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This thesis is a collection of poetry written between 1970 and 1975. The quality of the poems is admittedly uneven, but the inclusion of earlier, weaker poems may indicate a progression in the areas of flexibility, control of material, and strength of poetic voice. The poems are arranged into five sections, entitled "Love," "Rabbits," Poetry about Poetry," "Religion and Ancestors," and "Henry. Poems collected here are intended to demonstrate that experimentation with various forms contributes to an increased ability to control poetic material and technique. By confining a poem to particular forms, one is forced to be more creative, imaginative, and exact. Both control and flexibility are important in contemporary poetry, and my hope is that the following poems demonstrate a balance of those qualities.

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Le sens symbolique du corps, autour de 1900, change : son inscription sociale collective et sa valeur pour l’individu se transforment. On assiste dans les premières décennies du vingtième siècle à l’érosion d’un monde d’hier devant les audaces de pionniers réformateurs de la vie et des avant-gardes artistiques (danseurs, chorégraphes, metteurs en scène), qui repoussent les limites de ce que peut un corps – non seulement les normes de la morale, du bienséant, mais aussi l’inédit, lié à la possibilité de techniques nouvelles. Comment, dès lors, se traduit l’évolution du sens du corps ? A quoi ressemble le corps moderne par rapport à celui du dix-neuvième siècle – dans les façons d’être, mais aussi les façons d’être affecté et de s’exprimer ? Quelle incidence, enfin, a le changement de sens du corps sur la façon de concevoir le rapport à son propre corps comme à celui d’autrui ? Deux tendances sous-tendent le principe de malléabilité dans le bouleversement des formes de vie et des stratégies d’individuation de la société moderne, par-delà leurs disparités : la première correspond à une transposition de la pensée fonctionnaliste et de la fétichisation capitaliste de l’objet sur le corps, alors que la seconde cherche, au contraire, à ressaisir le corps sous l’aspect de la vie organique pour articuler matière et esprit dans une perspective vitaliste, davantage unitaire. Notre enquête suit le développement de ces deux tendances pour montrer comment elles s’articulent dans les deux sphères sociale et esthétique jusque dans l’entre deux-guerres. / Around 1900 the symbolic meaning of the body around 1900 changes : its collective social meaning, as well as its individual value, evolve. During the first decades of the 20th century, the world of yesterday erodes while daring reformers of life and avant-garde artists (dancers, choreographers, stage directors) try to push the limits of what a body can – not only the moral norms, of the decorous, but also the unprecedented of new possibilities brought by new technologies. What does this evolution of the meaning of the body result into? What does the modern body look like, as opposed to the 19th century – in the ways of being, of feeling and expressing oneself? How does that change affect the way of perceiving the body, the other’s and mine? Two tendencies underlie the principle of malleability in this upheaval of the forms of life and of the strategies of individualization within modern society, beyond their disparities: on the one hand, a transposition of the functionalist thought and fetish for the object induced by capitalism onto the body; on the other, an opposite tendency to take hold of the body as an organic living form, as an attempt to articulate matter and spirit in a more unitary and vitalist perspective. We will follow the development of both these tendencies and show how they develop within the social and aesthetic spheres until the end of the interwar period.

This thesis is an attempt to establish a practical way for architectural designers to take advantage of the relationship between soundscape and architectural aesthetics. The whole study aides in providing a structural framework by which architectural designers could incorporate acoustic elements into their design, with aesthetic concerns rather than for practical purpose. The discussions of soundscape and architecture forms are organized in the order of point, line, plane and space to present my personal observations on the issue. Three graphic systems are developed based on the previous researches of soundscape to visualize the coexistence of sonic identities and visual identities in built environment and how both of them interact to create a multi-sensory experience for visitors. Among the three systems, the Soundscape Map system is particularly introduced to demonstrate some case studies where soundscape elements are successfully employed to strengthen the construction of architectural spaces and forms. The goal of this research is to open a door for architectural researchers to discover the interconnection between soundscape and architecture, with the hope that the graphic systems introduced could be useful for effective designs with soundscape concerns in built environment.

Thesis (doctoral)--Friedrich-Wilhelms-Universität zu Berlin, 1899. / Vita.