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Thesis (Ph. D.)--West Virginia University, 2001. / Title from document title page. Document formatted into pages; contains v, 265 p. Includes abstract. Includes bibliographical references (p. 244-265).

This study examines the links between architecture and literature through the work of English author/mathematician/geometrician Lewis Carroll/Charles L. Dodgson. The premise is that throughout Carroll's work, questions concerning the position of the body in relation to its surroundings---the possibility for one to forge a sense of place---are recurrent. Carroll stages a series of bodily movements in space: changes in scale, transformations, alterations, translations from bottom to top, from left to right, from the inside to the outside, and so on. Reading the work, one is constantly reminded that one's perception of space, as well as one's understanding of where one stands, are phenomena that take place in language, through utterances, through words. Approaching Carroll's work with particular attention to the space of bodily movements and to plays on language, one can access a subterranean architectural discourse. This discourse is oblique, suggested rather than explicit, but nonetheless raises pertinent questions concerning the formation of architectural meaning: the relationship of sense to its limits---to nonsense---in architecture. / The following texts are studied: Carroll's two architectural pamphlets; the two Alice stories with their convoluted spaces; a long epic poem dealing with the space of discovery; a drama on geometry and a logical exposition on the paradoxes of movement. Throughout Carroll's multifaceted work, nonsense guides the construction of the texts. Working at the limits of language and literary genres, Carroll's parodies possess strong allegorical powers: sense travels obliquely and the work remains enigmatic. However, the reader somehow understands the work; the experience of the work produces a certain kind of knowledge. / In architecture, meaning is also tied to its outer limits---to the polysemy of nonsense. Through one's experience of space, a stable and orderly building becomes heterogeneous, loaded with qualities and symbols. A sense of place emerges and meaning momentarily appears along the sinuous paths that run between bodily movements, thoughts, dreams, desire and words.

Univ., Diss.--Frankfurt a.M., 2000.

Universiẗat, Diss., 1978--Göttingen.

Thesis (Ph. D.)--University of Washington, 2000. / Vita. Includes bibliographical references (leaves 245-255).

Thesis (Ph.D.)--University of Western Australia, 2008.

Made available in DSpace on 2014-06-11T19:35:46Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-05-29Bitstream added on 2014-06-13T19:06:05Z : No. of bitstreams: 1 barbieri_c_dr_arafcl.pdf: 11552967 bytes, checksum: c75358465388d7d946efd4c19d84393d (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior (CAPES) / Em seus romances, Eça de Queiroz, com peculiar predileção, dirigiu seu olhar e sua atenção à capital de seu país, que lhe serviu de campo e assunto para muitas narrativas. Lisboa foi a sua preocupação de crítico, o seu mundo de escritor. Assim, o texto queiroziano trabalha notadamente a questão do espaço e, por extensão, está imerso em uma atmosfera cosmopolita, impregnada de urbanidade. Como corpus de análise foram selecionados três romances tributários ao projeto ideológico das Cenas Portuguesas: A tragédia da Rua das Flores, A Capital! (começos duma carreira) e O primo Basílio, todos escritos ao longo da década de 1870. O trabalho pretende desenvolver e explorar as possibilidades interpretativas do espaço urbano presente no texto literário, buscando relacionar os variados espaços e suas representações dentro de um contexto urbano e histórico. Esta reflexão mostra-se ainda mais interessante quando é percebida a relevância que adquirem os ambientes em que se movem as personagens queirozianas. Os lugares que frequentam, os prédios onde vivem, os objetos de que se rodeiam são extremamente significativos dentro da arquitetura narrativa. Ao mesmo tempo, as referências feitas aos nomes de ruas e às especificações de endereços brincam, a todo instante, com os limites entre realidade e ficção. Tecer as relações entre a cidade oitocentista de Lisboa, vivenciada e observada pelo escritor, e “as Lisboas literárias” de Eça, vivenciadas e observadas por suas personagens são os objetivos deste trabalho / In his novels, Eça de Queiroz, with singular predilection, focused his view and attention over the capital of his country, which served him as field and subject to many of his narratives. Lisbon was his concern as a critic and also his writer's world. Besides his text develops remarkably the notion of space, hence, it is immerse in a cosmopolitan atmosphere, full of urbanity. Three novels were selected as corpus of analysis, all of them have in common the ideological project of Cenas Portugesas [Portuguese Scenes]: A tragédia da Rua das Flores, A Capital! (começos duma carreira) and O primo Basílio, all of them written during the decade of 1870. This work intends to develop and exploit the interpretative possibilities of the urban space present in the literary text, trying to relate different spaces and their representations within a urban and historical context. This reflection becomes even more interesting when one realizes how relevant the environments in which Eça de Queiroz's characters move are. The places they go to, the buildings they live, the objects surrounding them are extremely meaningful inside the architecture of the narrative. At the same time, the references to names of streets and the specifications of addresses play all the time within the boundaries between fiction and reality. Framing the relations between the 1800s city of Lisbon, experienced and observed by the writer, and the “literary Lisbons” of Eça, experienced and observed by his characters is the goal of this work

Why did architecture become an urgent concern for so many writers in postwar Britain? Following the destruction of World War Two, reconstruction became a total cultural project, animating writers, artists, and critics, as well as planners, politicians, and citizens. From the preservation of culturally significant buildings to the razing of old foundations, from the creation of new towns to the management of suburban sprawl, the project of rebuilding Britain sparked an extraordinary creative response that transcended disciplinary fields and brought together some of the most innovative minds of the day. However, the significance of writers’ roles in this reconstruction—and the critical role that writing plays in architecture more broadly—has not, thus far, been adequately addressed in either literary or architectural studies. “Structures of Feeling: Architecture and Literature in Postwar Britain and Ireland” builds on recent scholarship in literary geographies and the spatial humanities to propose a new intervention in literary studies: an extension of what Ellen Eve Frank has called literary architecture. Bringing together architectural and literary modernisms, my dissertation shows how novelists, architects, poets, and critics together participated imaginatively in the reconstruction of England, Scotland, Wales, and Northern Ireland after World War Two by situating the key social, psychological, and political issues of the day in the built environment.Analyzing a rich archive of poetry, fiction, and criticism along with architectural writing, maps, plans, and developments, “Structures of Feeling” tracks the transition from the end of the war to the rise and fall of the welfare state; it locates forms of cultural production in the second half of the twentieth century that united urban planning, poetics, and environmental perception. In so doing, it shows how writing powerfully mediated some of the most important developments in urban planning and civic reconstruction, from motorways to new towns, from tower blocks and social housing to military architecture along contested borders. These writers, from poets like Philip Larkin to novelists like J. G. Ballard to architects like Alison and Peter Smithson, made human the effects of modern architecture’s ideologies and designs, critiqued and often proposed its boldest solutions and failures, and made architecture a public issue. Ultimately, this dissertation investigates how the complex social and political forces of the era—a dynamic cultural formation Raymond Williams has called “structures of feeling”—became animated both through postwar architecture’s physical structures and the diverse forms of writing these buildings stimulated into being.

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