Yes / Digital storytelling using a standard software package such as Photostory 3 can work to impose a linear format on a slideshow of visual images. By contrast the forms of self-expression adopted by people who have a diagnosis of dementia can often be digressive, circuitous and rhizomatic, corresponding more closely to Deleuze and Guattari’s concept of ‘lines of flight’. Preparatory to completing digital stories with ten people with a diagnosis of dementia who were living in a long-term social care environment, we used both linear (visual narrative) and non-linear (collaging) storyboarding techniques. This presentation draws on examples of both, together with extracts from one completed digital life story, to highlight why we need to avoid linear form dictating digital storytelling practice.

Thesis (M.S.)--Miami University, Dept. of Zoology, 2006. / Title from first page of PDF document. Includes bibliographical references (p. 56-61).

The aim of this essay is to study the political and aesthetical qualities in Lawrence Abu Hamdans sound piece. In Saydnaya (the missing 19db) former detainees from the infamous Syrian prison Saydnaya are interviewed about the many sounds, silences and emotions that circulated in the prison. Since they were kept in total darkness during their stay in Saydnaya, their memories and impressions are sonic. The piece can therefore be called a sonic testimony and the detainees are referred to as earwitnesses. The methodological framework of this study is outlined by Salomé Voegelin in her book Listening to Noise and Silence. In the core of this method lies the notion of deep listening (also called sonic sensibility). From listening noise and silence naturally unfold. In order to define and discover the affects of the artwork and its sonic material, the theoretical work of Gilles Deleuze, Brian Massumi and Sara Ahmed is applied. More specifically the concepts of lines of flight and affect. Emotions and sound seem to blend in the most peculiar ways. This essay is just a suggestion of how that blend might look... or should I say sound? And most importantly this essay will investigate how these non-visual forces work, stick and flow. How they can be used and what they produce. Some of the questions that this essay will touch upon are: what are the sonic affects that this artwork produces? And how does the artist use noise and silence in the construction of Saydnaya?

Summary This thesis uses poststructural theory to question how language shapes educational policy and practice. It starts from the premise that the tendency for categorising knowledge as binary opposites, whilst potentially useful, also encourages polarisation, is reductive, and produces closure. Thus, by interrogating the ‘/’ [slash], the boundary between the pairs, the intention is to produce a different, more equable, productive, and openly uncertain way of questioning unresolved educational dilemmas, hence the search for a question. Educational inclusion/exclusion foregrounds this research. It did not start out this way. As a scientist, a zoologist by training, and steeped in the rigidity of scientific method, the original study concerned proving a hypothesis, using questionnaires to collect the data and followed by some sort of statistical analysis. However, this approach did not acknowledge the complexity, nuances and shades of meaning within the language of inclusive education that I wished to explore. Poststructural theory offered a different strategy and interrupted my positivist thinking throughout. Thus, a Foucauldian approach has been used to interrogate the inclusion/exclusion binary in the literature. Searching for the historical a priori is followed by an interrogation of the different discourses and the power relations therein. An empirical analysis succeeds the textual analysis, for which data was collected in the form of interviews. Called participatory interactions, secondary teacher educator colleagues were asked to talk about inclusion, and activatory phrases were used to stimulate discussion. Poststructural interruptions about ethics suggested an innovative method of discourse analysis developed using Derrida’s metaphor of a postcard, in which he enacts the performative stance of deconstruction. Aspects of the data that troubled the inclusion/exclusion binary are presented as verse alongside a reflexive response that stimulates theoretical discussions called ‘new lines of flight’. On the reverse side of every postcard is a photograph, a graphic representation of some feature pertaining to the data selected, and the stamp is a picture of the philosopher whose work inspired the theorisation. Interrogating the ‘/’ [slash] reveals the complex interplay of each side of the binary and surfaces a system of ethics regarding legitimation. The final chapter, therefore, proposes a deliberate ethical interruption – an interruption of practice in order to interrupt practice. Professional practice should be deliberately interrupted by research in order to interrupt oppositional binary thinking. This research should have a deliberately ethical component foregrounding personal values and attitudes. As a consequence, inclusive education could be reconceptualised. The current discourse of a failing educational experiment might then be transformed into an ethical project worth going on with.

Par l’écriture, Toni Morrison cherche à rendre leurs voix à ceux qui ont été interdits de mots. Auteure engagée, elle veut redonner à la minorité noire sa place centrale dans l’Histoire des États-Unis. Elle propose ainsi une ré-écriture de l’Histoire au travers de sa trilogie historique, composée de Beloved, Jazz et Paradise, ré-écriture déjà en germe dans son second roman, Sula. À travers l’étude de ces quatre romans, cette thèse se propose de mettre au jour la généalogie de l’indicible dans l’œuvre de Toni Morrison, mais aussi d’analyser le lien dynamique entre minoration et écriture chez cette auteure qui revendique son statut de romancière noire américaine. Les femmes occupent une place centrale dans notre corpus car, à la minoration raciale qui relègue déjà les Africains-Américains en marge de la société américaine, s’ajoute pour les femmes noires la minoration sexuelle qui les réduit à un corps-objet. Mais chez Toni Morrison, cette double minoration, et la fragmentation qu’elle entraîne, deviennent des lignes de fuite, au sens deleuzien du terme, qui (dé-)structurent son écriture. La minoration ne s’entend alors plus comme soustraction, mais comme création. Toni Morrison trace ainsi dans ses textes des lignes de fuite créatrices qui s’échappent du cadre de la page vers un en-dehors du langage où se dit le désir de résister et de survivre du mineur. / Toni Morrison’s writing aims at giving their voices back to those who were deprived of words. As a committed writer, Toni Morrison wants to highlight the central role of the black minority in the History of the United States. She then offers a new version of History as she rewrites it through her historical trilogy comprising her novels Beloved, Jazz and Paradise, to which can be added her second novel, Sula, where the seeds of the rewriting of History can already be found. Through the analysis of these four novels, the objective of this doctoral thesis is to excavate the genealogy of the unspeakable in Toni Morrison’s work, and to analyze the dynamic relationship between minoration and writing for an author who’s « insisted – insisted ! – upon being called a black woman novelist. » Women play a central part in the four novels we are studying because, to the racial minoration that already marginalizes African-Americans in the American society must be added for black women the sexual minoration which turns them into a mere body-object. But this double minoration, and the fragmentation it leads to, become in Toni Morrison’s work “lines of flight”, according to Gilles Deleuze’s terminology, which (de-)construct her writing. Minoration is therefore no longer to be understood as subtraction but as creation. Thus, Toni Morrison draws in her texts the lines of flight of creation which leak out of the page towards the outside of language where one can hear the desire for resistance and survival of the minor.

英國女劇作家渥坦貝克(Timeberlake Wertenbaker) 筆下著名的《夜鶯之愛》 (The Love of the Nightingale) 在近年來獲得多方批評家的討論。大多數的批評家總以政治及性別的角度探討這部劇作中呈現女性如何成為男性暴力下的受害者。然而，本論文將採用德勒茲 (Gilles Deleuze) 和瓜塔里 (Félix Guattari) 的去疆域化 (deterritorialization)、生成動物 (becoming-animal)、再疆域化 (reterritorialization)、及少數文學 (the minor literature) 的理論概念，重新剖析渥坦貝克如何透過翻譯 (translation)、互文性 (intertextuality)、變形 (transformation) 書寫等寫作策略，彰顯普洛克涅 (Procne) 及菲勒美拉 (Philomele) 如何在受盡錯置及語言喪失的苦痛後，找到越界的可能性。在德勒茲和瓜塔里的理論架構之下，本論文的第一章節將先詮釋普洛克涅及菲勒美拉如何離開父系體制，並藉由逃逸路線 (lines of flight) 展開去疆域化的旅程，並在去疆域化的過程中面臨到未知的危險及機會。再者，論文中也探討普洛克涅及菲勒美拉的動物變形可以被視為她們僭越傳統意識型態束縛的証據。在經歷過生成動物 (becoming-animal) 的過程之後，普洛克涅及菲勒美拉改變了她們對於原生社會及世界的態度及看法。最後，普洛克涅及菲勒美拉的再疆域化帶領她們到另一個新的疆界，釋放女性內心的忿怒及慾望。在新的疆域中，女性們發現到另一個新的出口，重新探索流動性主體的存在，挑戰有機體式的國家體制。 / Timberlake Wertenbaker’s The Love of the Nightingale (1989) is the preeminent play of translation which calls many critics’s attention. Based on the myth of Procne and Philomele, The Love of the Nightingale is always discussed by critics from the political and sexual perspectives to show how women become the powerless victims under the male violence. However, in this thesis, I would like to use Deleuze and Guattari’s concepts of deterritorializaion, becoming-animal, and reterritorialization to analyze how Procne and Philomele find out the possibility of transgression from the suffering dislocation and dispossession of language through Wertenbaker’s dramaturgy of translation, intertextuality, and transformation. Applying Deleuze’s and Guattari’s theories to analyze The Love of the Nightingale, I would first show how Procne and Philomele obtain the chances to leave the patriarchical territory, beginning their deterritorialization to encounter unknown risks and chances via lines of flight. After the deterritorialization, Procne’s and Philomele’s physical metamorphosis could be regarded as the evidence of how they traverse the presupposed ideological system. In the process of becoming-animal, Procne and Philomele change their attitudes and perspectives toward their cultures and the world. Later, they are reterritorialized to another territory, releasing their desire and anger. In the new territory, they could find another way to search fluid identities and to challenge the state apparatus.

This thesis explores the pedagogical potential of images shared during intra-professional conversations held on the social media platform, Twitter. Twitter chats are loosely synchronous exchanges of tweets sharing a unique, identifying keyword or hashtag. They are increasingly being used among professionals to create professional networks in which practice-knowledge and opinion might be shared and where communal connections may be created. As such, they may serve as sites in which professional learning unfolds, both in relation to workplace practices and in relation to the development of new forms of professional practice around social media use. Because the exchanges and broadcasts on Twitter are, for the most part, public, and the conversations are ongoing, they also provide open, freely-accessible, and constantly renewing resources for use in pre-service learning contexts. The research focused on two example chats, one held among midwives and the other among teachers. Inspired by the increasing use of images in new forms of digital communication, the research used images tweeted during the chats as starting points from which to explore flows of knowledge and affect. Data were generated from observations of the two Twitter chats over extended periods, together with interviews with practising professionals, student professionals and their educators in which images were used as elicitation devices. The research combined an approach to reading and “being with” data inspired by ideas drawn from the work of Deleuze (1994; Williams 2013) and Deleuze and Guattari (1988; Massumi 1992), with approaches to reading images drawn from visual social semiotics (Kress and van Leeuwen 1996). The findings suggest that Twitter chats such as those studied here can provide rich opportunities for professional learning. Practice knowledge can flow from one participant to many others, and flows of affect can be used to remoralize individuals and communities. Both chats seemed to serve as sites in which professionals could experience a positivity and affirmation that was not always available in the workplace. However, the forces and intensities at play in these spaces influence both what is said and what is not said, creating new norms of online interaction that generally seemed to avoid negative comments or open disagreement. Educators saw potential to use images such as those shared in the chats in a variety of ways. For example, images could be used as prompts for examination and critique of practices. The educators I interviewed also suggested that the images could be used to help student professionals develop their sensitivity to the forces and intensities that produce particular practices. Group interviews with student professionals suggested that the former happened spontaneously when students encountered and discussed such images, but that the latter might need deliberate facilitation or prompting. The thesis concludes with some recommendations for: (i) educators considering using such images in pre-service professional learning; (ii) professional developers considering using Twitter chats; and (iii) policy-makers involved in drafting guidelines for professionals’ use of social media.