Dissertations / Theses on the topic 'Utopia in Space'
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THUIN, ANTONIA COSTA DE. "LUANDINO AND LANGUAGE AS A SPACE TO CREATE UTOPIA." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25564@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIROCOORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
CONSELHO NACIONAL DE DESENVOLVIMENTO CIENTÍFICO E TECNOLÓGICO
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta dissertação se organiza a partir de três ensaios – A Língua como intraduzível, Os Rios que Comunicam e O Futuro do Pretérito – que focalizam questões relevantes na obra do escritor José Luandino Vieira. O objetivo é identificar, em alguns de seus livros, as formas com que a linguagem é trabalhada pelo autor em sua ficção, de modo a criar espaços de utopia política; dos tempos de luta pela independência angolana, na segunda metade do século XX, às primeiras décadas do século XXI. Pretende-se mostrar ainda como sua busca por uma utopia permanece ao longo do tempo, não tendo cessado com o fim da guerra de independência nacional. A busca por justiça e por inclusão social materializam-se como utopias, expressas sobretudo na linguagem adotada pelo escritor. No primeiro capítulo desta dissertação, discuto seu investimento na linguagem, e como isso é radical – no sentido de estar na raiz – de sua literatura e projeto de mundo. No segundo, falo mais amplamente como o rio – que flui e que segue, que some e volta a existir – é tema existente em Guimarães Rosa e Luandino, que seguem uma genealogia de criadores com a língua, mas que têm mais em comum do que ela. No terceiro, aprofundo-me nas questões políticas levantadas por seus textos e nas suas intenções.
This thesis is organized from three essays – Language as untranslatable, Rivers that communicate and Future of the Past – that focus in relevant questions of the writer José Luandino Vieira work. The aim is to identify, in some of his books, how language is used by the author in his fiction, as a tool to create political utopian spaces; beginning during the time of fighting for Angola s independence, in the second half of the twentieth century, till the first decades of the twenty first century. It intends also to show how his search for utopia continues through time, and has not stopped with the end of the national independence war. The search for justice and social inclusion gain life as utopias, expressed above all in the language adopted by the author. In the first chapter of this dissertation, I talk about his investment in language and how is this crucial for his literature and his world Project. In the second, I talk more broadly about how the river – that comes and goes, disappears and reaches back to existence – is a subject presente in both, Guimarães Rosa and Luandino, following a genealogy of language creators, but with more in common than just that. In the third, I talk in-depth about the political issues raised in his texts and his intentions.
2
Tan, Wei-En. "Going nowhere : utopia and the problematics of narrating impossible space /." May be available electronically:, 2007. http://proquest.umi.com/login?COPT=REJTPTU1MTUmSU5UPTAmVkVSPTI=&clientId=12498.
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Schön, Anna. "Utopia Trek : utopibegreppets resa genom Star Trek." Thesis, Linköping University, Department of Thematic Studies, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-2539.
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Humanity has always dreamed about a better world. These dreams has manifested themselves in the vision of Utopia - the good place, but also the non-existing place. Up until World War II man still wrote optimistic descriptions of this ideal world, and spread the idea through literature. In the aftermath of the atomic bomb and under the influence of the cold war, these publications seized to surface in literary surroundings. Despite this utopia did not die - it has only changed. Today you can find utopia, not primarily in books, but in Science Fiction. TV’s biggest Science Fiction-series, Star Trek, is perhaps the best example of this. The Master's thesis "Utopia Trek - a travel through Star Trek with the concept of utopia" takes you through the history of utopia and into its new habitat, Star Trek, where the essence of a utopia for the 21th century is found, discussed and reevaluated.
Mänskligheten har alltid drömt om en bättre värld. Dessa drömmar har manifesterats i visionen om Utopia - den goda platsen, men också platsen som inte existerar. Fram till andra världskriget skrev man fortfarande optimistiska beskrivningar av denna idealvärld, och spred idén via litteraturen. Efter hotet från atombomben och under påverkan av det kalla kriget, slutade dessa publikationer att dyka uppi litterära sammanhang. Trots detta dog inte drömmen utopia - det har bara förändrats. Idag kan man finna utopia, inte företrädesvis i böcker, utan i science fiction. Tv:s största science fiction-serie, Star Trek, är kanske det bästa exemplet på detta. Magisteruppsatsen "Utopia Trek - utopibegreppets resa genom Star Trek" tar dig genom utopias historia och in i dess nya hemvist, Star Trek, där essensen av ett utopia för 2000-talet upptäcks, diskuteras och omvärderas.
4
Divine, Susan Marie. "Utopias of Thought, Dystopias of Space: Science Fiction in Contemporary Peninsular Narrative." Diss., The University of Arizona, 2009. http://hdl.handle.net/10150/195666.
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This study serves as an introduction to three recent narratives in Spanish Science Fiction. While this literary genre has long been read in Spain in translation, it is only recently that Sci-Fi has been successful as a popular literature produced by native authors. Álex de la Iglesia, Gabriela Bustelo and Rafael Reig have worked in realist and genre fiction through their careers but chose to use Science Fiction to speak of the rapidly changing space of Madrid. Their criticism is centered on the changes to the physical, social, economic and political landscape of Madrid post-1992. My analysis is based on the works of the geographer David Harvey, among others, which helps to underline the importance of the urbanization of capital and consciousness that the three narratives disentangle. While being three very different texts - one film and two novels -, they all manipulate concerns of time and space to come to a similar conclusion. Their narratives serve as a warning about how the good intentions of humanist theories like feminism or scientific advancement can easily turn into a nightmare by instead serving the needs of capitalism rather than those of social justice.
5
Edwards, Paul Stewart. "The pre-history of post-modernity : Victor Gruen's shopping mall Utopia in American urban space." Thesis, University of Nottingham, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.421555.
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Bartha, Ilinca. "L'utopie dans la littérature française de l'aube du classicisme à l'aube des lumières." Thesis, Lyon 3, 2011. http://www.theses.fr/2011LYO30014/document.
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Complexe et mystérieuse, l’utopie représente sans doute l’une des notions dont la longue carrière dans l’histoire de la pensée et de la culture humaines est incontestable. Compte tenu de cette grande richesse conceptuelle, notre analyse de l’utopie dans la littérature française de l’aube du classicisme à l’aube des Lumières commence par l’esquisse du cadre théorique de l’utopie, à partir du mot lui-Même, des multiples significations qu’il a reçues au long du temps et par la mise en évidence des deux paradigmes qui le caractérisent, à savoir un paradigme théorique et un paradigme littéraire. Tout en suivant l’origine et les métamorphoses du concept d’utopie jusqu’à son évolution vers un genre littéraire particulier, nous nous sommes arrêtée sur un corpus de textes qui témoignent, à notre avis, à la fois de la consécration, de la maturité et de l’élasticité du genre utopique, il s’agit des deux romans de Cyrano de Bergerac, Les États et Empires de la Lune et du Soleil, du roman de Gabriel de Foigny, La Terre australe connue, des Aventures de Télémaque de Fénelon et des trois pièces de Marivaux, L’île des esclaves, L’île de la raison et La Colonie. À la lumière de la signification duale du terme créé par More, à savoir celle de lieu de nulle part (« ou-Topos »), mais aussi celle de lieu de bonheur (« eu-Topos »), nous avons divisé notre étude en deux grandes parties, l’une consacrée à l’analyse de l’espace utopique et l’autre à l’analyse de la société utopique. Plurivalent et hétérogène, l’espace utopique suit, dans chacun des ouvrages analysés, quelques principes généraux tels que l’insularité, l’altérité et l’isolement, tout en prenant, en même temps, des configurations à part, ce qui témoigne à la fois de l’identité particulière de chaque œuvre choisie et du réseau de significations qui se tisse entre elles. L’analyse de la société utopique est elle aussi une source extrêmement riche d’observations et de conclusions et s’appuie sur trois coordonnées majeures : l’altérité de la société utopique, sa nature idéale et sa critique implicite de la société humaine. Derrière ces piliers théoriques, nous retrouvons la description effective de la société utopique, avec le portrait de l’Utopien, le procès de l’homme et de nombreux aspects économiques, politiques et organisationnels qui caractérisent toute communautéComplex and mysterious, utopia has undoubtedly been one of the concepts whose long career in the history of human thinking and culture has been undeniable. Having in view this conceptual legacy our analysis of utopia in the French literature from the beginning of Classicism to the beginning of the Enlightment starts with the description of the theoretical background of utopia, with the word, as such, and the various significances that it has received along the time and with the presentation of the two paradigms characterizing it, the theoretical and the literary paradigm. From the origin and the metamorphoses of the concept of utopia down to its evolution towards a literary genre in itself we have approached a corpus of texts that demonstrate once and again the consecration, the maturity and the elasticity of the utopian genre, in the two novels of Cyrano de Bergerac, Les États et Empires de la Lune et du Soleil, the novel of Gabriel de Foigny, La Terre australe connue, the Aventures de Télémaque by Fénelon and the three plays by Marivaux, L’île des esclaves, L’île de la raison et La Colonie. In the light of the dual significance of the term created by More, that of a place of nowhere (« ou-Topos »), but also that of a place of happiness (« eu-Topos »), we have divided the paper into two big parts, one devoted to the analysis of the utopian space and the other to the analysis of the utopian society. Plurivalent and heterogeneous, the utopian space pursues, in every work analyzed, some general principles such as the insularity, the otherness and the isolation, and, at the same time, all of them acquire special configurations which proves both the particular identity of the work chosen and the web of significances that binds them. The analysis of the utopian society is in itself a rich source of observations and conclusions and relies on three major coordinates: the otherness of the utopian society, its ideal nature and its implicit scrutiny of the human society. Behind these theoretical pillars we discover the actual description of the utopian society, with the portrait of the Utopian being, the trial of the human being, and the numerous economic, political and organizational aspects that characterize the entire community
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Nylund, Jukka. "Yugoslavia: from Space to Utopia : Negotiating national and ethnic identity amongst Serbian migrants from former Yugoslavia." Thesis, Linköping University, Department of Religion and Culture, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-5638.
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In the 60’s and 70’s a large group of Yugoslav migrants came to Sweden in search for jobs. These people mostly belonged to the generation born after the Second World War, a generation brought up in the official discourse of “Brotherhood and Unity”. A discourse downplaying ethnic differences in favour of a national identification. With the break-up of Yugoslavia in the early 1990’s their Yugoslav national identity was beginning to be contested. The Serb migrants had to redefine themselves due to the changing situation and to replace or redefine their Yugoslav identities. This paper presents a case study for three individuals in this group and how they defined themselves before the break-up and how they handled the break-up. It presents how they today look upon Yugoslavia and how that place has changed meaning in their everyday narratives. The question I try to answer is whether someone can call himself Yugoslav when Yugoslavia no longer exists, and how the image of Yugoslavia has changed due to the break-up. I show that the image of Yugoslavia is still very much alive but this image has turned from a place in physical space to a place in their narratives, close to Foucault’s definition of a Utopian place. A place in their minds, perfected in form. They still call themselves Yugoslavs, if the social context allows that, they still use the term to relate to their origin and in discussions of place.
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Green, Nigel. "Photography and the representation of modernist architectural space : from the melancholy fragment to the colour of utopia." Thesis, University of Kent, 2007. http://www.research.ucreative.ac.uk/id/eprint/1060.
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The questions that this project poses are centred on an examination of photography's relationship to modernist architectural space. Polarising the melancholic and the utopian, the definition of photography is extended to include its manifestation across a number of diverse sites and processes. What is the connection between the processes and technology of photography and its representation of modernist space? How can these relationships inform and articulate a photographic practice? This thesis comprises five key areas of investigation, with each theoretical chapter being followed by a complementary sequence of photographic images. The first section considers the process of `fragmentation' in relation to a body of photographs which I have termed `fragments'. These images reveal the aspirational or utopian content of modernist architecture as a condition of loss or melancholy. The second section develops the notion of the `fragment' in relation to `allegory', which I argue, opens photography to metaphoric interpretation thus taking on the duality of meaning. The third section uses W. G. Sebald's novel Austerlitz and Kracauer's work on history, to locate this duality within Husserl's Lebenswelt. The fourth section shifts the emphasis of inquiry towards an examination of how the utopian emerges within specific aspects of the photo-reprographic process, such as the error of misregistration in colour printing. This forms the basis for a development of the practice into the field of the photographic representation of colour. The fifth section looks at how colour has been added to the monochromatic image in a series of postcards of modernist architecture from the 1930's thus suggesting a site of utopian investment With reference to Kristeva and Benjamin I develop the notion of colour as an excess of meaning indicative of utopian aspiration. The conclusion of the project is firmly located in the practice outcome and a body of work, which I have termed `constructed images'. Representing a convergence of the five themes, these reveal the ability of photography to uniquely articulate the utopian-melancholy polarity, a transformative process, intervening into architectural space to indicate new ways of thinking about it.
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Briz, Gustavo Garrido da Silva Gonzalez. "Uma arquitectura hoje. Resgatar o futuro no passado. Centro Comunitário em Alcântara." Master's thesis, Universidade de Lisboa. Faculdade de Arquitetura, 2011. http://hdl.handle.net/10400.5/6732.
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Dax, Malcolm A. "The Physical from the Void." Thesis, Virginia Tech, 2016. http://hdl.handle.net/10919/64439.
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This thesis confronts the ultimate limits of perceiving the constructed world and the limits of our ability to experience architecture. The imperative of architecture is poetic: to and project encounters between matter and energy that shape the existing and bring forth the as yet unimagined to form a continuing human world. This is explored through the imagining of a habitat and vessel that projects the human endeavor of architecture into the formless depth of space.
In drawing the physical from the void, the page becomes a way to move architecture from non-existence into the real by means of the imagination. An imagined wold is drawn from the void in search of the center for a universal and humanist architecture. The thesis is conceived as a vehicle for drawing the limits of perception when we attempt to imagine that which is greater than ourselves.Master of Architecture
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Jacobs, Deborah. "The images of space in the Third Sibylline Oracle." Doctoral thesis, Humboldt-Universität zu Berlin, Theologische Fakultät, 2014. http://dx.doi.org/10.18452/16932.
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Von Haus aus sind Sibyllinische Orakel eine griechisch-römische Literaturgattung, eine Sammlung von Orakelsprüchen in griechischen Hexametern, die nicht erhalten ist. Die uns überlieferten Sibyllinischen Orakel sind jüdischen, christlichen und teilweise paganen Ursprungs. Die insgesamt 14 Bücher sind in den Jahren 150 vor bis 300 nach Christus entstanden. Bis zu ihrer Wiederentdeckung im Vatikan waren die Sibyllinischen Orakel nur durch Zitate der Kirchenväter bekannt. Buch 3 ist laut Mehrheit der Forscher das älteste der Sammlung und entstand im zweiten vorchristlichen Jahrhundert in Ägypten. Die Arbeit stellt diesen Konsens in Frage. Sie konzentriert sich dabei auf die Vorstellung der Beherrschung des Raumes im dritten Sibyllinischen Orakel. Dabei geht es einerseits um die rein geographische Vorstellung der Welt, die der Sibylle zugrunde liegt und andererseits um die politisch-theologische Vorstellung der Abfolge von Weltreichen, die diese Welt nacheinander beherrschen und schlussendlich von der Herrschaft Gottes abgelöst werden. Das Thema Gottesherrschaft nimmt in den jüdischen Pseudepigraphen eine relativ marginale Rolle ein. Dies könnte sicherlich damit zusammenhängen, dass die Diasporaschriften nicht unmittelbar unter dem Einfluss der sogenannten Antiochenischen Verfolgung und den Makkabäeraufständen standen, anders als z.B. das Danielbuch. In den Texten aus der Diaspora findet sich das Thema Gottesherrschaft sogar nur im dritten Sibyllinischen Orakel und in der Weisheit Salomos. Besonderes Gewicht hat die Gottesherrschaft schließlich in den Schriften des Neuen Testament. Ich hoffe mit meiner Arbeit einen wichtigen Beitrag zur Genese der Vorstellung der Gottesherrschaft im Neuen Testament zu leisten. Der endzeitliche Zustand, den die Sibylle für die Umsetzung der göttlichen Herrschaft auf Erden prophezeit, kann mit dem Begriff Utopie beschrieben werden.Originally, the Sibylline Oracles were a Graeco-Roman literary genre, namely a collection of oracles composed in Greek hexamters which have not come down to us. The Sibylline Books that we have today are of Jewish and Christian origin and stem from a time when the genre was adapted first by Jews and then Christians. The altogether 14 books have developed between 150 BCE and 300 CE and for the longest time were only known through quotations in the church fathers such as Eusebius and Lactantius. According to the majority of scholars, Book III is the oldest of the Sibylline corpus and developed in the 2nd century BCE in Egypt. This thesis reconsiders the established consensus using old and new evidence alike. It focuses on the image of dominion of space in the Third Sibyl. On the one hand, space is looked at as the geographical image of the world as the Sibyl has access to, on the other, space is looked at as the political-theological image of succession of empires that rule the world consecutively until eventually they are superseded by the dominion of God. The dominion of God only play a minor role in Jewish pseudepigraphy. This could be related to the fact that the writings of the Diaspora were not immediately affected by the so-called Antiochene persecution and the Maccabean revolt unlike, for instance, the Book of Daniel. In the writings of the Diaspora the topic only occurs in the Third Sibyl and in the Wisdom of Solomon. It becomes particularly important in the New Testament. With this thesis I hope to provide an important contribution to the genesis of the image of the dominion of God in the New Testament. The eschatological age that the Sibyl prophecies for the establishment of the divine dominion on earth can be described using the term utopia.
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Ertuna, Ayberk Can. "Gated Communities As A New Upper-middle Class Utopia In Turkey: The Case Of Angora Houses." Master's thesis, METU, 2003. http://etd.lib.metu.edu.tr/upload/1080589/index.pdf.
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The aim of this thesis is to analyse the effects of gated communities in the increasing fragmentation of urban space and in the increasing polarisation among different classes in the Turkish context, more specifically in the capital, Ankara.
Since the case study is based on an upper-middle class suburban gated community, first, suburbanisation &ldquoas a wave of urbanisation&rdquo
is analysed. Then, the debates about the middle class and the transformation that this social stratum has undergone are discussed. Later, the formation of gated communities around the world and in Turkey are analysed within the general framework of the transformation of the urban sphere. Finally, the theoretical arguments are scrutinised by incorporating the findings of the case study carried out in Angora Houses. In this study Angora Houses is concluded to be a gated community which is &ldquo
fortified&rdquo
for the preservation of an upper-middle class lifestyle rather than for security concerns and which reproduces socio-spatial inequalities among Ankaraites rather than standing as only the expression of them.
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Val, Fiel Mónica. "La representación utópica del espacio público. Diagramas de arquitectura conceptual." Doctoral thesis, Universitat Politècnica de València, 2013. http://hdl.handle.net/10251/28392.
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La historia de la arquitectura y de la ciudad es un reflejo de la convivencia y de las constantes influencias e interferencias del arte con la propia arquitectura.
Esta investigación se sitúa temporalmente en el periodo 1960-1975, en el análisis de los visionarios proyectos utópicos que proponían nuevos mecanismos y estrategias para abordar el modelo de ciudad. Son proyectos que muestran la representación del espacio público, tratando de desarrollar nuevas maneras de pensar y proyectar otro modelo que surja desprovisto de la rigidez de los modelos "ideales" de la arquitectura del Movimiento Moderno.
La tesis analiza la comunión del arte con la arquitectura, centrando su atención en los años correspondientes al desarrollo del Arte Conceptual (1966-1972), aunque atendiendo previamente a las influencias del Pop, del Minimalismo y del Accionismo. De esta manera, recoge sus inicios en la esfera británica de la Arquitectura Pop, la Megaestructura, el Fenómeno Austriaco y finaliza con la Arquitectura Radical italiana.
Los arquitectos de dicho periodo, inmersos en un momento de cambio cultural, incorporan y utilizan "la exposición" como mecanismo de comunicación, de manifestación del "espíritu de los tiempos" y de transmisión de unas ideas que adquieren un protagonismo autónomo a la propia construcción. La materialidad de sus propuestas queda expresada en múltiples representaciones que manifiestan su crítica e ideario y que, apropiándose de los lenguajes del arte, pasan a constituirse como Arquitectura Conceptual.Val Fiel, M. (2013). La representación utópica del espacio público. Diagramas de arquitectura conceptual [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/28392
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Joel, Englund. "Grand Voyages: : A ticket to somewhere please!" Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4772.
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A journey begins with an act. To move one's body/mind from one place to another. The planning of where, when and how to get there. Expectations of what to come, before, during and after. In my thesis I turn to the notions we encounter when experiencing space. Through the bodies movement we shift our perspectives, leaning our eyes on surroundings of change, we mediate what is perceived. Telling us the story of where we have been and where we are heading to. The fragile surface of the lace cloth covering the sunlight shine in my grandmothers kitchen window had to me an unfamiliar texture and its yellowing white colour brought a time from another generation. Drinking weak silver tea and sitting next to this curtain formed a tactile memory of constant. I don´t remember any other details from those days, other than the taste of the tea and the atmosphere created by the lace. When, during a journey in unknown lands several years after, I again saw this lace covering a window I remembered not the situation nor the tea but a sort of comfort. A memory of carrying both my past and present. The memory of space is created both in the past and the present but also when we leave, as we remember and recall it. How do we interpret what is a part of our past, present and future? And where is the real/unreal memory of space created? To investigate these notions I placed my self in a sort of somewhere! On the border between reality? and utopia. In an constant journey of bodies from familiar to unknown. In a place where perception of space pass through movement and time. In an journey of memory and imagination. In a cruise boat.
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Dench, Tracy Johnson. "'An archaeology in search of a utopia' : reading women's writing of the interwar years in the light of Kristeva's concept of the third space." Thesis, University of Aberdeen, 2000. http://digitool.abdn.ac.uk/R?func=search-advanced-go&find_code1=WSN&request1=AAIU155525.
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Julia Kristeva's 1979 essay, 'Le temps des femmes', translated as 'Women's Time' in 1981, most explicitly articulates her approach to feminist thought, addressing women's troubled relationship to patriarchy in terms of time and space. In the essay, Kristeva identifies three distinct positions in the history of feminism: 'equality' feminism, 'difference' feminism; and finally, an anticipated 'third-generation' feminism that will integrate the previous two attitudes, representing what she defines as a new 'signifying space'. The value of the 'third space' is that is offers a method for proceeding beyond the either/or status offered by previous stages of feminist thought and analysis, challenging gender identity per se, and bringing out of the singularity of each individual subject. Women's literature of the interwar period provides a rich source of material in terms of the construction of the gendered subject, as political and military pressures transformed masculine and feminine roles. While literary giants such as Sassoon and Faulkner have committed the experience of the trenches to print, women's writing of this era often explores the effects of the First World War on the community at home, away from the front and its visceral nightmares. This thesis therefore examines the destabilising effect of war on both combatants and civilians as evident in this writing, and each chapter identifies a space in the text where identity is challenged and thrown into debate by the hardships of the War. The resulting signifying space is configured in varying ways, often bringing happiness and personal satisfaction to the protagonist, but it may also represent the darker aspects of Kristevan thought, resulting in negativity and even death.
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Verdon, Flore. "La création d’un royaume eutopique arthurien au XIIe siècle : géographies mythiques et itinéraires arthuriens pour un monde idéal." Thesis, Reims, 2019. http://www.theses.fr/2019REIML007/document.
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Ce travail analyse le rôle fondamental du royaume arthurien dans le récit breton du XIIe siècle. Ce lieu soulève des problématiques relatives aux fonctions de la souveraineté et tend vers la définition d’un idéal qu’on appellera « eutopique ».L’étude repose sur l’hypothèse de l’existence de deux « domaines » arthuriens qui donnent aux textes leur polarité fondamentale : le domaine courtois d’une part, qui se caractérise par une emprise masculine, celle d’Arthur, et le domaine merveilleux qui est davantage marqué par des figures féminines, souvent féeriques. Ce dernier domaine figure un envers symbolique du domaine d’origine du héros dont le parcours met en lumière une tension dialectique féconde. En effet, l’aventure le conduit du domaine courtois au domaine merveilleux, pour le ramener à la fin à la cour d’Arthur. Or ce retour ne signifie pas une régression au point de départ, mais implique au contraire la définition d’un nouvel espace, à la fois concret et idéal, à la tête duquel le héros, désormais investi de la fonction royale, règnera en assurant le bien-être de sa communauté. Ce troisième lieu est donc distinct du domaine courtois originel et en propose une variante régénérée. Le nouveau royaume qui émerge à l’issue de l’aventure chevaleresque peut ainsi être appelé « eutopique ». C’est le lieu de la construction d’un idéal humble, assurant la satisfaction des besoins humains les plus simples : l’abondance alimentaire, et de manière générale la réparation de toutes les « mauvaises coutumes » que le roi fatigué a laissé s’installer. Il se situe donc aussi aux antipodes d’idéaux plus abstraits pour poser cette aspiration simple d’une vie à mesure humaineThis thesis analyses the fundamental role of the Arthurian kingdom in the Arthurian narrative of the twelfth century. This place raises issues related to the functions of sovereignty and tends towards the definition of an ideal that will be called « eutopic ».The study is based on the hypothesis of the existence of two Arthurian « domains » which give to the texts their fundamental polarity: on the one hand, there is the courteous domain, which is characterized by a male authority, that of Arthur, and on the other hand, the marvelous domain is comprised of fairy feminine figures. The marvelous domain is a symbolic reverse of the hero’s original domain, whose path highlights a dialectical tension. Indeed, the adventure leads him from the courteous domain to the marvelous one, to bring him back at the end to Arthur’s court. This return does not mean a regression to the starting point, but on the contrary implies the definition of a new space, both concrete and ideal, at the head of which the hero, now invested with the royal function, will reign by ensuring the well-being of his community. Therefore, this third place is distinct from the original courteous domain and proposes a regenerated variant. The new kingdom that emerges at the end of the chivalrous adventure can thus be called « eutopic ». It is a place for the construction of a humble ideal, ensuring the satisfaction of the simplest human needs: the abundance of, and more generally the restoration of all the « bad customs » that the tired king let settle down. It is the antithesis of more abstract ideals to pose this simple aspiration of human scale life
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Darke, Christopher Jonathan. "Cinetopia : utopic dimensions of cinematic space." Thesis, Queen Mary, University of London, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.531445.
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Pinder, David John. "Utopian spaces of the avant-garde." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624520.
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Pohl, Nicole Barbara. "Gender and utopian space in women's literature, 1660-1789." Thesis, Birkbeck (University of London), 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.286365.
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Rebaï, Elyssa. "Esthétique et poétique des jardins : entre art et science, parcours et discours dans la fiction sandienne." Thesis, Université Clermont Auvergne (2017-2020), 2018. http://www.theses.fr/2018CLFAL007.
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Cette thèse intitulée « Esthétique et poétique des jardins : entre art et science, parcours et discours dans la fiction sandienne» vise à étudier la place qu’occupe le jardin essentiellement dans les romans, contes et nouvelles de George Sand. L’enjeu de cette recherche est de démontrer que le jardin chez Sand ne se réduit pas à un simple arrière-plan, à un élément de fioriture, ou à une pure thématique. Il revêt au contraire chez l’auteure une ampleur considérable allant jusqu’à devenir un objet spéculatif capable de repenser tout à la fois les genres et les esthétiques et de susciter de riches réflexions en rapport avec l’art (peinture, architecture, dessins) et la science (botanique, écologie, horticulture, minéralogie) au XIXe siècle. Le jardin occupe aussi une place de choix dans l’œuvre de Sand en vertu de ses diverses fonctions diégétiques, poétiques et symboliques au sein de la diégèse, mais aussi en raison de son aptitude à être un lieu de cheminement au sein duquel le promeneur peut se promettre divers plaisirs et évolutions. Le jardin devient en ce sens un monde complet en soi, un lieu riche et influent, un véritable creuset de signes et de significations dont se sert l’auteure pour véhiculer son idéologie, ses goûts esthétiques, ses pensées intimes, son idéalisme, ainsi que sa philosophie de la vieThis thesis entitled "esthetic and poetic of gardens: between art and science, path and speech in Sandian fiction" aims to study the place of garden especially in novels, tales and short stories of George Sand. The challenge of this research is to prouve that the garden for Sand is not just a backdrop, an element of flourish, or a pure topic. In contrast, it takes on a considerable scale in the author's work, even becoming a speculative object able to rethink genres and esthetics at the same time and generating rich reflections related to art (painting, architecture, drawings) and science (botany, ecology, horticulture, mineralogy) in the 19th century. The garden occupies a prominent place in the work of Sand due to its various diegetic, poetic and symbolic functions within the diegesis, but also because of its aptitude to be a pathway within which the walker can promise himself various pleasures and evolutions. The garden becomes in that way, a complete world by itself, a rich and impactful place, a veritable crucible of signs and meanings that the author uses to convey her ideology, her esthetic preferences, her intimate thoughts, her idealism, as well as her life philosophy
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Lee, Sarah Jaggi. "Utopian spaces: Mormons and Icarians in Nauvoo, Illinois." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539623544.
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Nauvoo, Illinois was the setting for two important social experiments in the middle of the nineteenth century. The Church of Jesus Christ of Latter-day Saints, also known as the Mormons, made this city their headquarters of their rapidly expanding church from 1838 until 1846. Only three years after the departure of the Mormons, a group of Frenchmen calling themselves Icarians came to the same spot to realize a system of communal living and brotherhood that lasted in Nauvoo until 1856. While several studies have been devoted to these groups, as yet none have combined a study of the two communities who shared the same space.;This study focuses on the physical communities as envisioned by their leaders and as constructed and inhabited by the members of each group. In "reading" the city each community constructed at Nauvoo, we can understand their unique utopian agendas and how those were realized or compromised in the everyday living out of each groups' individual utopian vision. I offer one perspective, grounded in an interpretation of the cultural landscape of Nauvoo, which examines only a few of the numerous aspects of Mormon and Icarian society, including commitment mechanisms, ideological centers, leadership and authority, gender and conflict. This study seeks to compare the two communities at Nauvoo in ways that will not only elucidate their agendas and experiences, but will help shed light on the nature and experiences of utopian communities in general.
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McFarthing, James. "Jules Verne and the utopias of space, time and science fiction." Thesis, University of Bristol, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.665460.
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This thesis seeks to cohere two strands in the work of Jules Verne, namely that of science and utopia. The role of science is of paramount importance to Verne's fictional practice in the Voyages extraordinaires, yet its elucidation, I will argue, is dependent upon aesthetic innovations that lend science a spatial and temporal structure. The spatial and temporal manifestations of science help form a 'chronotope of science' that allows Vernian protagonists to gain access to scientific phenomena using an aesthetically charged epistemology. The chronotope of science is accompanied by further motivic chronotopes, which I identify as key in the depiction of Vernian utopia and dystopia respectively. The vehicles of some of Verne's earlier and most successful novels, such as the Victoria of Cinq semaines en ballon (1863) or the Nautilus of Vingt mille lieues sous les mers (1870), illustrate the ways in which Verne reconfigures ideology and history in new spatial and temporal categories. These utopian figurations will be subverted, so I argue, in the Vernian utopian community as depicted in the Voyages extraordinaires of the 1870s. Here, the utopian communities of L'Ile mysterieuse (1874) and France-Ville from Les Cinq cents millions de la Begum (1879) are subverted by a chronotopic recalibration of their utopian content, which sees the anti-utopian Le Chancellor and the Germanic Stahlstadt emerge as thematic opposites. This dystopian turn becomes more concretely established in Vernian production of the 1880s and 1890s, which sees various of Verne's earlier utopian motifs transformed into instruments of dystopia and terror, from destructive cannons to tyrannical airships. The thesis will conclude that the challenges initially met by Verne in the depiction of science and the rapidly changing industrial world of the nineteenth century led to the development of a unique aesthetic and spatio-temporal constructions that could frame not only the changing spatial environment, but also the unfolding temporal field of human history. These structures, both scientific and utopian, would help inform the generic development of science fiction, whose use of science and positing of alternative futures owes much, thematically and stylistically, to the Vernian literary aesthetic.
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Rose, McKenna Suzanne. "Caliban's robes transformative domestic spaces within early modern utopias /." abstract and full text PDF (free order & download UNR users only), 2006. http://0-gateway.proquest.com.innopac.library.unr.edu/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:1433624.
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Minosh, Peter. "Moderate utopias : the reconstruction of urban space and modernist principles in postwar France." Thesis, Massachusetts Institute of Technology, 2007. http://hdl.handle.net/1721.1/39311.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2007.Includes bibliographical references (p. 121-133).
This thesis explores the implementation of the American Marshall Plan in France and its precipitation of structural changes within the realms of economics, politics, and cultural subjectivity, studying their manifestations in both the built work of the postwar reconstruction and its concurrent discourse on architecture and urbanism. In the turn from the interwar classical to the postwar Keynesian economy, there followed a cultural transformation that resulted in the social welfare state. The consequence is what Deleuze would describe as a shift from mechanisms of discipline to societies of control, where the mass subject controlled by centralized agents would transform to the active subject of a middle class physically operating of the mechanisms of agency that control them, this thesis studies the architectural manifestation of this transformation. Through the discursive projects set out in the journals I'Architecture d'aujourd'hui and Techniues et Architecture, as well as through a study of Orleans, Le Havre, and Maubeuge - reconstruction cities whose architects encompassed a range of formal styles - there was a development in postwar reconstruction architecture that ran parallel to that of the modernist project; one that ultimately displaced the authority of CIAM and precipitated a rejection of architectural modernism with the emergence of Team X thinking.
(cont.) This discourse intends to offset the standard historiography of postwar architecture as a modernist aesthetic lineage, employing instead an exploration of the motivation of an economic agency in the development of architectural form. While the modernist project struggled to find its place within the postwar reconstruction, cities were being built that employed new principles of construction and organization on a vast scale. These reconstruction cities, almost wholly outside of the modernist influence would mold architecture to the hegemonic organizational space of the postwar, as well as permanently imbricate architecture into new modes of capitalist production and social regulation.
by Peter Minosh.
S.M.
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Revol, Claire. "La rythmanalyse chez Henri Lefebvre (1901-1991) : contribution à une poétique urbaine." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30038/document.
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Cette thèse propose d'explorer les textes que Henri Lefebvre (1901-1991) a consacré à un projet de connaissance des rythmes, une « rythmanalyse », terme qu'il emprunte à Gaston Bachelard, pour contribuer à ce que nous appelons une poétique urbaine. Henri Lefebvre a laissé une œuvre fondatrice dans les études urbaines contemporaines en théorisant l'avènement de la société urbaine moderne et en produisant une théorie critique de l'urbanisme et des espaces et des temps sociaux qui en résultent. Nous montrons que la théorie critique est solidaire d'une poétique issue du romantisme révolutionnaire de l'auteur, qu'il développe au contact de pratiques artistiques, notamment celles de l'Internationale Situationniste. À l'encontre de ce qu'il analyse comme le processus d'abstraction de l'espace et du temps urbain, la rythmanalyse fait partie de la quête d'un espace-temps approprié à même de métamorphoser la société urbaine et de restituer le corps total, afin que l'urbain devienne l’œuvre de l'homme. Lefebvre ne propose pas seulement une méthodologie qualitative d'observation des rythmes, mais une expérimentation rythmanalytique, dont nous pouvons imaginer la pratique sous la forme de l'utopie expérimentale. La rythmanalyse fournit ainsi les idées directrices d'une poétique appliquée, à même de créer des formes, des textures et des styles pour l'habiter urbain. Cette poétique urbaine, à la fois création et connaissance, procède par des pratiques expérimentales et restitue le jeu rythmique qui enrichit l'expérience esthétique de l'espace et du temps urbainThis thesis proposes to explore the texts that Henri Lefebvre (1901-1991) devoted to his project of understanding rhythms, his « rhythmanalysis », a term borrowed from Gaston Bachelard, to contribute to what we call an urban poetics. Henri Lefebvre has produced fundamental work in contemporary urban studies in both his theorization of the advent of modern urban society, and his elaboration of a critical theory of urban planning with its resultant social spaces and temporalities. We show that this critical theory unfolds in line with his construction of a poetics, which is inspired by the revolutionary romanticism that the author developed through his contact with artistic practices, especially those of the Situationnist International. Against his analysis of abstraction as an inherent process of urban space and time, his rhythmanalysis contributes to the creation of an appropriate space-time, with its ability to transform urban society and reconfigure the Total body so that what is urban can be instead considered a work of art. Lefebvre provides not only a qualitative methodology for the observation of rhythms, but also the outline of a rhythmanalytic experimentation, which can be associated with the practices of an experimental utopia. Rhythmanalysis offers guidelines for an applied poetics; it goes as far as creating forms, textures and styles for urban living. This urban poetics, simultaneously a creative act and one steeped in knowledge, proceeds through experimentation and restores the rhythmic game that enriches our aesthetic experience of urban space and time
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Ebeling, Mary F. E. "Democratic spaces, delayed utopias : political exile, advocacy journalism and online discourse." Thesis, University of Surrey, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434120.
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TAVARES, FELIPE RANGEL. "CRISTOLÂNDIA: REPRESENTATIONS AND UTOPIAS IN THE (RE)PRODUCTION AND (RE)APPROPRIATION OF URBAN SPACE." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2014. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=23553@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
A cidade do Rio de Janeiro passa por um processo de produção espacial banalizado, resultado de dois processos entendidos como facetas da metropolização do espaço: a mercadificação e a militarização. Uma expressão de tal banalização do espaço é percebida a partir das cracolândias, como popularmente as cenas de crack são conhecidas. Cracolândia é uma representação que oculta e mascara as contradições do espaço, uma faceta da urbanização banalizada. Por outro lado, todo esse movimento suscita a contestação e a transgressão, o protesto. E é neste sentido que, a partir do que Harvey chama de livre fluxo da imaginação, objetivamos buscar meios de moldar alternativas e possibilidades diante deste cotidiano organizado e programado pelo mundo da mercadoria. A partir do espaço de representação que é a Cristolândia, observamos as práticas espaciais dos missionários como uma luta pela reapropriação do espaço urbano, por meio de seu espaço de utopia, construído sobre uma base formada pelos valores da justiça, libertação e compaixão. Esta luta é observada como uma dentre muitas outras. O princípio norteador dessa pesquisa está em abrir alternativas e possibilidades, procurar rachaduras para superar o estado de coisas atual. Se a representação Cristolândia contesta a representação cracolândia, e busca transformá-la, acreditamos que seja possível transformar o espaço inteiro, a cidade inteira. É um projeto utópico, mas, sem utopia não há ação. Portanto, a utopia é uma necessidade urgente à revolução.
Rio de Janeiro city is under a space production process cheapened resulted by other two process understood as space metropolization’s facets: the marketfication and the militarization. One expression of such trivialization of space is noted thru Cracolândias, as the crack scene are popularly known. Cracolândia is one representation that hide and mask the space contradiction, one facet of trivialized urbanization. On the other hand all this movement raises the contestation and transgression, protest. In this meaning, from what Harvey calls free flow of imagination, objectify to search ways of framing alternatives and possibilities front of these everyday life and programed by world merchandise. From space of representations that is Cristolândia, we noted the spaces practices of missionaries as a fight for reappropriation of urban space by their utopia space, built over one base formed by values as justice, liberation and compassion. This struggle is noticed as one among many other. The research guiding principle is to open the alternatives and possibilities, seek cracks to overcome the actual state of affairs. If the representation of Cristolândia challenges the representation of cracolândia and pursuit to turn it, we believe that is possible to transform the entire space, the entire city. It is a utopian project, but without utopia there is no action. Therefore, utopia is an urgency needed for revolution.
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Norman, Joseph S. "The culture of 'the Culture' : utopian processes in Iain M. Banks's space opera series." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14388.
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This thesis provides a comprehensive critical analysis of Iain M. Banks’s Culture series, ten science fiction (SF) texts concerned with the Culture, Banks’s vision of his “personal utopia”: Consider Phlebas (1987), The Player of Games (1988), Use of Weapons (1990), The State of the Art (1991), Excession (1996), Inversions (1998), Look to Windward (2000), Matter (2008), Surface Detail (2010), and The Hydrogen Sonata (2012). I place this series within the context of the space opera sub-genre, and – drawing upon a critical toolkit developed by Istvan Csicsery-Ronay Jr. in The Seven Beauties of Science Fiction (2008) – I explore the extent to which Banks achieved his goal of reshaping the sub-genre for the political Left. Due to the complexity and ambiguity of Banks’s creation, this research addresses the central question: what is the Culture? I argue that the Culture constitutes a utopian variation of Csicsery- Ronay’s technologiade, challenging the notion that Banks’s creation represents an empire or imperialist project. I consider the Culture as a culture: peoples linked by a shared value system and way of life; a method of development and nurturing; a system of utopian processes. Drawing on Archaeologies of the Future (2005), I argue that the Culture series demonstrates Frederic Jameson’s notion of ‘thinking the break’, with Banks’s writing constantly affirming the possibility and desirability of radical sociopolitical change. I identify six key radical moves away from the nonutopian present – characterised as shifts, breaks or apocalypses – which form the Culture’s utopianprocesses, with each chapter exploring the extent to which the Culture has overcome a fundamental obstacle impeding the path to utopia. The Culture has moved beyond material scarcity, alienated labour, capitalism, and the class-system, maintaining State functions. Culture citizens are notable for significantly adapting their own bodies and minds – controlling senescence and ultimately death itself – but motivated by the desire to improve rather than transcend their humanity. The Culture has achieved a form of equality between the sexes and removed patriarchy, yet is still coping with the implications of sex and gender fluidity. Despite relying upon seemingly quasi-religious innovations, the Culture is entirely secular, having moved beyond any kind of religious or faith-based worldview. Finally, the Culture is perhaps an example of what Jameson has called ‘the death of art’, as creative and artistic practice seems to have become part of everyday life, which contrasts with the numerous artworks produced on its margins.
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Kelly, Michael Gerard. "Speech and utopia : spaces of poetic work in the writings of Segalen, Daumal and Bonnefoy." Thesis, University of Oxford, 2002. http://ora.ox.ac.uk/objects/uuid:ecd46701-c98b-4887-8cce-74613757b5f9.
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The thesis argues that a certain 'locus' of poetry is perceptible diachronically in the French literary field of the 20th Century and that this locus (elusive, fragmented, multilayered) may be meaningfully focused upon via the interaction of the questionings centered around the terms 'speech' and 'utopia'. In the introduction an argument is made for the conceptual validity of the term 'utopia' in relation to the diverse literary practices accruing around the pole of the 'poetic', which results in the derivation of the idea of a Utopian dynamic - a vectoral addition to the conventionally static, figure-bound 'utopia'. Concentrating on three poets (Victor Segalen, René Daumal and Yves Bonnefoy) from three distinct generations and periods (pre-WWI, inter-War and post-WWII) which are standardly represented as discontinuous, the thesis proposes an analysis, ordered along three canonical sub-divisions of the Utopian preoccupation (which are three distinct modalities of Utopian space), of the Utopian dynamic argued to be characteristic of the work of poetic writing. The three parts of the thesis thus examine the 'poetic' as occurring within social space (lieu commun), physical space (haut lieu) and textual space (non lieu) over the combined duration of the corpus. Arguing for an intelligible continuity of preoccupation among the three poetic oeuvres discussed, the thesis concludes that that continuity enables, in return, a modification of our understanding of the Utopian, of which a lucid practice of poetic writing can thus become the embodiment. Utopia, from being a synonym for illusionment in a century at all times supremely alive to the need for irony, becomes a creative embrace of disenchantment. The point of resolution (poetic foundation) at each stage in the individual oeuvres analysed being the ongoing representation of the 'human' as inner and outer limit to the poetic subject's practice and to the aspiration from which it moves.
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Moulin, Fabrice. "Embellir, bâtir, demeurer. Représentations de l’architecture et du geste architectural dans la littérature de la deuxième moitié du dix-huitième siècle en France (1748-1788)." Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040201.
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A partir des années 1740, sous l’action de plusieurs phénomènes comme les découvertes archéologiques, les grands travaux de Louis XV ou encore la crise des Académies, le monde de l’architecture entre dans une période de profondes mutations. Les questions d’architecture, désormais au cœur des enjeux culturels, nourrissent aussi en profondeur l’imaginaire littéraire. Nous explorons les différentes formes et figures de cet imaginaire, avec le souci d’envisager le fait architectural dans toutes ses dimensions. Comme discipline, l’architecture connaît une crise sans précédent. Le savoir architectural quitte les cercles académiques pour se diffuser largement dans la presse. Celle-ci accueille des débats nourris sur les embellissements de la capitale dont s’inspire presque directement la littérature utopique. Mais l’architecture engage aussi une pratique, un geste de construction, dont la littérature exploite la valeur symbolique. Le motif du bâti joue ainsi un rôle essentiel dans la représentation imaginaire des nouveaux rapports de l’homme à la nature – pont, ruine ou cabane figurent tantôt une lutte de l’homme dans la nature, tantôt leur fusion harmonieuse – et à la société : le geste de construire son logement engage désormais les valeurs fondamentales de l’individu moderne. Enfin, comme espace – espace pratiqué, habité – l’architecture s’impose désormais comme une composante décisive de l’imaginaire romanesque. De Rousseau à Sade, les architectures intérieures du roman, qu’elles soient vertueuses ou libertines, ne se réduisent plus à de simples décors : elles sont indissociables des projets du personnage ou des fantasmes du lecteurStarting in the 1740's, influenced by various factors such as archaeological discoveries, the "grands travaux" of Louis XV, and the "Academies crisis", the world of architecture entered a period of deep transformation. Questions of architecture, then at the heart of cultural debate, also nourished the literary imagination. This work explores the forms and figures of this imagination, as it relates to architecture in all of its dimensions. As a field, architecture wasexperiencing an unprecedented crisis. Architectural knowledge was shifting from academia to the general press. The press hosted substantial debates on the embellishments of the capital, Paris, which inspired utopian literature. But there was also a practical dimension to architecture, the act of construction, and literature exploited the symbolic value of this. This element also played an essential role in the imaginary representation of the new relationships between man and nature - bridges, ruins,or huts represented man's struggle againstnature or their harmonious fusion - and man and society: building one's home brought out the core values of the modern individual. Finally, as a space, worked on and lived in, architecture asserted itself as a critical component of literary imagination. From Rousseau to Sade, the internal architectures of the novel, virtuous or libertine, became more than just simple decor - they were inseparable from the character's actions or the reader's fantasies
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Roman, Sébastien. "Conflit civil et imaginaire social : une approche néo-machiavélienne de la démocratie par l'espace public dissensuel." Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00682490.
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Le point de départ des travaux entrepris est la définition lefortienne de la démocratie par opposition au totalitarisme. Le totalitarisme est l'institution d'une société organique, une et homogène, dans laquelle aucune division sociale, aucun désaccord avec l'idéologie véhiculée par le parti ne sont possibles. La spécificité de la démocratie, a contrario, est de s'enrichir de la désintrication du pouvoir, du droit, et du savoir. Les citoyens, dotés de droits fondamentaux, sont juges de la légitimité du pouvoir établi. Leurs désaccords ainsi que l'antagonisme entre les classes sociales nourrissent l'exercice d'un commun litigieux. De là, une question fondamentale : une telle définition de la démocratie est-elle historiquement datée, ou continue-t-elle d'être pertinente aujourd'hui ? Doit-on encore concevoir la démocratie, pour la rendre authentique, par le conflit civil érigé en principe politique, ou faut-il l'envisager de manière consensualiste au lendemain de son opposition avec le totalitarisme ? Claude Lefort s'inspirait de Machiavel pour dépasser les limites du marxisme et repenser la démocratie par la valorisation du conflit civil, indissociable de la figure de l'imaginaire social. La thèse ici soutenue adopte différemment une perspective néo-machiavélienne. Elle revient à proposer un espace public dissensuel à partir du modèle machiavélien de l'entente dans le conflit, par confrontation avec l'espace public habermassien et d'autres conceptions du tort et du conflit dans les démocraties contemporaines. Comment concevoir aujourd'hui les figures du conflit civil et de l'imaginaire social, en s'inspirant paradoxalement de Machiavel pour interroger la démocratie ?
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Dlamini, Mkhuleko Percival. "Real and Reimagined contemporary Utopia’s : a mediation and recreation space for migratory and resilient urban communities." Diss., University of Pretoria, 2017. http://hdl.handle.net/2263/63827.
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ABSTRACT
This is a concerted effort at understanding the contemporary utopian processes
and systems of the formation and spatial narratives of the people it is designed for. Locality and nostalgia is the essence of the times we live in. There is currently a global refuge crisis which is defined and can be contained within each countries borders as well as external forces that disrupt the ‘contemporary utopia’s’ of the times.
Man is conditioned from early life to be fascinated by the longing of a place to dwell.
Safety and familiarity of place is an important state of where people choose to dwell. Dwelling is also a proponent of opportunity where local migrants and immigrants to the environment with limited resources such as South Africa. According to the UNHCR, it was determined that in 2015, South Africa received 62 159 asylum claims. A total of this, 2,499 were approved for refugee status while 58,141 were denied, suggesting that all the applications in the 2015 period were dealt with. However, 14,093 were appealed, and of these 12,361 remained open into 2016 (Africa Check, 2016). The conditions of
these new city dwellers is threatened by a new spatial continuum of land restitution and/or transformation, very bureaucratic legal process, resource accessibility and inclusivity. There is an inherent lack of spaces of community building within the Pretoria CBD, with most space succumbing to decay, a sustained urban sprawl, monofunctional territories, and nucleated densities. New migrants into the city struggle to find formal and informal opportunities and resources for ‘urban survival-ism’. These conditions are ones that have ruinous affects on the cities utopian public spaces that mostly are stuck in the spatial utilitarianism of the time of production.
The dissertation Real and Re-imagined Spaces as Contemporary Utopia’s looks to reevaluate the current conditions of the city that manufacture a hostile urban context and subsequently ‘agonistic’ people without spaces to commune. The urban condition is territorial, consumed by a fence fetish, entrapped by different spatial and architectural utopias and ruins. The presence of ruins is evidenced by a preoccupation with ‘Heritage’ architecture and landscapes. These leftover spaces and heritage provide 1 opportunities to have new layers of memory and legacy that is conscious to erasure, space-making, man and the environment, and the trappings of time.UKUQALA Lena umzamo ohlanganyelwe ekuqondeni izinqubo zezinsuku zokuphila zangasese kanye nezinhlelo zokwakheka nezindatshana zendawo zabantu ezenzelwe. Indawo kanye ne-nostalgia yizona zinkinga zezikhathi esiphila kuzo. Njengamanje isiphephelo sezokuphepha emhlabeni jikelele esichazwe futhi singatholakala ngaphakathi kwamanye amazwe omngcele kanye namandla angaphandle aphazamisa ‘ubuholi besikhathi samanje’ ngezikhathi. Umuntu uphonywe kusukela ebusweni bokuqala ukuze athabe ukulangazelela indawo yokuhlala. Ukuphepha nokujwayela indawo kuyindawo ebalulekile lapho abantu bakhetha ukuhlala khona. Ukuhlala kubuye kube ngumgqugquzeli wamathuba lapho abafuduka khona kanye nabafuduki bezemvelo abanemithombo encane njengeNingizimu Afrika. Ngokwe-United Nations High Commissioner for Refugees (okubizwa ngokuthi i-UNHCR kusuka lapha), kwaqunywa ukuthi ngo-2015, iNingizimu Afrika ithole izimangalo ezingu-62 159 zokukhoseliswa. Okubonke lokhu, abangu-2,499 bavunyelwe ukuba babe ngababaleki ngenkathi kuthiwa abangu-58 141 banqatshelwe, okuphakamisa ukuthi zonke izicelo ngonyaka wezi-2015 zibhekwa nazo. Kodwa-ke, abangu-14,093 babethweswa icala, futhi kulaba abangu-12 361 bahlala bevulekile ngo-2016 (i-Africa Check, 2016). Izimo zalaba bantu abahlala emadolobheni amasha zisongelwa ukuqhubeka kwendawo yokubuyisela umhlaba kanye / noma ukuguqulwa, inqubo yomthetho enobulungisa, ukutholakala kwemithombo kanye nokuhlanganiswa. Kukhona ukungabi nalutho kwezikhala zomsebenzi womphakathi ngaphakathi kwePitoli Central Business District (CBD kusuka lapha), iningi lendawo ehluleka ukubola, izindawo ezihlala emadolobheni, izindawo zokusebenza, kanye nezinkinga ezingasebenzi. Abafuduki abasha bangena emzabalazweni womuzi ukuthola amathuba asemthethweni namasosha ‘okusinda emadolobheni-ism’. Lezi zimo yizona ezithintekayo emadolobheni ezindaweni ezingekho emphakathini ezivame ukunamathela emphakathini wesikhathi sokukhiqiza. I-dissertation Real and Re-imagined Spaces njengobukeka be-Contemporary Utopia ukuhlola kabusha izimo zamanje zomuzi ezakha umongo wendawo edolobheni kanye nabantu abangenayo i-agonistic ngaphandle kwezikhala zokuxhumana. Isimo sasezindaweni zasemadolobheni siyindawo, sidliwa izinkinga zokubiya mawala, siboshwe yizindawo ezihlukahlukene kanye nezindawo zokuchitha izindawo. Ukutholakala kwamanxiwa kuboniswa ukukhathazeka ngezakhiwo ‘zeGugu’ nezindwangu. Lezi zikhala kanye namagugu asele ahlinzeka amathuba okuba nemigqa emisha yememori kanye nefa eliqaphela ukukhipha, ukwenza isikhala, umuntu kanye nemvelo, kanye nokuhamba kwesikhathi.
Mini Dissertation (MArch(Prof))--University of Pretoria, 2018.
Architecture
MArch(Prof)
Unrestricted
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Ostrowidzki, Eric A. "The bunkerfication of paradise : heterotopias, closed spaces, and the pathological geographies of exclusion in J. G. Ballard's fiction." Thesis, McGill University, 2001. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38543.
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In response to theoretical inquiries into the decline in the production of utopian literature, this dissertation argues that the decline or, rather, the "postmodern" loss of faith in utopian literature and utopian thinking results from the neo-liberal globalization of capitalism and its material and discursive/ideological appropriation of global space. To demonstrate this thesis, the dissertation examines the invariably dystopic imaginative geographies in the fiction of J. G. Ballard. By analyzing the historical-geographical discursive context of Ballard's imaginative geographies, the dissertation attempts to locate and recover those absent spaces that might have served as probable sites of Utopia.The first part of this dissertation examines Ballard's "Concentration City," "Report on an Unidentified Space Station," "The Enormous Space," "The Overloaded Man," and the novel High-Rise. This section concludes generally that the imaginative geographies inscribed within those texts are closed, insular, homogeneous, pathological and exclusionary social spaces that are antithetical to a Postmodern Utopia whose socio-cultural inclusiveness would be predicated upon a "politics of difference."
The second half of the dissertation examines Ballard's later works, such as Rushing to Paradise (1994), Cocaine Nights (1996), and Super-Cannes (2001). By discursively analyzing the similar yet more ideologically transparent imaginative geographies in these recent works, the dissertation concludes that it is not exclusively the material and ideological conquest of social space by global capital that poses the greatest threat to Ballard's "utopian" socio-spatial imaginary. Rather, it is also the postcolonial threat of the dislocations and mass immigrations of the Indigenous Other precipitated by globalization. It is the emergence of the de-territorialized Other that impels Ballard's imaginative geographies to recoil inwardly into "Privatopias," "white enclaves" and "imperial ghettos" demarcated by neocolonial pathological geographies of exclusion.
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Cavdar, Rabia Cigdem. "Literary Spaces As The Representation Of Dominant Ideologies In The Context Of Dystopias Written Between 1920 And 1950." Master's thesis, METU, 2011. http://etd.lib.metu.edu.tr/upload/12613854/index.pdf.
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This thesis is an attempt to understand the relations between architecture and ideology in literary spaces in the context of Dystopias. It will pursue a definition of the relation between architecture and ideology to understand how the paradigmatic changes affect literary form of architecture to pose revolutionary thought(s). Literature often presents a dystopia or utopia to criticise its own written time, and literary text itself, is both a collection and a pressed version of that time. That is why to examine the ideologies and ideological changes in the period from 1920 to 1950, literary text and constructed spaces in dystopias are used as apparatus to form both the dominant ideology with its negative points and the revolutionary one as a space of resistance. Main discussion will be based on literary spaces in three dystopiasWe written by Russian novelist Yevgeny Zamyatin, Brave New World written by Aldous Huxley and Nineteen Eighty Four written by George Orwell. These cases will be used to open the claim that dominant ideology determines the spatial distances of revolutionary thoughts and architecture, and appear as both cause and result of a materialisation of thoughts, thereby forming a dialectic representation of that ideology. Four main items will form the thesis
architecture, ideology, literary spaces (textual spaces) and trilogy of utopia/dystopia/heterotopias.
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Lindström, Ida-Maja. "Spaces for Gender Equality in Sustainable Utopias : Investigations into the dreams and realities of women in ecovillage settings in Brazil." Thesis, Umeå universitet, Umeå centrum för genusstudier (UCGS), 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-182844.
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Utopian thinking can be understood as an exploration of desires beyond current realities. Seeing ecovillages as spaces for utopian practices, the aim is to investigate what space exists for gender equality and how the utopianism can be used to challenge unwanted patterns. Grounded theory is used to build knowledge from women’s experiences gathered through qualitative interviews. By mapping desires in relation to utopia, it is found that while visions of the sustainable life are seen as attainable, attaining gender equality through equal division of household work is hindered by lack of visions, examples and spaces for discussion of alternatives.
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Vodouhe, Sèlognon Gilles. "Hautepierre : un éco-quartier modèle pour la ville de Strasbourg : utopie ou réalité ?" Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAG041/document.
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Le choix de la ville de Strasbourg de faire du Projet de Rénovation Urbaine (PRU) de Hautepierre un « quartier jardin » questionne. Cette thèse se donne pour matière d’analyser les potentiels du quartier Hautepierre à être réhabilité en éco-quartier et s’intéresse au processus d’élaboration du PRU, à l’implication des habitants et aux discours des acteurs (habitants, bailleurs sociaux, professionnels et élus). L’évaluation de la participation des habitants au PRU de Hautepierre à l’aune de l’approche par les capabilités montre qu’il n’y a pas une participation active de ces derniers. Le « quartier jardin » semble être un compromis entre les exigences de l’ANRU en matière sécuritaire et la demande de préservation des espaces verts par les habitants. Ce choix est aussi symbolique au regard de l’histoire du quartier Hautepierre et de ses caractéristiques socio-économiquesStrasbourg City choice of a “garden area” method of urban planning as the Urban Renewal Project (PRU) of Hautepierre area is not without questioning specialists interested in the subject. This thesis analyzes the potential resources of Hautepierre area to be reorganized into a “garden area”. This research sheds also lights on the elaborating process of the PRU, the involvement of the inhabitants, and the principal actors of this project (inhabitants, social landlords bailleurs sociaux, professionals and political representives). Evaluating the participation of Hautepierre inhabitants in the elaboration of the Urban Renovation Project (PRU) in term of capability reveals that there is no real active participation of these inhabitants. The “garden area” appears as a compromise between the National Urban Renewal Agency (ANRU) security requirements and the demand made by the inhabitants to preserve green areas. This choice is also symbolic in regard to the history of Hautepierre area and its socio-economic caracteristics
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Ekberg, Sofia. "Findings through fragmentation." Thesis, Konstfack, Inredningsarkitektur & Möbeldesign, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-6375.
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Findings through fragmentation Architecture is an obvious remnant of our collective past and gives us a fragment of a former life and a different time. This unique relationship between what’s new and old is a very powerful spatial opportunity. If memory is defined as ‘The faculty by which the mind stores and remembers information’ then the role of architecture comes to play is the prop for our collective and individual memories where it represents past events and people. If we look closely at the definition of a fragment without it's context it will be read as ‘incomplete’ and subordinate to the completed it is extracted from. Architectural fragments have a power of resisting such expected unity and can be read into an alternative whole of none. By fragmenting industrial buildings that is going to b demolished, representing a time and a group of people in Lövholmen/Stockholm, I wish to embody memory and recall spaces that will be forever lost.Rummet mellan det som är och det som har varit Arkitektur representerar vår historia och det kollektiva minnet. Att minnas definieras som ‘förmågan att lagra erfarenheter och göra det möjligt att känna igen och lära’. Minnen placerar oss i förhållande till tid och rum vilket gör att platser och arkitektur kommer att spela en stor roll som bärare av vår kollektiva historia. Byggnader som bär spår av tid där de har varit grunden i en annan kontext kan utgöra ett unikt möte mellan det rum som existerar och det som har varit. När vårt medvetna väljer ut och sorterar bland minnen fragmenteras det som vi upplevt och bara vissa delar finns kvar. Fragment kan definieras som en pusselbit som tillhört en helhet och blivit en spillra. Styrkan i arkitektonisk fragment är att de kan läsas på nya sätt efter att det isolerats från en helhet och antingen läsas in i en ny kontext eller ingen. Genom att fragmentera byggnader som representerar en specifik tid och grupp av människor som har använt dom vill jag förkroppsliga dessa rumsliga minnen innan de för alltid går förlorade.
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Schmitt, Florent. "L'art comme jeu : pratiques et utopies." Thesis, Strasbourg, 2015. http://www.theses.fr/2015STRAC019/document.
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L'art comme jeu n'est pas une simple métaphore. Il correspond à la forme que prennent de nombreuses œuvres d'art notamment les maquettes et miniatures contemporaines et aujourd'hui le jeu est représenté ou mis en scène dans de nombreuses expositions. Cependant l'artiste n'est pas un joueur comme les autres mais un joueur professionnel qui s'oppose à la figure du non-artiste ou de l'artiste amateur défendue par les artistes des avant-gardes qui avaient élevé le jeu au rang d'art. Alors que la consommation de l'art prend la forme d'un divertissement à grande échelle et que l'on assiste à une Disneylandisation des musées, l'art contemporain comme jeu ne semble plus aussi subversif que celui des années soixante. Pourtant l'art comme jeu en tant que modèle et outil de changement social perdure. C'est un art d'attitude, héritier des dernières avant-gardes, se tenant en dehors des frontières habituelles de l'art et réalisant le dépassement souhaité par les situationnistes ou Allan KaprowArt as play is not only a metaphor. It is the particular form of many works of art, especially contemporary models and miniatures. Play itself is nowadays represented or staged in numerous exhibitions. However, the artist is not a player like any other but a professional player in contrast to the figure of the non-artist or amateur artist defended by avant-garde artists who had raised play to the level of art. While the consumption of art takes the form of large-scale entertainment and we witness a Disneylandisation of museums, contemporary art as play no longer seems as subversive as it did in the sixties. Yet art as play as model and tool for social change endures. It is an art of attitude, heir to the last avant-gardes, standing outside the usual boundaries of art and an art that achieves the desired by Allan Kaprow and the Situationists
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Trevelyan, Peter Ross. "Formal confusion: virtuality and utopian space : an exegesis presented with exhibition as fulfillment of the requirements for thesis, Master of Fine Arts at Massey University, Wellington, New Zealand." Massey University, 2008. http://hdl.handle.net/10179/867.
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This exegesis details an investigation into the history and evolution of certain technologies, (binary coding, Platonic cosmology, and the linear perspective system) and the extent to which these technologies have distorted or appropriated our perceptions of reality. Special attention is paid to logical inconsistencies in apparently logical systems. The investigation focuses on the purportedly utopian applications of these technologies and the discrepancies that inevitably occurred whenever these ordered systems confronted the chaotic ‘real’ world. Information gleaned from this research then informs an analysis of methods for incorporating these concepts into the author’s installation practice. An explication of recent drawing practice and its reconciliation with installation work will account for and inform a recounting of practical experimentation dealing with form and materials.
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Konrath, Germana. "Às vezes fazer algo poético pode se tornar político e às vezes fazer algo político pode se tornar poético : a ocupação do tempo e do espaço na poética urbana de Francis Alÿs." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2017. http://hdl.handle.net/10183/169320.
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A presente pesquisa trata da atualização de impulsos utópicos através da trajetória poética do artista belga-mexicano Francis Alÿs e de seu entrelaçamento com a noção de direito à cidade desenvolvida por Henri Lefebvre. Mais especificamente, questiona o potencial de reflexão e de transformação que essa produção artística apresenta em relação à nossa forma de pensar e de ocupar o espaço público, tanto de um ponto de vista temporal quanto espacial. O estudo tem como objeto empírico ações poéticas de Alÿs realizadas em grandes cidades ocidentais, majoritariamente latino-americanas, entre o final do século XX e início do XXI. Tais ações são aqui debatidas frente à produção teórica de autores cujas publicações datam desse mesmo período: Gilles Deleuze e Félix Guattari, Jacques Rancière, Michel de Certeau e Néstor García Canclini. Os conceitos que fundamentam toda a pesquisa, no entanto, tais como espaço público, direito à cidade e impulso utópico, remontam a dois pensadores do início do século XX: Henri Lefebvre e Ernst Bloch. O diálogo entre teoria e prática configura a espinha dorsal desta dissertação, que busca em obras artísticas a atualização dos conceitos trazidos pelos autores citados e a reverberação dessas práticas na teoria.This research approaches the updating of utopian impulses through the poetic trajectory of the Belgian-Mexican artist Francis Alÿs and his intertwining with the notion of the right to the city developed by Henri Lefebvre. More specifically, it questions the potential for reflection and transformation that this artistic production presents in relation to our way of thinking and occupying public spaces, both from a time and spatial point of view. The empirical object is Francis Alÿs oeuvre carried out in large western cities, mostly Latin American, between the end of the twentieth century and the beginning of the twenty-first. These actions are discussed facing the theoretical contributions from authors who are contemporary to Francis Alÿs: Gilles Deleuze and Félix Guattari, Jacques Rancière, Michel de Certeau and Néstor García Canclini. The concepts that underlie all the research, however, such as public space, right to the city and utopian impulse, go back to two thinkers from the early twentieth century: Henri Lefebvre and Ernst Bloch. The dialogue between theory and practice, seeking in artistic works the updating of the concepts brought by the cited authors and aiming to identify the reverberation of these practices in theory, forms the backbone of this master’s dissertation.
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Puydebois, Maryline. "Proto-matériau végétal et utopies spatio-temporelles : oeuvres végétales contemporaines et pratiques personnelles." Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0524.
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Il s’agit de s’interroger à partir de notre pratique plastique qui s’intègre dans l’Art Végétal, sur le statut, la fonction et le processus créateur du proto-matériau végétal dans les œuvres contemporaines. Ce travail analyse la capacité du déchet, d’une épluchure de fruit ou de légume à convoquer certains savoir-faire, procédés techniques s’intégrant dans un proto-langage artistique. Ce principe créateur végétal interroge de manière paradoxale la notion de conservation créatrice à partir de matériaux ordinaires et éphémères. Ces dispositifs de préservation de fragments végétaux créent un espace olfactif, tactile et visuel qui rend hommage à la nature précaire. La mobilité d’un espace utopique spatio-temporel se fonde sur la fragmentation de téguments qui constituent la base de structures architecturales nourries d’une double pensée : occidentale et extrême orientale. Mes œuvres interrogent l’éthique écologique d’un contexte occidental de surconsommation par la fragilité de fragments de vanitéIt is a question of our plastic practice, which integrates with the plant Art, on the status, function and creative process of the proto-material in contemporary works. This work analyses the capacity of waste, a fruit or vegetable peel to summon certain know-how, technical processes integrating into an artistic proto-language.This plant-creative principle paradoxically questions the notion of creative conservation from ordinary and ephemeral materials. These devices for preserving plant fragments create an olfactory, tactile and visual space that pays homage to the precarious nature.The mobility of a spatial-temporal utopian space is based on the fragmentation of integuments which form the basis of architectural structures nourished by a twofold thought: Western and Far Eastern. My works question the ecological ethic of a Western context of overconsumption by the fragility of vanity fragments
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Serrano, Inês Domingues. "Arquitectura e cinema." Master's thesis, Universidade de Lisboa, Faculdade de Arquitetura, 2002. http://hdl.handle.net/10400.5/21076.
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Dissertação de Mestrado para obtenção do grau de Mestre em Cultura Arquitectónica Contemporânea e Construção da Sociedade Moderna, apresentada na Faculdade de Arquitectura da Universidade Técnica de LisboaNeste trabalho procurou—se construir um espaço entre duas disciplinas: a arquitectura e o cinema. Revelando uma cumplicidade inesperada, o cinema submerge nos ritmos da cidade, tornando—os visíveis. Ä cidade como cenário mutável, de estratos cumulativos de memórias e vestígios materiais dos gestos, dos tempos que a vão construindo. O cinema descobre esse território de utopias e apropria—se dos seus desejos materializando—os no suporte fugaz das imagens, do falso movimento que projecta a realidade num devir. Através da análise de filmografia, estabeleceram—se paralelismos com a cidade Moderna; assumindo uma relação simbiótica com as dinâmicas da cidade, o olho da câmara é comovido pelo impacto dessa realidade, restituindo, num espaço ilusório, a sua ordem invisível. Um espaço urbano que flutua por um mundo de imagens imateriais, espaço fictício e tecnificado. Habitamos num cenário fixo embora procuremos um espaço fugaz, em trânsito. A arquitectura vive aprisionada entre a imagem e a sua materialidade, entre a ilusão e a realidade. Entre a ideia e o "desejo de ser da forma". É nesse espaço heterotópico entre o sonho e a realidade que o cinema opera construindo num espaço verossímil a cidade impossível.
ABSTRACT: With this work we intend to make a link between two disciplines: architecture and cinema. Revealing an unexpected complicity, cinema sinks into the city rhythms, making them visible. The city as a mutable organism of superimposed memory s tracts, material traces of gestures, comprising the time which gave form to it. Cinema finds that land of utopias, sharing and appropriating its desires, material rising them on his own fugacious image support, of the false raccord that projects actual reality into a possible future. Trough analysis of filmography, establishing a parallel between cinema and Modern city, this work assumes the existence of a symbiotic relationship linking the city dynamics and the camera eye impressed by reality, bringing back, on an illusory space, its hidden order. An urban space that float over a world of immaterial images, technified and fictitious. We live on a settle scenery although we search a fugacious one, in transit. Architecture lives imprisoned between image and its own materiality. Between reality and illusion. Between the idea and the "desire to be" of form. In a heterotopic space, between dream and reality, the cinema builds in a likely space the impossible city.
N/A
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OLOFSSON, HJORT ANNA PERNILLA. "Konst, aktivism och forskning – radikal intervention eller samverkan i det offentliga rummet : Om gränser och territoriell indelning, illusion och det offentliga rummets demokrati." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-191817.
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Uppsatsen utforskar gränser mellan konstnärlig gestaltning utifrån radikal intervention och samverkan i det offentliga rummet. Uppsatsen är indelad i fyra delar med bland annat en del som analyserar det egna Konstprojektet – Bodies of Excess [Överflödiga kroppar]. Konstprojektet utprövar radikal konst som metod för demokratisk intervention i det offentliga rummet. Uppsatsens analys består av dels konstprojektets materialitet, dels av en undersökning om konst, politik och vetenskap – konst i det offentliga rummet, aktivism och radikal demokrati. I uppsatsen utreds platsernas ideologiska symbolik och dess socioekonomiska villkor, vilket illustreras genom att markera de rum i Stockholm som konstprojektet Bodies of Excess undersöker. Med utgångspunkt ur konstprojektet undersöks platsens betydelse och det platsspecifika samt konstnärlig forskning, konstens plats i samhället och gestaltning – offentlig konst. Genom att dra paralleller och se samband mellan rum och kropp, konst och vetenskap, institution och aktivism undersöks idén om konst som radikal konst och som nyttoaspekt i samhället samt hur konsekvenser skulle resultera för de båda formerna, aktivistisk konst och konstnärlig forskning.Konstnärligt gestaltningsarbete vid Linköpings universitet 30hp (Utställningen som medium, kultur och mediegestaltning [KUM], avancerad nivå). Institutionen för kultur och samhälle (IKOS) Avdelningen för kultur, samhälle, form och medier (KSFM). Handledare: Anna Berglind
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Bellemare, Alex. "Mundus est fabula. L'imaginaire géographique dans la fiction utopique (XVIIe et XVIIIe siècles)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA125.
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Pourquoi la fiction utopique française des XVIIe et XVIIIe siècles s’est-elle incarnée sous la forme d’un récit de voyage imaginaire à la première personne ? Pour la plupart des commentateurs du genre, l’utopie se pense d’abord et surtout sur le plan des idées, des mentalités et des idéologies ; la forme qu’elle adopte, les figures qu’elle déploie, les représentations dont elle est porteuse seraient, au mieux, des accidents de parcours. Notre hypothèse de lecture est tout autre : ces textes intéressent l’historien de la littérature précisément parce qu’ils s’articulent sous la forme d’un récit, mettant en tension la subjectivité trouble du voyageur témoin. Par leur construction mêlant le factuel et le fictionnel, ils se situent dans la double perspective du « monde comme fable » et de la « fable comme monde ». Cette dualité définitoire, nous l’étudierons à partir de la notion d’imaginaire géographique : les textes sur lesquels nous nous penchons problématisent en effet les liens entre voyage et langage, territoire et société, mobilité et individu. L’imaginaire géographique que nous analyserons est un processus, une dynamique qui informe la perception du monde et la possibilité de sa représentation : la présente étude s’intéressera, en deux parties, aux figurations de l’espace et aux pratiques spatiales, qui sont autant de médiations entre le voyageur utopique et les lieux qu’il traverseWhy were utopian fictions in the seventeenth and eighteenth centuries written in the form of a first person imaginary travel ? Most commentators study utopian literature as being a concept ; the form it adopts and the representations it deploys are considered, at best, incidental. Our hypothesis is quite different : these texts should interest the historian of literature precisely because they present themselves in the form of a narrative in which the subjectivity of the narrator is problematic. By their construction mixing factual and fictional elements, these texts can be read in the double perspective of the “world as fable” and the “fable as world”. We will study this duality through the notion of geographical imagination : the texts we analyze are addressing the links between travel and language, territory and society, mobility and subjectivity. The geographical imagination that we will interpret is a process that informs the perception of the world and the possibility of its representation. This doctoral thesis is divided in two parts : we will investigate depictions of space and spatial practices which are both mediations between the utopian traveler and the places he crosses
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CHUANG, SHU YUEH, and 莊淑月. "The space flow of coexistent real and utopia penetration in clothing." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/22712998856526571696.
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碩士實踐大學
時尚與媒體設計研究所
94
This study introduces real substance, the “wall” of architecture space, to separate virtual substance, forming virtual space and actual boundary with actual structure. A space needs the boundary to have a form, and it takes the form for the space to be sensed. In architecture space, the physical and enclosed form, internal and external communication channel, and internal-external space flowing of light and air presented by the physical senses are limited to door and window (formation of the hole). This concept is employed as metaphor of space penetration applied and converted to formation of garment opening (hole) and material changes. Through the assistance of architectural structural support framework, it is applied to this creative work. Through “penetration,” infiltrations cross one another and gather together, triggering the concept of flowing space. Based on the fact that clothing can be presented by the body and that clothing can be extracted from the auxiliary relation to the body (reality), this study attempts to endow clothing other decorative functions after it is completed as another form of artistic expression and search. First Part: Review and Interpretation of the Creation Theory The basic “wall” defines the virtual and actual spaces. Penetration makes possible coexistence of actual and virtual spaces and engenders a flowing space. From this perspective, it is explored through penetration of different components of arts (architecture, sculpture, painting, fashion, etc.). Second Part: Design Method and Creation Transformation Penetration image is employed as relationship factor of space interface transformation for analysis and exploration of the intermediate point where actual and virtual spaces coexist. Hole rendering method and penetrative material layer changes are applied to presentation of clothing opening. Into the penetrated metaphor is injected application of rendering approaches such as overlapping, transfer, contortion, deformation, transformation, transparency and rotation todescribe the change of hole in shape. Third Part: Presentation of Work The body language of the body changes the outline of the garment and generates penetration of different faces. The garment is removed from the body for independent existence. “Garment” is seen as a substance that can be penetrated and molded, and it is presented as such. Through manipulation of lighting in association with exhibition form, it demonstrates fashion art under manifold thought pattern.
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Yin-hsin, Lin. "A Sense of Place in Imaginary Space: Cognition of Utopia, Dystopia, and Cyberspace." 2003. http://www.cetd.com.tw/ec/thesisdetail.aspx?etdun=U0021-2603200719134048.
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Lin, Yin-hsin, and 林尹星. "A Sense of Place in Imaginary Space: Cognition of Utopia, Dystopia, and Cyberspace." Thesis, 2004. http://ndltd.ncl.edu.tw/handle/87585233861706034739.
Full textAbstract:
博士國立臺灣師範大學
英語研究所
92
This thesis argues that in our spatial cognition of utopias, dystopias, and cyberspace, sense of place transfers our spatial experience of the lived world to the imaginary spaces and places, influences the way we receive and perceive their spatial representations, and contributes to forming a subjective territorial identity that stands in confrontation with the encroachment of conceived, abstract space. By applying George Lakoff’s theory of conceptual metaphor and Henry Lefebvre’s three-fold spatial concepts, this thesis shows how sense of place is facilitated by spatial metaphors and how it works behind our reception and perception of the representations of imaginary space that sustain literary utopias, dystopias, and cyberspace. The first chapter introduces the concept of place, discusses sense of place in terms of the relationship between people and place, and indicates that metaphors can convert social experience of sense of place into a literary one. The second chapter deals with utopia as a spatial metaphor capable of mapping onto the imaginary space the reader’s spatial experiences. Sense of place derives from one’s spatial experience with the lived world and influences the way he/she experiences the imaginary place of utopia. The third chapter argues that security and identity are two major factors of territoriality that bear special relevance to the problem of utopian/dystopian boundaries. Considerations of security and identity justify the territorialization of people and place, which works behind the spatial formation of major utopias and dystopian novels. The fourth chapter shows how the media represent another form of power’s interpolation into people’s lives in dystopia. This forceful insertion breaks into the relationship between people and place and breaks down the integrity of people’s territory. The reader of dystopia experiences no sense of place. The last chapter demonstrates that the extensive use of spatial metaphors in computer networks focuses on three major categories: architectural, territorial, and global metaphors. It also argues that the traveler metaphor foregrounds the importance of sense of place in our spatial cognition that it carries transfers spatial experience of the lived world to the imaginary space of computer networks.
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Couto, Filipe Abraão Martins do. "Lusofonia: da utopia civilizacional à realidade política." Master's thesis, 2016. http://hdl.handle.net/10362/19819.
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Ao longo deste trabalho, analisar-se-á a complexidade do conceito de lusofonia enquanto projeto civilizacional e a posição dos críticos face a esta temática. O mito do Quinto Império, desenvolvido pelo pensamento espiritual Português e que se encontra fundido no conceito atual de lusofonia, é permanentemente colocado em causa pela comunidade internacional. Numa era secular e num contexto multicultural, este conceito não tem sido apreciado entre os países lusófonos, sendo alvo de desconfiança devido ao seu aparente caráter etnocêntrico e neocolonialista.
Neste cenário, refletir-se-á sobre os efeitos da utopia civilizacional lusófona e a sua relação com as principais dificuldades políticas com que os organismos e instituições públicas se têm deparado, nomeadamente, a CPLP, a AULP e a IILP. Em causa está todo um imaginário pós-colonial de alguns países, que não concordando com o termo lusofonia, têm colocado entraves para uma harmonização político-diplomática. Para além de se avaliar o estatuto do conceito de lusofonia, este trabalho procurará desenvolver propostas de linhas de ação, no sentido de se apontar alternativas filosóficas e diplomáticas em relação à circulação de profissionais de saúde e de educação num suposto espaço lusófono.Throughout this thesis, the complexity of the concept of Lusophony as a civilizational project and the position of the critics on this issue will be object of analysis. The Fifth Empire myth, developed by the Portuguese spiritual thought and that is fused in the current concept of Lusophony, is constantly called into question by the international community. In a secular era and in a multicultural context, this concept has not been appreciated among the Lusophone countries, being target of suspicion, due to its apparent ethnocentric and neo-colonialist character. In this scenery, one will reflect on the effects of the civilizational utopia and its relation with the main political difficulties that the public organisms and institutions have been facing, namely, the CPLP, the AULP and the IILP. At stake is a whole post-colonial imagery of some countries, who, by nor agreeing with the expression of Lusophony, have been blocking a political-diplomatic harmonization. Other than the evaluation of the status of the concept of Lusophony, this investigation will try to develop proposals of lines of action, in order to suggest philosophical and diplomatic alternatives, regarding the mobility of health and education professionals, in a supposed Lusophone space
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Mištríková, Jana. "Utópia v diele Aleja Carpentiera." Master's thesis, 2017. http://www.nusl.cz/ntk/nusl-369963.
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The goal of this master's thesis was to focus on the presence of utopia in three works written by the Cuban writer Alejo Carpentier The Lost Steps (Los pasos perdidos), Explosion in a Cathedral (El siglo de las luces) and The Kingdom of this World (El reino de este mundo). It has been defined the characteristics of utopia as a literary genre, which have been subsequently applied to the novels mentioned above. The study devoted to the novel The Lost Steps was the most detailed one. Attention was also paid to writer's perceptions of Latin America through "marvelous real".
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Shih, Yao-Chi, and 史曜齊. "The Making of Anti-Utopia Landscape:The Space of Horror Film Festival in Shi-Men District." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/89919573049802563136.
Full textAbstract:
碩士淡江大學
建築學系碩士班
93
The attempt of this design essay originated in thoughts about the spacializing process which those theories and issues for criticizing space were been put into by some habitual rational design methods, as ways used to build a Utopia by attempting to insert a new space texture into a site, were not only fail to respond original issues but also cause new space problems. Besides this, with affections of those design methods, a usual practice of distinguishing some negative factors and ignoring them was existed. Therefore, simply with remindful or stimulating design methods, from neglected angles of negative factors, we try to use some experimental methods to show or enhance issues neglected at the first. The program strategy based on a festival frame which could reconfigure and redefine landscape to insert experimental designs; used one type of modern festivals - the film festival - to bring arousing effects and activations between movie text and designs in landscape to enhance each others. The program of theme used anti-utopia text types focusing on horror movies, and take advantage of the féminin propriety of horror text to insert critical issues of negative feels. The work made a respond to blind spots of rational-utopia design methods in habitual vocabularies. On the site strategy, we choose Shi-Men District where are known for its long history of movie theaters and complexity of landscape contexts.