[ES] La ciudad nos regala un sinfín de situaciones, paisajes y contactos que van construyendo el espacio de lo vivido. En este tejido espacial, deambulan, habitan e interactúan los diversos cuerpos que, en su heterogeneidad de formas, orientaciones, tiempos, van orquestando la condición viva del tejido urbano. El considerar la espacialidad del cuerpo como protagonista, nos enfrenta de inmediato a dos problemáticas que se convierten simultáneamente en los ejes principales sobre los que se desarrolla la siguiente investigación: La primera, sobre el cómo construir un discurso "encarnado" del espacio, desde una disciplina donde mayoritariamente el desarrollo de ésta está mermado al hecho de "hacer" objetos para la contemplación y regocijo del pensamiento. Y la segunda, sobre el cómo representar dicho discurso, en cuanto a expresar mediante palabras e imágenes el alcance de lo que se quiere postular. La presente tesis doctoral tiene como fin explorar los recursos conceptuales, metodológicos y representacionales que colaboren en la visibilización e impacto de las relaciones reversibles de los cuerpos en el tejido urbano. Y, por tanto, que permitan construir un discurso arquitectónico centrado en la experiencia de las personas, y en específico, en el análisis y representación de las espacialidades que producen y reproducen sus cuerpos en el territorio. / [CA] La ciutat ens regala una infinitat de situacions, paisatges i contactes que van construint l'espai del viscut. En aquest teixit espacial, deambulen, habiten i interactuen els diversos cossos que, en la seua heterogeneïtat de formes, orientacions, temps, van orquestrant la condició viva del teixit urbà. El considerar l'espacialitat del cos com a protagonista, ens enfronta immediatament a dues problemàtiques que es converteixen simultàniament en els eixos principals sobre els quals es desenvolupa la següent investigació: La primera, sobre el com construir un discurs "encarnat" de l'espai, des d'una disciplina on majoritàriament el desenvolupament d'aquesta està minvat al fet de "fer" objectes per a la contemplació i gaubança del pensament. I la segona, sobre el com representar aquest discurs, quant a expressar mitjançant paraules i imatges l'abast del que es vol postular. La present tesi doctoral té com a fi explorar els recursos conceptuals, metodològics i representacionals que col·laboren en la visibilització i impacte de les relacions reversibles dels cossos en el teixit urbà. I, per tant, que permeten construir un discurs arquitectònic centrat en l'experiència de les persones, i en específic, en l'anàlisi i representació de les espacialitats que produeixen i reprodueixen els seus cossos en el territori. / [EN] The city gives us an endless number of situations, landscapes and contacts that build the space of what has been lived. In this spatial fabric, the various bodies wander, inhabit and interact which, in their heterogeneity of forms, orientations, times, orchestrate the living condition of the urban fabric. Considering the spatiality of the body as the protagonist, immediately confronts us with two problems that simultaneously become the main axes on which the following research is developed: The first, on how to build an "embodied" discourse of space, from a discipline where the development of it is mostly reduced to the fact of "making" objects for contemplation and rejoicing of thought. And the second, on how to represent said discourse, in terms of expressing through words and images the scope of what is to be postulated. This doctoral thesis aims to explore the conceptual, methodological and representational resources that collaborate in the visibility and impact of the reversible relationships of bodies in the urban fabric. And, therefore, that allow the construction of an architectural discourse focused on the experience of people, and specifically, on the analysis and representation of the spatialities that their bodies produce and reproduce in the territory. / La presente tesis ha sido beneficiada con la Beca Crea Chile 2019 del Ministerio de las Artes, el Patrimonio y las Culturas del Gobierno de Chile / Diaz Vera, MA. (2022). El cuerpo en la ciudad. Hacia estrategias de análisis de encorporamiento espacial [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/186918

This thesis evolves perception as a hypothesis to reframe architectural praxis negotiated through agent-situation interaction. The research questions the geometric principles of architectural ordination to originate the ‘felt_space infrastructure’, a relational system of measurement concerned with the role of perception in mediating sensory space and the cognised environment. The methodological model for this research fuses perception and environmental stimuli, into a consistent generative process that penetrates the inner essence of space, to reveal the visceral parameter. These concepts are applied to develop a ‘coefficient of affordance’ typology, ‘hypervigilant’ tool set, and ‘cognitive_tope’ design methodology. Thus, by extending the architectural platform to consider perception as a design parameter, the thesis interprets the ‘inference schema’ as an instructional model to coordinate the acquisition of spatial reality through tensional and counter-tensional feedback dynamics. Three site-responsive case studies are used to advance the thesis. The first case study is descriptive and develops a typology of situated cognition to extend the ‘granularity’ of perceptual sensitisation (i.e. a fine-grained means of perceiving space). The second project is relational and questions how mapping can coordinate perceptual, cognitive and associative attention, as a ‘multi-webbed vector field’ comprised of attractors and deformations within a viewer-centred gravitational space. The third case study is causal, and demonstrates how a transactional-biased schema can generate, amplify and attenuate perceptual misalignment, thus triggering a visceral niche. The significance of the research is that it progresses generative perception as an additional variable for spatial practice, and promotes transactional methodologies to gain enhanced modes of spatial acuity to extend the repertoire of architectural practice.

Captured atmospheres - Rooms and interiors that tell a story in the absence of people är en undersökning av min konstnärliga praktik, återkommande teman, idéer och intressen samt bestående influenser. Genom en längre process där jag gick igenom många års samlande av texter, citat, bilder och idéer som har inspirerat och influerat mitt arbete, försökte jag skapa mig en överblick eller förståelse av denna samling och hur den reflekterar min konstnärliga praktik. I denna process valde jag ut de texter, citat och bilder som jag känner står mig närmast de ideér och verk som jag arbetat med under de senaste åren. Den utvalda samlingen kom att handla om atmosfär, stämningar, rumslighet, psykiska upplevelser, frånvaro och existens. Arbetet består av en Artist book-del där jag jobbat med att i en Artist book-format uttrycka de stämningar, atmosfärer och rumsupplevelser - som inspirerar mig och driver min konstnärliga praktik - med bilder, citat och texter från min samling. Den andra delen av arbetet består av en text där jag försöker uttrycka samma idéer och intressen i essäformat. / [I examensarbetet ingår utställningen "We have a visitor":] The exhibition - We have a visitor - is an installation based on the story of a murder case that was solved by PSI phenomena. A woman was murdered and the police had nothing to go on until another woman reported that she had been possessed by the murdered woman and gave details of the murder and the murderer that led to the case being solved. The installation shows two empty rooms; one through a large flat screen TV dropped on the floor displaying still images from a peculiar angle of a room environment, as if the camera (or somebody) is laying on the floor. A voice speaks to us, through the subtitles in the video, describing her own murder. The TV screen is placed on a piece of carpet cut in a shape emphasising the strange angle of the filmed room and points to a screen print on the wall displaying another angle of the same room. The viewer is standing in the portrayed room. The second room, projected onto a large temporary freestanding wall, display shots from a filmed bedroom, focusing on the top of the bed as if someone is laying there. Then, the camera pans to a window, as if expecting someone's arrival. Suddenly, the view drifts upwards, above the bed towards the ceiling. Next, a yellow entity takes over the image and the view descends back to the bed. The entity holds the space for a moment before vanishing as unexpectedly as it arrived. The installation deals with questions surroundng spatial atmospheres and if rooms and interiors somehow could hold or capture atmospheres or feelings after its subjects have left. Material/Teknik/Mått: Videoverk på monitor på specialskuren filtmatta, screentryck, videoprojection på fristående vägg och digitalt tryck. I anslutning till installationen visade jag ckså en Artist book med samma titel som installationen. Verk i utställningen: 1. They found my body (video installation 2013) 2. The room responded with a resounding silence (screentryck, 2013). 3. Room study (Possession) (Video projection, 2013). 4. Could not possibly be explained by normal means (digitalt tryck, 2013) / <p>Examensarbetet består av en skriftlig del och en gestaltande del. Alternativ titel anger namnet förden gestaltande delen. Tryckta publikationer finns tillgängliga på Kungl Konsthögskolans bibliotek. </p>

L’étude de l’espace et des personnages dans quelques romans égyptiens met en évidence toute l’importance et la complexité que revêt le rapport à l’étranger et la manière dont personnages et spatialité s’imbriquent pour donner sens aux diverses représentations que le personnage arabe se fait de sa société et de l’Autre. Le personnage oriental - auteur, personnage-narrateur ou personnage fictif - est au coeur de ce conflit : il est face à l’Autre et à lui-même, face à deux types de femmes, l’une occidentale et l’autre orientale, face à deux sociétés, l’une archaïque et l’autre moderne, et face à deux espaces, l’un étrange et l’autre familier. / The study of the space and the characters in some Egyptians novels highlight all the importance and complexity of the report to the other and how characters and spatiality fit to give meaning to the various representations that the Arab character made of the Occident. The oriental character - author, Narrator character or fictional character - is at the heart of this conflict: facing to himself and to the stranger, facing two types of women, one western and other oriental, facing two societies, one archaic and the other modern and, in the end facing with two spaces, one stranger and the other familiar.

Die wachsende Zahl an Menschen, die aus ihren Herkunftsländern fliehen musste und nach 2015 in Berlin ankam, stellte städtische Einrichtungen und die Bereitstellung sozioökonomischer Dienstleistungen für Personen mit diversen soziokulturellem und politischen Hintergründen vor eine große Herausforderung. Es gilt anzunehmen, dass zusätzlich zu früheren traumatischen Erfahrungen, der mehrdimensionale und komplizierte Prozess der Verteilung von Geflüchteten in städtischen Räumen zu Belastungen führen und die Prävalenz psychischer Störungen erhöhen kann. Angesichts der Tatsache, dass geflüchtete Frauen verstärkt unter verschiedenen Formen stressbedingter Störungen leiden, zielt die Dissertation darauf ab, jene sozialen Stressoren in drei verschiedenen sozio-räumlichen Settings zu untersuchen, welchen sich geflüchtete Frauen bei ihrer Ankunft in Berlin ausgesetzt wahrnahmen. / The growing number of forcibly displaced people arriving in Berlin after 2015 brought about an extensive challenge in providing urban socio-economic facilities and services for numerous individuals from different socio-cultural and political backgrounds. The multi-dimensional and complicated process of resettlement of refugees in urban spaces, in addition to their earlier traumatic experiences, might result in distress and intensify the prevalence of mental disorders. Considering that refugee women are more likely to suffer from various forms of stress-related disorders, the dissertation aimed to evaluate the perceived social stressors by refugee women in three different socio-spatial settings upon their arrival in Berlin.

Les Mebengôkré-Xikrin de la Terre Indigène Trincheira Bacajá (Pará, Brésil) traversent depuis peu des transformations politiques, économiques et écologiques sans précédents. Celles-ci sont liées, entre autres, à la mise en place de l’usine hydroélectrique de Belo Monte et aux projets de compensation qui l’accompagnent. Parmi les impacts une réduction du régime hydrique de leur rivière Bacajá, ayant pour conséquence une érosion de la biodiversité et une atteinte à leurs mobilité et autonomie dans leur rapport aux Autres. Dans ce contexte, ma thèse se donne pour objectif d’analyser la manière dont les Xikrin conçoivent et pratiquent actuellement leur territorialité en même temps qu’ils s’affirment et se reproduisent Mebengôkré, et ce, dans une profondeur historique permise par la littérature et les discours des Anciens. À la croisée entre l’anthropologie sociale et l’anthropologie de l’environnement, cette recherche s’inscrit dans la continuité des travaux récents sur la socio-spatialité qui ont entamé une révision de l’idée de fermeture imputée aux sociétés Jê et aux Mebengôkré en particulier. L’hypothèse est que les conceptions et pratiques de l’espace vécu par les Xikrin sont guidées par le rapport à l’Autre : les Kuben (les Blancs), les Mẽkarõ (les morts) et les animaux et végétaux peuplant les espaces extra et intravillageois. La thèse est structurée en suivant une analyse à trois échelles, de la plus large à la plus étroite : de la région comprise entre le Brésil Central et la Volta Grande do Xingu jusqu’au village, en passant par les lieux explorés de la Terre Indigène Trincheira Bacajá. L’analyse proposée permet de comprendre comment les Xikrin se sont constitués comme un collectif à part des autres Mebengôkré, en s’appropriant l’espace que constitue aujourd’hui la Terre Indigène Trincheira Bacajá, dans leur migration et dispersion à travers les scissions successives depuis leur sédentarisation. Cette thèse met finalement en évidence que les Xikrin, originaires d’un écosystème de savane, ont non seulement développé un rapport singulier avec la ville mais également avec les mondes de la forêt et de la rivière d’une région tropicale. Ainsi, les conclusions remettent en question la représentation dualiste concentrique de la socio-spatialité Xikrin, en permettant d’envisager les espaces extravillageois et leurs habitants non comme simplement asociaux et potentiellement socialisables mais au contraire comme ayant également un rôle dans la (re)production des personnes Mebengôkré et de la socialité Xikrin, notamment par l’apprentissage et l’appropriation d’éléments de ces espaces. / The Mebengôkré-Xikrin of the Trincheira Bacajá Indigenous Land (Pará, Brazil) have recently undergone unprecedented political, economic and ecological transformations. These are caused, among other things, by the establishment of the Belo Monte hydroelectric dam and by the compensation projects that accompany it. Among the impacts, the reduction of the hydric regime of their Bacajá river, resulting in an erosion of thebiodiversity and an infringement of their mobility and autonomy in their relationship to the Others. In this context, this thesis aims to analyse how the Xikrin conceive and practice their territoriality as they assert themselves and reproduce as Mebengôkré, and this, in a historical depth allowed by the literature and the speeches of the Ancients. At the crossroads between social anthropology and anthropology of the environment, this research is a continuation of recent work on socio-spatiality that has begun a revision of the idea of closure attributed to the Jê societies and to the Mebengôkré in particular. The hypothesis is that the conceptions and practices of the space lived by the Xikrin are guided by the relation to the Other: the Kuben (the Whites), the Mẽkarõ (the dead) and the animals and plants populating the extra and intra villagers.The thesis is structured according to a three-scale analysis, from the widest to the narrowest: from the region between Central Brazil and the Volta Grande do Xingu to the village, passing through the explored places of the Trincheira Bacajá Indigenous Land. The proposed analysis permits to understand how the Xikrin emerged as a collective apart from the other Mebengôkré, by appropriating the space that today constitutes their territory, in their migration and dispersion through the successive splits since their settlement. This thesis finally shows that the Xikrin, originated from a savanna ecosystem, have not only developed a singular relationship with the city but also with the forest and the rivers of a tropical region. Thus, the conclusions put into question the concentric dual representation of the Xikrin socio-spatiality, allowing to consider the extra villagers spaces and their inhabitants not as simply asocial and potentially socializable but, on the contrary, as being socializing, that is to say also having a role in the (re)production of Mebengôkré people and Xikrin sociality, in particular by learning and appropriating elements of these spaces. / Os Mebengôkré-Xikrin da Terra Indígena Trincheira Bacajá (Pará, Brasil) atravessam recentemente mudanças políticas, económicas e ecológicas sem precedentes, devido, entre outras razões, ao estabelecimento da usina hidrelétrica de Belo Monte e aos projetos de "compensação" que a acompanham. Entre os impactos, estão a redução do regime hídrico do rio Bacajá, que resultou em uma perda de biodiversidade e que mina a sua mobilidade e autonomia em sua relação com o Outro. Neste contexto, esta tese tem o objetivo de analisar como os Xikrin concebem e praticam atualmente sua territorialidade ao mesmo tempo que se afirmam e se reproduzem enquanto Mebengôkré, e isso a partir de uma profundidade histórica permitida pela literatura e pelos discursos dos Antigos. No cruzamento entre a antropologia social e antropologia do ambiente, esta pesquisa se coloca em continuidade aos recentes trabalhos sobre a sócio-espacialidade que iniciaram uma revisão da ideia de fechamento imputada às sociedades Jê e aos Mebengôkré em particular. O pressuposto é que as concepções e práticas singulares do espaço vivido pelos Xikrin são guiados principalmente pela relação com o Outro: os Kuben (os brancos), os Mẽkarõ (os mortos) e os animais e plantas que habitam os espaços extra e intra aldeões.A tese está estruturada seguindo uma análise em três escalas, da mais ampla à mais restrita : da região entre o Brasil Central e a Volta Grande do Xingu até a aldeia, passando pelos espaços extra aldeões explorados na Terra Indígena Trincheira Bacajá. A análise proposta permite entender como os Xikrin se constituíram em um coletivo distinto, apropriando-se finalmente do espaço que constitui hoje a Terra Indígena Trincheira Bacajá, na sua migração e dispersão através das cisões sucessivas desde a sua sedentarizarão. Esta tese destaca que os Xikrin, originários de um ecossistema de savana, não só desenvolveram uma relação singular com a cidade, mas também com os mundos da floresta e dos rios de uma região tropical. Assim, as conclusões colocam em questão a representação dualista concêntrica da sócio-espacialidade dos Xikrin e permitem considerar os espaços extra aldeões e seus habitantes não simplesmente como associais e potencialmente socializáveis, mas também como elementos socializantes, com um papel a desempenhar na (re)produção das pessoas Mebengôkré e na socialidade Xikrin, em particular pela aprendizagem e pela apropriação de componentes desses espaços.

The aim of this thesis is to create an ethnolinguistic analysis of two corpuses of Mongolian riddles (Lovor and Ölziikhutag 1990 and Ölziikhutag 2013). The work contains over one hundred riddles appended with translations and morpheme-to-morpheme glosses. The riddles are further analyzed on a phonetic level, including descriptions of specific sound patterns and alliterations, as well as their lexical and semantic properties. This complex analysis, in conjunction with findings gained in field research, renders possible the description of a specific language of Mongolian riddles, characterized by the frequent occurrence of borrowings, the presence of semantically and phonetically 'damaged' words, ideophones, metaphors and many specific cultural expressions. The language of Mongolian riddles also often skilfully exploits overt abstractions, allusions, and lexical and morphological ambiguities, in addition to other techniques which facilitate conceptual mapping and cognitive blending. This linguistic analysis makes possible a description of the various aspects of the worldview of Mongolian nomads concealed in these riddles, including the characteristic linking of the 'sacred and profane,' as well as the relationship of these riddles to mythology and religious ideas.

This thesis enquires into the question of the hidden nature of things and reality in the context of David Hume's philosophy. In the context of a Humean approach to reality, it discusses whether the things which we perceive and which are considered to be perceptions can have some sort of non-empirical correlation that lies beneath them and whether it can be called the hidden nature of these things. The first half of the thesis is focused on the philosophy of David Hume. In the second half of the thesis two original considerations about the hidden nature and its characteristics are presented. The thesis starts with three selected theories of substance as presented in A Treatise of Human Nature. The theory of John Locke and the theory of the peripatetics are presented from Hume's critical perspective. Consequently is presented an interpretation called the New Hume. In the context of this interpretation, Hume presumes that there are hidden entities lying beneath empirical reality. Then, there are two considerations focused on the hidden nature of things and its characteristics which are presented. These characteristics are consequently being described in an indirect manner. And finally an original suggestion of how to understand the hidden nature is presented. It has the character of mere...

Cette thèse étudie la scène théâtrale et ses transformations dans le contexte socio-politique de Téhéran entre 2009 et 2019 à travers le prisme de la spatialité (Lussault, 2007). Cette période se caractérise d’un côté par l’éclosion de nouveaux espaces de représentation de diverses natures architecturales, urbaines et institutionnelles et, de l’autre, par l’apparition de nouvelles formes d’investissement et d’appropriation d’espaces urbains à des fins théâtrales par les artistes et spectateurs. Pour interroger ces mutations, cette étude analyse trois cas– représentatifs du théâtre privé, du théâtre Off Stage et du théâtre Underground – à partir d’une approche théorique qui conjugue social production of space et social construction of space (Low, 2017). Ce faisant, la présente thèse démontre qu’au-delà des dimensions esthétiques et dramaturgiques, les évolutions de la scène théâtrale à Téhéran se traduisent surtout par un changement qui touche à la spatialité urbaine du théâtre. Cela se concrétise d’une part dans la transformation de l’agencement spatial du théâtre dans la ville et, de l’autre, dans les manières dont les relations et dynamiques sociales et politiques de la ville se spatialisent dans le théâtre. Du fait de ce double processus, et dans la conjoncture socio-politique tendue et changeante du Téhéran des années 2010, l’espace théâtral, jusqu’alors quasiment cloisonné et exclu de la sphère publique, émerge en tant qu’espace public. Il devient ainsi non seulement le lieu du politique, là où se rencontrent différentes forces politiques et sociales (Balme, 2014), mais aussi l’élément principal dans les dynamiques de pouvoirs entre elles. Sa production en tant qu’entité architecturale et urbaine, son occupation, son appropriation et même ses caractéristiques et frontières sociales, symboliques et discursives font alors l’objet de luttes, débats, négociations et interventions – parmi les plus tendus voire virulents que la capitale iranienne ait connus au cours de la dernière décennie – de la part des trois forces principales présentes sur le terrain :le pouvoir autoritaire et idéologique en place, les opérateurs économiques et financiers et les citoyens, en l’occurrence artistes et spectateurs. D’un côté, les forces politiques, idéologiques et financières dominantes mettent en place la privatisation du théâtre, qui est conceptualisée ici comme une stratégie spatiale (De Certeau, 1990). Elles régulent l’espace théâtral, sa production et son utilisation au moyen de multiples processus d’exclusion, d’uniformisation et de domination politiques, idéologiques et économiques. De l’autre côté, des citoyens déploient des tactiques (De Certeau), c’est-à-dire de nouvelles formes d’appropriation de l’espace en utilisant les brèches, incohérences et interstices dans la stratégie dominante. De ce fait, des espaces urbains produits, régulés et surveillés à des fins politiques, idéologiques, voire capitalistes, ouvrent la voie à de nouvelles formes d’agencies pour des artistes et spectateurs. Tantôt ces formes se traduisent par des actes de résistance, de lutte, de contestation (le théâtre Underground), tantôt par des négociations et des compromis (les théâtres privés) ou même par des contournements et des contre-expériences (le théâtre Off Stage). Cependant, quelles que soient la forme et les conséquences de ces interactions, celles-ci ouvrent des fractures dans l’ordre politique, idéologique et économique dominant la ville et son espace. Elles rendent ainsi possibles l’émergence et la survie de formes d’altérité dans la sphère et l’espace publics. / This thesis studies the theatre and its transformations in the socio-political context of Tehran between 2009 and 2019 through the question of spatiality (Lussault, 2007). This period is characterized, on the one hand, by the blossoming of new performance spaces of various architectural, urban and institutional natures throughout the city and, on the other hand, by the appearance of new forms of appropriation of urban spaces for theatrical purposes by artists and spectators. To question these mutations, this study analyses the three case studies – representative of private theatre, off stage theatre and underground theatre - from a theoretical approach that combines social production of space and social construction of space (Low, 2017). In doing so, the present thesis demonstrates that beyond the aesthetic and dramaturgical dimensions, the evolution of the theatre scene in Tehran results from a more significant change in the urban spatiality of the theatre. This materializes, on the one hand, in the transformation of the spatial organization of the theatre within the urban context and, on the other hand, in the ways in which the social and political relations and dynamics of the city are spatialized in the theatre. As a result of this double process, and in the tense and changing socio-political conjunctures of Tehran in 2010s, the theatre space, hitherto an almost compartmentalized space excluded from the public sphere, is manifesting itself as a new public space. Not only it becomes the political field where different political and social forces meet (Balme,2014), it also turns into one of the principal elements in the power dynamics among them. Its production as an architectural and urban entity, its occupation, its appropriation and even its social, symbolic and discursive characteristics and boundaries are then the object of struggles, debates, negotiations and interventions - among the most tense and even virulent ones that the Iranian capital has experienced in the last decade - on the part of the three main forces :the authoritarian and ideological power in place, the economic and financial operators and the citizens, in this case artists and spectators. On the one hand, the dominant political, ideological and financial forces are establishing the privatization of theatre, which is conceptualized here as a spatial strategy. (De Certeau, 1990). They regulate theatre space, its production and use through multiple processes of political, ideological and economic exclusion, homogenization and domination. On the other hand, citizens deploy tactics (De Certeau) that is, new forms of appropriation of space within the breaches, inconsistencies and interstices of the dominant strategy. As a result, urban spaces produced, regulated and monitored for political, ideological or even capitalist purposes immediately become the fields for new forms of artists and spectators’ agencies. Sometimes these forms take the form of acts of resistance, struggle, contestation (the Underground theatre), sometimes of negotiation, compromise (the private theatres) or even circumvention and counter-experiences (the Off Stage theatre). However, whatever the form and consequences of these interactions, they open up breaches and fractures in the political, ideological and economic order that dominates the city and its space. They thus make possible the emergence and survival of forms of otherness in the public sphere and the public space. / Doctorat en Arts du spectacle et technique de diffusion et de communication / info:eu-repo/semantics/nonPublished

The aim of this study is to examine intangible aspects of medieval church architecture from an art historical perspective, by using the theoretical frameworks of  the theologist Alf Härdelin’s theory on multidimensionality and the philosopher of languages  John Langshaw Austin’s the­ory on speech acts and performativity. It studies the relationship between church architecture and liturgy during the 15th century. This case study’s main material is the Upland parish church Ärentuna and the liturgical sources Missale Upsalense novum (1513) and the devotional book Siælinna thrøst (15th century). The interior of the church has been examined to understand how the church interior may have been furnished during the 15th century.  During the 15th century the church had many more altars and devotion pictures than what one can see in the current furnishings of the church. There is a narratological succession in the construction of the building, as well as the iconographical motifs, from West to East, thus the meaning of it becomes increasingly sacred. In that way, the construction of the building, as well as the wall paintings converses, with the liturgy – which has its core in the choir. When lay­people entered the sacred space of the church, they perceived things in a specific order, which creates a sense of order and cohesion within the liturgy. The study found that liturgy produces meaning in the church architecture by giving a visual expression to faith through images. Through performative speech acts found in the liturgy, a multidimensional experience is created by the (theological) fact of Christ's presence in the church. The nave's paintings enhance the visitor’s experience of the church interior as an eternal heavenly presence with motifs such as the Seven days of Creation, the Ten Commandments, the Passion of Christ and finally the Last Judgment.