This thesis aims to bring to light the perceptions of mentalities of government through the eyes of unaccompanied asylum-seeking minors in Sweden. It also seeks to offer some insight and reflections from a custodian perspective. Unaccompanied asylum-seeking children that come to Sweden are entitled to the same rights as the children holding citizenships in Sweden. The right to be heard and listened to is enshrined in the Convention of the Rights of the Child and holds great value during the asylum-process. Thus, the enforcement of these rights, among other rights, shows to be challenging in practice when scrutinizing the asylum process. With a pluralistic theoretical approach, leaning on the works of Hannah Arendt and Jacques Derrida, along with the narratives shared by the informants, this study aims to uncover the probabilities of feeling helpless during the asylum process, it also seeks to explore how mechanisms of power relations and control are configured according to the informants. Most laws regarding securing rights for refugees are formed by international organizations and constituted by national politicians. These laws operate to gain control at the hand of legality, thus the restrictiveness has been at the expense of the child’s best interest. As I believe more initiatives should be taken within the field of migration policy, by having unaccompanied asylum-seeking children as the point of departure, this study is an endeavor to help give them a voice.

一直以來，理論與經驗被認為是學術中兩種重要的研究方向，時至今日，在各個學術領域中仍不時有著理論／經驗二分並且對立的情況。在社會學界，這樣的現象也同樣地存在著。本文意在指出，任何理論作品本身皆帶有實作的面向，從來沒有非實作的理論；反過來說，亦沒有非理論的實作。語言體現一種群體的身體習慣，閱讀是對它的理解、而書寫是對它的介入。假解構之道重新進入暴力問題將有助於我們更為現實地面對近乎無所不在的語言之暴力。本文透過Derrida對現象學／存有論和馬克思主義文本的詳細閱讀和，旨在論證暴力幽靈不失為解構式延異經濟的最佳範例。名為幽靈的暴力意味著人們無法一勞永逸地袪除的東西，總是纏擾著資本主義的精神。本文將指出，作為基進化的馬克思主義，以暴力問題闡明的解構政治哲學能使我們免於陷入古典社會學和馬克思主義的天真政治和自發哲學的困境，包括天真地相信暴力將隨著文明化和理性化的進步而終結，以及自發地繼承西方神學和形上學的傳統。 / For a long time, the theoretical and the empirical have been regarded as distinctive approaches to academic research, and yet conflicts between these two lines of study persist until today. . The same case applies to the discipline of sociology. This thesis intends to point out that every theoretical work carries in itself a practical dimension, at which there is neither a non-practical theory nor a non-theoretical practice. A language is the actualization of bodily habits of a group. We read to understand and write to intervene this linguistic group. Thus it is only by way of deconstruction could we confront the almost ubiquitous violence of language in a more realistic manner. Following Derrida’s deconstructive reading of phenomenology/ontology and Marxism, the thesis seeks to make spectral violence an exemplary case to support the economy of différance. The specter named violence signifies something that could never be exorcised once and for all, always haunting the capitalist spirit. It will be argued that as a radical form of Marxism, deconstructive political philosophy explicated by the question of violence can keep us from lapsing into the naïve politics and spontaneous philosophy of classical sociology and Marxism, insofar as they naively believe in the end of violence via the progress of civilization and rationalization, and spontaneously succeed to Western theological and metaphysical traditions.

Ce texte d'accompagnement a pour but de rendre compte de l'expérimentation de la mise en implication de la déconstruction derridienne et de certains de ses concepts constitutifs dans le processus de mise en chantier de deux sphères fondamentales de l'activité théâtrale, soit l'écriture du texte et la mise en scène, à partir de matériaux textuels existants. Ce mémoire cherche donc à témoigner de la trace de la déconstruction et de l'espace que celle-ci a occupé dans le processus de réécriture et d'adaptation de trois oeuvres (Hamlet, Faust et Punch) ainsi que dans le processus d'élaboration de la mise en scène de cette adaptation. Cette adaptation sous forme de lecture croisée et ce compte rendu de la trace qu'occupe la déconstruction dans notre processus de création sont précédés d'une étude non-exhaustive de la déconstruction comme concept philosophique général, puis comme protocole de lecture et enfin en tant que possible principe moteur à la création d'une oeuvre théâtrale multidisciplinaire ou pluridisciplinaire. Pour réaliser l'étude, Derrida (l'homme et le philosophe) et le parcours de sa pensée à travers ses oeuvres sont au préalable présentés. Puis, la déconstruction est définie de manière générale, ensuite précisée en fonction de son contexte théâtral d'utilisation, et enfin disséminée en neuf concepts ou groupes concepts constitutifs jugés essentiels à l'expérimentation : le joint et le dis-joint, la marge, la trace, la ruine, le texte, la différance, la spectralité, le cadre et la signature. Dans ce document, certaines hypothèses découlent de l'emploi de ces concepts dans le processus d'écriture (ou de réécriture) dramaturgique et de mise en scène, la principale étant que la déconstruction, par le protocole de mise en lecture qu'elle implique, oriente la création en s'avérant génératrice de nouvelles écritures, donc libératrice de nouveaux sens. Il va de soi qu'elle engage une certaine responsabilité du créateur face aux oeuvres qu'il déconstruit, c'est-à-dire non pas celle de la relecture, mais bel et bien celle de la lecture, de la lecture active et responsable, propice à la création d'une oeuvre de théâtre transdisciplinaire. L'utilisation de l'exemple déconstructionnisté de Glas de Jacques Derrida comme expérience d'analyse et d'écriture en lecture croisée contribue également à l'encadrement de l'expérimentation d'un point de vue formel. Le texte Et cetera de Derrida servira quant à lui de guide idéologique à notre définition de la déconstruction derridienne. Afin de définir et de cerner plus avant la déconstruction derridienne, ses concepts constitutifs et leurs possibilités de mise en influence sur le processus d'écriture (ou de réécriture), qu'il soit dramaturgique ou scénique, les travaux de plusieurs auteurs comme Marc Goldschmit, Stratos E. Constantinidis, Nathalie Roelens, Peter Brunette, David Wills, Béatrice Picon-Vallin, André Green, André Dabezies et bien sûr Derrida lui-même (avec principalement Glas et Et Cetera) serviront d'assises théoriques à l'analyse. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Derrida, Déconstruction, Hamlet, Faust, Punch, Théâtre multidisciplinaire, Interdisciplinarité.

This thesis examines how context in Derridean signature theory is taboo and underutilized, and calls signature theory to embrace the contaminating mark of context. Signature theory, as proposed by Jacques Derrida and Peggy Kamuf, offers a mere glimpse into Romanticism’s strained relationship with the signature, with a close reading limited to Rousseau. This thesis widens the scope of existing signature scholarship, and expands the context of the signature by focusing on a variety of signatures, events and contexts to reveal that the slipperiness of the signature is a pervasive problem, irreducible to simply just Rousseau. This thesis does not involve a return to the origin, or a search for origins; Part I is a return to the period which Derridean signature theory investigates, in an attempt to interrogate Derrida, Kamuf, and the signature itself; expanding the concept of the signature through its various manifestations of handwork and linework, and weaving together a more complicated, contaminated, and ultimately convincing context for signature theory to begin (again) from. Part II forces signature theory to begin again by putting it into practice. Here, I take Kamuf to task for her failure to fully ‘contract’ the signature. She completely ignores the physical dimension of the word ‘contract.’ Going one step further than simply critiquing her signature practices, I ‘contract’ the signature by having Derrida’s signature tattooed on my body. The tattoo and its location comment on the current limitations of signature theory, and perhaps of academic practice generally; of contracting without touching, and fearing contexts.

In this thesis several random Boolean networks are simulated. Both completely computer generated network and models for biological networks are simulated. Several different tools are used to gain knowledge about the robustness. These tools are Derrida plots, noise analysis and mean probability for canalizing rules. Some simulations on how entropy works as an indicator on if a network is robust are also included. The noise analysis works by measuring the hamming distance between the state of the network when noise is applied and when no noise is applied. For many of the simulated networks two types of rules are applied: nested canalizing and flat distributed rules. The computer generated networks consists of two types of networks: scale-free and ER-networks. One of the conclusions in this report is that nested canalizing rules are often more robust than flat distributed rules. Another conclusion is that the mean probability for canalizing rules has, for flat distributed rules, a very dominating effect on if the network is robust or not. Yet another conclusion is that the probability distribution for indegrees, for flat distributed rules, has a strong effect on if a network is robust due to the connection between the probability distribution for indegrees and the mean probability for canalizing rules.

This thesis examines how context in Derridean signature theory is taboo and underutilized, and calls signature theory to embrace the contaminating mark of context. Signature theory, as proposed by Jacques Derrida and Peggy Kamuf, offers a mere glimpse into Romanticism’s strained relationship with the signature, with a close reading limited to Rousseau. This thesis widens the scope of existing signature scholarship, and expands the context of the signature by focusing on a variety of signatures, events and contexts to reveal that the slipperiness of the signature is a pervasive problem, irreducible to simply just Rousseau. This thesis does not involve a return to the origin, or a search for origins; Part I is a return to the period which Derridean signature theory investigates, in an attempt to interrogate Derrida, Kamuf, and the signature itself; expanding the concept of the signature through its various manifestations of handwork and linework, and weaving together a more complicated, contaminated, and ultimately convincing context for signature theory to begin (again) from. Part II forces signature theory to begin again by putting it into practice. Here, I take Kamuf to task for her failure to fully ‘contract’ the signature. She completely ignores the physical dimension of the word ‘contract.’ Going one step further than simply critiquing her signature practices, I ‘contract’ the signature by having Derrida’s signature tattooed on my body. The tattoo and its location comment on the current limitations of signature theory, and perhaps of academic practice generally; of contracting without touching, and fearing contexts.

När man inom filosofihistorien diskuterat frågan om djuret, har utgångspunkten ofta varit en negativ kontrast till det mänskliga. Medan människan tillskrivits förmågor som medvetenhet, rationalitet och förmåga till tal och språk, har djuret framställts som något som brister i dessa egenskaper. Dock har det uppkommit nya teorier om djuret som skiljer sig från en sådan metafysisk tradition . Peter Singer lyfter i sin bok, Praktisk Etik, att medvetande och självmedvetandeargument som syftat till att tillskriva människan en särställning gentemot djuret inte längre kan vidmakthållas. Vi har snarare skäl att tro det omvända. Jacques Derrida är likt Singer intresserad av att ändra synen på djuret som en brist i relation till det mänskliga men Derrida föreslår en radikalare lösning. Vi måste enligt Derrida dekonstruera (”bryta ner”) det antropocentriska, metafysiska subjektet - och de strukturer som inbegrips i det - för att se hur dess innehåll har fått människan att bruka våld mot djuret. Även om Derrida och Singer skiljer sig när det gäller att problematisera den metafysiska distinktionen mellan människa och djur. tar man avstamp från samma punkt, nämligen från Jeremy Benthams lidandebegrepp. / When discussing the issue of the animal within the history of philosophy, the aspect has often been somewhat of a negative contrast to what is humane. Whilst the human race has been attributed with abilities such as consciousness, rationality and the ability to speak, the animal has been described as something that lacks these abilities. However, new theories concerning the animal have arisen, theories that differentiate from such metaphysical tradition. In Praktisk Etik, Peter Singer raises an argument claiming that consciousness and self-consciousness concerning the matter of attributing humans with an exceptional position towards the animals, no longer can be admitted as valid. We more likely have the reason to believe the opposite. Jacques Derrida is like Singer interested in changing the attitude towards the animal as a flaw in relation to what is humane, but Derrida proposes a more radical solution. According to Derrida, we have to deconstruct the anthropocentric, metaphysical subject – and the structures that embodies this – to be able to see how its content has made the human being maltreat the animal. Although Derrida and Singer separate in their opinions concerning the problematizing of the metaphysical distinction between the human being and the animal, they take off from the same point of view, namely from Jeremy Bentham’s concept of suffering. / Nicklas Lindgren

Den allvarsamma leken (1912) by Hjalmar Söderberg has been regarded as one of the greatest love novels of Swedish literature. The story about Arvid Stjärnblom and Lydia Stille and their extramarital love is marked by timeless universality. In this essay, I will examine this notion of love as a prediscursive value, by means pro¬vided by foremost poststructuralist theory. With Derrida’s conception of deconstruction, the analysis will reveal the constructedness of the true love in Söderbergs novel. Examinating typi¬cal logocentric binarisms the essay will show that the notion of true love is constituting a term in an oppositional relation with, in this specific case, the marriage sanctioned by society. This binarism is itself founded with the same principles as the by Derrida much disputed opposi¬tional pair of the spoken and written word. Further, with true love understood as a discursive construction, the inquiry will show that this construction presuppose the notion of the public and private spheres of bourgeois society, where the public is reserved for the male and the private for the female. This will lead to a discussion of the constructedness status of sex and gender, which will show that the love ex¬pressed in the relationship of Arvid and Lydia is to be understood as a considerable part of heterosexual matrix, that is, the regulative framework which, according to Judith Butler, consti¬tute the rules for how intelligible sex and gender is to be produced.

Erik Beckmans roman Inlandsbanan (1967) har, tillsammans med hans hela författarskap, både kritiserats och hyllats som obegriplig, med en berättarstruktur som aktivt bryter mot ett konventionellt, episkt berättande och anammar en försvårande, gestaltande skriv- och läsakt. Derrida diskuterar i Of Grammatology (1967) funktionen hos den skrivna texten som betecknande det betecknande, det vill säga betecknande det talade språket som betecknar den refererade betydelsen, och hur relationerna dessa sinsemellan förskjutits. På ett liknande sätt har Inlandsbanans textfunktion förskjutits från en episk berättartradition till en icke-muntlig, materialistisk struktur. Med hjälp av en inomkompositionell, intermedial begreppsapparat, och en hypotes kring ett musikaliserat berättande, där gestaltande former tar sig runt den muntliga språktraditionen inom litteraturen, ses Inlandsbanan här i ett nytt ljus och en del av dess påstådda obegriplighet redes ut. Allt detta sker integrerat i en diskussion av en intermedial metod för analys, som hela tiden har sitt stöd i Erik Beckmans roman. Slutligen manifesteras en diskussion i form av en analys av romanen med uppsatsens teoretiska diskussioner som grund. Detta fungerar både som inblick i ett i mångt och mycket förbisett författarskap, och i en terminologi för att hantera skarpt avvikande texter inom litteraturvetenskapen.

J.O. Mallander’s Extended Play (1968) is a sound recording, a readymade, of the counting of votes in two presidential elections in Finland, during 1962 and 1968. A voice repeats monotonously: “Kekkonen, Kekkonen, Kekkonen, Kekkonen, Kekkonen…” Although the Finnish president Urho Kekkonen represents, almost personifies, the politics of the post World War II period in Finland, Extended Play does not explicitly address the political. Rather, as this essay argues, it engages in the discourses of power and politics by providing a temporalization of its fixedness, or what Jacques Derrida terms the proper. Extended Play is, in parallel with Derrida’s critique of western metaphysics, a deconstruction in sound that challenges the state ideologies conveyed in the process of the counting of votes, where the presuppositions of the presence of the voice characterizes the ambiguities of power that Kekkonen’s politics of neutrality represent. Mallander’s readymade emerges as a double of the game theory strategies of the Cold War, a mimetic surplus of the administrative control mechanisms of sound recording. Through overturning the dialectics of the original and the copy, where repetition of sound also temporalizes the representation of the proper, it does not unequivocally reproduce its content. As an aural document, repeated and mass-produced as a record, it devalues, therefore, presumptions of origin. Derrida’s idea of “sous rature” initiates, in the discussion of Extended Play as a specific form of conceptual sound art, the notion of sound under erasure, which is not reducible to an auditory or medium-specific practice.