Spaces are determined not only by their physical qualities, but also by the narratives created during their occupation. These persistent yet ephemeral stories infuse our experience of space with meaning and can be the vehicle through which we consciously express our world view and explore our evolving identity. In architecture, the immaterial is explained as a ‘genius loci’, a spirit tied to a physical space that gives it a specific character and allows for deep connection and identification to occur. Through an exploration of metaphors that have traditionally conveyed the presence of immaterial forces, this thesis reveals how the relationship between psyche and space is embedded in a logic of the imagination; interpreting the experience of space in a language of light and shadow. Additionally this thesis examines how spaces are transformed through the psychological process of mental projection and explores how associations that are deeply rooted in the collective unconscious affect the inner world of the individual. Architecture is therefore seen not as a practice that is psychologically neutral but one that is filled with rich emotional content. To build, constitutes a way to bring order, to set boundaries, to transform the apparent chaos of the world into a comprehendible form. This thesis investigates how the experience of inhabiting can be a catalyst for the imagination to project layers of memory, myth and symbolism onto a location, thereby facilitating the translation of space into place. For Architects the conscious incorporation and evocation of the immaterial is seen as a vital and necessary process that can uniquely contribute to the ensouling of architecture, and the creation of meaningful places.

国立情報学研究所で電子化したコンテンツを使用している。

Narratives of place have always been crucial to the construction of Australian identity. The obsession with identity in Australia betrays longstanding uncertainty. It is not difficult to interpret in this uncertainty a replaying of the deeper insecurities surrounding the settler community's legal and more broadly cultural claims to the land. Such insecurities are typically understood negatively. In contrast, this thesis accepts the uncertainty of identity as an activating principle, appropriate to any interpretation of the narratives and themes that inform what it means to be Australian. Fundamental to this uncertainty is a provisionality in the post-colonial experience of place that is papered over by misleadingly coherent spatial narratives that stem from the imperial inheritance of Australian mythology. Place is a model for the tension between the coherence of mythic narratives and the actual rhizomic formlessness of daily life. Place is the ???ground??? of that life, but an ambivalent ground. An Ambivalent Ground approaches postcolonial Australia as a densely woven text. In this text, stories that describe the founding of a nation are enveloped by other stories, not so well known, that work to transform those more familiar narratives. ???Re-placing Australian literature??? describes the process of this transformation. It signifies an interpretative practice which seeks to recuperate the open-ended experience of place that remains disguised by the coherent narratives of nationhood. The process of ???re-placing??? Australian literature shifts the understanding of nation towards a landscape that speaks not so much about identity as about the constitutive performances of everyday life. It also converges with the unhomely dimension that is the colonist's ambiguous sense of belonging. We can understand this process with an analogy used in this thesis, that of music ??? the colonising language, and noise ??? the ostensibly inchoate, unformed background disruptive to cultural order yet revealing the spatial realities of place. Traditionally, cultural narratives in Australia have disguised the much more complex way in which place noisily disrupts and diffracts those narratives, and in the process generates the ambivalence of Australian identity. Rather than a text or a narrative, place is a plenitude, a densely intertwined performance space, a performance that constantly renders experience ??? and its cultural function ??? transgressive. The purpose of this thesis is not to displace stereotypical narratives of nationhood with yet another narrative. Rather, it offers the more risky proposition that provisionality and uncertainty are constitutive features of Australian social being. The narrative in the thesis represents an aggregation of such an ambivalent ground, addressing the persistent tension between place and the larger drama of colonialist history and discourse.

Thesis (MA (Hons)) -- University of Western Sydney, 2001. / Includes index. Bibliography : leaves 48-49.

Thesis (M.Eng.). / Written for the Dept. of Biomedical Engineering. Title from title page of PDF (viewed 2008/07/29). Includes bibliographical references.

Thesis (PhD) -- Australian Catholic University, 2005. / Submitted in total fulfillment of the requirements for the degree of Doctor of Philosophy. Bibliography: p. 241-250. Also available in an electronic format via the internet.

Thesis (M. Div.)--Trinity International University, 2008. / Abstract. Includes bibliographical references (leaves 65-69).

Mémoire (M.A.)-- Université du Québec à Chicoutimi, 1988. / Ce travail a été réalisé à l'Université du Québec à Chicoutimi dans le cadre du programme de maîtrise en arts plastiques extentionné de l'Université du Québec à Montréal à l'Université du Québec à Chicoutimi. CaQCU Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995. / Résumé disponible sur Internet. Accompagné d'une vidéocassette, sous la cote +N-16038. Le titre de la vidéocassette varie. Guy Bonneau et Martine Fortin ont utilisé le même film dans la rédaction de leur communication. CaQCU CaQCU CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU

Mémoire (M.A.)--Université du Québec à Chicoutimi, 1995. / Accompagné d'une vidéocassette, sous la cote +N-16038. Le titre de la vidéocassette varie. Martine Fortin et Guy Bonneau ont utilisé le même film dans la rédaction de leur communication. CaQCU CaQCU CaQCU Document électronique également accessible en format PDF. CaQCU