This thesis approaches hopelessness through the work of Deleuze and Guattari, situating their thought in relation to Baruch Spinoza and Brian Massumi. Drawing on Massumi’s theorizing of fear, and Spinoza’s theorizing the link between hope and fear, I argue that hope keeps bodies and politics bound to a future that comes to organize the present. From this perspective, I argue that hopelessness can become an important element of not only undoing the ways that future forces come to organize the present, but can open immanent ways of participating in the organization of emergent forces. The thesis also clarifies the differences between affect and emotion, and the body and the subject. This supports an understanding of politics as the undoing and warding off of hope through attending to hopelessness, and an increase in bodies’ capacities to experiment and participate in the organization of their own desires and situations. / Graduate

This study presents an empirical, qualitative investigation of transformations as they occurred in the participants' language during a fiction reading and discussion group in a community mental health setting. Session transcripts have been analyzed from the perspective of researcher as literary critic and through the Deleuzian lens of rhizomatic assemblages (Deleuze & Guattari, 1980/2005). This nonlinear, non-hierarchical and non-referential approach re-imagins the relationship among readers, texts and authors. Three themes follow from the rhizomatic perspective on transcript data. <br>The first of these, Assemblage, details the ways that participants engage in and with fictional story-worlds. This engagement is such that text, readers, author, and other elements of context join together in chains or blocks of becoming. These becomings rely on the mimetic structure of the fictional texts that simulates 'real life' experiences for readers. This special kind of engagement leads to transformations of linguistic forms, images and concepts. <br>Transformations addressed in the next segment, De-formations, include analysis of mental health talk as it encounters the poetic story world in our sessions. One result of this encounter is the vernacularization of mental health talk. Elements of clinical, usually diagnostic, language introduced in our sessions are transformed in the direction of more colloquial and 'plain-language' use. This result suggests that fiction reading moves mental health consumers away from the problem-saturated language of mental health discourse (White & Epston, 1990) that too often reifies and reinforces illness and dis-ease rather than supporting wellness. <br>The final section, Re-narration, examines implications of transformations in participants' language for narrative identity, that is, participants' self-understanding and re-contextualization in light of their encounters with the fictional story-world (Ricoeur, 2005). It is possible to discern nascent or potential changes in narrative identity in the language of discussants and to speculate on what changes participants may carry forward into their lives beyond the reading and discussion group. <br>Finally, implications are discussed for re-understanding the therapist as literary critic and for the development of locally produced bodies of literary criticism as work appropriate to community mental health providers and clients. Also, affinities between literary therapy, bibliotherapy and narrative therapy are discussed. / McAnulty College and Graduate School of Liberal Arts / Clinical Psychology / PhD / Dissertation

This thesis is concerned with architectural and design practitioners involved in areas outside of their training: specifically, with the way designers embrace a do-it-yourself or DIY ethic to create experimental, ephemeral, collaborative environments not usually considered “architecture” in the professional sense. This happens because they become directly involved with a variety of methods, construction activities, project types and materials normally associated with amateur building. The thesis does not aim to contribute to more comprehensive solutions for architectural production (say, commercial practice), but rather focuses on a particular production opportunity. It attempts to draw forth qualities of process, practice and conceptualisation that are of relevance to architecture and could be the basis of future exploration in architecture. With this intent, this thesis outlines a conceptual explanation for why these designers sometimes background their training in, and knowledge of, building procurement, in favour of amateur building activities. This design approach raises questions about the way architecture is understood, discussed and practiced. In philosophy and architectural theory, architecture is usually described as a device for ordering and framing the world, an opposition to the unfolding, unpredictable process of the evolving, natural world. Yet there are things that some designer-maker-inhabitants do in practice to thwart their environmental control and influence, thus introducing a degree of unpredictability into projects. This unusual design approach has the potential to inform discussions about architecture and architectural practice beyond this thesis. There is a plethora of technical information about DIY in the popular media, yet little investigation of how professionally-trained designers creatively engage with DIY. The experimental approach to building and space studied in this research is different to self-building or simple DIY because it does not adhere to a set of design plans or set approaches. This approach is also different to outsider architecture or vernacular building because it is initiated by people with design knowledge and training, even if they put aside some of their knowledge. To clarify this latter approach to architecture and space, the research describes a space of blurring between professional and non-professional building, architectural control and spontaneity; a space of germinant practice, based on the precepts and proposals manifest in germinant philosophy. The thesis includes speculations about ways to encourage germinancy in design practice. This practice-led study involved preliminary fieldwork studies through critical analysis of my own, and others, sitespecific installation art practice. These preliminary studies led to two major fieldwork projects in Brisbane: both are homes to artists and architecturally- trained designers working outside of commercial, professional practice.

The starting point of this work is the concept of indigenous animism in Félix Guattari's late work at the end of his life, understood as a form of subjectivity operating through different regimes of signs than the "modern" one. These animist semiotics are "polysemic" and "trans-individual," while instead of building a sharp division between the spheres of "nature" and "culture", they inhabit reality by "collective entities half-thing half-soul, half- man half-animal, machine and flow, matter and sign." The aim of most of the following text is then primarily to trace these semiotics across the joint work of Deleuze and Guattari. After introducing the context of Deleuze's philosophy and its specific "image of thought," and explaining its basic concepts, we will focus on the description and comparison of the semiotic "ethnographies" of Anti-Oedipus and A Thousand Plateaus. The first volume traces the "universal history" of the ways of hominization (becoming human) of man from the state of nature, through various forms of inscription, which constitute society and culture. These modes are several and do not work only through language. In the limit experience of schizophrenia, the authors of Anti-Oedipa find a moment preceding all these historically contingent forms of hominization. In contrast, the...

This thesis explores the creative function of the pseudonym Sara Sand, used by the author Stina Aronson for four literary works in the late 1920s and early 1930s. Två herrar blev nöjda (Two gentlemen were content), Fabeln om Valentin (The tale of Valentin), Tolv hav (Twelve oceans) and Syskonbädd (Siblingbed) are modernist and experimental works that I approach with an experimental way of reading. In order to emphasize what I find to be an inherent strive for freedom within these texts, I draw from Gilles Deleuze and Félix Guattaris notion of desire as a productive force and their view of the text as a rhizomatic structure, as presented in Anti-Oedipus (1972) and A Thousand Plateaus (1980). The characters in Sara Sands writing are in constant movement and in continuous processes of becomings which challenges any kind of fixity, whether that be social structures and hegemonic discourses or simply the individual self.

In geography, maps are a tool of placement which locate both the cartographer and the territory made cartographic. In order to place objects in space, the cartographer inserts his own judgment into the scheme of his design. During the Early Modern period, maps were no longer suspicious icons as they were in the Middle Ages and not yet products of science, but subjects of discourse and works of art. The image of a cartographer’s territory depended on his vision—both the nature and placement of his gaze—and the product reflected that author’s judgment. This is not a study of maps as such but of Early Modern literature, cartographic by nature—the observations of the author were the motif of its design. However, rather than concretize observational judgment through art, the Early Modern literature discussed asserts a reverse relation—the generation of the material which may be observed, the reality, by the views of authors. Spatiality is now an emerging philosophical field of study, taking root in the philosophy of Deleuze & Guattari. Using the notion prevalent in both Postmodern and Early Modern spatiality, which makes of perception a collective delusion with its roots in the critique of Kant, this thesis draws a through-line across time, as texts such as Robert Burton’s An Anatomy of Melancholy, Thomas More’s Utopia, and selections from William Shakespeare display a tendency to remove value from the standard of representation, to replace meaning with cognition and prioritize a view of views over an observable world. Only John Milton approaches perception as possibly referential to objective reality, by re-inserting his ability to observe and exist in that reality, in a corpus which becomes less generative simulations of material than concrete signposts to his judgment in the world.

Various potential modes of interpreting the urban space in the inner city of Pretoria is evaluated in this study with the purpose of expanding discourse around spatial production in the city. Production of meaning through formal and structural means produced a city that served as administrative capital and ideological base for Afrikaners until the arrival of a democracy in 1994. The contemporary urban space is produced by people through everyday life, as theorised by Henry Lefebvre, rather than through formal means such as name changes. This study evaluates the way that identity and belonging is created by referring to everyday life practices, rhythmanalysis and daily activities as performances. Urban space is evaluated from a phenomenological perspective through the eyes of an artist and resident and expressed in an art exhibition. The way artists Julie Mehretu and Franz Ackermann dealt with urban space in their art is also referenced. / Art History, Visual Arts & Musicology / Master of Visual Arts

The aim of this compilation thesis is to explore variations in bilingualism with the help of everyday specific situations at a Spanish-Swedish early childhood institution in Sweden, and by means of a ‘material-semiotic theorizing’. This means that material and semiotic elements are treated equally and entwined. Through studying a bilingual preschool practice, theory and politics as three interwoven practices, the thesis produces knowledge on language and literacy as socially and materially divergent, transformative occurrences. The research process is a commitment with Deleuzio-Guattarian philosophy, theory and politics, and is defined as a becoming in and of the three practices (education, theory, politics). Ethical and methodological undertakings are described as results of the interaction of these practices. Processes of data production include a yearlong fieldwork with all year groups (1-5) at a bilingual preschool in Sweden with a Spanish-Swedish language policy. The materials of data (approx. 59 hours of video-recordings and additional field-notes of everyday activities) are extended and developed upon in interaction with theoretical concepts and political concerns in terms of an analytical process that ‘puts theory to work’. The results are phrased as three temporal suggestions: 1) Bilingualism is a plural, collectively produced, both transitory and specific phenomenon 2) Bilingualism emerges with different, simultaneous dimensions of language and literacy (language as both code and material intensities) 3) Bilingualism is shared and public but also private and inconclusive. The thesis also shows the interconnectedness and continuity between different constructions of bilingualism (i.e. separate – flexible, public - private) as well as the productivity of the unknown and of what is labelled as (il)literate expertise. The impact that these suggestions may have in working with bilingualism in early childhood education is discussed. At the same time the discussion inspires to thinking towards a minor bilingualism also in more general terms. / Syftet i denna sammanläggningsavhandling är att utforska variationer i tvåspråkighet med hjälp av alldagligt specifika situationer vid en spansk-svensk förskola i Sverige, samt genom ett ’material-semiotiskt teoretiserande’. Det betyder att materiella och semiotiska aspekter behandlas jämbördigt, sammanlänkat och icke-hierarkiskt. Genom att studera en tvåspråkig förskolepraktik, teori och politik som sammanvävda praktiker producerar avhandlingen kunskap om språk och litteracitet som socialt och materiellt divergenta, transformativa fenomen. Forskningsprocessen är en förlovning med DeleuzioGuattariansk filosofi, teori och politik och definieras som ett tillblivande i och med de tre praktikerna (utbildning, teori, politik). Etiska och metodologiska göranden beskrivs som resultat av interaktionen mellan dessa tre praktiker. Processer av dataproduktion inkluderar ett årslångt fältarbete med alla åldersgrupper (1-5) på en tvåspråkig förskola i Sverige med en spansk-svensk språkpolicy. Datamaterialen (59 timmars videoinspelningar och fältanteckningar från vardagliga aktiviteter) förlängs och utvecklas i avhandlingen i interaktion med teoretiska begrepp och politiska angelägenheter i termer av en analytisk process som ‘sätter teori i arbete’. Resultaten formuleras som tre temporära förslag. 1) Tvåspråkighet är ett pluralt, kollektivt producerat, både flyktigt och specifikt fenomen 2) Tvåspråkighet uppträder med olika, samtidiga språkliga dimensioner (språk som både kod och materiella intensiteter) 3) Tvåspråkighet är delat och publikt men också privat och odeciderat. Avhandlingens resultat visar också på länkar och kontinuitet mellan olika konstruktioner av tvåspråkighet (till exempel separat – flexibel, publik – privat) samt produktiviteten i det okända och vad som kan benämnas (il)litterat expertis. Betydelsen som avhandlingens förslag kan ha i arbete med tvåspråkighet i utbildningspraktiker med små barn diskuteras. Samtidigt inspirerar diskussionen till att tänka i riktningar mot en mindre tvåspråkighet också i mer generella termer.

Various potential modes of interpreting the urban space in the inner city of Pretoria is evaluated in this study with the purpose of expanding discourse around spatial production in the city. Production of meaning through formal and structural means produced a city that served as administrative capital and ideological base for Afrikaners until the arrival of a democracy in 1994. The contemporary urban space is produced by people through everyday life, as theorised by Henry Lefebvre, rather than through formal means such as name changes. This study evaluates the way that identity and belonging is created by referring to everyday life practices, rhythmanalysis and daily activities as performances. Urban space is evaluated from a phenomenological perspective through the eyes of an artist and resident and expressed in an art exhibition. The way artists Julie Mehretu and Franz Ackermann dealt with urban space in their art is also referenced. / Art History, Visual Arts and Musicology / M.A. (Visual Arts)