As of the 19th C up until our present day, big cities have set the stage for many literary works, and Barcelona is no exception to this occurrence.  This study aims to address the urban imagery of a postwar Barcelona through the walks described in three novels, written by Spanish women writers. Each one will be analyzed both individually and contrastively. The necessary comparisons will be established and we will further prove the suitability of the theories of Certau, Lefebvre and Lynch. Finally, we will establish the appropriate conclusions derived from our investigation. / Las grandes metrópolis han sido escenario de multitud de narraciones desde el s. XIX hasta la actualidad y Barcelona no es ninguna excepción de ello. Este estudio se aborda el imaginario urbano de la Barcelona de postguerra en los paseos descritos en tres novelas de escritoras españolas, analizándolas individual y contrastivamente. Se procede a establecer las comparaciones necesarias y se observa la idoneidad de algunas teorías de Certeau, Lefebvre y de Lynch. Se aportan, por fin, las conclusiones pertinentes

9 Summary The SSPX is a society of Roman Catholic priests, who aren't organized in any religious order, however, it's organization is similar to many religious orders. As its mission the SSPX consider the defense of a catholic priesthood, the Tridentine Mass and the true doctrine of the Church against danger, which supposedly affected the Church after the Second Vatican Council. The SSPX was established in 1970 and its center became Ecône Seminary in Switzerland. Hereafter, a wider informal group of Catholics, who were unsatisfied with an evolution of the Church, formed around the Society. The members of this group attended masses, celebrated by SSPX priests. This group had united more after a breakup between the SSPX and superiors of the Catholic church, which was caused by an illicit ordinations of a priests and following excommunication of a founder, archbishop Marcel Lefebvre, and his nearest fellows in 1988. From that point, these believers are forming to some kind of congregations similar to parishes, but which are unofficial and improvised. These activities, as well as a sacraments celebrated by SSPX priests, are unacceptable in a catholic canon law system (however, these sacraments are valid, if they were already celebrated!). The ethos of this society is conservative - both in a relation to...

The SSPX is a community of non-monastic priests with a structure similar to that of many religious orders. It was founded in 1970 by Archbishop Marcel Lefebvre. Its pro- gram is to defend traditional Catholic values against the danger supposedly represented by the reforms initiated by the Second Vatican Council. A wider community of Catholics disagreeing with developments in the Church was formed around the SSPX. Following the breakup of the SSPX with the leadership of the Church in 1988, this community gained strength and a character of a certain denomination. The Second Vatican Council (1962-1965) carried out a lot of changes, many of which have not yet been fully implemented. They concern the liturgy, pastoral care, interpretation of Scripture, and theology studies, among other issues. The common denominator of the con- ciliar reforms was to make the proclamation of Christ more comprehensible to modern man and make many things in the church consistent with the spirit of the Gospel and early Chris- tian tradition. The most significant shifts, initiated by the council, were the new approaches to ecumenism, to principle of religious freedom and to interfaith dialogue. Many circles in the Church, however, considered these changes as grinding the truths of faith; these Cath- olics began to be...

In recent years, the existence of youth centers in Stockholm has been disputed and voices have been raised for their dissolvement. This highlights the question the relevance of youth centers today, and why they were introduced in the first place. Earlier statements have linked the establishment of youth centers due to demographic development during the 1950s. However, previous research has identified the Swedish government’s ambition to assert control over youth through discipline and restrictions in schools and other organizations. Yet, the topic of the city-funded youth centers tends to have been overlooked. Therefore, this thesis aims to study city-funded youth centers in Stockholm during 1947–1962. Moreover, socio-spatial theory has been used to analyze the youth centers as producers of social space. Additionally, the emphasis is on representing space and spatial practices as driving forces in developing a space designed for young people. The thesis concludes that the youth centers aimed to limit the movement of suburban youth into the city center of Stockholm. Furthermore, they acted as an educational tool to secure the future of democratic citizenship.

Cette étude s'inscrit dans le sillage de la réflexion de Jean-Pierre Sarrazac sur l'écriture dramatique du fait divers. Pour éviter de se laisser paralyser par le pouvoir de fascination que ce type de nouvelles exerce, le chercheur français suggère au dramaturge d'adopter ce qu'il nomme une « stratégie de détour ». Ce mémoire se penche sur le recours à l'une d'entre elles, soit le « détour-parabole », dans la pièce Lortie de Pierre Lefebvre et du Nouveau Théâtre Expérimental. L'œuvre de Lefebvre porte sur une tuerie de masse perpétrée à l'Assemblée nationale du Québec en 1984, par le caporal de l'armée canadienne Denis Lortie. Se fondant sur l'essai Le crime du caporal Lortie : Traité sur le Père (1989), de l'historien du droit et psychanalyste Pierre Legendre, Lortie aborde cet évènement comme un parricide raté. Ce mémoire explore les enjeux esthétiques, dramaturgiques et spectaculaires de la lecture parabolique développée dans la pièce de Lefebvre et du NTE, pour finalement chercher à dégager les nouveaux modes de perception et d'intellection du fait divers (selon l'expression de France Vernier).

The classically idyllic, carefree world of childhood would appear to be diametrically opposed to the horrors of war and world-wide conflict. However, throughout film history, filmmakers have continually turned to the figure of the child as a prism through which to examine the devastation caused by war. This thesis will investigate the representation of childhood experience of the Second World War across six fiction films: Roberto Rossellini’s Paisan (1946) and Germany Year Zero (1947), René Clément’s Forbidden Games (1952), Andrei Tarkovsky’s Ivan’s Childhood (1962), Jan Nemec’s Diamonds of the Night (1964) and Elem Klimov’s Come and See (1985). Spanning forty years, I will examine how these films, whilst sharing many thematic and formal concerns, are unquestionably diverse. They are products of specific socio-cultural milieux, but are also important works in the evolution of cinematic style in art cinema. The films can be aligned to various trends such as neorealism (Paisan, Germany Year Zero), Modernism (Ivan’s Childhood, Diamonds of the Night) and Neo-expressionism (Come and See). Structured in four parts – on witness, landscape, loss and play – I will suggest that just filmmakers utilise childhood experience – often fragmented and chaotic in terms of temporality - to reflect the chaos of war. The first part of my study focuses on the child as witness, the child as Deleuzian seer. I draw on the writings of Gilles Deleuze as well as post-Deleuzian interventions of Tyrus Miller and Jaimey Fisher to argue that whilst Deleuze’s characterization of the child figure as passive is somewhat problematic when applied to the neorealist works, it can, however, be more rigorously applied to Come and See, a film in which, I suggest, the child embodies a much purer form of the Deleuzian seer. In the second part of my study, drawing on the work of Martin Lefebvre and Sandro Bernardi amongst others, I discuss the representation of landscape and its relation to the figure of the child. The third part will examine the representation of loss as well as the symbolic quality of water and its links to the maternal with reference to psychoanalytic theory and the poetry of Rabindranath Tagore. The fourth and final part also draws on psychoanalysis in examining the role of play in the six films with particular reference to the work of D.W Winnicott and Lenore Terr. My study seeks to contribute to the comparatively under-explored subject of the child in film through close analysis of film aesthetics including mise-en-scène, editing, and film sound.

The thesis The Vacation House as a Planning Dilemma deals with how the processes that generate meaning in space proceed in parallel both in everyday life and in the planning realm. Multiple dwelling, or having two homes, can be seen as a dilemma—one in which the planning system’s attempts to conquer an unruly reality conflicts with the ways people live. The vacation house phenomenon is not a neutral concept, but rather influences and is influenced by a variety of contexts. This ambiguity is problematic for practitioners of spatial planning, a field that strives for unequivocal concepts. My interest is primarily directed at the relationship between the intentions in Swedish legislation and their practical application in planning. These legislative and planning spheres are also influenced by what actually happens in a physical space and by the conceptions we have of the life to be lived in it. The purpose of the thesis is to create the conditions for a discussion of how a planning dilemma like multiple dwelling can be understood based on how the various actors in a space create meaning and on the internal competition among them for the preferential right of interpretation over concepts. The thesis actualizes several scientific issues for us to address: How is the concept of multiple dwelling contextualized in material space? How does the housing market portray conceptions of vacation living? How do municipal planners view having two homes? How do environmental and urban planning laws view multiple dwelling? I use Henri Lefebvre’s three-part dialectic of spatial theory in this thesis as a tool for general classification, to analyze spatial processes over time, and to clarify the relationships between the different elements of a space and different actors’ actions in a space. The focus of my analysis of the field of planning is the various kinds of representations made by experts. My analysis of such constructions is conducted at the level of discourse. In order to understand how such spatial representations are constructed and how they compete with one another, I have taken a discourse analytical perspective inspired by Ernesto Laclau and Chantal Mouffe. The results of my thesis have shown that problem solutions lead to different planning constructions depending on the underlying conception of the vacation house, whether the vacation house is conceived as the Other Home or the secondary home. My analyses have shown that modernism’s striving for systematization and functional separation doesn’t work, at least as applied to housing. We must question the premise of functionally distinguishing between housing forms as a means to conserving natural resources. / fritidshus, planeringsdilemma, fysisk planering, lagstiftning, dubbel bosättning, miljöbalken, annonser, fastighetsmäklare, Lefebvre, Laclau, Mouffe

This dissertation examines everyday life in selected works by Dorothy Richardson, Virginia Woolf, and Katherine Mansfield. It builds on recent scholarship by Bryony Randall (2007) and Liesl Olson (2009), who have argued that modernism marks a turn to the mundane or the ordinary, a view that runs contrary to the long-established understanding of modernism as characterized by its stylistic difficulty, high culture aesthetics, and extraordinary moments. This study makes a departure from these seminal critical works, taking on a feminist perspective to look specifically at how modernist authors use style to enable inquiry into women’s everyday lives during the modernist period. This work draws on everyday life studies, particularly the theories of Henri Lefebvre, Michel de Certeau, and Rita Felski, to analyze what attention to the everyday can tell us about the feminist aims and arguments of the literary texts. The literary works studied here include: Dorothy Richardson’s Pilgrimage (predominantly the fourth volume, The Tunnel), Virginia Woolf’s To The Lighthouse and The Waves, and Katherine Mansfield’s “Bliss” and “Marriage à la Mode.” This dissertation argues that these works reveal the ideological production of everyday life and how patriarchal power relations persist through mundane practices, while at the same time identifying or troubling sites of resistance to that ideology. This sustained attention to the everyday reveals that the transition from Victorian to modern gender roles was not all that straightforward, challenging potentially simplistic discourses of feminist progress. Literary technique and style are central to this study, which claims that Richardson, Woolf, and Mansfield use modernist stylistic techniques to articulate women’s particular experiences of everyday life and to critique the ideological production of everyday life itself. Through careful analysis of their various uses of modernist technique, this dissertation also challenges the vague or uncritical uses of the term ‘stream of consciousness’ that have long dominated modernist studies. This dissertation makes several original contributions to modernist scholarship. Its sets these three authors alongside one another under the rubric of everyday life to see what reading them together reveals about feminist modernism. The conclusions herein challenge the notion of an essentializing ‘feminine’ modernism that has largely characterized discussion of these authors’ common goals. This dissertation also contributes a new reading of bourgeois everydayness in Mansfield’s stories, and is the first to discuss cycling as a mode of resistance to domesticity in The Tunnel. It argues for the ‘mobile space’ of cycling as a supplement to the common symbol of feminist modernism, the ‘room of one’s own.’ The reading herein of Woolf’s contradictory approach to the everyday challenges the accepted view among Woolf scholars that her theory of ‘moments of being’ has transformative power in everyday life. This dissertation also makes a feminist intervention into everyday studies, which has been criticized for its failure to take account of women’s lives. / Graduate / 0593 / tarastar@gmail.com

This content analysis of mainstream and alternative news narratives interprets the use of the crisis media frame, and describes the relationship between local policy initiatives, media discourse and public opinion on tent cities, organized by people experiencing homelessness in Portland, Oregon. Framing homelessness and housing as a crisis intensified the public debate, attested by an increase in mainstream media reports on tent cities, and by controversial policy changes that addressed the individually-experienced traumatic impacts of the City's anti-camping ordinance, as well as the systemic lack of affordable housing and emergency shelter. Media discourse related to city-sanctioned tent cities blurs the lines between Shanto Iyengar's episodic and thematic media frames because of the simultaneous acknowledgement of individual and systemic circumstances. The crisis frame is a discursive mechanism in the production of knowledge on homelessness and housing, and is considered as an integral characteristic of Henri Lefebvre's conceptual model of socio-spatial production, which describes the interdependency between discourse, practice and meaning in the material and symbolic production of space.

Architectural program of airports has evolved from being a mere transportation space into a &ldquo / city&rdquo / containing various activities along with transportation at its core. This thesis aims to discuss and criticize it, by arguing that the city and the airport are to be integrated by giving a special importance to the user (both the passenger and the inhabitant of the city). The discussion is focused on three dialectically related constituents of the program: Process, User and Product (building). Rather than the architectural design process generating the built form, process refers to the influential actors in shaping the space of airport. User refers to both the active and passive actors of the organization of space. Product denotes the space itself, transformed according to the wishes and demands of both the user and the mode of production. These constituents are accepted as significant factors in the development of the airport architectural program in a way to answer the requirements of the integration with the city. In contemporary airports, users do not have enough rights over the space to be able to show their existence against the domination of capital&#039 / s spaces. Therefore, this thesis proposes an alternative airport architectural program integrating the airport with the city by placing the user at the center.