Sat, 26 Jul 2008 03:27:21 BST CiteULike: mgallagher monuments http://www.citeulike.org/user/mgallagher/tag/monuments CiteULike.org en-gb Copyright © 2004-2008 citeulike.org http://www.citeulike.org/user/mgallagher/article/1364758 <i>Environment and Planning D: Society and Space, Vol. 13 (1995), pp. 51-65.</i> Cast in stone: monuments, geography, and nationalism Nuala Johnson Environment and Planning D: Society and Space, Vol. 13 (1995), pp. 51-65. 2007-06-04T21:53:35-00:00 1995 Environment and Planning D: Society and Space 13 51 65 geography memorials monuments nationalism http://www.citeulike.org/user/mgallagher/article/2782072 <i>Journal of Historical Geography, Vol. 8, No. 2. (April 1982), pp. 145-169.</i><br /><br />John Ruskin's Stones of Venice criticized the Victorian city and Victorian society in the light of a reconstruction of medieval Venice. But Ruskin's reconstruction embodied elements of a long-standing myth propagated by Venetians themselves and inscribed in their organization of urban space and urban landscape. The geographical dimensions of the myth, its changing character through time, its iconographic expressions and its significance for English attitudes to Venice are described and explained. Ruskin used the myth to support his ideology, constructing a homology between architectural development and social structure. But the appeal of Venice transcends historical contingency and may, in part, be understood by reference to psychoanalytic categories, specifically sexual symbolism. The myth and the stones of Venice: an historical geography of a symbolic landscape Denis Cosgrove doi:10.1016/0305-7488(82)90004-4 Journal of Historical Geography, Vol. 8, No. 2. (April 1982), pp. 145-169. 2008-05-10T00:03:53-00:00 1982 Journal of Historical Geography 8 2 145 169 geography landscape monuments http://www.citeulike.org/user/mgallagher/article/2782053 <i>Annals of the Association of American Geographers, Vol. 88, No. 1. (1998), pp. 28-49.</i><br /><br />This essay examines the monument constructed by the Italian state in the center of Rome to commemorate Vittorio-Emanuele II, first king of united Italy. Opened in 1911 and constructed in the Beaux-Arts architectural style popular at that time as appropriately "imperial" for urban monuments throughout the West, the Vittoriano's symbolism and iconography produce a "memory theater" through which the official rhetoric of a united and imperial Italy was intended to be conveyed to the nation.Yet despite attempts by succeeding governments to promote it as a dignified and sacred center of the city, the nation, and the short-lived Italian empire, the monument has been derided throughout its history. Concentrating on "official culture," we analyze the form and iconography of the monument, trace the various planning interventions made by both Liberal and Fascist governments between the wars that emphasized the Vittoriano's centrality within urban space and Italian territory, and comment on its use by the Italian dictator, Benito Mussolini, to promote an imperial spatiality through his performative rhetoric, which often unfolded while facing the monument in the Piazza Venezia. While urbanistic and territorial interventions emphasized horizontal axialities, burial and construction of a crypt for Italy's Unknown Soldier at the monument produced a vertical axis that linked military sacrifice and past heroism to aerial flight and future victory within the Fascist cult of male youth. Urban Rhetoric and Embodied Identities: City, Nation, and Empire at the Vittorio Emanuele II Monument in Rome, 1870-1945 David Atkinson Denis Cosgrove doi:10.1111/1467-8306.00083 Annals of the Association of American Geographers, Vol. 88, No. 1. (1998), pp. 28-49. 2008-05-09T23:58:47-00:00 1998 Annals of the Association of American Geographers 88 1 28 49 empire identity monuments nationalism urban