If these stones could speak: War memorials and contested memory

This article explores how war memorials engage with the contested nature of public sculpture and commemoration across historical, political, aesthetic and social contexts. It opens with an analysis of the Australian commemorative landscape and the proliferation of Great War Memorials constructed after 1918 and their ‘war imagining’ that positioned it as a national coming of age. The impact of foundational memorial design is explored through a number of memorials and monuments which have used traditional symbolism synonymous with the conservative ideological and aesthetic framework adopted during the inter-war years. The authors then analyse international developments over the same period, including Great War memorials in Europe, to determine the extent of their impact on Australian memorial and monument design. This analysis is juxtaposed with contemporary memorial design which gradually echoed increasing disillusionment with war and the adoption of abstract designs which moved away from a didactic presentation of information to memorials and monuments which encouraged the viewer’s interpretation. The increase of anti- or counter-war memorials is then examined in the context of voices which were often excluded in mainstream historical documentation and engage with the concept of absence. The selection of memorials also provides an important contribution in relation to the ideological and aesthetic contribution of war memorials and monuments and the extent of their relevance in contemporary society.

Conflict and the Australian commemorative landscape

Australian war memorials have changed over time to reflect community sentiments and altered expectations for how a memorial should look and what it should commemorate. The monolith or cenotaph popular after the Great War has given way to other forms of contemporary memorialisation including civic, counter or anti-memorials or monuments. Contemporary memorials and monuments now also attempt to capture the voices of marginalised groups affected by trauma or conflict. In contrast, Great War memorials were often exclusionary, sexist and driven by a nation building agenda. Both the visibility and contestability of how a country such as Australia pursues public commemoration offers rich insights into the increasingly widespread efforts to construct an inclusive identity which moves beyond the cult of the warrior and the positioning of war as central to the life of the nation.

Monuments for deserters: A particularity of German memory culture

This paper examines the changing face of deserters in Germany and the gradual entry of monuments dedicated to them into German memorial culture. The multiple changes in the perception of the Wehrmacht (united armed forces of Nazi Germany from 1935-1945) deserters during the last 70 years from cowards and traitors to (anti-)heroes to victims is the result of generational shifts and changed political contexts. Deserters from the Wehrmacht were a taboo subject for a long time. Over the course of the past thirty years, their story has been reappraised. It now has a visual presence in the form of counter monuments which challenge notions of traditional heroic military virtues and the place of resistance in modern political German culture. Counter-monuments, which had their origins in Germany in the 1980s, were always intended to be provocative, for they sought to disrupt a discourse that had become anachronistic, even unbearable in the eyes of many. Whether they will continue to have a presence, whether further deserter monuments will be built, or whether a future retrospective evaluation will show these monuments to have been an ephemeral and singular phenomenon, is still uncertain.

The spectre of the thing: The construction of the Sydney Gay and Lesbian Holocaust memorial

The Sydney Gay and Lesbian Holocaust Memorial is situated on the western side of Green Park in Darlinghurst, in Sydney, Australia. Darlinghurst is considered the heart of Sydney's gay and lesbian population, having been the site of demonstrations, public meetings, Gay Fair Days, and the starting point for the AIDS Memorial Candlelight Rally. It is also very close to both the Sydney Jewish Museum and the Jewish War Memorial. The planning and construction of the Memorial between 1991 and 2001 was a process framed by two competing imperatives. Balancing the commemoration of a subset of victims of the Holocaust with a positioning of the event as a universal symbol of the continuing persecution of gays and lesbians was a challenge that came to define the ten year struggle to have the memorial built.

‘Splendid patriotism and heroic self-sacrifice’: First World War memorials in Welsh metalworks

Much of the academic attention on issues of Great War mourning and commemoration has focussed on the civic memorials, particularly given that they are designed to be public, visible reminders of the local community’s contribution to the war effort. The focus of this article is on a different subset of memorials, in that they refer specifically to workers from particular companies who served in the war. As such they were not always public memorials, being located in many cases within the works and thus only on display to fellow workers. Yet neither were they entirely ‘private’ memorials, such as the ones established in so many family homes to those they had lost. This article considers twenty five metalworks memorials in the south Wales counties of Monmouthshire, Glamorgan and Carmarthenshire. Taken as a whole, these memorials convey a number of messages about south Wales society in the immediate aftermath of the war. In most examples these were commissioned within three years of the Armistice, and the terms they deploy show that the ‘language of 1914’ was still in vogue. Patriotism was ‘splendid’; self-sacrifice was ‘heroic’; the memory of the fallen was ‘glorious.’ Death was preferable to dishonour. In naming these men, the metalworks companies claimed them as their own and by extension laid claim to a share of the glory. The men’s identity as employees was highlighted in the numerous memorials which noted their position within the company. They had an identity as steelworkers or tinplaters, as well as their identities as men of their hometown, and as Welshmen, Britons and sons of the Empire.

Triumph of the Will: A memorial in film

Despite Hitler’s efforts to transform Berlin into Germania, the capital of the new world he envisioned and which he believed would bear comparison with Ancient Egypt, Babylon, and Rome, there is little in the way of monumental architecture to bear witness to that ambition. Though there is only limited public evidence of Hitler’s architectural hubris present either in stone or steel, the same cannot be said of film. Leni Riefenstahl’s masterpiece Triumph of the Will (1935) (German: Triumph des Willens) is the most famous propaganda film of all time and a staple of university film schools and secondary schools across the world. At the time of its creation, celluloid motion picture film was a relatively new technology and the documentary format a nascent art form. Nevertheless, it was lauded almost immediately as a visually stunning imagining of the new regime and its leader. Though the film maker was subsequently reviled for her Nazi associations, as an art work her film has retained an almost miasmic aura that justifies continued re-assessment of its standing as a monument to the Nazi regime and the horrors perpetrated in its name.

Politics of relics: On the celebration of the fallen of the First World War during the interwar period in Italy

This paper explores the way in which the fallen of the First World War were commemorated in Italy between 1918 and 1940. At the end of the war, numerous spontaneous local monuments were constructed. At the same time, the many small war cemeteries established near the former battlefield areas began to be perceived as a problem. Shortly before the Second World War, in order to bury all the exhumed bodies, the Fascist Regime constructed huge war memorials (ossari and sacrari). However, this was also a means of taking advantage of the fallen for ideological and political purposes. This paper focuses on the connection between the sacralisation of the battlefields by way of raising ossari and sacrari, on the one hand, and the spread of ‘fragments’ of these battlefields all around the country, on the other. The latter phenomenon has not yet attracted significant interest from researchers. Boulders from the battlefields began to appear in the middle of village, town, and city squares across the country. They were considered ‘sacred’ since they were where hundreds of thousands of soldiers had fallen, ensuring Italy’s victory. As the boulders themselves were imbued with the fallen’s sacred blood, they were not carved but rather displayed within the monuments in their ‘natural’ shape. They were not intended to represent anything or communicate a specific message regarding war and death; they simply had to present themselves. The stone of which they were made was their main feature: just like relics, they emanated a sacred aura. Through their physical dissemination, the whole national territory could therefore be sacralised. To take their cue from this rebirth of relics were the ossari and sacrari of the late Fascist Regime, which used them as a propaganda weapon.

Counter memorials and counter monuments in Australia’s commemorative landscape: A systematic literature review

Over the course of the last four decades there has been a growing interest in the development and impact of counter memorials and counter monuments. While counter memorial and monument practices have been explored in Europe and the United States, relatively little research has been conducted in the Australian context. This systematic literature review examines the current state of scholarship by exploring what form counter monuments and memorials have taken and what events they have focussed on. A total of 134 studies met the selection criteria and were included in the final review. The major factors identified that have impacted on the development of the counter memorial and monument genre in Australia are international and domestic influences, historical, political and social-cultural events in Australia, the socio-political agenda of various individuals or organisations, and the aesthetics of the counter memorials and monuments themselves. The review found that Australia has a diverse and active counter memorial and monument genre, with commemorative practices honouring Aboriginal and Torres Strait Islander peoples, women, victims of human made and natural disasters, the experiences of asylum seekers, and the histories and experiences of the lesbian, gay, bisexual, transgender and queer communities.

Listening like a historian? A framework of ‘oral historical thinking’ for engaging with audiovisual sources in secondary school education

History education in many parts of the world is increasingly integrating the practices and sources of oral history. This rapprochement between the field of history education and the field of oral history presents an opportunity to allow students to engage with and develop the particular ways of thinking used by oral history practitioners and theorists. This study investigates how ‘oral historical thinking’ might be captured in a framework designed for educators, much like the various existing models of historical thinking, to support secondary students to analyse and interpret audiovisual interview sources in a way that emulates experts in the field. The study presents a prototypical ‘oral historical thinking framework’ and explores its possible applications to classroom teaching.

Historical thinking and family historians: Renovating the house of history

Family history research, as a multi-billion-dollar industry, is one of the most popular pastimes in the world with millions of enthusiasts worldwide. Anecdotally regarded by some in the academy as being non-traditional, family historians are changing the historiographic landscape through the proliferation and dissemination of their familial narratives across multiple media platforms. Learning to master the necessary research methodologies to undertake historical work is a pedagogic practice, but for many family historians this occurs on the fringe of formal education settings in an act of public pedagogy. As large producers of the past, there have been many important studies into the research practices of family historians, where family historians have been shown to draw upon the research methodologies of professional historians. Paradoxically, little attention has been paid to how these large producers of historical knowledge think historically. This paper reports on interview findings from a recent Australian study into the historical thinking of family historians. Drawing on Peter Seixas’ (2011) historical thinking concepts as a heuristic lens, this research finds that some family historians, despite being largely untrained in historical research methodologies (Shaw, 2018), display the theoretical nuances of the history discipline in (re)constructing and disseminating their familial pasts.