Towards a Poetics of Light; The Conceits of Light is a critical quest to map associations between rhetorical figures, psychological defences and spatial tropes in an attempt to conceive a poetic design that enacts conceit. Light is an emblem which echoes with an abundance of representations in literature, history, art and architecture and parallels may be drawn between their resemblances however apparently remote. Love, knowledge, hope and creative passion mark turns in the threads that knot ideas and their representations together. Return of the Immortals, the final project in a series of works exploring these parallels and representations, gathers together a cascade of tropes to structure a spatial experience which culminates in The Conceits of Light.

This thesis is focused on poetics of places and space in the novels of Czech author Ota Filip (*1930). The analysis of individual spaces displayed in Filip's work wants to demonstrate the importance of these places for the narrative construction of the autor's novels. This thesis aims to show the importance of displayed space and individual spaces for the overall sense of the fictional world in the Filip's work. The methodological basis of the thesis is the study of the Polisch scientist Janusz Sławiński: Space in Literature: Basic Division and Introductory Commonplace (2002 [1978]). Research of space displayed in the literary work based on the text of a particular novel.

The project examines the concept of "a home" and its significance for humans. How the home relates to the home (bostaden), and what qualities strengthen the feeling of home. The project therefore examines the immeasurable values ​​and qualities that enrich the home and create the conditions for a feeling of home.The French poet Gaston Bachelard connects the spiritual dimensions of a home. Bachelard believes that the Home is something we carry within us in our collective memories of previous homes and important places. It is a collection of muscle memories of movements through the various physical spaces, experienced emotions from events that took place there, memories of smells and sounds. The feeling of home is therefore something individual and where everyone carries a unique life map of experienced rooms / homes / places that color what the feeling of home is. A Home is a symbol of who you have been, who you are now and who you want to be in the future and are strongly connected to your identity. Conclusions from the theoretical part of the project are linked to a practical part of the shape of a single-family house in Nacka. The result is a personal interpretation of what a home can be and what creates a sense of home. A mixture of collective experiences of homes / significant places together with dreams of future homes and what creates a sense of home. / Projektet undersöker begreppet ”ett hem” och dess betydelse för människan. Hur hemmet relaterar till bostaden, och vilka kvaliteter som förstärker hemkänslan. Projektet undersöker därför vilka omätbara värden och kvaliteter som berikar bostaden och skapar förutsättning för hemkänsla. Den franska poeten Gaston Bachelard kopplar samman de själsliga dimensionerna av en bostad. Bachelard menar att Hemmet är något vi bär inom oss i våra samlade minnen av tidigare hem och viktiga platser. Det är en samling av muskelminnen av rörelser genom de olika fysiska rummen, upplevda känslor från händelser som utspelats där, minnen av lukter och ljud. Hemkänsla är därför något individuellt och där alla bär på en unik livskarta av upplevda rum/hem/platser som färgar vad hemkänsla är. Ett Hem är en symbol över vem man varit, vem man är nu och vem man vill bli i framtiden och är starkt kopplad till ens identitet. Slutsatser från den teoretiska delen av projektet kopplas samman med en praktiskt del i form av utformandet av ett enfamiljshus i Nacka. Resultatet blir en personlig tolkning av vad ett hem kan vara och vad som skapar hemkänsla. En blandning av samlade erfarenheter av hem/betydelsefulla platser tillsammans med drömmar om framtida hem och om vad som skapar hemkänsla.

This study examines the presence of poetic form in First and Second Generation New York School Poetry. Because New York School writing—where its existence is conceded—seems formless, it has yet to be viewed under a formal lens. Therefore, this study is the first of its kind. In what follows, works by Frank O’Hara, Ted Berrigan, Alice Notley and Ron Padgett are contextualized and closely read for form, with an attention to the shaping propensity of inhabited spaces. While it is agreed that the external environment has the potential to influence shapes and forms of writing, domestic spaces also offer parameters which are traceable onto the page. New York School poets lived in and wrote from alternative domestic spaces—untidy, disordered, congested apartments in downtown New York City. The forms of their poems are accordingly untraditional. New York School stanzas often take on the contours of these spaces, becoming linguistic rooms riddled with the tensions of indoor urban life. After outlining New York School poetry and addressing contemporaneous urban theories, this study asks: what role does the space of writing have on the shape of writing? More specifically, are New York City apartments reflected in the forms of New York School poems? Through close-reading and formal analysis, it becomes possible to affirm that New York School Poetry is formal, and that its form is distinctive in that in its variances, it makes it possible for the tensions and dynamics of living within the constraints of inner urban spaces to be fully pronounced and inflected. This is a study of the formal representations of those inflections.

A pesquisa propõe investigar o habitat do sertão por meio do campo ampliado da Teoria da Arquitetura. Na clivagem entre modernidade e tradição, a percepção de uma \"morada poética\" torna-se o eixo central da hipótese formulada. Pelo imaginário dos Gerais, transpondo o constructo do espaço moderno rumo ao \"sertão-mundo\", procuramos no texto documental e ficcional um manancial simbólico sobre a paisagem habitada do sertão. A centralidade da ideia de \"lugar\" deixa ver a \"terra da boiada\", onde é possível fazer a travessia de um sertão construído com as mãos a um território que se molda em forma mentis. Um rio-pensamento que se converte em cartografia poética, reunindo mundo e matéria na trama de um \"espaço vivido\". São nos confins dos Gerais que se constituem elos fortes entre espaço, linguagem e pensamento. A costura dessa trama é guiada por um olhar ao rés do chão. É na concretude do \"lugar sertão\" que se colhem os significados profundos da habitação, palmilhando o solo cotidiano com um olhar oblíquo sobre o modo de vida projetado. Interpretar a paisagem habitada dos Gerais impõe recuos sobre a realidade fática. O avanço da pesquisa se dá justamente no esforço de construir pontes entre a morada chã e sua medida empírea, mediando articulações entre sertão e cidade. Nesse interregno se desvela o \"metro\" poético da habitação. / The aim of this research is to look into the habitat of the sertão with the aid of the Theory of Architecture taken in its largest scope. In the fracture between modernity and tradition, the perception of a \"poetic dwelling\" becomes the central axis of the hypothesis we set forth. Through the imagery of the Gerais which transcends the construct of modern space towards a \"world-sertão\", the documental and fictional text unfolds a symbolical source of the inhabited landscape of sertão. The centrality about place idea unveils the \"boiada\'s land\", where one is able to travel across a sertão built with the hands reaching an expanse which is molded in forma mentis. One \"thought-river\" which is turned into a poetic cartography, convening world and matter in the texture of a \"lived space\". It is in the confines of Gerais that powerful bonds among space, language and thought are built. The seaming of this texture is led by eyes which are level with the ground. It is in the concreteness of the \"sertão place\" that the deep meanings of dwelling are gleaned, treading the everyday ground with an indirect look on the projected way of life. Interpreting the inhabited landscape of Gerais requires one to step back as to the factual reality. The research advances precisely in this effort to build bridges between the plain dwelling and its supreme measure, interweaving sertão and town. It is in this interregnum that the poetical \"metrics\" of inhabitation unfolds.

The poetics of space is a very interesting field, which has been so far marginalized from the theoretic point of view in comparison with other types of the poetics of literary work. Fragmentary information devoted to this theme has often been hidden in theoretic works that applied the poetics of space to some specific literary works. To be able to start focusing myself on the poetics of space in fairy tales, I had to lay the basis for the poetics of space in the first part of my thesis. The basis is built by the chapters in which I was concerned with the poetics of literary work and where I collected, organized and made transparent actual theoretic information about the poetics of space and its parts, space and place. I used these chapters for the specification of the terms used in my thesis. That specification enabled me to focus on the poetics of space in the fairy tales in the second part of thesis. As my research material I chose Grimms' fairy tales and eight Erben's fairy tales. I used this material to verify the relevance of particular hypotheses. In terms of my research I concerned on topics such as the poetics of space from the wider and the closer point of view, the boundaries of the fairy tales' space, the description and the layout of the space, the main and the side character in the...

Det här projektet undersöker vad hemkänsla innebär och hur förhållandet mellan en bostad och ett hem ser ut. Hemmet är till skillnad från bostaden något som inte kan formges. Projektet undersöker därför hur en bostad kan utformas för att ge goda förutsättningar för att utvecklas till ett hem, ett monument över människorna som bebor det. Projektet innefattar såväl en teoretisk del, i form av en litteraturstudie, som en praktisk del, i form av utformandet av två stycken småhus i Dalarna, Sverige. En viktig inspirationskälla för projektet är ”The Poetics of Space” av den franske filosofen Gaston Bachelard, som belyser hemmets själsliga dimensioner. I projektet görs ett försök att koppla samman de teoretiska och praktiska aspekterna av bostaden/hemmet, vilka i stor utsträckning behandlas separat inom den forskning som ligger till grund för projektet. I strävan efter att formge bostäder som är väl anpassade till platsens förutsättningar studeras dessutom lokal timmerarkitektur, liksom den traditionella stugans utveckling. / This project investigates the meaning of “feeling at home” and the relationship between a residence/accommodation (the English language lacks a more precise translation for the Swedish word bostad) and a home. The residence is something that can be designed, whereas the sensation of feeling at home is something that emerges over time. Therefore, the project investigates how a residence can be designed to provide good conditions for it to be transformed into a home. The project is constituted of a theoretical part, in the form of a literature study, as well as a practical part, which consists of the designing of two single family houses, to be placed in Dalarna, Sweden. An important source of inspiration for the project is “The Poetics of Space”, written by the French philosopher Gaston Bachelard, which highlights the existential dimensions of the residence. The project attempts at combining the theoretical and practical aspects of residence and home, which are usually treated separately in this field of research. Furthermore, in the pursuit of designing residences that are well adapted to the conditions of the site, local timber architecture and the development of the traditional cottage/hut are explored.

This thesis investigates Emily Dickinson's spatial imagination. It examines how her poetic landscape responds to the conditions of modernity in an age of modernization, expansionism, colonialism and science. In particular, I look at how the social and cultural representations of nature and heaven are revised and appropriated in her poems to challenge the hierarchical structure of visual dominance embedded in the public discourses of her time. Although she seldom travelled, her writing oscillates between experiential empiricism, sensationalistic reportage, and ecological imagination to account for the social and geographical transition of a rapidly industrialized and commercialized society. The notion of transcendence, progress and ascension in Enlightenment and Transcendentalist writings, based upon technological advancement and geographical expansion, characterized the social and cultural imagination of her time. Alternatively, an increasingly cosmopolitan New England registers a poetic contact zones as well as a Bakhtinian carnivalesque space, in which colonial relations can be subverted, western constructions of orientalism challenged, and capitalist modernity inflected. Dickinson voiced in her poems her critical reception of such a phantasmagoric site of a modern world. I explore how her cartographic projection registers the conflicting nature of modernity, while resists the process of empowerment pursued by her contemporary writers, presenting a more dynamic poetic vision of the world. In the first chapter, I explore her use of empirical mapping as a poetic approach to challenge the Enlightenment notion of progress and modernity. I look at her poems of social transitions, especially her poems of the Bible, the train, the pastoral, and the graveyard, to show how she addresses the issue of modernization. Her visit to Mount Auburn and the rural landscape movement are explored to show her complex poetic response toward modernity. In the second chapter, I focus on her poems of emigration and exploration to see how she appropriates frontier metaphors and exploratory narratives that dominated the discourses of national and cultural projects of her time. The colonial expeditions and national expansionism of her time are examined to show her revision and deconstruction of quest narratives. In the third chapter, I examine her commercial metaphors in relation to cosmopolitanism. I discuss her metaphors of tourism to see how her poems are based upon the notion of consumption as a poetic mode that is closely related to the violence of global displacement and imperial contestation. Her tourist experiences and reading of travel writings will be examined to show her critical response towards the dominant visual representations of her time. In the last chapter, I explore her poems of visitation and reception to show her elastic spatial imagination through her notion of neighbouring and compound vision. In particular, I discuss her poetic reception and appropriation of the theories of Edward Hitchcock and Thomas De Quincey. I conclude suggesting that her spatial imagination reveals her poetic attempt to account for the conditions of modernity.

Cette thèse porte un regard croisé sur les œuvres de deux auteures américaines contemporaines nées dans la région du Sud des Appalaches. Elle se lance pour objectif principal de définir et analyser les frontières et caractéristiques d’une identité littéraire proprement appalachienne ayant émergé ces trente dernières années aux États-Unis et connaissant actuellement un essor critique sans précédent. L’étude s’appuie sur une approche essentiellement pluridisciplinaire (histoire, géographie, économie, religion, philosophie) traçant les contours d’une littérature régionale motivée par une tension entre les notions d’espace (« space ») et de territoire (« place »), d’une part, et les dynamiques inverses de territorialisation (comment passe-t-on d’un corps physique à un corps textuel spécifiques ?) et déterritorialisation (comment ce corps textuel se transforme-t-il en réceptacle de considérations plus universelles ?), d’autre part. Tout en les remettant en perspective, l’analyse adopte comme cadre théorique les considérations philosophiques de Gilles Deleuze (fondateur du concept de « déterritorialisation ») et Gaston Bachelard (phénoménologue ayant développé la notion de « poétique de l’espace »). / The aim of this doctoral dissertation is to explore the writings of two American women writers born and raised in the Appalachian South. It attempts to define and analyze the characteristics of a typically Appalachian literary identity that has been taking shape in the United States over the past thirty years and which is only now starting to receive nationwide and worldwide critical acclaim. The approach is mainly interdisciplinary (history, geography, economics, religion and philosophy provide different ways to delve into the topic) and seeks to outline a regional literature which has been essentially fueled by a tension between the concepts of “nature” (the physical place around us) and “environment” (the more complex result of the interplay between nature and man or woman). The opposed dynamics of regional grounding (how does the writer move from a specific physical natural body to a specific literary body?) and regional un-grounding or uprooting (how does this literary body turn into a receptacle of more universal emotions and concerns?) also shed light on the idiosyncrasies of this Appalachian literature. The analysis uses as a theoretical framework the philosophical views of Gilles Deleuze (the French philosopher who coined the concept of “deterritorialisation”) and Gaston Bachelard (the French phenomenologist having developed the notion of “poetics of space” recently rediscovered and explored in the United States).

Poetics of space in The Alexandria Quartet is created by multilevel structures. This poetics is closely connected to the main space of the story - Alexandria, which is at the same time one of the novel's topics. Each level is suggested in connection to various theoretical conceptions which are subsequently used for my own analysis. Alexandria is initially an aesthetic coulisse of the story which is portrayed by descriptive passages. Strongly subjective and lyrical descriptions of the city establish overall impression of the story and potentially support reader's experiential illusion. Alexandria and its specificity is further modulated and thematised by its special macroscopic conditions which border Alexandria as an autonomous fictional space with its own rules within the novel's fictional world. Part of poetics of the space in this novel is also portraying spatio-temporal aspect of the reality (chronotope) no only on the level of the story, but also on the level of storytelling. Alexandria is further explicit rhetoric and also through semantic indexation personified and enters semantic relations with the main characters and events. Each level is complementary to another and all are part of the semantic gesture of the novel. Alexandria becomes a separate symbol, mythical entity which importance is...