Die Arbeit folgt dem Frontier-Mythos, einer Narration, die für die US-amerikanische Kultur von grundlegender Bedeutung ist. Der Gang von Ost nach West, den die Erschließung und Kultivierung des Kontinents beinhaltete, formierte auf verschiedenen Feldern eine mythologische Erzählung: in der Literatur- und Politikgeschichte und in einer Unterhaltungskultur, die um die Mitte des 19. Jahrhunderts in Form von Groschenromanen oder Wild-West-Shows entstand. Die thematischen Hauptaspekte der Arbeit richten sich auf Geographie, Technologie und Verkehr. Buffalo Bill''s Wild-West-Show, die die Geschichte der frontier als Kampf zwischen Zivilisation und Natur, also modernen Amerikanern und indianischen Ureinwohnern, erzählt, stellt dazu den Cowboy, personifiziert durch den Show-Impresario William F. Cody, in den Mittelpunkt. Der selbst in Bewegung befindliche Showbetrieb korrespondiert dabei der Geschichte, die er erzählt. Mehrere Tourneen nach Europa leisten zudem einen Mythentransport zwischen Alter und Neuer Welt. Dabei geht es insbesondere um die Betonung einer Differenz zwischen zeitlicher Vertikale und räumlicher Horizontale: also zwischen der statisch organisierten Ordnung des europäischen Königshofes (Ahnentafel) und der dynamisch verfassten sowie auf Brüderlichkeit gegründeten amerikanischen Demokratie (moving frontier). Dieses Muster diskutiert die Arbeit anhand von Mark Twains Roman "A Yankee from Connecticut on King Arthur''s Court" und Herman Melvilles "Moby Dick". Letzterer belegt, wie die phantasmatische Energie des Frontier-Mythos auch dann noch insistiert, als der Kontinent erschlossen und der Pazifik erreicht ist: als Kreiselbewegung um den Globus selbst. Hier scheint bereits ein imperialistisches Muster auf, das die USA im Zentrum einer neuen Weltordnung sieht. "Als ob sich die Welt gerade in Amerika gerundet hätte", dieses titelgebende Diktum entstammt Deleuze/Guattaris "Mille Plateaux", das im Hinblick auf seine psychogeographischen Implikationen eine Rahmentheorie der Arbeit bildet. Wie sehr die grundlegende mythische Narration vom Wilden Westen weltpolitische Konsequenzen zeitigt, belegt exemplarisch der letzte Teil der Arbeit, der den Einsatz des Hollywoodregisseurs und Westernspezialisten John Ford in Diensten des Auslandsgeheimdienstes OSS während des Zweiten Weltkriegs zum Thema hat. / The study examines the frontier myth, a narration that is of fundamental importance for the culture of the United States. The path from East to West, which includes the conquering and cultivation of the continent, forms on various levels a mythological narration: in literary and political history as well as in the entertainment culture that arose in the middle of the nineteenth century through penny novels and Wild West shows. The study’s main thematic areas focus on geography, technology, and transportation. In Buffalo Bill’s Wild West show, which narrates the history of the frontier as the battle between civilization and nature (i.e., between modern Americans and Native Americans), the cowboy as personified by the show’s impresario William F. Cody takes center stage. American show business, which was literally underway, thus corresponded with the story/history it told. Several tours to Europe additionally succeeded in transporting the myth from the new to the old world. In particular, this myth-transportation emphasizes a difference between temporally vertical and spatially horizontal planes, i.e., between the static order of the European royal court (family tree) and the dynamically conceptualized American democracy founded on fraternity (moving frontier). The study discusses this model through Mark Twain’s novel A Yankee from Connecticut on King Arthur’s Court and Herman Melville’s Moby Dick. The latter novel evinces how the phantasmagoric energy of the frontier myth even persists when the continent has been conquered and the Pacific Ocean reached – persists as the circular movement around the globe itself. An imperial model thus comes to light that sees the USA at the center of a new world order. The title of this study – “As if the world first became round in America” – comes from Deleuze and Guattari’s Mille Plateaux and its psycho-global implications offers a guiding theory for the work. The extent to which the foundational, mythical narration of the Wild West bears world-political consequences is demonstrated in the last part of the study, which investigates the deployment of the Hollywood director and Western specialist John Ford in the foreign secret service (OSS) during the Second World War.

Background: Segregation, within the context of this study, is the removal of a prisoner from the wider prison to an environment that is regimented and controlling, and functions through enforced solitude. There is very little research that explores this environment from the perspective of the prisoners who experience it. By using the voices of the prisoners this study provides rich description of the conceptual understanding of how they and resolved their segregation experiences. Research Aim: The aim of this research was to develop a grounded theory of how prisoners gave meaning to their segregated environment experience. Methodology: This study was guided by a constructivist epistemology and the principles and process of grounded theory (Constructivist Grounded Theory) as described by Glaser, Strauss, and Charmaz. Data was gathered from a participant group of prisoners who were experiencing, or had experienced within the previous two months, time in segregation, from one specific Category A prison, as well as comparable case studies. Data was collected through semi structured interviews, and case study documentary analysis, and analysed using the concurrent processes of constant comparative analysis, data collection, and theoretical sampling. Results: The participants expressed that the main concern of their time in segregation was a desire to survive this experience. They expressed this desire, and the actions and behaviours necessary to achieve it, through a process conceptualised as reframing contextual power. This has three 'subcategories‘ 'Power Posturing', 'Power Positioning', and 'Power Playing', each comprising of further subdivisions of the conceptualisation of the participants main concern. These consisted of 'Knowing Fixed Rules', 'Reading Emergent Rules', 'Relating', 'Resistance', 'Being Bad', 'Being Mad', and 'Being Cool'. Power was the major interlinking concept and this was fundamental to the strategies and actions necessary for the participants to achieve their main concern. While presented as three distinct 'subcategories‘ they are neither independent nor hierarchical, rather they are interconnected and interlinked. The participants were active in the utilisation and enactment of power actions and not passive recipients of power. A theoretical exploration of the power inherent in reframing contextual power demonstrated that no one theory or approach can sufficiently explain power within this context. It is proposed that, drawing from a number of theorists, an integrated approach to viewing and understanding such power is required to allow for a more sophisticated understanding of how the participants reframe contextual power. Conclusions: The findings of this study provide a method of understanding how the participants engaged with, and utilised complex strategies to survive the segregated environment experience. The findings also contribute to how we understand the processes of power within this current (and similar) context(s). I consider that the uniqueness of this thesis is important as it contributes to the extant body of knowledge in this field and thus offers a salient message relating to the (potential) future of segregation and the solitary confinement of prisoners.

In 1955, American artist Dorothea Tanning abandoned her figurative Surrealist renderings of dream-like scenarios in favor of a complexly abstract and fragmented style of painting. With few exceptions, the ways in which Tanning’s later works function independently of her earlier paintings tends to be downplayed in the scholarship on her oeuvre. Equally sparse is the scholarship on Tanning’s dog imagery, which pervades her oeuvre but becomes most apparent in her later phase. This thesis seeks to shift attention toward Tanning’s later abstract paintings; it also seeks to fill the gap in scholarship on Tanning’s dogs. Specifically, through the study of five Tanning paintings from the late 1950s and 1960s, with the theoretical aid of Deleuze and Guattari’s conception of the becoming-animal, this thesis will investigate how Tanning’s post-1955 paintings create and promote new ways for viewers to think about the relations between humans and animals in the human-dominated modern world.

Submitted by Flávio Nunes (fnunes) on 2015-03-13T19:47:57Z No. of bitstreams: 1 LisianeMachadoAguiarComunicacao.pdf: 2006009 bytes, checksum: b5b8241d572e9d0e8aa2d8b2d7bdeac7 (MD5) / Made available in DSpace on 2015-03-13T19:47:57Z (GMT). No. of bitstreams: 1 LisianeMachadoAguiarComunicacao.pdf: 2006009 bytes, checksum: b5b8241d572e9d0e8aa2d8b2d7bdeac7 (MD5) Previous issue date: 2011-03-25 / Nenhuma / O conceito de cartografia, extraído do trabalho conjunto de Deleuze e Guattari, vem sendo utilizado por diversos campos do conhecimento, como um processo teórico-metodológico. Estudar os usos teórico-metodológicos da cartografia na comunicação significa trilhar percursos de pesquisa pouco realizados, que ainda estão se inventando, mas que necessitam de uma configuração própria, ou seja, descobrir a sua dimensão teórico-metodológica é um elemento crucial para se pensar a própria epistemologia da comunicação. Dessa forma, o objetivo central dessa pesquisa é investigar como se configuram os usos teórico-metodológicos da cartografia de Deleuze e Guattari em suas processualidades nos trabalhos acadêmicos do campo da comunicação. Para dar conta desse objetivo a pesquisa invoca a perspectiva epistêmica transmetodológica, que tem como premissa central, a confluência metodológica de diversas estratégias para trabalhar com as problemáticas comunicacionais. Logo, essa pesquisa não somente busca avançar sobre os usos da cartografia na área como, também, procura aprofundar sobre as dimensões teórico-metodológicas realizadas no campo da comunicação. / El concepto de cartografía, extraído del trabajo conjunto de Deleuze y Guattari, se ha utilizado en diversos campos del conocimiento como un proceso teórico y metodológico. Analizar los usos teóricos y metodológicos de la cartografía en los estudios de comunicación implica un camino poco explorado, pero que necesita de su propia configuración, o sea descubrir su dimensión teórica y metodológica es fundamental para pensar la propia epistemología de la comunicación. Por lo tanto, el objetivo central de este trabajo es investigar el modo en que se configuran los usos teóricos y metodológicos de la cartografía de Deleuze y Guattari en sus processualidades en los trabajos académicos del campo de la comunicación. Para alcanzar este objetivo el diseño de la investigación tiene como base la perspectiva epistémica transmetodológica, cuya premisa fundamental es la confluencia de diversas estrategias metodológicas para abordar las problemáticas de la comunicación. Por lo tanto, esta investigación no sólo pretende avanzar el estudio de la cartografía en el campo, sino que también busca profundizar en las dimensiones de los enfoques teóricos y metodológicos adoptados en el ámbito de la comunicación.

This thesis introduces pathogenesis as methodology for a vitalist metaphysics, where life is understood as emerging and developing through functioning and grounding. This methodology is defined in an analysis of the philosophy of Gilles Deleuze, whose work is used as central resource alongside the work of historical figures – Plato, Hume, Kant, Bergson and Nietzsche – and contemporary writings on Deleuze as secondary resources. The analysis proceeds by problematising the related concepts of function and ground in relation to Deleuze’s vitalist philosophy and in relation to the supplementary material indicated.

This paper begins by looking at the MFA as a worker within the context of the contemporary university and from there attempts to situate that position in relationship to capitalism by charting out how the university uses workers for its own ends much like any capitalist business would, which results in the over-producing MFAs. From here, we can look toward the broader consequences of this large production of cultural producers and their becoming-professional. The consequences of this becoming-professional, I argue, are much more problematic than they initially appear, which further destabilizes our ability to act as anti-capitalist and anti-authoritarian cultural producers without further strengthening the forces we seek to oppose. Finally, I'll try and develop Stefano Harney and Fred Moten's concept of the criminal as well as Deleuze & Guattari's thinking on smooth spaces and a socio-political shifting toward that of the control society. Last I look at the various ways of thinking about fleeing or evacuating to help us chart escape routes by moving past traditional artistic notions of institutional critique and other professionalizing discourses learned within the spaces of MFA production.

Abstract not available

Bibliography: leaves 138-149. This thesis investigates the theoretical and practical importance of nomadic ways of life for architecture. Nomadology is a construction of Deleuze and Gattari's 'counter-philosophy' challenging authenticity and propriety, in this case, in the context of architecture. It describes how nomadology may challenge static, permanent, heroically solitary ways of working and dwelling, and suggests strategies - diagramming, ephemerality, movement, and collaboration - as ways of reconciling nomadism and architecture.

Harm minimisation approaches to illicit drug use have proven extremely successful in reducing drug-related harm and improving health outcomes for those using drugs, their families and the broader community. Despite these successes, however, many harm minimisation programmes face strong community opposition, and many others are limited in their effectiveness by their reluctance to acknowledge the complex ways in which drug using contexts, social relationships, desire, pleasure and aesthetics are involved in the production and reduction of drug-related harm.[NP] Deleuze and Guattari’s ethico-aesthetic philosophy offers a conceptual framework through which to begin to grapple with the sensory and affective elements of illicit drug use and their implications for an embodied ethics. Following an introduction to their key concepts, this thesis explores the implications of their ontology for understandings of injecting drug use across four inter-related dimensions: the drug using body; urban spaces of injecting; public overdose memorials; and drug referenced, ‘heroin chic’ advertising imagery. It argues that aesthetics and ethics are complexly intertwined, and that ethically positive responses to drug use require an active appreciation of the ways in which aesthetics affect bodies and their capacities to form relations with others

<p>Denna uppsats studerar kultserien <em>Buffy the Vampire Slayer </em>(1997–2003) utifrån ett schizoanalytiskt perspektiv genom att applicera tre huvudsakliga begrepp inom Gilles Deleuzes och Félix Guattaris teorier på sju avsnitt, en från varje säsong; dessa begrepp är Anti-Oidipus, begärsmaskinen och krigsmaskinen. Syftet med uppsatsen är att undersöka huruvida vännerna i serien först och främst är en anti-oidipal familj. Den utgår från tre analysfrågor: Är de som en grupp en begärsmaskin? Är gruppen ”schizofren”? Utgör de tillsammans en krigsmaskin? Studien visar på karaktärernas samspel och sammanhållning som en grupp på ett sätt som visar att begreppet familj inte endast kan definieras av blodsrelationer utan av sammankopplingar vilka snarast är att beskriva som maskiner. Den finner emellertid att det också finns inslag av en oidipal ordning i skildringen av individers problem och lösningen av dem samt i en idealisering av det normala familjelivet. Den kommer därför till slutsatsen att serien i sig i en mening är ”schizofren”.</p>