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Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Souvenir production and consumption play an important role in tourism destination development. Because constructs most commonly examined until now (e.g., authenticity, production methods, and souvenir typologies) have failed to explain several paradoxes, this study examines souvenirs from a different conceptual angle: product???place relationships based on the framework of territorialization, deterritorialization, and reterritorialization. Based upon this theoretical framework, a new typology of souvenirs was generated– localized souvenirs , generic souvenirs , and customized souvenirs –which indicate changes in souvenirs within the broader context of time and space. Also, by examining souvenirs across the spatial and temporal domains, the uneven development of souvenirs at different stages is also revealed. These may deepen and reframe our understanding of souvenirs, production methods, and authenticity, which researchers have taken for granted in previous studies. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This research article explores the themes of diasporic identity and the unfixed self in Olga Tokarczuk's novels Flights and The Books of Jacob. Drawing upon concepts of liminality, hybridity, and deterritorialization, the article examines how Tokarczuk's characters navigate the complexities of displacement, cultural negotiation, and the ever-shifting nature of selfhood. Through close textual analysis, the article argues that Tokarczuk's characters embody the fluidity and dynamism of diasporic identities, constantly challenging fixed notions of belonging and embracing a sense of selfhood that is unmoored from singular locations or narratives. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Yearbook of International Law is the property of Cambridge University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article sets out to investigate the way in which Colum McCann depicts New York City in his 2009 novel, Let the Great World Spin. While starting from the idea that the novel falls in the category of 9/11 fiction, the article will argue that it makes clever use of the technique of deterritorialization in order to look at the USA from an external point of view, interrogating in this way American international relations and extraterritorial citizenship, both before and after 9/11. The article will also argue that by starting from the trauma of 9/11, which is, however, circuitously tackled in the novel, McCann questions the myth of American exceptionalism, pointing at unresolved US domestic affairs, as well as harrowing external affairs, which have resulted in countless traumas. [ABSTRACT FROM AUTHOR]

Cuban diasporization and the geographies of Cuban homes in- and outside Cuba are at the core of the novel Days of Awe (2001) by U.S. Cuban writer Achy Obejas. The novel discusses the tensions experienced from a Cuban diaspora perspective between the "desire for a [remembered and imagined] homeland" and a "homing desire" (Brah 1996), between the global currents of de- and reterritorialization, and the protagonist's attempts to appropriate different spaces as home. The aim of my article is to explore how "home" is performed as a spatiotemporal phenomenon in Obejas' novel, on which scales "home" is produced (global, national, local) and how the tension between remembered homes and the current locale of living is elaborated. Proposing to define home as a social space, a negotiation between homing practices, concepts of home, and lived experiences on different geographic and temporal scales, I particularly focus on the practices of homing and remembering in the urban spaces of Havana and Chicago and in the micro space of the family home/house as both a social and material space. [ABSTRACT FROM AUTHOR]

Copyright of Revista Latinoamericana de Estudios Educativos is the property of Centro de Estudios Educativos, A.C. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bitácora Urbano/Territorial is the property of Bitacora Urbano/Territorial and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Historia y Sociedad (01218417) is the property of Universidad Nacional de Colombia, Facultad de Ciencias Humanas y Economicas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article asserts the value of assemblage theory to making sense of a museum like the Canadian Museum for Human Rights (CMHR), which has struggled with the formidable challenge of comparatively representing human rights in 'difficult' cultural and historical contexts. While acknowledging the many merits and productive outcomes of the relatively recent intersectional and interdisciplinary turn in 'new' museology, I argue that a fully realized assemblage theory such as that developed by the Mexican-American filmmaker and philosopher Manuel DeLanda holds the potential to substantially refine and extend the explanatory power of this kind of approach. With particular reference to the CMHR's interactions/intersections (and so positionality) with the various legacies of Canadian settler colonialism, and more specifically debates over the question of genocide and the nation's commitment to upholding the right to water, I argue that 'assemblage thinking' permits us to appreciate more richly, and in a more nuanced way, the museum's evolving identity, representational strategies, and growing accumulation of expressive power. More broadly, I contend that assemblage theory is ideally configured to map the dynamic interaction/intersection of overlapping clusters of large- and small-scale objects, spaces, ideologies, memories, feelings, structures, histories, and experiences constitutive of institutions and sites of conscience such as the CMHR. [ABSTRACT FROM AUTHOR]

Copyright of Economía, Sociedad y Territorio is the property of El Colegio Mexiquense and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Studies have shown that accented filmmaking features and strategies are indeed appearing in wide-ranging films of contemporary cinemas. The main focus of this paper is to analyze Viduthalai Moochu, an internal exilic Eelam-Tamil film from Sri Lanka, using a concept derived from Hamid Naficy's theorization of An Accented Cinema known as the "preoccupation with the place." The concept is cinematically expressed through the open, closed, and third spacetime cinematic formations. It needs to be noted here that Naficy's theory offers a range of accented cinematic features that express accent in the film. However, the paper will only focus on the film's spatial representations that are configured according to the space-time formations. Space-time formations are cinematic features that are employed to produce and reproduce the "accent" through cinematic representations of spaces and places rendered in the film. The configurations of the space-time formations will be used as the basis to examine Viduthalai Moochu, a film that does not seem to demonstrate the familiar conventions of filmmaking. The film mainly grapples with themes that enunciate the Eelam-Tamil displacement and deterritorialization in the internal exilic situation. The analysis shows how a particular version of alternative filmmaking strategy exclusively uses spatial representations to render themes of displacement and deterritorialization. The findings prove that the makers of Viduthalai Moochu have indeed employed the space-time formations to highlight the displacement and the deterritorialization of the Eelam-Tamil community through cinematic spatial representations. [ABSTRACT FROM AUTHOR]

Copyright of Revista Veredas is the property of Revista Veredas and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay proposes a new way of reading the Situationist notion of dérive (drift) in the Anthropocene by thinking of it as an operation that is geological in impetus, a sense of movement caused by an agentic earth. Equally, it looks to offer an alternative and expanded theory of theatricality in which the theatrical is no longer associated with theatre per se. On the contrary, it is now seen as a mode of representation that deterritorializes spectators by placing them in the midst of groundless flows and anonymous processes. In the same way that the earth in the Anthropocene is figured as a dynamic and unstable planet, so drifting and theatricality, when brought together, radicalise our extant understandings of the stage by allowing it to become motile, a terrestrial force. Here, the ecological potential of theatre is not found in staging plays about climate change or insisting on site-specificity, but in thinking through the geological power of theatricality, its capacity to exist as a type of plate tectonics. Such an expanded understanding of theatricality explains why instead of paying attention to a specific theatre production or even to the medium of theatre in a restricted sense, I examine how, in their 1958 text and image collaboration Mémoires, the Danish artist Asger Jorn and his friend Guy Debord were able to transform the page into a stage - to theatricalize and geologize reading. In an attempt, simultaneously, to expand and undo itself, the article is not content to conceptualize its argument, it looks to theatricalize itself, to become a kind of drift, a geology of writing. [ABSTRACT FROM AUTHOR]

In this article, I analyse some of the ways in which Gavin Krastin's On Seeing Red and Other Fantasies (2015) engages with outrage and protest in a self-reflexive way. The idea of art as means to question and institute change in society, is contentious and my discussion here focuses on how forms of resistance, are easily subsumed within a capitalist context. On Seeing Red comments on the failure or the limits of 'fantasy' as a means of resistance and yet uses the make-believe platform of performance to express a critique of capitalist inertia and escapism. Krastin frames anger by turning his attention to form, investigating his own medium, that of performance art/live art. Specifically, the failure or limits of performance as a means to protest social, political and artistic concerns. The analysis is centred around two points of interest: firstly, how the work can be analysed in relation to the notions of deterritorialization and reterritorialization as theorized by Gilles Deleuze and Felix Guattari (1987). The article then veers on to engage with the idea of the 'actant' via Susan Bennet (2010) as a way of exploring how the affective presence of inanimate performers (objects) in the work reveal a co-dependency between the human and the non-human. More specifically, how the use of props in the performance reveals the vulnerability of the performing body. The paper concludes with the idea that precarity offers the possibility of a mode of resistance through performance. [ABSTRACT FROM AUTHOR]

Copyright of Boletim de Geografia is the property of Universidade Estadual de Maringa and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Sridara Ganesan is a Dalit writer and his contribution to Tamil Dalit Writing is noteworthy. The present researcher has taken two stories from Meesai (Moustache). The story, "Ammavin Purusargal" (Mother's Husbands) deals with a question of a young Dalit woman's identity crisis about her birth. It highlights the uniqueness of Dalit motherhood and Dalit womanhood in the society. It also shows the hurdles in Dalit families for their growth and development in the society against the mainstream. The story, "Sakkilitchi" (An Arunthathi Woman) is a threat to upper caste men who exercise sexual violence against Dalit women. It also questions the upper castes' belief in casteism and their sexuality against Dalit women in the society. It also undermines the upper castes' casteist behaviour in abusing and oppressing the Dalits in the society. It also attempts to dismantle the upper castes' strong notion and belief in caste system. It critically tries to find out the root cause of Dalits' de-territorialization in the society. The paper, "Dialectics of Dalit Re-territorialization: A Study of the Select Stories of Sridara Ganesan's Meesai" purports to analyze the ways and methods of Dalit re-territorialization in various aspects of their life against the mainstream society. [ABSTRACT FROM AUTHOR]

Copyright of Journal of International Social Research is the property of Journal of International Social Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Estudios Atacameños is the property of Estudios Atacamenos and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Megaron is the property of KARE Publishing and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article is an analysis of key topics in Donna Haraway's Staying with the Trouble: Making Kinship in the Chthulucene. By following the game rules of the two string figures, cat's cradle (non-Indigenous) and na'atl'o' (Din'eh), the article weighs from Indigenous perspectives the political and ontological implications of such multispecies storytelling. Through its diffractive close reading, this paper puts in conversation Indigenous and non-Indigenous concepts and authors: Deleuzian rhizomatic deterritorialization and Indigenous self-determinacy, paradigmatic All My/Our Relations of Winona LaDuke, Leroy Little Bear, and Gregory Cajete, and the spider pimoa cthulhu. The aim is to recognize the multiplicity of forms of kinships or dependencies and to consider what kind of implications they have on marginalized assemblages. While Haraway suggests to call our contemporary planetary condition the Chthulucene, an epoch that requires from us to rethink relationality and co-existence, this paper looks at how the animacy of the world and the relationality of nonhuman and human animals in it create circumstances for "tranimals to emerge." By giving ethical consideration to our material animacy, tranimacy will serve us as a tool to analyse the entanglement of nonhuman and human animals, trans materiality, and questions relating to agency. [ABSTRACT FROM AUTHOR]

Copyright of IBEROAMERICANA. América Latina - España - Portugal is the property of Vervuert Verlag and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

We address aspects of globalization in current Catalan literature and try to see how it affects it: does the Catalan writer take into account a reader from outside the linguistic domain? Does globalization influence the theme of the works? And also the categories of space and time? Have aspects of this reality been dealt with in some works? Is the presence of foreign population, both European and from other continents, reflected in the Catalan, Majorcan and Valencian societies today? To develop these questions, we will analyze works by Sánchez-Pinyol, Joan Benesiu, Carles Casajuana, Melcior Comes, Najat El Hachmi, Pius Alibek, Jovi Lozano, and Francesc Serés. [ABSTRACT FROM AUTHOR]

Copyright of Rhetor. Journal of the Canadian Society for the Study of Rhetoric is the property of Canadian Society for the Study of Rhetoric and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

It has escaped many people's attention that, just as the 1998 GFA rescinded the claim of the Irish state on the 6 counties, it also gave up any territorial claim by that state on the rest of the island. It is fair to say that the fake exhilaration of the Celtic tiger years and the genuine relief of many in the North of Ireland finally having a life pushed consideration of this down the list of priorities. Yet it is perhaps no coincidence that this deterritorialization emerged simultaneously with an Irish deep state, with banks, universities and indeed private music rights agencies made exempt from the rule of law. Moreover, deterritorialization was a hallmark of the Clinton presidency and the risks of alienation, predicted by Deleuze as he authored the concept, were seen as perhaps balanced by "peace, prosperity, and progress". As of 2015, more Irish citizens had committed suicide in the republic since the 2008 crash than the total number of deaths in the troubles. While this can indeed be attributed to anomie/alienation, it is worth noting that in his classic paper on the subject Durkheim pointed out the vanishingly low rate of suicide in his contemporary Ireland. The status quo seems untenable, and international human rights lawyer Hassan Ahmed demonstrated in our 2016 conference that the 1998 GFA coupled with the 2004 referendum means Ireland is in breach of international law in not granting nationality to all born on the island.Yet deterritorialization has had the paradoxical result of making Gaelic culture more portable than ever, and to increase its following by orders of magnitude. What this paper proposes is reterritorializing Ireland by providing a Mecca for the tens of millions who value this culture. Here we look at ways of reterritorializing Ireland from reinstating the claim on the whole island to explicitly repudiating it for a 26 or 30 county state with East of the Bann left in the non-EU UK. [ABSTRACT FROM AUTHOR]

The introduction explores the classical diaspora--the dispersion of Jews--then shows how its modern incarnations elucidate the lives of disparate people and nations. A crucial event was the Middle Passage, which necessitated enslaved Africans and their descendants to renegotiate, reimagine, and reconstitute from the shards of history new identities in the Americas. The introduction teases out issues of what is home, where is home, who belongs where, and how do migration and transnationalism define and redefine the amorphous but crucial signifier home. For people of the diasporas, the quest for home involves leaving their place of birth to find a transnational home abroad. The introduction illustrates how one discrete case, the story of the English settler Hannah Duston, problematizes concepts of home, colonialism, and deterritorialization, and was appropriated by Puritan New Englanders as a Jewish exilic, captivity narrative, and a story of deliverance. Finally, the introduction assesses how each chapter in the volume addresses ideas of home, diaspora, and the transnational. [ABSTRACT FROM AUTHOR]

Copyright of Africa Development is the property of CODESRIA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The main assumption of this paper is that the Romanian film industry and the film directors themselves are going through a process of aesthetic and narrative transformation, mostly due to the impact of post-national cinema-making practices. Some of the recent works in Romanian cinema are following the logic of another stylistic, that of a delocalized cinema, a cinema that is both deterritorialized and non-specific nationally. This is explicit in the way the directors are defining the national space, the territorial identity and, finally, the way in which they project social and collective representations. Using as a case study Bogdan Mirică's first feature film, Câini (Dogs, 2016), the author argues that his cinematic practices indicate a conscious abandoning of the national specificity. [ABSTRACT FROM AUTHOR]

This article analyses the motif of fairy abduction in the works of contemporary Irish-language poet Nuala Ní Dhomhnaill. It draws particular attention to Ní Dhomhnaill's series of Bean an Leasa poems, from her collections Féar Suaithinseach (1984) and Feis (1991). The fairy woman who gives her name to the two series of poems abducts humans and takes the narrator hostage, depriving them of their free will. Ní Dhomhnaill depicts characters crossing the threshold of worlds, in-between the real and the Other- worlds, in-between fiction and reality, in-between the Irish and English languages. This study examines the significance of liminality in the Bean an Leasa poems. Whether it be the characters, straddling the border between two worlds, the language, or the poems themselves, partaking of the folk tradition while being a contemporary piece of literature, the Bean an Leasa poems are inherently liminal. This articulates the liminality of moving between languages, places and cultures, which is inherent to her whole oeuvre. Ní Dhomhnail's reuse of Irish folk tradition is studied under the light of Deleuze and Guattari's concept of de/reterritoralisation, and thus the main contention is that her rewritings of Bean an Leasa are a reterritorialisation of Irish folklore as well as a means of articulating the poet's own experience of linguistic liminality and of reterritorialisation. [ABSTRACT FROM AUTHOR]

The milieus of industrial complexes and their potential reuse for tourism have gained prominence worldwide. This paper proposes a life cycle model of industrial heritage development, consisting of territorialization, deterritorialization, and reterritorialization to illustrate the intricate interplay of identity, landscape and socio-spatial changes in the LX Factory in Lisbon, Portugal. In the stage of territorialization, postindustrial sites are identified as an important heritage source. Deterritorialization denotes the stage in which forces of tourism infuse new meanings into these sites. Reterritorialization indicates a burgeoning phenomenon of repurposing the industrial landscape for the use of creative industries and consequently generating a different territorial identity. [ABSTRACT FROM AUTHOR]

Copyright of Saúde e Sociedade is the property of Universidade de Sao Paulo, Faculdade de Saude Publica and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Revista NERA is the property of Revista NERA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article introduces the conceptual notion of Emigrant Infrastructure to further debates on diaspora strategies, extraterritorial belonging, and citizenship. Diasporic strategies are altering the possibilities for transnational citizenship and redefining belonging through the introduction of emigrant documentary schemes aimed at formalizing relationships with the diasporic subject. Using India as a case study, this article examines the historical development of the Overseas Citizen of India and Overseas Indian Card, state technologies that transformed emigrants from unwanted others into desired diasporic subjects. Outlining historical spatio-temporal junctures of the legal, policy, and bureaucratic engagements between the Government of India and emigrants reveals a deep Emigrant Infrastructure erected through three phases: active, reactive and hyperactive (linked to the colonial, post-colonial, and post-liberal Indian state). Tracing emigrant—government engagements, the article reveals how India actively constructed itself as a homeland with a diaspora. Understanding the formalization of a diasporic subject de-naturalizes the spatial assumptions linking nation, state, territory, citizenship, and people. Emigrant Infrastructure understood through diasporic subjectivity and identification cards reveals the spatiality of diaspora strategies and a changing relationship between the reterritorializing nation and the deterritorializing state. [ABSTRACT FROM AUTHOR]

Invoking Gilles Deleuze and Félix Guattari's configuration of minor literature, the author of this case study theorizes the drawing practice of a young boy (Carter) as a process of becoming-minor. Critical to this theorization is the creation and activation of a semblance between Brent and Marjorie Wilson's (1977) treatment of the convention-acquiring process and Deleuze and Guattari's (1975 /1986) conceptual usage of re- and de-territorialization. Through this semblance, the author extends and further complicates an already complex conversation about language and language usage in children's drawing. In particular, the author explores the scene of complexity in and through which Carter, when drawing, goes about consuming, appropriating, producing, and performing the conventions and materialities of his drawing languages. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses various reports, on the topic of rethinking in art education, within the issue, which include deterritorialization, boosting creative thinking in art students and memoriam for art professor Elliot Eisner.

Copyright of Caderno CRH is the property of Universidade Federal da Bahia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of MUSICultures is the property of Canadian Society for Traditional Music and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This essay discusses the nomadic not so much in terms of mobile existence or physical displacement, but primarily in connection with the concept as a type of movement that disturbs the notion of territory, and that is intrinsically related to processes of deterritorialization and reterritorialization. This particular reading of the nomadic is based on how the concept has been theorized and conceptualized by Gilles Deleuze, partly in close collaboration with Félix Guattari. Their nomadology serves as a lens through which to study territories-in-motion, in connection to (urban) mobile performances and relationships between theory and practice. The essay intends to demonstrate that the enquiry into dispersed and mobilized territories is a productive tool for analyzing movement and mobility in contemporary performance. Firstly, nomadism is presented as a particular attitude, connected to acts of de- and reterritorialization. Secondly, this perspective is employed to explore some of the dispersed territories that form the basis of the ambulatory performance No Man's Land by Dutch director and scenographer Dries Verhoeven. Lastly, the discussion is extended towards a mobile research symposium, Thinking Scenography, which takes scenography itself as an (embodied) mode of thought. Here, a nomadic attitude materializes through non-hierarchical, practice-based forms of knowledge production. [ABSTRACT FROM AUTHOR]

Working the material of an office-based performance, the author of this article negotiates the functional and potentiating relationship that plays out between his orientation to qualitative methodology and Deleuze and Guattari's usage of deterritorialization. In so doing, the author forwards the neologism of desearch as a means to animate the exaggerated manner in which he embodies and practices research in art education. [ABSTRACT FROM AUTHOR]

Copyright of Revista Ciência & Saúde Coletiva is the property of Associacao Brasileira de Pos-Graduacao em Saude Coletiva and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)