A work of architecture holds the observations of the architect, an accumulation of images, feelings and sensations. These remain largely detached and invisible to the casual observer, occasionally becoming apparent as an idea is glimpsed through an external point of observation. The research has looked to redefine the paradigms of observation, that define the way architecture is seen and interpreted, by exploring attachments to places and belief systems. It has followed a journey within practice. Part of this journey has been about locating the aesthetic and metaphysical experience of architecture within its physical and operational realities. The research is an observation of the architect experiencing, as an observer, himself, his place in the world, and of the cities and spaces that occupy his imagination. By observing the interface between things that have defined career and identity, an architectural narrative has been developed to describe how an architect' s persona, what he lives through and the memories that he carries with him have been and can continue to be condensed into his work. Beauty resides in the interface between these things and ultimately, the fixed reality of the work. The search is characterised by the appearance of The Blue Room. It is a metaphorical place representing both the present and the un-created future. The Blue Room is a metaphor for all of the emotions that rest behind the evolution of an architectural idea and which remain embedded within it as a finished work. It is a metaphor for beauty and a metaphor for loss and sadness, all of the things that exist in-between the idea and the representation of that idea; between the visible and the invisible. It also represents the inherent paradox of the architectural work in that the idea is never the same as it is first imagined; in its finished form it is both the space of the architect and the client.

This practice-led PhD project consists of two sections: the first examines a breakdown of the components of film genre to be used as practical guideposts for my own creative practice as a screenwriter and (hopefully in the future) for other screenwriters; the second section contains my practical application – first acts of three screenplays that are constructed utilizing my research and subsequent assessments. Using a theoretic construct presented in the area of philosophy in the 1990s by cognitive theorist Gilles Fauconnier called ‘mental space’, a concept exploring a person’s natural inclination to construct a comprehensible idealized cognitive model (ICM) of any given situation in order to understand his or her role in it (Fauconnier 1994:8), I examine how Fauconnier’s concept can be applied to building a film narrative and specifically how it can be applied to a screenwriter’s understanding and breaking down of the components of film genre. I also employ the work of scholars focused on the audience’s reception, especially the reception of film genre. In the practical section of my practice-led PhD, the writing of the first acts of three screenplays that share location, similar core cast of characters and plot points but are constructed in three distinctly different film genres (western, horror, romantic comedy), I endeavor to apply elements I have termed the ‘mental space of film genre’ in order to determine the adjustments and changes necessary to move narrative from one genre to another in order to fulfill various genre perimeters and genre expectations. This work is meant to increase a screenwriter’s technical skills in the craft of screenwriting.

This thesis investigates a typology of interiors that evoke the sensation of containing the whole world in miniature. It explores the reverie of something being able to expand as you go deeper; that is, something which seems like it is a complete world, or appears larger than it is. It is about making a space for the mind to rest in, and as it rests, go deeper and thus reach outside of the walls of the space. In a way, it might be about achieving complexity and great depth through small means. The questions that this thesis poses are the following: What kind of spatial reality is being miniaturized? How can something small be large, something flat be deep, somethings imple be complex? How can a whole be greater than its parts? What are the appropriate means of representation for these types of interiors? As a side effect, I think this investigation is ultimately also about the pure joy of creating, and about genuine warmth, empathy, atmosphere, and an inclusive sense of humour, which allows for quirks and flights of fancy.

Trygghet är ett av de viktigaste och grundläggande kraven som finns på ett samhälle. Dess betydelse uppstår från folks rätt att känna sig trygga i sin omgivning. Denna studie ämnar att diskutera frågor som rör tryggheten i en stad, faktorer som kan påverka känslan av trygghet och hur man kan stärka trygghet med byggd miljö. Arbetet presenterar en fallstudie baserad på Annelund området. Annelund är ett litet bostadsområde som ligger i Malmö. Det är väl rapporterat att invånarna i Annelund känner sig mycket otrygga. Det huvudsakliga syftet med detta arbete är att fördjupa förståelsen av de faktorer som påverkar trygghetsnivån i Annelund. Vidare syftar studien också till att föreslå förbättringar som kan göras för att det ska kännas tryggare för de som bor och vistas i området. Aspekter som rör trygghetsnivån i trakten har analyseras med hjälp av litteraturstudier, plats observationer och intervjuer. Studien visar att den byggda miljön är en viktig faktor som påverkar tryggheten av en plats; dock visar studien också att bredare insatser behövs för att främja utvecklingen av en trygg stad. Detta eftersom Annelund faktiskt är ett lugnt område med ganska låg brottslighet där den byggda miljön är bra; men invånarna känner sig fortfarande mycket otrygga där på grund av sin omgivning d.v.s., på grund av de olagliga aktiviteter som sker på Norra Grängesbergsgatan. Under denna studie konstaterades det att gatan verkar vara ganska stökig kunde även observera att det fysiska rummet är dåligt planerat. Vilket gör att gatan blir lämplig för olagliga aktiviteter. Således rekommenderar denna studie att ändra de fysiska aspekterna av gatan för att minska de olagliga aktiviteterna som sker i Norra Grängesbergsgatan. Detta kan resultera i att invånarna i Annelund känner sig tryggare. / Safety is one of the main fundamental requirements of a society. It`s importance arises from peoples right to feel safe within their premises. This thesis attempts to address some questions about safety in a city, factors that can affect feeling of safety and how to endorse safety in built environment. This work presents a case study based on Annelund area. Annelund is located in Malmö, Sweden. The residents of Annelund are reported to feel unsafe in their neighbourhood. The main purpose of this work is to deepen understanding of the factors that affect the perceived safety level in Annelund. The work also aims to suggest improvements that can be made so that the residents in Annelund can feel safer. Aspects related to the safety level of the neighbourhood are analysed by means of literature studies, site observations and interviews. The study shows that the built in environment is an important factor that affects the safety of a place; however, the study also highlights that broader efforts are needed to promote the development of a safe city. This, because Annelund is actually a quiet area with low crime rate where the physical space is relatively good but, still the inhabitants feel very unsafe due to their surrounding neighbourhood that have its basis in the illegal activities that occurs in Norra Grängesbergsgatan. During this study, it was observed that this place seems to be a troubled street where physical space is poorly planned. Due to this the street is suited for some illegal activities. Thus, this study recommends changing the physical aspects of the street to reduce illegal activities in Norra Grängesbergsgatan. This could ultimately lead to higher and improved safety level in Annelund.

O objetivo desta dissertação é descrever o comportamento do primitivo discursivo PONTO DE VISTA como proposto na teoria de espaços mentais (FAUCONNIER 1994, 1997) em duas narrativas em espanhol andino colombiano de Aldana. As narrativas foram extraídas de um corpus de entrevistas etnográficas colhido por Valentina Arango Villalón em 2011, em Aldana, na fronteira sul da Colômbia. Essas narrativas são fruto de uma entrevista feita por Arango Villalón e colegas com Manuel Erira, indígena pasto habitante da Reserva Indígena Pasto de Pastás em Aldana. Nelas, Erira explica a proveniência de alguns mitos e conta a história dos antepassados. Transcrevi as narrativas utilizando o software ELAN (desenvolvido pelo Max Planck Institute for Psycholinguistics) e utilizando unidades entoacionais (CHAFE, 1994) como unidade de segmentação do fluxo da fala. Uma vez transcritas as narrativas, apliquei o modelo da etnopoética de Hymes (1994), que resultou na organização das narrativas segundo a sucessão e repetição de elementos significativos da estruturação da ação. Finalmente, apliquei o modelo de espaços mentais à análise das duas narrativas seguindo as propostas de Fauconnier (1994, 1997), Cutrer (1994), Doiz-Bienzobas (1995), Tenuta (2006) e Tenuta e Lepesqueur (2014), dando especial atenção ao comportamento do primitivo discursivo PONTO DE VISTA. Discuti a possibilidade de compatibilizar a noção de PONTO DE VISTA como descrita no modelo de espaços mentais com o conceito de focalização no estudo de narrativas proposto por Genette (1980). Esta dissertação aponta para a possibilidade de que o primitivo PONTO DE VISTA seja uma categoria híbrida que descreve, em um primeiro momento o espaço mental a partir do qual outros espaços mentais são criados/acessados, e em um segundo momento o espaço a partir do qual se conceitualizam os eventos sendo elaborados no espaço FOCO. A dissertação mostra também como a proposta de Doiz-Bienzobas (1995), de que os espaços IMPERFECTIVOS têm um PONTO DE VISTA interno associado a um self-experienciador, se relaciona com a segunda característica do primitivo discursivo em questão, ou seja, ser o espaço a partir do qual se conceitualizam os eventos sendo elaborados no espaço FOCO. Finalmente, a dissertação mostra como o conceito de focalização em Genette (1980) não é equiparável ao primitivo discursivo PONTO DE VISTA no modelo de espaços mentais. / The objective of this dissertation was to describe the behavior of the VIEWPOINT discourse primitive, as proposed by mental spaces theory (FAUCONNIER 1994, 1997), in two narratives in Colombian Andean Spanish from Aldana. The narratives are part of a corpus of ethnographic interviews collected by Valentina Arango Villalón in 2011 in Aldana, on the southern border of Colombia. The narratives emerged in an interview conducted by Arango Villaón and colleagues with Manuel Erira, native to the Pasto Indigenous People of Pastás, in Aldana. In the narratives, Erira explains the origins of some myths and tells the story of his predecessors. I transcribed the narratives using ELAN (developed by the Max Planck Institute for Psycholinguistics) and the concept of intonation units (CHAFE, 1994) as units for the segmentation of the speech flow. I used Hymes´s(1994) model of ethnopoetics for the analysis of narrative structure, which resulted in an organization that responded to the succession and repetition of meaningful elements of action structure. I applied the model of mental spaces following Fauconnier (1994, 1997), Cutrer (1994), Doiz-Bienzobas (1995), Tenuta (2006) and Tenuta & Lepesqueur (2014), giving special attention to the discourse primitive VIEWPOINT. I discussed the possibility of matching the concept of VIEWPOINT as described in mental space theory and the concept of focalization as proposed by Genette (1980) in his study of narrative discourse. This dissertation shows the possibility of VIEPOINT being a hybrid category that describes first the mental space from which other spaces are created/accessed, and secondly the mental space from which the events described in FOCUS space are conceptualized. The dissertation also shows how Doiz- Bienzobas (1995) statement that IMPERFECTIVE spaces show an internal VIEWPOINT associated with an experiencer-self has to do with the second characteristic of VIEWPOINT stated above, namely that of VIEW POINT being the space from which events in FOCUS space are conceptualized. Finally, the dissertation shows how the notions of VIEWPOINT in mental space theory and focalization in Genettes (1980) are not equivalent.

O objetivo desta dissertação é descrever o comportamento do primitivo discursivo PONTO DE VISTA como proposto na teoria de espaços mentais (FAUCONNIER 1994, 1997) em duas narrativas em espanhol andino colombiano de Aldana. As narrativas foram extraídas de um corpus de entrevistas etnográficas colhido por Valentina Arango Villalón em 2011, em Aldana, na fronteira sul da Colômbia. Essas narrativas são fruto de uma entrevista feita por Arango Villalón e colegas com Manuel Erira, indígena pasto habitante da Reserva Indígena Pasto de Pastás em Aldana. Nelas, Erira explica a proveniência de alguns mitos e conta a história dos antepassados. Transcrevi as narrativas utilizando o software ELAN (desenvolvido pelo Max Planck Institute for Psycholinguistics) e utilizando unidades entoacionais (CHAFE, 1994) como unidade de segmentação do fluxo da fala. Uma vez transcritas as narrativas, apliquei o modelo da etnopoética de Hymes (1994), que resultou na organização das narrativas segundo a sucessão e repetição de elementos significativos da estruturação da ação. Finalmente, apliquei o modelo de espaços mentais à análise das duas narrativas seguindo as propostas de Fauconnier (1994, 1997), Cutrer (1994), Doiz-Bienzobas (1995), Tenuta (2006) e Tenuta e Lepesqueur (2014), dando especial atenção ao comportamento do primitivo discursivo PONTO DE VISTA. Discuti a possibilidade de compatibilizar a noção de PONTO DE VISTA como descrita no modelo de espaços mentais com o conceito de focalização no estudo de narrativas proposto por Genette (1980). Esta dissertação aponta para a possibilidade de que o primitivo PONTO DE VISTA seja uma categoria híbrida que descreve, em um primeiro momento o espaço mental a partir do qual outros espaços mentais são criados/acessados, e em um segundo momento o espaço a partir do qual se conceitualizam os eventos sendo elaborados no espaço FOCO. A dissertação mostra também como a proposta de Doiz-Bienzobas (1995), de que os espaços IMPERFECTIVOS têm um PONTO DE VISTA interno associado a um self-experienciador, se relaciona com a segunda característica do primitivo discursivo em questão, ou seja, ser o espaço a partir do qual se conceitualizam os eventos sendo elaborados no espaço FOCO. Finalmente, a dissertação mostra como o conceito de focalização em Genette (1980) não é equiparável ao primitivo discursivo PONTO DE VISTA no modelo de espaços mentais. / The objective of this dissertation was to describe the behavior of the VIEWPOINT discourse primitive, as proposed by mental spaces theory (FAUCONNIER 1994, 1997), in two narratives in Colombian Andean Spanish from Aldana. The narratives are part of a corpus of ethnographic interviews collected by Valentina Arango Villalón in 2011 in Aldana, on the southern border of Colombia. The narratives emerged in an interview conducted by Arango Villaón and colleagues with Manuel Erira, native to the Pasto Indigenous People of Pastás, in Aldana. In the narratives, Erira explains the origins of some myths and tells the story of his predecessors. I transcribed the narratives using ELAN (developed by the Max Planck Institute for Psycholinguistics) and the concept of intonation units (CHAFE, 1994) as units for the segmentation of the speech flow. I used Hymes´s(1994) model of ethnopoetics for the analysis of narrative structure, which resulted in an organization that responded to the succession and repetition of meaningful elements of action structure. I applied the model of mental spaces following Fauconnier (1994, 1997), Cutrer (1994), Doiz-Bienzobas (1995), Tenuta (2006) and Tenuta & Lepesqueur (2014), giving special attention to the discourse primitive VIEWPOINT. I discussed the possibility of matching the concept of VIEWPOINT as described in mental space theory and the concept of focalization as proposed by Genette (1980) in his study of narrative discourse. This dissertation shows the possibility of VIEPOINT being a hybrid category that describes first the mental space from which other spaces are created/accessed, and secondly the mental space from which the events described in FOCUS space are conceptualized. The dissertation also shows how Doiz- Bienzobas (1995) statement that IMPERFECTIVE spaces show an internal VIEWPOINT associated with an experiencer-self has to do with the second characteristic of VIEWPOINT stated above, namely that of VIEW POINT being the space from which events in FOCUS space are conceptualized. Finally, the dissertation shows how the notions of VIEWPOINT in mental space theory and focalization in Genettes (1980) are not equivalent.

L’affabulation homodiégétique et la métafiction étant souvent utilisées, quand il s’agit de migrants narrateurs, cette recherche porte sur l’étude de la figure du migrant narrateur dans les romans italiens publiés entre 2001 et 2014 et adopte une approche comparative par rapport aux techniques, symboles et connexions historiques liés à l’utilisation de la métafiction. En comparant la multitude de techniques narratives qu’entraîne la métafiction ainsi que les thématiques véhiculées par ces techniques, il s’agira d’établir les points communs dans la façon dont ces romans utilisent les outils stylistiques et exploitent les thèmes liés à la métafiction afin de déterminer, le cas échéant, la cohérence de l’utilisation de la métafiction dans ces romans. / Since homodiegetic narration and metafiction are often used when there are migrant narrators in Italian contemporary novels, my PhD project focuses on migrant narrators characters in the Italian novels published between 2001 and 2014 and proposes a comparative study of technics, symboles and historical connections connected to metafiction. The aim is to compare the various narrative metafictional technics and their themes in order to find common ways in which these novels use stylistic elements and develop themes connected to metafiction to confirm a coherent use of metafiction in these novels.

Denna studie undersöker hur programledare i ett tv-program för teckenspråkiga ungdomar använder sig av token blend i svenskt teckenspråk. Det teoretiska ramverket för studien är mental space theory som hämtats från kognitiv lingvistik och har vidareutvecklas för teckenspråk av den amerikanske lingvisten Scott Liddell. Inom denna teori är man bland annat intresserad av att studera hur det tomma området framför kroppen kan ge mening i teckenspråket. Studien visar att bruket av token blend är vanligt i redaktionella texter som presenteras i ett tv-program. Stödanteckningar på skriven svenska tycks inte påverka bruket av token blend. Frekvensen av token blend är jämförbar med en sakprosatext som framförs utan skrivet manuskript. Däremot är blicken riktad mot kamerorna och knappast alls mot token, vilket annars är vanligt i spontant språkbruk.

In this thesis, the phenomenon of intercategorial polysemy is approached from two related but previously unconnected perspectives, namely that of linguistic creativity and mental representation. It is argued that the creativity that is part and parcel of the linguistic abilities of each and every human being, has been neglected in the study of linguistics, and should, in fact, form the basis of studies such as these in cognitive lexical creativity. It is argued that structural productivity (the generative view of linguistic creativity) and conceptual creativity lie on a continuum, the middle ground of which is covered by phenomena which are both productive and creative and which have both a formal and a semantic aspect to them. One such a phenomenon is intercategorial polysemy. Explaining the way in which speakers of a language such as English can systematically and productively produce and interpret words that belong to more than one syntactic category (for example, hammerN - hammerV, tableN - tableV, skyN - skyV), which may range from the conventionalised to the completely innovative, has long been a problem for linguists. Traditional morphological accounts involving theoretical notions such as zero derivation have always been found to be inadequate, mostly because zero derivation does not account for the variation in meaning and the background knowledge that is needed to produce and interpret novel instances. The main problem addressed in this thesis then is the question as to the nature of the lexical knowledge of speakers and its mental representation, so that it can form the basis for the cognitive processes that will enable language users to be linguistically creative. Various theoretical models that have been proposed to account for intercategorial polysemy, namely the representationalderivational model, the network-activation model, as well as the theory of conceptual integration (also called blending), are presented and evaluated in the light of a representative sample of completely novel instances of intercategorial polysemy. / Linguistics / D. Litt. et Phi. (Linguistics)

In this thesis, the phenomenon of intercategorial polysemy is approached from two related but previously unconnected perspectives, namely that of linguistic creativity and mental representation. It is argued that the creativity that is part and parcel of the linguistic abilities of each and every human being, has been neglected in the study of linguistics, and should, in fact, form the basis of studies such as these in cognitive lexical creativity. It is argued that structural productivity (the generative view of linguistic creativity) and conceptual creativity lie on a continuum, the middle ground of which is covered by phenomena which are both productive and creative and which have both a formal and a semantic aspect to them. One such a phenomenon is intercategorial polysemy. Explaining the way in which speakers of a language such as English can systematically and productively produce and interpret words that belong to more than one syntactic category (for example, hammerN - hammerV, tableN - tableV, skyN - skyV), which may range from the conventionalised to the completely innovative, has long been a problem for linguists. Traditional morphological accounts involving theoretical notions such as zero derivation have always been found to be inadequate, mostly because zero derivation does not account for the variation in meaning and the background knowledge that is needed to produce and interpret novel instances. The main problem addressed in this thesis then is the question as to the nature of the lexical knowledge of speakers and its mental representation, so that it can form the basis for the cognitive processes that will enable language users to be linguistically creative. Various theoretical models that have been proposed to account for intercategorial polysemy, namely the representationalderivational model, the network-activation model, as well as the theory of conceptual integration (also called blending), are presented and evaluated in the light of a representative sample of completely novel instances of intercategorial polysemy. / Linguistics and Modern Languages / D. Litt. et Phi. (Linguistics)