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Freiräume zu entdecken und zu erobern ist ein Politikum, vor allem in Ballungsgebieten, in denen Räume sich immer mehr verknappen. Wenn sie zu Zukunftsräumen werden sollen, muss das ihnen zugrundeliegende Konzept aber immer als im Prozess befindlich und damit beweglich verstanden werden. Der Raum kann Ideen hervorrufen, gleichzeitig transformiert jede Nutzung wieder den Raum. Raum und Ideen sind in einem permanenten Dialog. Neue Räume schaffen immer auch neue Akteur*innen, die selbstbeauftragt agieren und handeln – Projektemacher*innen, Künstler*innen, kulturelle Entrepreneurs, die ohne Institutionen und ohne Ballast von Tradition entwerfen können. So können Freiräume auf politische, gesellschaftliche, künstlerische Realitäten reagieren und zu Inkubatoren von Zukunft werden. An unterschiedlichen Beispielen sollen Potenziale der Transformation von Räumen zwischen 1996 und heute nachgezeichnet werden.

This essay is one part of my Bachelor's degree project, the other part being the work LOOPAR that was premiered in January of 2021 at Stockholm University of the Arts. The text expands and articulates the thinking processes and conversations in relation to the work. The aim of the text is to acknowledge and reflect the thoughts around the work with other people, dancers, and thinkers, and to scrutinize the main questions of the work: How can we think of repetition in relation to subject formation? And how does repetition and looping construct and affect world making? The essay begins by introducing the main concepts of the work such as 'performativity’, ’subject’, ‘storytelling’, ‘branding’, ‘repetition’ and ‘looping’. In the text, loops can be seen as actions, habits, repeated thinking processes, understandings of norms or different kinds of interactions, which change and transform our perception and understanding constantly about ourselves and the world we live in through persistent repetition. The essay observes how our experiences of ourselves and the world are affected by multiple contexts and felt-sensed experiences and interactions. It further explores the potentialities to decentralize the focus of the individualistic point of views of world making and it moves towards relational ways of thinking. The main references and conversation partners to many of the topics discussed in the essay are Argentine feminist philosopher and activist María Lugones, American professor of Feminist studies, Philosophy and History of Consciousness with a Ph.D. in Physics Karen Barad, and American philosopher and gender theorist Judith Butler. Further the essay reflects the work and methods used in praxis in relation to the thinking processes introduced in the text. At the end the essay asks the two following questions: How we can practice active consciousness and responsibility towards a subject’s positionality and interactions in dancing? And how can dancing together and alone be understood as entangled and overlapped?

This study has examined how young queer people are using SNS for exploring, buildingand communicating their identities and how this may differ in the different stages ofcoming out. The aim of the study has been to broaden the field with and obtain a deeperunderstanding of how a marginalized group in society can use social media as a part inexploring and building an identity. The study was conducted with a method of semistructuredpersonal in-depth interviews with a sample of five Swedish queer people in theage span of 23-27. The result was analyzed along previous research within the field andwith a theoretical perspective of culture, representation, performative acting and selfpresentation.The result showed that young queer people are exploring, building andcommunicating their identities in different ways that varies depending on where in theprocess of coming out they are. The result showed that it was common for the queerpeople in this study to use SNS while exploring and building their queer identities, but notas common when communicating it. There were both similarities and differences in thesefindings compared to previous research.

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In this work, I examine the hypothesis that the territorial nature of a work of art, as defined by Gilles Deleuze, provides the lexicon for the establishment of artistic communication. Confronted with Deleuze's critical grasp of the notion that communication is creative, we are required to rethink the positions of interpretation and representation in experiencing artwork. This effort commences with the proposal of a communication model based on the qualitative aspects of communication that support the semiotic nature of artistic creation. Thus, it can be established that the communicative essence of art is not based on the transmission of a specific meaning, but rather an emphasis on the affective plane of sharing. Such shift presupposes the fusion of the individual roles of the functionality of the communication scheme and the focus on the performative level of reception. Keywords: Deleuze, communication, art, map, performative reception

One way that children explore concepts of gender is through make-believe and performative play. One of the most prevalent presentations of gender that is packaged for children's play is the Disney Princess brand. In 2007 the Walt Disney Princess campaign profited over four billion dollars and expanded to include over 25,000 items for sale. Princess paraphernalia reflects a change in the way that young girls (ages 3-5) engage in imaginary play by creating a whole new paradigm of thought. As these girls project themselves into the role of a certain Princess, typical play transforms into a consumer based theatrical experience. Girls not only identify with the ideas of playing princess, but of being a Princess as well. Judith Butler examines gender as consisting of performative “acts” that are stylized, repeated, and public. Gender identity usually includes aligning one's self with socially accepted definitions of male or female. Using Butler's idea's about gender performance, this thesis looks closely at the Disney Princess brand and how it contributes to the idea of a gender identity through films, live performances at Disneyland, and merchandise designed for enhancing play. As media and consumerism plays an increasingly large role in children's lives, careful attention must be made to the influence of such brands, especially as the Princesses become defining models of the word female.

Thesis advisor: Margaret E. Guider / Thesis advisor: Francis X Clooney / In ‘geo-religious’ contexts throughout the world, the Church faces two crucial imperatives. Called to participate in the Missio Dei, it must engage other religions through inter-religious encounters and dialogue. Called to immerse itself within multi-religious realities, it also must deal with the epistemic arrogance that has accelerated religious extremism and contributed to the social construction, domination, and vilification of the religious ‘other.’ In response to these imperatives, Church leaders have issued a substantial number of ecclesial documents inviting Christians to enter into dialogue with adherents of other religions and philosophies of life. Ecclesial ministers have been called to reflect upon the 'clash of religions' and offer adequate responses to religious conflicts in various regions of the world. Unfortunately, however, our reliance on the comparative study of religion and the theology of religions, while informative, has not proven to be sufficiently formative. If Christian communities of faith are to respond to the adverse consequences of religious extremism, violence, and conflict, a new way of doing theological education is needed. Formation for ministry must include learning how to approach the religious other in a 'dialogue of life' through 'epistemic humility' that acknowledges, our need for the religious other. It must include cultivating the dialogical virtues of humility, hospitality, empathy, and interconnectedness necessary for promoting a ‘culture of encounter.’ In the processes of encounter and dialogue, learning by listening deeply can be transformative both for aspiring ministers and for adherents of other religions as they develop relationships of trust and mutual concern, thereby opening themselves to creating a heart for the other. In this dissertation, I propose that within the context of India, where religious violence is exacerbated by extremism and the marginalization of non-Hindus, the mission of interreligious dialogue entrusted to the Church by the Holy Spirit can be enhanced by encounters and relationships that provide for a deeper engagement with religious texts, rituals, and performative aspects of various faith traditions. I use the method of Comparative Theology articulated by Francis X. Clooney, S.J., that aims at deepening and expanding one’s own tradition through interreligious learning. In doing so, I advance the conviction, drawing from my own experiences through immersion, that the popular Hindu devotional text, Rāmcaritmānas, from the 16th century, with its textual, ritual, and performative dimensions, offers an instructive model for fostering a ‘culture of encounter’ and practicing dialogical virtues for the sake of the Reign of God.¹ As a consequence, I argue that ecclesial ministers who are formed and transformed by such experiences will be better prepared to accompany Indian Christians in ‘creating a heart for the other.’ Furthermore, by introducing aesthetical approaches to the proclamation, communication, and reception of Gospel narratives that deal with the life of Jesus Christ, the fruit and application of their interreligious learning, they also will be more skilled at helping Indian Christians to rediscover and intensify their devotion to Christ. Ideally, it is my hope that these learnings from the Mānas will foster ‘bandhuthā’ (fraternity) among Christians and Hindus and ultimately promote and sustain genuine encounters and dialogue. ¹ Abbreviated form Mānas / Thesis (STD) — Boston College, 2022. / Submitted to: Boston College. School of Theology and Ministry. / Discipline: Sacred Theology.

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