This thesis explores the theoretical, psychological, and phenomenological notions of the singular personal memory and the collective memory through civic architecture. The main design guidelines are inspired by the ancient teachings on the mnemonics of rhetoric and the phenomenology of the imagination. This thesis uses architecture and space as a medium to be an interpretative tool of narrating the sequential event of the Halifax Explosion of 1917. Architecture as an art form can deliberately be created to mimic, represent, and express key moments of an event, which when experienced individually through the duality between body, memory, and light, the personal memory becomes the primary mode of story-telling. The civic collective memory is always changing dependent on time and intentional involvement. These processes are recorded through theoretical texts, drawings, and physical models that serve as interpretive tools for the haptic dialectics of memory, imagination, phenomenology, and the play on atmospheric emotions.

В диссертации исследуются способы «воображения» нации в произведениях Николая Карамзина малых жанров. В отличие от существующей традиции исследования проблематики нации в творчестве Карамзина, в диссертации анализируется не совокупность идей писателя, но поэтика нации в самих текстах. Конститутивными элементами ее поэтики полагаются пространство, время и эмоции, значения которых систематически исследуются в его панегирических, политических и художественных текстах. Такой исследовательский ракурс позволяет раскрыть связь между эстетическим измерением текста и политическим воображением писателя. В работе показывается, что специфика значений элементов поэтики нации раскрывается посредством эстетических категорий возвышенного и прекрасного (понимаемых, основываясь на эстетике Эдмунда Берка), которые, в свою очередь, связаны с реалистической и утопической тенденциями его политического мышления. Кроме того, в диссертации рассматриваются особенности взаимодействия между поэтикой нации и империи. Работа имеет междисциплинарный характер, так как в ней учитываются различные подходы, применяемые в других областях (историй эмоций и идей, эстетике, политической теории), прямо или косвенно связанных с исследованиями проблематики нации. В диссертации применяется конструктивистский подход, а также структурный метод анализа. / Disertacijoje yra tiriama, kokiu būdu yra „įsivaizduojama“ tauta Nikolajaus Karamzino mažųjų žanrų kūriniuose. Skirtingai nuo esančios tautos problematikos tyrinėjimo tradicijos Karamzino kūryboje, disertacijoje dėmesys yra sutelkiamas ne į rašytojo idėjų visumą, ar tautos sampratos analizę, bet į jos poetikos tyrimą pačiuose tekstuose. Pagrindiniais tautos poetikos elementais yra laikomi erdvė, laikas bei emocijos, kurių reikšmės yra sistemingai analizuojamos panegiriniuose, politiniuose bei grožiniuose Karamzino tekstuose. Šitoks tyrinėjimo rakursas leidžia atskleisti ryšį tarp estetinio teksto lygmens ir rašytojo politinės „vaizduotės“. Darbe yra parodoma, kad tautos poetikos elementų reikšmių specifika atsiskleidžia per estetines grožio bei pakylėtumo kategorijas (suprantamas, remiantis Edmundo Berko estetika), kurios, savo ruožtu, yra susijusios su rašytojo realistine bei utopine politinio mąstymo tendencija. Be to, darbe yra išryškinami sąveikos ypatumai bei skirtumai tarp tautos ir imperijos poetikos. Darbas yra tarpdisciplininio pobūdžio, kadangi jame yra atsižvelgiama į įvairias prieigas, taikomas kitose mokslo srityse (emocijų ir idėjų istorijoje, estetikoje, politinėje teorijoje), tiesiogiai ar netiesiogiai susijusias su tautos problematikos nagrinėjimu. Disertacijoje yra laikomasi konstruktyvistinės prieigos, atsisakančios esencializuoti reiškinius, bei taikomas struktūrinis analizės metodas. / The dissertation is devoted to the question how the nation is “imagined” in Nikolaj Karamzin’s works of the small genre. Unlike the existing tradition of researches of the problematics of the nation in Karamzin’s works, in this doctoral thesis attention is focused not on the set of his ideas, or on analysis of the concept of the nation, but on the poetics of the nation his texts on their own. The main elements of the poetics of the nation are considered to be space, time and emotions, whose meanings are systematically analyzed in Karamzin’s panegyric, political and prose fiction texts. Such study perspective allows revealing a connection between aesthetic dimension of the text and his political “imagination”. It is shown that the meaning of the elements of the poetics of the nation is defined through the categories of the sublime and the beautiful (understood basing on Edmund Burke’s aesthetics) that, in turn, are related to realistic and utopian tendency in Karamzin’s political “imagination”. Besides, the work highlights the peculiarities of the interrelation between the poetics of the nation and the empire in his texts. It has an interdisciplinary character, because it draws on different approaches applied in various areas of science (history of ideas and emotions, aesthetics, political theory) directly or indirectly related to analysis of the problematics of the nation. The dissertation uses the constructivist approach and structural method of analysis.

Disertacijoje yra tiriama, kokiu būdu yra „įsivaizduojama“ tauta Nikolajaus Karamzino mažųjų žanrų kūriniuose. Skirtingai nuo esančios tautos problematikos tyrinėjimo tradicijos Karamzino kūryboje, disertacijoje dėmesys yra sutelkiamas ne į rašytojo idėjų visumą, ar tautos sampratos analizę, bet į jos poetikos tyrimą pačiuose tekstuose. Pagrindiniais tautos poetikos elementais yra laikomi erdvė, laikas bei emocijos, kurių reikšmės yra sistemingai analizuojamos panegiriniuose, politiniuose bei grožiniuose Karamzino tekstuose. Šitoks tyrinėjimo rakursas leidžia atskleisti ryšį tarp estetinio teksto lygmens ir rašytojo politinės „vaizduotės“. Darbe yra parodoma, kad tautos poetikos elementų reikšmių specifika atsiskleidžia per estetines grožio bei pakylėtumo kategorijas (suprantamas, remiantis Edmundo Berko estetika), kurios, savo ruožtu, yra susijusios su rašytojo realistine bei utopine politinio mąstymo tendencija. Be to, darbe yra išryškinami sąveikos ypatumai bei skirtumai tarp tautos ir imperijos poetikos. Darbas yra tarpdisciplininio pobūdžio, kadangi jame yra atsižvelgiama į įvairias prieigas, taikomas kitose mokslo srityse (emocijų ir idėjų istorijoje, estetikoje, politinėje teorijoje), tiesiogiai ar netiesiogiai susijusias su tautos problematikos nagrinėjimu. Disertacijoje yra laikomasi konstruktyvistinės prieigos, atsisakančios esencializuoti reiškinius, bei taikomas struktūrinis analizės metodas. / The dissertation is devoted to the question how the nation is “imagined” in Nikolaj Karamzin’s works of the small genre. Unlike the existing tradition of researches of the problematics of the nation in Karamzin’s works, in this doctoral thesis attention is focused not on the set of his ideas, or on analysis of the concept of the nation, but on the poetics of the nation his texts on their own. The main elements of the poetics of the nation are considered to be space, time and emotions, whose meanings are systematically analyzed in Karamzin’s panegyric, political and prose fiction texts. Such study perspective allows revealing a connection between aesthetic dimension of the text and his political “imagination”. It is shown that the meaning of the elements of the poetics of the nation is defined through the categories of the sublime and the beautiful (understood basing on Edmund Burke’s aesthetics) that, in turn, are related to realistic and utopian tendency in Karamzin’s political “imagination”. Besides, the work highlights the peculiarities of the interrelation between the poetics of the nation and the empire in his texts. It has an interdisciplinary character, because it draws on different approaches applied in various areas of science (history of ideas and emotions, aesthetics, political theory) directly or indirectly related to analysis of the problematics of the nation. The dissertation uses the constructivist approach and structural method of analysis. / В диссертации исследуются способы «воображения» нации в произведениях Николая Карамзина малых жанров. В отличие от существующей традиции исследования проблематики нации в творчестве Карамзина, в диссертации анализируется не совокупность идей писателя, но поэтика нации в самих текстах. Конститутивными элементами ее поэтики полагаются пространство, время и эмоции, значения которых систематически исследуются в его панегирических, политических и художественных текстах. Такой исследовательский ракурс позволяет раскрыть связь между эстетическим измерением текста и политическим воображением писателя. В работе показывается, что специфика значений элементов поэтики нации раскрывается посредством эстетических категорий возвышенного и прекрасного (понимаемых, основываясь на эстетике Эдмунда Берка), которые, в свою очередь, связаны с реалистической и утопической тенденциями его политического мышления. Кроме того, в диссертации рассматриваются особенности взаимодействия между поэтикой нации и империи. Работа имеет междисциплинарный характер, так как в ней учитываются различные подходы, применяемые в других областях (историй эмоций и идей, эстетике, политической теории), прямо или косвенно связанных с исследованиями проблематики нации. В диссертации применяется конструктивистский подход, а также структурный метод анализа.

No description available.

Today, individuals can relatively easily meet and communicate with each other over great distances due to increased mobility and advances in communication technology. This also allows intimate relationships to be maintained over large geographical distances. Despite these developments, long-distance relationships (LDRs), i.e. intimate relationships maintained over geographical distance, remain understudied. The present thesis aims to fill this knowledge gap and investigates how intimate partners who live so far away from each other that they cannot meet every day make their relationship ongoing beyond face-to-face interaction. Theoretically, this study departs from a symbolic interactionist viewpoint that invites us to study phenomena from the actor’s perspective. Conceptually, the thesis builds on the recent development in sociology of intimate lives that sees intimacy as a relational quality that has to be worked on to be sustained, and that focuses on the practices that make a relationship a relationship. Empirically, the thesis is based upon 19 in-depth interviews with individuals from Latvia with long-distance relationship experience. The thesis consists of four articles. Article I studies the context in which LDRs in Latvia are maintained, focusing on the normative constraints that complicate LDR maintenance. Article II analyses how intimacy is practiced over geographical distance. Article III examines how long-distance partners manage the experience of the time they are together and the time they are geographically apart. Article IV explores the aspect of idealization in LDRs. Overall, the thesis argues for the critical role of imagination in relationship maintenance. The relationship maintenance strategies identified within the articles are imagination-based mediated communication (creating sensual/embodied intimacy, emotional intimacy, daily intimacy and imagined individual intimacy); time-work strategies that enable long-distance partners to deal with the spatiotemporal borders of the time together and the time apart; and creating bi-directional idealization. The thesis is also one of the few works in the field of intimate lives in Eastern Europe and analyses the normative complications that long-distance partners face in their relationship maintenance in Latvia.

My degree project consists of several parts: a theorethical essay, sketches, modells, photos, experiments and an installation showed at Konstfack Spring Exhibition 2014. Departing from the infamous Fredric Jameson quote ”It’s easier to imagine the end of the world than the end of capitalism” I have investigated the relationship between play, daydreaming and economical system. Political scientist Wendy Brown has argued that we exist at a time in history where we have an urgent need for alternative spaces, both in the physical room and in the mind, where an alternative longing can grow. In my degree project I have taken a closer look at this space – what could it be, how does it work, what would it look like if it was made real? By exploring play theory I try to understand how and if play can be triggered and how this can be translated into a space. By deepening my knowledge about imagination and the relation between imagination and social development, I try to seek answers to how play can be used as a starting point for change. By treating play as a space in a double sense – both as a physical room and a special place inside us, I explore the possibilities this space has for creating new dreams. This is also a project where I try to restore my own belief in storytelling as something beyond escapism. Aiming to create an in-between, a fusion between scenography, illustration and installation, I seek to create a platform where my work can be the basis for new discussions and meetings. By exploring the performative elements of a room I want to invite the visitor to enter the image and merge with the content. I want to create a work that embraces the visitor and that can be experienced on many different levels depending on the visitor’s interest, age and prerequisites. The essay consists of three parts. My project started with an analysis of the current economical situation. In the first part of this essay I make a summary of this research, and give a brief background to my experiences working in the gap of storytelling and economics. In the second part I will investigate the basic functions of imagination and play, and see how our longing is linked to the development of society. In the third part I will talk about the physical outcome of my project - my process, choices, difficulties and conclusions. For practical reasons I have choose to put all images in a separate appendix at the end. These images shows extracts from my artistic process as well as a documentation of the installation showed at the Spring Exhibition.

Short stories follows five different characters as they attempt to develop their earliest artistic impulses. Through the use of young protagonists, these stories demonstrate the ways in which our earliest experiences with loss and trauma often create a space for imaginative discovery; the collection reveals that it is the uniqueness of this space, this blend of premature emotional depth and naïve whimsy, that opens up new psychological possibilities for the child-artist. Meant to be read as a collection of intimate character sketches, these stories reveal the artist's intensely visual approach toward growth and maturity. Several stories concentrate specifically on what it means to sustain one's imagination into adulthood, while others use flashbacks to demonstrate the profound influence of childhood memories on adult behavior. / Taylor's stories -- You'll call her tomorrow -- Where to look -- Filling in the gaps -- Certainly not me. / Department of English

Šiame darbe teoriškai nagrinėjamas vaizuotės ir tikrovės santykis stop kadro animacijoje, toliau santykio tarp vaizduotės ir tikrovės interpretaciją pateikiant muzikiniame stop kadro animaciniame klipe. Teorinėje darbo dalyje analizuojama vaizduotės samprata apibrėžiant ir atskiriant vaizduotės ir fantazijos sąvokas. Aptariama tikrovės sąvoka ir keliamas jos realumo klausimas. Taip pat aptariama daiktiškumo ir fenomenologijos svarba tikrovei. Analizuojami vaizduotės šaltiniai: prisiminimo reprezentacija ir dabarties motyvacija vaizduotei. / In this work imagination and reality relation in stop-motion animation is analyzed theoretically, in which later those insights will be reflected and interpreted in a stop-motion animation music clip. The theoretical part of this work, the conception of imagination, is analyzed by defining and distinguishing the concept of imagination and phantasy. It discusses the concept of reality. Also the importance of materiality and the phenomenology to reality is discussed. The source of imagination is analyzed: representation of memories and motivation of present to imagination.

No description available.

Ottoman poerty comprised different genres, each reflecting an attitude towards Ottoman social order, gave rise to ritualized practices. Gazel poetry, performed in gardens, was an expression of Ottoman Orthodox society. Sehrengiz, performed in city spaces, was an expression of heterodox groups following after the ideals of the 13th c. philosopher Ibn al&#039 / Arabi who proposed a theory of &quot / creative imagination&quot / and a three tiered definition of space: the ideal, the real, and the intermediary. In gazel rituals, Ottoman orthodox society reasserted the primacy of group over the individual in ideal and real garden spaces. In Sehrengiz rituals, on the contrary, marginal groups from the early 16th c. to the early 18th c. emphasized the auonomy of individal self and aimed at reconciling orthodox and heterodox worlds, and thus their spaces and inhabitants in ideal spaces of sufi imagination and real spaces of the city. In the early 18th c. liminal expressions of these marginal groups gave rise to new urban rituals adopted by the Ottoman court society and expressed in the poetry of Nedim. owever, this cultural revolution of the Otoman court came to an end with theevents of 1730, marking a turning point in the modernization of Ottoman culture that had its roots in the early 16th c. as a marginal protest movement and pursued itself afterwards until the early 18th c. as a movement of urban space reform.