Victory Monument Research Articles

From Victory to Democracy: The “Democracy” in Thailand’s Victory Monument

Abstract This paper discusses the symbolic transformation of Thailand’s Victory Monument in the Thai public memory, from embodying militarism to representing the complicated concept of Thai democracy. In the beginning, the monument had an indirect connection to democracy. However, due to the spatial agency, such as protest activities occupying this structure, it has turned into one of Bangkok’s democratic spaces. By looking at the stories of contentious politics and narratives surrounding this structure, this study reveals that the development of the Victory Monument’s meanings mirrors the democratic struggles of the Thai people. It also applies prevailing discourses on Thai democracy to elucidate the connection between the monument and democratic movements. This research provides an understanding of Thailand’s democratic struggles through a different lens, promotes historical awareness, and preserves public memory by emphasizing the role of public monuments in Thai history, society, and democracy.

The reconstruction of the Serpent Column in Delphi

There are two basic versions for reconstructing the famous victory monument at Delphi: either with a large or with a small tripod cauldron. Comparisons with other contemporary monuments (tripod of Gelon and that of the Crotonians) and other practical considerations point to the conclusion that a large cauldron can be definitely ruled out. Consequently, the small version is accepted but with a small addition/modification: there must have been an intermediate element (upper part of a column shaft with a capital) joining the serpent heads and serving as a base for the cauldron legs, which was made most probably of marble or stone. This solution can definitely account for the position of the serpent bodies and heads and may also solve the technical and historical problems related to the small reconstruction.

Cуперечлива спадщина тоталітаризму: контроверсійні наративи й інноваційні підходи (на прикладі експозиції пам’ятника Перемоги в Південному Тіролі)

The article seeks to emphasize the most recent methods for reinterpreting and gaining a modern perspective on the challenging and contentious historical impact of the to- talitarian past. Th is will be illustrated through an examination of the Victory Monument in Bolzano/Bozen, located in the Autonomous Province of South Tyrol, Italy. Th roughout its his- tory, this monument has sparked intense discussions and served as a battleground for vari- ous cultural memory models. Th is study brings to the forefront intricate questions regarding cultural memory within a diverse society and its implications for museum exhibitions. Th is work relies on an examination of scholarly literature and incorporates fi eld research conducted by the author. Th e article delves into the diffi culties related to the function of museum exhibi- tions in reevaluating a contentious historical legacy in a diverse society, which is crucial for its sustainable democratic advancement. Th e reformatting of the monument with the help of an innovative exhibition, as well as the reconstruction of its underground space for the organiza- tion of the Documentation Center, made it possible to open it to the public. The concept of the innovative exhibition «BZ ‘18-’45. One Monument, One City, Two Dictatorships» was an artistic intervention that historically contextualized the monument that originally embodied totalitarian ideology and culture. It is determined that the creation of a new museum exhibi- tion in Bolzano/Bocen is an example of an innovative approach to reformatting the symbolic space and political discourse around the heavy totalitarian legacy. Based on the analysis of the new museum exhibition, it was found that the monument, which caused controversy, became a basis for understanding diff erent cultures of memory in a multi-ethnic region and establishing cultural communication between diff erent ethnolinguistic communities. Th e reconceptualizing of the monument’s narrative made it possible to create a space for the coexistence of diff erent cultures of memory inherited from the diffi cult past. Th e museum’s experience of historical and artistic rethinking of a complex cultural heritage through a critical approach to the interpreta- tion of the fascist totalitarian past for the sake of social understanding and reconciliation can contribute to the development of contemporary cultural initiatives in Ukraine.

Marianne Sághy and Robert G. Ousterhout, eds. Piroska and the Pantokrator: Dynastic Memory, Healing, and Salvation in Komnenian Constantinople

Marianne Sághy and Robert G. Ousterhout, eds. <i>Piroska and the Pantokrator: Dynastic Memory, Healing, and Salvation in Komnenian Constantinople</i>

Creating and Contesting Kyniska: The Reception of the First Female Olympic Victor

AbstractThis article examines the historical creation of the legacy of Kyniska, the Spartan royal who was the first woman to win at the ancient Olympics in the early fourth century BCE, from her own lifetime to the modern era. By investigating the reception of her victory rather than her agency as historical actor, I demonstrate that the continuing relevance of her victory has depended on others’ literary, historical, or political goals. I examine the creation and contestation of Kyniska's victory at five key moments of reception: 1) in the narratives of Xenophon, Plutarch, and Pausanias; 2) in her own victory monument; 3) in poetry commemorating Hellenistic rulers; 4) in feminist didactic biography of the nineteenth century; and 5) in the debates surrounding the modern Olympics. These moments reveal how her victory's reception has contributed to ancient and modern discourses on womanhood and gender. By contextualising Kyniska in each of these distinct eras and environments, I suggest that the perception of her victory has never been monolithic, not even in the ancient world.

:Numidia Romana? Die Auswirkungen der römischen Präsenz in Numidien (2. Jh. v. Chr.–1. Jh. n. Chr.)

:<i>Numidia Romana? Die Auswirkungen der römischen Präsenz in Numidien (2. Jh. v. Chr.–1. Jh. n. Chr.)</i>

Concrete Dust Versus Angel's Wings? Sacralization of the “Victory Monument” and Postcolonial Memory Politics in Latvia

Concrete Dust Versus Angel's Wings? Sacralization of the “Victory Monument” and Postcolonial Memory Politics in Latvia

Waffen und Rüstungen als Baudekor

In this contribution, drawing on the comprehensive research by Eugenio Polito, selected examples of image media bearing depictions of weapons are discussed, with a focus on sacred buildings, in particular the imperial cult temple dedicated to Domitian and the Flavians in Ephesus. The historic context of the depictions of weapons and armour in connection with erecting a monument is also highlighted. The heterogeneous composition of weapon reliefs in general and the largely homogeneous typology of the weapons and elements of armour depicted contrast with the equally heterogeneous iconographic representation and stylistic execution. The few preserved examples of depictions of weapons on altars include Octavian’s victory monument in Nicopolis which relates directly to the Battle of Actium, and the altar in the Temple of Domitian in Ephesus, which reflects the many victorious military campaigns undertaken by the Flavians during the Dacian Wars.

Bolzano: miasto dwóch narodów, dwóch dyktatur i wspólnego, trudnego dziedzictwa

Bolzano: A City of Two Nations, Two Dictatorships and a Common, Difficult Heritage This paper analyses the case of Bolzano as a border city situated between Italy and Austria that had to deal with the unresolved issue of “difficult history” and “difficult heritage” after World War II. A particular emphasis is placed on the fascist Victory Monument as a symbol of the antagonism between the Italian and German-speaking population of the city, and the exhibition “BZ ‘18-’45: One Monument, One City, Two Dictatorships” as an example of dealing with “difficult heritage”.

Early Hellenistic Royal Ideology and the Marine Thiasos of the Monument of the Bulls on Delos

The marble, high relief marine thiasos of the Monuments of the Bulls on Delos is fragmentary and highly weathered. This paper argues that the meaning of this thiasos can be reconstructed from an examination of the archaeological and textual evidence, as well as the historical context, and, given its placement on an Antigonid victory monument, it conveyed key aspects of early Hellenistic royal ideology. The presence of this marine thiasos reinforces Demetrius Poliorcetes’ well-attested links to Poseidon and Dionysus, as well as being subtly allusive to Alexander the Great, powerful symbols of his claim to kingship and the deification that went with it.

Assessing the Possibility of Appearing RIP Current at Quy Nhon Beach, Binh Dinh Province

RIP current is a strong, popular water flow at beaches in Vietnam as well as in the world, with the direction of flow from the shore to the sea. This is a dangerous flow, each year there are unfortunate accidents for swimmers. This study used the measured data source implemented by the Center for Environmental Fluid Dynamics in 2018 to build the model MIKE 21 Coupled for simulating the hydrodynamic field and the rip current at Quy Nhon beach area. Through calculation scenarios under different conditions show that, the area near the amusement park (An Duong Vuong road) and the southern-most area of Quy Nhon beach are likely to appear rip current in the northeast wind season. In the southwest monsoon season, the intensity of the rip current is strong, appearing near the Victory Monument area. These areas are often crowded by swimmers with local people and tourists, so pay attention to avoid accidents that may happen.&#x0D;

Transforming a Controversial Heritage: The Case of the Fascist Victory Monument in South Tyrol

Using a Fascist monument in South Tyrol, Northern Italy as a case study, this paper investigates the role of monuments in managing and negotiating interpretations of the past in culturally heterogeneous societies. It explores approaches to overcoming the exclusionary potential of cultural heritage, reframing it in more inclusive, pluralist terms. It provides an in-depth analysis of a dialogical, pluralistic approach to heritage, which allows divergent, even contrary, interpretations of the past to coexist. Thus, the paper sheds light on how monuments (re)construct and contest memory and history. It provides insights into constructive ways of engaging with a controversial heritage in multiethnic societies. Keywords: cultural heritage; fascism; memory; monuments; reconciliation; South Tyrol; multiethnic societies DOI: 10.14712/23363231.2018.1

Victory Monument: the Politics of Representations of Thai Identity and Colonial Discourse in Built Forms

This research presents a critical inquiry of the Victory Monument in Bangkok with respect to its symbolicroles in the mediation of state power, together with the identification of the “Thai Self,” known as khwampenthaior ‘Thainess.’ By utilizing Thainess as a mode of problematization, the paper argues that: 1) under theideological cover of nationalism, anti-colonialism, and democracy, the politics of representation at the memorialhave lent legitimacy for governments since the Pibunsongkhram era to pursue their political agenda; and 2) thepractice of colonization in Southeast Asia did not exclusively come from the West, but also took place amongstates within the region, as evidenced by the construction of the Victory Monument. In fostering self-reflexivedialogues on Thainess, the upcoming investigations illustrate the ways in which the built environment has beenemployed to represent something other than itself in the nation-building process. These topics are discussedvia the themes of: 1) a political form of architecture and urban space: how the Victory Monument has beenmanipulated to serve politics; and 2) an architectural and urban form of politics: how politics has influenced thedesign and signification of the memorial.

Paul Stephenson. The Serpent Column: A Cultural Biography.

The Serpent Column is the victory monument set up at Delphi after the defeat of the Persian army at the Battle of Plataia in 479 b.c.e. that marked the end of the Persian invasion of Greece. It originally consisted of a tall, hollow bronze pillar in the form of three entwined serpents terminating in three projecting necks and heads that formed the tripod for a gold cauldron. The cauldron was removed quite early in the monument’s history, but the rest of the tripod remained standing on the east terrace of the sanctuary at Delphi for eight centuries. It was then taken, probably on the orders of the emperor Constantine I, to adorn the newly built hippodrome of Constantinople. Having lost its heads and necks in 1700, the truncated shaft still stands in the At meydanı of Istanbul between the two obelisks. Along with these obelisks, the Serpent Column is all that is left of the crowd of sculptured monuments that occupied the central plinth dividing the racetracks of the greatest entertainment venue of the Byzantine imperial capital.

Linguistic Landscape as standing historical testimony of the struggle against colonization in Ethiopia

Ethiopia is Africa’s oldest independent country and its second largest in terms of population. Apart from a five-year occupation by Italy, which is considered as a war time, the country has never been colonized. The Linguistic Landscape (LL) of Addis Ababa, the capital city of Ethiopia and the seat of the African Union, prominently depicts that important history. Erected in the main squares of the city, the various monuments serve as standing testimonies of the struggle, victory and important figures pertaining to Italian fascist invasion of Ethiopia. Moreover, there are different institutions (schools, hospitals) and infrastructures (bridges, streets) officially named after significant historical moments. Visible in the central locations and squares of the city, monuments, statues, and the naming of streets, bridges, schools, and hospitals, keep the peoples’ memory about the struggle against the Italian invasion and the victories obtained. Symbols of the Lion of Judah, cross and national flags are also part of the public exhibit marking identities, ideologies and references to the country’s history. This study aims at showing how the LL serves as a mechanism to build the historical narrative of Ethiopia. It overviews how the LL in Addis Ababa via its monuments depicts the anti-colonial struggle and the victory over Fascist Italian forces. The monuments considered are: the Victory Monument, The Patriots Monument, The Abune Petros statute, and the Menelik II Statue. After presenting background aspects, this paper tackles Ethiopians’ memories of the Italian invasion as expressed in Addis Ababa’s LL and their identity construction and reconstruction. The last section discusses the findings and draws concluding remarks. Methodologically, digital Figures of the monuments were collected coupled with interview. Ethnographic approaches to the LL are used to analyze the selected memorial objects. As Creswell (2003) indicates ethnographic designs like qualitative research procedures, aims at describing, analyzing, and interpreting a culture-sharing group’s patterns of behavior, beliefs, and language. Semi-structured interviews were carried out in 2014 with a sample of 15 pedestrians, males and females, of different ages and educational categories who were standing in front of the monuments waiting for buses. The interviewers wanted to know what people think of the significance and relevance of location of the monuments in the public space. Most of the interviewees tended to support the views of the prevailing popular interpretations. They strongly relate the monuments with memories of brutality of Italian invaders on the one hand, and the strong resistance, patriotism and heroism of the Ethiopian people. The interviews agree that this unique victory needs to keep being celebrated and glorified as part of the history of Ethiopia.

Analysis on the Process of Return of Cultural Property with Multiple Stream Model: Focus on Bukgwan Victory Monument

Analysis on the Process of Return of Cultural Property with Multiple Stream Model: Focus on Bukgwan Victory Monument

THE PROCESSION AND PLACEMENT OF IMPERIAL CULT IMAGES IN THE COLOSSEUM

The Colosseum is well understood as a dynastic monument that was key to the Flavian building programme and to Flavian ideology. From this point of view it has been approached as the fulfilment of Augustus's ambition for a large-scale amphitheatre, as serving to diminish Nero's memory as it was constructed on the atrium of his dismantled Golden House, and as a victory monument built with the spoils of the Jewish War. One important political aspect of this dynastic monument has been largely overlooked: its connection with emperor worship. Outside Rome, it is well known that amphitheatres served as a venue for the procession and placement of imperial cult images; in Rome, the Circus Maximus and the theatres were venues for the display of imperial images and attributes brought in during their respective pompae. Through the deployment of textual, topographical and visual evidence, this article demonstrates that the Colosseum also had a pulvinar that displayed images and attributes of the gods and divi brought in during the pompa. The location of the pulvinar and the mechanisms by which it was serviced are explored, as are the ideological implications of cultic activity in the Colosseum.

Unraveling the mystery of the “Maoshan Bugle”

The mystery of the “Maoshan Bugle,” first classified in 1997, involves the surprising production of clearly audible bugle-like sounds in response to a launched firecracker blast in the square in front of the Southern Jiangsu Victory Monument in Jiangsu, China. In this paper, we analyze the origin of these sounds, attributing them to interference due to six groups of stairs leading to a monument in the square. Our analysis indicates that the stairs act as a reflection grating for the sounds produced by a firecracker blast. Based on Kirchhoff's diffraction formula, we calculate the spectra and the fundamental frequencies of the bugle-like echoes using the parameters of the actual structures. The calculated spectra fits well with the experimental results derived from the audio samples recorded on site.

La dedica degli Ateniesi per la vittoria su Beoti e Calcidesi del 506 a.C. (IG I3 501) e la sua collocazione topografica

The monument - a quadriga - the Athenians dedicated on the Acropolis for their victory over the Boeotians and the Chalcidians in 506 B.C. has always aroused great interest, both in antiquity and down to the present day: not only is the monument well attested by ancient sources, but it was also restored around the middle of the 5th century, as witnessed by inscriptions; consequently, the 6th century original and the 5th century restoration have been the subject of a long scholarly debate. This paper focuses on the topographical context of the victory monument and that of its restoration, trying to ascertain where they were dedicated. Accordingly, modern theories are critically reviewed and ancient sources thoroughly examined. The latter, together with epigraphical, religious and political reasons, suggest that the original quadriga and its restoration were erected on the same site inside the Acropolis.

A.4. Pompey's politics and the presentation of his theatre-temple complex, 61-52 BCE

After celebrating his third triumph Pompey the Great decided to build a splendid theatre-temple complex during the political and social anxieties of the 50s BCE. This monument was an architectural undertaking hitherto never attempted at Rome. The building was designed with Rome's first permanent stone theatre, a temple of Venus Victrix and a quadriporticus. He also added a senate building in an attempt to soften senatorial antagonism. The importance of religion in the political life of Pompey demonstrates how the structure was a victory monument honouring his military achievements and represented his desire for popularity and everlasting fame. The purpose of this study is to examine the political and religious circumstances and considerations influencing Pompey's decision to present this structure to the Roman people.