Thesis (Ph. D.)--University of Sydney, 2004. / Title from title screen (viewed 14 May 2008). Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy to the Dept. of Linguistics, Faculty of Arts. Includes bibliographical references. Also available in print form.

Western museums are public institutions, open and accessible to all sectors of the population they serve. Increasingly, they are becoming more accountable to the governments that fund them, and criteria such as visitation figures are being used to assess their viability. In order to ensure their survival in the current climate of economic rationalism, museums need to maintain their audiences and attract an even broader demographic. To do this, they need to ensure that visitors feel comfortable, welcome and secure inside their spaces. They also need to give visitors clear entry points for engaging with and valuing the objects and knowledge on display in exhibitions. This thesis maps a grammar of three-dimensional space with a strong focus on the interpersonal metafunction. Building on the social semiotic tools developed by Halliday (1978, 1985a), Halliday and Hasan (1976), Martin (1992) and Matthiessen (1995), it identifies two interpersonal resources for organising space: Binding and Bonding. Binding is the main focus of the thesis. It theorises the way people�s emotions can be affected by the organisation of three-dimensional space. Essentially, it explores the affectual disposition that exists between a person and the space that person occupies by focussing on how a space can be organised to make an occupant feel secure or insecure. Binding is complemented by Bonding. Bonding is concerned with the way the occupants of a space are positioned interpersonally to create solidarity. In cultural institutions like museums and galleries, Bonding is concerned with making visitors feel welcome and as though they belong, not just to the building and the physical environment, but to a community of like-minded people. Such feelings of belonging are also crucial to the long-term survival of the museum. Finally, in order to present a metafunctionally diversified grammar of space, the thesis moves beyond interpersonal meanings. It concludes by exploring the ways textual and ideational meanings can be organised in three-dimensional space.

Western museums are public institutions, open and accessible to all sectors of the population they serve. Increasingly, they are becoming more accountable to the governments that fund them, and criteria such as visitation figures are being used to assess their viability. In order to ensure their survival in the current climate of economic rationalism, museums need to maintain their audiences and attract an even broader demographic. To do this, they need to ensure that visitors feel comfortable, welcome and secure inside their spaces. They also need to give visitors clear entry points for engaging with and valuing the objects and knowledge on display in exhibitions. This thesis maps a grammar of three-dimensional space with a strong focus on the interpersonal metafunction. Building on the social semiotic tools developed by Halliday (1978, 1985a), Halliday and Hasan (1976), Martin (1992) and Matthiessen (1995), it identifies two interpersonal resources for organising space: Binding and Bonding. Binding is the main focus of the thesis. It theorises the way people�s emotions can be affected by the organisation of three-dimensional space. Essentially, it explores the affectual disposition that exists between a person and the space that person occupies by focussing on how a space can be organised to make an occupant feel secure or insecure. Binding is complemented by Bonding. Bonding is concerned with the way the occupants of a space are positioned interpersonally to create solidarity. In cultural institutions like museums and galleries, Bonding is concerned with making visitors feel welcome and as though they belong, not just to the building and the physical environment, but to a community of like-minded people. Such feelings of belonging are also crucial to the long-term survival of the museum. Finally, in order to present a metafunctionally diversified grammar of space, the thesis moves beyond interpersonal meanings. It concludes by exploring the ways textual and ideational meanings can be organised in three-dimensional space.