[pt] O trabalho que aqui se apresenta tem como objetivo restabelecer o diálogo de Deleuze com a psicanálise, outrora interrompido em Mil Platôs, a partir de uma interlocução entre a filosofia deleuziana e a psicanálise winnicottiana. Defendemos a tese de que o paradigma winnicottiano se constitui como uma “língua menor” dentro da própria psicanálise, que rompe com as limitações estabelecidas pelo campo psicanalítico ortodoxo. Visando dar corpo a tal proposta, o trabalho se de-senvolve a partir de três eixos principais: a) uma releitura do masoquismo e do sadismo que resolva os problemas apontados por Deleuze (e Guattari) na abordagem dessas assim nomeadas perver-sões, pela psicanálise tradicional. Para tanto mobilizamos a crítica de Winnicott à noção freudiana de pulsão de morte e uma desconstrução da própria noção de nor-malidade. Com isso visamos defender – apoiados em uma leitura conjunta dos três textos de Deleuze dedicados a Masoch, juntamente com a teoria da agressividade winnicottiana –, uma leitura positiva do masoquismo que o despatologize, compre-endendo-o como uma manifestação da criatividade na vida erótica; b) partindo de uma genealogia do complexo de Édipo, procuramos demons-trar como as críticas de Deleuze e Guattari são compatíveis com o paradigma ane-dipiano de Winnicott, onde localizamos uma proposta analítica que prescinde da noção que se apresenta como complexo nuclear das neuroses. Neste ínterim, par-tindo de uma abordagem da teoria do desenvolvimento emocional primitivo pre-sente em Winnicott, desenvolvemos o modo como o psicanalista inglês devolve a psicanálise à imanência, compreendendo a constituição da subjetividade a partir de um encontro singular entre os corpos da mãe e do bebê; e c) tendo em vista a insuficiência do paradigma edipiano, em consonância com as leituras de Deleuze e Winnicott, delineamos de que forma se configura a produção de subjetividade da modernidade até o momento atual. Partindo do pressuposto de que a produção de subjetividade não pode ser compreendida de modo apartado do contexto sociopolítico, defendemos que a psicanálise winnicottiana está em sintonia não apenas com as demandas do sujeito contemporâneo, mas também com a leitura de Deleuze acerca do modelo clínico mais adequado à abordagem de seus mal-estares. Nesse sentido, por meio de uma ponte entre os autores, mos-tramos como em ambos os pensamentos encontra-se um fazer clínico cujo foco se dá na dimensão experiencial, pautado no cuidado e afastado do modelo interpreta-tivo característico da hermenêutica psicanalítica tradicional. / [en] The work presented here aims to re-establish Deleuze s dialogue with psy-choanalysis, once interrupted in A Thousand Plateaus. Starting from a dialogue be-tween Deleuzian philosophy and Winnicottian psychoanalysis, we defend the thesis that the Winnicottian paradigm constitutes a minor language within psychoanal-ysis itself, which breaks with the limitations established by the orthodox psychoan-alytic field. With this in view, we develop three main axes: a) a re-evaluation of masochism and sadism in order to solve the problems pointed out by Deleuze (and Guattari) in the approach of these so-called perver-sions, by traditional psychoanalysis. To do so, we mobilize Winnicott s critique of the Freudian notion of death drive and a deconstruction of the notion of normality itself. With that we aim to defend - supported by a joint reading of the three texts by Deleuze dedicated to Masoch, together with Winnicott s theory of aggressive-ness - a positive reading of masochism that depathologizes it, understanding it as a manifestation of creativity in the erotic life; b) starting from a genealogy of the Oedipus complex, we seek to demon-strate how Deleuze and Guattari s critiques are compatible with Winnicott s anedi-pal paradigm, which contains an analytical proposal that dispenses with the notion presented as the nuclear complex of the neuroses. At the same time, based on an approach to Winnicott s theory of primitive emotional development, we describe how the English psychoanalyst brings psychoanalysis back to immanence, under-standing the constitution of subjectivity from a singular encounter between the mother s and the baby s bodies; c) finally, considering the inadequacy of the oedipian paradigm, in conso-nance with Deleuze and Winnicott s readings, we delineate how the production of subjectivity is configured from Modernity to the present moment. Based on the assumption that the production of subjectivity cannot be understood apart from the sociopolitical context, we argue that Winnicottian psychoanalysis is in tune not only with the demands of the contemporary subject, but also with Deleuze s reading of the clinical model best suited to address their malaise. In this sense, by drawing a bridge between the authors, we show how in both of them we can find a clinical practice whose focus is on the experiential dimension, based on care and away from the interpretative model characteristic of traditional psychoanalytic hermeneutics.

La Géophilosophie est un concept tardif dans l’oeuvre de Deleuze et Guattari, et bien qu’il s’applique au dernier livre qu’ils ont écrit ensemble « Qu´est-ce que la Philosophie ? », il s’agit d’une notion qui enveloppe leurs principales créations conceptuelles et circonscrit la période de « Capitalisme et schizophrénie », tout en dialoguant avec des notions et des moments distincts de l’oeuvre des auteurs. Sous la rubrique de cette notion, la philosophie se définit selon le rapport entre un plan d’immanence qu’il s’agira de définir et d’un milieu immanent et social constituant une conjonction de relations variables entre le territoire et la terre. Ainsi l’acte de penser ne gravite-t-il pas dans l’orbite des catégories du sujet et de l’objet, mais concerne un milieu intensif et contingent qui, tout en composant une milieu de circonstances extérieures, délimite un champ de connexions et frontières, de relations multiples et de devenirs, qui contournent le molaire et le moléculaire en établissant un régime d’échange, de capture et de surcodage de codes. Selon ce tracé, la pensée et les concepts invoquent un “ dehors”, un devenir moléculaire, que Deleuze et Guattari analysent en utilisant les concepts de devenirs-animaux et imperceptibles. Ce sont ces concepts que nous cherchons à expliquer, dans la mesure où ils explorent le caractère géophilosophique de la pensée, dans son rapport aux concepts de territoire et d’agencements. Nous entendons en délinéer les connexions, les ramifications hétérogènes et rhizomatiques qui suivent des lignes intensives en conjurant des forces et des mouvements de la terre, et qui opèrent par des mouvements diagrammatiques, géodésie et déterritorialisation. En effet, une cartographie des déplacements, directions et chemins circonscrivant la carte d’une géographie agitée par des lignes de fuite, des longitudes et des lattitudes est configurée. Ces conditions définissent le plan d’immanence de la pensée, de sa déterritorialisation et de sa reterritorialisation. / Geophilosophy is a lag concept in Deleuze and Guattari’s work, and besides its can be applied at the last book in partnership « Qu´est-ce que la Philosophie ? », it is a notion that involves their main conceptual creations, circumscribing the period of Capitalisme et schizophrénie, but in dialogue with distincts notions and moments of both autors work. Under the heading of the notion, philosophy consecrates the conexion of a absolut immanence plan derivative of a social and immanent environment that constitutes the conjunction of variable relations between the territory and the earth. This way, the act of thinking doesn’t gravitate in the orbit of the categories of suject and object, but concerns to a intensive and contingent environment, that, setting an ambience of external circunstances, delimits a field of conexions and borders, of multiple relations and becomings that skirts the molar and the molecular, establishing a system of change, capture and overcoding of the codes. In this route, the thought and the concepts invocate an « outside », a molecular becoming, animal and inconspicuous becomings that settle the territory and the assemblages, profiling conexions, heterogeneous and rhizomatic ramifications that follow by intensive lines, conjuring forces and movements of earth that operates by diagrammatic movements, geodey and deterritorialization. Setting up, in effect, a cartography of displacements, directions and pathways that circumscribes the map of a geography agitated by creepage, longitudes and latitudes, being these, by the way, the conditions of the absolut immanence plan of thinking, of its deterritorialization and reterritorialization. / A Geofilosofia é um conceito tardio na obra de Deleuze e Guattari e, embora se aplique aoúltimo livro em parceria, Qu´est-ce que la Philosophie ?, trata-se de uma noção queenvolve suas principais criações conceituais, circunscrevendo o período de Capitalisme etschizophrénie, mas dialogando com noções e momentos distintos da obra dos autores. Soba rubrica da noção, a filosofia consagra a conexão de um plano de imanência absolutoderivado de um meio imanente e social que constitui a conjunção de relações variáveisentre o território e a terra. Assim, o ato de pensar não gravita sob a órbita das categoriassujeito e objeto, mas concerne a um meio intensivo e contingente, que, compondo umaambiência de circunstâncias externas, demarca um campo de conexões e fronteiras derelações múltiplas e devires que contornam o molar e o molecular, estabelecendo umregime de troca, captura e sobrecodificação dos códigos. Nesse traçado, o pensamento e osconceitos invocam um “fora”, um devir molecular, devires animais e imperceptíveis quepovoam o território e os agenciamentos, perfilham conexões, ramificações heterogêneas erizomáticas que seguem por linhas intensivas, conjurando forças e movimentos da terra queoperam por movimentos diagramáticos, geodésia e desterritorialização. Configura-se, comefeito, uma cartografia dos deslocamentos, direções e trajetos que circunscreve o mapa deuma geografia agitada por linhas de fuga, longitudes e latitudes, sendo essas, portanto, ascondições do plano de imanência absoluto do pensamento, de sua desterritorialização ereterritorialização.

This thesis explores recent Turkish-German film through a radically postrepresentationalvision of aesthetics and ethics. Post-representationalism as amethodology involves confronting conventional cognitive and hermeneuticapproaches to film, and going beyond representational schemes and nationalparadigms for a closer engagement with the aesthetic. This thesis puts emphasison tropes such as movement, gesture, process and becoming through anengagement with the writings of Gilles Deleuze and Félix Guattari as analternative to the theoretical models that dominate the scholarship on migrant anddiasporic cinemas which place emphasis on dualisms and notions such as culturaland national identity. It attempts to broaden the discussions on post-ReunificationTurkish German cinema by exploring a wide range of works including fiction,documentary and artist films dealing with labour migration from Turkey toGermany. The first chapter focuses on Thomas Arslan’s Berlin Trilogy andChristian Petzold’s Jerichow (2009) as ‘Berlin School’ films that convey adistinct aesthetic approach to labour migrants and their second generationoffspring in Germany, which tends to focus on questions of work and thechanging nature of labour under globalisation. The second chapter looks atdocumentary films by Thomas Arslan, Aysun Bademsoy, Harun Farocki andSeyhan Derin to re-evaluate the dominance of historical narratives and reassessthe documentary form as an archival and creative practice through new politicaland ethico-aesthetic paradigms. The third chapter investigates social realist genrecinema through Feo Aladağ’s Die Fremde (2011) and Yüksel Yavuz’s KleineFreiheit (2003) to explore whether new encounters with conventional aestheticsthat zoom in on gestures and movements can call into question the limitation oflinguistic and semiotic terms and categories of analysis. These chapters aim tomove beyond representational and definitive frameworks in favour of a creativecritical engagement with migrant film as a political vocation, which carries withinitself the potential to invent new forms of thought, resistance, movement andpeople.

Derek Jarman’s Blue has a complicated reception and exhibition history. Stuck between his past representational queer cinema and the inability to represent the suffering and death from AIDS, Jarman crafted a film of radical stylistics. It is in Blue’s striking color that a transversality of form, sensation, and visuality occurs, and in so doing, produces a space for synesthetic affectivity and collective desire. This thesis will use those radical formal elements and the history of Jarman and Blue to position color away from the phobic tradition of color theory and towards a flowing site of political rupture.

In this dissertation I explore a number of contemporary science fiction franchises in order to ascertain how the figure of the action heroine has evolved throughout her recent history. There has been a tendency in film criticism to view these strong women as ‘figuratively male’ and therefore not ‘really’ women, which, I argue, is largely due to a reliance on the psychoanalytic paradigms that have dominated feminist film theory since its beginnings. Building on Elisabeth Hills’s work on the character of Ellen Ripley of the Alien series, I explore how notions of ‘becoming’ and the ‘Body without Organs’ proposed by Gilles Deleuze and Félix Guattari can be activated to provide a more positive set of readings of active women on screen. These readings are not limited by discussions of sex or gender, but discuss the body in terms of its increased capacities as it interacts with the world around it. I do not argue for a Deleuzian analysis of cinema as such, because this project is concerned with aspects of representation which did not form part of Deleuze’s philosophy of cinema. Rather I use Deleuze and Guattari’s work to explore alternative ways of reading the active women these franchises present and the benefits they afford. Through these explorations I demonstrate, however, that applying the Deleuzoguattarian ‘method’ is a potentially risky undertaking for feminist theory. Deconstructing notions of ‘being’ and ‘identity’ through the project of becoming may have benefits in terms of addressing ‘woman’ beyond binaristic thought, but it may also have negative consequences. What may be liberating for feminist film theory may be also be destructive. This is because through becoming we destabilise a position from which to address potentially ideologically unsound treatments of women on screen.

Uppsatsens syfte är att prövande teoretisera kring ett annorlunda hållbarhetsbegrepp, med estetiken och etiken som nav, och vad ett sådant skulle kunna innebära för hur ett förskoledidaktiskt hållbarhetsarbete kan förstås och realiseras i praktiken. Med en etnografisk ansats och deltagande observationer prövas teorin mot tre vardagliga exempel från en förskolas verksamhet. Observationerna visar prov på hur barn experimenterar med själva tillvaron på sätt som med vägledning av bl.a Félix Guattaris tankar och begrepp kan förstås som estetiska och skapande bortom en traditionell förståelse av estetik. Studiens resultat visar på möjligheten att vidga förståelsen av det estetiska arbetet i förskolan utanför ateljéns gränser. Vidare visar resultaten på möjligheten att lägga till hållbarhetsdimensioner i förståelsen av ett estetiskt arbete i förskolan. Slutsatser som dras är att detta skulle kunna betraktas som ett tillägg till ett traditionellt hållbarhetsarbete och de begrepp, praktiker och platser som där planeras ingå.

The thesis concerns the treatment of actuality in film and television, particularly the narrativization of actuality images, and the context of their placement within audio/visual texts. Several instances of the convergence of media form and genre are analyzed, and the conventions of classificatory systems and boundaries that pertain to film and television representations are reconsidered in light of changes in the conventions of genre. The distinction between, and convergence of fictional and non-fictional conventions of narrative are therefore central to the thesis, as are the related issues of viewer response, the nature of subjectivity in the viewer, the connectivity of text and culture, and the relations of actuality to the text. The thesis traces the narrativization of actuality through textual, formal and genre boundaries, adopting a ‘line of flight or deterritorialization’ that enables the thesis to ‘change in nature and connect with other multiplicities.’This line of flight passes through the conventional separation of genre groupings and texts, and, similarly, has been applied in the thesis as a rationale for the diminution of theoretical boundaries. A multiperpectival approach is applied to the permeability of, or transcendent relations of the analysis to the boundaries between genres, between texts and culture, and between actuality and virtual representation. In the thesis there is also a theoretical deterritorialization that consents to a pluralism of theory, which is an approach demonstrated by Deleuze and Guattari in A Thousand Plateaus. The model of multi-perspectivalism adopted in the thesis engages in establishing connections and similarities between theories, rather than emphasizing contradictory and exclusive practices. The Foucauldian notion of the rules of formation in discourse, Nichols’ theories of documentary representation of reality, Bordwell’s schematic interpretation, and several other positions are critiqued, as the line of flight embarked upon in the thesis intersects with, and passes through both textual and theoretical boundaries. The thesis consists of two parts: firstly, a location of theoretical perspective, in which the issues of theory pertaining to actuality and narrative are explicated, and the methodological approach of the thesis is defined. The second part commences with an analysis of the most familiar instances of actuality in film and television, with particular attention to documentary forms. It then engages in the analysis of films that represent actuality but which, in the process of narrativization, display a convergence of genre conventions. The films selected for analysis include Steven Speilberg's Schindler's List, (1993) Oliver Stone's JFK, (1991) and Robert Zemeckis' Forrest Gump, (1994) and Contact, (1996). Hence the thesis is concerned with the application of a pluralist theoretical approach, with, however, an emphasis on the Deleuzo-Guattarian notions of rhizome and assemblage. Within this theoretical frame, the connections between actuality and the audio/visual text are explicated, and the formation of text as ‘a rhizome with the world’, is analyzed across a range of examples.

This thesis investigates the theoretical and practical importance of nomadic ways of life for architecture. Nomadology is a construction of Deleuze and Guattari's 'counter-philosophy', challenging authenticity and propriety, in this case, in the context of architecture. This thesis describes how nomadology may serve contemporary architectural practice and criticism; challenging static, permanent, and heroically solitary ways of working and dwelling. Nomadology in architecture proposes ways for thinking and working temporally, dynamically, and collaboratively. The thesis suggests strategies - diagramming, ephemerality, movement, and collaboration - as ways of reconciling nomadism and architecture. The 'Contexts' section of this thesis surveys Western and global contexts of understanding nomads and nomadology, and how these pertain to architecture. Western conceptions of architecture have inhibited the study of nomadology in architecture. A case is made for challenging biases in Western views of architecture, for critically employing the ideas of the diagram and the rhizome in architectural criticism, and for recognising the role of movement. The 'Applications' section shows, through practical examples, that the potential of nomadology is latent in spatial and environmental practices of architectural production and architectural criticism. This section of the thesis identifies the significance of nomads as users and exponents of architecture, despite their frequent exclusion from architectural history. Tent architecture, practices of nomadic resistance and Bedouin life practices are considered as key examples. The 'Strategies' section suggests ways of applying principles of nomadology. This final section expands on the potential for 'peripatetic' practices of architecture. Processes of reconciling settled and nomadic tendencies in architectural projects are outlined. Strategies are described by which engendering and collaborating may be the means for creating architecture. The continuing research into, and interpretation of nomadology in architecture are proposed as a basis for critical theorisation and reflective practice of architecture. / Thesis (M.Arch.)--School of Architecture, Landscape Architecture & Urban Design, 2002.

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.

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.