The Lofoten Maelström in Norway, one of the world’s most powerful systems of tidal eddies, has been a locus of terror and imagination for centuries. First depicted in renaissance cartography, the myth of the vortex was propagated through the occult science of Athanasius Kircher and found its most current expression in Edgar Allan Poe’s “A Descent into the Maelström”. This thesis is a work of exegesis. That is, a work of interpretation that leads out of a text, or a site, towards another level of meaning. Poe’s text refers to the geographic site of the thesis but also becomes a site in itself. It is out of this text/site that the author unfolds a series of exegetical pathways, constructing an ambiguous ground between the real and imaginary dimensions of the Maelström. This thesis is also a work of synthesis. It explores how the speculative architectural proposition can crystallize subtle conceptual material in ways that text and image alone cannot. While the thesis is heavily invested in various modes of representation, architectural and otherwise, it also acts as a critical investigation into the nature of representation itself. The document is composed as a performance in three parts. Each part broadly engages a fundamental binary that is latent in the work of architecture: 1) history and fiction 2) figure and ground 3) ritual and design. Part I introduces the site through various historical and fictional portrayals of the Maelström which have contributed to the co-authorship of its mythologized identity. Part II consists of a suite of three discursive essays that address the sublime, the death instinct, romanticism, negative theology, the chora, and 20th century performance theory. This material is organized under the umbrella of three figure/ground conditions: the figure against the sublime ground of the romantic-era painting, the negative ground of medieval mysticism, and the ritual ground of the Greek chorus and its spatial counterpart, the chora. Finally, Part III includes two movements: the design of a wave energy research facility, and a series of episodic vignettes that subvert the intentions of the designer by re-casting the facility as a place of ritual. With the Maelström as a backdrop, the architectural proposition offers itself as the stage upon which this struggle between design and ritual is enacted.

The Lofoten Maelström in Norway, one of the world’s most powerful systems of tidal eddies, has been a locus of terror and imagination for centuries. First depicted in renaissance cartography, the myth of the vortex was propagated through the occult science of Athanasius Kircher and found its most current expression in Edgar Allan Poe’s “A Descent into the Maelström”. This thesis is a work of exegesis. That is, a work of interpretation that leads out of a text, or a site, towards another level of meaning. Poe’s text refers to the geographic site of the thesis but also becomes a site in itself. It is out of this text/site that the author unfolds a series of exegetical pathways, constructing an ambiguous ground between the real and imaginary dimensions of the Maelström. This thesis is also a work of synthesis. It explores how the speculative architectural proposition can crystallize subtle conceptual material in ways that text and image alone cannot. While the thesis is heavily invested in various modes of representation, architectural and otherwise, it also acts as a critical investigation into the nature of representation itself. The document is composed as a performance in three parts. Each part broadly engages a fundamental binary that is latent in the work of architecture: 1) history and fiction 2) figure and ground 3) ritual and design. Part I introduces the site through various historical and fictional portrayals of the Maelström which have contributed to the co-authorship of its mythologized identity. Part II consists of a suite of three discursive essays that address the sublime, the death instinct, romanticism, negative theology, the chora, and 20th century performance theory. This material is organized under the umbrella of three figure/ground conditions: the figure against the sublime ground of the romantic-era painting, the negative ground of medieval mysticism, and the ritual ground of the Greek chorus and its spatial counterpart, the chora. Finally, Part III includes two movements: the design of a wave energy research facility, and a series of episodic vignettes that subvert the intentions of the designer by re-casting the facility as a place of ritual. With the Maelström as a backdrop, the architectural proposition offers itself as the stage upon which this struggle between design and ritual is enacted.

This Master’s thesis shall attempt to reconcile the notion of the spiritual with that of the aesthetic by focusing on the influence of 16th century German mystic Jakob Böhme, with the 19th century cultural movement of German Romanticism. Böhme’s mysticism outlined a spiritual paradigm that fused alchemy with Christianity wherein the properties of nature are inherently led by a spiritual desire towards unity with God. It is through the process of spiritual desire that unity unveils itself. Consequently, Böhme’s mysticism influenced later generations of spiritual thought, including German Romanticism. Within Romanticism, Friedrich von Hardenberg, know by his pen name Novalis, developed a philosophy and aesthetic theory that expanded away from the philosophical ideas of the Enlightenment. This new philosophy focused on the subjective experience and how revelation of the self was to be experienced through creative introspection, as a consequence of encountering and interacting with the other. Novalis‘ philosophy incorpterated religious motifs and spirituality to assert that it was through creative striving that spiritual revelation was to be achieved from within oneself. Caspar David Friedrich was a Romantic landscape painter whose work focused on the notion of humanity in the face of nature. Friedrich often painted landscapes as an allegory for Christian values and religious inquiry that becomes an existential introspection through nature. Through comparative analysis I shall demonstrate how the ideas and works of Novalis and Caspar David Friedrich correlate with the spiritual mysticism of Böhme that represent the greater discourse that is spirituality itself. / Graduate / 2021-04-24

Am 11. September des Jahres 1830 notierte der Maler Caspar David Friedrich: „Ich lebe nun seit einigen dreißig Jahren in Dresden, aber noch nie habe ich so viele freudige Gesichter gesehen als gestern.“

Am 11. September des Jahres 1830 notierte der Maler Caspar David Friedrich: „Ich lebe nun seit einigen dreißig Jahren in Dresden, aber noch nie habe ich so viele freudige Gesichter gesehen als gestern.“

The presented thesis deals with the historic-linguistic analysis of private travelogues of Kašpar Šternberk that were arosen in the years 1786 and 1787. Historical part is dedicated to the family of Sternberk, the life of Caspar Sternberg and political, social, cultural and linguistic development in 18th century. The textological part is oriented on syntactic - stylistic and lexical analysis of the text. According to the research, in the travelogues that is written as diary, the paratactic phrase exceeds hypotactic phrase. Hypotactic phrase consists mainly of the subordinate declarative clauses. Due to these results, the finitum was found mostly on the second and last place in a sentence. With few exceptions the position of finitum was strictly kept as well as sentence frame. By the research of the lexical analysis there was found out that in the diaries the words coming from Latin, Greek, French and Italian occur. There are mainly the expressions connected with architecture, science and art.

Made available in DSpace on 2016-04-28T14:16:47Z (GMT). No. of bitstreams: 1 Reinaldo Sudatti Neto.pdf: 412496 bytes, checksum: b08ff9b3f0b9ca3e03544bc1abb824bf (MD5) Previous issue date: 2010-05-21 / Secretaria da Educação do Estado de São Paulo / This research wants to investigate how Kaspar Barleus acquired the knowledge of Dutch occupation in Brazil. As well as the possible influences of Jorge Margrave s Natural History of the Brazil, published in 1941, and Guilherme Piso s Natural History and Medicine of the Western India, published in 1957, could have had Barleus book. The work produced by Kaspar Barleus, Rerum in Brasilia et alibi gestarum, in 1647, was commissioned by Nassau who wished to make a report to highlight his accomplishments as an administrator during his tenure as leader of the Dutch company in Brazil. Nassau made available to Barleus narratives and drawings made during the Dutch occupation which led us to formulate a hypothesis of his reliance on these particular sources to write his book. After reading and reviewing the work of Barleus, reprinted in Portuguese in 1974, we ve found lot of similarities between his work and the works of Piso (1957) and Margrave (1941). These similarities let us to believe that our hypothesis is confirmed. In fact, Kaspar Barleus used writings of other authors as base to produce his book about Nassau s achievements / Esta pesquisa objetiva estudar o modo como Barleu assimilou os conhecimentos sobre a fase de ocupação holandesa no Brasil e os possíveis papéis que as obras de Jorge Margrave História Natural do Brasil, editada em 1941, e História Natural e Médica da Índia Ocidental, de Guilherme Piso, editada em 1957, teriam tido na elaboração do seu livro. A obra elaborada por Gaspar Barleu, História dos feitos recentemente praticados durante os oito anos no Brasil, de 1647, foi encomendada por Nassau que desejava que o autor fizesse um relato que enaltecesse seus feitos como administrador, durante os anos que permaneceu na liderança da empresa holandesa, no Brasil. Nassau colocou à disposição de Barleu as narrativas e desenhos elaborados durante a fase holandesa, o que nos levou à formulação da hipótese de que ele teria se baseado nessas fontes para escrever seu livro. No presente estudo, após a leitura e análise da obra de Barleu, reeditada em português, em 1974, foram encontradas muitas semelhanças dessa com as de Piso (1957) e Margrave (1941), o que nos levou a uma confirmação da hipótese de que Barleu teria se baseado em outros escritos para elaborar o seu livro sobre os feitos de Nassau e evidencia o papel dos escritores citados

No description available.

The purpose of the Historic Structures Report on the Caspar Woods one-room schoolhouse is to document the structure and provide information for its preservation and restoration. Built in 1915 by the Caspar Lumber Company, it is an excellent example of a one-room schoolhouse. Constructed during a period of reform in the education movement the Caspar Woods schoolhouse exemplifies the movements ideal of a standardized school building. This schoolhouse also has a unique feature of having been built on a support structure of skids and beams. This allowed i t to be moved i n three sections to different logging camps.The Historic Structure report looks at the history of this one-room schoolhouse, the Caspar Lumber Company and local factors that influenced the building if this school. The report also documents the existing condition of the building and provides suggestions for its preservation and restoration. / Department of Architecture

Thesis (M.A. in National Security Affairs)--Naval Postgraduate School, June 2006. / Thesis Advisor(s): Donald Abenheim. "June 2006." AD-A451 305. Includes bibliographical references (p. 89-100).