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Children are the future architects, clients and users of our buildings. The kinds of architectural worlds they are exposed to in picturebooks during their formative years may be assumed to influence how they regard such architecture as adults. Contemporary urban environments the world over represent the various stages of modernism in architecture. This book reads that history through picturebooks and considers the kinds of national identities and histories they construct.Twelve specialist essays from international scholars address questions such as: Is modern architecture used to construct specific narratives of childhood? Is it taken to support ‘negative'narratives of alienation on the one hand and ‘positive'narratives of happiness on the other? Do images of modern architecture support ideas of ‘community'? Reinforce ‘family values'? If so, what kinds of architecture, community and family? How is modern architecture placed vis-à-vis the promotion of diversity (ethnic, religious, gender etc.)? How might the use of architecture in comic strips or the presence of specific kinds of building in fiction aimed at younger adults be related to the groundwork laid in picturebooks for younger readers? This book reveals what stories are told about modern architecture and shows how those stories affect future attitudes towards and expectations of the built environment.

Cervantes'Architectures is the first book dedicated to architecture in Cervantes'prose fiction. At a time when a pandemic is sweeping the world, this book reflects on the danger outside by concentrating on the role of enclosed structures as places where humans may feel safe, or as sites of beauty and harmony that provide solace. At the same time, a number of the architectures in Cervantes trigger dread and claustrophobia as they display a kind of shapelessness and a haunting aura that blends with the narrative. This volume invites readers to discover hundreds of edifices that Cervantes built with the pen. Their variety is astounding. The narrators and characters in these novels tell of castles, fortifications, inns, mills, prisons, palaces, towers, and villas which appear in their routes or in their conversations, and which welcome them, amaze them, or entrap them. Cervantes may describe actual buildings such as the Pantheon in Rome, or he may imagine structures that metamorphose before our eyes, as we come to view one architecture within another, and within another, creating an abyss of space. They deeply affect the characters as they feel enclosed, liberated, or suspended or as they look upon such structures with dread, relief, or admiration. Cervantes'Architectures sheds light on how places and spaces are perceived through words and how impossible structures find support, paradoxically, in the literary architecture of the work.

Gothic Romanticism: Wordsworth, Architecture, Politics, Form offers a revisionist account of both Wordsworth and the politics of antiquarianism in the late eighteenth and early nineteenth centuries. As a historically-driven study that develops a significant critique and revision of genre- and theory-based approaches to the Gothic, it covers many key works by Wordsworth and his fellow “Lake Poets” Samuel Taylor Coleridge and Robert Southey. The second edition incorporates new materials that develop the argument in new directions opened up by changes in the field over the last decade. The book also provides a sustained reflection upon Romantic conservatism, including the political thought and lasting influence of Edmund Burke. New material places the book in wider and longer context of the political and historical forms seen developing in Wordsworth, and proposes Gothic Romanticism as the alternative line of cultural development to Victorian Medievalism.

This book offers new close readings of contemporary Irish drama in the context of postcolonial Biblical studies. Developing Christopher Morash's historiographical metaphor of Babel, it combines appropriations of this and other selected Biblical themes of building found in plays by such authors as Malachy McKenna (Tillsonburg), Dermot Bolger (Ballymun Trilogy), Stacey Gregg (Shibboleth), Richard Dormer (Drum Belly) or Sebastian Barry (Tales of Ballycumber). The monograph explores the stances contributed by key scholars specialising in Irish drama and theatre (Christopher Morash, Shaun Richards, Helen Heusner Lojek), draws on the most recent findings within postcolonial Biblical criticism and touches upon the assumptions of subcreation studies (Mark J. P. Wolf).

This book sheds light on the contributions of architecture and its literary representations to a series of changes taking place in sexual culture during the late nineteenth and early twentieth centuries in France, England, Germany and Austria. By analysing an important set of architectural discourses and literary representations of domestic architecture, the book illustrates the constant tension between an increasing sexual permissiveness and more conservative approaches to domesticity and sexuality. It shows the ways in which literature imagined the impact of new architectural designs on sexual culture that suggested the creation of more fluid forms of organisation of space and sexual mores.

Building in Words explores the relationship between text and architecture in the Roman world from the perspective of architectural process. Ancient Romans frequently encountered buildings under construction - they experienced noisy building work, disruptive transportation of materials, and sometimes spectacular engineering feats. Bettina Reitz-Joosse analyzes how Roman authors responded to the process of building and construction in their literary works. Roman authors tell stories of architectural creation to give meaning to finished monuments. Their narratives can stress technological or logistic mastery or highlight morally problematic aspects of construction, particularly in large-scale engineering projects. While offering descriptions of the process of creating architecture, Roman writers also reflect on the creation of their own works. Building in Words demonstrates the richness of the image of construction for literary composition: writers use it to comment on the aesthetics or ambition of their literary work, to articulate the power and durability, but also the fragility of literature. Reitz-Joosse here offers original readings of a range of literary authors of the early Roman empire, including Vergil, Pliny the Elder, Tacitus, and Statius, and places literary texts in dialogue with contemporary epigraphic and archaeological material. Through its focus on building as a process, Building in Words furthers our understanding of the aesthetics of both architecture and literature in ancient Rome.

Scholars in disciplines from architecture and the fine arts, to the various branches of history and social studies, will find this study timely given contemporary European controversies over what constitutes national identity and what parts are played by race, philosophy and religion, economics, immigration, and invasion. Many major European national identities barely predate the nineteenth century and were shaped not just by wars, philosophies, industrial change, and governmental policies, but also by artistic manipulation of how people perceived public spaces: landscapes, cityscapes, religious and cultural structures, museums, and monuments commemorating conflict. Among the most masterful manipulators of the day were popular nineteenth-century French and British novelists, who gave famous buildings a special prominence in their writing. Some, like Victor Hugo are still read and respected by scholars. Others, like Alexandre Dumas, though still widely read, are undervalued by contemporary critics. Still others, like William Harrison Ainsworth, a prolific English writer, are all but forgotten. These three writers authored architectural novels which gave major ancient Gothic buildings a new and portable cultural presence well beyond their physical location. During these revolutionary times, when national symbolism was being questioned and challenged, the threatened rupture with the past was admirably addressed through their art.

The art of architecture is an important aesthetic element that can leave a lasting impression in one's mind about the values of a society. Today's architectural art, education, and culture have gradually turned into engineering practices and more technical pursuits. Architecture in Fictional Literature is a book written with the aim of understanding the concept of living spaces as portrayed in works of fiction and to open the doors to a new perspective for readers on the art of architecture.It is a collection of essays written by educators and literary critics about how architecture is presented in 28 selected literary works of fiction. These selected works, which include well-known works such as Hugo's Hunchback of Notre Dame, Kafka's The Castle, Swift's Gulliver's Travels, Tolkien's The Lord of the Rings, Carroll's Alice in Wonderland, Fitzgerald's The Great Gatsby, among many others, collectively attempt to illustrate facets of human life in a lucidly expressive way while also having an architectural background added in the narrative. Each essay is unique and brings a diverse range of perspectives on the main theme, while also touching on some niche topics in this area, (such as spatial analysis, urban transformation and time-period settings), all of which have exploratory potential.With this collection, the contributors aspire to initiate the transformation of architectural education by including a blend of literary criticism. By building a foundation of architectural aesthetics, they hope to bridge the gap between the artist and the architect, while also inspiring a new generation of urban planners, landscape artists, and interior designers to consider past works when designing living spaces. Architecture in Fictional Literature is also essential to any enthusiast of fictional works who wants to understand the fictional portrayal of living spaces and architecture in literature.

Although Victorian novels often feature lengthy descriptions of the buildings where characters live, work, and pray, we may not always notice the stories these buildings tell. But when we do pay attention, we find these buildings offer more than evocative background settings. Victorian Structures uses the architectural writings of Victorian critic John Ruskin as a framework for examining the interaction of physical, social, and narrative structures in Little Dorrit by Charles Dickens, Adam Bede by George Eliot, and The Mayor of Casterbridge and Jude the Obscure by Thomas Hardy. By closely reading their descriptions of architectural structure, this book reconsiders structure itself—both the social structures the novels reflect, and the narrative structures they employ. Weaving together analysis of these three kinds of structure offers an interpretation of Victorian realism that is far more socially and formally unstable than critics have tended to assume. It illustrates how these novels radically critique the limitations, dysfunctions, and deceptions of structure, while also imagining alternative possibilities.This unique interdisciplinary approach emphasizes structure-in-time: while current conversations about structure focus on its static and fixed properties, this book understands it as various forces in tension, producing meanings that are always in flux. Victorian Structures focuses not only on the way structures shape our perceptions and experiences, but also, more importantly, on the processes through which those structures come to be constructed in the first place, and how they change over time.

Throughout its history, the city of Rome has inspired writers to describe its majesty, to situate themselves within its sweeping landscape, and to comment upon its contribution to their own identity. The Roman elegiac poet Propertius was one such author. This final published collection, issued in 16 BCE, has been traditionally read as an abandonment by Propertius of his earlier flippant love poems for a more mature engagement with Roman public life or else a comical send-up of imperial policies as embodied in Rome's public buildings. The relationship between poet and city is complicated at every turn with the presence in the background of the emperor Augustus, whose sustained artistic patronage of Roman monuments brought about the most pervasive transformation that the cityscape had yet seen. The Elegiac Cityscape explores Propertius'Rome and the various ways his poetry about the city illuminates the dynamic relationship between one individual and his environment. Combining the approaches of archaeology and literary criticism, Tara S. Welch examines how Propertius'poems on Roman places scrutinize the monumentalization of various ideological positions in Rome, as they poke and prod Rome's monuments to see what further meanings they might admit. The result is a poetic book rife with different perspectives on the eternal city, perspectives that often call into question any sleepy or complacent adherence to Rome's traditional values.

We spend our lives moving through passages, hallways, corridors, and gangways, yet these channeling spaces do not feature in architectural histories, monographs, or guidebooks. They are overlooked, undervalued, and unregarded, seen as unlovely parts of a building's infrastructure rather than architecture. This book is the first definitive history of the corridor, from its origins in country houses and utopian communities in the seventeenth and eighteenth centuries, through reformist Victorian prisons, hospitals, and asylums, to the “corridors of power,” bureaucratic labyrinths, and housing estates of the twentieth century. Taking in a wide range of sources, from architectural history to fiction, film, and TV, Corridors explores how the corridor went from a utopian ideal to a place of unease: the archetypal stuff of nightmares.

Jennifer C. Vaught illustrates how architectural rhetoric in Shakespeare and Spenser provides a bridge between the human body and mind and the nonhuman world of stone and timber. The recurring figure of the body as a besieged castle in Shakespeare's drama and Spenser's allegory reveals that their works are mutually based on medieval architectural allegories exemplified by the morality play The Castle of Perseverance. Intertextual and analogous connections between the generically hybrid works of Shakespeare and Spenser demonstrate how they conceived of individuals not in isolation from the physical environment but in profound relation to it. This book approaches the interlacing of identity and place in terms of ecocriticism, posthumanism, cognitive theory, and Cicero's art of memory. Architectural Rhetoric in Shakespeare and Spenser examines figures of the permeable body as a fortified, yet vulnerable structure in Shakespeare's comedies, histories, tragedies, romances, and Sonnets and in Spenser's Faerie Queene and Complaints.

In achtzehn Studien beschreiben die VerfasserInnen die Art des Redens sowie die Formen der bildlichen Mitteilungen über die Architektur und analysieren so die kommunikativen Bedingungen der Architekturtheorie. Erstmals werden in einem historischen Überblick von der Renaissance bis zur Gegenwart die verschiedenen Textgattungen wie Traktat, Dialog, Kommentar, Essay, Antikenpublikation, Ausstellungskatalog oder Architekturzeitschrift in ihrer Bedeutung als „Verträge“ zwischen den Autoren und dem Publikum in unterschiedlichen Gesellschaftskontexten systematisch untersucht.Bei der Wahl einer bestimmten Textgattung handelt es sich nicht nur um eine wesentliche Entwurfsentscheidung von Seiten des Autors. In ihr bilden sich sowohl Traditionsbindungen als auch Innovationsschübe in der Architekturtheorie ab. Damit fungieren Textgattungen in der Architekturtheorie selbst als Agenten der Wissensproduktion, sie zeigen die kontinuierliche Weiterentwicklung und die Anpassung der Theorie an jeweils aktuelle Erfordernisse des Bauens an. Textgattungen befördern die Modernisierung der Architekturtheorie – dieser zentralen These widmet sich das vorliegende Handbuch.

The look and feel of metropolitan France has been a notable preoccupation of French literary and visual culture since the 1980s. Numerous writers, filmmakers and photographers have been drawn to articulate France's contrasting spatial qualities, from infrastructural installations such as roads, rail lines and ports, to peri-urban residential developments and isolated rural enclaves. In doing so, they explore how the country's acute sense of national identity has been both asserted and challenged in topographic terms. This wide-ranging collection of essays explores how the contemporary concern with space in France has taken shape across a range of media, from recent cinema, documentary filmmaking and photographic projects through to television drama and contemporary fiction, and examines what it reveals about the state of the nation in a post-colonial and post-industrial age. The impact of global flows of capital, trade and migration can be mapped through attention to the specificities of place and topography. Investigation of liminal locations, from seaboard cities and abandoned industrial sites to refugee camps and peasant smallholdings, interrogates the assertion of a national territory (and, by extension, a national identity) through the figure of the hexagon, and highlights the fluidities, instabilities and lines of flight which render it increasingly unsettled.

This study examines the interdependence of gender, sexuality and space in the early modern period, which saw the inception of architecture as a discipline and gave rise to the first custodial institutions for women, including convents for reformed prostitutes. Meanwhile, conduct manuals established prescriptive mandates for female use of space, concentrating especially on the liminal spaces of the home. This work traces literary prostitution in the Spanish Mediterranean through the sixteenth and seventeenth centuries, from the rise of courtesan culture in several key areas through the shift from tolerance of prostitution toward repression. Kuffner's analysis pairs canonical and noncanonical works of fiction with didactic writing, architectural treatises, and legal mandates, tying the literary practice of prostitution to increasing control over female sexuality during the Counter Reformation. By tracing erotic negotiations in the female picaresque novel from its origins through later manifestations, she demonstrates that even as societal attitudes towards prostitution shifted dramatically, a countervailing tendency to view prostitution as an essential part of the social fabric undergirds many representations of literary prostitutes. Kuffner's analysis reveals that the semblance of domestic enclosure figures as a primary eroticstrategy in female picaresque fiction, allowing readers to assess the variety of strategies used by authors to comment on the relationship between unruly female sexuality and social order.

This Companion breaks new ground in our knowledge and understanding of the diverse relationships between literature, architecture, and the city, which together form a field of interdisciplinary research that is one of the most innovative and exciting to have emerged in recent years. Bringing together a wide variety of contributors, not only writers, architectural and literary scholars, and social scientists, but graphic novelists and artists, the book offers contemporary essays on everything from science fiction and the crime novel, to poetry, comics and oral history. It is structured into two sections: History, Narrative and Genre, and Strategy, Language and Form. Including over ninety illustrations, the book is a must read for academics and students.

Poetry, or poiēsis, has long been understood as a practice of making. But how are experiments in the making of poetic forms related to formal making in science and engineering? The Limits of Fabrication takes up this question in the context of recent developments in nanoscale materials science, investigating concepts and ideologies of form at stake in new approaches to material construction. Tracing the direct pertinence of fields crucial to the new materials science (nanotechnology, biotechnology, crystallography, and geodesic design) in the work of Shanxing Wang, Caroline Bergvall, Christian Bök, and Ronald Johnson back to the midcentury development of Charles Olson's “objectist” poetics, Nathan Brown carves out a tradition of constructivist, nonorganic poetics that has developed in conversation with science and engineering.While proposing a new approach to the relation of technē (craft, skill) and poiēsis (making, forming), this book also intervenes in philosophical debates concerning the concept of the object, the distinction between organic and inorganic matter, theories of self-organization, and the relation between “design” and “nature.” Engaging with Heidegger, Agamben, Whitehead, Stiegler, and Nancy, Brown shows that materials science and materialist poetics offer crucial resources for thinking through the direction of contemporary materialist philosophy.

Paul Scheerbart (1863-1915), auch unter seinen Pseudonymen Kuno Küfer und Bruno Küfer bekannt, war ein deutscher Schriftsteller phantastischer Literatur und Zeichner. Aus dem Buch:'Opalisierend lagen die Glaspaläste da und spiegelten sich in den Fluten des Michigansees. Und Frau Krug machte große Augen, als sie die prächtigen Kabinetts der Luftschiffgondel sah: buntes Glas in allen Wänden und prächtige Balkons, von denen aus man in die Tiefe und zum Sternenhimmel blicken konnte'

Construction of identity has constituted a vigorous source of debate in the Caribbean from the early days of colonization to the present, and under the varying guises of independence, departmentalization, dictatorship, overseas collectivity and occupation. Given the strictures and structures of colonialism long imposed upon the colonized subject, the (re)makings of identity have proven anything but evident when it comes to determining authentic expressions and perceptions of the postcolonial self. By way of close readings of both constructions in literature and the construction of literature, Architextual Authenticity: Constructing Literature and Literary Identity in the French Caribbean proposes an original, informative frame of reference for understanding the long and ever-evolving struggle for social, cultural, historical and political autonomy in the region. Taking as its point of focus diverse canonical and lesser-known texts from Guadeloupe, Martinique and Haiti published between 1958 and 2013, this book examines the trope of the house (architecture) and the meta-textual construction of texts (architexture) as a means of conceptualizing and articulating how authentic means of expression are and have been created in French-Caribbean literature over the greater part of the past half-century—whether it be in the context of the years leading up to or following the departmentalization of France's overseas colonies in the 1940's, the wrath of Hurricane Hugo in 1989, or the devastating Haiti earthquake of 2010.

Ornament as Crisis explores the ways in which the novels of Hermann Broch's Sleepwalkers (Schlafwandler) trilogy participate in and employ the history of architecture and architectural theory. Beginning with the visual and architectural experiences of the figures in each novel, Sarah McGaughey analyzes the role of architecture in the trilogy as a whole, while discussing work by Broch's contemporaries on architecture. She argues that The Sleepwalkers allows us to better understand how literature responds and contributes to social, theoretical, and spatial concepts of architecture. Ornament as Crisis guides readers through the spaces of Broch's mdernist masterpiece and the architectural debates of his time.

Creemos que solo los arquitectos diseñan casas y edificios, y elaboran proyectos urbanos. Sin embargo, a menudo los novelistas se ven obligados a hacerlo para definir el escenario donde se desarrolla su narración y como no saben, no quieren o no es su oficio dibujar, deben reemplazar el plano por una descripción en pros del edificio o espacio urbano que se imaginan y el lector interpreta. Por medio de sus proyectos escritos podemos leer cómo entienden la arquitectura y cuáles son sus preferencias y debilidades en este campo. Muchos van más allá del diseño de los espacios y llegan hasta el diseño de los detalles; otros se conforman con descri¬bir el ambiente necesario para la correcta comprensión de la acción, mostrando una arquitectura incompleta, y otros aprovechan el escenario para construir las carac¬terísticas, gustos y preferencias de sus personajes. Todos, pues, tienen que pasar por un proceso más o menos detallado de diseño. Así, Arquitectura en prosa recoge y analiza los “proyectos arquitectónicos” de un puñado de novelistas, que crean, a su manera, el espacio que se imaginan para el desa¬rrollo de su historia.

Magnificent Houses in Twentieth Century European Literature is a collection of great and imaginative essays that explore the theme of magnificent and aesthetically interesting houses in twentieth century European literature. It focuses especially on important works by Thomas Mann, Evelyn Waugh, J.R.R. Tolkien, and Siegfried Lenz, while also discussing other significant houses in modern European literature.

Sites Unseen examines the complex intertwining of race and architecture in nineteenth and early-twentieth century American culture, the period not only in which American architecture came of age professionally in the U.S. but also in which ideas about architecture became a prominent part of broader conversations about American culture, history, politics, and—although we have not yet understood this clearly—race relations. This rich and copiously illustrated interdisciplinary study explores the ways that American writing between roughly 1850 and 1930 concerned itself, often intensely, with the racial implications of architectural space primarily, but not exclusively, through domestic architecture.In addition to identifying an archive of provocative primary materials, Sites Unseen draws significantly on important recent scholarship in multiple fields ranging from literature, history, and material culture to architecture, cultural geography, and urban planning. Together the chapters interrogate a variety of expressive American vernacular forms, including the dialect tale, the novel of empire, letters, and pulp stories, along with the plantation cabin, the West Indian cottage, the Latin American plaza, and the “Oriental” parlor. These are some of the overlooked plots and structures that can and should inform a more comprehensive consideration of the literary and cultural meanings of American architecture. Making sense of the relations between architecture, race, and American writing of the long nineteenth century—in their regional, national, and hemispheric contexts—Sites Unseen provides a clearer view not only of this catalytic era but also more broadly of what architectural historian Dell Upton has aptly termed the social experience of the built environment.

In the Western world the period from the mid-eighteenth through the nineteenth century was a time of expanding historical consciousness, a period that saw the birth of modern historiography, a profusion of historical novels and paintings, and the widespread production of historical plays. Historical buildings, in themselves already of intense interest to people of the day, also found their way into the multiplying cultural forms as concrete presences anchoring a novelist's, poet's, painter's, or, eventually, filmmaker's vision of the past. In recent years a number of blockbuster films have used historically significant buildings as filming locations because buildings can concretely bring a former era or fictional world closer to contemporary viewers. Conjuring the Real traces the genealogy of this representational role of architecture, going back through the history of film and then further in literature, art, and theater. The contributors examine the ways in which authors, artists, and stage managers used complex depictions of buildings to feed and shape the audience's historical imagination. How can we understand the significance of architecture, not through its original design and construction but through the ways in which the public experiences, perceives, and understands it? The contributors pursue this question through the ideas of secondary portrayers of historical buildings, such as writers and artists, and then through the responses of those who read and view these creations.

Gothic Romanticism, winner of the 2010 MLA Prize for Independent Scholars, is a study of the relationship between British Romanticism and the Gothic Revival. Reading a wide range of canonical and raretexts, and spanning the Romantic discourses of architecture, politics, and literary form, the book recovers the collaborative project of Wordsworth, Coleridge, and Southeyfor a purified'Gothic'poetry and a'second Gothic'culture.