Dissertations / Theses on the topic 'Poetics of space'
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Terne, Clara. "Space + Poetics." Thesis, Konstfack, Grafisk Design & Illustration, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-123.
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I often ponder over the physical limitations of everyday life. The sense of my body being trapped in the here and now, in being able to imagine so much and experience so little in comparison, and the downhearted disappointment of it all. In my Master project Space + Poetics at Konstfack (2010) I have confronted these issues. I have tried to find ways to bridge the gap between the physical place and the mental space. I strive to create escapes from our rigid surroundings – to create little holes in the everyday where the void creates content.
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Mhabak, Wasfie. "Shakespeare's tragic spaces : the poetics of place and space in Shakespearean tragedy." Thesis, University of Liverpool, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.569246.
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This thesis examines the significance of 'place' and 'space' in seven of Shakespeare's tragedies - Romeo and Juliet, King Lear, Hamlet, Macbeth, Othello, Antony and Cleopatra, and Coriolanus - through two inter-related approaches: on the one hand, by exploring how 'space' implants what might be labelled a spatial anxiety in Shakespeare's protagonists, an anxiety that complicates a tragic hero's response to a play's physical and psychological distinctiveness, and, on the other, by reading the spatial structure of each tragedy on geographical, historical, and political levels. This thesis thus tackles 'place' /'space' as a prominent agent in influencing the construction of the Shakespearean tragic hero who comes to be, this thesis argues, spatially destined. The Shakespearean tragic protagonists' relationships with 'space' /'place' in the plays will be shown to serve as a threshold to a network of issues, from questions of interiority and sexuality, gender and nationalism, political power and cultural hegemony to those of the tragic hero's relationship with self and others. Rather than remaining merely a passive container of a play's events, 'space' for Shakespeare becomes an active agent within the tragedies, adding to the tragic discourse of any play in key ways. When the spatial framework in Othello, for instance, moves from the wide scale of the city of Venice to the narrower space of the island of Cyprus before finally ending in the confines of a single bedchamber, such a spatial arrangement enhances the suffocating mental realm of the hero in the constrictive snare of jealousy. Shakespeare, by having the scenes of Hamlet restricted to the chambers of the court in Elsinore, emphasises the claustrophobic realm of Hamlet's 'distracted globe'. The movement of the characters from one locale to another in ancient Britain similarly intensifies the menacing realm of King Lear and cements the tragic sense of human vanity in the play. Such is the spatial machinery of Shakespearean tragedy, in which spatial organisation is not accidental to the plot of the play, but rather generated by it. Space, indeed, proves to be, in each Shakespearean tragedy addressed in this thesis, the blueprint which marks the nature and the tempo of events, the tragic hero's inward struggle, and the overall tragic sense of the play. Romeo and Juliet is thus structured around a network of public places imbued with social feuding and of private spaces in which privacy is denied and invaded, rendering the lovers not just 'star-' but also 'space-crossed' figures. In these terms, King Lear becomes a tragedy in which dislocation is equated with the loss of personal and national identity and relocation paralleled with selfhood and national belonging. Hamlet comes to be a play of utter confinement, be it conceptually through Hamlet's mental 'nutshell' of 'bad dreams', or materially in the close quarters of the King's court. Shakespeare invests in Macbeth both a spatial liminality, between the realms of witchcraft and reality, and a psychic liminality in Macbeth's restless fear and eventual tyranny. Likewise, in Antony and Cleopatra, Antony's spatial identity wavers between Roman and the Egyptian sensibilities just as the play's scenes sweep us geographically from Rome to Egypt and back again. By contrast, two approaches to the concept of the 'city' prevail in Coriolanus - again, conceptual and material - as shown by the hero and the various classes represented in Shakespeare's Republican Rome: both contribute influentially to the political struggle in the play. In short, space in Shakespearean tragedy signals the topographical equivalence both of a character's inward struggles and of a play's more exterior conflicts.
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Kerlin, Patricia Ann. "Cultural poetics in the making of public space." Thesis, Georgia Institute of Technology, 1988. http://hdl.handle.net/1853/22723.
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TINOCO, PATRICIA. "CITY POETICS AND THE CONCEPT OF PUBLIC SPACE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2017. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=34000@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Quando Rem Koolhaas, um dos arquitetos mais paradigmáticos da atualidade, se pergunta O que aconteceu com o urbanismo?, coloca-se em evidência uma latente crise no domínio em questão. Crise de identidade? Crise formal? Crise institucional? Operando no campo de estudo e investigação sobre o meio urbano e a relação da disciplina da arquitetura com a produção de pensamentos, de espaços e políticas nas cidades, essa pesquisa mobiliza conceitos-chaves, palavras de força para articular a reflexão sobre a condição atual da arquitetura e alguns significados adotados em seus discursos. Segue-se uma linha de pensamento crítico em relação ao urbanismo funcionalista – à sua mentalidade cientificista, prognóstica, de certa moral produtivista –, e seus desdobramentos na atualidade, em contextos urbanos marcados pela hegemonia de um sistema capitalista avançado. Identifica-se tal crítica retrospectivamente com ideias veiculadas pela teoria situacionista, da década de 1960, associando-a também com conflitos apontados nos discursos de Henri Lefebvre sobre políticas do espaço – sobretudo no que toca contrapontos entre agentes presentes na prática espacial, trazendo debates entre os conceitos de espaço de representação, espaço público e o espaço cotidiano. Tais categorias, citadas acima, permeiam discursos interdisciplinares, possibilitando, a partir de investigações de casos que se entrelaçam, discussões sobre aspectos em que o campo da arquitetura poderia ser enriquecido por abordagens de usos e fenômenos urbanos - ou apropriações - que voltam a atenção para as relações sociais, comportamentais, corporais e temporais do espaço, em detrimento das fortes correntes de ordenamento funcionalista e produtivista. Coloca-se em questão o papel atribuído do arquiteto como definidor de usos e significados de espaços abordando situações que colocam em cheque o conceito tradicional de projeto como instrumento de síntese, antecipação e controle.
When Rem Koolhaas, one of the most paradigmatically architects of nowadays, questions himself Whatever happened to urbanism?, one puts in evidence a latent crises in actual domain. Identity crises? Formal crises? Institutional crises? Operating in the studies and investigations field of urban environment and the relationship between the architectural discipline with the production of thoughts, spaces and policies in the cities, this research mobilizes key-concepts, guidelines to articulate the reflection about the current condition of architecture and some of the meanings adopted in its discourse. Following a critic line of thoughts towards functionalist urbanism – towards its scientific, prognostic mentality, with a certain productivist moral – and its deployments in actuality, in urban contexts marked by the hegemony of advanced capitalist system. One may identify this critic retrospectively with the ideas addressed by the situationist theory, in the 1960 decade, also associating it with conflicts pointed out by Henri Lefebvre s discourse about space politics – especially when it comes to the oppositions between agents present in the space practices, bringing up debates about the spaces of representation, public spaces and the everyday space. Those categories, listed above, permeate interdisciplinary discourses, making possible, with a web of case studies, discussions about aspects in which the architectural field might be enriched by the approach of urban uses and phenomenon - or appropriations - that turn their attention to social relations, behavior, corporeal or temporal relations within space, instead of favoring prevailing conducts of functional and productivist planning. One questions the assigned role of the architect as the uses and meanings of space definer, by approaching situations that quarrel the traditional concept of project as an instrument of synthesis, anticipation and control.
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Piva, A. "Landscapes of the invisible : sounds, cosmologies and poetics of space." Thesis, University of Westminster, 2015. https://westminsterresearch.westminster.ac.uk/item/9w796/landscapes-of-the-invisible-sounds-cosmologies-and-poetics-of-space.
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In this PhD by Publication I revisit and contextualize art works and essays I have collaboratively created under the name Flow Motion between 2004-13, in order to generate new insights on the contributions they have made to diverse and emerging fields of contemporary arts practice/research, including digital, virtual, sonic and interdisciplinary art. The works discussed comprise the digital multimedia installation and sound art performance Astro Black Morphologies/Astro Dub Morphologies (2004-5), the sound installation and performance Invisible (2006-7), the web art archive and performance presentation project promised lands (2008-10), and two related texts, Astro Black Morphologies: Music and Science Lovers (2004) and Music and Migration (2013). I show how these works map new thematic constellations around questions of space and diaspora, music and cosmology, invisibility and spectrality, the body and perception. I also show how the works generate new connections between and across contemporary avant-garde, experimental and popular music, and visual art and cinema traditions. I describe the methodological design, approaches and processes through which the works were produced, with an emphasis on transversality, deconstruction and contemporary black music forms as key tools in my collaborative artistic and textual practice. I discuss how, through the development of methods of data translation and transformation, and distinctive visual approaches for the re-elaboration of archival material, the works produced multiple readings of scientific narratives, digital X-ray data derived from astronomical research on black holes and dark energy, and musical, photographic and textual material related to historical and contemporary accounts of migration. I also elaborate on the relation between difference and repetition, the concepts of multiplicity and translation, and the processes of collective creation which characterize my/Flow Motion’s work. The art works and essays I engage with in this commentary produce an idea of contemporary art as the result of a fluid, open and mutating assemblage of diverse and hybrid methods and mediums, and as an embodiment of a cross-cultural, transversal and transdisciplinary knowledge shaped by research, process, creative dialogues, collaborative practice and collective signature.
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Thomas, P. R. "The poetics of thresholds : chair as a social portrait /." View thesis, 1995. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20030909.153426/index.html.
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Cooper, David Christopher. "Staying Put : Norman Nicholson and the Poetics of Place and Space." Thesis, Lancaster University, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.507062.
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Leber, Deanne. "Constellations – a space in time that’s filled with moving." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2016. https://ro.ecu.edu.au/theses/1810.
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Constellations in the sky have been a source of inspiration, in both science and literature, for aeons. Working within the constraints of the ‘official’ 88 constellations, as devised by the International Astronomical Union, this study involved researching the myths and histories of constellations, and then creating a collection of poems based upon those. Thematic connections between the eight modern constellation “families” or groups of constellations were explored and it is in these groupings that the poems work, to tie together, through experimentations with language, a somewhat cohesive fabric of poetry.
Each constellation consists of three poems. The first is a dense prose poem. The poem is then reconfigured, containing elements of the old prose poem, but offering new associations and meanings as punctuation and words are removed. The third and final poem reflects the actual constellation shape, as observed in star maps. It is a movement of poetic archaeology, with new poems emerging through excavation of the first two pages. The poems challenge notions of language, such as closure, dealing with repetitions, renewal and discontinuous narrative threads. There is an element of play with the work, and the final page encourages reading beyond the left to right formation of conventional reading structures, instead making connections to be traversed in an improvised reading process.
The poems are presented as four pages for each constellation. Three pages are the poems, and the fourth page, on the reverse of the final constellation shape, is the actual constellation map. The pages are clipped and folded into a black storage box. This design is to encapsulate the feeling of discovering a box of maps, with the folding and unfolding process aimed at being part of the play involved in reading and discovering the poems.
Accompanying the box is a Powerpoint presentation on a USB stick. This is a ‘Twitter’ type feed, where a one sentence epigraph, derived from the beginning of each constellation, is inscribed in a continuous feed, in an attempt to illustrate the futility of trying to comprehend and keep up with an endlessly shifting landscape of words online, and in particular, in social media. The 88 phrases revolve aimlessly across the screen. It becomes a blank space, littered with odd words and phrases, recognizable but fleeting The accompanying exegesis discusses language, mapping and orienteering. It explores theoretical concerns in poetry and language, and how, by looking at constellations and the way we interpret them, that they can be seen as metaphors for the way the constellation poems have been created.
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Evans, Megan, and not supplied. "Towards a poetics of light: the conceits of light." RMIT University. Architecture and Design, 2006. http://adt.lib.rmit.edu.au/adt/public/adt-VIT20070418.095100.
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Towards a Poetics of Light; The Conceits of Light is a critical quest to map associations between rhetorical figures, psychological defences and spatial tropes in an attempt to conceive a poetic design that enacts conceit. Light is an emblem which echoes with an abundance of representations in literature, history, art and architecture and parallels may be drawn between their resemblances however apparently remote. Love, knowledge, hope and creative passion mark turns in the threads that knot ideas and their representations together. Return of the Immortals, the final project in a series of works exploring these parallels and representations, gathers together a cascade of tropes to structure a spatial experience which culminates in The Conceits of Light.
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Okumura, Sayaka. "The poetics of Virginia Woolf's fiction : time, space and the material world." Thesis, University of York, 2007. http://etheses.whiterose.ac.uk/9911/.
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Gonzalez, Pelayo Irma. "Toward the integration of a feminine poetics of space : a Mexican triptych /." Full text (PDF) from UMI/Dissertation Abstracts International, 2000. http://wwwlib.umi.com/cr/utexas/fullcit?p3004272.
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Inoue, Hiroyuki, and Hiroyuki Inoue. "Southwestern Cartographies: The Poetics of Space in Contemporary Narratives of the U.S. Southwest." Diss., The University of Arizona, 2017. http://hdl.handle.net/10150/626345.
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This dissertation analyzes the interactive relationship between narrative and spatiality in contemporary novels and films set in the southwestern region of the United States. While space and place have sometimes been regarded as static backgrounds of narrative events, what supports the entire study is the view of spatiality as an essential constitutive element of every fictional narrative and as a dynamic product of intersecting relations observed at the intratextual, intertextual, and extratextual levels. In Larry McMurtry’s and Peter Bogdanovich’s The Last Picture Show, the circular pattern repeated in the narrative prevents it from developing into a Bildungsroman and constructs a claustrophobic space, which can be opposed to the open space of freedom often identified with the West. Max Evans, in Bobby Jack Smith, You Dirty Coward!, constructs a parodic post-Western narrative and remaps the mythic West by juxtaposing various social relations that have often been repressed in classic Westerns. Leslie Marmon Silko’s Almanac of the Dead merges historiography with cartography in its attempt to retrieve the fragmented past and construct a space in which everything converges in the present. While the narrative space of Cormac McCarthy’s The Crossing emerges as a meshwork of intersecting lines of narrative that is always in the state of becoming, McCarthy’s No Country for Old Men and its film adaptation by Joel and Ethan Coen create a closed space of which there is no way out by mapping the narrative space with various signs, signals, and traces that always point at what remains off the map. And the U.S.-Mexico borderlands in Tommy Lee Jones’s The Three Burials of Melquiades Estrada are an uncanny space in which the familiar and the strange, the homely and the unhomely, and the real and the imaginary become inseparable. By juxtaposing these heterogenous fictional cartographies, this study aims to map the polyphonic narrative space of the contemporary Southwest. The reading of individual texts here is partly informed by theories of spatiality developed in various fields. This study hopes to situate itself in the growing interdisciplinary field of literary geography as well as to make a contribution to the understanding of the individual works.
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Qian, Junxi. "Re-visioning the public in the city of difference : poetics and politics in post-reform Guangzhou, China." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/8295.
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This thesis attempts to contribute to the literature on urban public space. It focuses on urban China which is a non-Western social context and also undergoing unprecedented social, economic and cultural transformation since its market-reform in 1978. It suggests that the socio-spatial restructuring of post-reform Chinese cities has opened up new possibilities for examining the complex entanglement of social changes, spatial practices in the public and the reconstitution of social relations. This thesis first uses an ideal-predicament-practice framework to develop an overview of the extant literature on urban public space. It argues that in classic social theories public space is associated with two normative ideals, namely the ideal of political expression and the ideal of unfettered social engagement. However, since the 1970s most studies in Anglophone sociology, geography and urban studies have tended to focus on the decline of the public sphere. This rhetoric of decline is manifested in three major strands of research, namely the decrease of civic participation in public communication, the privatization of public space and the regulation of public space. In this thesis, I argue that this body of literature only presents a partial picture of the ongoing construction of the public realm. While it certainly offers a solidly critical stance in the examination of urban change, it does not need to lead us to the impression that the public sphere is no longer central to our civic and political life. Many studies in this literature suffer from two epistemological problems. First, many of these studies are undergirded by a closed perspective which reifies the binary oppositions of exclusion and inclusion, absence and presence. Being visible in the public is unproblematically seen as socially empowering, while exclusion is considered to reduce the social and political relevance of public space. Second, this body of literature also delineates the public sphere in terms of fixed types of spaces which accommodate fixed uses and produce fixed social and cultural meanings. Which has been dispensed with, as a result, is an epistemologically more open approach which actively locates and analyzes people’s actually existing practices and actions related to the production and construction of competing visions of publicness. Thus I argue that the social and political potentials of public spaces are never determined prior to social members’ active participation in the public realm. Public space is constantly made and remade through engaged practices which produce and construct the social and cultural turfs of space from below. Armed with this perspective, this thesis will use four chapters of empirical research to elucidate the complex socio-spatial dynamics associated with the production and construction of public space. Four stories are narrated in this thesis: 1. The emergence of grassroots leisure class in China’s urban public space and the possibilities which it has created for ordinary people to enact and perform their cultural identities. 2. Gay men’s cruising in Guangzhou’s People’s Park and the ways in which gay men negotiate a self-disciplining subjectivity in relation to their public presence and their “deviant” and “abnormal” cultural identity. 3. The construction of improvised grassroots public and counterpublic in the singing of socialist “Red Songs” and how this collective public culture provides opportunities for the production and reproduction of political identities and political discourses. 4. The regulation of motorcycle taxis and the ways in which visions of public space are intrinsically implicated in the constitution of dominant knowledge, social relations and power structures.
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Bowles, Nathaniel Earl. ""My Music is Words" -- The Poetics of Sun Ra." Thesis, Virginia Tech, 2008. http://hdl.handle.net/10919/32031.
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This thesis argues for a critical examination of the published writings of Le Sony'r Ra, also known as Sun Ra, a groundbreaking jazz musician and philosopher of the 20th century. Recent redistribution of Sun Ra's musical output, which includes hundreds of releases on many record labels from the 1950's onward, has prompted a critical renaissance towards his influence on jazz orchestration, band management, do-it-yourself ethics, and structured improvisation In spite of this resurgence of interest in his music, his written corpus has failed to produce a comparable level of criticism or discussion. It is my firm belief that it is the body of work's relative scarcity in print, not its value as literature, that has kept the material underground for such a lengthy period of time. With the recent republication of Sun Ra's daunting body of poetry and prose, the discovery of early manuscripts, and the surfacing of relevant critical essays, the time has come to analyze his poetic position within the context of African-American philosophical thought.Master of Arts
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Yeh, Diana. "Re-imagining '(British)-Chineseness' : the politics and poetics of art and migration in diaspora space." Thesis, University of East London, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.532993.
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This thesis interrogates dominant conceptions of `(British)-Chineseness' by illuminating the intersecting artistic and migrant journeys of four artists - Shih-I and Dymia Hsiung, Li Yuan Chia and Anthony Key - through Britain at different periods from the 1930s to the present day. It has three main objectives. Firstly, it aims to redress the serious lack of scholarship on the histories of the Chinese in general and their cultural and artistic legacies in particular. Secondly, it critiques, reconceptualises and traces the genealogies of existing essentialising and a historical discourses of `(British)- Chineseness' dominant in academia and society at large. Thirdly, by bringing together the study of art and migration, it redresses the polarisation of the `(British)-Chinese' subject as either `artist' or `im/migrant'. In doing so, it seeks to contribute to wider debates on the dynamics of art, culture, identity, difference, community, home and belonging in multi-ethnic societies. Employing an interdisciplinary, multi-sited research methodology, the project forges a critical ethnographic path through the fields of the social sciences and the arts and humanities. Emerging from fieldwork that took place between 2004 and 2007 in six key localities in four countries - London, Cumbria (Britain); Beijing, Cha Dong (China); Taipei (Taiwan) and Washington (US), it combines participant observation, ethnographic, life history and biographical interviews; textual and visual analyses of literary and artistic works; and archival research in public libraries and private collections. Both existing disciplinary boundaries between the arts/humanities and social sciences as well as conventional conflations of race, ethnicity, nationality, culture and community have limited understandings of the dynamics of artistic practices and multi-ethnic living. These limitations are embodied in the polarised figures of the `artist' and im/migrant'. By illuminating how these artist-im/migrants experience, negotiate, impact upon and contribute to the social and cultural dynamics of multiple localities in Britain, this project seeks to further understanding of the workings of and challenges facing multi-ethnic societies across the globe today. In doing so, it creates an interface between existing disciplinary divides, thereby developing a new methodological approach to the study of art, culture and migration.
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Pariser, Lili. "A Poetics of Space: Opening Up a World Through Vessel Metaphors in Modern and Contemporary Poetry." Oberlin College Honors Theses / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1337099353.
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Shamma, Yasmine. "Poetry of inner space : dimensions of the New York Schools." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:2872abaf-abcc-428e-9bb7-88f9b89206dc.
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This study examines the presence of poetic form in First and Second Generation New York School Poetry. Because New York School writing—where its existence is conceded—seems formless, it has yet to be viewed under a formal lens. Therefore, this study is the first of its kind. In what follows, works by Frank O’Hara, Ted Berrigan, Alice Notley and Ron Padgett are contextualized and closely read for form, with an attention to the shaping propensity of inhabited spaces. While it is agreed that the external environment has the potential to influence shapes and forms of writing, domestic spaces also offer parameters which are traceable onto the page. New York School poets lived in and wrote from alternative domestic spaces—untidy, disordered, congested apartments in downtown New York City. The forms of their poems are accordingly untraditional. New York School stanzas often take on the contours of these spaces, becoming linguistic rooms riddled with the tensions of indoor urban life. After outlining New York School poetry and addressing contemporaneous urban theories, this study asks: what role does the space of writing have on the shape of writing? More specifically, are New York City apartments reflected in the forms of New York School poems? Through close-reading and formal analysis, it becomes possible to affirm that New York School Poetry is formal, and that its form is distinctive in that in its variances, it makes it possible for the tensions and dynamics of living within the constraints of inner urban spaces to be fully pronounced and inflected. This is a study of the formal representations of those inflections.
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Hoyer, Jennifer M. "Defining ‘Geometric Poetics’ in Nelly Sachs’ Poetry: From “The Space of Words” to “the curved line of affliction”." HATiKVA e.V. – Die Hoffnung Bildungs- und Begegnungsstätte für Jüdische Geschichte und Kultur Sachsen, 2017. https://slub.qucosa.de/id/qucosa%3A34724.
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Frost, Zenobia. ""According to our bond": The poetics of share house place attachment in Brisbane." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/134468/1/Zenobia_Frost_Thesis.pdf.
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This creative writing research project examines housing instability in Australia and its consequences on the way we connect to our dwellings. The project asks in what ways the lyric poem is uniquely suited to writing about the intersections of architecture and ephemeral place attachment that occur in shared rentals. I answer this question via a manuscript of lyric poems, After the Demolition, and accompanying exegetical essay. My practice embodies this argument by using the Queenslander-style house—itself uniquely suited to share housing—in inner-city Brisbane as a locus.
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Gossling, Jessica. "Decadent threshold poetics : a comparative study of threshold space in Charles Baudelaire, Joris-Karl Huysmans, Ernest Dowson, and Arthur Symons." Thesis, Goldsmiths College (University of London), 2018. http://research.gold.ac.uk/23081/.
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The Decadent literary tradition in England and France in the nineteenth century is characterized by compartmentalized, interiorized, and curated spaces, which, typically, are retreats from urban life evoking subjective states of mind and strange sensations. As Jean Pierrot (1977) and Jan B. Gordon (1979) have argued, Decadent retreats have much in common with the ‘locked room’, but on closer analysis, as this thesis aims to show, Decadent spaces are much more than just places of entrapment. Decadent spatiality, rather like the literary tradition itself, defies clear definition. It is complex and polyvalent, cutting across and calling into question the notions of borders and boundaries. The private and public spaces that we encounter in both Decadent poetry and fiction – from the perfume bottle to the desk drawer, from the attic bedroom to the metropolitan music-hall – are invariably threshold spaces, portals to other non-physical realms. Drawing on the models of spatiality in the work of Gaston Bachelard (‘l’immensité intime’), Walter Benjamin (Schwelle), and Subha Mukherji (‘threshold poetics’), this thesis examines the significance of threshold space in the work of four Decadent writers and offers four complementary case studies. Focusing on Les Fleurs du mal (1857) and Le Spleen de Paris (1869), Chapter One explores the model of Decadent threshold poetics in the work of Charles Baudelaire, exemplified by his prose poem ‘La Chambre double’. Chapter Two offers a new interpretation of Joris-Karl Huysmans’s classic Decadent novel À rebours (1884) through a consideration of the room spaces in the house at Fontenay as experiments in dynamic compartmentalization, and traces the threshold motif of the hothouse through his Durtal tetralogy. Chapters Three and Four focus on contrasting notions of threshold space in English Decadent poetry, Ernest Dowson’s Poésie Schublade Notebook poems, included in Verses (1896) and Decorations: In Verse and Prose (1899), and Arthur Symons’s Silhouettes (1892) and London Nights (1895). While Dowson’s poems represent a Decadent minimalism, describing diminished, ascetic interspaces like the drawer and the cloister, Symons’s early verse collections are preoccupied with expansive urban and rural threshold spaces that encapsulate the mental and physical restlessness of the poet.
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Mäki, Åsa. "Rumsbilder : The English Patient (1996), Hero (2002)och Mulholland Drive (2001)." Thesis, Stockholm University, Department of Cinema Studies, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-6606.
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The phenomenology of Gaston Bachelard holds that readers, or viewers, relate to spatial imagery through the use of age-old archetypes. These archetypes form a collective image-memory that is employed when reading space. One such image is the house. The house for Bachelard is, however, never solely an image, but constitutes a familiar space that becomes inscribed in our bodies through the repeated physical contact with this domestic space. The house teaches us to interact with space, and comes to inform the way that human beings understand images of space. Spatial imagery can be conceptualized both as embodied, lived experience and as semiotic sign. The aim is to investigate the idea of a collective image-base, and in what way the universality of these images relates to the individual conditions of each meeting with images of space. The object of study here is also to survey the ways that images of space transgress the borders between bodily experience and abstract sign, between the individually specific and the universal, as well as between actual space and represented space.
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Friedner, Ekvall Edvin. "Två småhus i Dalarna." Thesis, KTH, Arkitektur, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-298498.
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Det här projektet undersöker vad hemkänsla innebär och hur förhållandet mellan en bostad och ett hem ser ut. Hemmet är till skillnad från bostaden något som inte kan formges. Projektet undersöker därför hur en bostad kan utformas för att ge goda förutsättningar för att utvecklas till ett hem, ett monument över människorna som bebor det. Projektet innefattar såväl en teoretisk del, i form av en litteraturstudie, som en praktisk del, i form av utformandet av två stycken småhus i Dalarna, Sverige. En viktig inspirationskälla för projektet är ”The Poetics of Space” av den franske filosofen Gaston Bachelard, som belyser hemmets själsliga dimensioner. I projektet görs ett försök att koppla samman de teoretiska och praktiska aspekterna av bostaden/hemmet, vilka i stor utsträckning behandlas separat inom den forskning som ligger till grund för projektet. I strävan efter att formge bostäder som är väl anpassade till platsens förutsättningar studeras dessutom lokal timmerarkitektur, liksom den traditionella stugans utveckling.This project investigates the meaning of “feeling at home” and the relationship between a residence/accommodation (the English language lacks a more precise translation for the Swedish word bostad) and a home. The residence is something that can be designed, whereas the sensation of feeling at home is something that emerges over time. Therefore, the project investigates how a residence can be designed to provide good conditions for it to be transformed into a home. The project is constituted of a theoretical part, in the form of a literature study, as well as a practical part, which consists of the designing of two single family houses, to be placed in Dalarna, Sweden. An important source of inspiration for the project is “The Poetics of Space”, written by the French philosopher Gaston Bachelard, which highlights the existential dimensions of the residence. The project attempts at combining the theoretical and practical aspects of residence and home, which are usually treated separately in this field of research. Furthermore, in the pursuit of designing residences that are well adapted to the conditions of the site, local timber architecture and the development of the traditional cottage/hut are explored.
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Hsu, Li-Hsin. "Emily Dickinson's poetic mapping of the world." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7573.
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This thesis investigates Emily Dickinson's spatial imagination. It examines how her poetic landscape responds to the conditions of modernity in an age of modernization, expansionism, colonialism and science. In particular, I look at how the social and cultural representations of nature and heaven are revised and appropriated in her poems to challenge the hierarchical structure of visual dominance embedded in the public discourses of her time. Although she seldom travelled, her writing oscillates between experiential empiricism, sensationalistic reportage, and ecological imagination to account for the social and geographical transition of a rapidly industrialized and commercialized society. The notion of transcendence, progress and ascension in Enlightenment and Transcendentalist writings, based upon technological advancement and geographical expansion, characterized the social and cultural imagination of her time. Alternatively, an increasingly cosmopolitan New England registers a poetic contact zones as well as a Bakhtinian carnivalesque space, in which colonial relations can be subverted, western constructions of orientalism challenged, and capitalist modernity inflected. Dickinson voiced in her poems her critical reception of such a phantasmagoric site of a modern world. I explore how her cartographic projection registers the conflicting nature of modernity, while resists the process of empowerment pursued by her contemporary writers, presenting a more dynamic poetic vision of the world. In the first chapter, I explore her use of empirical mapping as a poetic approach to challenge the Enlightenment notion of progress and modernity. I look at her poems of social transitions, especially her poems of the Bible, the train, the pastoral, and the graveyard, to show how she addresses the issue of modernization. Her visit to Mount Auburn and the rural landscape movement are explored to show her complex poetic response toward modernity. In the second chapter, I focus on her poems of emigration and exploration to see how she appropriates frontier metaphors and exploratory narratives that dominated the discourses of national and cultural projects of her time. The colonial expeditions and national expansionism of her time are examined to show her revision and deconstruction of quest narratives. In the third chapter, I examine her commercial metaphors in relation to cosmopolitanism. I discuss her metaphors of tourism to see how her poems are based upon the notion of consumption as a poetic mode that is closely related to the violence of global displacement and imperial contestation. Her tourist experiences and reading of travel writings will be examined to show her critical response towards the dominant visual representations of her time. In the last chapter, I explore her poems of visitation and reception to show her elastic spatial imagination through her notion of neighbouring and compound vision. In particular, I discuss her poetic reception and appropriation of the theories of Edward Hitchcock and Thomas De Quincey. I conclude suggesting that her spatial imagination reveals her poetic attempt to account for the conditions of modernity.
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Andrade, Filipa Alexandra Gomes de. "O equipamento gerador de identidade : redesenhar e requalificar o lugar: Bairro do Casal do Novo." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2015. http://hdl.handle.net/10400.5/8944.
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Thomas, Daniel. "Spatial dialectics : poetic technique and the landscape of Old English verse." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:b5a24b89-9912-40fa-a5f1-9ef55e5433d4.
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This thesis examines the role of spatial representation in Old English poetry. Focusing on the presentation of setting and spatial relationships in narrative poetry, it argues that sensibility towards the creative potential of spatial representation within a conventional tradition constitutes a significant element of Old English poetic technique. It emphasizes the importance of intertextual reading practices which recognize the dialectics of text and tradition underlying spatial representation in individual examples. Chapter one introduces the subject, outlining the relevant critical contexts in which the thesis stands and describing the methodology that is followed in the subsequent chapters. It also describes the connection between the representation of space and critical assumptions regarding vernacular poetic composition. Chapter two focuses on poetic accounts of the angelic rebellion. The presentation of this event as a territorial and spatial conflict establishes a contrast between vertical and horizontal spatial relationships which relates to concerns prevalent throughout the Anglo-Saxon period over conflicting models for power relationships. The prominence of vertical spatial relationships in these accounts serves to legitimize hierarchical power structures. Chapter three considers territorial conflict in Old English battle poetry. Similarities in the use of setting and the construction of a sense of place in these texts suggest the influence of established poetic conventions. However, poetic artistry is evident in the ways in which spatial representation contributes to the wider thematic and artistic concerns of these texts. Chapter four examines poetic representations of the prison. Whilst such representations do partially reflect conceptualizations of the prison current in Anglo-Saxon England, they also demonstrate a deeper interest in the valence of enclosed space. The chapter extends the intertextual approach of the thesis to consider the possibility of direct borrowing between poems. Chapter five clarifies the argument of the thesis regarding the relationship between spatial representation and poetic technique and identifies some directions for further work.
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Vercruysse, Thomas. "La cartographie poétique : Tracés, diagrammes, formes (Valéry, Mallarmé, Artaud, Michaux, Segalen, Bataille)." Thesis, Clermont-Ferrand 2, 2011. http://www.theses.fr/2011CLF20005.
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Cet essai tente de proposer un concept, la « cartographie poétique ». La « cartographie poétique » provient de la tentative valéryenne de dresser une carte de l’esprit, en prenant appui sur la géométrie analytique de Descartes. Pour des raisons que cette étude expose, Valéry se détachera de cette topographie analytique au profit d'une conception plus dialectique de l'espace, intégrant le rapport de l'esprit au corps et au monde (le Corps-Esprit-Monde). Le modèle de cette cartographie serait alors la danse, faisant la part belle à des sens comme l'ouïe et le toucher, s'affranchissant de la tutelle de l'intelligence d'obédience scopique. La démarche valéryenne est aussi mise en rapport avec d’autres poétiques qui lui sont contemporaines : celles d’Artaud, de Mallarmé, de Segalen, Michaux et Bataille, afin d’examiner leurs zones de confluenceThis essay tries to propose a concept, the « poetical mapping ». The “poetical mapping” comes from the attempt by Valéry to map the mind, using the analytical geometry from Descartes. For reasons this essay explains, Valéry will give up this analytical mapping in favour of more dialectical an approach to space, taking into account the connection of the mind to the body and to the world (what he calls the “Corps-Esprit-Monde”). The model of this mapping would thus be the dance, giving their entire place to senses such as hearing and touch, releasing itself from the dominion of sight. Valéry’s poetics is also compared with other contemporary poetics: Artaud’s, Mallarmé’s, Segalen’s, Michaux’s and Bataille’s, in order to examine their common points
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Hurley, Claire. "The poetics of site : reading the spaces of experimental US women poets." Thesis, University of Kent, 2017. https://kar.kent.ac.uk/67055/.
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My PhD research centres on three innovative 20th Century American women poets: Lorine Niedecker, Barbara Guest and Susan Howe. Taking inspiration from Virginia Woolf's A Room of One's Own, my research examines how these poets inhabited specific compositional sites. My thesis draws on extensive archival research to reconstruct a picture of the woman poet at work, arguing that for the female experimental poet in the 20th century, the compositional site - namely the workroom that the poet occupied - functions as a critical foundation for the evolution of her poetics. By attending to the particulars of Niedecker's cabin, Guest's studio and Howe's archive, my work considers the intersections between lived, imagined, and textual spaces. In so doing, it asks the following questions: what does it mean for a poet to occupy a certain kind of space? How can the literary work be read as generative or representative of such a site? What does the rendering of such spaces reveal about the topology of the female American avant-garde? The physical writing site is both highly specific to each poet and reveals broader collective investments in inhabiting gendered space. My site-based research responds to the lacunae of the women's literary tradition by rematerializing the quotidian space of female poetic experience. In mapping these sites, I formulate new versions of what Julia Kristeva calls 'l'écriture féminine'; the poetics of site works to articulate the singularities of individual authors whilst simultaneously formulating a new community of female poets. I argue that to challenge the hegemony of male-dominated poetic research cultures, we must find new ways to read women against the American grain. The Poetics of Site offers up one such feminist methodology, building a refuge for exploring the experimental female poet on her own terms.
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Fugmann, Nicole Elisabeth. "The poetics of critical space and postmodernity : critique, aesthetics, and cultural memory: a comparative study of critique and the sublime across literary theory, continental philosophy, literature and the Avant-Garde in the visual arts." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367446.
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Souza, Silva Patricia. "A Casa d’Heleno Godoy : présentation, critique et traduction." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1050/document.
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La maison est un lieu privilégié de l’intime, ayant des tonalités distinctes pour chacun. A Casa est un recueil de poèmes du poète contemporain brésilien Heleno Godoy, réunissant les aspects matériels de la maison par un langage objectif. En privilégiant la concréticité de cet espace, l’auteur propose au lecteur de bâtir son propre lieu intime. C’est une expérience poétique singulière, car en partant des images concrètes, le lecteur peut s’abstraire de la dureté du quotidien pour finalement l’envisager sous sa poéticité. C’est justement l’affrontement de la maison réelle par la poésie, qui permet au lecteur de se trouver dans une demeure qui ne se situe pas à l’extérieur, mais à l’intérieur de lui-même. Il s’agit effectivement d’un lyrisme de la réalité. Cette étude a pour objectif de présenter A Casa au public francophone, en apportant son exégèse ainsi que sa première traduction. Pour ce faire, la thèse comporte deux parties, ainsi qu’une proposition de traduction d’A Casa. La première partie situe l’auteur et l’œuvre dans leurs contextes, pour analyser ensuite le recueil choisi. La seconde partie traite du processus traductif de ce recueil, revenant sur les concepts de traduction, notamment celui de la traduction poétique, pour tenter d’en préciser le rapport entre la théorie et la pratique. Suit un commentaire détaillé des difficultés rencontrées lors de la translation de cette œuvre en français. Une version française d’A Casa conclut cette thèseA house is a privileged place for intimacy, offering distinct tones for everyone who looks at it. A Casa, by the contemporary Brazilian poet Heleno Godoy, is a collection of poems combining the material aspects of a house with an objective language. Privileging the concreteness of this space, the author proposes to the reader to build his own intimate place. It is a singular poetic experience because, starting from concrete images, the reader can abstract or distance himself from the hardness of everyday life to finally consider it under its poeticity. It is precisely the confrontation of the real house with poetry, which allows the reader to find himself in a house that is not outside, but inside himself. Indeed, it is a lyricism of reality. This study aims to present A Casa to the French-speaking public, bringing its exegesis as well as its first translation. To do this, the thesis is composed of two parts, plus a translation proposal of A Casa. The first part situates the author and the book in their contexts, then analyzes the chosen collection. The second part deals with the translation process of this collection, returning to the concepts of translation, poetic translation in particular, to try to specify a relationship between theory and practice. What follows is a detailed commentary on the difficulties encountered during the process of translating the work into its French version. Finally, the thesis makes a bilingual presentation of A Casa in its original Portuguese form and its French translation in its end
A casa é um lugar privilegiado do íntimo, possuindo tons distintos para cada um. A Casa, do poeta contemporâneo brasileiro Heleno Godoy, é uma coleção de poemas que combina os aspectos materiais da casa com uma linguagem objetiva. Ao privilegiar a concretude desse espaço, o autor propõe ao leitor de construir seu próprio lugar íntimo. É uma experiência poética singular, pois, a partir das imagens concretas, o leitor pode abstrair-se da dureza do cotidiano para finalmente reconsiderá-lo sob seu carácter poético. É precisamente o confronto da casa real com a poesia, que permite ao leitor de reencontrar-se numa residência que não está no exterior, mas dentro de si mesmo. De fato, trata-se de um lirismo da realidade.Este estudo tem como objetivo apresentar A Casa para o público de língua francesa, trazendo sua exegese, bem como sua primeira tradução. Para isso, esta tese divide-se duas partes, além de uma proposta de tradução de A Casa. A primeira parte primeiro situa o autor e a obra em seus contextos, depois traz análises inéditas sobre esse trabalho. A segunda parte trata do processo de tradução desta obra, retornando aos conceitos de tradução e de tradução poética, especialmente, para tentar especificar uma relação entre teoria e prática. Seguido de um comentário detalhado das dificuldades encontradas durante a tradução deste livro para a língua francesa. Finalmente, a tradução bilíngue de A Casa será produzida ao final da tese
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Atangana, Essomba Sylvain. "Esthétique romanesque de René Philombe. Essai d’analyse littéraire." Thesis, Paris Est, 2012. http://www.theses.fr/2012PEST0002/document.
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L’esthétique romanesque de René Philombe, objet de notre recherche, à travers sestrois oeuvres postcoloniales : Un sorcier blanc à Zangali, Sola ma chérie, et Bedi-Ngula,l’ancien maquisard, passe par les aspects environnemental, morphosyntaxique, lexicologique,stylistique qui constituent son contexte culturel camerounais et africain subsaharien. Il s’agitlà de la première partie de notre travail qui nous a conduit à l’analyse des fondements deladite esthétique dont les poétiques du genre, de l’énoncé et le style du romancier occupentune place importante. En troisième lieu, nous nous sommes penché sur le corpus en contexteou encore la représentativité de l’esthétique romanesque de René Philombe où la politique /éthique ressort comme principal message, non seulement pour l’Afrique mais également pourle mondeThe romantic aesthetics of René Philombe, subject of our research, through his threepost-colonialist works: Un sorcier blanc à Zangali, Sola ma chérie, and Bedi-Ngula, l’ancienmaquisard, is expressed by the environmental, morphosyntactical, lexicological and stylisticalaspects which form his cultural context from Cameroon and subsaharan Africa. That is thefirst part of our study leading us to the analysis of the aesthetics basis in which the poeticaltype, the expression and the style of the novelist take an important place. In the third part ,wehave been concerned by the contextual corpus or, moreover, the representation of RenéPhilombe’s romantic aesthetics in which the politics / ethics appear as the main message, notonly for Africa but also for the whole word
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Clemens-Smucker, Judith A. "Major Kira of Star Trek: DS9: Woman of the Future, Creation of the 90s." Bowling Green State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1601300905690302.
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Wiggins, Annalisa. "Rethinking the Historical Lens: A Case for Relational Identity in Sandra Cisneros's The House on Mango Street." BYU ScholarsArchive, 2008. https://scholarsarchive.byu.edu/etd/1649.
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My thesis proposes a theory of relational identity development in Chicana literature. Gloria Anzaldua's Borderlands/La Frontera offers an interpretation of Chicana identity that is largely based on historical models and mythology, which many scholars have found useful in interpreting Chicana literature. However, I contend that another text, Sandra Cisneros's The House on Mango Street, not only illustrates the need for an alternative paradigm for considering identity development, but in fact offers such an alternative. I argue that Cisneros shows a model for relational identity development, wherein the individual develops in the context of her community and is not determined solely by elements of myth or genealogy. In questioning the historical paradigm of identity development, I examine three key aspects associated with Chicana identity development: gender, home, and language. Employing the theories of Édouard Glissant, I discuss how individual identity development is better understood in terms of relationships and experience rather than historical models. For Chicanas, the roles of women have largely been interpreted as predetermined, set by the mythic figures La Malinche and La Virgen de Guadalupe. However, Cisneros's work shows that this historical tradition is less fruitful in understanding identity than recognizing individuals' experience in context of their relationships. With this communal understanding established, I question the common associations of home and Chicana identity. I argue that Cisneros challenges our very concept of home as she engages and counters the notions of theorist Gaston Bachelard. The idea of a house is metaphorical, becoming a space of communal belonging rather than a physical structure to separate individuals. Finally, I consider how both spoken and written language contribute to relational identity development. I argue that Cisneros's use of language demonstrates that not only does language provide the means for development within a community, but also the means for creation within that society. The theoretical implications of such a relational identity construct are not only an expansion of what is entailed in Chicana identity, but an invitation for broadening the community of theoretical discussion surrounding Chicana literature.
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Taylor, Joanna E. "Writing spaces : the Coleridge family's agoraphobic poetics, 1796-1898." Thesis, Keele University, 2016. http://eprints.keele.ac.uk/3267/.
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In recent years there has been a rapid growth in interest in the lives and writings of the children of major Romantic poets. Often, this work has suggested that the children felt themselves to be overshadowed by their forebears in ways which had problematic implications for their creative independence. In this thesis I explore the construction of writing spaces – physical, imaginary, textual and material – in the works of Samuel Taylor Coleridge’s (1772-1834) children and grandchildren: Hartley (1796-1849), Derwent (1800-1883), Sara (1802-1852), Derwent Moultrie (1828-1880), Edith (1832-1911) and Ernest Hartley (1846-1920). I suggest that these writers adopted and adapted STC’s philosophic and poetic systems and employed them to advance their own unique poetics, which I take to include their imaginative approach more generally as well as their poetry specifically. The spatial readings I propose offer an alternative to the customary temporal focus of an ‘anxiety of influence’. I argue that the spatial imagination on display in this family’s works enabled each writer to interact with other writers in the family network without compromising their creative independence. In advancing an agoraphobic poetics, I suggest that the Coleridge family productively subverted their influence anxieties and employed them to emphasise their imaginative uniqueness. Their responses to the real world offer an important method of considering their place in their literary community, and these responses rely upon the careful formation and articulation of boundaries. These limits are explored in their letters and private writings, redrawn in the form of maps, expressed through poetic form and invocations of other poets, and visualised through the act of writing. This thesis demonstrates that these writers’ apparent anxiety masked confident assertions of their poetic place as important nineteenth-century writers in their own rights.
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Hjort, Ebba. "Responding Objects – Poetic Design and Healing Spaces." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-7837.
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Today's social climate and working environments expose us to excessive expectations and demands and more and more people are diagnosed with stress-related illnesses. My degree project is an investigation of poetic design, healing spaces and fatigue syndrome and the importance of adapted health care environments that strengthen treatment and recovery. My mother has fatigue syndrome, she has been ill for over six years, and she still has severe symptoms that probably never fully will go way. So, the purpose of this project is, on the one hand an attempt to get a deeper understanding of her situation, and on the other, to shed some light on this illness that is getting more and more common, especially amongst women. Research shows that spending time in nature has healing effects for those with mental illness. Using my definition of poetic design as a method, I have transposed qualities of nature into an indoor environment that reconnects to humans deep and genetic relationship to nature. I am proposing a new type of health care space with a much-needed holistic approach. Focus is on treatments such as mindfulness, basal body awareness and yin yoga as well as different kinds of therapy and activities in a space close to nature. A holistic space including a garden, an indoor space and a piece of furniture that are designed to respond to the non-measurable and invisible symptoms of fatigue syndrome.
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Todd, Kate Zazie. "Mapping poetic space : a psychological study of differences between tropes." Thesis, University of Nottingham, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.325710.
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White, Michael James. "The theme and poetic function of space in Theodor Fontane's works." Thesis, University of St Andrews, 2010. http://hdl.handle.net/10023/969.
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This thesis proposes a new view of space in Theodor Fontane’s writing as both a mode of literary expression and an object of literary inquiry: space serves a poetic function and is a thematic concern. The research draws on theories of literary space which focus on spatial structures and topographies, as well as those which provide critical tools for analysing individual passages of description, especially focalisation, which elucidates the influence of the viewing figure in the text. Significantly, the subjective experience of a perceptive observer is central to Fontane’s conception of aesthetic processes, and as a result, an analysis of spatial representation often uncovers reflexive discourses on art, its function and value. On the basis of this insight, this study provides new readings of a range of texts, including less well-established and non-fictional works, as well as recognised masterpieces. In Fontane’s local travelogues, the Wanderungen, the poetic function of space is rare, while many passages reflect on the environment’s potential significance. The early novels explore spatial representation as a means of constructing textual symbolism. Spatial representation in Vor dem Sturm functions as a strategy of relativisation; in Schach von Wuthenow and Graf Petöfy topographies and pregnant descriptions serve as commentaries on characters’ levels of awareness. The mature novels Irrungen Wirrungen and Unwiederbringlich explore the sources and practical implications of reading objects in the world as signs. Space retains its formal role, but the represented figural experience of the novels’ worlds becomes a vehicle for reflexive analysis of the world’s perceived meanings. Similarly, in Der Stechlin different types of relationships with exterior reality are expressed spatially, and, as elsewhere, the capacity for aesthetic appreciation is represented positively. This entails and indeed produces critical distance towards modernity: isolated Stechlin is a locus of poetry, a testament to literature’s importance and vitality.
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Oliveira, Felipe Souza Leao de. "A escrita do tempo e a po?tica do espa?o:hist?ria e espa?o no livro Geografia do Brasil Holand?s de Lu?s da C?mara Cascudo." Universidade Federal do Rio Grande do Norte, 2012. http://repositorio.ufrn.br:8080/jspui/handle/123456789/16965.
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In 1956, Lu?s da C?mara Cascudo published his book Geografia do Brasil Holand?s. In this book, he studied and described a space - the Dutch Brazil - from a geographical and historical perspective. To do this, he articulated both perspectives from the point of view of his own reading of the History of Nordeste , establishing a dialogue with the historiographical tradition of the study of the Dutch Brazil in Pernambuco. When portraying the Dutch presence in Nordeste, Cascudo articulated a drama in which the Dutch would have their history described as a typically tragic plot, portrayed as if they were already condemned to failure in advance. To this tragedy he opposed a predominantly comic Portuguese plot, as if the Portuguese victory over the Dutch was as desirable as inevitable for the space of Nordeste . When narrating the clash between the Dutch and the Portuguese for the space of Nordeste , however, Cascudo ended up delineating his own place of speech, as a spokesperson for the identity of the potiguar space in opposition to the pernabucano space described by Freyre and Gonsalves de Mello. In this way, the space of Rio Grande do Norte would have its own identity, constructed from de Dutch absence and constituted from the Portuguese legacy contrarily to the space of Pernambuco, narrated from an articulation and a conciliation of the Flemish and Lusitan legacy, even though highlighting the latter. While the Dutch would had been a constant presence in the history of Pernambuco for Freyre and Gonsalves de Mello, they wouldn t have gone beyond legend in the space of Rio Grande do Norte, removed from its geography and erased from its history. When describing de geography of the potiguar space, therefore, Cascudo articulates the inexistence of the History of a time dominated by the Fleming with the search of a Portuguese space, trough the narration of its origins and constitution, as well as the registry of the characteristics of its legacy
Em 1956, Lu?s da C?mara Cascudo publicou seu livro Geografia do Brasil Holand?s. Neste livro, ele estudou e descreveu um espa?o o Brasil Holand?s de uma perspectiva hist?rica e geogr?fica. Para fazer isso, ele articulou ambas as perspectivas do ponto de vista de sua pr?pria leitura da Hist?ria do Nordeste, estabelecendo um di?logo com a tradi??o historiogr?fica de estudo do Brasil Holand?s em Pernambuco. Ao retratar a presen?a holandesa no Nordeste , Cascudo articulou um drama em que os holandeses teriam sua hist?ria descrita como um enredo tipicamente tr?gico, retratados como se eles j? estivessem condenados ao fracasso de antem?o. A essa trag?dia ele op?s um enredo portugu?s predominantemente c?mico, como se a vit?ria portuguesa sobre os holandeses tivesse sido t?o desej?vel quanto inevit?vel para o espa?o do Nordeste . Ao narrar o embate entre holandeses e portugueses pelo espa?o do Nordeste , por?m, Cascudo terminou por delinear seu pr?prio lugar de fala, enquanto porta-voz da identidade do espa?o potiguar em oposi??o ao espa?o pernambucano descrito por Freyre e Gonsalves de Mello. Desse modo, o espa?o norte-riograndense teria uma identidade pr?pria, constru?da a partir da aus?ncia holandesa e constitu?do a partir do legado portugu?s, contrariamente ao espa?o de Pernambuco, narrado a partir de uma articula??o e concilia??o do legado flamengo e lusitano, mesmo que destacando este ?ltimo. Enquanto os holandeses teriam sido uma presen?a constante na hist?ria pernambucana, para Freyre e Gonsalves de Mello, eles n?o teriam passado de lenda no espa?o do Rio Grande do Norte, retirados de sua geografia e apagados de sua hist?ria. Ao descrever a geografia do espa?o potiguar, portanto, Cascudo articula a inexist?ncia da Hist?ria de um tempo dominado por flamengos com a busca de um espa?o portugu?s, atrav?s da narra??o de suas origens e constitui??o, bem como pelo registro das caracter?sticas de seu legado
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Levy, Marshall Ira. ""A misreading of tropological space" : an investigation of Harold Bloom's theory of poetic transumption in the construction of a dialectical spece in architectural drawing." Thesis, Georgia Institute of Technology, 1989. http://hdl.handle.net/1853/22404.
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Feng, Zhenzhen. "The House: to be accompanied and to be alone." Thesis, Virginia Tech, 2018. http://hdl.handle.net/10919/83568.
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It is the house that has spaces above ground and spaces beneath the ground. The part above ground is separated into three volumes. The first space is for the owner to accompany with friends and family members, which is a significant part of one's life. The second space is the owner staying with close friends where they can work and design together. The third space is only for the owner where he can sleep, read and relax. Sometimes, the owner feels depressed, he prefers to run away from sadness like a child. Thus, I design a series of spaces for the owner to get away like a child. He can take a journey to get rid of sorrow by going through the underground spaces. The journey of the owner, created by a series of experiencing spaces underneath, starts from the third space. The owner will travel spaces containing different lights, sounds, and views. The owner can stop by during the journey to experience the spaces. He will gradually forget sadness and sorrow by the pleasure created by various experience. The owner will hear echoes when he sings in the spaces and will notice the sound of his footsteps and will view different scenes from various light tubes. Finally, the owner will reach a destination; it is a tower without a roof. He can experience starry night, rain, sunshine and so forth. He eventually reaches a place near nature, which is still one part of The House.Master of Architecture
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Hinchliffe, Dickon. "Histories of luminous motion : the space, language and light of Jesus Gardea's 'Placeres'." Thesis, King's College London (University of London), 1999. https://kclpure.kcl.ac.uk/portal/en/theses/histories-of-luminous-motion--the-space-language-and-light-of-jesus-gardeas-placeres(aca7e324-a010-4b91-a5e0-32a62bf3208b).html.
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Lamont, Dougald. "Origin of the spaces, a Darwinian poetics of identity transformation and the long prairie poem." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ53171.pdf.
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Aleksandra, Pešterac. "Transformacija prostora u mesto: stalnosti i promene poetičkog dejstva mesta." Phd thesis, Univerzitet u Novom Sadu, Fakultet tehničkih nauka u Novom Sadu, 2017. https://www.cris.uns.ac.rs/record.jsf?recordId=104922&source=NDLTD&language=en.
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Poetičko dejstvo mesta predstavlja oblik delovanja prostora koji u čoveku proizvodi doživljaj. Ovaj fenomen je predstavljen iz potrebe da objasni suštinu i prirodu arhitektonskog prostora kao i način na koji prostor vrši dejstvo. Osnovna problemska i istraživačka tema ovog rada jeste uzročno-posledična veza između fizičkog prostora i mesta, koja se zasniva na dijaloškom procesu usled kog je moguće postići da čovek doživi određeno „poetičko stanje“.Poetic place influence is a manner in which space causes a man to have an experience. This phenomenon is introduced in order to explain the essence and nature of architectural space, as well as the manner in which the space produces this effect. The main problem and research subject of the work is cause and effect between physiscal space and place, grounded on dilagoue process which enables a man to experience certain ’poetic state’.
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Reek, Jennifer Lynn. "From temple to text : reading and writing sacred spaces of poetic dwelling." Thesis, University of Glasgow, 2013. http://theses.gla.ac.uk/4537/.
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This thesis inhabits the space between the art of poetry and the conditions of faith. Its concern is threefold: women, Church, poetics. It undertakes a journey from institutional Church into more radical and textual spaces, beginning with an examination of the state of the Roman Catholic Church today as revealed in Tina Beattie’s critique of Hans Urs von Balthasar, whose disturbing theology has contributed to a misogyny she argues has poisoned the body of the Church. Beattie’s critique is a point of departure into a potentially transformative poetics that she hints at but never fully pursues. I attempt to articulate such a poetics through multiple, spiraling approaches that are interdisciplinary, invitatory, performative and creative. In my reading and writing practices, I seek to trace the contours of this poetics through the delineation of a series of alternative poetic ‘ecclesiological’ spaces. These spaces will be shaped mainly by engaging the work of five poet/thinkers, a seemingly disparate group of authors, who, whether strictly poets or not, exhibit qualities of ‘poetic being’: Ignatius of Loyola, Gaston Bachelard, Yves Bonnefoy, Dennis Potter, and Hélène Cixous. The latter will further assist me in defining this poetic geography through her philosophical and fictive investigations of the interrelationships of gender, writing and spirituality. The readings I undertake are relational, conversations in which reading is a careful listening to texts and writing becomes an organic outcome of that listening. I ask essentially what happens when we, man/woman, stand in the clearing with Heidegger to share his wonder at being? With the help of my poet-companions, I respond that we are transformed after a full engagement of poetic thinking itself. I conclude that we are brought by this engagement to a sacred space of poetic dwelling.
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Dufaure, Sarah. "La poétique de l'espace appalachien dans l'oeuvre de Jayne Anne Phillips et Meredith Sue Willis : l'identité entre déterminisme et fuite." Thesis, Bordeaux 3, 2015. http://www.theses.fr/2015BOR30074.
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Cette thèse porte un regard croisé sur les œuvres de deux auteures américaines contemporaines nées dans la région du Sud des Appalaches. Elle se lance pour objectif principal de définir et analyser les frontières et caractéristiques d’une identité littéraire proprement appalachienne ayant émergé ces trente dernières années aux États-Unis et connaissant actuellement un essor critique sans précédent. L’étude s’appuie sur une approche essentiellement pluridisciplinaire (histoire, géographie, économie, religion, philosophie) traçant les contours d’une littérature régionale motivée par une tension entre les notions d’espace (« space ») et de territoire (« place »), d’une part, et les dynamiques inverses de territorialisation (comment passe-t-on d’un corps physique à un corps textuel spécifiques ?) et déterritorialisation (comment ce corps textuel se transforme-t-il en réceptacle de considérations plus universelles ?), d’autre part. Tout en les remettant en perspective, l’analyse adopte comme cadre théorique les considérations philosophiques de Gilles Deleuze (fondateur du concept de « déterritorialisation ») et Gaston Bachelard (phénoménologue ayant développé la notion de « poétique de l’espace »)The aim of this doctoral dissertation is to explore the writings of two American women writers born and raised in the Appalachian South. It attempts to define and analyze the characteristics of a typically Appalachian literary identity that has been taking shape in the United States over the past thirty years and which is only now starting to receive nationwide and worldwide critical acclaim. The approach is mainly interdisciplinary (history, geography, economics, religion and philosophy provide different ways to delve into the topic) and seeks to outline a regional literature which has been essentially fueled by a tension between the concepts of “nature” (the physical place around us) and “environment” (the more complex result of the interplay between nature and man or woman). The opposed dynamics of regional grounding (how does the writer move from a specific physical natural body to a specific literary body?) and regional un-grounding or uprooting (how does this literary body turn into a receptacle of more universal emotions and concerns?) also shed light on the idiosyncrasies of this Appalachian literature. The analysis uses as a theoretical framework the philosophical views of Gilles Deleuze (the French philosopher who coined the concept of “deterritorialisation”) and Gaston Bachelard (the French phenomenologist having developed the notion of “poetics of space” recently rediscovered and explored in the United States)
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Reis, Nuno Miguel Arenga. "O saguão na habitação urbana : o interior da casa en torno de um vazio vertical nuclear." Doctoral thesis, Faculdade de Arquitectura de Lisboa, 2009. http://hdl.handle.net/10400.5/1448.
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Doutoramento em ArquitecturaO saguão foi duramente criticado na arquitectura moderna e o seu uso é raro na arquitectura doméstica contemporânea: geralmente, não se reconhece valor arquitectónico próprio e é considerado um espaço insalubre. No entanto, a sua presença no interior da casa revela ainda importantes qualidades: constroi a poética de uma interioridade profunda, a sua estruturação e diferenciação espacial; promove o controlo ambiental doméstico, da temperatura, ventilação, iluminação e sombreamento. Esta investigação reabilita o saguão como protagonista positivo na organização espacial do interior doméstico, como elemento agregador e qualificador de compartimentos interiores, e como definidor de núcleos domésticos de serviços e infra-estruturas. Procuramos a natureza arquitectónica específica do saguão, entender a sua utilização, avaliar a sua utilidade e o seu potencial arquitectónico. Percorrenos a sua evolução e participação na história da casa urbana, discutimos as razões da sua avaliação negativa, discutimos finalmente as potencialidades da sua utilização. Desenvolvemos uma abordagem sincrónica e sintética à discussão do pensamento da casa, dos diversos modos de a conceber. Concluímos com a defesa da integração positiva do saguão na conceptualização da casa contemporânea.
The light-shaft was strongly criticized by modern architecture and its use is rare on contemporary domestic architecture: generally, one doesn’t recognize light-shafts own architectonic value, and they are considered to be unhealthy spaces. However, light-shaft presence in home interior still reveals strong qualities: defining profound interiority poetics, its spatial structure and differentiation; controlling domestic environment conditions, temperature, ventilation, illumination and shadowing. This work re-establishes the light-shaft as a positive actor on domestic interior space, as an interior aggregation protagonist and interior room’s qualifier, and also as a domestic services and infrastructures core definer. We search the light-shaft specific architectonic nature, understanding its use, assessing its utility and its architectonic potential. We overrun light-shaft evolution and its use on urban housing history. We discuss its underestimating arguments and its use potentialities. We work on diachronic approach to historic evolution and its circumstances. We work on synchronic and syncretic approach to home conceptual thinking and its different home conceptions discussion. Finally, we build a statement on light-shaft positive integration in contemporary home conceptual thinking
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Mellors, Anthony Matthew. "Poetic space and the late modernist text : the theory and context of J.H. Prynne's writings from 1960-1974." Thesis, University of Oxford, 1992. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.334947.
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Coghill, Mary Anne. "A theory and praxis of a city poetic : Jakobson, poetic function and city space : women, deixis and the narrator : a city poem : shades of light : a triumph of city." Thesis, London Metropolitan University, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.549554.
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This thesis re-examines Jakobson's theory of poetic function and develops the axial model of his metaphoric and metonymic poles in order to construct a suggested iconic and poetic space, with special reference to a city poetic. The suggested model is used to develop a possible genre of a city poetic. The role of the narrator in poetry is explored with specific reference to shifters and deictics, with a view to a gendered analysis of self and place within a city poetic. The construction of space within the Jakobsonian axial model is developed with the assistance of iconicity, parallels, and movement (with reference to the Russian Formalist Movement's interest in byt). Ile question as to why women poets have not extensively explored their position within a city poetic is investigated by way of a discussion of deixis and shifters (place and self) - with special attention given to the benefits of distinct terms for these two stylistic categories. This thesis is practice-led and half is comprised of the long poem: Shades of Light: A Triumph of City. This poem is based on the Petrarchan sequence of Triumphs and interprets the woman poet, and poetry, within a city environment. It is a full length practical exploration of how the theory of a city poetic can be expressed in practice. The Commentary which accompanies the poem supplies information on the sources for the poem's background information and inspiration. The thesis and the poem are proposed as an integrated whole - theory plus practice and practice plus theory. It is hoped that this thesis, both in theory and practice, will inspire further research and work based on this presentation of: the first entire poetic sequence of Triumphs since Petrarch; a first in the use of Adobe Indesign software by a poet to construct poetry; a first diagrammatic representation of city poetic space; a first theoretical attempt to establish a genre of city poetry; and almost a first women's long poem about women in the city - in this case London.
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Torres, Alan Bezerra. "Manoel de Barros e os espaÃos da infÃncia." Universidade Federal do CearÃ, 2011. http://www.teses.ufc.br/tde_busca/arquivo.php?codArquivo=6710.
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CoordenaÃÃo de AperfeiÃoamento de Pessoal de NÃvel SuperiorO presente trabalho tem por objeto o exame das trÃs primeiras obras: Poemas concebidos sem pecado (1937), Face ImÃvel (1942) e Poesias (1947) do poeta mato-grossense Manoel de Barros (1916). O problema que se coloca diz respeito ao tratamento da infÃncia, temÃtica identificadora do poeta, que aqui serà vista atravÃs da noÃÃo de espaÃo. Partindo da hipÃtese de que o texto gera uma tensÃo entre as categorias campo e cidade, pretende-se verificar como a poesia de Barros cria, atravÃs da recordaÃÃo da infÃncia, cenÃrios particulares para ambas as modalidades de espaÃo, trazendo para a cidade, o mais das vezes, uma feiÃÃo negativa, de desconforto para o eu-lÃrico, em contraste com o campo, lugar que se lhe revela como idÃlico. O trabalho intenta recuperar os hÃbitos infantis e os retratos dos companheiros do menino pantaneiro, a partir da metamorfose dessas realidades em matÃria poÃtica, e para tanto, buscarà apoio nas noÃÃes de infÃncia e de espaÃo, na medida em que credita a esses dois elementos as fontes da identidade poÃtica de Manoel de Barros.
This study aims to examine the first three Mato Grosso poet Manoel de Barros (1916) works: Poemas concebidos sem pecado (1937), Face ImÃvel (1942) e Poesias (1947). The problem that arises concerns treatment of children, identifying the poetÂs theme, wich will be seen here through the notion of space. Assuming that the text creates a tension between the rural and urban categories, we intend to see how Barros poetry creates, through childhood memories, particular scenarios for both types of space, bringing to the city, most often, a negative feature of discomfort for the self-lyrical, in contrast with the field, you place that reveals how idyllic. The attempts to recover the work habits and childrenÂs portraits of fellow boys from Pantanal, from the metamorphosis of these realities on poetry, and for that, seek support in childhood and notions of space, to the extent that credits the sources of these two elements of Manoel de Barros poetic identity.
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Templeton, Michael William. "Poetic confrontations with the real the British romantic period and spaces of literary/political conflict /." Oxford, Ohio : Miami University, 2004. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=miami1102003034.
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Templeton, Michael W. "Poetic Confrontations with the Real: The British Romantic Period and Spaces of Literary/Political Conflict." Miami University / OhioLINK, 2004. http://rave.ohiolink.edu/etdc/view?acc_num=miami1102003034.
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