Peu d’études ont été faites sur le mouvement dans l’œuvre de Marguerite Duras (1914-1996). Or réécritures et répétitions qui marquent la pratique scripturaire de celle-ci permettent de penser des déplacements, des métamorphoses que cette thèse se propose de lire dans l’accompagnement de penseurs tels que Maurice Merleau-Ponty, Gilles Deleuze, Georges Didi-Huberman, et de manière plus spectrale, mais non moins essentielle, Jacques Derrida, Claude Lévesque et Maurice Blanchot. Le premier chapitre s’intéresse à « la marche-danse de la mendiante », qui prend place dans Le Vice-consul (1966). Le mouvement de perte de la mendiante se donne comme un procès de déterritorialisation sans fin où ne cessent d’opérer métamorphoses et devenirs. Cette dernière entraîne dans son rhizome des lieux où faire l’expérience d’un visible difficilement isolable de sa doublure d’invisible. Des lieux sont ainsi « créés » pour faire du « lieu dansé un espace dansant » (chapitre 2). On ne saurait cependant rendre compte du mouvement sans questionner « les rythmes de la danse » (chapitre 3) dont l’épreuve possède une puissance métamorphosante, particulièrement sensible dans L’Après-midi de monsieur Andesmas (1962). Mais le rythme est aussi ce par quoi s’ouvre le temps. Et le temps durassien plonge son lecteur aussi bien que ses personnages dans un univers où virtuel et actuel ne cessent d’échanger leurs forces. C’est alors la question de l’événement, de sa possibilité dans la rencontre et le crime, qui fait l’objet du « temps qu’entrouvre la danse » (chapitre 4). Dépositaire d’un étrange hiatus qu’elle suscite pour qu’un écart se creuse afin de dire l’événement, cette œuvre rêve finalement, à travers la langue, de l’événement inséparé dans le mouvement perpétuel du sens, dans « la danse du sens » (chapitre 5). Cependant, si le sens peut d’abord apparaître dansant parce qu’instable, il faut admettre qu’on tourne toujours autour de certains mots qui échappent. Quelque chose échappera toujours. C’est ce que le sixième chapitre, « Échappé(e) de la danse », appréhende, alors que le mouvement, qui n’a d’autre finalité que lui-même, inscrit un inachèvement perpétuel dont les réécritures témoignent. Parce qu’elle met en scène des êtres en mouvement dans une œuvre elle-même en mouvement, l’œuvre de Marguerite Duras permet de penser l’être-au-monde en danseur. / Few studies have been undertaken on movement in the work of Marguerite Duras (1914-1996). Yet, the rewritings and repetitions that mark her scripturary practice allow for the thinking of displacements, metamorphoses that the present thesis proposes to read in the company of such thinkers as Maurice Merleau-Ponty, Gilles Deleuze, Georges Didi-Huberman, and in a more spectral, but no less essential way, Jacques Derrida, Claude Lévesque and Maurice Blanchot. The first chapter is interested in “the dancing-walk of the beggarwoman”, which takes place in Le Vice-consul (1966). The movement of loss in the beggarwoman proposes itself as a process of endless deterritorialization in which metamorphoses and becomings are ceaselessly operative. The latter draws into its rhizome places in which having an experience of the visible is isolatable with difficulty from its invisible doubling. Places are thus “created” to make of the “danced place a dancing space” (Chapter 2). It would not, however, be possible to account for movement without questioning “the rhythms of dance” (Chapter 3), the ordeal of which possesses a metamorphosizing power, and is particularly sensible in L’Après-midi de monsieur Andesmas (1962). But rhythm is also that through which time is opened. And Durassian time plunges her reader as well as her characters into a universe in which the virtual and the actual tirelessly exchange forces. Thus does the question of the event, of its possibility in encounter and crime, which is the object of “time parted by dance” (Chapter 4). The depository of a strange hiatus aroused such that a distance can be excavated in order to speak the event, this work dreams, finally, through language, of the unseparated event in the perpetual movement of sense, in “the dance of sense” (Chapter 5). Nonetheless, if sense can first appear to be dancing because it is unstable, it must be recognized that one is always turning around certain words that escape. Something will always escape. That is what the sixth chapter, “Dance’s échappé(e),” apprehends, when movement, which has no finality other than itself, inscribes a perpetual incompletion to which the rewritings testify. Because she stages beings in movement in a work itself in movement, Marguerite Duras’s œuvre enables one to think the being-in-the-world as a dancer.

Ce mémoire explore les productions et les articulations des appartenances au mouvement Slow Fashion sur Twitter. En réaction au modèle actuel prédominant du Fast Fashion, basé sur une surproduction et une surconsommation des vêtements, le Slow Fashion sensibilise les différents acteurs du secteur de la mode à avoir une vision plus consciente des impacts de leurs pratiques sur les travailleurs, les communautés et les écosystèmes (Fletcher, 2007) et propose une décélération des cycles de production et de consommation des vêtements. L’enjeu de cette recherche est de montrer que le Slow Fashion se dessine notamment à travers les relations entres les différents acteurs sur Twitter et que l'ensemble de ces interactions prend la forme d'un rhizome, c’est-à-dire d’un système dans lequel les éléments qui le composent ne suivent aucune arborescence, aucune hiérarchie et n’émanent pas d’un seul point d’origine. (Deleuze & Guattari, 1976) Sur Twitter, les appartenances au Slow Fashion font surface, se connectent les unes aux autres par des liens de nature différente. Consommateurs, designers, entreprises, journalistes, etc., ces parties prenantes construisent collectivement le Slow Fashion comme mouvement alternatif à la mode mainstream actuelle. Mon cadre théorique s’est construit grâce à une analyse de la littérature des concepts de mode, d’identité et d’appartenance afin de mieux appréhender le contexte dans lequel le mouvement a émergé. Puis, j’ai également réalisé une étude exploratoire netnographique sur Twitter au cours de laquelle j’ai observé, tout en y participant, les interactions sur la plateforme abordant le Slow Fashion et/ou la mode éthique. Publiée sur ce blogue (http://belongingtoslowfashion.blogspot.ca), cette « creative presentation of research » (Chapman & Sawchuk, 2012) ne constitue pas une histoire présentant les prétendues origines de ce mouvement mais plutôt une photographie partielle à un certain moment du Slow Fashion. Construite tel un rhizome, elle n’a ni début, ni fin, ni hiérarchie. J’invite alors les lectrices/lecteurs à choisir n’importe quelle entrée et à délaisser toute logique linéaire et déductive. Cette exploration sera guidée par des liens hypertextes ou des annotations qui tisseront des connexions avec d’autres parties ou feront émerger d’autres questionnements. Il s’agit d’offrir une introduction aux enjeux que pose le Slow Fashion, d’ouvrir la voie à d’autres recherches et d’autres réflexions, ou encore de sensibiliser sur ce sujet. / This research explores the productions and the articulations of belonging to Slow Fashion on Twitter. In reaction to the current model of the garments fashion industry, the Fast Fashion, based on overproduction and overconsumption, Slow Fashion aims at raising awareness of the actors of the fashion industry concerning the impacts of their practices on workers, communities, ecosystems (Fletcher, 2007) and suggests a deceleration of clothing production and consumption cycles. The aim of this research is to show how the relationships between the participants are surfacing on Twitter and how those interactions are organized as a rhizome ; a assemblage where elements and components don’t follow a tree-like hierarchy or linearity and don’t emanate from a single point of origin. (Deleuze & Guattari, 1976) On Twitter, Slow Fashion belongings emerge and connect to each other through different kind of links. Consumers, designers, companies, journalists, etc., collectively build the Slow Fashion as an alternative movement to the current hegemonic fashion model. My theoretical framework is based on a litterature analysis which explores the concepts of fashion, identity, and belonging in order to contextualize the emergece of Slow Fashion. I also conducted an exploratory netnographic study on Twitter : I observed and participated in interactions addressing Slow Fashion and/or ethical Fashion. The « creative presentation of research » (Chapman & Sawchuk, 2012) published in this blog (http://belongingtoslowfashion.blogspot.ca) does not propose a history of the Slow Fashion and its origins. Rather, it offers a partial picture of a certain moment of the movement. Build as a rhizome, this research has no beginning, no ending, no hierarchy. I invite readers to start by any entry point and to abandon any kind of deductive or linear logic. This exploration will be guided by hyperlinks or annotations that will connect to other parts or that will make emerge other questionings. It offers an introduction to the challenges of Slow Fashion, it opens the way for further research, other reflexions and the issues it raises.

The aim of this study is to provide a further insight into influence of environment on clonal plants. The study focuses particularly on effects of fertilization level and light availability on production and growth of clonal organs. Three experiments were carried out within the study, targeted to elicit influence of these environmental conditions or clonal interactions on six species of clonal plants. Interspecies dependencies on these conditions was compared, regarding habitat occurrence of these species. A comparison was made also between species producing rhizomes and stolons. The experiments revealed that five of six studied species show significant relationship among at least one environmental condition and parameters of clonal reproduction. Most of the species showed higher elongation and production of clonal organs in relation to fertilization level. On the contrary, only three species reacted significantly to the light availability level by alternation of at least one parameter of clonal reproduction and the light availability level affected each species differently. A strong influence on production and elongation of clonal organs had also a size of a plant. There was not found significant difference in influence of environmental conditions on clonal reproduction among plant families. It...

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Made available in DSpace on 2014-07-29T16:28:01Z (GMT). No. of bitstreams: 1 LAILA LODDI.pdf: 3907061 bytes, checksum: 4d49cf9048a8e05a0ff2217084c75764 (MD5) Previous issue date: 2010-03-31 / This research asks permission to enter in houses of bricoladores, people who make their homes with their own hands, using found fragmentary material, collected, diverted from their original functions, adopting creative procedures and dealing directly with the random and unexpected. Bricolage operates without a pre-designed project, featuring a tactical process of invention which appropriates and reframe available elements of different origins. Inspired by the concept of rhizome and its multiples entries, this study articulates essays that dialogue between themselves, creating ramifications and displacements. Theoretical referential follows the texts to design crossings between images, processes, places and meanings. Trying image beyond the illustrative function, a visual essay proposes sensitive approaches to the houses. Through cartography, a mapping of the landscape and its accidents and transformations, bricolage talks reveal subjectivity productions which emerge from the movement's own power. / Esta pesquisa pede licença e entra em casas de bricoladores, pessoas que criam suas moradas com as próprias mãos, utilizando materiais fragmentários achados, recolhidos, desviados de suas funções originais, adotando procedimentos criativos e lidando diretamente com o acaso e o imprevisto. A bricolagem opera sem projeto pré-concebido, caracterizando um processo tático de invenção que se apropria e resignifica elementos disponíveis, de procedências diversas. Inspirado pelo conceito de rizoma e suas múltiplas entradas, o texto articula ensaios que dialogam entre si, criando ramificações e deslocamentos. O referencial teórico perpassa os ensaios, desenhando cruzamentos entre imagens, processos, lugares e sentidos. Experimentando a imagem para além da função ilustrativa, um ensaio visual propõe aproximações sensíveis com as casas. Através da cartografia, mapeamento da paisagem em seus acidentes e transformações, as falas bricoladoras transparecem e revelam produções de subjetividade que emergem da potência própria do movimento.

La nostra finalitat és conèixer, analitzar i avaluar el Projecte Àlber en el marc del Educ-arte – Educa (r) t com a canvi educatiu a través de la polifonia de veus de les persones implicades, i en especial, la de l'alumnat. Mostrem que el Projecte Àlber es porta desenvolupant des del 2001-02 en condicions d'inestabilitat dels professionals perquè ha situat la seva estabilitat homeostàtica en: un equip directiu estable, les aptituds i actituds dels professionals, les activitats típiques d'aula i l’espai híbrid. Vam recollir les VA de la primera generació que havia experienciat el Projecte Àlber en tota la seva escolaritat. Això esdevé en que orientem els objectius de la recerca en voler millorar el que fem, i per tant s'estructuri com a recerca-acció. Pretenem moure'ns des de la investigació jeràrquica a una més rizomàtica. Els resultats mostren que el Projecte Àlber genera pensaments i creixements rizomàtics. Tot això ha afavorit donar un pas més enllà i mostrar les característiques i els indicadors del canvi educatiu de forma més rizomàtica i complexa. / Nuestra finalidad es conocer, analizar y evaluar el Proyecto Àlber y en el marco del Proyecto Educ-arte – Educa (r) t como cambio educativo a través de la polifonía de voces de las personas implicadas, y en especial del alumnado. Mostramos que el Proyecto Àlber lleva desarrollándose desde el 2001-02 en condiciones de inestabilidad de los profesionales, porque ha situado la estabilidad homeostática en: un equipo directivo estable, las aptitudes y actitudes de los profesionales, las actividades típicas de aula y el espacio híbrido. Recogimos las VA de la primera generación que había experienciado el Proyecto Àlber en toda su escolaridad. Ello deviene en que orientemos los objetivos de la investigación en querer mejorar lo que hacemos, y por tanto se estructure en investigación-acción. Pretendemos movernos desde la investigación jerárquica a una más rizomática. Los resultados muestran que el Proyecto Àlber genera pensamientos y crecimientos rizomáticos. Todo ello ha favorecido dar un paso más allá y mostrar las características y los indicadores del cambio educativo de forma más rizomática y compleja. / Our aim is to understand, analyze and evaluate the Àlber Project in dynamic interaction with Educ-arte – Educa (r) t as a means of educational change, from the polyphony of voices of the people involved, especially from pupils. We show that Àlber Project has been developing since 2001-02 in terms of instability of the professionals, because it has placed the homeostatic stability in: a stable school management team, aptitudes and attitudes of professionals, typical classroom activities and hybrid space. We collected PV data of the first set of pupils that have taken part in Àlber Project since the beginning of their schooling. This led us to orient our research objectives to improve what we do. Therefore the investigation was structured as action-research. We aim at moving away from hierarchical research towards the rhizome. The findings show that Àlber Project generates rhizomatic growth and thought. All these processes favoured go beyond and show the characteristics and indicators of educational change which are more rhizomatic and complex.

The scope of this thesis was to identify, describe and quantify important life-history traits for the pseudoannual aquatic plant Ranunculus lingua in different ecological settings, by comparing populations from geographically marginal vs. central habitats. Results from a four-year field study showed that abiotic factors (water-level fluctuations and associated processes) tended to have a greater influence in marginal populations, whereas biotic factors (competition, insect grazing and fungal infections) dominated in central populations. This was reflected in different depth distribution of ramet numbers and ramet sizes between the areas, and In different dynamic patterns, with a higher flux of ramets in marginal populations. In a reciprocal transplant experiment, marginal ramets produced more but smaller rhizomes, whereas central ramets produced Individually larger but fewer rhizomes, irrespective of transplant site. A possible selection for genotypes producing large rhizomes in the central habitat was supported by the fact that initially smaller ramets were more likely to be diseased by the fungal pathogen Peronospora gigantea and damaged by insect grazing. In the marginal population, where density-independent mortality factors tend to dominate, a high reproductive output, expressed in production of high numbers of rhizomes, was suggested to be a favoured life-history trait. In a glasshouse experiment, ramets from marginal and central populations were grown in low and high densities and under three contrasting nutrient levels. The allocation to sexual structures was generally very low, and did not incur any costs in terms of reduced rhizome production. Rhizome production showed strong positive allometrical relationships to mother ramet size. Increasing mother ramet size resulted in a larger increase in rhizome numbers for the marginal than for the central population, whereas the increase in mean rhizome mass was more pronounced for the centred population. Both populations showed similar reductions in rhizome production in response to increased density and lowered nutrient levels, which could not be explained by size-dependent effects adone. The dispersal, dynamics and distribution of R. lingua were studied in a marginal river population in northern Sweden, where the only means of dispersal is by vegetative diaspores, i.e. floating rhizome fragments. Stranding occurred mainly in river curves and at obstacles, and the distribution of established stands was also highly correlated with these features. Relative changes in ramet numbers were correlated with water-level fluctuations during the present and previous growing seasons, with winter low-water, and with duration of spring-flood. The predictability of change was high within but low between stands. It was concluded that the patterns and mechanisms of dispersal are fundamental for local distribution patterns as well as variation in regional abundance in R. lingua / <p>Diss. (sammanfattning) Umeå : Umeå universitet, 1992, härtill 4 uppsatser</p> / digitalisering@umu

Dans les milieux dits alternatifs ou undergrounden France, affiliés aux formes postmodernes de cultures fan geek et otaku, une pratique a émergé ces dernières années: le rôleplay. Ni tout à fait jeu de rôle, ni tout à fait théâtre, cette modalité d’échange basée sur une mise en scène de soi se pratique en groupe dans des espaces consacrés. Le présent travail est le résultat d’une ethnographie au sein de ces milieux. Il cherche à la fois à rendre compte de cette pratique et à analyser les enjeux qui lui sont liés. C’est une réflexion polyphonique qui lie les questionnements de l’identité, tant individuelle que collective et la performativité à travers, notamment, les travaux de Deleuze, Agamben et Butler. La forme éclatée dans laquelle interviennent différentes voix reprend l’idée de chaos carnavalesque,motif central dans la présente analyse. / In France, in alternative or underground circles characterized bypostmodern fandoms such as geek and otaku cultures, a new form of practice emerged these years defined by the French word rôleplay. It is neither role playing game nor theatre, but a way to exchange with other roleplayers, wearing a costume, in a dedicated area. This work is the result of ethnography in those milieu, and aims to give an account of this practice as much as to analyze the issues of rôleplay. This polyphonic essay links questions as identity (individual or collective) and performativity, through, notably, the work of Deleuze, Agamben and Butler. The splitted up form with several voices taking part recovers the carnivalschaos, central pattern in this analysis.

Vad vi framför är ett alternativ till idealismen och vi bemöter det ideella med relationell ontologi. Vi jämför Peter van Inwagen (2011), Bryan E. Bannon (2011), Achille Varzi (2016), Gil C. Santos (2015) och Robin Durie (2002) för att skapa en förståelse för vad relationell ontologi innebär. Vidare väljer vi att använda Andrew Benjamins (2015) definition för vidare struktur av vår teoretiska metod. Denna konkretisering menar på att vår tillblivelse är skapad utifrån relationer, ett utbyte mellan singulariteter, de punkterna som definierar en artefakt eller ett fenomen. Vidare analyserar vi analog skissteknik och applicerar den analysen och dess beståndsdelar på digitala tekniker som bildredigering och 3D modellering i vad vi kallar den Rhizo – Singulär analys som process metoden. Vad vi får ut är ett alternativt sätt att skapa vilket vi väljer att definiera som relationell avbildning, med detta utmanar vi idealismen och de ideella mönsterbilderna (Ohlsson, 2013). Med andra ord att vi förhåller oss till en öppenhet och de förvrängningar inom sinnes – världen utifrån Aristoteles och estetiken enligt Danius, Sjöholm, &amp; Wallenstein (2012). Vi diskuterar de val som vi gör i designprocessen och fortsätter att argumentera för öppna förhållningssätt och förståelse som vi hämtar och jämför från Benjamin (2015) och Deleuze &amp; Guattaris (1987) rhizomen. Undersökningen och den metoden vi skapar kan bli förstådd samt tillämpad i flertalet variationer. Slutgiltligen att den teoretiska metoden växer och förändras utav personer i en plural händelse vilket är Rhizo - Singulär analys som processmetoden. / We present an alternative to idealism and we meet the ideal with the concept of relational ontology. We compare Peter van Inwagen (2011), Bryan E. Bannon (2011), Achille Varzi (2016), Gil C. Santos (2015) and Robin Durie (2002) to create an understanding for what relational ontology is or could be. We choose Andrew Benjamin's (2015) definition to structure our theoretical method. This concretization means relations are fundamental for our becoming as people and objects. Relations are an exchange between singularities, the points which define an artefact or a phenomenon. Continually we analyze sketching techniques and apply that analysis and its components on digital techniques as photo editing and 3D modeling in what we call the Rhizo – Singular analysis as a process method. What we get from doing this is an alternative way of creating which we choose to define as a relational imaging, with this we challenge the idealism and the ideal pattern images (Ohlsson, 2013). In other words we approach to a openness and the material worlds distortions from Aristoteles and the aesthetics of Danius, Sjöholm, &amp; Wallenstein (2012). We discuss the choices that we have made in the design process. We continue to argue for the open approach, the understanding which we gain and compare from Benjamin (2015) as well as Deleuze &amp; Guattari’s (1987) rhizome. In other words the research, it's methods themselves can be understood and be applied in several variations. Finally the theoretical method grows and changes by people in a plural event that is Rhizo - Singular analysis as a process method.

This study was an exploration of the professional identities of secondary school mid-career art educators through arts-based educational research [ABER]. The aim of this research was to gain understandings of mid-career art educators’ perceptions of their professional identities. Inspired by my personal experiences as an art educator, this study engaged other art educators to visualise their professional identities, as secondary mid-career art educators in England, and contribute new perspectives to the research community. Theoretically, this study is aligned with the writings of Dewey (1934, 1944), Deleuze and Guattari (1987, 1994). Deleuze and Guattari’s post-structural concept of the rhizome formed the basis for the development of the ideas associated with identity. As an assemblage, the rhizome is a complex system based on non-linear, reactionary growth patterns. The non-linear growth of the rhizome is facilitated by the activation of the in-between. As such, the rhizome connects to a view of identity as an unstable, flexible and fragmented entity that is in a constant state of becoming (Bauman, 2000). Dewey’s pragmatism was connected with Deleuzian post-structural theory through the writings of Semetsky (2006). Dewey (1944) and Greene’s (1973, 2003) writings associated with democratic education and artistic development connected these theoretical considerations with constructivism, the arts and education. Sachs’ (2003) writing on progressive and bureaucratic education provided a framework for the discussion of professionalism and professional identities. As a contribution to ABER this study was based on a/r/tography (Springgay et al., 2008) as a methodology and actively integrated image and text to the data collection and data analysis. Collage was used as the main arts-based method to develop responses from the participants and to visualise the participant data. This research asked mid-career art educators with busy lives and demanding occupations to consider who they are and express their views through art. These images of identities reflected the complex in-between-ness of professionalism in education.