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A Brief History of War Memorial Design
A BRIEF HISTORY OF WAR MEMORIAL DESIGN War Memorials in Manitoba: An Artistic Legacy A BRIEF HISTORY OF WAR MEMORIAL DESIGN war memorial may take many forms, though for most people the first thing that comes to mind is probably a freestanding monument, whether more sculptural (such as a human figure) or architectural (such as an arch or obelisk). AOther likely possibilities include buildings (functional—such as a community hall or even a hockey rink—or symbolic), institutions (such as a hospital or endowed nursing position), fountains or gardens. Today, in the 21st century West, we usually think of a war memorial as intended primarily to commemorate the sacrifice and memorialize the names of individuals who went to war (most often as combatants, but also as medical or other personnel), and particularly those who were injured or killed. We generally expect these memorials to include a list or lists of names, and the conflicts in which those remembered were involved—perhaps even individual battle sites. This is a comparatively modern phenomenon, however; the ancestors of this type of memorial were designed most often to celebrate a victory, and made no mention of individual sacrifice. Particularly recent is the notion that the names of the rank and file, and not just officers, should be set down for remembrance. A Brief History of War Memorial Design 1 War Memorials in Manitoba: An Artistic Legacy Ancient Precedents The war memorials familiar at first hand to Canadians are most likely those erected in the years after the end of the First World War. Their most well‐known distant ancestors came from ancient Rome, and many (though by no means all) 20th‐century monuments derive their basic forms from those of the ancient world. -
Newsletter Winter 2018 Issue
新 西 籣 東 增 會 館 THE TUNG JUNG ASSOCIATION OF NZ INC PO Box 9058, Wellington, New Zealand www.tungjung.org.nz Newsletter Winter 2018 issue ______ —— The Tung Jung Association of New Zealand Committee 2017—2018 President Gordon Wu 388 3560 Membership Vice President Peter Moon 389 8819 Secretaries- English Eugenie McCabe 475 7707 Property Alex Chang 499 8032 Chinese Kevin Zeng 021 669628 Sam Kwok 0278110551 Treasurer Robert Ting 478 6253 Newsletter Gordon Wu 388 3560 Assistant treasurer Virginia Ng 232 9971 Peter Moon 389 8819 Social Peter Wong 388 5828 Website Gordon Wu 388 3560 Andrina Chang 499 8032 Peter Moon 389 8819 Valerie Ting 565 4421 Peter Moon 389 8819 Public Gordon Wu 388 3560 relations Please visit our website at http://www.tungjung.org.nz 1 President’s report…… Easter was early this year and coincided with a lot of other events which led to a poor attendance at the Tung Jung Ching Ming observance at Karori Cemetery. Unfortunately, the president and other committee members were away in Auckland and could not attend. The president and other committee members had travelled to Auckland to participate in the unveiling of the memorial to the 499 Chinese men whose bodies were lost at sea off the coast of Hokianga when the ship transporting their remains sunk at sea there. The ceremony was cancelled due to unforeseen circumstances and will be re-announced at a later date. The annual Easter Tournament organised by the New Zealand Chinese Association was held in Wellington this year (every four years) and the Association was asked to help in the canteen at the ASB arena in Kilbirnie where the tour- nament was held. -
The Making and Maintenance of Cenotaphs
第8頁 田野與文獻 第五十二期 2008.7.15 The Making and Maintenance of Cenotaphs Ian Morley History Department, Chinese University of Hong Kong Funerary architecture and memorials have known for its aesthetic properties and durability historically taken a variety of structural and aesthetic (Morley, 2002: 634-5), the Cenotaph was aesthetically forms. In the 19th century, for example, Western composed as an excursion into mathematical invention mausolea embraced aesthetic forms relating to the so that the memorial could be distinguished from austerity and simplicity of Classicism, the intricacy its surroundings in both abstract and stylistic terms. and visual density of the Gothic style, and symbols Although superficially giving the impression of associated with Egyptology in order to bring a sense of symmetry the Cenotaph was in fact designed in a apotheosis to the memory of the departed. Significantly geodesic manner (Hussey, 1984) with entasis, a series these design styles, and their plethora of reworked of subtle curves branching out from axial points forms, were not only exclusively used in the West, but positioned about 900 feet below the surface of the were due to the engagement of colonial activities by ground and 900 feet above the ground (Lutyens, European nations propagated in overseas territories 1942), the composition therefore forming a globe in places such as Asia, Africa and Australasia. that in conceptual terms united the underworld, and Accordingly cemeteries in far-flung colonies the ground with heaven above. In other words, its became filled with often impressively sized funerary architectural manner attempted to tie those killed by structures similar to those found in the Motherlands, war, and those that memorialise them, with eternal and memorials too were frequently constructed peace and glory. -
Hong Kong Dollar (HK$) Which Is Accepted As Currency in Macau
Interesting & Fun Facts About Macau . The official name of Macau is Macau Special Administrative Region. The official languages of Macau are Portuguese and Chinese. Macau lies on the western side of the Pearl River Delta, bordering Guangdong province in the north. Majority of the people living in Macau are Buddhists, while one can also find Roman Catholics and Protestants here. The economy of Macau largely depends upon the revenue generated by tourism. Gambling is also a money-generating affair in the region. The currency of Macau is Macanese Pataca. After Las Vegas, Macau is one of the biggest gambling areas in the world. In fact, gambling is even legalized in Macau. Macau is the Special Administrative Region of China. It is one of the richest cities in the world. Colonized by the Portuguese in the 16th century, Macau was the first European settlement in the Far East. Macau is one of the most densely populated regions in the world. Macau ranks amongst the top 10 regions in the world, with a quite high life expectancy at birth. Macau is a highly humid region, with the humidity ranging anywhere between 75% and 90%. It receives fairly heavy rainfall as well. The Historic Centre of Macau, including twenty-five historic monuments and public squares, is listed as a World Heritage Site by UNESCO. The tourists of Macau should know that tipping is a very popular as well as important tradition followed in the region. Nearly 10% of the bill is given as tip in most of the restaurants and hotels of Macau http://goway.com/blog/2010/06/25/interesting-fun-facts-about-macau/ Basic Information on Macao (east-asian-games2005.com) Updated: 2005-09-27 15:23 Geographical Location Macau is located in the Guangdong province,on western bank of the Pearl River Delta,at latitude 22o14‘ North,longitude 133 o35‘ East and connected to the Gongbei District by the Border Gate (Portas do Cerco) isthmus. -
Historic Building Appraisals of the 8 New Items
N186 Historic Building Appraisal Entrance Gate, Enclosing Walls and Shrine Yan Shau Wai, San Tin, Yuen Long, N.T. Yan Shau Wai (仁壽圍) in San Tin (新田) is a walled village established by the Historical Mans. They are the descendants of Man Tin-shui (文天瑞), a brother of Man Interest Tin-cheung (文天祥) who was a renowned patriot fighting against the Mongols to protect the Song emperors in the late Southern Song (南宋,1127-1279) dynasty. Man Sai-gor (文世歌, 1390 – 1457) moved from Tuen Mun (屯門) to San Tin in the Ming (明, 1368 – 1644) dynasty, and is regarded as the founding ancestor (開基祖) of the Man clan there. Yan Shau Wai is the first village established by the Mans in San Tin having a history of about 600 years, i.e. established around the fifteenth century. In order to protect the villagers against banditry and piracy, the settlement of Yan Shau Wai was enclosed by an entrance gate, walls and watchtowers at the corners. Within the walls were closely-packed row houses with lanes in between. As time passed, the lineage grew in size and their settlements expanded to include Tung Chan Wai (東鎮 圍), Shek Wu Wai (石湖圍), Fan Tin Tsuen (蕃田村), Wing Ping Tsuen (永平村), On Lung Tsuen (安龍村), Tsing Lung Tsuen (青龍村), San Lung Tsuen (新龍村) and Chau Tau Tsuen (洲頭村) as well. They, together with Yan Shau Wai, were collectively known as three wai (三圍, literally three walled villages) and six tsuen (六村, literally six villages). According to the village elders, since their defensive power had been greatly enhanced due to the growth of the clan in size, the other Man’s villages were not built with entrance gates, enclosing walls and watchtowers like Yan Shau Wai. -
China, Hong Kong, and Taiwan on Film
CHINA, HONG KONG AND TAIWAN ON FILM, TELEVISION AND VIDEO IN THE MOTION PICTURE, BROADCASTING AND RECORDED SOUND DIVISION OF THE LIBRARY OF CONGRESS Compiled by Zoran Sinobad June 2020 Introduction This is an annotated guide to non-fiction moving image materials related to China, Hong Kong and Taiwan in the collections of the Motion Picture, Broadcasting and Recorded Sound Division of the Library of Congress. The guide encompasses a wide variety of items from the earliest days of cinema to the present, and focuses on films, TV programs and videos with China as the main subject. It also includes theatrical newsreels (e.g. Fox Movietone News) and TV news magazines (e.g. 60 Minutes) with distinct segments related to the subject. How to Use this Guide Titles are listed in chronological order by date of release or broadcast, and alphabetically within the same year. This enables users to follow the history of the region and for the most part groups together items dealing with the same historical event and/or period (e.g. Sino-Japanese conflict, World War II, Cold War, etc.). Credits given for each entry are as follows: main title, production company, distributor / broadcaster (if different from production company), country of production (if not U.S.), release year / broadcast date, series title (if not TV), and basic personnel listings (director, producer, writer, narrator). The holdings listed are access copies unless otherwise noted. The physical properties given are: number of carriers (reels, tapes, discs, or digital files), video format (VHS, U- matic, DVD, etc.), running time, sound/silent, black & white/color, wide screen process (if applicable, e.g. -
The Stones of London's War Memorials
Urban Geology in London No. 23 The Stones of London’s War Memorials ‘If I should die, think only this of me; That there’s some corner of a foreign field That is forever England’ The Soldier, Rupert Brooke (1887-1915) Memorial at the Tower of London for the centenary of the outbreak of WWI: 'Blood Swept Lands and Seas of Red' by ceramicist Paul Cummins. The opening lines of Rupert Brooke’s famous poem (above) illustrates muCh of the sentiments assoCiated with the design of war memorials and war graves. It has beCome traditional, on the most part, for stones representing the soldiers’ Countries of origin to be used in memorials ConstruCted to Commemorate them. For example, the war memorials commemorating the British Forces killed during WWI in FranCe and Belgium, such as Thiepval and the Menin Gate, are built from briCk, with piers, vaults, Columns and the panels bearing the insCriptions of names in Portland Stone. As we will see below, stones have been imported from all over the World to Commemorate the soldiers from those Countries who fought in the European theatres of the first half of the 20th Century. Indeed there are Corners of foreign fields, or in faCt London, that are forever Australian, Canadian or Maltese. I am predominantly foCusing on memorials to WWI and WWII. Many of the War Memorials and their stones catalogued below have been previously desCribed in other Urban Geology in London Guides. These inClude the memorials in the vicinity of Hyde Park Corner (Siddall & Clements, 2013), on the ViCtoria Embankment (Siddall & Clements, 2014) and the Malta Memorial near the Tower of London (Siddall, 2014). -
Public Art in the Private City: Control, Complicity and Criticality in Hong Kong
Open Philosophy 2019; 2: 280–298 Does Public Art Have to Be Bad Art? Lara van Meeteren and Bart Wissink* Public Art in the Private City: Control, Complicity and Criticality in Hong Kong https://doi.org/10.1515/opphil-2019-0020 Received May 08, 2019; accepted June 09, 2019 Abstract: Responding to Open Philosophy’s call ‘Does public art have to be bad art?’, in this paper we argue that this discussion should pay attention to the consequences of structural transformations that guide the production and presentation of public art in today’s increasingly private city. While entrepreneurial governance and corporate branding strategies generate new opportunities, they might also result in increased risk averseness and control over the content of public art, thus putting its critical potential at risk. That observation ushers in urgent questions about control, complicity and criticality. We aim to reflect on those questions through two public art projects in Hong Kong: Antony Gormley’s Event Horizon (2015) and Our 60-second friendship begins now (2016) by Sampson Wong Yu-hin and Jason Lam Chi-fai. After drawing conclusions on the justification of public funding for co-productions, the legitimacy for artists to sometimes not ‘follow the rules’, and the problematic nature of a narrow definition of professionalism as a means to discredit artists, our analysis underlines the urgent need to develop a framework that can guide discussions on the consequences of control and complicity for the critical potential of public art. Keywords: Public art, private city, control, complicity, criticality, Event Horizon, Antony Gormley, Countdown machine, Add Oil team, Hong Kong 1 Introduction What are the possibilities for critical public art in an increasingly private city? In response to Open Philosophy’s call for papers, in this contribution we argue that this should be one of the central questions in the discussion about public art today. -
Making Malaysian Chinese
MAKING MALAYSIAN CHINESE: WAR MEMORY, HISTORIES AND IDENTITIES A thesis submitted to the University of Manchester for the degree of Doctor of Philosophy in the Faculty of Humanities 2015 FRANCES TAY SCHOOL OF ARTS, LANGUAGES AND CULTURES Contents Introduction.............................................................................................................. 14 Identity: The Perennial Question ........................................................................ 16 Memory-Work and Identity Construction ............................................................ 17 Silence as a Concept .......................................................................................... 22 Multiple Wars, Multiple Histories......................................................................... 26 Ambiguous Histories, Simplifying Myths ............................................................. 30 Analytic Strategy and Methods ........................................................................... 34 Chapter 1. Historical Context: Chinese as Other .................................................... 38 Heaven-sent Coolies .......................................................................................... 39 Jews of the East.................................................................................................. 41 Irredentists and Subversives .............................................................................. 44 Overseas Chinese Compatriots ......................................................................... -
“We Will Remember Them”: the Poetic Rewritings of Lutyens’ Cenotaph 1
Alex Moffett “We Will Remember Them”: The Poetic Rewritings of Lutyens’ Cenotaph 1 uring the May Day demonstrations of the year 2000, the Cenotaph war memorial in the Whitehall district of London was defaced by anti-globalization protesters. Most of the day’s protests, organized by Da variety of environmental and labor activists on a day traditionally associated with worker’s rights, were conducted peacefully, but at some point during the day, a small group splintered off from the main procession and spray-painted graffiti on the venerated monument. The writing that they left on it—a variety of anti-capitalist and anti-government slogans—was dominated by the query “Why glorify war?” scrawled in large letters above the other missives. The popular response to this act was one of public outrage. Prime Minister Tony Blair condemned the action, calling the protesters “mindless thugs,” and angrily declaring that “[i]t is only because of the bravery and courage of our war dead that these idiots can live in a free country at all.”2 The politics of the matter were very quickly made manifest when Conservative leaders suggested that Ken Livingstone, at that time the leading candidate to become the new mayor of London, was more sympathetic to the protesters than he was to police trying to keep the peace. The only other large-scale property damage that was inflicted that day was on a downtown London McDonald’s, which had its windows smashed and its seating area severely vandalized. One intriguing element of the events of May 1st, 2000 is the seeming anachronism between the object of the vandalism and the cultural and political antagonisms that prompted the act. -
The Hiroshima Peace Memorial, Yasukuni Shrine, and the Legacy of the Asia-Pacific War
THE DYNAMICS OF COLLECTIVE WAR MEMORY IN JAPAN: THE HIROSHIMA PEACE MEMORIAL, YASUKUNI SHRINE, AND THE LEGACY OF THE ASIA-PACIFIC WAR A THESIS SUBMITTED TO THE GRADUATE DIVISION OF THE UNIVERSITY OF HAWAI’I AT MᾹNOA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN ASIAN STUDIES APRIL 2017 By David Adam Coldren Thesis Committee: Lonny Carlile, Chairperson Yuma Totani Petrice Flowers Table of Contents I. Legacies of World War II: Yasukuni Shrine, the Hiroshima Peace Memorial, and War Memory in Japan ------------------------------------- 1 II. Speaking for the Dead: The Hiroshima Peace Memorial and Yasukuni Shrine in Prime Ministers’ Speeches -------------------------------- 38 III. Expanding Memory: The Hiroshima Peace Memorial, Yasukuni Shrine, and International Representation ---------------------------------------- 77 IV. Conclusion ------------------------------------------------------------------------- 105 V. Bibliography ----------------------------------------------------------------------- 113 Chapter 1 Legacies of World War II: Yasukuni Shrine, the Hiroshima Peace Memorial, and War Memory in Japan In the first chapter of their edited volume The Politics of War Memory and Commemoration, T.G. Ashplant, Graham Dawson, and Michael Roper assert that since the 1980s “there has been a proliferation of public interest and concern throughout the world in the…phenomena of war memory, and in the forms and practices of war commemoration.”1 This proliferation may be directly attributable to the impact of globalization -
ICOMOS Heritage Alert CGO Hong Kong 12 June 2012
Government Hill Concern Group Proposal for Heritage Alert Action for the West Wing, Central Government Offices on Government Hill, Hong Kong SAR to the ICOMOS International Scientific Committee on 20 th Century Heritage June 2012 1 2 3 Executive Summary Hong Kong's 170-year-old Government Hill is currently under threat by a government plan to redevelop a large part of the area for commercial development. The site slated for demolition and redevelopment is a 20 th century heritage - the Central Government Offices West Wing – which was built in the 1950s with the East and Central Wings to provide centralized accommodation for all government departments. It is is a fine example of 1950s Modernist architecture in Hong Kong. Government Hill has a history as long as Hong Kong's colonial history. In 1841, not long after the British landed in Hong Kong, the colonial government designated an area in Central District as its political, administrative and religious centre with the Governor's residence, government offices and the cathedral in close proximity. Local historians have remarked that this is probably the last remaining heritage precinct in Hong Kong. A conservation consultant report commissioned by the Hong Kong Government recommends establishing a Special Protected Zone to conserve this entire unique low-rise, wooded historic area. With the completion of a new government headquarters in 2011, the government plans to take forward a redevelopment scheme and demolish the West Wing. The site will be excavated to make way for a huge underground facility and a 32-storey office tower which will overwhelm the surviving East and Central Wings and other 19 th century historic buildings in the area, thus significantly compromise the landscape setting of the Government Hill as a whole.