En écho avec la réflexion de Gertrude Stein sur le théâtre, la présente thèse explore l’idée de paysage comme moteur, dissident de la trame d’une histoire, de l’action scénique et de l’émotion du spectateur. Quoique récurrente dans le discours théâtral actuel, l’association entre théâtre et paysage ne va pas de soi. Il y a là comme des « noces contre nature » entre deux règnes et deux échelles différentes : la scène théâtrale, règne du drame, bâtie poétiquement et architecturalement à l’échelle de l’homme, et le paysage, règne de la nature qui ne peut se concevoir qu’à l’échelle de l’infini. Des « noces contre nature » qui, pour être fécondes, exigent une double émancipation : celle de la paysagéité hors du cadre pictural d’où elle est née en même temps que celle de la dramaticité hors de la matrice aristotélicienne qui l’a forgée.En partant de l’étude du concept de paysage et de l’évolution du genre pictural paysager, la thèse cherche à mettre en perspective la façon dont la paysagéité s’est immiscée dans l’art théâtral. Dans le sillage du concept de pièce-paysage introduit par Gertrude Stein en 1934, l’écriture théâtrale contemporaine, libérée de la nécessité de raconter une histoire, convoque une scène mentale pour une action qui ne peut se projeter que dans l’espace infiniment petit et infiniment grand de la pensée. Cristallisant les intuitions dramaturgiques steiniennes, l’œuvre de Robert Wilson fonctionne comme un prisme à travers lequel s’affirme l’esthétique scénique paysagère: l’homme et sa parole sont décentrés au sein d’un espace qui s’ouvre vers l’horizon. On en trouve l’écho dans une série d’œuvres scéniques contemporaines – Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels, François Tanguy – qui déclinent à leur façon les critères esthétiques d’un spectacle-paysage que le théâtre de Robert Wilson aura permis de forger.Le devenir-paysage de la scène s’accomplit au prix d’un dépaysement du drame et de son spectateur. / The present thesis falls within Gertrude Stein’s legacy and explores the concept of landscape as a driving force of scenic action and audience emotion that is independent of the plot.Although it is now common in the theatrical discourse, the association between theatre and landscape is not a given one. It is a sort of “counter-natural alliance” between two different realms and scales. The stage, which belongs to the realm of theatre, is built both poetically and architecturally to the human scale, whereas a landscape, which belongs to the realm of nature, can only be conceived of on an infinite scale. This “counter-natural alliance” can only be fertile if two emancipations occur: that of the landscape from the pictorial frame from which it was born, and that of drama from the Aristotelian matrix which constructed it.The thesis starts from a study of the evolution of the pictorial genre of the landscape and the concept of the same to examine how it infiltrated theatrical art. Contemporary theatrical writing followed in the footsteps of Gertrude Stein’s concept of the landscape play introduced in 1934 and was free of the necessity to tell a story. It conjures up a mental stage for actions which can only be envisaged in the infinitely small and infinitely large spaces of thought.Robert Wilson’s work crystallized Stein’s dramaturgic intuitions. It acted as a prism through which the stage esthetics of landscape was focused; therein, man and speech are decentralized within a space which opens towards the horizon. Many contemporary scenic works echo this, including those of Claude Régy, Maguy Marin, Joël Pommerat, Heiner Goebbels and François Tanguy, who play with the esthetic criteria of the landscape play which Robert Wilson’s work initially forged.The stage becomes a landscape through the disorientation of drama and its audience.

Mandarin Chinese numeral classifiers receive considerable at-tention in linguistic research. The status of the general classifier 个 gè re-mains unresolved. Many linguists suggest that the use of 个 gè as a noun classifier is arbitrary. This view is challenged in the current study. Relying on the CCL-Corpus of Peking University and data from Google, we investigated which nouns for living beings are most likely classified by the general clas-sifier 个 gè. The results suggest that the use of the classifier 个 gè is motivated by an anthropocentric continuum as described by Köpcke and Zubin in the 1990s. We tested Köpcke and Zubin’s approach with Chinese native speakers. We examined 76 animal expressions to explore the semantic interdepen-dence of numeral classifiers and the nouns. Our study shows that nouns with the semantic feature [+ animate] are more likely to be classified by 个 gè if their denotatum is either very close to or very far located from the anthropo-centric center. In contrast animate nouns whose denotata are located at some intermediate distance from the anthropocentric center are less likely to be classified by 个 gè.

Folksägner, historier och sagor har länge gett olika djur mänskliga attribut och gestaltat djuren på ett människoliknande sätt. Vargen är inget undantag och återges allt som oftast på ett negativt sätt. Kan dessa erfarenheter av vargen från sagornas värld drabba hur elever tänker om vargen och dess roll i ett ekosystem och samspelet med andra organismer? Undersökningens syfte är att belysa elevers tankar attityder om vargen samt hur de placerar in dess roll i ett ekosystem med ett jämförande förhållningssätt mellan elever från stadsmiljö och landsbygdsmiljö. En reviderad klinisk intervjumetod i grupp har använts för att uppnå syftet med studien. Totalt har 18 elever deltagit, varav fem från landsbygden och 12 elever från stadsmiljö. Undersökningen visar att eleverna från stadsmiljö har en negativ attityd till vargen, vilket skiljer sig från eleverna från landsbygden som har en positiv alternativt neutral attityd till varg. Eleverna från de båda geografiskt skilda områdena beskriver vargens roll i ett ekosystem ur ett antropocentriskt och teleologiskt synsätt i ungefär lika stor utsträckning. / For many years folklore, stories and fairy tales have been giving animals human attributes and elaborated the animals in a human-like way. The wolf is no exception and is often reproduced in a negative way. Can these experiences of the wolf from the selection of fairy tales affect how pupils think about the wolf and its role in an ecosystem? And furthermore, can it affect how the pupils understand how the wolf interacts with other organisms? With a comparative approach between pupils from urban and rural environments, the purpose of the study is to elucidate thoughts and attitudes toward the wolf and to emphasize how pupils place the wolf and its role in an ecosystem. A revised clinical group interview method has been used to achieve the purpose of the study. In total, 18 pupils participated, five of them from the countryside and 12 pupils from a city. The survey shows that pupils from the urban environment have a negative attitude toward the wolf, which differs from the pupils from rural areas, who have a positive, alternatively neutral attitude towards the wolf. The pupils from both urban and rural environments describe the role of the wolf in an ecosystem in an anthropocentric and teleological approach to an approximately equal extent.

This thesis conducts a comparative and ecocritical examination of Blackfish and Grizzly Man, two nature documentary films dealing with separate cases of human fatalities caused by wild animals. The aim was to show how nature and non-human animals as well as the relationship between humans/civilization and non-human animals/nature are represented in the films. Additionally, the effects of the representations of non-human animals on a viewer are also examined. For examining representations, the main theoretical frameworks used were: Frans De Waal’s understanding of the concepts of animalcentric and anthropocentric anthropomorphism, and Hillevi Ganetz’s understanding and use of the concept of natursyn (english: view on nature), meaning cultural interpretations of nature, which divides into three views: beautiful, sublime and picturesque. For the additional aim, the concepts of trans-species empathy and false-intimacy were used, the former via Alexa Weik von Mossner’s understanding and use, the latter via Derek Bousé’s. Essentially, the related concepts refer to the human ability to engage emotionally with non-human characters.  What the results show is that both Grizzly Man and Blackfish have ambivalent attitudes toward nature. In both Grizzly Man and Blackfish there are signs of different kinds of anthropomorphism. In terms of natursyn, Grizzly Man consists of a picturesque and a sublime view, articulated verbally and visually, whereas Blackfish consists of a beautiful and a picturesque view, articulated verbally, visually and sonically. The thesis also shows that the representations of orcas as human-like and close-ups of orcas with physical injuries in Blackfish have the potential of creating trans-species empathy. In Grizzly Man, Werner Herzog’s indifferent conception of nature, proclaimed through spoken narration as close-ups of a bear face are shown, discourages the potential effects of such imagery, namely false intimacy.

Förlust av biologisk mångfald är ett av de största hoten mot vår planet och våra ekosystem. Mer natur behövs skyddas och det är en viktig del i Sveriges miljöarbete. Skog är den naturform i Sverige som har lägst andel skydd och mer skog behöver skyddas för att nå miljömål och internationella åtaganden. Syftet med uppsatsen var att undersöka hur kommunikation bör se ut för att få ”allmänheten” att börja engagera sig för eller vilja fortsätta engagera sig för skydd av skog. Allmänheten är en viktig faktor eftersom de väljer politiker och kan påverka. För att förstå beteenden och attityder behöver vi förstå de värden som attityder grundar sig på. I studien har jag utgått ifrån ett antropocentriskt och ett ekocentriskt perspektiv, vilka värderingar har allmänheten och är det något som går att använda i kommunikationssyfte? Jag har analyserat tre organisationers hemsidor, samt intervjuat tre kommunikatörer på respektive organisation. Organisationerna kommunicerar övervägande ekocentriskt på sina hemsidor, men organisationerna har inte tänkt i termer av antropocentriskt eller ekocentriskt tidigare. Gränsen är diffus mellan det antropocentriska och ekocentriska perspektivet, därför är det svårt att använda gränsdragningen vid kommunikation. / Loss of biodiversity is one of the biggest threats to the planet and our ecosystems. More nature needs to be protected and that is an important part of Sweden's environmental work. Forests are the kind of nature in Sweden that have the lowest proportion of protection. There is need to protect more forests in order to achieve environmental goals and international commitments. The purpose of the study was to investigate how communication should be designed to make the public want to continue or start engaging in forest protection. The public is an important factor since they choose the politicians and have the possibility to affect. In order to understand behaviors and attitudes, we need to understand the values that attitudes are based on. In the study I have assumed an anthropocentric and an ecocentric perspective, what values do the public have and is it something that can be used for communication purposes? I have analyzed three organizations' websites, and interviewed three communicators on each organization. Organizations communicate predominantly ecocentrically on their websites, but the organizations have not thought in terms of anthropocentric or ecocentric earlier. The boundary is diffuse between the anthropocentric and ecocentric perspective, so it is difficult to use this in a communication perspective.

This paper intends to examine animal portrayal in literature with the guidance of three literary works; Charlotte’s Web, The Call of the Wild and The Guest Cat. The overall purpose is to explore the representation of animals in text and see what it possibly could show about our – the humans – view of animals. Through this I investigate what we do when we interpret animals in text and how this portrayal can effect animals, with the help of a moral philosophical angle. I put focus on how the view of animals can be effected depending on if one sees animals as an object or a subject – someone or something. Questions used are: How are animals portrayed in this fiction? What can this portrayal show about our relationship with – and view of – animals? The analysis show consequences of both sides through the thought that both views still can be a sign of power over animals, since we never completely can understand animal’s thoughts or actions. I argue, however, that there still is a value to reflect about the animal in literature because it can demonstrate a shifting animal view and let us reflect not only about the animals in literature ­– but in the reality as well. / Denna uppsats ämnar undersöka djurs gestaltning i litteratur med vägledning av tre litterära verk; Charlotte’s Web, The Call of the Wild och Gästkatten. Det övergripande syftet är att undersöka representationen av djur i text och se vad de möjligtvis kan säga om vår – människans – djursyn. Genom detta undersöker jag vad vi gör när vi tolkar djur i text och hur denna gestaltning kan påverka djur, med hjälp av en moralfilosofisk vinkel. Denna vinkel lägger fokus på hur djursynen kan påverkas beroende på om man ser djur som objekt eller subjekt – någon eller något. Frågeställningarna är: Hur gestaltas djur i denna fiktion? Vad kan denna gestaltning säga om vår relation till – och syn på – djur? Analysen visar konsekvenser av båda sidor genom tanken att båda ändå kan vara ett tecken på makt eftersom vi aldrig helt kan förstå djurs tankar och handlingar. Jag argumenterar däremot att det ändå finns ett värde att reflektera kring djurbilden i litteratur eftersom det kan demonstrera en skiftande djursyn och låta oss reflektera kring djur inte bara i litteraturen – men i verkligheten. ­

The diploma thesis deals with analysis of chosen idioms whose main part contains designation of human body, also called somatisms. This paper focuses on designations of sensory organs organs of sight, sense of hearing, olfactory sense, sense of taste, sense of touch. Theoretical part is dedicated to the description of cognitive linguistics which amongst other issues, studies representation of human body in language. The first part of this diploma thesis is also focused on the description of phraseology as a field of science and theoretical definition of somatic phrases. The content of the practical part is analysis of data of The Czech National corpus which are compared with phrasal dictionaries. The main aim of the work consists in the description of whether and to what extent they are being applied in spoken language and written texts and if they are updated.

This study analyses the wolf (canis lupus) and human relations in Swedish landscapes. By addressing the change of ideas influencing land use and nature management during the time when the wolf was considered functionally extinct, two parallel realities appear that is shown to be something that the participants in this study relates and recognizes as their reality. These realities in turn can be understood against the background of environmental philosophy and the anthropocentric and eco-centric view of nature and the instrumental and intrinsic value that the nature may carry. Life story interview is used as a method to grasp these details in an individual’s perception of the wolf and nature. Since the wolf is considered to be as a division between rural and urban people, the study also analyses how people sharing the space with the wolf is referring to these dichotomies and how they identify with their surroundings. With contradictory, data a new way of conceptualize this is suggested: that urbanity and rurality is something that could be seen as performativity, something that you do rather than something that you are (Butler 2007). One might express identification with rural space but have an urban performativity i.e. working, living part-time, influenced by ideas represented in urban lifestyles. While the rural performativity is mirrored by living, working and sharing the ideas of how that landscape is used.

Designing for societal engagement and benefit, aiming for the inclusion of humans, has been largely implemented within interaction design research. However, recent studies on entanglements and more-than-human worlds in interaction design, participatory and speculative design, in combination with Science & Technology Studies (STS) and ANT (Actor-network theories), revealed new opportunities for designers for the development of methods and practices, particularly about designing new forms of engagement with and through design artefacts for the benefit of the natural environment in the city. Through an RtD process, this thesis explores current relations between humans and nonhumans by establishing a more-than-human design space that embraces participatory and speculative methods. The aim is to implement more-than-human theories into the design practice to contribute to Posthuman Interaction design and Non-anthropocentric design. Therefore, this thesis presents Internet of Beings, a series of speculative design artefacts that aim to rebalance power structures and enable collaborative more-than-human interactions in the city. Internet of Beings stems from the desire of speculating on possible more-than-human futures, where cohabitation and care are at the base for the future of urban species. While humans are asked to reattune, be curious, notice again and collaborate with nature, nonhuman species start to have agency in the decision-making to thrive in a collaborative, sustainable more-than-human city. Thus, Internet of Beings represents a way of "staying with the trouble" (Haraway, 2016) for a collaborative future (Tsing, 2015) in the urban environment.

Seit Paul Crutzens Intervention auf der Jahrestagung des IGBP im Jahr 2000 hat das menschliche Wirken einen prägnanten Namen: Mit dem Begriff ‚Anthropozän‘ hat sich sprachlich manifestiert, was sich wissenschaftlich messen lässt. Der Mensch – oder eher Teile der Menschheit, weshalb auch andere Begriffe wie Capitalocene oder Plantationocene (Davis et al., 2019) diskutiert werden, um die Verknüpfung zu Kolonialismus, Kapitalismus und ‚racial hierarchies‘ aufzuzeigen – hat als ‚geologische Kraft‘ (Crutzen & Stoermer, 2000) das Klima auf der Erde geprägt (oder gestaltet?) – und auch wenn wir die Dimensionen dieses Einflusses vielleicht noch nicht vollumfänglich begreifen können, so ist die drohende klimatische Katastrophe im Begriff, real zu werden.