User:OberMegaTrans/Denkmal

Denkmal

Intro - OIAM
Ein Denkmal (Mehrzahl: Denkmäler oder Denkmale) ist im allgemeinen Sprachgebrauch dem Duden gemäß:

Translation: A Denkmal (plural form: Denkmäler or Denkmale) is, according to the German lexicon Duden, generally defined as follows:

Section 1 - OIAM

 * 1. entweder eine „zum Gedächtnis an eine Person oder ein Ereignis errichtete, größere plastische Darstellung; ein Monument“ (→ Denkmal (Gedenken))
 * – Hierunter fallen beispielhaft Statue, Reiterstandbild, Monument, Ehrenmal, Kriegerdenkmal, Mahnmal, Triumphbogen
 * 2. oder ein „erhaltenes [Kunst]werk, das für eine frühere Kultur Zeugnis ablegt“ (→ Denkmal (Zeugnis))
 * – Hierunter fallen beispielhaft Werk, Kunstwerk, Kulturgut, UNESCO-Welterbe, Kulturdenkmal, Baudenkmal, Bodendenkmal

Als „Zeugnis der kulturellen Entwicklung der Menschheit“ kann ihm im Rahmen einer Erinnerungskultur aus künstlerischer, historischer, politischer, technischer, städtebaulicher oder landschaftsgestalterischer Sicht ein besonderer Wert zugesprochen werden. Wenn an seiner Erhaltung ein institutionelles öffentliches Interesse besteht, kann es unter Denkmalschutz gestellt werden. In diesem Sinne kann auch Ersteres zusätzlich zu Zweiterem erklärt werden, also ein Reiterstandbild zu einem geschützten Baudenkmal erklärt werden.

Translation:
 * 1. either a "three-dimensional representation designed to remember a (historic) person/figure or an event; a monument" (→ Denkmal (remembrance))
 * - examples are statues, equestrian statues, monuments, war memorials and war veteran memorials, cenotaphs, triumphal arches
 * 2. or an "[art] work bearing witness to an earlier culture" (→ Denkmal (witness/reference/testimonial?))
 * - examples are works, art works, cultural assets, UNESCO world cultural sites, cultural monuments, architectural monuments, ground monuments/archeological sites

In a culture of remembrance, a Denkmal possesses special value due to its character as "testimonial of [the?] human cultural development" from an artistic, historical, political, technical, architectural or landscaping perspective. If there is an institutional public interest in its preservation, a Denkmal can be classified as an historical monument. In this way/sense, 1. can additionally declared as 2., e.g. an equestrian statue can be listed as a protected architectural monument.

Section 2 - Telemachos
Das Naturdenkmal kann nur dann ein Denkmal im beschriebenen Sinn sein, „das für eine frühere Kultur Zeugnis ablegt“, wenn es sich ursprünglich um ein von Menschen angelegtes Werk der Gartenkunst handelte oder um einen gepflanzten Baum mit gestaltetem Umfeld für die Erinnerungskultur, wie zum Beispiel eine Kaisereiche. Im Kontext der Gartenkunst befasste sich etwa Christian Cay Lorenz Hirschfeld mit der Funktion und Ästhetik von Denkmälern.

Translation: In this context, a natural monument can only be classified as "[art] work bearing witness to an earlier culture" as long as it is a work of garden art created by humans or as long as it is a planted tree featuring designed surroundings displaying commemorative culture, such as the Kaisereiche. (I chose to leave out the part about Christian Cay Lorenz as it seems unnecessary for readers of the English article.)

Suggestions: "testifying a former culture" would have to be the same as in the preceding definition. So far, we have "[art] work bearing witness to an earlier culture". We might want to find a common definition. In addition, you might leave out the second "as long as" in the first sentence.

Begriffsgeschichte
Das Wort Denkmal lässt sich erstmals in den Schriften Martin Luthers nachweisen, wo es die Bedeutung „Gedächtnisstütze“ hat. Luther verwendet es als Übersetzung für das griechische mnemosynon und das lateinische monumentum (lat. monēre = „gemahnen“, „erinnern“). Der Begriff bürgerte sich ohne eine allgemeingültige Definition ein und konnte im Extremfall jeden Gegenstand bezeichnen, der ein allgemeineres Interesse auf sich zieht.

Translation: The term Denkmal can be firstly attested in the work of Marthin Luther. However, in his work, the term Denkmal rather denotes aide-mémoire. For his translation, Luther used the Greek word mnemosynon and the Latin word monumentum (lat. monēre = "remind", "remember"). The term vernacularised without any generally valid definition and in some extreme cases could also designate any given object which attracted public interest.

Section 3 - Translator20
Bis ins 19. Jahrhundert wurde die Bezeichnung synonym mit Monument verwendet, während heute mit letzterem vor allem Denkmäler besonderer Größe bezeichnet werden (so bezeichnet das Adjektiv monumental heute in erster Linie gewaltige und eindrucksvolle Objekte). Auch im heutigen Sprachgebrauch kann die Definition je nach Fachbereich und Betrachtungsweise unterschiedlich sein. Während beispielsweise in der Kunstgeschichte zum Zweck der Erinnerung geschaffene Werke als Denkmal bezeichnet werden, verwendet der Denkmalschutz einen gänzlich anderen Denkmalbegriff.

Translation: Up to the 19th century, the term was used synoymously with the word "monument". Nowadays, the latter is usually used to describe Denkmäler that are of great size (the adjective "monumental" therefore primarily denotes vast, impressive objects today). In contemporary parlance, the definition of Denkmal can vary depending on the relevant field and the respective approach taken. Whereas, for example, in art history the term designates works created to promote remembrance, it is used in a vastly different way in the context of monument protection.

Suggestions: Consider to start the last sentence with : "While..." instead of "Whereas". OR start the sentence directly "In art history for example [...], whereas in the context of monument protection, it is used in a vastly different way."

Begriffsdefinition
Es gibt im deutschen Sprachgebiet keinen einheitlichen und verbindlichen Denkmalbegriff. In der Literatur wird stets die Heterogenität des Begriffs hervorgehoben. Die geisteswissenschaftlichen und kunsthistorischen Grundlagen des Denkmalbegriffs sind äußerst vielfältig und disparat. Namen wie Georg Dehio, Alois Riegl, Max Dvorak, Tilmann Breuer, Georg Mörsch, Willibald Sauerländer, Wilfried Lipp und andere stehen hierfür.

Translation: There is no uniform or binding definition of the term in the German-speaking world, and its heterogeneous nature has been consistently emphasized in literature. Its foundations, relating to humanities and art history, are extremely diverse and disparate, for which names such as Georg Dehio, Alois Riegl, Tilmann Breuer, Georg Mörsch, Willibald Sauerländer, Wilfried Lipp et al. stand for.

(Comment: I did not entirely get the meaning of the last sentence in German, so its English translation might confuse you even more.)

Section 4 - Klippschliefer123
Seit dem frühen 19. Jahrhundert wird der Begriff Denkmal unterteilt in ein Denkmal im engeren Sinne und ein Denkmal im weiteren Sinne. Das Conversations-Lexikon oder Enzyklopädisches Handbuch für gebildete Stände von 1816 begründete diese Differenzierung, die über Alois Riegl bis in die heutige Wissenschaftsliteratur tradiert wurde. Dabei wird als Denkmal im weiteren Sinne ein kulturgeschichtlich bedeutsamer Gegenstand und als Denkmal im engeren Sinne ein für eine Person oder Ereignis errichtetes Erinnerungsmal bezeichnet. Mit den Worten Gustav Droysens ist dies eine Unterscheidung von Denkmälern aus der Zeit und für die Zeit. Zugleich zeigt sich in dieser Unterscheidung unser Umgang mit der Vergangenheit (Denkmal im weiteren Sinne) und welche Folgerungen daraus, im Sinne der Erinnerungskultur, für die Zukunft geschlossen werden (Denkmal im engeren Sinne).

Translation: Ever since the early 19th century, the term is divided into the subsume concepts Denkmal in the broad sense and Denkmal in the narrow sense. The first reference of this differentiation traces back to an encyclopedia from 1816 (Conversations-Lexikon oder Enzyklopädisches Handbuch für gebildete Stände). From then, it was handed down to the present-day literature by Alois Riegl. Denkmal in the broad sense refers to art-historically important objects whereas Denkmal in the narrow sense refers to memorials designed to commemorate people or events. According to Gustav Droysens, the distinction lies in the notion that while one is a Denkmal from a specific time, the other is a Denkmal for a specific time. Furthermore, it demonstrates how we deal with the past on the one hand (Denkmal in the broad sense), and how use commemoration to draw consequences for the future on the other (Denkmal in the narrow sense).

Comments/Suggestions: - "Has been divided" instead of "is divided" - "subcategories" instead of "subsume concepts" - The first reference to this differentiation, which has been handed down to contemporary researchers/sciences (?) through Alois Riegl, traces back to an encyclopedia from 1816 (Conversations-Lexikon oder Enzyklopädisches Handbuch für gebildete Stände). - "art-historically significant objects" instead of "art-historically important objects" - I believe "on the one hand" and "on the other hand" cannot be used at the end of a sentence/clause, so I would suggest using "It demonstrates both how we deal with the past and how commemoration and culture of memory help us to draw consequences for the future" instead.

Final version: Ever since the early 19th century, the German word for the term memorial (Denkmal) has been divided into two subcategories. In the broader sense of the term, memorial refers to art-historically significant objects whereas the narrower sense refers to memorials designed to commemorate people or events. According to the German historian Gustav Droysen, what distinguishes these two is that one is a memorial from a specific time while the other is for a specific time. In other words, one shows our treatment of the past, the other one how we use the past to draw consequences for the future.

Section 5 - Sally'sWorld
Die Brockhaus-Enzyklopädie bezeichnet als Denkmal „im engeren Sinn ein zur Erinnerung an bestimmte Personen oder Ereignisse errichtetes Werk der Bau- oder Bildhauerkunst.“ Genauer formuliert das „Lexikon der Kunst“ zum Denkmal im engeren Sinn „jedes bewusst mit der Absicht der Wahrung des Andenkens an Personen oder Ereignisse errichtete architekton[ische] oder plast[ische] Werk. D[enkmäler] propagieren meist die herrschenden Ideen und führenden Persönlichkeiten der jeweiligen hist[orischen] Formation b[e]z[iehungs]w[eise] ihrer einzelnen Perioden und entfalten deshalb eine aktive gesellschaftspolit[ische] Wirksamkeit.“

Denkmäler sind Ausdruck eines Zeitgeistes, sie „vergegenwärtigen unser Erbe, konfrontieren uns mit einer fortwirkenden Vergangenheit, die – beharrlich, unbarmherzig, bisweilen auch versöhnlich – in unsere Gegenwart hineinragt“. Sie sind bis zur Demokratisierung Deutschlands als Verbindungsglied zwischen herrschender Klasse und Bürgerschicht zu verstehen.

Translation: Germany's most notable encyclopedia Brockhaus Enzyklopädie defines as a Denkmal "in the narrower sense of the word any work of architecture or sculpture which has been created to commemorate specific persons or events". More precisely, a German art lexicon (Lexikon der Kunst) defines a Denkmal in the narrower sense of the word to be "any architectural or sculptural work of art which has been erected with the conscious intention of preserving the memory of persons or events. Denkmäler mostly promote prevailing ideas and people in authority of their historical formation or respectively of their period and they can thus develop active socio-political potency." Denkmäler are expressions of their times, they "visualise our heritage and confront us with a past that has never lost its potency and which reaches into our present - persistently, mercilessly, yet sometimes conciliatory". Up until the times of Germany's democratisation, Denkmäler can be seen as connecting links between the dominant classes and the bourgeoisie.

Suggestions: - A more precise definition is offered by a German art lexicon (Lexikon der Kunst) which defines a Denkmal in the narrower sense... - they can thus develop an active socio-political potency. - Up until the democratisation in Germany (year perhaps? Is it 1945?), Denkmäler are to be understood as connecting links... General question: There are so many direct quotes in the original paragraph. In a case like this, is it legal to directly translate them or is paraphrasing the better option?

Section 6 - Frownieowl
Dem Volk wurden vorherrschende Ideale vermittelt und die „oberen Schichten“ sahen sich durch Denkmäler an „Fürsorgepflichten“ gebunden. Erst die Demokratisierung nach 1945 – die Zeit der Weimarer Republik einmal ausgenommen, in welcher kaum Denkmäler entstanden –, und die damit verbundene Übergabe der Macht an das Volk, führten herrschende Klasse und Volk zusammen und lösten diese Verbindung einer „Fürsorgepflicht“ auf.

Ein Denkmal ist ein Monument und soll, im Sinne des lateinischen monere (= erinnern), an eine Person, an eine Sache oder ein historisches Ereignis erinnern, kurz: gedenken. Darüber hinaus wird ihm die Funktion zugeschrieben, die Jugend zu bilden und zu erziehen. So in etwa meinte es August Boeckh, als er den antiken Topos „mortui viventes obligant“ für das Nationaldenkmal auf dem Berliner Kreuzberg mit „Den Gefallenen zum Gedächtnis, den Lebenden zur Anerkennung, den künftigen Geschlechtern zur Nacheiferung“ übersetzte.

Translation: Prevalent ideals were conveyed to the people and Denkmäler served as a reminder for the upper class to care for the less privileged. In Germany, the democratisation after 1945 and the associated transfer of power to the people led to the joining of the dominant class and the rest of the nation, dissolving this tie of obligatory welfare.

A Denkmal is a monument and commemorates a person, a cause or a historic event, in accordance with the Latin origin of the word monere. Furthermore, the ability to educate and cultivate the youth is attributed to monuments and memorials. Classical scholar August Boeckh chose an interpretation of the ancient topos mortui viventes obligant, roughly translated into German „Den Gefallenen zum Gedächtnis, den Lebenden zur Anerkennung, den künftigen Geschlechtern zur Nacheiferung“, as an inscription for the national monument on the Kreuzberg in Berlin. This topos corresponds approximately with the meaning of a Denkmal: to the memory of the fallen, to the appreciation/recognition of the living, to the emulation from future generations.

Suggested Changes after Proof-Reading: Denkmäler conveyed prevalent ideals to the people and served as a reminder for the upper classes to care for those less privileged. In Germany, only the democratisation after 1945 and the transfer of power to the people that was associated with it, led to the joining of the dominant class and the rest of the nation, dissolving this tie of obligatory welfare.

A Denkmal is a monument and, following the Latin origin of the word monere (= remind), commemorates a person, a cause or a historic event. Furthermore, the ability to educate the youth is attributed to monuments and memorials. Classical scholar August Boeckh chose an interpretation of the ancient topos mortui viventes obligant which he roughly translates as "In memory of those who died for their country, in appreciation of the living, as motivation for generations to come" (Den Gefallenen zum Gedächtnis, den Lebenden zur Anerkennung, den künftigen Geschlechtern zur Nacheiferung). He used this as an inscription for the national monument on the Kreuzberg in Berlin.

Revised Translation
Denkmäler conveyed prevalent ideals to the people and served as a reminder for the upper classes to care for those less privileged. In Germany, the democratisation after 1945 and the transfer of power to the people that was associated with it, led to the joining of the dominant class and the rest of the nation, dissolving this tie of obligatory welfare.

A Denkmal is a monument and, following the Latin origin of the word monere (= remind), commemorates a person, a cause or a historic event. Furthermore, the ability to educate the youth is attributed to monuments and memorials. Classical scholar August Boeckh chose an interpretation of the ancient topos mortui viventes obligant, which he roughly translates as "In memory of those who died for their country, in appreciation of the living, as motivation for generations to come" („Den Gefallenen zum Gedächtnis, den Lebenden zur Anerkennung, den künftigen Geschlechtern zur Nacheiferung“), as an inscription for the national monument on the Kreuzberg in Berlin.

Section 7 - Lasoave
Dieser Schriftzug fand sich nach 1819 auf zahlreichen Denkmälern wieder. Notwendig zum Gedenken und Erziehen ist, dass das Denkmal öffentlich zugänglich ist – räumlich aber auch inhaltlich erfahrbar gemacht werden kann – und Nachhaltigkeit besitzt. Erstere lässt sich auf zweierlei Wege erreichen; über eine Aufstellung im öffentlichen Raum oder die Rezeption über die bürgerliche Öffentlichkeit auf anderem Wege. Letzteres durch seine Werkhaftigkeit oder direkten Übergang des Inhaltes in das kollektive oder das kulturelle Gedächtnis.

Alois Riegl bezeichnet in seiner Schrift Der moderne Denkmalskultus – sein Wesen und seine Entstehung das Denkmal als

„ein Werk von Menschenhand, errichtet zu dem bestimmten Zweck, um einzelne menschliche Taten oder Geschicke (oder Komplexe mehrerer solcher) im Bewusstsein der nachlebenden Generationen stets gegenwärtig und lebendig zu halten.

Translation: Many Denkmäler that were built after 1819 bear this inscription. To fulfill its functions of commemoration and education, a Denkmal needs to be open to the public, which means that its spatial dimension as well as its content can be experienced by the public, and be sustainable. The former may be achieved either by situating the Denkmal in public space or by a public discussion about the Denkmal and its meaning, the latter by the materiality of the Denkmal or if its content immediately becomes part of the collective or cultural memory. Alois Riegl considered a Denkmal "a man-made artefact, which was build to keep alive and present individual human actions or happenings (or a complex of several such) in the consciousness of the following generation" in his paper "Der moderne Denkmalskultus - sein Wesen und seine Entstehung".

Suggestions: In his paper "The modern cult of monuments: its character and origin", Alois Riegl considered a Denkmal "a man-made artefact built for the express purpose of keeping individual human actions or happenings (or the combination thereof) alive and ever-present in the conciousness of future generations.

Comments: I found it hard to translate "Rezeption", I think that there is no suitable English equivalent. I found out that it is connected to a theory called "reader-response theory". Maybe this helps to proof-read. I'm not sure about translating a quote literally? I looked up the title of the translated work and just put it in my suggestions for reference but I think it's even more problematic if the quote isn't from the translation. I restructured the sentence because this quote continues into the next section. I think you handled the "Rezeption" part really well!

Section 8 - MayaTick
German: Es kann entweder ein Kunstdenkmal oder ein Schriftdenkmal sein, je nachdem es das zu verewigende Ereignis mit den bloßen Ausdrucksmitteln der bildenden Kunst oder unter Zuhilfenahme einer Inschrift dem Beschauer zur Kenntnis bringt […].“

Auf eine Besonderheit des Denkmals macht Helmut Scharf in seinem Buch Kleine Kunstgeschichte des Deutschen Denkmals (1984) aufmerksam. Darin schreibt er:

„Denkmal existiert als Objekt und als Bezeichnung desselben. Als Sprachsymbol bezeichnet Denkmal in der Regel etwas Konkretes, seltener wird es auch metaphorisch verwandt […]. Denkmal kann Sprachsymbol für eine Einheit mehrerer Denkmäler […] oder nur für ein einzelnes […] sein, es kann im weiteren Sinne aber auch fast in allen denk- und sinnesmäßig erfaßbaren Seinsebenen gebraucht werden. […] Was Denkmal ist, hängt immer davon ab, welchen Stellenwert das herrschende oder als Tradition überkommende Bewußtsein einer spezifischen historischen und gesellschaftlichen Situation ihm beimißt.“

English: It can be either an art-monument or a literary-monument, depending on whether the event to be commemorated is brought to the viewer`s knowledge by means of visual arts or with the help of an inscription [...]."

In his book "Kleine Kunstgeschichte des Deutschen Denkmals" (1984), Helmut Scharf draws attention to a special feature of the concept, stating that “Denkmal exists in the form of an object and an expression thereof. As a language symbol, Denkmal usually refers to something concrete, in some rare cases it is also used metaphorically [...]. Denkmal can be a language symbol for a unity of several monuments [...] or only for a single one, but in a broader sense it can also be used in almost all definable levels of existence capable of thinking and reflecting. [...] What is a Denkmal always depends on the importance it attributes to the prevailing or traditional consciousness of a specific historical and social situation.”

Comments: ,,denk- und sinnesmäßig erfaßbaren Seinsebenen"- I think I didn`t get the philosophical idea of what that means.

Suggestions: Denkmal exists in the form of an object and also as linguistic symbol thereof.

...or only of a single one. However, in a broader sense it can also be used in nearly all knowable planes of being.

What is considered a Denkmal always depends in the importance that is attributed to it by the prevailing or traditional conciousness....

Section 9 - Hazelgilmore3344
Grundsätzlich ist der Definitionsrahmen des Begriffs Denkmal von den je aktuellen historischen Rahmenbedingungen abhängig. An ihn sind zudem Aspekte der Erinnerungskultur und des Kulturellen Gedächtnisses ebenso geknüpft, wie Fragen nach dem Begriff der Öffentlichkeit und Dauerhaftigkeit (vom je memorierten) sowie nach der Gestalt und dem Inhalt des Denkmals (werkhaften Erinnerungsmal). Aus kunstwissenschaftlicher Sicht eröffnet gerade die Dichotomie von Inhalt und Gestalt das Problem der „Sprachfähigkeit“ des Denkmals. Dabei wird deutlich, dass die Sprache eminenter Teil eines Denkmals ist und auch an „ungegenständlichen“ oder „architektonischen Denkmälern“ oft zumindest mit einer Gedenktafel vertreten ist. Hierbei berührt die Debatte die gesellschaftlichen Mechanismen, welche an das Gedenken verbunden sind. Das sind Akzeptanz des Erinnerungsmales als Objekt, die transportierten Inhalte und die Wirkung dieser Inhalte.

Translation : Basically, the definition framework of the term Denkmal depends on the current historical frame conditions. Aspects of the Culture of Remembrance and cultural memory are also linked to it, as well as questions about the concepts of public sphere and Dauerhaftigkeit (of the one memorized) and the form and content of the monument (work-like monument). From an art historical point of view, the dichotomy of content and form opens up the problem of the “ability to speak” of the monument. It becomes clear that language is an eminent part of a monument and it is often represented in “non-objective” or “architectural monuments”, at least with a plaque. In this connection, the debate touches on the social mechanisms that combine with Remembrance. These are acceptance of the monument as an object, the conveyed contents and the impact of these contents.

Comments : ...the concepts of "public sphere" and "durability" - I think that you should translate both concepts or if you want, let them in the original form (but both).

maybe "linguistic ability", instead of "ability to speak" in this context.

Section 1: Definition
1. either a "three-dimensional representation designed to remember a (historic) person/figure or an event; a monument" (→ Denkmal (remembrance)) - examples are statues, equestrian statues, monuments, war memorials and war veteran memorials, cenotaphs, triumphal arches 2. or an "[art] work bearing witness to an earlier culture" (→ Denkmal (witness/reference/testimonial?)) - examples are works, art works, cultural assets, UNESCO world cultural sites, cultural monuments, architectural monuments, ground monuments/archeological sites In a culture of remembrance, a Denkmal possesses special value due to its character as "testimonial of [the?] human cultural development" from an artistic, historical, political, technical, architectural or landscaping perspective. If there is an institutional public interest in its preservation, a Denkmal can be classified as an historical monument. In this way/sense, 1. can additionally declared as 2., e.g. an equestrian statue can be listed as a protected architectural monument. In this context, a natural monument can only be classified as "[art] work bearing witness to an earlier culture" as long as it is a work of garden art created by humans or as long as it is a planted tree featuring designed surroundings displaying commemorative culture, such as the Kaisereiche.

Section 5
Germany's most notable encyclopedia Brockhaus Enzyklopädie defines as a monument "in the narrower sense of the word any work of architecture or sculpture which has been created to commemorate specific persons or events". A more precise definition is offered by a German art lexicon (Lexikon der Kunst) which defines a monument in the narrower sense of the word to be "any architectural or sculptural work of art which has been erected with the conscious intention of preserving the memory of persons or events. Monuments mostly promote prevailing ideas and people in authority of their historical formation or respectively of their period and they can thus develop an active socio-political potency." Monuments are expressions of their times, they "visualise our heritage and confront us with a past that has never lost its potency and which reaches into our present - persistently, mercilessly, yet sometimes conciliatorily". Up until the democratisation in Germany after World War II, monuments have to be viewed as connecting links between the dominant classes and the bourgeoisie.

Section 7
Many monuments that were built after 1819 bear this inscription. To fulfill its functions of commemoration and education, a monument needs to be open to the public, which means that its spatial dimension as well as its content can be experienced by the public, and be sustainable. The former may be achieved either by situating the monument in public space or by a public discussion about the it and its meaning, the latter by the materiality of the monument or if its content immediately becomes part of the collective or cultural memory. In his paper "The modern cult of monuments: its character and origin", Alois Riegl considered a Denkmal "a man-made artefact built for the express purpose of keeping individual human actions or happenings (or the combination thereof) alive and ever-present in the conciousness of future generations.

Section 8
It can be either an art-monument or a literary-monument, depending on whether the event to be commemorated is brought to the viewer`s knowledge by means of visual arts or with the help of an inscription [...]." In his book "Kleine Kunstgeschichte des Deutschen Denkmals" (1984), Helmut Scharf draws attention to a special feature of the concept, stating that “A monument exists in the form of an object and also as symbol thereof. As a language symbol, a monument usually refers to something concrete, in some rare cases it is also used metaphorically [...]. A monument can be a language symbol for a unity of several monuments [...] or only for a single one, but in a broader sense it can also be used in nearly all knowable planes of being. [...] What is considered a monument always depends on the importance it attributes to the prevailing or traditional consciousness of a specific historical and social situation.”

Section 9
Basically, the definition framework of the term monument depends on the current historical frame conditions. Aspects of the Culture of Remembrance and cultural memory are also linked to it, as well as questions about the concepts of public sphere and durability (of the one memorized) and the form and content of the monument (work-like monument). From an art historical point of view, the dichotomy of content and form opens up the problem of the “linguistic ability” of the monument. It becomes clear that language is an eminent part of a monument and it is often represented in “non-objective” or “architectural monuments”, at least with a plaque. In this connection, the debate touches on the social mechanisms that combine with Remembrance. These are acceptance of the monument as an object, the conveyed contents and the impact of these contents.

Original article Monument
A monument is a type of  - usually three-dimensional - structure that was explicitly created to commemorate a person or event, or which has become  relevant to a social group as a part of their remembrance of historic times or cultural heritage, due to its artistic, historical, political, technical or architectural importance. Examples of monuments include statues, (war) memorials, historical buildings, archeological sites, and cultural assets. If there is a public interest in its preservation, a monument can for example be listed as a UNESCO World Heritage Site.

Etymology
The origin of the word "monument" comes from the Greek mnemosynon and Latin moneo, monere, which means 'to remind', 'to advise' or 'to warn', suggesting a monument allows us to see the past thus helping us visualize what is to come in the future. In English the word "monumental" is often used in reference to something of extraordinary size and power, as in monumental sculpture, but also to mean simply anything made to commemorate the dead, as a funerary monument or other example of funerary art.

Up to the 19th century, the term Denkmal was used synoymously with the word monument. Nowadays, the latter is usually used to describe Denkmäler that are of great size (the adjective "monumental" therefore primarily denotes vast, impressive objects today). In contemporary parlance, the definition of Denkmal can vary depending on the relevant field and the respective approach taken. Whereas, for example, in art history the term designates works created to promote remembrance, it is used in a vastly different way in the context of monument protection.

There is no uniform or binding definition of Denkmal in the German-speaking world, and its heterogeneous nature has been consistently emphasized in literature. The term's foundations, relating to humanities and art history, are extremely diverse and disparate

Creations and functions
Monuments have been created for thousands of years, and they are often the most durable and famous symbols of ancient civilizations. Prehistoric tumuli, dolmens, and similar structures have been created in a large number of prehistoric cultures across the world, and the many forms of monumental tombs of the more wealthy and powerful members of a society are often the source of much of our information and art from those cultures.[4] As societies became organized on a larger scale, so monuments so large as to be difficult to destroy like the Egyptian Pyramids, the Greek Parthenon, the Great Wall of China, Indian Taj Mahal or the Moai of Easter Island have become symbols of their civilizations. In more recent times, monumental structures such as the Statue of Liberty and Eiffel Tower have become iconic emblems of modern nation-states. The term monumentality relates to the symbolic status and physical presence of a monument. In this context, Helmut Scharf states that “A monument exists in the form of an object and also as symbol thereof. As a language symbol, a monument usually refers to something concrete, in some rare cases it is also used metaphorically [...]. A monument can be a language symbol for a unity of several monuments [...] or only for a single one, but in a broader sense it can also be used in nearly all knowable planes of being. [...] What is considered a monument always depends on the importance it attributes to the prevailing or traditional consciousness of a specific historical and social situation.”

Basically, the definition framework of the term monument depends on the current historical frame conditions. Aspects of the Culture of Remembrance and cultural memory are also linked to it, as well as questions about the concepts of public sphere and durability (of the one memorized) and the form and content of the monument (work-like monument). From an art historical point of view, the dichotomy of content and form opens up the problem of the “linguistic ability” of the monument. It becomes clear that language is an eminent part of a monument and it is often represented in “non-objective” or “architectural monuments”, at least with a plaque. In this connection, the debate touches on the social mechanisms that combine with Remembrance. These are acceptance of the monument as an object, the conveyed contents and the impact of these contents.

Monuments are frequently used to improve the appearance of a city or location. Planned cities such as Washington D.C., New Delhi and Brasília are often built around monuments. For example, the Washington Monument's location was conceived by L'Enfant to help organize public space in the city, before it was designed or constructed. Older cities have monuments placed at locations that are already important or are sometimes redesigned to focus on one. As Shelley suggested in his famous poem "Ozymandias" ("Look on my works, ye Mighty, and despair!"), the purpose of monuments is very often to impress or awe.

Structures created for others purposes that have been made notable by their age, size or historic significance may also be regarded as monuments. This can happen because of great age and size, as in the case of the Great Wall of China, or because an event of great importance occurred there such as the village of Oradour-sur-Glane in France. Many countries use Ancient monument or similar terms for the official designation of protected structures or archeological sites which may originally have been ordinary domestic houses or other buildings.

Monuments are also often designed to convey historical or political information and they can thus develop an active socio-political potency. They can be used to reinforce the primacy of contemporary political power, such as the column of Trajan or the numerous statues of Lenin in the Soviet Union. They can be used to educate the populace about important events or figures from the past, such as in the renaming of the old General Post Office Building in New York City to the James A. Farley Building (James Farley Post Office), after former Postmaster General James Farley.[5] To fulfill its informative and educative functions a monument needs to be open to the public, which means that its spatial dimension as well as its content can be experienced by the public, and be sustainable. The former may be achieved either by situating the monument in public space or by a public discussion about the it and its meaning, the latter by the materiality of the monument or if its content immediately becomes part of the collective or cultural memory.

The social meanings of monuments are rarely fixed and certain and are frequently 'contested' by different social groups. As an example: whilst the former East German socialist state may have seen the Berlin Wall as a means of 'protection' from the ideological impurity of the west, dissidents and others would often argue that it was symbolic of the inherent repression and paranoia of that state. This contention of meaning is a central theme of modern 'post processual' archaeological discourse.

Protection and preservation
The term is often used to describe any structure that is a significant and legally protected historic work, and many countries have equivalents of what is called in United Kingdom legislation a Scheduled Monument, which often include relatively recent buildings constructed for residential or industrial purposes, with no thought at the time that they would come to be regarded as "monuments".

Until recently, it was customary for archaeologists to study large monuments and pay less attention to the everyday lives of the societies that created them. New ideas about what constitutes the archaeological record have revealed that certain legislative and theoretical approaches to the subject are too focused on earlier definitions of monuments. An example has been the United Kingdom's Scheduled Ancient Monument laws.

Other than municipal or national government that protecting the monuments in their jurisdiction, there are institutions dedicated on the efforts to protect and preserve monuments that considered to possess special natural or cultural significance for the world, such as UNESCO's World Heritage Site programme[6] and World Monuments Fund.

Recently, more and more monuments are being preserved digitally (in 3D models) through organisations as CyArk.

Types

 * Buildings designed as landmarks, usually built with an extraordinary feature, such being designed as the tallest, largest, or most distinctive design, e.g., the Burj Khalifa in Dubai, the world's tallest structure.
 * Cenotaphs (intended to honor the dead who are buried elsewhere) and other memorials to commemorate the dead, usually war casualties, e.g., India Gate and Vimy Ridge Memorial, or disaster casualties, such as the Titanic Memorial, Belfast.
 * Church monuments to commemorate the faithful dead, located above or near their grave, often featuring an effigy, e.g., St. Peter's Basilica or the medieval church Sta Maria di Collemaggio in L'Aquila.
 * Columns, often topped with a statue, e.g., Berlin Victory Column, Nelson's Column in London, and Trajan's Column in Rome.
 * Eternal flames that are kept burning continuously, usually lit to honor unknown soldiers, e.g., at the Tomb of Unknown Soldier in Moscow or at the John F. Kennedy gravesite in Virginia's Arlington National Cemetery.
 * Fountains, water-pouring structures usually placed in formal gardens or town squares, e.g., Fontaines de la Concorde and Gardens of Versailles.
 * Gravestones, small monuments to the deceased, placed at their gravesites, e.g., the tombs and vaults of veterans in Les Invalides and Srebrenica Genocide Memorial.
 * Mausoleums and tombs to honor the dead, e.g., the Great Pyramid of Giza, Libyco-Punic Mausoleum of Dougga and Taj Mahal.
 * Monoliths erected for religious or commemorative purposes, e.g., Stonehenge.
 * Mosque Monuments, places of worship that generally have domes and minarets that stand out against the skyline. They also usually feature highly skilled Islamic calligraphy and geometric artwork, e.g., the Mosque of the Prophet.
 * Mounds erected to commemorate great leaders or events, e.g., Kościuszko Mound.
 * Obelisks, usually erected to commemorate great leaders, e.g., Cleopatra's Needle in London, the National Monument ("Monas") in Central Jakarta, and the Washington Monument in Washington, D.C.
 * Palaces, imposing royal residences designed to impress people with their grandeur and greatness, e.g., Forbidden City in Beijing, Palace of Versailles, and Schwerin Palace in Schwerin.
 * Searchlights to project a powerful beam of light, e.g., Tribute in Light in the National September 11 Memorial & Museum in New York City, commemorating the September 11 attacks of 2001.
 * Statues of famous individuals or symbols, e.g., the Niederwalddenkmal (Germania) in Hesse, Liberty Enlightening the World (commonly known as the Statue of Liberty) in New York City, and The Motherland Calls in Volgograd.
 * Temples or religious structures built for pilgrimage, ritual or commemorative purposes, e.g., Borobudur in Magelang and Kaaba in Mecca.
 * Terminating vistas, layout design for urban monuments on the end of an avenue, e.g., Opera Garnier in Paris.
 * Triumphal arches, almost always to commemorate military successes, e.g., the Arch of Constantine in Rome and Arc de Triomphe de l'Étoile in Paris.
 * War memorials, e.g., the Iwo Jima Memorial in Arlington, VA, the Laboe Naval Memorial, the Lorraine American Cemetery and Memorial in St Avold,[8] and the Soviet War Memorial in Berlin.