La thèse défendue dans le présent travail consiste à montrer qu’il est possible de faire émerger, au départ de certains récits, des concepts, affects, percepts et actions utiles à l’écologie entendue dans la triple acceptation forgée par Félix Guattari, à savoir subjective, sociale et environnementale. Là où l’ampleur des problématiques écologiques pourrait sidérer au point d’anesthésier notre être-au-monde, le pari de ma recherche est qu’il existe un autre chemin qui consiste à « esthésier », à éveiller les sens – dans une acception triple du terme, à savoir charnelle, mais aussi liée à la direction géographique et à la cohérence intellectuelle. Aborder les mutations écologiques par le moyen de récits et d’histoires qui engagent les émotions, c’est opter pour une approche qui fasse sentir ce dont il est question. En explorant les affects qui nous saisissent dès lors qu’il est question de ravages écologiques, on se donne des outils pour façonner d’autres histoires.J’ai choisi de travailler à partir de quatre récits :Vendredi où les limbes du Pacifique de Michel Tournier, L’homme qui plantait des arbres de Jean Giono, Moi, Christiane F, 13 ans, droguée, prostituée…, biographie de Christiane Felscherinow par les journalistes Kai Hermann et Horst Rieck, et Le Petit Prince d’Antoine de Saint-Exupéry. La lecture de ces quatre récits se voit enrichie au contact notamment des pensées de Gilles Deleuze et Félix Guattari, David Abram, Starhawk, Aldo Léopold, Nietzsche, ainsi bien sûr que de mon imagination et de mes questions. Cette lecture permet de faire surgir des « entités actives » ou des « présences activantes » sensibles, affectives, conceptuelles qui pourraient, désormais, incarner, cristalliser, des façons d'être, de ressentir, de faire sentir, de penser et d'agir dans les domaines et sur les terrains de l’écologie.Le travail ici proposé relève donc d’une certaine « pratique » écopoétique qui permet de se situer en tenant compte/conte des mondes qui nous entourent, et active certaines manières d'interroger, de problématiser, d'être au monde, à soi, à son corps et aux autres. De quelles voix ces mondes sont-ils peuplés, habités ?Comment composer avec eux un chant vital individuel et collectif, joyeux et responsable ?Ec(h)opoét(h)iser demande en effet non seulement de cultiver une attention polyphonique à ce qui compose un oikos, un habitat, une situation écologique, mais invite aussi à créer une situation meilleure, respectueuse des êtres avec lesquels il s’agit de partager la terre. J’espère démontrer que l’art du récit, en mobilisant les puissances de création de sens, de fabulation, de mise en relation, de convocation et d’animation, peut nous accompagner sur ce chemin. / Doctorat en Philosophie / info:eu-repo/semantics/nonPublished

Jan Suk The Poetics of Immanence: Performance Theatre of Forced Entertainment Abstract The present dissertation thesis examines the multi-faceted nature of the devised as well as durational works of the British experimental theatre Forced Entertainment via the thought of Gilles Deleuze and Félix Guattari. The aim of the thesis is to explore the transformation- potentiality of the territory between the actors and the spectators. The transformativity of this interspace, or the territory in-between, is decodable namely via Forced Entertainment's performances' structural patterns, sympathy fostering aesthetics, virtual audience integration and accentuated emphasis of the now. The application of Deleuze's philosophy, chiefly the phenomenon of immanence, results in the definition of the poetics of immanence, whose operation enables the transformativity of theatrical space to be terminologically embraced. After delineating crucial terms, such as performance and theatre, live art, or postdramatic theatre, the initial chapter contextualizes Forced Entertainment as the pivotal experimental theatre group; the chapter further conducts an analysis of relevant critical literature in performance and theatre theory discourse. Chapter two provides a deeper contextualising study of the most significant Deleuzoguattarian...

Denna uppsats behandlar Willy Kyrklunds roman Solange (1951) utifrån några av de verktyg som utvecklats av Gilles Deleuze och Félix Guattari för att närma sig litteraturen. Som teoretisk utgångspunkt kommer jag huvudsakligen att använda mig av Deleuzes och Guattaris studie över Franz Kafka med titeln Kafka: För en mindre litteratur (1975), tillsammans med ett antal andra relevanta skrifter och verk. I Kafkastudien utvecklas begreppet om den mindre litteraturen, vilket i korthet kan beskrivas som ett särskilt förhållningssätt till en större, etablerad litteratur. Jag kommer även undersöka Solange utifrån begreppet om djur-blivandet, så som det presenteras i Deleuzes och Guattaris Tusen platåer (1980). Utifrån dessa verktyg kommer jag i första hand att undersöka den säregna användningen av aspekter som form, genre och berättande i Solange, med avsikten att visa hur romanen på olika plan omförhandlar litterära normer och konventioner till förmån för vad som kan sägas vara ett kollektivt utsägande.

The Demise of the Picaresque: Dividual Narratives of the Neoliberal Marketplace in Brazil and Argentina (1881-2000) examines the connections between economics, Jewish conversos (or new Christians), mechanisms of desire, and literature from a transatlantic and Luso-Hispanic perspective. Taking as a point of reference the Iberian Golden Age (16th and 17th centuries) and the influential figure of the pícaro from the picaresque novels of the time —a roguish figure living in the margins of society— this project questions the nature, conditions, and problems of renowned writers living in Golden Age times, only to interrogate the reenacting of this genre in Latin America centuries later by way of two Brazilian and two Argentine authors. In so doing, this study announces a post-picaresque aesthetic that formally hearkens back to the rogues of old while establishing a new paradigm from which to observe the neoliberal subject in the information age. / Spanish

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This research is born from a conscious reflection on the roles and judgements that traditional scientific analyses imprint in its objects of study, especially in the field of social movement theory. It aims to understand whether and, to which extent, autonomous resistances knowledges constructed on the ground challenge the academic interpretations of those movements. For this reason, the first part of this dissertation focuses on unravelling how traditional ontologies have been built and underpin majoritarian scientific analyses. Thus, I review most current debates in the field. Traditional social movement research tends to focus on dualist discussions related to new and old social movements, European and American approaches, behavioural or cost-benefits views, structural and agency approaches, identity-based interpretations, etc. In opposition to that, I argue for an ontology breaking with dualist views, placing Deleuze’s concept of difference at the centre of my argument and feminist ontologies of the body as the medium affecting the political experience. I propose an autoethnographic method focused on presenting a cartography of urban resistance movements composed by difference and rhizomatic relationships in opposition to the homogenisation of ideas and demands of academic research for pilling up patterns, variables or categories. Deleuze and Guattari’s concept of the BwO is presented here as a theoretical tool that helps to introduce the case study in relation with its contexts, relationships, affects and networks. The second part of this research narrates and analyses how the proposed theory is unwrapped in the field. In doing so, I analyse my participation with and from within one of those collectives, Can Batlló and, more specifically, a project named La Fondona. Can Batlló is an autonomous and self-organised social centre in the neighbourhood of La Bordeta in Barcelona with which I worked during six months between 2013 and 2014. Throughout this period, I participated actively not only in Can Batlló but also in the actions and events that took place in the neighbourhood of Sants-Montjuïc and Barcelona. Hence, I present an analysis of the internal processes, relations and knowledge-practices as well as the relationships that this collective maintains with the community, its sociopolitical space and historical context. I argue those relations are constructed through rhizomatic principles as well as drawing from feminist approaches which put life and the body at the centre of their arguments. These outcomes will be finally reflected in chapter IX of this dissertation under the lenses of the research question posed in this thesis. That is whether current urban resistances challenge majoritarian social movements’ analyses. / Marie Curie Fellow Program and University of Utrecth

Previous studies on Cecily von Ziegesar's series Gossip Girl fail to explain the functionality of the series for the actual readers. Therefore, a discussion of the relationship between reader and text is necessary. By explaining from a literary perspective how reader and text interact, we can better understand why teen girls want to read the series and the exchanges that occur between the books and the readers. An exploration of how Gossip Girl relates to its series predecessors, like Nancy Drew, demonstrates how the popularity of Gossip Girl is not unique, but rather fits in with the established series pattern while receiving the same harsh criticism. As a result of analyzing the "bad" reputation Gossip Girl has earned, we can explicate how the series is currently seen to operate for the reader, questions left open when simply looking at series books historically. This exploration of the books as carriers of ideology examines how and if readers are invited to participate in a relationship with the text. However, simple reader-response theories only replicate a static relationship between reader and text. By also using a Deleuzo-Guattarian approach to the series, an understanding of how Gossip Girl acts as an "apparatus of capture" built on social conditions while still allowing the reader minimal agency for the channeling of energy/desiring flows can be found. These approaches work in conjunction in order to address the engagement readers experience with the Gossip Girl texts, which, in turn, help elucidate the phenomenon associated with von Ziegesar's books. / Master of Arts

Thesis (MA)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This study comprises a philosophical investigation into the development of a non-representational resistance against the State, with specific focus on the role of the imagination in both repression and the struggle for freedom. Using Deleuze & Guattari’s non-representasional ontology, the researcher argues that Deleuze and Guattari’s ontological system can be described as an ontological anarchy, which supplies us with tactics of resistance that strongly deviates from traditional Representational or Revolutionary models of resistance. Building on a discussion of Situationism and Hakim Bey’s T.A.Z, the argument is made that these non-representasional resistive tactics could ‘open’ the category of art up to a whole network of creative and life practices – a transformation that has the ability to free art as well as the everyday. In stead of refecting back on a supposed ‘background’ Reality, this resistance relies on the ontologically anarchic practice of reality production. The idea of the non-ordinary or peak experience, assosiated with sorcery, plays a crucial role in this production process, and the argument is made for the use the of these experiences to create a lasting peak experience, ultimately constituting a shared level of peak intensity between people that the researcher calls ‘the revolution of the imagination’. Key words: ontology, anarchy, anarchism, the State, resistance, revolution, imagination, complexity, ontology of art, poststructuralism, Representation, non-representationality, peak experience, sorcery, the everyday, Situationism, psychogeography, geophilosopy, phenomenology. / AFRIKAANSE OPSOMMING: Hierdie studie is ʼn filosofiese ondersoek na die ontwikkeling van ʼn nie-representasionele weerstand teen die Staat, met besondere klem op die rol van die verbeelding in die onderdrukking van, sowél as die stryd om vryheid. Deur middel van Deleuze & Guattari se nie-representasionele ontologie word daar tussen Representasie, wat met die Staat as komplekse en gesamentlik geproduseerde sosiale konfigurasie verband hou, en nie-representasionaliteit, wat met anargisme saamhang, onderskei. Die navorser voer aan dat Deleuze & Guattari se ontologiese sisteem as ʼn ontologiese anargie beskryf kan word wat ons van weerstandstaktieke voorsien wat sterk van tradisionele Representasionele of Rewolusionêre weerstandsmodelle afwyk. Na aanleiding van ʼn bespreking van Situasionisme en Hakim Bey se T.A.Z word daar betoog dat hierdie nie-representasionele weerstandstaktieke, die kategorie van kuns kan ‘oopmaak’ tot ʼn hele netwerk van ander kreatiewe en lewenspraktyke – ʼn transformasie wat terselfdertyd kuns én die alledaagse kan bevry. In plaas daarvan om terug te kaats op ʼn veronderstelde ‘agtergrond’- Werklikheid, gaan dié stryd om die ontologies anargiese praktyk van werklikheidsproduksie. Die idee van nie-gewone ervaring, of die spitservaring, wat met towery geassosieer word, speel ʼn sentrale rol in hierdie produksie, en daar word aangevoer dat dit gebruik kan word om van álle ervarings ʼn verlengde spitservaring te maak – ʼn gedeelde vlak van intensiteit onder mense wat die navorser ‘die rewolusie van die verbeelding’ noem. Trefwoorde: ontologie, anargie, anargisme, die Staat, weerstand, rewolusie, verbeelding, kompleksiteit, ontologie van kuns, poststrukturalisme, Representasie, nie-representasionaliteit, spitservaring, towery, die alledaagse, Situasionisme, psigogeografie, geofilosofie, fenomenologie.

Thesis (PhD)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: This dissertation examines the idea of apocalypse through the lens of science fiction (sf) written during the current fin de siècle period. I have dated this epoch, known as the information era, as starting in 1980 with the advent of personal computing and ending in approximately 2020 when the functional limits of silicon-based digital manufacturing and production are expected to be reached. By surveying the field of contemporary sf, I identify certain trends and subgenres that relate to particular aspects of apocalyptic thought, namely, conceptions of the ‘terror of history,’ the sublimity of accelerated techno-scientific advance, the ‘affective turn’ in media-culture and posthuman philosophy. My principal method of inquiry into how the apocalypse is imagined or ‘figured’ in sf is the concept of hyperstition – a neologism (combining the words ‘hyper’ and ‘superstition’) coined by the Cybernetic Culture Research Unit (CCRU). Hyperstition describes an aesthetic response whereby cultural fictions – principally, ideas relating to apocalypse – are imagined as transmuting into material realities. I begin by scrutinizing two posthumanist works of theory-fiction (theory written in the mode of sf) by the CCRU and 0rphan Drift which anticipate immanent human extinction and imagine the inception of a new evolutionary cycle of machine-augmented evolution This sensibility is premised on the sociallydestabilising cycles of exponential growth that characterise information-era technological developments, particularly in the digital industries, as well as the accelerated human impact on the natural environment. Central to my argument is the romantic materialist philosophy of Deleuze and Guattari and their concepts of accelerationism, schizoanalysis and Bodies without Organs (BwO’s). Their ontology is constructed around the idea that exponential rates of development necessitate a new aesthetic paradigm that ventures beyond philosophies of human access. The narrative of apocalypse, approached from this perspective, can be interpreted in catastrophic or anastrophic terms; either as a permanent ending or as the beginning of something radically new. Using hyperstition, I also investigate the sf of Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley to see not only how these authors interpret the concept of cultural acceleration, but also to identify common threads. Countering the catastrophic ‘death of affect’ postulated by theorists such as Jean Baudrillard and Paul Virilio with the anastrophic rejoinder of cyberdelic information-era countercultures, I conclude by investigating the new ‘affective turn’ in contemporary media theory. The works of theoretical fiction and sf that I investigate are informed, as I demonstrate, by the Situationist techniques of psychogeography, dérive and detournement, as well as by the literary tropes of 18th and 19th century fin de siècle Gothic and dark Romantic fiction. / AFRIKAANSE OPSOMMING: Hierdie proefskrif ondersoek die idee van apokalips deur die oogpunt van wetenskap fiksie (wf) soos geskryf gedurende die huidige ‘fin de siècle’ tydperk. Ek dateer hierdie epog, bekend as die inligtings-era, as die tydperk wat in 1980 begin met die koms van persoonlike rekenaars en nagenoeg eindig in 2020, wanneer die funksionele limiete van silikon gebaseerde digitale vervaardiging en produksie na verwagting bereik sal word. Deur die veld van kontemporêre wf in oënskou te neem, identifiseer ek sekere neigings en sub-genres wat vergelyk met sekere kenmerke van apokaliptiese denke, naamlik: begrippe soos die ‘verskrikking van geskiedenis’, die verhewendheid van versnelde tegno-wetenskaplike vooruitgang, die ‘emosionele omkeer’ in media-kultuur en post-humanistiese filosofie. My primêre metode van ondersoek van hoe die apokalips voorgestel of ‘beskryf’ kan word in wf, is die begrip van hiper-bygelowigheid - ‘n neologisme (samevoeging van die woorde ‘hiper’ en ‘bygeloof’) soos geskep deur die Kubernetiese Kultuur Navorsings-Eenheid (KKNE) en Nick Land, medestigter van die KKNE. Hiper-bygelowigheid beskryf die proses waarvolgens kulturele versinsels - hoofsaaklik opvattings met betrekking tot apokalips – in materiële realiteite omgeskakel kan word. Ek ondersoek ek twee post-humanistiese werke van teorie-fiksie (teorie geskryf volgens die wf metode) deur KKNE en 0rphan Drift, wat inherente menslike uitwissing verwag en die ontstaan van ‘n nuwe evolusionêre siklus van masjien-toename voorstel. Hierdie proses is gebaseer op die sosiaal-destabiliserende siklus van eksponensiële groei wat kenmerkend is van die inligtings-era se tegnologiese ontwikkelinge, veral in die digitale industrie, sowel as versnelde menslike impak op die natuurlike omgewing. Die kern van my beredenering is die goties-materialisties-teoriese standpunt soos deur Land ingeneem, sowel as die romanties-materialistiese filosofie van Deleuze en Guattari. Hierdie gevalle van neo-materialistiese (of objek-georiënteerde) filosofië word toegelig deur ‘n apokalipties-teoretiese basis bekend as akseleerasionisme. Hierdie uitgangspunt is ontwikkel rondom die idee dat die eksponensiële tempo van ontwikkeling ‘n klimaks sal bereik in ‘n evolusionêre ‘wipplank punt’ en dat ‘n nuwe estetiese paradigma nodig is wat dit bokant die filosofie van menslike vermoë kan waag sodat daar oor hierdie waarskynlikheid geteoretiseer kan word. Die beskrywing van apokalips, soos vanuit hierdie oogpunt beskou, kan vertolk word in beide katastrofiese of anastrofiese terme of as ‘n permanente einde of as die begin van iets wat radikaal nuut sal wees. Deur gebruik te maak van die hiperbygelowigheidsteorie, wat ‘n onderafdeling is van akseleerasionisme, ondersoek ek WF van Russell Hoban, Michael Swanwick, Brian Stableford, Charles Stross, Dan Simmons, M. John Harrison and Paul McAuley ten einde vas te stel hoe hierdie skrywers die konsep van kulturele akseleerasie interpreteer, maar ook om gemeenskaplike leidrade te identifiseer. Met teenargumentering ten opsigte van die katastrofiese ‘dood van affek’ gepostuleer deur teoretici soos Jean Baudrillard en Paul Virillio met die anastrofiese samevoeging van kuberdeliese inligtings-era-kontra-kulture, ondersoek ek die nuwe ‘gemoedsomkeer’ in kontemporêre mediateorie. Die werke van teoretiese fiksie, sowel as baie van die ander gevalle van wf wat ek ondersoek en soos deur my gedemonstreer, word toegelig deur Situasienistiese tegnieke van psigo-geografie, dérive en detournement, sowel as deur die literêre menigtes van die 19de eeu ‘fin de siècle’ donker Romantiese en Gotiese fiksie.