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Den här uppsatsen undersöker experimenterande danspraktiker med ett- och tvååringar i förskolan, praktiskt och teoretiskt, vilket hittills endast studerats i ett fåtal studier och aldrig tidigare i ett empiriskt och praxisnära projekt med förskolans yngsta barn. Syftet är att undersöka hur danspraktiker kan göras möjliga och kommer till uttryck i experimenterande dans tillsammans med de allra yngsta barnen i förskolan när de görs till aktiva deltagare i danshändelsernas processer, utformning och innehåll i förskolan. I den tre månader långa praktiknära, empiriska studien experimenterar forskaren ihop med en grupp barn 1–2,5 år på en förskoleavdelning, vilket dokumenteras med film- och stillbildskameror av forskaren och barnen. Metodologiskt tar genomförandet stöd och inspiration i a/r/t-ografin som är en praxisnära och estetik-baserad forskningsmetod där forskaren använder den egna kroppen som forskningsverktyg. Analyserna av datamaterialet, vilket består av filmer, foton och processanteckningar, är genomförda med stöd av immanensfilosofisk teoribildning, främst med texter från Gille Deleuze och Felix Guattari samt Erin Manning och begreppet som metod, som analysmetod. Resultaten visar att när förskolans yngsta barn får möjlighet att experimentera i dans ihop med en initierad och deltagande forskare blir danspraktiken mycket varierad och dynamisk i sitt förlopp. Den tar även andra uttryck till innehåll, form och rörelse, gruppkonstellation, materialval och tidslängd än vad som vanligtvis beskrivs om dans i litteratur och forskning. Ett ytterligare kunskapsbidrag är att visa hur tillgången till immanensfilosofi kan producera nya sätt att göra och tänka om danspraktiken och den dansande kroppen och alternativa sätt att arrangera dans med förskolans yngsta barn. Studien erbjuder även förskoledidaktiska kunskaper om hur pedagoger i förskolan kan arrangera kreativa danspraktiker för de yngsta barnen i den dagliga verksamheten. / This essay examines experimental dance practices with one- and two-year-olds in preschool, both practically and theoretically, a topic which has up until now only been examined in a few studies and never before in an empirical and praxis-oriented project with the youngest children of preschool. The purpose of the study is to investigate how dance practices can be made possibleand what comes to expression in experimental dance practices with the youngest children in a preschool environment when they are made to be active participants in the content and execution of experimental dance in a preschool environment. During the three months long practice-based empirical study, the researcher experiments in participation with a group of 1-2,5-year-olds at their preschool department. This work is documented with still image and film camera by the researcher and the children. Methodologically, the study has been conducted through support and inspiration from a/r/t-ography, a practicebased and arts-based research method wherein the researcher uses her own body as an instrument of research. The analysis of the data material, which consists of films, photographs and process notes, is carried out using the concepts of immanence-philosophy, mainly through texts by Gille Deleuze and Felix Guattari and of Erin Manning, and the concept as method, as a method of analysis. The results show that when the youngest children are given the opportunity to experiment in dance together with an initiated and participating researcher, the dance practice becomes varied and dynamic during its course of events. The dance practice also shows novel expressions of form and movement, group constellations, and choices of material and duration than what is commonly described of dance when discussed in literature and research. Furthermore, this essay contributes additional knowledge to the field by showinghow the access to the philosophy of Gille Deleuze and Felix Guattari can produce new ways of doing and thinking about dance practice and the dancing body and alternative ways to arrange dance with the youngest children of the preschool. The study also offers didactical knowledge of how teachers in a preschool environment can arrange creative dance practices for the youngest children in everyday activities.

Utilizing the lexicon of the French experimental thinkers Gilles Deleuze and Felix Guattari, research is engaged which indicates that their insights are compatible with and augmentative to the field of Conflict Studies. Specifically, four recognized conflict management approaches, which include the concepts of negotiation, the transformation of the conflict, narrative, and the transformation of the conflicted parties, are populated via an emerging Deleuze and Guattari inspired modus operandi. This process has resulted in an original new term, Conflict Inhabitation, which proposes that the conflicted parties recognize, to their mutual benefit, the centrality of difference to possibility and the acknowledgement of existence as dynamically becoming. This adventure is contextualized utilizing a Personal Narrative Autoethnographic Methodology which systematically engages the intensity of what it means to reside as a person in midst of the human induced Global Warming Climate Change experience during the Anthropocene Epoch. / Graduate

[pt] Rumor de Arquivo: Rosário Fusco, c est la vie! encena por meio de arranjos, vozes e máquinas mediadoras, um trânsito entre O Agressor, obra de ficção de Rosário Fusco e a vida do escritor. Exploram-se, neste contexto, documentos de arquivo em torno do autor, especialmente inclinado ao recorte de cartas inéditas (e esparsas) - mantidas entre o mesmo e Mário de Andrade, de 1927 a 1940 - sempre a explorar e transformar privações, desvios, apagamentos, invariavelmente impostos à pesquisa biográfica, como nascedouro de invenções casadas com reflexões, acerca do objeto de pesquisa. Diante da ruína de arquivo, o autor, contaminado por sua personagem David, inscreve, no espaço ficcional, seu impulso desejante. Busca, assim, refazer o rastro – ou resistir ao inevitável mal que apaga a memória – deixando um traço de verdade. Ao seguir os passos da Crítica Biográfica, Rumor de Arquivo funda um teatro de, usando expressões de Eneida Maria de Souza e, secundariamente, de Philippe Lejeune, invenção e estetização da memória (...), mentindo-verdadeiramente. / [en] Rumor de Arquivo: Rosário Fusco, c est la vie! stages by means of arrangements, voices and mediatory machines, a transit among the fictional work O Agressor by Fusco and the author s life. In this context, the author s archival documents are explored, aiming specially in a collection of unknown (and sparse) letters, traded between the author and Mário de Andrade, from 1927 to 1940, with the intent to explore and transform privations, deviations, deletions, which are invariably imposed on biographical research, as a source of inventions related to reflections over the object of research and its subsequent manifestations. Rosário Fusco s aggressor impels DAVID, the aggressor, to an open scene, exposed, a denouncer of the mediating voices; Standard, already re-harmonize and altered in its irrepressible virus. Facing a form of archive fever, as a trail is craved, a sparkle of truth ignites in contrast with inherent and unconditional restrictions. Following in the footsteps of Biographical Criticism, Rumor of Archive establishes a theater, and employing the expressions of Eneida Maria de Souza and secondly Philippe Lejeune, invention and aestheticization of memory (…) truthfully-lies.

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This thesis aims to analyze and interpret a number of central works – Vimpelstaden (1985), Som en gång varit äng (1988), Blomman och människobenet (2003), I en cylinder i vattnet av vattengråt (2005) and Vad hjälper det en människa om hon häller rent vatten över sig i alla sina dagar (2009) – by the Swedish poet Ann Jäderlund (1955-) in the context of phenomenology and affect theory. The analysis consists of three chapters and proceeds chronologically with technical scrutinies of separate phases of Jäderlund’s œuvre – from the aphasic-like treatment of established phraseologies in Vimpelstaden and frozen expressions of the botanical discourse in Som en gång varit äng, to the uncanny focus on perceptual patterns as such in her later works. Throughout these analyses the thesis observes a series of techniques with which the author presents us with a kind of sensory paradox, through a) creating language-based complex appearances, non-appropriable by means of the normal perceptual patterns of embodied perception, while still b) simulating, and thus implicitly emphasizing, these appearances as something already concretely looked at and felt. In short, to experience what cannot be experienced, to live the unlivable. Many of these technical observations made are pinned down analytically using concepts from the field of cognitive poetics, namely George Lakoff and Mark Johnsons findings of experiential image schemata underpinning spoken phraseologies and their influential theories on conceptual metaphors. The interpretative conclusion following these observations is that Jäderlund handles her writing aesthetically as a kind of sensory material in a very literal sense, a “being of sensation” in the terminology of French philosophers Gilles Deleuze and Felix Guattari. Not as means of experiential or intellectual representation, not as some sort of critical enterprise through mere language-gaming of free- floating signifiers – but as a material able to preserve and perform sensory processes immanent to its own material compilation, a tendency that earlier research fails to grasp or simply ignores altogether. Thus the affectivity immanent to the literary material – often being the starting point of studies in affect theory and cognitive poetics – is here proven to be a characteristic, thereby playing the role more of a conclusion than a field of inquiry. The aesthetics of interrogating the limits of sensory experience, introducing a sort of crisis to embodied perception through the experience of poetic language – and the experience of it as having a “metaphysical significance”, as French phenomenologist Maurice Merleau- Ponty puts it – is articulated in the thesis against the background of influential readings of modern art carried out by Merleau-Ponty and Deleuze.