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From the award-winning, bestselling author of Skyscrapers, Churches, and Bridges comes a stunning visual history that serves as a tribute to classic American landmarks.
Around the world there are thousands of pet statues and memorials with fascinating stories behind them. Some reveal insights into our social history, such as the little brown dog in Battersea that was a focus of suffragette riots. Others have wonderfully quirky origins, like the twenty-three cats of York: sculptures added to buildings designed by a cat-loving architect. Many more reveal tales of courage, loyalty, myth, and legend. From Egyptian cat goddesses and the heroic dogs of war, to search-and-rescue canines on 9/11 and Tombili the Turkish moggy who became an Internet sensation, this book brings together a selection of the most surprising, amusing and illuminating stories, complete with dozens of full-colour photographs. Anyone with an appreciation of pets, the varied roles they play in our lives, and the ways in which our relationships with them have evolved over time, will find much of interest in this book.
"This beautiful book introduces the reader to monuments, statues, and memorials across America, from DC to Hawaii. Learn about monuments to wars, military service, presidents, exploration of the West, losses and tragedies, religion, and industry and innovation. Includes approximately 100 monuments, both historical and modern, from places throughout the country."--Amazon.com.
Describes America's most famous and lesser known monuments and memorials, as well as other landmarks, national parks, and preserves.
Traces the history of the National Mall in Washington, D.C., discussing its plan and structures, and considering how the concept of memorials and memorial space has changed since the nineteenth century.
When it comes to Confederate monuments, there is no common ground. Polarizing debates over their meaning have intensified into legislative maneuvering to preserve the statues, legal battles to remove them, and rowdy crowds taking matters into their own hands. These conflicts have raged for well over a century--but they've never been as intense as they are today. In this eye-opening narrative of the efforts to raise, preserve, protest, and remove Confederate monuments, Karen L. Cox depicts what these statues meant to those who erected them and how a movement arose to force a reckoning. She lucidly shows the forces that drove white southerners to construct beacons of white supremacy, as well as the ways that antimonument sentiment, largely stifled during the Jim Crow era, returned with the civil rights movement and gathered momentum in the decades after the Voting Rights Act of 1965. Monument defenders responded with gerrymandering and "heritage" laws intended to block efforts to remove these statues, but hard as they worked to preserve the Lost Cause vision of southern history, civil rights activists, Black elected officials, and movements of ordinary people fought harder to take the story back. Timely, accessible, and essential, No Common Ground is the story of the seemingly invincible stone sentinels that are just beginning to fall from their pedestals.
Named to the Bank Street College Best Children's Books of the Year for 2020 20th Annual Massachusetts Book Awards “Must Reads”: A Must-Read Picture Book CYBILS Award short list When Abraham Lincoln was assassinated in 1865, fifteen-year-old Dan French had no way to know that one day his tribute to the great president would transform a plot of Washington, DC marshland into America’s gathering place. He did not even know that a sculptor was something to be. He only knew that he liked making things with his hands. This is the story of how a farmboy became America’s foremost sculptor. After failing at academics, Dan was working the family farm when he idly carved a turnip into a frog and discovered what he was meant to do. Sweeney’s swift prose and Fields’s evocative illustrations capture the single-minded determination with which Dan taught himself to sculpt and launched his career with the famous Minuteman Statue in his hometown of Concord, Massachusetts. This is also the story of the Lincoln Memorial, French’s culminating masterpiece. Thanks to this lovingly created tribute to the towering leader of Dan’s youth, Abraham Lincoln lives on as the man of marble, his craggy face and careworn gaze reminding millions of seekers what America can be. Dan’s statue is no lifeless figure, but a powerful, vital touchstone of a nation’s ideals. Now Dan French has his tribute too, in this exquisite biography that brings history to life for young readers.
Confederate monuments figure prominently as epicenters of social conflict. These stone and metal constructs resonate with the tensions of modern America, giving concrete definition to the ideologies that divide us. Confederate monuments alone did not generate these feelings of aggravation, but they are far from innocent. Rather than serving as neutral objects of public remembrance, Confederate monuments articulate a narration of the past that forms the basis for a normative vision of the future. The story, told through the character of a religious mythos, carries implicit sacred convictions; thus, these spires and statues are inherently theological. In Cut in Stone, Ryan Andrew Newson contends that we cannot fully understand or disrupt these statues without attending to the convictions that give them their power. With a careful overview of the historical contexts in which most Confederate monuments were constructed, Newson demonstrates that these "memorials" were part of a revisionary project intended to resist the social changes brought on by Reconstruction while maintaining a romanticized Southern identity. Confederate monuments thus reinforce a theology concerning the nature of sacrifice and the ultimacy of whiteness. Moreover, this underlying theology serves to conceal inherited collective wounds in the present. If Confederate monuments are theologically weighted in their allure, then it stands to reason that they must also be contested at this level--precisely as sacred symbols. Newson responds to these inherently theological objects with suggestions for action that are sensitive to the varying contexts within which monuments reside, showing that while all Confederate monuments must come under scrutiny, some monuments should remain standing, but in redefined contexts. Cut in Stone represents the first detailed theological investigation of Confederate monuments, a resource for the larger collective task of determining how to memorialize problematic pasts and how to shape public space amidst contested memory.