This thesis examines the American novelist Norman Mailer’s relationship to the 20th century avant-garde. Mailer is often remembered as a pioneer in the new documentary modes of subjective non-fiction of the sixties. Looking beyond the decade’s themes of fact and fiction, this thesis opens up Mailer’s aesthetics in general to other areas of historical and theoretical enquiry, primarily art history and psychoanalysis. In doing so, it argues that Mailer’s work represents a thoroughgoing aesthetic and political response to modernism in the arts, a response that in turn fuels a critical opposition to postmodern aesthetics. Two key ideas are explored here. The first is narcissism. In the sixties, Mailer was an avatar of what Christopher Lasch called the “culture of narcissism”. The self-advertising non-fiction was related to an emerging postmodern self-consciousness in the novel. Yet the myth of Narcissus has a longer history in the story of modernist aesthetics. Starting with the concept’s early articulation by Freudian psychoanalysis, this thesis argues that narcissism was for Mailer central to human subjectivity in the 20th century. It was also a defining trait of technological modernity in the wake of the atom bomb and the Holocaust. Mailer, then, wasn’t just concerned with the aesthetics of narcissism: he was also deeply concerned with its ethics. Its logic is key to almost every major theme of his work: technology, war, fascist charisma, sexuality, masculinity, criminality, politics, art, media and fame. This thesis will also examine how narcissism was related for Mailer to themes of trauma, violence, facing and recognition. The second idea that informs this thesis is the theoretical question of “the real”. A later generation of postmodernists thought that Mailer’s initially radical work was excessively grounded in documentary and traditional literary realism. Yet while the question of realism was central for Mailer, he approached this question from a modernist standpoint. He identified with the modernist perspectivism of Picasso and his eclectic “attacks on reality”, and brought this modernist humanism to a critical analysis of postmodernism. The postwar (and ongoing) debates about postmodern and realism in the novel connect in Mailer, I argue, to what Hal Foster calls the “return of the real” in the 20th century avant-garde. This thesis also links Mailer to psychoanalytical views on trauma and violence; anti-idealist philosophy in Bataille and Adorno; and later postmodern art historical engagements with realism and simulation. Mailer’s view was that a hunger for the real was an effect of a desensitising (post)modernity. While the key decade is the sixties, the study begins in 1948 with Mailer’s first novel The Naked and the Dead, and ends at the height of the postmodern eighties. Drawing on a range of postmodern theory, this thesis argues that Mailer’s fiction sought to confront postmodern reality without ceding to the absurdity of the postmodern novel. The thesis also traces Mailer’s relationship to a range of contemporary art and visual culture, including Pop Art (and Warhol in particular), and avant-garde and postmodern cinema. This study also draws on a broad range of psychoanalytical, feminist and cultural theory to explore Mailer’s often troubled relationship to narcissism, masculinity and sexuality. The thesis engages a complex history of feminist perspectives on Mailer, and argues that while feminist critique remains necessary for a reading of his work, it is not sufficient to account for his restless exploration of masculinity as a subject. In chapter 7, the thesis also discusses Mailer’s much-criticised romantic fascination with black culture in the context of postcolonial politics.

Esta tese de doutorado tem como objeto de pesquisa o cenário de crise que envolve o desenvolvimento da arquitetura, do urbanismo e do planejamento urbano no Brasil no período compreendido entre a segunda metade do século XX e os primeiros anos do século XXI. Essa constatação se originou na análise das contradições entre os objetivos vislumbrados pela Arquitetura Moderna Brasileira, escola que definiria os rumos dessa produção e seus resultados. Um dos principais pontos de seu programa central foi a defesa da emancipação do homem, através da transformação de seu espaço. No entanto, sua produção passaria a expressar limites críticos a partir do momento em que as características assumidas pelo processo de modernização brasileiro, resultantes de sua forma de desenvolvimento no atual estágio do capitalismo, inviabilizaria a emancipação desejada e produziria cidades marcadas pela precariedade material e social. A hipótese central desenvolvida nesta tese trata das relações entre o caráter crítico - no sentido de se manifestar como uma situação perene de crise - da produção de arquitetura, urbanismo e planejamento urbano no Brasil e a formas particulares de desenvolvimento da crise do processo de modernização no país. / The research subject of this doctoral thesis was the crisis scenario that involves the development of architecture, urbanism and urban planning in Brazil in the period between the second half of the twentieth century and the early years of Century XXI. This finding originated in the analysis of the contradictions between the goals envisioned by the Brazilian Modern Architecture, a school that would define the course of this production, and its results. One of the main points of its central program was the defense of human emancipation through the transformation of its space. However, its production would express critical limits from the time when the characteristics assumed by the modernization of Brazil, resulting from its way of development at the present stage of capitalism, would make the desired emancipation and would have cities marked by material and social precariousness. The central hypothesis developed in this thesis deals with the relations between the critical nature - to manifest itself as a perennial state of crisis - of the architecture, urbanism and urban planning production in Brazil and the particular forms of the modernization crisis development in the country.

My dissertation brings together prose texts and poetry by four writers and poets, who published in German language at the beginning of the twentieth century: Hugo von Hofmannsthal (1874-1929), Franz Kafka (1883-1924), Rainer Maria Rilke (1875-1926), and Georg Trakl (1887-1914). All four of these writers are concerned with the inadequacy of language and cognition, the so called Sprachkrise at the turn-of-the-century. In their texts, they challenge the ability of language to function as a means of communication, and as a way to express emotions or relate more deeply to the world. While it is widely recognized that this “crisis of identity” in modernist literature has been a crisis of language all along, I argue in my dissertation that the question of language is ultimately also a question of “the animal.” Other scholars have argued for animals’ poetic agency (e.g. Aaron M. Moe; Susan McHugh), or for the conceptual link between the “crisis of language” and the threat to human exceptionalism in the intellectual milieu of the early twentieth century (Kári Driscoll). My dissertation is the first study that explores the interconnection between Sprachkrise, animality, and the phenomenological philosophy of embodiment. Drawing on Merleau-Ponty’s philosophy of phenomenology, I illustrate how Hofmannsthal, Kafka, Rilke and Trakl invoke the body as intertwined with animals in complex ways, and employ these animal figures to reconceptualize notions of language and specifically the metaphor. The authors, I argue, engage in a zoopoetic writing, as other forms of life participate as both symbolic and material bodies in the signifying processes. Moreover, I illustrate how their zoopoetic approach involve forms of intimacy and envision figures that fall outside heteronormative sexualities and ontologies, making the case for a queer zoopoetics in Modernist German literature.

Pode-se recuar a teorização do restauro de Arquitetura até Winckelmann: sua \"História da Arte\", publicada em Dresde em 1764, apresenta um nível de detalhamento nas descrições e até de processos construtivos gregos e romanos, que transcende as preocupações explícitas com a História da Arte. Seu pensamento é que os remanescentes são os documentos imprescindíveis para se contar a evolução da Arquitetura - nas entrelinhas, ficando a necessidade de sua preservação. No entanto, aceita-se academicamente Ruskin como iniciador da reflexão e teorização. Praticava-se, em seus dias, uma preservação sem critérios seguros que, no seu entendimento, comprometia o valor documental e histórico dos monumentos: as ruínas eram preferíveis a essas obras, entrando aí, como é óbvio, um forte componente do romantismo vigente. Nesse sentido, opunha-se a Violet-le-Duc que defendia como proposta teórica o restauro estilístico. Camillo Boito é quem, na verdade, dá a partida para a teorização que, evoluindo, é a que se aceita até hoje: formula critérios e diretrizes para se pensar o processo de restauro. Suas ideias são desenvolvidas por G.Giovanoni, preparando caminho para as cartas de Atenas e, finalmente, a de Veneza, ainda a \"cartilha\" dos restauradores. Ideias essas que têm sua formulação teórica mais precisa e desenvolvida em Cesare Brandi, em sua \"Teoria da Restauração\". A acelerada evolução tecnológica do século XX - bem como o ingresso, no rol dos bens patrimoniais, das obras do Modernismo - tornou necessário estender a aplicação dos conceitos teóricos às novas tecnologias: - que princípios devem nortear as intervenções restaurativas na Arquitetura Moderna, quando esta estiver focada como patrimônio cultural? - quais as posturas teóricas, quais as reflexões que devem estruturar os pensamentos, antes dos procedimentos técnicos, por parte do arquiteto, diante dos novos problemas propostos pela expansão do universo de bens patrimoniais, englobando a arquitetura modernista? Neste trabalho, procuramos contribuir para essas reflexões e teorizações, conduzindo a um método que entendemos necessário antes da abordagem da obra de restauro. Embora convindo que as obras - como as de qualquer período ou tecnologia - tenham uma individualidade prioritária, há sempre uma base comum que deve ser considerada e a partir da qual evoluem os procedimentos do arquiteto. É para a formação/formatação dessa base comum que pretendemos contribuir com nossa experiência em duas obras importantes do acervo patrimonial do modernismo brasileiro. / You can trace back the theory of architecture restoration to Winckelmann: his \"Art History\", published in Dresden in 1764, presents a level of detail in the descriptions and even about the Greek and Roman construction processes, transcending the explicit concern with Art History. His thinking is that the remainings are the documents necessary to tell the evolution of architecture - in between the lines, stays the need for its preservation. However, Ruskin is accepted as the starter of the reflection and theorization. He practiced during his days a preservation without insurance criteria that in his understanding compromised the documentary and historical value of monuments: the ruins were preferable to those works, bringing an obvious and strong component of the current romanticism. In this sense, his thoughts were opposed to Violet-le-Duc who advocated for the theoretical proposal of the the stylistic restoration. Camillo Boito is who actually started the theory that, evolving, is the one accepted today: it formulates criteria and guidelines to think about the restoration process. His ideas are developed by G.Giovanoni, preparing the way for the letters of Athens and finally to Venice, even the restores \"spelling book\". These ideas that have their theoretical formulation more precise and developed in Cesare Brandi, in his \"Theory of Restoration.\" The rapid technological developments of the 20th century - as well as the entry of the Modernism works in the list of assets - made it necessary to extend the application of theoretical concepts to new technologies: - Which principles should guide the restorative interventions in Modern Architecture, when it is focused as cultural heritage? - What are the theoretical positions, which reflections must structure the thoughts before the technical procedures by the architect before the new problems posed by the expansion of the assets universe, encompassing the modernist architecture? In this paper, we try to contribute to these reflections and theories, leading to a method we have deemed necessary before the restoration work approach. While befitting that the works from any period or technology have a priority individuality, there is always a common basis that should be considered and from which the architect procedures evolve. It is for training / formatting of that common ground we want to contribute our experience in two important works of the net assets of Brazilian modernism.

In this thesis I argue that following Hegel's commitment to both political philosophy and political theory, Max Stirner, Karl Marx and Friedrich Nietzsche take flight from doing political theory in the 'Western' tradition. I demonstrate that Stirner, Marx and Nietzsche all use their own respective notions of political philosophy to criticise the very idea of doing political theory per . re. The evidence for this is to be found in both their refusal to do political theory and in their notions of prophetic agency. I further argue that this development is bound-up with their particular responses to the post-Hegelian milieu of which they were a part. As such, Stirner, Marx and Nietzsche all subscribed to a novel form of secularised eschatology. Although there have been studies of this secularisation thesis before, most notably by Karl Löwith, and groundbreaking though this study is, it is related to the difficult period in which in was written (the 1930's and 40's). Löwith for example, is concerned with the impact that eschatological thought has on the formation of totalitarian regimes more generally. As a result, such studies, which might encapsulate Hegel's own thought, are often rejected as but a species of the kind of eschatological literature which are also held to be necessarily repressive. However, in this thesis I point to an important cleavage between Hegel and his followers: Hegel, despite his eschatological outlook, remains firmly tied to the traditional 'Western' canon in so far as we see his commitment and application to doing political theory, whether descriptive or normative, and as such it is also demonstrably supported by his own political philosophy. Whereas in the case of Stirner, Marx and Nietzsche, their own eschatological projects respectively, are used as weapons in the war against political theory. I demonstrate that this historic cleavage occurs because Stirner, Marx and Nietzsche read eschatology as primarily prophetic and forward looking while Hegel's own eschatology remains ex events. The former look to legitimating particular historical agencies of change while Hegel continues to regard the potential multiplicity's of all political agency from within the most promising liberal institutions of modern society.

Esta tese de doutorado tem como objeto de pesquisa o cenário de crise que envolve o desenvolvimento da arquitetura, do urbanismo e do planejamento urbano no Brasil no período compreendido entre a segunda metade do século XX e os primeiros anos do século XXI. Essa constatação se originou na análise das contradições entre os objetivos vislumbrados pela Arquitetura Moderna Brasileira, escola que definiria os rumos dessa produção e seus resultados. Um dos principais pontos de seu programa central foi a defesa da emancipação do homem, através da transformação de seu espaço. No entanto, sua produção passaria a expressar limites críticos a partir do momento em que as características assumidas pelo processo de modernização brasileiro, resultantes de sua forma de desenvolvimento no atual estágio do capitalismo, inviabilizaria a emancipação desejada e produziria cidades marcadas pela precariedade material e social. A hipótese central desenvolvida nesta tese trata das relações entre o caráter crítico - no sentido de se manifestar como uma situação perene de crise - da produção de arquitetura, urbanismo e planejamento urbano no Brasil e a formas particulares de desenvolvimento da crise do processo de modernização no país. / The research subject of this doctoral thesis was the crisis scenario that involves the development of architecture, urbanism and urban planning in Brazil in the period between the second half of the twentieth century and the early years of Century XXI. This finding originated in the analysis of the contradictions between the goals envisioned by the Brazilian Modern Architecture, a school that would define the course of this production, and its results. One of the main points of its central program was the defense of human emancipation through the transformation of its space. However, its production would express critical limits from the time when the characteristics assumed by the modernization of Brazil, resulting from its way of development at the present stage of capitalism, would make the desired emancipation and would have cities marked by material and social precariousness. The central hypothesis developed in this thesis deals with the relations between the critical nature - to manifest itself as a perennial state of crisis - of the architecture, urbanism and urban planning production in Brazil and the particular forms of the modernization crisis development in the country.

This thesis addresses how the photographic image contributed to the formation of the public and private identities of the artists Vanessa Bell and Duncan Grant. I propose that Bell and Grant primarily conceptualised photography as a medium of movement and it is this element that defines photographic images of them and their circle. Further, I suggest this definitive photographic element of their work situates them and the Bloomsbury Group in the development of English modernism in a new way. Chapter One explores the presence of movement in travel and tourism related photographic images from Bell and Grant's own generation and previous generations in their families. It compares images of alpine adventures, colonial life and first journeys to Europe alongside sections of personal correspondence by both generations offering a ‘verbal sketch' of the sights and sounds of the travel experience. Chapter Two considers how the photographic reproduction informs the development of public identity through an analysis of how Bell, Grant, Clive Bell and Julia Margaret Cameron used photographic images in the public arena and how contemporary media used photographs in assessments of their work. Chapter Three focuses on the nature of private physical and psychological photographic exchanges among both Julia Margaret Cameron's circle and the Bloomsbury Group and looks at paintings by Bell and Grant that were inspired by personal and private photographs in their possession. Chapter Four examines how the visual expression of monumentality and movement in photographs taken by Bell, Grant and their predecessors demonstrates a clear interest in making connections with past artistic and photographic traditions. The culmination of this discussion identifies defining features of the Bloomsbury photograph as created by Vanessa Bell and shows how it incorporates movement as a primary element of her photographic aesthetic.

Mystical Compositions of the Self: Women, Modernism, and Empire explores women's early 20th-century literary inscriptions of mysticism's entanglement with empire and the figure of the female at the center of each. Through an examination of selected texts by Evelyn Underhill, Eva Gore-Booth, May Sinclair, Sylvia Townsend Warner, Mary Butts, and Virginia Woolf, Mystical Compositions argues that the discourse of mysticism underwrites modernist aesthetic strategies and ethical questions, particularly the pressing concerns of the self's relation to gendered, religious, colonial, and socioeconomic others within the strictures of British imperialism. Employing a combination of postcolonial, feminist, and religious studies methodologies, this dissertation begins by briefly tracing the discursive history of "mysticism" from ancient mystery religions to its late 19th- and early 20th-century "revival" in British culture, paying particular attention to the prominent use of Woman as a figure of mystical unity in modernist literature and imperial scholarship and propaganda. The project then argues that selected women writers lace their characters' lives with mystical discourses in ways that suggest the skepticism and hopeful longing of living within an imperial system of inequalities and interactions: mysticism can engender connection with others and can offer counter-cultural resistance to the oppressive powers of state, empire, and patriarchal family. It also comes with the potential for minimizing the consumption of the other and for losing the self during a historical moment when women are organizing to actualize their political selfhood through suffrage campaigns, World War I efforts, and non-conscription movements. Instead of providing a taxonomy of mysticism or a singular categorical definition, the project's chapter studies present a prismatic array of the various mysticisms, the diverse "mystical compositions of the self" that proliferate through the dynamic of modernism's ambivalent relation to empire. The dissertation then proposes that these compositions operate, to varying degrees, within a "mystical economy of the impossible," in which the willing offering of the self to others paradoxically brings about self-abundance. Ultimately, Mystical Compositions highlights the mutually-shaping nature of early 20th-century British mystical, modernist, and imperial discourses and considers the gifts and costs of collaborations between politics, art, corporate religion, and personal spirituality.

This thesis reopens the question of subject/object relations in the works of Gertrude Stein, to argue that the fetishisms theorised by Karl Marx, Sigmund Freud, and later Walter Benjamin and Michael Taussig, and problematised by feminist critics such as Elizabeth Grosz, are central to the structure of those relations. My contribution to Stein scholarship is twofold, and is reflected in the division of my thesis into Part One and Part Two. Part One of this thesis establishes a model for reading the interconnections between subjects and objects in Stein???s work; it identifies a tension between two related yet different structures. The first is a fetishistic relation of subjects to objects, associated by Stein with materiality and nineteenth-century Europe, and the identity categories of the ???genius??? and the ???collector???. The second is a ???new??? figuration of late modernity in which the processual and tacility are central. This latter is associated by Stein with America and the twentieth century, and was a structure that she, along with other modernist artists, was developing. Further, Part One shows how these competing structures of subject/object relations hinge on Stein???s problematic formulations of self, nation, and artistic production. Part Two uses the model established in Part One to examine the detailed playing-out of the tensions and dilemmas of subject/object relations within several major Stein texts. First considered is the category of the object as it is constructed in Tender Buttons, and second the category of the subject as it is represented in the nexus of those competing structures in The Making of Americans and ???Melanctha???. The readings of Part Two engage with the major strands of Stein criticism of materiality, sexuality, and language in Tender Buttons, Stein???s famous study of objects. The critical areas engaged with in her biggest and most controversial texts respectively ??? The Making of Americans and ???Melanctha??? ??? include typology, ???genius???, and Stein???s methodologies of writing such as repetition/iteration, intersubjectivity, and ???daily living???. This thesis contends that the dilemma of subject/object relations identified and examined in detail is never resolved, indeed, its ongoing reverberations are productive up until and including her final work.

<p>Studiens syfte är att förstå och förklara fotgängarnas roll i planeringen av bostadsområden i tätort, vidare hur detta har utvecklats och förändrats över tid. Dessutom ämnar uppsatsen undersöka om det finns effekter av olika tiders planering för dagens fotgängare. Genom att utföra observationer i de olika bostadsområdena Bredäng, Rissne och Sickla Udde besvaras den första frågeställningen där det efterfrågas hur områden från olika tidsepoker är planerade ur fotgängarnas perspektiv. Den andra frågan, om hänsyn tagits till fotgängarnas behov och hur detta förändrats, besvaras genom en diskursanalys där planerna av de tidigare nämnda områdena studeras. Vidare analyseras resultaten och de övergripande planeringsidealens effekter för fotgängarna klargörs. Studien kommer fram till att fotgängarna varit osynliga vid planeringen av bostadsområden från 1960-talet fram till 1990-talet. De förändringar som förekommer i planeringen som i viss utsträckning påverkar fotgängarna positivt, beror inte på att deras roll förändrats utan på att de övergripande planeringsidealen förändrats.</p>