It is not uncommon to hear people speak of their worlds coming undone during traumatic events of existential crisis or catastrophe. Yet, human geographers have largely neglected to attend to the phenomenal nature of this unbounded sense of 'unworlding' disintegration, as well as the wild material forces, agencies and passions at loose in the world that carry the unlimited potential to wreck the integrity of our worlds. This dissertation dedicates itself to critically thinking through the human experience of suffering to live through, confront and respond to unworlding disasters of sense that are materially capable of disrupting the functional and relational composition of our worlds. More concretely, in this dissertation I explore unworlding disasters of sense through the specific experiences of agoraphobic sufferers. While social scientists, including human geographers, have long been interested in what is sociologically, spatially and clinically exceptional about agoraphobia as a static predicament of being spatially bounded due to fear of public space, little to no consideration has been given to how agoraphobia primitively and phenomenally manifests itself as an eventful disordering of sense that unsettles not just one's situated place in the world, but the entire relational order of the world itself. By critically attending to agoraphobia as an eventful disordering of sense that improperly deforms the structure of a human world, I seek to develop new ways to account for affective disasters of unworlding that carry the potential to overturn a proper sense of the world. Furthermore, I also speculate on the finite human ability to affirmatively respond to, make sense of, and impose limits on unworlding disasters that exceed one's subjective ability to grasp, yet improperly and materially affect the entire scope of one's lifeworld. In terms of its greater contribution to the discipline of geography, in this dissertation I strive to develop new understandings about the human condition of being in an eventful, material world that infinitely exceeds our ability to subjectively control or understand. By doing so, this dissertation aims to reaffirm the humanistic perspective as a theoretically valid and ethically critical way of practicing geography after the non-representational turn. / text

This paper identifies the discursive practices and power mechanisms in passages of Measure for Measure where certain characters are ruled by the belief of superiority of one over all others. It examines how gender norms are constituted, reproduced, and challenged by drawing on Judith Butler’s theories on gender as a performative act to explore how meaning is reproduced dialogically. Also a Foucauldian understanding of power relations, Augusto Boal’s theatre theories and practices, and Sara Ahmed’s feminist theory.This study contributes to critical-reflexive analyses of gender, language, and literary criticism. The analysis here illuminates how theatre serves as a medium for social change. In doing so, this study offers a feminist perspective in theory and methodology that enables an understanding of how class, gender and power are factors intertwined in social relations. In short, the findings draw attention to the gendered social relationship processes, and thus, demonstrates that theatre is a valuable tool for social change in creating agents of change.

Organ-ing is a multidisciplinary choreographic project that operates through a set of obscure organs that expand from spaces into bodies and from bodies into spaces. These organs don’t have vital functions and don’t seem to want to be named either; one could absolutely survive without them. Their byproducts are dances, sounds, objects, and poems: a gathering of lovers in lust for touch. Organ-ing is a strategy for a worlding that doesn’t stop at the body's borders. It is realised through an interest in the organ as a form that holds things as well as an ongoing formation. As an organ grows, I learn what it does. The project doesn’t follow linear paths of causality concerning what forms what: these organs shape and are shaped by what they create and hold. While realised and felt inside the human body, they also pour into and out of it. They might be organs of a human but they aren’t human organs. These emergent organs propose a sense of fiction to intertwine with the body’s pre-existing narratives, whether medical or holistic, and bring forth an array of fantasies that weave together the felt sense of the body. The organs of organ-ing don’t mean correcting or questioning what is already there. Instead, they twist or expand mostly pre-existent physical capacities to fabricate a body lustfully entangled with itself and its environment, with the ability and deep desire to belong. This alternative thesis is a website found on https://organ-ing.gergodfarkas.com/. The website contains hyperlinks, which lead to a series of footnotes. These footnotes can also be read as a coherent text.

This paper explores through Donna Haraway's storytelling practices feminist approaches to collaborative writing. Employing a phenomenological qualitative research approach, the thesis aims to analyze how Haraway herself exercises feminist writing and facilitates the learning of collaborative storytelling. The first research question: How does Haraway practice storytelling while simultaneously situating herself as well as others, is focused on investigating Symbiosis, Symbiogenesis and the Lively Arts of Staying with the Trouble, a chapter from Haraway's publication Staying with the Trouble: Making Kin in the Chthulucene (2016). Drawing on the qualitative analysis carried out through the process of phenomological re-telling, two case studies are presented. The two publications The Books of the Books, edited by Carolyn Christov-Bakargiev in association with dOCUMENTA (13) in 2012 and Critical Zones – The Science and Politics of Landing on Earth, edited by Peter Weibel and Bruno Latour building on the exhibition Critical Zones: Observatories for Earthly Politics in 2020 are examined in terms of their curatorial and editorial orientations in order to answer the question: How can the position of a curator perform as a multidisciplinary editor without resigning to its own singularity or acting omnisciently? In the proposed practice of a phenomological approach of re-telling, it is referred to Rosi Braidotti's remarks on the nomadic subject, along with feminist modes of (academic) writing, as motivated by scholars such as Mona Livholts and Nina Lykke. The thesis demonstrates that collaborative storytelling and writing directs the emphasis on methods of citation and referencing, just as their various possible layouts. In highlighting these, the paper also reveals the challenges of such writing to produce perceived hegemonic knowledge while not being collaboratively situated.