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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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.