Alguns movimentos de atualização do plano educação se efetuam no funcionamento de máquinas abstratas. A partir de uma abordagem genealógica do processo de informatização das escolas públicas, ocorrido no Brasil, este trabalho de Dissertação marca alguns movimentos de desterritorialização e de territorialização no plano Informática Educativa. Um movimento de abordagem genealógica analisa o modo como estamos inseridos num dispositivo específico e será objetivo desta Dissertação assinalar a produção e a mutação do que denomino dispositivo informático – que se produz no acontecendo. Para efetivar esta análise utilizei como referência as perspectivas político-filosóficas de Michel Foucault e Gilles Deleuze, produzindo desdobramentos entre as aproximações que efetuo desses autores. Utilizando o conceito foucaultiano de dispositivo articulado com outros conceitos que se avizinham em linhas segmentares e de fuga, conecto os campos da informática, da militarização e da economia ao campo educacional. Em tal movimento, conceptualizo a Informática Educativa como plano de imanência, configurando uma política, cujos traços diagramáticos, informatização, pedagogização e democratização, atravessam os agenciamentos concretos, escola, comunidade, secretarias de ensino, equipamentos informáticos, Estado, alunos, professores, entre outros, produzindo uma rede de tensionamentos. As trajetórias percorridas indicam possibilidades de produzir uma experimentação, no sentido de Deleuze – trajetórias múltiplas que possibilitam produzir múltiplos devires.

Made available in DSpace on 2017-07-10T18:26:03Z (GMT). No. of bitstreams: 1 Altair de S Carneiro.pdf: 1000631 bytes, checksum: 8be996c38ca852bebd9494c77a23da40 (MD5) Previous issue date: 2013-07-24 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Cette dissertation recherche l éthique des devenirs présente dans les uvres de Gilles Deleuze et Félix Guattari. D abord, elle aborde la Philosophie Pratique créée par les philosophes cités ci-dessus; souligne le privilège donné au mouvement plutôt qu au repos, à la variation continue au détriment de la forme déterminée et de la structure, aux videments qui sont toujours en voie de dissoudre l organisation et la stabilité des structures endurcies, à l indéfini sur ce qui a déjà fini, à la primauté de l informel et de l illimité sur l équilibre des formes et la mesure des limites; elle aborde aussi les paires conceptuelles nomadisme et sédentarisation, déterritorialisation et territoire, moléculaire et molaire. Pour montrer que cette éthique des devenirs se rapporte directement à une politique de l existence, la deuxième partie de la recherche recourt aux procédés artistiques théâtral de Carmelo Bene et littéraire de Franz Kafka; telles créations fonctionnent comme des outils pour la création du concept de mineur , ce qui est indispensable à l invention du concept de devenir, d une fois que tout devenir est mineur. Finalement, au troisième chapitre, on présente une typologie des devenirs qui affirme l immanence de l existence; typologie produite sans prétention d universalité car il ne s agit pas d une représentation pour tous, ni avec de l ambition essentialiste, car elle n affirme pas que ces types soient une essence pour tous, moins encore qu ils soient les uniques composants d une typologie des devenirs; les types choisis ont eu, en tant que critère, la plus grande insistance dans l uvre des philosophes, et ce sont bien eux qui, dans la perspective de cette recherche, rendent possible l accomplissement d une éthique des devenirs, quels qu ils soient: devenir-femme, devenir-enfant, devenir-animal, devenir-révolutionnaire et devenir-imperceptible. La recherche a été produite dans le cadre du Projet Escrileituras: um modo de ler-escrever em meio à vida de l Observatoire de l Education/CAPES/INEP-2010 réalisé conjointement à l UFRGS, à l UNIOESTE, à l UFPel et à l UFMT , qui a comme référentiel théorique la Philosophie de la Différence et s occupe de faire de la pensée le chemin même de sa production; à travers des parcours inconnus et ouverts trace des détours et opère des ruptures avec le déjà su et légitimé comme des vérités instituées; pensée qui opère orientée par une politique et une éthique des devenirs, où la création est indispensable pour rebattre les phénomènes d imitation et de standardisation en produisant des manières de vie inouïes. / Esta dissertação investiga a ética dos devires presente nas obras de Gilles Deleuze e Félix Guattari. Em um primeiro momento aborda a Filosofia Prática criada pelos referidos filósofos; destaca o privilégio que é dado ao movimento ao invés do repouso, à variação contínua em detrimento da forma determinada e da estrutura, aos vazamentos que sempre estão em vias de dissolver a organização e a estabilidade das estruturas enrijecidas, ao indefinido sobre o já acabado, à primazia do informal e ilimitado sobre o equilíbrio das formas e a medida dos limites; também aborda os pares conceituais nomadismo e sedentarismo, desterritorialização e território, molecular e molar. A fim de mostrar que esta ética dos devires está diretamente relacionada com uma política da existência, a segunda parte da pesquisa recorre aos procedimentos artísticos teatral de Carmelo Bene e literário de Franz Kafka, os quais funcionam como ferramentas para a criação do conceito de menor , o qual é imprescindível para a invenção do conceito de devir, uma vez que todo devir é menor. Por fim, no terceiro capítulo, é apresentada uma tipologia dos devires que afirma a imanência da existência; tipologia produzida sem pretensão de universalidade, porque não se trata de uma representação para todos, nem com ambição essencialista, pois não afirma que estes tipos sejam uma essência para todos, menos ainda que sejam os únicos componentes de uma tipologia dos devires; os tipos escolhidos tiveram como critério a maior insistência na obra dos filósofos, e são eles que, na perspectiva desta pesquisa, possibilitam a efetivação de uma ética dos devires, quais sejam: devir-mulher, devir-criança, devir-animal, devir-revolucionário e devir-imperceptível. A pesquisa foi produzida no âmbito do Projeto Escrileituras: um modo de ler-escrever em meio à vida do Observatório da Educação/CAPES/INEP-2010 realizado concomitantemente na UFRGS, na UNIOESTE, na UFPel e na UFMT , o qual tem como referencial teórico a Filosofia da Diferença e ocupa-se de fazer do pensamento o próprio caminho de sua produção; através de percursos desconhecidos e abertos traça desvios e opera rupturas com o já sabido e legitimado como verdades instituídas; pensamento este que opera orientado por uma política e uma ética dos devires, em que a criação é imprescindível para rebater os fenômenos de imitação e de padronização produzindo modos de vida inauditos.

Submitted by Fabiano Vassallo (fabianovassallo2127@gmail.com) on 2017-05-03T18:56:30Z No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Approved for entry into archive by Josimara Dias Brumatti (bcgdigital@ndc.uff.br) on 2017-05-29T17:45:30Z (GMT) No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Made available in DSpace on 2017-05-29T17:45:30Z (GMT). No. of bitstreams: 2 license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) eduardo graca dissertacao mestadoOKOK2.pdf: 595408 bytes, checksum: 6e6751f6eea0075617111a0afc57394b (MD5) / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / O objetivo desta dissertação é a abordagem das relações entre os conceitos de mecanismos de poder e de linhas de fuga – concebidos nas obras dos filósofos Michel Foucault e Gilles Deleuze, respectivamente - e os romances de Emily Brontë e Virginia Woolf que intitulam nosso trabalho. Os mecanismos de poder, segundo Foucault, seriam os dispositivos políticos e filosóficos instalados na sociedade e no pensamento com o intuito de conduzir as relações de conhecimento, as disposições, e os desejos humanos à afirmação e à conservação das relações de poder vigentes. Interessados somente na manutenção das estruturas hegemônicas, os mecanismos de poder investiriam no cultivo de nossas potências tristes e servis para subjugarnos aos desígnios dominantes, dirigindo-nos, assim, ora à adequação compulsória e à reafirmação espontânea dos regimes hegemônicos, ora ao desespero, à loucura e à morte. As linhas de fuga deleuzianas constituiriam movimentos de ruptura com tais regimes dominantes, que possibilitariam novas relações com a sociedade, com a subjetividade, com a linguagem e com o pensamento; o cultivo de potências ativas e criadoras; e, afinal, a emergência de uma vida estética. Analisando os materiais narrativos de O morro dos ventos uivantes e Mrs. Dalloway observamos como tanto os jogos narrativos dos dois romances quanto os próprios enredos e personagens narrados se engajam nestas mesmas discussões a respeito do confronto entre forças conservadoras e libertárias, do cultivo de potências diminutivas e aumentativas, e da produção de corpos servis e elétricos / The aim of this dissertation is an approach of the relations between the concepts of mechanisms of power and lines of flight – conceived in the works of Michel Foucault and Gilles Deleuze, respectively – and the novels by Emily Brontë and Virginia Woolf that entitle our work. Mechanisms of power, according to Foucault, would be the political and philosophical devices installed in our society and in our thought with the intent of driving our relations with knowledge, our disposition and our desire towards the affirmation and conservation of established relations of power. Interested only in the maintenance of hegemonic structures, mechanisms of power would invest on the cultivation of our sad and servile potencies to submit us to the dominant designs, driving us either to compulsory adequacy and to the spontaneous reassurance of hegemonic regimens, or to despair, insanity and death. The deleuzian lines of flight would consist in rupturing movements with such dominant regimens, that would enable new relations with society, subjectivity, language and with thought; the cultivation of active and creative potencies; and the eventual emergency of a aesthetic life. Analyzing the narrative materials of Wuthering Heights and Mrs. Dalloway we observe that both the narrative strategies of the novels and their plots and characters engage on these same discussions about the confrontation between conservative and libertarian forces; the cultivation of diminutive and augmentative potencies; and the production of servile and electric bodies

This study focuses on Berni Searle’s art, in which she searches for alternative figurations of identity. For Searle, identity as a category seems insufficient, as it cannot account for individuals of mixed heritage. Searle’s body of work testifies to an attempt to position and locate herself and marginalised subjects within post-apartheid South Africa. History, tradition, culture, race and gender are pivotal to Searle’s visual examination of her body and her identity, as these inscribe the subject at both symbolic and physical levels. Identity was investigated within South African context and the contexts of various postcolonial, postmodern and feminist debates. Searle’s works were investigated revealing nomadic subjectivity, as philosophised about by Gilles Deleuze and theorised about by Rosi Braidotti. Nomadic subjectivity promotes the notion that identity is fluid and located in the interstitial spaces between dichotomies and various debates. The habitation of such liminal spaces in the interstices between binary oppositions and views relates to what Homi Bhabha has defined as the “third space” and the notion of hybridity. Searle constructs her identity by affixing disparate aspects of her self. This is a continuous process whereby the artist inserts and erases her body. Searle’s works are investigated by using the film as a format. In Cinema 1: the movement-image (1986) Deleuze outlined three core cinematic elements, namely the frame, shot and montage, which are employed in an attempt to investigate the various processes at work in Searle’s artistic production. In addition to this, these filmic components were considered for their conceptual implications both in terms of the medium of film and symbolically. The concept of time, as discussed in Cinema 2: the time-image (1989) was utilised to investigate the implications of time for the nomadic subject and the notion of memory. Copyright 2005, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Adendorff, A 2005, Nomadic figurations of identity on the work of Berni Searle, MA dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-12072005-161121 / > / Dissertation (M (Visual Studies))--University of Pretoria, 2006. / Visual Arts / unrestricted

Orientador: Luiz Benedicto Lacerda Orlandi / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas / Made available in DSpace on 2018-08-07T23:15:30Z (GMT). No. of bitstreams: 1 Thiesen_LeopoldoGabriel_D.pdf: 1177750 bytes, checksum: 27aa22e7322c19892f56d7a255a93e3e (MD5) Previous issue date: 2006 / Doutorado / Doutor em Filosofia

Sous le signe de l'irréductibilité de l'événement ou "devenir" des concepts à l'histoire des idées, le moment philosophique du structuralisme selon Deleuze (1967-1969) est envisagé selon trois points de vue correspondant aux trois parties de la thèse. <p>La première partie adopte la perspective historiographique pour y déceler, chez F.Wahl (1968), M. Frank (1989) F. Dosse (1991), deux principales sources de la méconnaissance du structuralisme philosophique deleuzien au profit d'un prétendu "post" ou "néo-structuralisme" (à partir de L’Anti-Œdipe) :<p> 1° le tracé d'une ligne de partage exclusif entre la philosophie et le structuralisme méthodique des linguistes et de Lévi-Strauss ;<p>2° le rôle de parangon joué par la déconstruction derridienne du structuralisme. <p>La seconde partie fait valoir l'irréductibilité du "portrait conceptuel" du structuralisme peint par Deleuze en 1967, tant à l'égard du "cliché scientiste" (linguistique ou axiomatique) dominant les présentations doxographiques contemporaines (F.Wahl et J. Piaget) qu'à l'égard de la déconstruction du structuralisme par Derrida. A rebours des premiers, Deleuze supprime le mètre-étalon (linguistique ou mathématique) permettant de hiérarchiser les disciplines concernées par le structuralisme et, en s’appuyant sur la théorie lévistraussienne de la fonction symbolique à la clef du structuralisme de Lacan, Althusser, Foucault et le groupe Tel Quel, il propose sept critères formels transdisciplinaires, valant autant dans les sphères philosophique et artistique que dans celles des sciences humaines et des sciences exactes. Ce faisant, à la différence de Derrida et du « néo-structuralisme », Deleuze associe en un même « Jeu idéal » Lévi-Strauss (philosophiquement moustachu d’être associé à Lacan, Foucault, Barthes et Althusser) et Nietzsche (philosophiquement glabre d’être revisité à la lumière du structuralisme). <p>La troisième partie envisage dans Différence et répétition et Logique du sens le développement philosophique de ce "personnage conceptuel" nietzschéo-structuraliste apte à accomplir le « renversement esthétique » du Platonisme nihiliste au profit de la création et de la dramatisation des simulacres/structures. Associant structuralisme et pensée sérielle (U. Eco), Deleuze compose une œuvre chaosmos, un simulacre sériel, polyphonique, « achevé-illimité » jouant de bribes et miette de tout ce que les philosophes ont pu « croire et raconter » depuis l’Antiquité grecque afin de dramatiser l’Idée problématique du structuralisme à la veille de Mai 68./Under the sign of the irreductibility of the event or the “becoming” of concepts to their history, the philosophical moment of structuralism according to Deleuze (1967-1969) is considered from three points of view corresponding to the three parts of the thesis.<p>The first part adopts the historiographical perspective to detect, in F. Wahl (1968), M. Frank (1989), F. Dosse (1991), two main sources for the lack of knowledge about the deleuzian philosophical structuralism in favour of a so-called “post” or “neo”-structuralism (starting from the Anti-Oedipus) :<p>\ / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

A partir del estudio de la filosofía del cine de Gilles Deleuze, y, principalmente, de sus dos libros sobre cine (“La imagen-movimiento” y “La imagen-tiempo”), el trabajo se propone profundizar, sobre todo, en la experiencia que, para el pensamiento, supone la “imagen-tiempo”. Luego de exponer la concepción del pensamiento de la “imagen-movimiento”, se analiza la génesis y problemática de la “imagen-tiempo”. Esto permite explicar la transición entre un paradigma y otro, la importancia de las formas “mixtas” en una visión no-historicista de los libros sobre cine de Deleuze, y cómo las cuestiones del “tópico” y la “videncia” son fundamentales para entender dilemas existenciales y éticos que pueden entenderse como parte de un diagnóstico de la modernidad. En el tercer capítulo, se abordan las implicancias que la presentación del tiempo (“la imagen-tiempo”) tiene sobre el pensamiento. En ese sentido, se profundizará en lo que Deleuze –apoyándose en Artaud– denomina como una “impotencia” del pensamiento, y se pondrán en relación las consideraciones de Agamben sobre el concepto de potencia y su co-pertenencia con el de impotencia. Luego, se interpretará la relación de esta “(im)potencia” con un “afuera en la imagen”, “afuera” que debe entenderse como un nuevo componente en la captura o relación con las imágenes que las estructuras del régimen de la “imagen-tiempo” llevan consigo. Por último, se explica que esta formulación del pensamiento implica, en realidad, más que una co-relación entre una “(im)potencia” y un “afuera en la imagen”; ya que la “(im)potencia” del pensamiento supone, también, una función de videncia, y, finalmente, una necesidad de creencia en el mundo o la vida. De esta forma, el trabajo se propone mostrar la complejidad de relaciones entre estos cuatro hitos conceptuales que determinarían lo específico de la experiencia de la “imagen-tiempo”: "impotencia", “afuera en la imagen”, "videncia", y "creencia".

Technology-based music educators are uniquely situated within the shifting landscape of STEAM (Science, Technology, Engineering, Arts, and Mathematics) education. This dissertation investigates the lived experiences, perceptions, and teaching practices of secondary music teachers who teach through technology, exploring how they navigate the interdisciplinary connections between music, science, and technology. By employing a phenomenological methodology, the research reveals a transformation from an initially structured inquiry into a rhizomatic exploration, uncovering STEAM’s potential to challenge and transcend traditional educational paradigms. Drawing on metaphors of the tree and skunk, this dissertation contrasts hierarchical, binary models of knowledge with the rhizomatic thinking advanced by Deleuze and Guattari. Music technology educators thrive in these fluid, interdisciplinary spaces, which resist categorization and require constant adaptation. Situated in the epistemological ecotone between music and STEM fields, these educators embody a philosophical challenge to modernist, arborescent models of learning, embracing a post-humanist perspective that recognizes the interconnectedness and relationality of knowledge. The findings highlight how STEAM education, particularly within music, dissolves rigid disciplinary boundaries, offering students new ways to engage with music beyond traditional frameworks of performance and composition. Technology-based music educators serve as agents of change, creating opportunities for innovative teaching and learning that reflect the complexity of the contemporary world. Ultimately, this dissertation argues for a re-envisioning of music education as a liberal art through the lens of STEAM, one that acknowledges the philosophical and post-humanist implications of our rapidly evolving, interconnected world. In doing so, it positions music technology educators as vital contributors to a new renaissance in education, leading the way with their rhizomatic, transdisciplinary approaches to teaching and learning. .

Thesis (MPhil (Philosophy))--University of Stellenbosch, 2005. / This study seeks to give a philosophical account of, and justification for the intuition that subjectivity is not a stable “Archimedean point” on the basis of which an intersubjective relation can be founded, but is instead profoundly affected by each different “Other” with which it enters into a relation. As a preliminary to the positive philosophical account of how this might work in Part II of the thesis, there is an attempt to critique certain of the classical accounts of intersubjectivity found in phenomenology, in order to show that these positions cannot give a satisfactory account of the type of intersubjective relation which gives rise to the abovementioned intuition. The thesis therefore starts off by examining the account of intersubjectivity in Husserl’s Cartesian Meditations (especially the Fifth Meditation). Husserl is there engaged in an attempt to overcome the charge of solipsism that might be levelled at phenomenology, since phenomenology is concerned with experience as, by definition, the experience of the subject. We try to show that Husserl cannot give a satisfactory account of the Other because he tries to derive it from the Subject, and hence reduces the Other to the Same. We then turn to two other phenomenological thinkers – Merleau-Ponty and Levinas, both of whom are themselves critical of Husserl – to examine whether they provide a better account, but conclude that (although each represents a certain advance over Husserl), neither are able to provide a decisively better account, since each is still too caught up in phenomenology and its focus on consciousness. In Part II of the thesis, we then turn to a non- (or even anti-) phenomenological thinker, namely Gilles Deleuze, to try and find an alternative theory that would be able to provide the account we seek. Our contention is that Deleuze, by seeking to give an account of the constitution of the subject itself, simultaneously provides an account of the constitution of the Other as arising at the same time as the Subject. Crucial to this account is the inversion of priority between the poles of a relation and the relation itself. Deleuze argues that a relation is “external to its terms”, and precedes these terms. Hence, by returning to a level which precedes consciousness and the order of knowledge – that is, by returning to the level of the virtual multiplicities and singular events that underlie and precede the actualization of these events and multiplicities in distinct subjects and objects – we argue that Deleuze shows that, contra phenomenology, there is in fact no primordial separation between subject and Other. The contention is therefore that the problem of intersubjectivity as posed by phenomenology is a false one that can be eluded by means of Deleuze’s philosophy. This philosophy is not based on the subject, but instead shows the subject to be the product of an underlying network of relations. Finally, we turn to Deleuze’s appropriation of Nietzsche to trace out the transformation of “ethics” that result from adopting a position like that of Deleuze.

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: The focus of this study will be on the unique way in which language is used in Marlene van Niekerk‟s collection of short stories, Die sneeuslaper (2010). When reading Die sneeuslaper it is impossible not noticing the number of Dutch words, as well as words and phrases from other foreign languages, as Bargoens, Rotwelsch, German, French, Italian, Hebrew, Greek and Maltese. Some of the characters‟ speech, as well as so called sound poems (or nonsense verses) are characterised by a number of newly invented words. However, the meaning of some of these words or phrases remains unclear. Other themes in the four short stories which will be analysed are the so called political responsibility of the artist, as well as music, rhythm and bird-noises. As a theoretical basis of this study, Deleuze and Guattari‟s Kafka Toward a Minor Literature will be used. In Kafka Toward a Minor Literature Deleuze en Guattari formulate their ideas regarding minor literature. They describe a major language as a language of dominance and power, while a minor language is a language without any power. According to them the three characteristics of minor literature are: the minor deterritorializes the major, minor literature is always political, and minor literature always has a collective function. Deleuze and Guattari‟s, as well as Bogue‟s writing regarding the territorialization and deterritorialization of the refrain, is also explored briefly. Deleuze en Guattari‟s theories regarding minor literature is used in this study to read Die sneeuslaper. In the end it is concluded that the unconventional use of language in this short story collection can be associated with the political nature of some of the stories. The unique usage of language in Die sneeuslaper, the way in which Afrikaans is transformed into a language that stammers, stutters and mumbles, can be seen as a subtle form of political protest. Therefore this collection of short stories can be seen as a form of minor literature. / AFRIKAANSE OPSOMMING: Hierdie studie fokus op die vreemde wyse waarop taal in Marlene van Niekerk se kortverhaalbundel, Die sneeuslaper (2010), aangewend word. Met die lees van Die sneeuslaper is die hoeveelheid Nederlandse woorde, asook enkele woorde en frases uit ander vreemde tale, soos Bargoens, Rotwelsch, Duits, Frans, Italiaans, Hebreeus, Grieks en Maltees, opvallend. Verder is daar in die karakters se spraak, sowel as in klankgedigte (of onsinverse), vele nuutskeppings waarvan die betekenis nie altyd so duidelik blyk nie, teenwoordig. Ander temas wat in die vier verhale figureer en ondersoek sal word is kunstenaarskap, die sogenaamde politieke verantwoordelikheid van die kunstenaar, asook musiek, ritme en voëlgeluide. As teoretiese vertrekpunt vir die studie word Deleuze en Guattari se Kafka Toward a Minor Literature, waarin hul idees oor mineurlettekunde geformuleer word, gebruik. Deleuze en Guattari onderskei tussen ‟n dominante majeurtaal en ‟n mineurtaal wat sonder mag is. Volgens Deleuze en Guattari is daar drie kenmerke van mineurletterkunde, naamlik dat die mineur die majeur deterritorialiseer, dat mineurletterkunde altyd polities is, en laastens dat mineurletterkunde altyd kollektief van aard is. Bykomend word daar ook kortliks gekyk na Deleuze en Guattari, sowel as Bogue, se skrywe oor territorialisering en deterritorialisering in die refrein. Deleuze en Guattari se teorie oor mineurletterkunde word in hierdie studie as ‟n agtergrond gebruik om Die sneeuslaper te lees. Daar word uiteindelik tot die gevolgtrekking gekom dat die onkonvensionele taalgebruik in die kortverhaalbundel wel geassosieer kan word met deterritorialisering en dat dit aansluit by die politieke aard van sommige van die verhale. Die wyse waarop Afrikaans in Die sneeuslaper getransformeer word na ‟n taal wat stamel, stotter en struikel, kan dus as subtiele, politieke protes gesien word en daarom kan dié kortverhaalbundel inderdaad as ‟n vorm van mineurletterkunde beskou word.