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(in English): The thesis deals with the formulation of a new theoretical perspective on terrorism. Terrorism has become a frequent topic in the academic, political and laical environment, especially in recent years as a result of the attacks on the World Trade Center in New York on September 11, 2001. It acquired a new form of a global threat; however, it is still a phenomenon of socially ambiguous approach. This thesis aims to analyze terrorism through its ideological background. Criticism of social inequality, which is masked by ideology, is the basic subject of Marxist thinkers. The thesis focuses on the Slovenian philosopher and sociologist Slavoj Zizek. He enriches the Marxist theory of psychoanalysis, which provides him a tool for the interpretation of social phenomena, and ideology is one of his central themes. The main goal of this thesis is to show the analysis of ideology through Žižek's original approach, which can be used to understand the causes of terrorism.

Abstract. Uppsatsen Ingen big deal - en undersökning i kvinnligt dejtande på Tinder undersöker hur kvinnors sökande eller möten efter/med en romantisk eller sexuell partner, i samtiden kallat “dejting”, förändrats av applikationen Tinder. Uppsatsen har genom ett antal intervjuer med kvinnor undersökt hur deras dejtande ser ut på Tinder och hur eller om detta har förändrat deras sätt att dejta. Studien undersöker först hur dejtande har sett ut genom tiderna och vilka roller som kvinnan har tilldelats eller anpassat sig efter för att därefter undersöka hur eller om detta har förändrats i och med sociala medier och främst dejtingapplikationer på smarta telefoner. Det som upptäcktes var att kvinnor i och med Tinder börjar få ett nytt perspektiv på sitt dejtande och börjar se dejtande som en process där erfarenheten bidrar till en klarare bild av kvinnors målbild när det kommer till relationer. Den visade även på tendenser att kvinnor börjar appropriera ett manligt förhållningssätt till relationer, där de undersöker olika tillvägagångssätt och även vidgar sin definition av vad en relation är och kan vara. Relationer börjar mer bli en bisak även i kvinnans samliv, vilket tidigare inte varit fallet. Men det märktes även hur kvinnor använde Tinder som ett sätt att komma ur tidigare relationer och återfå självförtroende för att kunna gå in i nya relationer. Huruvida detta är Tinders förtjänst eller inte kan diskuteras men det är ett faktum att Tinder fundamentalt förändrar kvinnors sätt att se på relationer och hur de själva beter sig i dejtingprocessen.

L’insécurité routière est un problème de santé publique. Il n' y a pas de recherche qui a exploré la psychanalyse de Zizek pour comprendre le comportement du conducteur. Cette recherche est basée sur l'approche interdisciplinaire dans le cadre du mouvement "Transformative Social Marketing". La contribution théorique présente une nouvelle vision du comportement basée sur des concepts psychanalytiques de Slavoj Zizek pour comprendre le comportement du conducteur, comme une première en Théorie marketing. Elle présente trois groupes basés sur la triade Réel-Symbolique-Imaginaire qui oriente le comportement vers le respect/non respect du code de la route. La contribution méthodologique est "la carte psychanalytique" qui tient compte de la complexité du comportement. La contribution pratique est l'acte authentique, provenant du conducteur pour personnaliser le message adéquat dans sa voiture ainsi que le changer en utilisant la technologie "VANet" en tenant en compte de l'aspect routinier de l'acte de conduire. / The disobedience of traffic rules is a public health problem. There is an absence of understanding driving behavior from Zizekian psychoanalysis. The general scope of this research is based on the interdisciplinary approach in a Transformative Social Marketing. The theoretical implication presents a new view of human behavior inspired from Zizekian psychoanalysis (based on "conscious/unconscious" in a continuous process, Real-Symbolic-Imaginary Triad, Reflexivity, Interpassivity, authentic act). Three groups (Pleasing, Care, Refuge) emerge from the Real-Symbolic-Imaginary Triad that orients behaviors to obey or disobey traffic rules. The methodological implication is the "psychoanalytic map" as a new methodological tool for more understanding the complexity of driving behavior. The practical implication is an authentic act, emerged from the driver, to choose a personalized message which changes after a period using VANet technology.

The purpose of this project was to articulate a definition and understanding of the emerging genre of rogue cinema through the lens of rhetorical theory. To this end, I lay out a theoretical groundwork based principally on the works of Kenneth Burke and Slavoj Zizek to build a definition and to analyze the works of four filmmakers whose work could be considered rogue: Alejandro Jodorowsky, Dusan Makavejev, Lars von Trier and Werner Herzog. The first chapter is dedicated to articulating the theorists I use and showing how they can be used to examine rogue films. The second chapter is dedicated to the films of Jodorowsky, focusing in particular on his films Fando y Lis, El Topo and The Holy Mountain, looking at how these films form a critique of our conventional views of religion and spirituatity. Chapter three looks at Makavejev's films WR: Mysteries of the Organism and Sweet Movie and discusses how they undermine the capitalist/communist dichotomy that has defined most of 20th century politics. Chapter four examines Lars von Trier's films Europa and Dancer in the Dark, framing them in particular with the Dogme movement and looking at how von Trier rebels against cinematic convention. The last chapter looks at Herzog's films Aguirre: Wrath of God and Stroszek and discusses how Herzog blends fiction and reality in ways that question our cultural and moral values. Since little has been written on rogue cinema to date my aim here has been to help develop rogue cinema as a concept and begin the work of building a theoretical basis for the idea of this as a genre. In my conclusion I suggest avenues for future scholars to expand on this idea and discuss what further work needs to be done for rogue cinema to become an accepted idea.

This thesis brings the philosophies of Jean-Luc Nancy, Slavoj Zizek and Bruno Latour into conversation around the cynosure of ecological rhetoric. It argues for a renewed contemplation of political ecology, one that relinquishes the concept of Nature in favour of the overtly politicized notion of a world in common. By tracing, for the first time, the intersections between these three thinkers’ respective philosophies of nature, this thesis strives to articulate a philosophical framework that can live up to the ecological challenges of the contemporary Anthropocene. / Graduate / 0422 / 0401 / 0298

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.