The paper consists of five steps. The first step is to study and explore theories of order, time image, and meaning of place. A hypothetical equation is proposed which defines a place as having three basic components: time, order and meaning. Special attention is paid to the time image of a place through the thesis. The second step is to organize the theories as a set of systematic design ideas. Twelve design categories are further introduced, which include Rhythm, Season, Celebration, Layer, Future, Sequence, Derelict, Night, Center, Boundary, and Sacred Places. The third step is to generate a set of patterns for the waterfront design under twelve design topics. Pattern is a bridge between principle and design. The conversion of a design idea into a design pattern can be seen as a procedure to test the validity of design ideas. The fourth step is to apply the design patterns to a specific site on the West Vancouver Waterfront. In a sense, the application of the patterns is an experiment, aimed at testing the patterns, hence the whole thesis as a hypothesis. The final step is to review and evaluate the thesis and the project. / Applied Science, Faculty of / Architecture and Landscape Architecture (SALA), School of / Graduate

In this study on literature and thought from the early 20th century, I examine techniques of organization – including rhetoric, poetics and citation – across the work of the German philosopher Ernst Cassirer (1874-1945) and the Austrian writer Robert Musil (1880-1942). With particular attention to Cassirer’s Philosophy of Symbolic Forms and Musil’s The Man Without Qualities, this dissertation analyzes the prose strategies, by which the authors develop a poetics of orientation. Responding to shifts in the epistemological foundations of the empirical sciences, the authors reimagine genre and style as a way to direct the reader in the interpretive process. Although the inflection of this poetics of orientation differs in Cassirer’s cultural philosophy and Musil’s essays and narrative, they both follow dynamic moments in thought, the drama that unfolds as the interpersonal experience of making sense of the world. The displacement of substance by function in the sciences provides the shared ground against which the patterns of their prose emerge. In the first section, “Ernst Cassirer. Problemgeschichte: from genre to texture”, I engage Cassirer’s shift from a critique of reason to a critique of culture, in which language and myth are treated alongside theoretical knowledge as interfaces for knowing the world. His mode of thought develops in a mode of writing, modifying the philosophical genre Problemgeschichte, which developed in the 19th century and was the dominant mode of philosophy among Neo-Kantians at the turn of the 19th to 20th century. He extends the genre’s diction of direction, such as the ubiquitous terms Richtung and Weg, with a decidedly mathematical accent. This figural register reflects the epistemic shift from substance to function, which also typifies his characterization of problems as sites of discursive interference. Building on this discussion of the philosophical genre Problemgeschichte, I then analyze narrative aspects of Cassirer’s writing, such as focalization, in order to understand how his play of citation demonstrates functional thinking. In the second section, “Orientation: Robert Musil’s Reise vom Hundertsten ins Tausendste”, I follow Musil’s prose detours as an intentional gambit, connecting heterogeneous intellectual inquiry. Arguing that his prose innovation cannot be exhausted by a discussion of his essayistic style, I challenge standard accounts of the dissolution of narrative in Musil’s writing. The shift from substance to function as the epistemological foundation in the empirical sciences informs Musil’s displacement of narrative schema by narrative impulses, which preserves traces of traditional story telling as devices for helping the reader find their way in a textual space. Both Cassirer’s and Musil’s poetics of orientation demonstrate engagement with the tumultuous Interwar period, which counters anti-Enlightenment tendencies of intellectual inquiry, common in the German-language cultural production of the early 20th century. The authors’ prose strategies are the vehicle for an intellectual vision, which maintains the potential for an open future.

This thesis interrogates sense of place and place attachment in the Big Empty on the north central Texas plains. The region stretches from the Red River on the north to the Colorado River basin on the south and from the Cross Timbers on the east to the Caprock escarpment on the west. Since 1930, the Big Empty has seen sustained and severe population decline such that some counties there now register less than a quarter the population they did at their peaks during the interwar years. Through in-depth field interviews, I examine sense of place and place attachment amidst apparently irreversible decline. I also describe conditions of postindustrial rurality arising from rolling reconfigurations of economic and social relations, particularly changes in scale in farming and the diminished centrality of productivist agriculture in local economies and culture, and how these conditions become legible through the study of place.

This thesis probes the materiality of a text by focusing on elliptical matters. In The Culture of Time and Space, Stephen Kern introduces the term "positive-negative space" to describe the primacy of empty space as a formal subject matter in sculptures of the early twentieth century. With some caveats and distinctions, the thesis argues that Kern's theory of positive-negative space is crucial for reading Faulkner's crytic and polyvalent production of space. Using a smorgasbord of approaches including psychoanalytic and reader-response criticism, feminist and critical race theories, post-structuralist and formalist notions of space, theories of the "hole" in fine arts sculpture, and the New Southern studies, my thesis reinvents the conception of positive-negative space, and asserts that positive-negative space as an artistic principle" is the modus operandi of William Faulkner's The Sound and the Fury and Sanctuary. / by Simone Maria Puleo. / Thesis (M.A.)--Florida Atlantic University, 2012. / Includes bibliography. / Mode of access: World Wide Web. / System requirements: Adobe Reader.

Thesis (Ph. D.)--University of California, Los Angeles, 2004. / Includes bibliographical references (p. 222-229). Also available on the Internet.

The Fourth Gospel uses space to arrange its narrative and uses its narrative to represent Johannine space and experience. The spaces alluded to in John are full of contestation and serve as identity markers. By Nathanael asking if anything good can come from Nazareth, he represents Nazareth and its inhabitants as insignificant. Yet, by Jesus seeing in Nathanael, not a Galilean but an Israelite, Jesus subverts the regional stereotypes operative in Nathanael and John’s narrative world but maybe reflective of John’s concrete experience. By denying the sacred places of Jerusalem and Samaria, and proposing worship in spirit and truth, the Johannine Jesus is theologically and socially located on the margins of sacred place but at the centre of sacred presence. When the Johannine Jesus sees the arrival of the Greeks as the ‘hour of glory’ he subverts diaspora existence and marginalises the centre, Palestine. If the ultimate place to access God in John is utopia, then this is, no place. / Thesis (Ph.D.)-University of KwaZulu-Natal, Pietermaritzburg, 2009.

Thesis (M)--Montana State University--Bozeman, 2007. / Typescript. Chairperson, Graduate Committee: Johnson, Ralph. Includes bibliographical references (leaves [83]-[84]).

This mini-thesis is a supporting document to the exhibition titled via: a phenomenological site-specific series of intermedia interventions and installations at the 1820 Settlers National Monument in Grahamstown. This mini-thesis examines ways in which one negotiates the movement of the self and interactions with others within the non-place. Non-places are ‘habitually transient’ spaces for passage, communication and consumption, often viewed from highways, vehicles, hotels, petrol stations, airports and supermarkets. Characteristic of these generic and somewhat homogenous spaces is the paradox of material excess and concurrent psychological lack where a feeling of disorientation and disconnection is established due to the excesses of Supermodernity: excess of the individual, time and space. The non-place is a contested space as it does not hold enough significance to be regarded as a place and yet, despite its banality, is necessary – and in many ways a privilege – in everyday living. I explore the concept of non-places in relation to the intricate notions of space and place, and draw on empirical research as a means to interrogate how one perceives the phenomenological qualities of one’s surroundings. I discuss the implications of the multiplication of the non-place in relation to globalisation, time–space compression, site-specific art and absentmindedness, as theoretical themes which underpin the practical component of my research. In addition, I situate my artistic practice in relation to other contemporary artists dealing with the non-place as a theme, and critically engage with the multi-disciplinary and sensory installations and video pieces of Belgian artist Hans Op de Beeck.

In this thesis I consider ubuntu as a metonym for the particularly African features of South African philosophy. Given that Mbembe critiques African philosophy in general as having failed because it has been subsumed under two unreflective political movements in African thought, I consider whether or not the concept of ubuntu escapes his critique. After developing criteria for measuring the success of any philosophical concept, I conclude that ubuntu is unsuccessful. I then identify the political constraints placed on ubuntu that lead to its failure. These constraints arise from having to validate Africa as a place of intellectual worth. Considering the role of place in these constraints, I argue that a far more productive approach to ubuntu (and South African philosophy in general) is to explicitly incorporate this place into our philosophical project. I use the conceptual framework developed by Bruce Janz to provide a systematic account of place that can be used in formulating South African philosophy. I add to Janz, arguing that philosophy is a response to a particular feature of place: the mystery. By incorporating place into ubuntu, I am able to start developing a philosophical concept which can fulfil the political constraints placed on ubuntu without sacrificing its philosophical integrity. I suggest that ubuntu remains an interesting concept primarily because it promises to respond to the fragmentation of the South African place. I conclude by arguing that ubuntu should be used as the basis for a civic religion which responds to the fragmentation of the South African place. This civic religion will give rise to a significantly distinct philosophical tradition which should not succumb to Mbembe’s critique.

The study examines social and physical connections and images that define the sense of place of three community gardens managed by the City of Portland. Most research on community gardens focuses on social group connections and their impact on community revitalization and empowerment. Few studies consider the impact of physical and social connections to community gardens from the perspective of individual gardeners in constructing their sense of place. No studies have yet examined the relationship between spatial images, space connections, and empowerment feelings related to community gardens. This study is intended to initiate a discussion on the empowerment experience of individual gardeners and their images associated with community gardens in the context of sense of place. Thirty gardeners participated in the study. The use of the narrative photo storytelling method applied through de Certeau's practice of everyday life and narrative city approach enabled gardeners to express in their own terms connections to space and experience of empowerment achieved through community gardening. The study proposes the concept of the Natural Realm as the context for sense of place of Portland Community gardens. Natural Realm deemphasizes the human-centric view of nature. Community gardeners most commonly experience empowerment by perceiving community gardens as sacred places where people feel well because they can grow healthy food, practice green domesticity, and learn from nature in a beautiful setting. The study applies Rocha's ladder of empowerment to examine the relevance of individual and group action in fulfilling empowerment goals in the context of sense of place. Gardeners accomplish most of their empowerment goals through solitary efforts to maximize pleasurable activities and increase personal efficacy and satisfaction by optimizing physical and social connections in community gardens.