This thesis stages a meeting between the work of French philosopher Gilles Deleuze and the short fiction of Italian writer Italo Calvino. This meeting has as its subject the question of the human and the non-human. What forces make up the human? What assemblages of elements make up language, literature, subjectivity? And what does it mean that these forces come from outside the human at the same time as they create the human? Calvino is often accused of being an unemotional writer, lacking in human warmth. With this I agree completely. Calvino does lack human warmth because he allows non-human forces to penetrate his writing, taking it beyond conventionalized and banal prefabricated emotion into a dimension of new intensities. Deleuze will provide us with a vocabulary of concepts with which to discuss these non-human forces and their potential for moving the human out of itself and into a new assemblage of thoughts, passions and actions.

No description available.

Pour Gilles Deleuze, la philosophie consiste à créer des concepts. Prenant le contrepied de cette définition, la plupart de ses commentateurs se contentent soit de répéter les propos du philosophe en les généralisant et en leur donnant de ce fait une portée universelle, soit d'appliquer les concepts qu'il a inventés à n'importe quel phénomène qui leur tombe sous la main, ce qui condamne irrémédiablement la philosophie à n'être qu'une entreprise abstraite alors que Deleuze la voulait on ne peut pus concrète. La source de ce contresens est bien simple : ils ne tiennent pas compte de la place primordiale qu'occupe l'empirisme dans son oeuvre. Ainsi, en ne portant pas une attention toute particulière à cette attitude philosophique qui privilégie l'expérience, ils minimisent le rôle de celle-ci dans sa pratique et, conséquemment, ils détachent les créations de concepts des situations d'où elles tirent leur nécessité. Contrairement à l'esprit qui anime les principales études sur la philosophie deleuzienne, cette thèse a donc pour objectif de démontrer que c'est seulement en prenant en compte les expériences singulières qui les ont suscitées que les concepts forgés par ce penseur gardent un sens, tout comme c'est uniquement dans ce cadre que se comprennent les critiques qu'il a formulées à l'égard de différentes prises de position philosophiques. Au terme de ce parcours, ces dernières apparaîtront alors toujours partielles et redevables d'une expérience de pensée qui a forcé cette remise en question de telle sorte que ce qui était au départ incompréhensible d'après une certaine perspective devient soudainement accessible quand un nouveau concept est créé. Pour parvenir à cette fin, cette thèse a été divisée en deux parties. La première porte sur la conception deleuzienne de l'expérience. Par une étude de deux tentatives de renouvellement de l'empirisme au XXe siècle, soit le bergsonisme et la phénoménologie, la position deleuzienne sur cette question se révèle comme un prolongement de la voie ouverte par Bergson en opposition à celle dégagée par Husserl et, à sa suite, Sartre. Séparé des préoccupations ontologiques bergsoniennes, l'empirisme transcendantal deleuzien apparaît alors comme une recherche de la potentielle singularité d'un phénomène au détriment de la quête d'une forme commune à toute expérience. La seconde partie quant à elle se concente sur quatre expériences de pensée et montre à chaque fois le lien indissoluble qui unit la création de concept et la remise en question qui lui est concomitante. Que ce soit avec la critique d'une philosophie de la représentation qui découle du concept de sensation forgé au contact des oeuvres du peintre Francis Bacon, que ce soit avec la double remise en cause de la phénoménologie comme effet de la création des concepts d'image-affection et d'image-temps à partir de Persona d'Ingmar Bergman et Hiroshima mon amour d'Alain Resnais, que ce soit encore avec la critique des postulats de linguistique qui dérive du concept de littérature mineure inventé pour rendre compte du Procès de Kafka, dans tous ces cas, ce qui est mis en lumière, c'est le rôle essentiel de l'expérience dans la pratique philosophique de Gilles Deleuze.

In this comparatively brief chapter I begin by introducing my central research proposition. I then introduce my corpus of films and establish their significance both in their own right and as somewhat representative examples of a broader area of cinema. Following this I introduce my corpus of theory. Throughout, I seek to position my research within its wider context, identifying precedents for the approach I will take, alongside the originality of the thesis as a whole. My central contention in this thesis is that the films made by the Italian directors Sergio Leone and Dario Argento between the mid-1960s and the early 1980s are distinctive instances of a Deleuzean hybrid cinema. Gilles Deleuze suggests that we can identify two main, contrasting forms of cinema. These are the cinema of the movement-image and the cinema of the timeimage. As a philosopher of difference, Deleuze tends to present the two cinemas as alternatives. This is enhanced by their most important respective manifestations. The movement-image is associated with classical Hollywood genre cinema, the time-image with modern European art cinema. Accordingly, a Deleuzean approach leads to two contradictory hypotheses on the nature of Leone and Argento’s films. On the one hand, that they are genre works (westerns, gangster, thrillers and horror films) suggests they are movement-image. On the other hand, that they are post-Second World War continental European films suggests they are time-image. My contention is that we can resolve this apparent contradiction by considering the films as including combinations of movement-images and time-images. This entails reading Deleuze’s theory somewhat against the grain, by suggesting the existence of a continuum between the two image regimes. Crucially, however, there are a number of precedents for using Deleuze’s ideas to investigate hybrid cinemas, with these also demonstrating the value of modifying or extending his theories. In addition, I would suggest that we can deploy notions of hybrid cinema as a means of exploring the career trajectories of certain directors, by considering the proportions and types of movement-image and time-image apparent over their filmographies. My main corpus of films comprises fourteen works by Italian directors Sergio Leone (1929-1989) and Dario Argento (1940-). The Leone films span the period 1964 to 1984 and are all westerns with the exception of his final film, which belongs to the gangster/crime genre. The Argento films span the period 1970 to 1982 and are all giallo thrillers or fantasy-horror films, with some overlap between these genres. The Leone films are A Fistful of Dollars (1964), For a Few Dollars More (1965), The Good, The Bad and The Ugly (1966), Once Upon a Time in the West (1968), Duck You Sucker (1971), My Name is Nobody (1973) and Once Upon a Time in America (1984). The Argento films are The Bird with the Crystal Plumage (1970), The Cat o’ Nine Tails (1971), Four Flies on Grey Velvet (1971), Deep Red (1975), Suspiria (1977), Inferno (1980) and Tenebrae (1982). The exclusion of Argento’s later films allows for a clearer and closer comparison to be made with Leone’s films, my contention being that the two directors were doing similar things in their respective genres during this time period. Argento also broke into filmmaking through collaborating with Leone upon Once Upon a Time in the West.

This thesis addresses the question posed to ecocriticism by Dana Phillips in his iconoclastic The Truth of Ecology: Nature, Culture, and Literature in America: “What is the truth of ecology, insofar as this truth is addressed by literature and art?” by examining how ecocriticism has, or has failed to, contextualize ecocritical discourse within an ecological framework. After reviewing the current state of ecocriticism and its relationship with environmentalism, the thesis suggests that both rely on the same outmoded, inaccurate and essentially inutile ecological concepts and language, and argues for a new approach to ecocriticism that borrows its concepts and language from the geophilosophy of Gilles Deleuze and Felix Guattari. The thesis concludes with a reassessment of the work of Barry Lopez, showing how his fiction, when viewed through the lens of geophilosophy, does not support essentialist notions of nature, but rather works to articulate a world of multiplicities, and new modes of becoming.

Violence is a social problem that therapists are called upon to address. This study focuses on how therapist Dr. Allan Wade and three female interviewees (who had been victims of violence) oriented to conversational devices, in particular those pertaining to membership categorization, during three response-based interviews. Response-based practice (RBP) is a therapeutic approach that operates on the premise that violence and oppression are unilateral acts that are always met with resistance. By incorporating a complex understanding of language and discourse, critical, postcolonial and feminist theory, and modern and postmodern therapeutic approaches, RBP offers an alternative to traditional psychological approaches. By using a variation of conversation analysis and ethnomethodology, and drawing upon the work of Deleuze, Guattari, and Foucault, I discuss how the participants oriented to particular conversational devices when accomplishing social tasks such as attributing perpetrator responsibility, acknowledging resistance, attending to negative social responses, and facilitating expressions of dignity. / Graduate

As a feminist poststructural autoethnography of deafness in social work workplaces, this thesis sets out to map d/Deafness as a cracked subjectivity. Using the work of Rosi Braidotti and Gilles Deleuze and Félix Guattari, I draw out configurations of d/Deafness as lack or cultural minority and split them apart. By positioning d/Deafness on a plane of immanence and employing specificity, I explore d/Deafness as a subjectivity constituted through space, place, time and encounters with other bodies. I argue that the constitution of material and cultural experiences of d/Deafness as specific allows for the articulation of spaces in between Deafness and hearing, disability and ability as spaces in and of themselves in order to think the new as well as to crack up fixed binaries informing traditional notions of what specific bodies can do. / Graduate

Uppsatsen utgår från en aforism (§327) i Den Glada Vetenskapen av Friedrich Nietzche. Den tar sig an frågan om förhållandet mellan skratt, glädje och vetande i framförallt Nietzches tänkande. Det är dock inte en regelrätt Nietzche-studie som försöker härleda och urskilja dessa specifka begrepp. Istället utgör uppsatsen, med visst stöd i Gilles Deleuze, en fri undersökning av en serie Nietzchianska teman som knyts samman i frågan om vad ett glatt vetande kan betyda. Uppstatsen belyser hur Nietzches idé om glad vetenskap förhåller sig till befintliga teorier om humor - och hur vetandet självt har en "humoristisk dimension".

Tradition and convention dichotomises children and curriculum and this is challenged by re(con)ceiving children in curriculum. My study generates ways for thinking differently about children’s complex interrelationships with curriculum by working with the philosophical imaginaries of Gilles Deleuze and Felix Guattari. I use an assemblage of imaginaries, namely: rhizome, plateaus, multiplicities, nomad, de~territorialising lines of flight, smooth spaces, becoming, milieu, monad and singularities, all of which disrupt traditional and conventional thought in various ways. Working with children to share their understandings of curriculum, demonstrated in their curricular performativity of becoming~learning, becomes a complex methodological endeavour, which inextricably (rhizomatically) entwines researching and researcher/participants and research. What I call the assemblage of the thesis is thus as much about researching rhizomatically as about young children’s understandings of curriculum and Deleuzo-Guattarian imaginaries help bring these together. Rhizome and becoming are two imaginaries that feature frequently in the discussion and in the methodology, with plateaus comprising the condition and expression of the ‘thesis’ cum assemblage. However, as plateaus work non-linearly, the conventional notion of a chaptered thesis is rendered sous rature. Hence the thesis-assemblage becomes a milieu of plateaus that can be read in any order, rather than a conventional linear sequence of chapters containing specific sections of the research process. Continuing with generating a milieu (while simultaneously disrupting linearity) both the literature review and rhizoanalysis occur in various plateaus, and the rhizo-methodology is played out throughout. Bringing my understanding of Deleuzo-Guattarian imaginaries of rhizome and becoming into theories about children and childhood and bringing the notion of rhizome together with young children’s curricular performance opens possibilities for conceiving children and curriculum differently, and for receiving these into reconceptualist curricular conversations. A poststructuralist feminist theoretical approach works to destabilise developmental perspectives of children and childhood as well as the adult|child binary, and recognises curriculum as a complex endeavour. The interconnected processes of rhizo inquiry, rhizomatic methodology and rhizoanalysis engage with emerging understandings of researching complexity and further disrupt modernist, arborescent thought. Data for the study were generated in a kindergarten during a two-week period by moving rhizomatically with the activity of children’s play while video recording their games. Mostly I operated the camera, with the children preferring to be performers in these spontaneous video plays, but periodically various children took the camera and recorded activity of their choosing, thereby generating another dimension to the data. As and when requested by the children, they watched the videos of themselves at play, with opportunities for replaying sequences and engaging in conversation about their becoming~learning. These review sessions were recorded on a second video camera, contributing to an intensifying multiplicity of data. To continue generating this data multiplicity, I approached the rhizoanalysis in several ways – through conventional transcripts, visual notations and by juxtaposing interactive pieces using the literature, transcriptions from the data and my commentaries. For example: data were juxtaposed with philosophical imaginaries; data from both cameras were read alongside one another; data of the children playing were used to inform the methodology as well as the methodology being used to inform the rhizoanalysis; transcriptions were turned into storyboards and some play episodes were mapped pictorially. Determining conclusions is not the purpose of a rhizomatic research multiplicity. Instead I leave off with thoughts for the reader about ongoing and opening processes of thinking differently around curriculum as (a) milieu(s) of becoming and children as dynamically becoming(s)-child(ren). Rhizomatically, these link to data used to explain map(ping) play(ing), children performing curriculum complexly, children’s expressions of power-fullness and children performing rhizo-methodology. These data demonstrate young children’s sophisticated understandings of their doing~learning~living. As well as opening possibilities for adults to understand children’s understandings, the data open possibilities for children’s understandings to inform adult understandings of curriculum, as practiced, theoretical and philosophical, that is, for receiving children into curriculum.

Abstract: The good student: power, subjectivities and schooling Schooling has become one of the core, generalisable experiences of most young people in the Western world. This study examines the ways that students inhabit subjectivities in school through the normalising vision of the good student. The idea that schools exist to produce good students who become good citizens is one of the basic tenets of modernist educational philosophies that dominate the contemporary education world. This study takes a different position, arguing that the visions of the good student deployed in various ways in schools act to produce various ways of knowing the self that are ultimately concerned with behaviour and discipline rather than freer thought and action. Developing the postmodern theories of Foucault and Deleuze, this study argues that schools could be freer places than they are, but current practices act to teach students to know themselves in certain idealised ways through which they are located, and locate themselves, in hierarchical rationales of the good student. Part of the promise of schools lies in the ways that students become negotiators and producers of their subjectivities, albeit in narrow and limiting ways. By pushing the ontological understandings of the self beyond the modernist philosophies that currently dominate schools and schooling, this study problematises the ways that young people are made subjects in schools. Part of this modernist tradition is found in the institutional tendency to see students as fixed, measurable identities (beings) rather than dynamic, evolving performances (becomings). Schools and schooling largely appear to make sense to us because we think we understand what happens and what should happen in schools. The good student is framed within these aspects of cultural understanding. However, this commonsense attitude is based on a hegemonic understanding of the good, rather than the good student as a contingent multiplicity that is produced by an infinite set of discourses and experiences. I argue that this understanding of subjectivities and power is crucial if schools are to meet the needs of a rapidly changing and challenging world. This study utilises socially critical case study research across multiple sites to investigate those micropractices of power in schools that produce the normalising vision of the good student. Data from three school sites was gathered using a variety of techniques including interviews and focus group research.