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This study is an inquiry into architecture understood as an apparatus of immortalization and glorification by means of a dialectic formulation on the architecture of the synecdochic Interwar (angst) Period (1919-1939) based on the assumptions of Ludwig Wittgenstein (1889-1951). It is claimed that a dialectical relation between Wittgenstein and his contemporaries may contribute to the understanding of the conceptions regarding ideal of [true] architecture itself. The thesis suggests that these assumptions may maintain a critical pattern for the understanding of the architectural milieu of the Interwar Period, which was a summit for modern architecture. The structure is based on a remark of Wittgenstein stating, Architecture immortalizes and glorifies something and its tripartite formulation is reflected upon the framework. In the second part, it is aimed to introduce the concepts in order to draw a framework of the milieu. This part also focuses on the remarks of Wittgenstein regarding [true] architecture. In the third part, the aspects of [true] architecture are discussed by means of a historical study. This part also focuses on the principle of architecture as an apparatus. In the fourth part, a dialectical relationship is maintained between Wittgenstein and his contemporaries to shed light on the [true] architecture of the Angst Period. The emphasis of this part is on the arguments regarding [true] architecture. Finally, the fifth part involves arguments on the aspects of immortalization and glorification focusing on its several aspects and something immortalized and glorified by means of [true] architecture.

Thesis (Ph. D.)--University of Toronto, 2004. / Adviser: C.T. Patrick Diamond.

This thesis argues that the environmental undertones of artists Edward Burtynsky’s and Olafur Eliasson’s work have clearly aligned them; however, the focus of my study is not an evaluation of the artists’ abilities to express environmental concerns, but rather an exploration of the effects of their representations on our understanding of the surrounding environment, and of the artists’ contributions toward a definition of Nature that now includes its own demise as a site of aesthetic pleasure. This study focuses on Olafur Eliasson’s New York City Waterfalls and on Edward Burtynsky’s Nickel Tailings photographs. Burtynsky’s Nickel Tailings photographs, among them in particular, his well known Nickel Tailings No. 34, depict a barren grey and black landscape centered primarily around an intensely coloured red and orange river of molten metal. Eliasson’s recent New York City Waterfalls consists of four artist-constructed waterfalls, ranging from 90 to 120 feet tall, located within the waters of Lower Manhattan, Governs Island, and beneath the Brooklyn Bridge. In his monumental New York City Waterfalls, Eliasson has made an intervention into the landscape that effectively works to contaminate the established aesthetic upon which it is based. In his monumental photographs, in contrast, Burtynsky does the opposite; he aestheticizes the contaminated. Here I would add that both artists have carefully called upon the elemental in order to reference the idea of wilderness or a “pure” form of Nature. Reference to the elemental in Nature—to air, water, and fire— has allowed these artists to challenge the viewer’s perception and experience of the nonhuman world. These manufactured landscapes are undeniably owned by humanity, yet is this the type of landscape we are comfortable to claim as our own? / Thesis (Master, Art History) -- Queen's University, 2011-12-03 14:03:08.43

Vernon Lee est une femme de lettres d'origine britannique, dont l'œuvre éclectique est située dans le contexte historique et socio-culturel de l'Angleterre victorienne de la fin-de-siècle dite «décadente» (1880-1914). La problématique de cette thèse est axée autour de deux fils conducteurs : d'une part, le regard que Vernon Lee porte sur la société de son époque, et d'autre part, son intérêt pour les récentes découvertes dans le domaine des Sciences humaines. Les années 1890 représentent une ère de transition entre le Romantisme et le Modernisme. On peut donc parler d'héritage romantique en ce qui concerne l'inspiration et l'imaginaire des écrivains victoriens de la fin du XIXème siècle. La littérature de la Décadence privilégie les thèmes mythiques, en particulier le mythe de la Femme fatale. L'esthétisme et l'éthique sont au cœur de l'œuvre de Vernon Lee. Écrivain et témoin de son époque, elle utilise son écriture pour défendre la condition féminine. C'est avant tout une écriture avant-gardiste, orientée vers le Modernisme. En effet, les récentes découvertes scientifiques (notamment la linguistique, la psychologie et la psychanalyse) influencent son écriture, lui permettant d'accéder au mieux à l'intériorité de ses personnages. / The 1890s are considered as a period of transition between Romanticism and Modernism. Therefore, we can refer to a romantic legacy of the fin-de-siècle Victorian writers' inspirition and imaginative universe. The Literature of the Decadence favours mythic themes, especially the myth of the "Femme fatale". Estheticism and ethics are the main concerns of Vernon Lee's work. As a writer and a witness of her time, she makes the most of her writing in order to stand up for the woman's emancipation. It is an avangardist writing, which is steered towards Modernism. Besides, she is influenced by the recent discoveries in the field of Social Sciences.

Summary in English / Romanticism as a broad movement of thought developed as a reaction against rationalism and empiricism in the period of Enlightenment. In his critical evaluation of Getman literature Eichendorff as a historian exammes the excessiveness of esoteric theories in the work of the young intellectuals of the early romantic period in Getmany. The romanticists' idealist celebration of the self, and their tendency to overestimate the power of the imagination and the supreme value of art led to self-adulation and subjectivism which was unacceptable to Eichendorff s understanding of art and religion. The "romantic" attempt at creating a new mythology usmg art as a new kind of religion and thereby making the poet an omnipotent creator could only be rejected by Eichendorff whose moral convictions were strongly based on Christian Catholic beliefs. The young romanticists replaced ethics with aesthetics. Eichendorffs judgement of this development is devastating. He describes the early romantic movement as a "premature abortion". / Classics and Modern European Languages / M.A. (German)

Summary in English / Romanticism as a broad movement of thought developed as a reaction against rationalism and empiricism in the period of Enlightenment. In his critical evaluation of Getman literature Eichendorff as a historian exammes the excessiveness of esoteric theories in the work of the young intellectuals of the early romantic period in Getmany. The romanticists' idealist celebration of the self, and their tendency to overestimate the power of the imagination and the supreme value of art led to self-adulation and subjectivism which was unacceptable to Eichendorff s understanding of art and religion. The "romantic" attempt at creating a new mythology usmg art as a new kind of religion and thereby making the poet an omnipotent creator could only be rejected by Eichendorff whose moral convictions were strongly based on Christian Catholic beliefs. The young romanticists replaced ethics with aesthetics. Eichendorffs judgement of this development is devastating. He describes the early romantic movement as a "premature abortion". / Classics and Modern European Languages / M.A. (German)