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Habilitationsschrift : ? : Philosophische Fakultät Saarbrücken : 1976. / Bibliogr. p. 9-12. Index.

[pt] A proposta desta dissertação é a de explorar, através de crônicas de António Lobo Antunes, as relações entre o homem urbano contemporâneo e seu espaço de viver, buscando salientar e apontar a relevância de seus textos, na compreensão destas relações, para a elaboração de um esboço dos tempos atuais. O autor imprime em seus textos o cenário do seu tempo; ou seja, este universo abrange as gerações nascidas em meados do século XX, que cresceram após a Segunda Grande Guerra que foram e são testemunhas da morte de ideais políticos e sociais e do surgimento de um sujeito descentrado e sem eixo, com seus antigos valores alterados e suas referências escasseadas, numa nova sociedade regida por um mercado capitalista em constante expansão. Estas mutações que se refletem - através da arquitetura e do urbanismo - nos espaços e ambientes vividos por esse indivíduo são captadas com precisão pelo olhar peculiar do autor em suas crônicas. Sua percepção, especialmente observadora do desconforto e desajuste do homem contemporâneo, faz com que, ao explorar a vida urbana lisboeta, ultrapasse as fronteiras culturais e locais dessa cidade, para atingir qualquer leitor contemporâneo. / [en] The proposal of this dissertation is to explore, throughout António Lobo Antunes´s chronicles, the relations between the urban contemporaneous man and his living space, inquiring to emphasize and point out the importance of his texts, to the apprehension of those relations, on the elaboration of a nowadays sketch. The author print out in his texts the scenery of his own time, that is, this universe embraces all the generations borned on the middle of the XX century, who grew up after the 2º Great World War and were and still are witnesses of the death of politicals and socials ideals and appearance of an individual uncentered and without a main axle, with the scarceness of his references and his old values changed, into a new society managed by a continuous expanding capitalist market. Those mutations, which are reflected, trough architecture and urbanism, into the spaces and environments lived by this individual, are captured with precision by the unique look of the author in his chronicles. His perception and specially observation of the uncomfortableness and unreguleness of contemporaneous man, when exploring Lisbon urban life, exceeds cultural borders of this city reaching any nowadays reader.

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

An unprecedented production of discourses on contemporary Indian architects and architecture occurred in the 1980s. Published in a period of political transition and conspicuous new cultural production and debate in many fields, four decades after India’s independence from colonial rule in 1947, these architectural discourses have become privileged references that have shaped but also limited perception of late-twentieth century architectural production in India. While subsequent writers have addressed some of these limitations, the small but growing critical literature in this field still exhibits many of the same problems of representation. Despite problematising the construction of ‘Indian architecture’ in colonial and postcolonial discourse, these critiques have nevertheless taken for granted (as in the more popular and professionally oriented discourses of the 1980s) the existence of a pan-Indian community of architects, united in their search for a collective identity. Such monolithic perceptions of contemporary ‘Indian architecture’ have yet to be interpreted with regard to the conspicuous contexts in which they were produced — that is, from an ‘Indian’ point of view. Through a selective focus on a particularly productive site of discourse in 1980s India, I investigate complexities that have not yet been examined in the formation and reproduction of a dominant consensus on the identity of contemporary Indian architecture. The argument draws attention not only to the agency of particular contemporary Indian architects in the construction of this identity, but also the relativity of region in the architectural production of India during the 1980s. Specifically, I focus on an influential architectural magazine, Architecture + Design (A+D) that began publishing in 1984 from a dominant region of architectural production, Delhi. I provide an account of the manner in which history, context, agency and agents, came together at a point in time, within this architectural magazine, as a complex set of historically constituted social relations, to authorise and sustain particular viewpoints about contemporary Indian architecture. Using the French sociologist, Pierre Bourdieu’s theory of the field of cultural production, I relate issues of dominance and marginalisation observable in the production of this particular discourse on contemporary Indian architecture to the space of the positions held by its producers. Despite its avowed agenda of viewing contemporary Indian architecture differently in the 1980s, I argue, the selection and judgement of exemplary contemporary work deemed worthy of discussion in A+D as ‘Indian Architecture’ functioned (and continues to function) through established categories of perception and appreciation. / http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1331621 / Thesis (Ph.D.) - University of Adelaide, School of Architecture, 2008

This thesis is an exploration of the ways in which a number of important Russian writers and filmmakers of the 1910s and 1920s appropriated domestic interiors as structural, visual and literary metaphors. My focus is on the artistic articulation of the closed space of the Russian domestic interior, in particular as it surfaced in the narratives of the modernist literature and cinema of the time and became an essential metaphor of its age. In my discussion I take issue with two standard ways of understanding domestic space in existing literature. I argue that representations of home spaces in early twentiethcentury Russian culture mount a challenge to the conventional view of the home as a place of safety and stability. I also argue that, at this point, the traditional approach to the room and the domestic space as a fixed closed structure is assailed by representations that see domestic space as kinetic. The importance of the 'room in motion' means that I address cinematic as well as literary representations of domestic space, and show that even literary representation borrow cinematic techniques. My different chapters constitute case studies of various separate, but complementary, aspects of the representation of home space. The first chapter shows how domestic space in reflected in the poetical language of Anna Akhmatova. The second chapter focuses on the parallel exploration of rooms and a child's consciousness in Kotik Letaev by Andrei Belyi. The third chapter discovers the philosophy of a room built by Sigizmund Krzhizhanovskii in his short stories of the 1920s. The next three chapters focus on interiors of three different cinematic genres. The fourth chapter looks closely at films created by Evgenii Bauer, showing the director's innovative techniques of framing and set-design. The fifth chapter explores the film Tret'ia Meshchanskaia by Abram Room, focusing on the director's employment of the room as a structural device of the film. The last chapter analyses two lyrical comedies by Boris Barnet to show the comic effect produced by the empty room and domestic objects in his films, and also focuses on the image of staircase. In conclusion, I speculate that the representation of interior spaces in the period in question goes beyond genre, medium, and narrative structure and becomes an important and culturally dynamic motif of the time.

Fragments of the Moon is a novel set mostly in South Korea, examining relationships between people, interpersonal spaces, architectural spaces and landscape through a cross-cultural context. Matt, a graduate architect from Perth, Australia, finds himself increasingly vulnerable to cultural confusion as he adjusts to life away from his home and friends. Having initially assumed that Seoul's western facade echoes its social dynamic, Matt increasingly discovers that the Confucianism which underpins much of contemporary Korean society makes all relationships far more complex than his assumptions had allowed. Together with a Canadian student who is seeking to find the essence of a different Korea through her investigation of Buddhism, and through meeting diverse Korean characters, readers will discover several of the many facets of contemporary Korean culture. Readers will be encouraged to test the slippery surfaces on which familiar and unfamiliar attitudes to bodies, landscape and created spaces rest. 'Body, Space, Ideas of Home: Cross-cultural Perspectives' (thesis) The thesis examines the interaction of body space, architectural space, landscape, and emotional states in contemporary literary fiction from several cultural perspectives. Bodies, landscapes, and architectural spaces are shown to be devices through which contemporary authors with different cultural backgrounds have expressed character and explored ideas, especially thematic concerns related to cultural or cross-cultural confusion or understanding. Notions of 'feeling at home' and 'being alien' are investigated through the work of authors who either have a cross-cultural heritage (e.g. Jhumpa Lahiri a Bengali/American), or who write about a culture which is not their own (e.g. Dianne Highbridge, an Australian writing about Japan). Several chosen authors explore the relationships between the spiritual and the physical, the metaphysical and the corporeal. These elements are particularly highlighted when examining the narratives of Tim Winton (The Riders, 1994) and Simone Lazaroo (The World Waiting To Be Made, 1994); and two of Japan's most popular writers, Haruki Murakami (Norwegian Wood, 2000) and Banana Yoshimoto (Lizard, 1995). For some writers, this exploration of spaces forms the focal point of their work; for others, it is an important facet of their narrative world, which helps to ground their writing for contemporary readers whose own backgrounds must also influence their understandings.

This dissertation aims to provide an insight into English country house fiction by twentieth and twenty-first century authors, such as E.M. Forster, Evelyn Waugh, Iris Murdoch, Alan Hollinghurst, and Sarah Waters. The variety of literary depictions of the country house reflects the physical diversification of the buildings in question, from smaller variants to formerly grand residences on the brink of physical collapse. The country house is explored within the wider social and cultural contexts of the period, including contemporary architectural development. Given the exceptionally evocative and integrating properties that the influential theories of Martin Heidegger and Gaston Bachelard attribute to a house in general, it is unsurprising that the concept of the country house has inspired discussion of such a wide spectrum of topics. Its unique centring quality is echoed in the dense intertextuality prominently marking its literary representations, and enables the successful implementation of various temporal idiosyncrasies, which often set the house apart from the habitual passing of time. Within the scope of contemporary fiction, architecture and poetics of space, the country house accentuates different conceptions of dwelling. Consequently, the literary portrayals of the country house can be...