.2010.488834
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Unsettling Representation: Monuments, Theatre, and Relational Space

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Cited by 5 publications
(4 citation statements)
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“…(cf. Schmidt 2010, Schipper 2014, Fischer-Lichte/Wihstutz 2013 and Merx this volume) Now -I do agree that the flâneurs, the dwellers, the strolling figures, are not in completely the same role as a member of a classic theater audience, as this is mostly sitting on a given seat in a dark indoor space, staring at the illuminated stage. Theater producers have employed these conditions to concentrate the attention of spectators towards hot spots of action and debate since the late 18th century.…”
Section: ; My Translation)mentioning
confidence: 99%
“…(cf. Schmidt 2010, Schipper 2014, Fischer-Lichte/Wihstutz 2013 and Merx this volume) Now -I do agree that the flâneurs, the dwellers, the strolling figures, are not in completely the same role as a member of a classic theater audience, as this is mostly sitting on a given seat in a dark indoor space, staring at the illuminated stage. Theater producers have employed these conditions to concentrate the attention of spectators towards hot spots of action and debate since the late 18th century.…”
Section: ; My Translation)mentioning
confidence: 99%
“…This study’s focus contributes to a specific literature on the memorialization of tragic events and what some have called the ‘politics of memory’. Many have written about the contentious deliberations surrounding the 9/11 Memorial design, following the attack that brought down the World Trade Center (Hoskins, 2007; Schmidt, 2010). Not unlike the Bamiyan Buddhas, which were destroyed only a few months prior to the Twin Towers, and by some of the very same actors, the buildings in New York City were selectively targeted as a symbol of American capitalism and strength.…”
mentioning
confidence: 99%
“…As such, the job of replacing the towers with a lasting memorial meant refilling that void with new symbolisms that could ‘remember and honor’ the victims, but also reflect ‘endurance’ and ‘courage’ (Hoskins, 2007: 249). Such a sensitive task, Schmidt (2010: 284) writes, becomes a ‘contest over the meaning which is being represented – and, indeed, a contest over meaning itself. These controversies reveal … an overarching anxiety about the finality of meaning which will be concretized by the completed structures.’…”
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confidence: 99%
“…Μάλιστα, καθώς τα μνημεία είναι συνδεδεμένα άλλοτε με θριαμβικές άλλοτε με οδυνηρές συλλογικές μνήμες, αναδεικνύοντας κάποιες και ταυτόχρονα αποσιωπώντας άλλες, ζητήματα που σχετίζονται με τη μορφή, το μέγεθος και τη θέση, αλλά και το μήνυμα ενός μνημείου στον αστικό χώρο, αποτελούν συχνά πεδίο διενέξεων 26 (Whelan 2001, Landy 1969, Lehti et al 2008, Ανδρέου & Βαμβακίδου 2006: 146, Bodnar 1992, Shackel 2010. Οι διενέξεις αυτές χαρακτηρίζονται κάποιες φορές από ιδιαίτερη ένταση, καθώς επικρατεί η πεποίθηση ότι η σημασία του μνημείου είναι αμετάκλητη και καθοριστική για τη διαμόρφωση μιας πόλης «ακόμη και του κόσμου» (Schmidt 2010), ενώ συχνά γίνονται αφορμή για να εκδηλωθούν υφέρπουσες συγκρούσεις σε άλλα επίπεδα της πολιτικής ζωής (Till 1999(Till , Γιαννιτσιώτης 2010). Έτσι, οι μη κυρίαρχες ομάδες επιχειρούν να επηρεάσουν τη μορφή, το νόημα και τη θέση ενός μνημείου, επιδιώκοντας, μάλιστα, τη συμμετοχή τους στις διαδικασίες, τον σχεδιασμό και τη χρηματοδότηση (Savage 1997), ή ακόμη και την απομάκρυνση ενός μνημείου εφόσον θεωρήσουν ότι ο τρόπος της αναπαράστασης τους απαξιώνει (βλ.…”
Section: τα δημόσια έργα τέχνης ως εξευγενισμός της μνήμηςunclassified