production is seen as part of an economic framework that implied a new possession of the means of production ( including the production of cultural memories ), leading to new forms of artistic work and also of social self-representation through monuments that often pursued communicative strategies typical of an environment in which land ownership and political participation differed radically from the pre-revolutionary reality . These situations are not free of contradictions , which the book also addresses : from the debates surrounding artistic quality versus amateurism to the poor participation of women in the structures of government and the promotion of memory policies . Therefore , the book presents a diversity of opinions and the complexity of reality . In the face of the orientalism imposed on these monuments , this work provides critical knowledge that allows us to disarticulate hegemonic discourses and brings us closer to their historical reality . At the same time , with its extensive graphic material , including more than 500 illustrations , it is the best publication on this type of monument since those produced during socialism .
The linguist Valentin Voloshinov theorized a century ago how every ideological product possesses a significance , representing , reproducing , and substituting something outside it : appearing as a sign . Thus , he considered the fact that consciousness could be manifested only in images , words , and meaningful gestures . In this way , physical images ,
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Observing Memories Issue 8