This essay seeks to analyse some of the places in Jessica Schiefauers novel Bärarna. The analysis takes the form of a journey by depicting the various places in prose similar to that of the novel’s own, while analysing symbolism, places’ relation to the concept of limits, and the novel’s relation to Michel Foucault’s theory of heterotopias. The main theoretic starting point for this essay is Foucault’s concept of heterotopia; that is, a certain type of place, which simultaneously mirrors and inverts society. The essay finds that a number of places in Bärarna can be defined as heterotopias, while others cannot. For example, the bathhouse is heterotopic because of its dismissal of sexual taboos, and the Bazaars have a number of heterotopic characteristics, such as their connection to time. On the other hand, Nikki’s apartment and the city of Irisburg have little heterotopic potential, but have other symbolic significance within the story. Lastly, the body is analysed from a spatial point of view. In Bärarna, bodies are often described as landscapes and rooms. This aspect is put forward alongside Foucault's “utopian body”, in which the body appears as a place with the ability to house other places inside of it – as is also sometimes the case with the heterotopia.

The purpose of this study is to explore different power dynamics in the spiritualist movement of fin-de-siècle Sweden. The source material for this exploration is the spiritualist magazine of Efteråt, which was the main spiritualist magazine in Sweden at the time, in print between 1891–1922. The main material for this study is specifically the texts that fall under the genre of ”fictionalized witness-accounts” of supernatural phenomena. These witness accounts yield reoccurring tropes that are either actors, arenas, or narratives. The process of finding these tropes is made through discourse analysis as constructed by Norman Fairclough complemented using grammar and props as presented by Mattias Fyhr. The theoretical tools utilized are the framework of Luce Irigaray and the relationship between the subject and the object, the concept of receptivity as coined by Ann Cvetkovich, and finally the concept of heterotopia as coined by Michel Foucault. The relationship between a masculine subject and a feminine object is generally maintained throughout the source material. However, this dynamic is open to destabilization. This is especially prominent in the arena of the séance room, where perceived feminine volatility is both a liability and a resource. This also rises interesting perspectives concerning male mediums. This destabilization in further deepened when the concept of receptivity is applied and the relationship between the spirit world and the material world is come into question: where is agency situated? The last result concerns the spiritualist movement and its relationship to hegemonic society. With the help of the concept of heterotopia the different spiritualist rooms show what is deemed lacking in society at large, as well as the perceived functions they have within the movement.

This dissertation deals with how science fiction reflects the shift in cultural paradigms that occurred in the Soviet Union between the 1960s and the 1970s. Interest was displaced from the rational to the irrational, from a scientific-technologically oriented optimism about the future to art, religion, philosophy and metaphysics. Concomitant with this shift in interests was a shift from the future to an elsewhere or, reformulated in exclusively spatial terms, from utopia to heterotopia. The dissertation consists of an analysis of three novels by the Strugatsky brothers (Arkady, 1925-1991 and Boris 1933-2012): Inspector Glebsky’s Puzzle (Otel’ U pogibšego al’pinista, 1970), The Kid (Malyš, 1971) and Roadside Picnic (Piknik na obočine, 1972) and two films Dead Mountaineer’s Hotel (Hukkunud alpinisti hotell/ Otel’ U pogibšego al’pinista, Kromanov, 1979) and Stalker (Tarkovsky, 1980).  The three novels, allegedly treatments of the theme of contact with an extraterrestrial intelligence, were intended to be published in one volume with the title Unexpected Encounters. The films are based on two of the novels. In the novels an earlier Marxist utopia has given way to a considerably more ambiguous heterotopia, largely envisioned as versions of the West. An indication of how the authors here seem to look back towards history rather than forward towards the future is to be found in the persistent strain of literary Gothic that runs through the novels. This particular trait resurfaces in the films as well.  The films reflect how tendencies only discernable in the novels have developed throughout the decade, such as the budding Soviet consumer culture and the religious sensibilities of the artistic community.

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

Le point de départ de notre recherche a été la compréhension du phénomène Wang Xiaobo, de sa genèse, de son amplification et de ses échos dans l’histoire de la littérature chinoise. La thèse rappelle le contexte de la société chinoise et du monde littéraire des années 1990, indispensable pour saisir ce phénomène. Sa naissance est en effet étroitement liée à l’essor de la mouvance libérale chinoise et au développement rapide du pouvoir des médias et notamment d’Internet. Plusieurs personnages ont contribué à sa genèse, parmi lesquels on trouve notamment des chercheurs en sciences sociales tels que Li Yinhe, Qin Hui et Xu Jilin. Ce phénomène a été par la suite amplifié par les médias, qui ont étiqueté l’auteur comme « martyr sur l’autel de la littérature », « intellectuel libéral », « intellectuel public », etc. Ironie du sort, c’est l’appellation octroyée par Le Quotidien du peuple, « génie en dehors du système », qui résume le mieux l’identité controversée de l’auteur. L’étude des discours souvent impressifs sur le phénomène Wang Xiaobo nous a conduite d’abord à mener des analyses textuelles afin de sonder de manière approfondie l’art romanesque de l’auteur, insuffisamment exploré malgré sa notoriété posthume durable. Son art est caractérisé par des jeux à la fois subversifs et ludiques ; il démontre aussi comment le sujet pensant qui transforme les mots se voit lui-même métamorphosé par la société et la vie. Le corpus des textes étudiés couvre les trois périodes de l’auteur : avant 1984 (« l’âge fabuleux »), entre 1984 et 1992 (« l’âge de la maturité et l’âge d’or ») et enfin après 1992 (« réécriture et renouvellement »). Ensuite, à travers l’analyse comparée des textes de l’auteur et de ceux de ses successeurs, nous avons abouti à la thèse suivante : les jeux d’écriture de Wang Xiaobo affichent les caractéristiques de l’art de la postmodernité, et ce avant même que celui-ci s’installe progressivement en Chine ; ils illustrent comment l’esprit chevaleresque des lettrés chinois s’est progressivement transformé en un esprit de « voyous », terme évolutif, polysémique mais symptomatique de notre temps. / The starting point of our research was to understand the "Wang Xiaobo phenomenon". The paper describes the context of Chinese society and the literary world of the 1990s; some scholars’ liberal speeches and the growing power of media namely the Internet are parts of the reasons accounting for this phenomenon. The media put on the disappeared author new labels such as "martyr on the altar of literature", "liberal intellectual", "public intellectual". Ironically the name of "Genius outside the system", granted by the People's Daily to Wang Xiaobo, has stuck as the best way to encompass the author’s questionable identity. The impressive talks about the "Wang Xiaobo phenomenon" pushes us first to conduct deeper textual analysis to probe thoroughly the novellas’ art of the author, insufficiently explored despite his lasting posthumous fame. His art is characterized by subversive and playful language games; it also demonstrates how thinking subject who transforms words sees himself transformed by society and life. The corpus of the studied texts covers three periods of the author: before 1984, between 1984 and 1992, and finally after 1992. Then, through the comparative analysis of the author’s texts and those of his successors, we came up with the following thesis: The writing games of Wang Xiaobo display the characteristics of postmodern art, and even before it develops gradually in China; they illustrate how the chivalrous spirit of the Chinese intellectuals has evolved into a spirit of roguery, which in itself should be interpreted as an evolutionary term, both polysemic and symptomatic of our time.

L'hétérotopie en bande sous-corticale (SBH) est une malformation caractérisée par la présence d'une bande de neurones ectopiques en regard du cortex normal ou normotopique. La plupart des patients ont une mutation d'un gène encodant une protéine indispensable à la migration des neurones. Les patients présentent une épilepsie pharmacorésistante. La chirurgie ne donne pas de résultats satisfaisants, le foyer épileptogène n'étant jamais clairement délimité. Un modèle de rat reproduisant les caractéristiques observées chez les patients à pu être généré. Même s'il est clair que le cortex normotopique et l'hétérotopie participent aux évènements épileptiformes, leur zone de genèse reste néanmoins inconnue. Le but de cette thèse a été de localiser l'origine de l'activité épileptiforme in vitro sur tranches de cerveau à l'aide d'une technique d'enregistrement multisite.Des activités épileptiformes (ILEs) ont été enregistrées à l'aide d'une technique d'enregistrement extracellulaire multisite à 60 canaux. Un outil d'analyse développé sous Matlab a ensuite permis de caractériser les ILEs et notamment leur origine et étendues spatiales. Après avoir identifié l'importance du cortex normotopique dans la genèse des ILEs, nous en avons supprimé l'excitabilité in vivo. Nous montrons que la surexpression de ces canaux dans les neurones ectopiques n'altère pas la susceptibilité aux crises des animaux concernés alors que la surexpression de ces canaux dans l'hétérotopie et dans le cortex normotopique améliore le phénotype épileptique. Nos résultats suggèrent ainsi un rôle majeur du cortex normotopique dans la genèse des activités épileptiques dans le syndrome du double cortex. / Subcortical Band Heterotopia (SBH) is a cortical malformation formed when neocortical neurons prematurely stop their migration in the white matter, forming a heterotopic band below the normotopic cortex, and is generally associated with intractable epilepsy. Although it is clear that the band heterotopia and the overlying cortex both contribute to creating an abnormal circuit prone to generate epileptic discharges, it is less understood which part of this circuitry is the most critical. Here, we sought to identify the origin of epileptiform activity in a targeted genetic model of SBH in rats.Rats with SBH were generated by knocking‐down the Dcx gene into neocortical progenitors of rat embryos. Origin, spatial extent and laminar profile of bicuculline‐induced interictal‐like activity on neocortical slices were analyzed by using extracellular recordings from 60‐channels microelectrode arrays. Susceptibility to pentylenetetrazole‐induced seizures was assessed by electrocorticography in head‐restrained nonanaesthetized rats. We show that the band heterotopia does not constitute a primary origin for interictal‐like epileptiform activity in vitro and is dispensable for generating induced seizures in vivo. Further, we report that most interictal‐like discharges originating in the overlying cortex secondarily propagates to the band heterotopia. Importantly, we found that in vivo suppression of neuronal excitability in SBH does not alter the higher propensity of Dcx‐KD rats to display seizures. These results suggest a major role of the normotopic cortex over the band heterotopia in generating interictal epileptiform activity and seizures in brains with SBH.

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My work uses process as a course of action that marks the death of moments through a continuous stream of consciousness. I metaphorically link disparate pieces of information to the human condition in order to present multiple readings through juxtaposition. I assemble both abstract and figurative subject matter in a collage-like manner through methods of cropping and fragmentation to symbolize the disjuncture I feel is indicative of how we experience the world through short-lived thoughts, feelings, and actions.

My work uses process as a course of action that marks the death of moments through a continuous stream of consciousness. I metaphorically link disparate pieces of information to the human condition in order to present multiple readings through juxtaposition. I assemble both abstract and figurative subject matter in a collage-like manner through methods of cropping and fragmentation to symbolize the disjuncture I feel is indicative of how we experience the world through short-lived thoughts, feelings, and actions.

The aim of this dissertation is to study urban domesticity in Polish film and literature against the background of the political and social transformations that have taken place in recent decades. The study begins with the so-called belle époque of the Polish People’s Republic and the decade of Edward Gierek, continues through the political upheavals, the period of martial law, and the system transformation of 1989 and the two following decades, which have been marked by the introduction of democracy, global capitalism, consumerism etc. The primary sources consist of almost thirty literary and cinematic works from various genres covering a period of forty years – twenty before the system change, and twenty after. Their common denominator is their setting in the socialist housing projects (blokowisko).  The dissertation places itself in the field of geocriticism and literary/cinematic spatiality. The object of the study is the ̒social space’ (Henri Lefebvre) of the urban home, and the main analytical frames are spatial representations and narrative space, which are viewed as important in shaping both character and plot. The analysis also draws from cultural theory by Michel Foucault, Marc Augé, Mikhail Bakhtin, Mircea Eliade, and Loïc Wacquant. The dissertation detects a shift in the representations of the urban home that indicates that the home has become more private and secluded after 1989, also suggesting that a spatial and social marginalization of the socialist housing projects has occurred. These findings are interpreted as consistent with theories in human geography on changes in the perception and experience of space due to global paradigm shifts and changes in the production system.