Preface: A consideration of the New Sincerity movement in contemporary American poetics in the work of Tao Lin, Matt Hart, and Dorothea Lasky. Creative work: A three section book of poetry exploring elegy, form, and the intersection of strangeness and domesticity.

The project examines the concept of "a home" and its significance for humans. How the home relates to the home (bostaden), and what qualities strengthen the feeling of home. The project therefore examines the immeasurable values ​​and qualities that enrich the home and create the conditions for a feeling of home.The French poet Gaston Bachelard connects the spiritual dimensions of a home. Bachelard believes that the Home is something we carry within us in our collective memories of previous homes and important places. It is a collection of muscle memories of movements through the various physical spaces, experienced emotions from events that took place there, memories of smells and sounds. The feeling of home is therefore something individual and where everyone carries a unique life map of experienced rooms / homes / places that color what the feeling of home is. A Home is a symbol of who you have been, who you are now and who you want to be in the future and are strongly connected to your identity. Conclusions from the theoretical part of the project are linked to a practical part of the shape of a single-family house in Nacka. The result is a personal interpretation of what a home can be and what creates a sense of home. A mixture of collective experiences of homes / significant places together with dreams of future homes and what creates a sense of home. / Projektet undersöker begreppet ”ett hem” och dess betydelse för människan. Hur hemmet relaterar till bostaden, och vilka kvaliteter som förstärker hemkänslan. Projektet undersöker därför vilka omätbara värden och kvaliteter som berikar bostaden och skapar förutsättning för hemkänsla. Den franska poeten Gaston Bachelard kopplar samman de själsliga dimensionerna av en bostad. Bachelard menar att Hemmet är något vi bär inom oss i våra samlade minnen av tidigare hem och viktiga platser. Det är en samling av muskelminnen av rörelser genom de olika fysiska rummen, upplevda känslor från händelser som utspelats där, minnen av lukter och ljud. Hemkänsla är därför något individuellt och där alla bär på en unik livskarta av upplevda rum/hem/platser som färgar vad hemkänsla är. Ett Hem är en symbol över vem man varit, vem man är nu och vem man vill bli i framtiden och är starkt kopplad till ens identitet. Slutsatser från den teoretiska delen av projektet kopplas samman med en praktiskt del i form av utformandet av ett enfamiljshus i Nacka. Resultatet blir en personlig tolkning av vad ett hem kan vara och vad som skapar hemkänsla. En blandning av samlade erfarenheter av hem/betydelsefulla platser tillsammans med drömmar om framtida hem och om vad som skapar hemkänsla.

It is the purpose of this dissertation to reveal Gerard Manley Hopkins as an incarnationist and sacramentalist, and to show how these doctrines manifested throughout his poetry affected the entire scope of his verse and completely colored his attitude toward life-- toward his own existence and that of his fellow man, and especially toward natural phenomena.

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This study contains ideas, insights, and analysis from a diverse range of realms - theater, the science of religions, general and Persian literature, the classical world, and philosophy. I invite you to step into those realms, looking at the primal roots and processes that evolved into the different conceptions in them. Together we will stroll in the pathways carved in bygone ages, before the forming of stage performances, on the one hand, and of the mystical ceremony, on the other. In this study I do not intend to move historically between periods but to connect ideas and phenomena.

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Yes / This text discusses the films of French director Albert Lamorisse in relation to the poetics of cinema. It focuses on three of Lamorisse’s films, Crin Blanc (1953), Le Ballon Rouge (1956) and Le Vent des Amoureux (1978), in order to examine his fascination with wind, a force of nature, due to its invisibility, that is virtually impossible to capture on film. Certain French theorists, however, have tried to explain the power of the wind, most notably Gaston Bachelard, whose works are quoted here as part of the analysis, while a few distinguished filmmakers, such as Joris Ivens and Andrei Tarkovsky, have used wind in interesting ways. But only Lamorisse had what could be described as a sustained obsession. Despite early success (the great French film theorist André Bazin was praiseworthy about his short films), Lamorisse has been somewhat neglected in recent years. Thus, this essay highlights the unique skills of a ‘forgotten man’ of French post-war cinema.

O estudo propõe-se a revisitar os desdobramentos da relação intelectual e poética de Jorge de Sena com Fernando Pessoa, vistos da perspectiva dialética na qual assenta o pensamento seniano. Tendo como principal referência crítica os estudos compilados em Fernando Pessoa & Cª Heterónima (1982), procura-se associar o desenvolvimento das teses de Sena sobre o fingimento pessoano, considerando a sua abordagem evolutiva, com diálogos intertextuais, presentes na poesia de Sena, nos quais se verifica a assimilação criativa e a readaptação da lição deixada pelo poeta modernista {s proposições da poética testemunhal. Trata-se de uma relativização da recusa ao fingimento, expressa por Sena em seu importante Pref|cio (1960) { primeira edição de Poesia-I, por meio da qual se busca conciliar a educação que Sena atribui ao conceito estético de Pessoa com a ressonância dessa consciência no interior de sua poesia. / This study proposes to revisit Jorge de Senas intelectual and poetic relationship with Fernando Pessoa by taking into account the dialectical perspective in which Senas thought is grounded. We take as the main critical reference the studies compiled in Fernando Pessoa & Cª Heterónima (1982), in which the development of Senas theses on Pessoas poetic pretense can be associated with intertextual dialogues present in Senas poetry. In this context, we observe Senas creative assimilation and re-adaptation of the lesson left by the modernist poet into the propositions on what he called the poetics of testimony. This means an attenuation of the refusal of Pessoas poetic pretense, first expressed by the author in his important Preface (1960) to the first edition of Poesia-I, by seeking to reconcile the education that Sena attributes to Pessoas aesthetic concept of pretense with the resonance of this consciousness within his own poetry.