Academic literature on the topic 'Liminary character'
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Journal articles on the topic "Liminary character"
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Boudersa Nabil, Chaib Ghania, Cherfia Radia, Atoui Aicha, and Boudour Leila. "Biological and agronomic characterization of bread wheat (Triticum aes-tivum L.) and barley (Hordeum vulgare L.) cultivated in the region of Constantine, Algeria." South Asian Journal of Experimental Biology 11, no. 5 (November 16, 2021): 572–82. http://dx.doi.org/10.38150/sajeb.11(5).p572-582.
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The biological and agronomic characterization of cereals constitutes a pre-liminary and essential step for the assessment of genetic diversity state which must be valued, exploited and known in a clear and complete manner in order to be able to exploit them in improvement and adaptation programs of cereals. In this context, our study was carried out during the 2018/2019 agricultural campaign on the experimental site of the technical institute of field crops ITGC of El Khroub (Constantine, Algeria). Its objective was to char-acterize the biological and agronomic diversity in two cereal species, bread wheat (Triticum aestivum L.) and barley (Hordeum vulgare L.) by evaluating many pheno-morphological, physiological and biochemical characters as well as production traits (agronomic traits). The correlation coefficients analysis between traits indicates that the short and early heading varieties which accumulate less proline are more productive than varieties which are charac-terized by long straw and late heading in both species. However, it has been noted that barley varieties reach heading before bread wheat varieties. In addition, it shows that the grain yield is positively correlated with these com-ponents, in particular with the number of seeds per ear, the number of ears per square meter, and with the following parameters: the surface of the flag leaf and its content of chlorophyll pigments, the totality of the ear character-istics such as the length of the ear neck. These results lead us to say that an indirect selection via these crops can be beneficial for the production and improvement programs of cereals.
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Asmalasari, Devyanti. "EKSISTENSI PEREMPUAN TIONGHOA DALAM NOVEL SAMITA: BINTANG BERPIJAR DI LANGIT MAJAPAHIT KARYA TASARO (The Existence Chinese Woman in Samita Novel: “Bintang Berpijar di Langit Majapahit” Written by Tasaro)." METASASTRA: Jurnal Penelitian Sastra 6, no. 1 (March 14, 2016): 1. http://dx.doi.org/10.26610/metasastra.2013.v6i1.1-9.
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Novel yang berlatar belakang sejarah keruntuhan kejayaan Majapahit ini memperlihatkan kekhasan dalam menggambarkan perjuangan tokoh Hui Sing yang mampu menghilangkan stereotip perempuan Tionghoa yang selalu berada dalam kekuasaan laki-laki. Penelitian ini secara umum bertujuan untuk memperoleh deskripsi tentang eksistensi perempuan Tionghoa dalam novel Samita: Bintang Berpijar di Langit Majapahit. Metode yang digunakan dalam penelitian ini yaitu metode deskriptif analisis. Pendekatan struktural dilakukan sebagai langkah awal untuk mengetahui keberadaan perempuan Tionghoa dalam novel ini. Selanjutnya pendekatan feminisme dilakukan untuk mengetahui eksistensi tokoh Hui Sing sebagai pribadi maupun sebagai bagian dari masyarakatnya. Hasil penelitian ini menunjukkan bahwa keberadaan perempuan Tionghoa yang digambarkan melalui tokoh Hui Sing tampil sebagai sosok pribadi yang berpikiran terbuka dan cerdas, mandiri dan bertanggung jawab terhadap dirinya. Dengan demikian, didapat persepsi baru bahwa sosok perempuan Tionghoa dalam novel ini tidak menduduki posisi subordinat, ia adalah pelaku perbuatan.Abstract:The novel setting the historical background of the collapse of Majapahit Glory has its own uniqueness in illustrating the struggle of Hui Sing who was able to eliminate the stereotype of Chinese woman who used to be in man’s control. The aim of the research is to describe the exist- ence of Chinese woman in the Samita Novel: Bintang Berpijar di Langit Majapahit. The applied method in the research is descriptive analysis. The structure approach was conducted as the pre- liminary step in understanding the Chinese Woman in this novel. Next, the feminism approach was carried out to know the existence of Hui Sing character either as an individual or as society member in Samita novel: Bintang Berpijar di Langit Majapahit illustrated in the Hui sing charac- ter as open mind and smart person, independent and responsible on himself. Therefore, we can obtain new perception that a Chinese woman character in the novel was not in the subordinated position, she was the agent of conducting something.
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Masson, Sophie. "No Traveller Returns: The Liminal World as Ordeal and Quest in Contemporary Young Adult Afterlife Fiction." Papers: Explorations into Children's Literature 26, no. 1 (January 1, 2018): 60–81. http://dx.doi.org/10.21153/pecl2018vol26no1art1090.
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In recent years, fiction specifically set in or about the afterlife has become a popular, critically acclaimed subgenre within contemporary fiction for young adults. One of the distinguishing aspects of young adult afterlife fiction is its detailed portrayal of an alien afterworld in which characters find themselves. Whilst reminiscent of the world-building of high or quest fantasy, afterworlds in young adult afterlife fiction have a distinctively different quality, and that is an emphasis on liminality. Afterlife landscapes exhibit many strange, treacherous qualities. They are never quite what they seem, and this sense of a continually shifting multiplicity is part of the destabilisation experienced by the characters in the liminal world of the afterlife. Inspired by traditional but diverse images of afterlife, afterworld settings also incorporate aspects of dream-space as well as of the real, material world left behind by the characters. The uncanny world of the dead is not just background in these novels, but crucial to the development of narrative and character.
In this paper, it is argued that the concept of liminal place is at the core of the central ordeal and quest of characters in young adult afterlife fiction. It explores how authors have constructed the individual settings of their fictional afterworlds and examines the significance of the liminal nature of the afterworlds depicted in young adult afterlife fiction.
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Bowering, Thea. "A New Ontology for the Female Subject: The Rise of the Flat Character in Stories by Solvej Balle and Kirsten Thorup." Scandinavian-Canadian Studies 15 (December 1, 2005): 8–21. http://dx.doi.org/10.29173/scancan1.
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ABSTRACT: This paper examines the way the literary convention of the “flat-character” is re-imagined, in Kirsten Thorup’s story “Crazy Marie” and Solvej Balle’s “Alette V.,” as a feminist trope that disrupts modern fiction’s clichéd representations of female characters. The flat-character, a term coined by E.M. Forster, is an undeveloped figure designated to embody “a single idea or quality.” Based on the poetics of Erin Mouré that theorize the preposition as the woman’s sign: “because in the language it has no power, & can’t exist alone,” the essay compares the value of the flat character in the hierarchical organization of the story to the place women have occupied in social and literary discourse. By shifting our focus to the power structures at work in language and the laws of art, the female flat character becomes more complex: she now works as a disruptive liminal figure between female stereotypes and multiple representations of female subjectivity.
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Jakóbczyk, Adrianna. "The Liminal Character. The problem of Identity at the Crossroads of Cultures." Tekstualia 4, no. 51 (December 19, 2017): 111–26. http://dx.doi.org/10.5604/01.3001.0013.3551.
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Living in the multicultural areas of a predominantly Polish community, German characters either identify themselves as Poles (the fi rst, naive description of their identity), or realise that a full national identifi cation is impossible for them (the second stage, which usually signifi es that they are about to be confronted with German culture). Since their experience of being permanently in-between entails a liminal position, these literary fi gures can be described as liminal. The crucial aspects of describing a literary character as liminal are: 1) the exposure during adolescence to at least two cultures which are perceived as unequal; 2) the aspiration to enter the dominant culture, linked to the promise of a social gain; 3) full alienation – a permanent status as an Other in both cultures; 4) the uniqueness of experience – the absence of a community of people in the same situation, the lack of understanding on the part of people from both cultures. These issues are discussed with reference to the novels Kronika wypadków miłosnych by T. Konwicki, Homunculus z tryptyku by B. Wuttke and Początek by A. Szczypiorski.
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Merkushov, Stanislav F. "LIMINAL NARRATHOLOGY OF ALEXEY SLAPOVSKY’S DRAMA." Practices & Interpretations: A Journal of Philology, Teaching and Cultural Studies 8, no. 1 (March 31, 2023): 53–64. http://dx.doi.org/10.18522/2415-8852-2023-1-53-64.
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In the dramaturgical work of A. Slapovsky, realistic and unrealistic artistry is synthesized, revealed in a wide representational field of various stadium states and situations. At the same time, the balance between the different semantic and emotional components of the studied poetics is clearly visible. Heterogeneity of motivation and plot, “simultaneity” of characters, recursiveness of chronotope are signs of liminal narratology of A. Slapovsky. All the plays of the book “The Truest Love” are classified by the playwriter himself – “plays for large theaters” and “plays for small theaters” – which is due to their duration. However, it is the ambiguity and a certain illusory nature of what is happening on the stage that seems important. The material for this research is the play “The Poor Millionaire”, characterized by deliberate schematism and determinism. The unity of the “liminal” multicomponence is achieved, among other things, by the introduction of the integrating action of the leading character, which becomes an element of the paratext with the corresponding coordinating functionality and is usually correlated with the figure of the author. The general idea of isomorphism of language, text and the world in the process of analysis suggests the idea of a possible project comparison of representational systems of different, but related, dramatic epochs. Slapovsky’s oeuvre as a phenomenon is characterized by a complex of liminality in its binary, discrete and, at the same time, heterogeneous artistry. This complex correlates with the narratology of the image, with characterology, the study of which leads the author to generalizations of universal significance.
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Bortnik, Zhanna. "FUNCTIONS OF HETEROTOPIES IN CONTEMPORARY UKRAINIAN DRAMATURGY." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 17(85) (June 22, 2023): 247–51. http://dx.doi.org/10.25264/2519-2558-2023-17(85)-247-251.
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The article reveals the specificity of the heterotopic approach in the analysis of artistic texts and characterizes the functions of heterotopias in modern Ukrainian drama. Examining artistic dramatic texts as «other space» it was found that modern Ukrainian playwrights at the liminal stage resorted to creating the image of a parental house, a village, a provincial town, which realize in the texts the heterotopia function of a prison that breaks time; the heterotopia of the Maidan, Donbass as a museum and archive that accumulates time, and interpreted the current state of the country through the function of the heterotopia of the library in intertextual images, motifs and plots. At the postliminal stage, the heterotopia of the parental house, the town, changed its function to that of a museum. By resorting to heterotopia as an artistic image in dramas, playwrights have the opportunity to highlight the collision of a private and public character, which strengthens the dramaturgical conflict, to demonstrate how the personal spaces of the characters are presented in «other spaces», which helps to realize the specificity of the character of the heroes, they have the opportunity to embody «rituals of transition» between topos and images of “ritual sacrifices” that the characters are ready for in order to go beyond heterotopia. Heterotopias of the subject of broadcasting in modern Ukrainian drama are manifested primarily by the time-spaces of captivity, prison, hospital, educational institution, train, ship. Ukrainian dramaturgy of the post-liminal period, in addition to changing the function of the heterotopia of the parental home, village, town, train, represents the heterotopia of the shelter (bomb shelter). Playwrights actively involve heterotopic images that realize the author's idea of an artistic return of a character to his own past in order to find and reflect on mistakes, to get answers to questions or strength to fight from the past. The hero's past, recorded in memories, has signs of a hermetic space with its internal laws, rituals, interrupts, stops or accumulates time.
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Iqbal, Nasar. "Liminal Characters in Ali’s Fiction: A Postcolonial Critique." Pakistan Social Sciences Review 2, no. II (December 31, 2018): 236–48. http://dx.doi.org/10.35484/pssr.2018(2-ii)20.
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Iqbal, Nasar. "Liminal Characters in Ali’s Fiction: A Postcolonial Critique." Pakistan Social Sciences Review 2, no. II (December 31, 2018): 249–60. http://dx.doi.org/10.35484/pssr.2018(2-ii)020.
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Karim, Zuher. "No one crosses the river of oblivion: Reading the narrative experience in Kareem Ketafa’s works." Journal of Contemporary Iraq & the Arab World 14, no. 3 (September 1, 2020): 189–200. http://dx.doi.org/10.1386/jciaw_00029_1.
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A review of the works of Iraqi writer Kareem Ketafa identifies a common thematic invocation of fleeing, widely shared across the characters developed in each novel, that situates them all as at the indeterminate liminal line between forgetting past lives and embracing the memories those lives invoke. By centring Ketafa’s Iraqi origins the focus on its role in his literary imagination and ability to invoke the reality of past suffering and intense personal pain in how they shape character. This reading allows for an engagement with the arc of Ketafa’s plots, where actions allow for movement beyond individual flight and a familiarity with the fourth dimension that contributes to shaping one’s life story.
Dissertations / Theses on the topic "Liminary character"
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Devaux-Rodriguez, Alicia. "Les Règles du savoir-vivre dans le théâtre de Jean-Luc Lagarce : une lecture ethnocritique et stylistique des œuvres dernières." Electronic Thesis or Diss., Université de Lorraine, 2021. http://www.theses.fr/2021LORR0132.
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Cette thèse a pour objectif de proposer une lecture ethnocritique du théâtre de Jean-Luc Lagarce. Il s’agit donc de relire les œuvres de cet écrivain sacralisé par la Comédie française et l’Institution dans une perspective ethnocritique qui croise poétique des textes littéraires et ethnologie du symbolique pour en étudier les cosmologies particulières. Pour ce faire, nous mettrons également en œuvre une approche rhétorique et stylistique afin d’en montrer leur singularité scripturale signifiée par l’hybridité générique constitutive de ses écrits et par une parole à la fois très oralisée et très littéraire, en un mot très « auralisée ». Nous nous arrêterons en particulier sur les dernières œuvres : Juste la fin du monde, Les Règles du savoir-vivre dans la société moderne, J’étais dans ma maison et j’attendais que la pluie vienne et Le Pays lointain au nom de leur valeur emblématique et testamentaire. La première partie de notre thèse se focalise sur les règles, rites et usages qui traversent les œuvres. La deuxième partie questionne les règles de vie du troisième groupe défini par Lagarce car à côté des vivants et des morts se trouvent ceux qui savent qu’ils vont mourir. Ces personnages morts-déjà qui peuplent ses œuvres sont des personnages liminaires caractérisés par une ponctuation et une typographie de l’entre-deux mondes : guillemets, parenthèses, tirets et italiques nous permettent d’explorer les marges du théâtre hétérotopique lagarcien. La troisième partie aborde les règles de la création dans ses dernières œuvres représentatives des procédés de réécriture et d’hybridation entre théâtre, roman et poésie. Nous faisons l’hypothèse qu’à l’approche de la mort, chaque œuvre est la dernière et accomplit un rite de passage, destiné à assurer à Lagarce la reconnaissance qu’il n’a pas eue de son vivant et la postérité littéraire par une œuvre-legenda destinée à ses lecteurs et qui a fini par rencontrer ses spectateursThe purpose of this thesis is to propose an ethnocritical reading of the dramatic works of Jean-Luc Lagarce. It involves rereading the works of a writer consecrated by the Comédie Française and the Institution in an ethnocritical perspective which combines a poetics of literary texts with an ethnology of the symbolic in order to study the specific cosmologies present in the works. In order to do this, we propose to use a rhetorical and stylistic approach in order to illustrate the scriptural singularity demonstrated by the generic hybridity which is characteristic of his works and by forms of speech that are both highly “oralized” and very literary, in other words very “auralized”. We will pay particular attention to his last works: Juste la fin du monde, Les Règles du savoir-vivre dans la société moderne, J’étais dans ma maison et j’attendais que la pluie vienne et Le Pays lointain because of their emblematic and testamentary value. The first part of the thesis focuses on the rules, rituals and customs that are present in the works. The second part examines a third group of characters defined by Lagarce, as in addition to the living and the dead there are those who know they are going to die. These already-dead characters found in his works are liminary characters characterized by punctuation and typography that signifies a liminal space between two worlds: quotation marks, parentheses, dashes and italics invite us to explore the margins of the heterotopic theatre of Lagarce. The third part looks at the rules of creation in his final works that illustrate the processes of re-writing and hybridization between theatre, prose fiction and poetry. Our hypothesis is that as death drew closer, Lagarce saw each work as his last and each thus represents a rite of passage meant to insure that Lagarce will enjoy the recognition that he had not obtained while alive; each work is meant to guarantee his literary posterity through an “oeuvre-legenda” meant for his readers and that ended up by encountering spectators
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Smith, Katie. "Liminal Butlers: Discussing a Comic Stereotype and the Progression of Class Distinctions in America." BYU ScholarsArchive, 2007. https://scholarsarchive.byu.edu/etd/1286.
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This thesis will prove how the male domestic servant shows a conservative evolution of class freedom through early American films. As an individual thrust into a liminal sphere, these characters paradoxically become a character type for both keeping class-consciousness as well as breaking up notions of class, albeit in a slow process. In comedy, domestic male servants have always been on duty to help their masters while also becoming sources of mischief as tricksters. In early American films, these characters embody the anxiety of a classless body of men who become scapegoats, trickster-figures, and mask-wearing sages in order to survive—attracting as many functions as possible in order to help society question notions of class. Although butlers and valets have existed for several centuries, the Victorian era molded the butler into a marginal existence, trapping this servant into a liminal, and therefore unlikable, sphere. Comedic writers in the Victorian era played the anxiety up—presenting butlers and valets as pompous and unintelligent scapegoats placed in texts to make their masters look good while becoming invisible themselves. Yet, by the time the stereotype reached America through P. G. Wodehouse, the butler became a trickster figure—ready to use the Victorian code as a way to gain monetary compensation and control of the private domain. Jeeves does in fact receive his desires, but he resorts back to set codes—becoming a character that subverts and maintains class structure simultaneously. Charlie Chaplin's butler in City Lights does the same in film. As the overly serious foil, Chaplin's butler controls the class hierarchy by keeping Chaplin away from his master; yet, the butler does this by copying his master's actions, putting himself on the same level as his master. It is only through Sturges films that butlers become relatively free from subordination and even more multivalent as these films delve into class reality versus desire. These butlers and valets continue to play the part of the Victorian butler, but they also become the pivotal characters that move plots in their intended course—becoming fatherly and less anxiety-ridden—creating a freedom unknown to their predecessors.
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Collignon, Stéphane. "La figurine cisanthrope, humanité liminale et contagion affective dans le cinéma d'animation." Doctoral thesis, Universite Libre de Bruxelles, 2015. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209000.
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À travers une séries d'études de cas éclairées par l'apport de l'éthologie, l'histoire de l'art, la psychologie cognitive et les neurosciences, cette thèse tente de répondre au paradoxe apparent du cinéma d'animation qui rend les personnages stylisés et caricaturaux sont plus à même de faire oublier leurs artificialité que les personnages visant au plus grand réalisme. / Through a series of case studies, supported by reasearch in art history, ethology, cognitive psychology and neuroscience, this dissertation aims at explaining the strange animated film paradox that makes stylised and caricatural characters more efficient than characters tending towards strong realism at overcoming their artificialitDoctorat en Information et communication
info:eu-repo/semantics/nonPublished
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Fouchet, Eugénie. "Enfances handicapées : une liminarité indépassable ? Une approche ethnocritique de la littérature de jeunesse." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0070/document.
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Ce travail interroge les représentations narratives et iconographiques des personnages de l'enfant et de l'adolescent handicapés moteurs, en littérature de jeunesse contemporaine. L’étude porte sur un corpus varié d’albums, de bandes dessinées, de romans ainsi que de pièces de théâtre. Nous proposons une approche ethnocritique de ces textes, approche qui croise poétique des textes littéraires et anthropologie du symbolique. La première partie de notre thèse se focalise sur le parcours initiatique du personnage. Nous montrons ainsi comment l’enfant ou l’adolescent handicapé se construit au travers de cosmologies enfantines et adolescentes que le destin narratif (et/ou iconique) du personnage contribue à recréer ou à refaçonner. Il s’agit alors de porter une attention particulière à son rapport aux jeux, à l’art, à la littératie ou encore à l’imaginaire. La deuxième partie questionne les usages culturels et symboliques dont le corps handicapé du personnage est investi. Se manifestent ainsi deux postures opposées (parfois complémentaires) : l’une centrée sur la sur-visibilité (et même parfois sur l’anormalité/anomalie) du corps handicapé et l’autre centrée, à l’inverse, sur son effacement ou son euphémisation, et donc sur une forme de liminarité plus ou moins sublimée. Nous tenterons de montrer comment ces deux postures sont souvent conduites à dialoguer en fait, notamment à travers le rapport texte/ images des livres. Quels sont les enjeux éthiques et éducatifs d'une « stylisation » littéraire du handicap et des formes d'ensauvagement symbolique de ses représentations contemporaines ? Et quelles sont les stratégies de dépassement et/ou de transcendance du handicap qu’offrent les activités ludiques, oniriques et ritiques ? Se dévoilerait-il ainsi un nouveau regard, un nouvel art ?This thesis is a study of the narrative and iconographic representations of physically handicapped children and teenagers in contemporary fiction for children and young adults. The corpus under study includes picture books, comic books, novels and plays. We propose an ethnocritical approach to these texts, based on both a poetics of the literary text and an anthropological approach to the symbolic. The first part of the thesis focuses on the process of initiation of the character. We show how the handicapped child or adolescent constructs his/her identity within the framework of child or adolescent cosmologies which are to some extent recreated or reshaped by the narrative (or iconographic) destiny of the character. Particular attention will be paid to the role of games, art, deep literacy, and imagination. The second part examines the cultural and symbolic representations surrounding the body of the handicapped person. From this point of view, two opposite (but sometimes complementary) attitudes appear: the first one focuses on the over-visibility (and sometimes even on the abnormality/anomaly) represented by the handicapped body and the other, inversely, on its erasure or euphemisation, and thus on its more or less sublimated liminal status. We will attempt to demonstrate how the relationship between text and image often leads to a dialogue between these two attitudes. What is at stake from an ethical and educational point of view in a literary “stylization” of physical handicaps and in the forms of symbolic return to a wild state involved in contemporary representations? And what strategies for overcoming or transcending physical handicaps are offered by activities involving play, dreaming or critical distance? Is it possible to detect a new attitude, a new art?
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Fouchet, Eugénie. "Enfances handicapées : une liminarité indépassable ? Une approche ethnocritique de la littérature de jeunesse." Electronic Thesis or Diss., Université de Lorraine, 2018. http://www.theses.fr/2018LORR0070.
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Ce travail interroge les représentations narratives et iconographiques des personnages de l'enfant et de l'adolescent handicapés moteurs, en littérature de jeunesse contemporaine. L’étude porte sur un corpus varié d’albums, de bandes dessinées, de romans ainsi que de pièces de théâtre. Nous proposons une approche ethnocritique de ces textes, approche qui croise poétique des textes littéraires et anthropologie du symbolique. La première partie de notre thèse se focalise sur le parcours initiatique du personnage. Nous montrons ainsi comment l’enfant ou l’adolescent handicapé se construit au travers de cosmologies enfantines et adolescentes que le destin narratif (et/ou iconique) du personnage contribue à recréer ou à refaçonner. Il s’agit alors de porter une attention particulière à son rapport aux jeux, à l’art, à la littératie ou encore à l’imaginaire. La deuxième partie questionne les usages culturels et symboliques dont le corps handicapé du personnage est investi. Se manifestent ainsi deux postures opposées (parfois complémentaires) : l’une centrée sur la sur-visibilité (et même parfois sur l’anormalité/anomalie) du corps handicapé et l’autre centrée, à l’inverse, sur son effacement ou son euphémisation, et donc sur une forme de liminarité plus ou moins sublimée. Nous tenterons de montrer comment ces deux postures sont souvent conduites à dialoguer en fait, notamment à travers le rapport texte/ images des livres. Quels sont les enjeux éthiques et éducatifs d'une « stylisation » littéraire du handicap et des formes d'ensauvagement symbolique de ses représentations contemporaines ? Et quelles sont les stratégies de dépassement et/ou de transcendance du handicap qu’offrent les activités ludiques, oniriques et ritiques ? Se dévoilerait-il ainsi un nouveau regard, un nouvel art ?This thesis is a study of the narrative and iconographic representations of physically handicapped children and teenagers in contemporary fiction for children and young adults. The corpus under study includes picture books, comic books, novels and plays. We propose an ethnocritical approach to these texts, based on both a poetics of the literary text and an anthropological approach to the symbolic. The first part of the thesis focuses on the process of initiation of the character. We show how the handicapped child or adolescent constructs his/her identity within the framework of child or adolescent cosmologies which are to some extent recreated or reshaped by the narrative (or iconographic) destiny of the character. Particular attention will be paid to the role of games, art, deep literacy, and imagination. The second part examines the cultural and symbolic representations surrounding the body of the handicapped person. From this point of view, two opposite (but sometimes complementary) attitudes appear: the first one focuses on the over-visibility (and sometimes even on the abnormality/anomaly) represented by the handicapped body and the other, inversely, on its erasure or euphemisation, and thus on its more or less sublimated liminal status. We will attempt to demonstrate how the relationship between text and image often leads to a dialogue between these two attitudes. What is at stake from an ethical and educational point of view in a literary “stylization” of physical handicaps and in the forms of symbolic return to a wild state involved in contemporary representations? And what strategies for overcoming or transcending physical handicaps are offered by activities involving play, dreaming or critical distance? Is it possible to detect a new attitude, a new art?
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Ahmed, Farah. "Pedagogy as dialogue between cultures : exploring halaqah : an Islamic dialogic pedagogy that acts as a vehicle for developing Muslim children's shakhsiyah (personhood, autonomy, identity) in a pluralist society." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278513.
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This thesis presents an argument for the use of dialogic halaqah to develop the personal autonomy of young Muslims in twenty-first century Britain. It begins by developing a theoretical grounding for Islamic conceptualisations of personal autonomy and dialogic pedagogy. In doing so, it aims to generate dialogue between Islamic and ‘western’ educational traditions, and to clarify the theoretical foundation of halaqah, a traditional Islamic oral pedagogy, that has been adapted to meet the educational needs of Muslim children in contemporary Britain. Dialogic halaqah is daily practice in two independent British Muslim faith-schools, providing a safe space for young Muslims to cumulatively explore challenging issues, in order to facilitate the development of selfhood, hybrid identity and personal autonomy, theorised as shakhsiyah Islamiyah. This thesis examines the relationship between thought, language, and the development of personal autonomy in neo-Ghazalian, Vygotskian and Bakhtinian traditions, and suggests the possibility of understanding shakhsiyah Islamiyah as a dialogical Muslim-self. This theoretical work underpins an empirical study of data generated through dialogic halaqah held with groups of schoolchildren and young people. Using established analytic schemes, data from these sessions are subjected to both thematic and dialogue analyses. Emergent themes relating to autonomy and choice, independent and critical thinking, navigating authority, peer pressure, and choosing to be Muslim are explored. Themes related to halaqah as dialogic pedagogy, whether and how it supports the development of agency, resilience and independent thinking, and teacher and learner roles in halaqah, are examined. Moreover, findings from dialogue analysis, which evaluates the quality of educational dialogue generated within halaqah, that is, participants’ capacity to engage in dialogue with each other, as well as with an imagined secular other, are presented. The quality of the dialogic interactions is evaluated, as is evidence of individual participant’s autonomy in their communicative actions.
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"Indos, abjects, exiles : Joseph Conrad's culturally liminal characters in the age of nationalism." Thesis, 2013. http://hdl.handle.net/10388/ETD-2013-09-1217.
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This essay is an investigation of transnational author Joseph Conrad’s engagement with issues of cultural liminality during the years around the turn of the 20th century. Through an examination of Almayer from Almayer’s Folly, Yanko of “Amy Foster”, and Cornelius from Lord Jim, the common experience of cultural displacement is considered. Conrad placed these three culturally liminal characters in various, carefully constructed social environments. Thus far, these characters have been under investigated in the critical literature, particularly the mixed-culture Almayer and Cornelius. By investigating these three characters and their environments, this essay demonstrates how Conrad depicts cultural displacement in the age of nationalism to be increasingly multifaceted but inevitably disastrous. The essay further reveals the need for more careful critical assessments of the cultural nuances of Conrad’s characters.
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Giguère, Sara. "'Tous les pauvres ne sont pas terroristes, heureusement!' : le procès du néolibéralisme dans la trilogie Vernon Subutex de Virginie Despentes." Thesis, 2020. http://hdl.handle.net/1866/24201.
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Fondé sur les bases de la sociocritique des textes, ce mémoire a pour objectif d'étudier le traitement du néolibéralisme dans la trilogie Vernon Subutex de Virginie Despentes. L'analyse dégage d'une part l'uniformisation de l'espace romanesque, lequel est réduit à l'opposition des villes et des périphéries, et d'autre part l'uniformisation du temps romanesque causé par l'imposition des lois du marché, qui donne lieu à l'abolition de la distinction entre le temps de travail - production - et le temps de loisir - consommation. Cette suppression est plus amplement explorée par l'étude de l'insistance permanente du texte sur l'enracinement et la stabilisation de l'économie de l'attention. Le mémoire fait ressortir les conséquences de ces modulations sur la société romanesque, lesquelles sont la disparition des filets de protection sociale, l'atomisation d'une société livrée aux intérêts privés des individus, la normalisation d'une violence sociale et institutionnelle systémique, ainsi que la labilisation de la frontière entre le privé et le public sous l'effet d'une instrumentalisation des processus cognitifs, de l'intimité, des affects, des identités individuelles et des identités collectives. Ainsi, la lecture des romans de Despentes met en évidence la dimension téléologique de la conjoncture historique actuelle. Elle se propose également de démontrer le caractère liminaire du personnage de Vernon Subutex, le personnage éponyme de la trilogie et le noyau de la genèse textuelle autour duquel gravitent une multitude de personnages marginaux. La "mise en texte" (Duchet) du personnel romanesque est telle qu'elle saisit un moment dans le devenir historique, social, économique et culturel et qu'elle confère au motif symbolique du seuil un rôle capital dans la poétique du roman.Founded on the basis of "sociocritique", this thesis aims to study how neoliberalism is present in the Vernon Subutex trilogy written by Virginie Despentes. The analysis reveals on the one hand the standardization of the textual space, which is reduced to an opposition between cities and peripheries, and on the other hand the standardization of the textual time caused by the enforcement of the laws of the market, which causes the abolition of the distinction between working time - production - and leisure time - consumption. This deletion is more fully explored by studying the text's permanent insistence on the rooting and stabilization of attention economy. The thesis highlights the consequences of these transformations on the society of the novel: the disappearance of social safety nets, the atomization of a society abandoned to individuals' private interest, the normalization of systemic social and institutional violence, as well as the blurring of the border between the private and the public due to an instrumentalization of cognitive processes, intimacy, affects, and individual and collective identities. The analysis thus brings to the fore the teleological dimension of the current historical conjuncture. It also intends to demonstrate the liminality of Vernon Subutex, the eponymous character of the trilogy and the core of the textual genesis around which revolve a multitude of marginal characters. The "mise en texte" (Duchet) of the novels' characters is such that it captures a moment of the historical becoming of the social, the economical and the cultural, as well as it identifies the crucial role of the symbolic motif of the threshold in the poetics of the novel.
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CAPRILI, GIAN LUCA. "Gli uccelli come figure liminari nella concezione poetica di Jacob Grimm - Die Voegel als Grenzfiguren in der Poesieauffassung Jacob Grimms." Doctoral thesis, 2015. http://hdl.handle.net/2158/1002273.
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Il lavoro si propone di indagare la funzione peculiare riconosciuta agli uccelli nella concezione poetica di Jacob Grimm, le eventuali connessioni con i miti che connotano sin dall'antichità questi animali come creature liminari vicine al numinoso e il suo riscontro nelle numerose "Vogelfiguren" delle raccolte dei "Kinder- und Hausmaerchen" (è stata considerata la prima edizione del 1812/15, in cui è ancora fortemente presente l'impronta di Jacob rispetto al fratello) e delle "Deutschen Sagen". Il primo capitolo approfondisce il rapporto di Jacob Grimm con gli altri rappresentanti delle prime due fasi del romanticismo tedesco, focalizzandosi soprattutto sul tema della relazione tra uomo e natura, e degli aspetti più reconditi di quest'ultima, così come messi in luce dalla sensibilità romantica dell'epoca. Nel secondo capitolo è analizzato il ruolo privilegiato che Jacob Grimm assegna alla "Tierfabel" nella storia della poesia, nel cui ambito si colgono affermazioni singolari sugli uccelli, concepiti quali figure portatrici di sinistra inquietudine, staccate dal resto del regno animale. Altri riscontri in merito sono presenti in opere di tipo diverso e pubblicate in periodi anche lontani fra loro: la "Deutsche Mythologie", la "Geschichte der deutschen Sprache", il saggio di tipo naturalistico "Ueber den Schlaf der Voegel". I capitoli terzo e quarto approfondiscono il ruolo dei "Voegel" nelle due sopracitate raccolte grimmiane, attraverso l'analisi e il confronto degli episodi - fiaba o saga - in cui essi compaiono. SYNOPSIS IN ENGLISH: The research investigates on the peculiar role of birds in the poetic conception of Jacob Grimm and its possible connections to the ancient myths, that portray these animals as liminary creatures in frequent contact with the "Numinous", and to the numerous bird-characters of the two well-known Grimm Brothers' collections: "Children's and Household Tales" - the first edition (1812 / 15), to which the contibution of Jacob was still relevant, has been considered - and the "German Sagas" (1816 / 18).
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Potter, Mary-Anne. "Arboreal thresholds - the liminal function of trees in twentieth-century fantasy narratives." Thesis, 2018. http://hdl.handle.net/10500/25341.
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Trees, as threshold beings, effectively blur the line between the real world and fantastical alternate worlds, and destabilise traditional binary classification systems that distinguish humanity, and Culture, from Nature. Though the presence of trees is often peripheral to the main narrative action, their representation is necessary within the fantasy trope. Their consistent inclusion within fantasy texts of the twentieth century demonstrates an enduring arboreal legacy that cannot be disregarded in its contemporary relevance, whether they are represented individually or in collective forests. The purpose of my dissertation is to conduct a study of various prominent fantasy texts of the twentieth century, including the fantasy works of J.R.R. Tolkien, C.S. Lewis, Robert Holdstock, Diana Wynne Jones, Natalie Babbitt, and J.K. Rowling. In scrutinising these texts, and drawing on insights offered by liminal, ecocritical, ecofeminist, mythological and psychological theorists, I identify the primary function of trees within fantasy narratives as liminal: what Victor Turner identifies as a ‘betwixt and between’ state (1991:95) where binaries are suspended in favour of embracing potentiality. This liminality is constituted by three central dimensions: the ecological, the mythological, and the psychological. Each dimension informs the relationship between the arboreal as grounded in reality, and represented in fantasy. Trees, as literary and cinematic arboreal totems are positioned within fantasy narratives in such a way as to emphasise an underlying call to bio-conservatorship, to enable a connection to a larger scope of cultural expectation, and to act as a means through which human self-awareness is developed.English Studies
D. Litt. et Phil. (English)
Books on the topic "Liminary character"
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Barton, William M., L. B. T. Houghton, Stephen Harrison, Gesine Manuwald, Bobby Xinyue, Gesine Manuwald, Lucy R. Nicholas, et al., eds. An Anthology of Neo-Latin Poetry by Classical Scholars. Bloomsbury Publishing Plc, 2024. http://dx.doi.org/10.5040/9781350379480.
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Presenting a range of Neo-Latin poems written by distinguished classical scholars across Europe from c. 1490 to c. 1900, this anthology includes a selection of celebrated names in the history of scholarship. Individual chapters present the Neo-Latin poems alongside new English translations (usually the first) and accompanying introductions and commentaries that annotate these verses for a modern readership, and contextualise them within the careers of their authors and the history of classical scholarship in the Renaissance and early modern period. An appealing feature of Renaissance and early modern Latinity is the composition of fine Neo-Latin poetry by major classical scholars, and the interface between this creative work and their scholarly research. In some cases, the two are actually combined in the same work. In others, the creative composition and scholarship accompany each other along parallel tracks, when scholars are moved to write their own verse in the style of the subjects of their academic endeavours. In still further cases, early modern scholars produced fine Latin verse as a result of the act of translation, as they attempted to render ancient Greek poetry in a fitting poetic form for their contemporary readers of Latin. The interdependence and interaction of classical scholarship and poetry is known since the time of the classical world itself. This multi-author volume offers a series of Neo-Latin poems from all over Europe which are either by classical scholars themselves or closely connected with classical scholarly publication; it provides the original text, an English translation and detailed commentary for each piece included, in order to present this fascinating material for a modern audience. The volume is introduced by a contextualising introduction. The texts range in date from the end of the fifteenth century to the end of the nineteenth, and are richly diverse in character: for the earlier period there are studies of the liminary poems for Nicolo Perotti’s 1489 Cornu copiae, the supplementary elegiacs supplied by Paolo Marsi for his 1482 edition of Ovid’s Fasti, the early verse of the great printer Aldus Manutius (c.) 1450–1515) and the great scholar Piero Vettori (1499–1585), all Italians, and the poems of the Spanish grammarian Antonio de Nebrija (1444–1522) and the French Greek scholar Jean Dorat (1508–1588). After 1600, we have studies of the Latin poems of the Franco-Scottish scholar and novelist John Barclay (1582–1621), the learned Dutchman Janus Dousa (1545–1604), the liminary poems for Birgitte Thott’s 1658 Seneca translation into Danish, Martial-inspired epigrams by the Cambridge don James Duport (1606–1678), and occasional poems by the Göttingen professor Johann Matthias Gesner (1691–1761). Most recent is the Latin poetry of the Italian poet and academic Giovanni Pascoli (1855–1912).
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Murray, Hannah Lauren. Liminal Whiteness in Early US Fiction. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474481731.001.0001.
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Liminal Whiteness in Early US Fiction shows that early US authors repeatedly imagined lost, challenged and negated White racial identity in the new nation. It brings together fiction and multiple discourses on White racial identity in the early US including natural history, medical science, blackface minstrelsy, abolitionism and anti-abolitionism, mesmerism and spiritualism. Moving beyond an anthropological framework of liminality and its focus on ritualised behaviour in tribal societies, this book examines liminality as both a temporary transformative experience and a permanent condition of exclusion and loss for White men in the early United States. In a Critical Whiteness reading of canonical and lesser-known texts from Charles Brockden Brown to Frank J. Webb, the book argues that White characters on the border between life and death were liminal presences that disturbed prescriptions of racial belonging in the early US. Liminal Whiteness contributes to a growing body of scholarship concerned with the cultural construction of Whiteness and citizenship in the early US, and which resonates with contemporary discussions of White cultural anxiety and fragility. Fears of losing Whiteness in the early US were routinely channelled through the language of liminality, in a precursor to today’s White anxieties of marginalisation and minoritisation.
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Arampapaslis, Konstantinos, Stephen Froedge, Clayton Schroer, and Antony Augoustakis. Dynamics of Marginality: Liminal Characters and Marginal Groups in Neronian and Flavian Literature. de Gruyter GmbH, Walter, 2023.
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Arampapaslis, Konstantinos, Stephen Froedge, Clayton Schroer, and Antony Augoustakis. Dynamics of Marginality: Liminal Characters and Marginal Groups in Neronian and Flavian Literature. de Gruyter GmbH, Walter, 2023.
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Arampapaslis, Konstantinos, Stephen Froedge, Clayton Schroer, and Antony Augoustakis. Dynamics of Marginality: Liminal Characters and Marginal Groups in Neronian and Flavian Literature. de Gruyter GmbH, Walter, 2023.
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Canevaro, Lilah Grace. The Politics of Objects. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826309.003.0003.
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Chapter 2 offers different models and parameters of female agency. Iliadic and Odyssean women are differentiated in terms of their roles in war- and peacetime respectively, and the ways in which Andromache and Helen weave are used as case studies for ‘normal’ and ‘exceptional’ female characters. The chapter engages closely with these exceptional women, bringing together Helen and Penelope in terms of their liminal position in society and the elevated agency that allows. Drawing on feminist literature on female communicative channels and the potentially liberating power of technology, this chapter then presents the ‘politics of objects’: the creation and distribution of textiles through which supposedly ‘commodified’ characters create their own kind of commerce, and their own way of communicating.
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Canevaro, Lilah Grace. Object-Oriented Odysseus. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198826309.003.0004.
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Odysseus is shown to be a liminal figure, far from home, yet unable to put down roots elsewhere, torn between women, their agent objects, and the potential lives they represent. As a unique male character in the Homeric poems, Odysseus expresses himself through objects in a unique way that is coloured by the female sphere and so points to the very cause of his liminality. This chapter focuses closely on one particular object, the chest given to Odysseus by Arete in Odyssey 8 that becomes a trigger of nostalgic reverie; and on one boundary point between person and thing, the hand. It examines how Odysseus uses, creates, and merges with objects—and how he repurposes them, changing their identity as much as his own. Odysseus’ propensity for repurposing is tracked also in simile, with the reconceptualizing function of simile mobilized especially in relation to the man of many turns.
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Dasgupta, Subrata. It Began with Babbage. Oxford University Press, 2014. http://dx.doi.org/10.1093/oso/9780199309412.001.0001.
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As a field, computer science occupies a unique scientific space, in that its subject matter can exist in both physical and abstract realms. An artifact such as software is both tangible and not, and must be classified as something in between, or "liminal." The study and production of liminal artifacts allows for creative possibilities that are, and have been, possible only in computer science. In It Began with Babbage, computer scientist and writer Subrata Dasgupta examines the distinct history of computer science in terms of its creative innovations, reaching back to Charles Babbage in 1819. Since all artifacts of computer science are conceived with a use in mind, the computer scientist is not concerned with the natural laws that govern disciplines like physics or chemistry; instead, the field is more concerned with the concept of purpose. This requirement lends itself to a type of creative thinking that, as Dasgupta shows us, has exhibited itself throughout the history of computer science. More than any other, computer science is the science of the artificial, and has a unique history to accompany its unique focus. The book traces a path from Babbage's Difference Engine in the early 19th century to the end of the 1960s by when a new academic discipline named "computer science" had come into being. Along the way we meet characters like Babbage and Ada Lovelace, Turing and von Neumann, Shannon and Chomsky, and a host of other people from a variety of backgrounds who collectively created this new science of the artificial. And in the end, we see how and why computer science acquired a nature and history all of its own.
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Kersen, Thomas Michael. Where Misfits Fit. University Press of Mississippi, 2021. http://dx.doi.org/10.14325/mississippi/9781496835420.001.0001.
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All regions and places are unique in their own way, but the Ozarks have an enduring place in American culture. Studying the Ozarks offers the ability to explore American life through the lens of one of the last remaining cultural frontiers in American society. Perhaps because the Ozarks were relatively isolated from mainstream American society, or were at least relegated to the margins of it, their identity and culture are liminal and oftentimes counter to mainstream culture. Whatever the case, looking at the Ozarks offers insights into changing ideas about what it means to be an American and, more specifically, a special type of southerner. Thomas Michael Kersen explores the people who made a home in the Ozarks and the ways they contributed to American popular culture. He argues the area attracts and even nurtures people and groups on the margins of the mainstream. These include UFO enthusiasts, cults, musical troupes, and back-to-the-land groups. Kersen examines how the Ozarks became a haven for creative, innovative, even nutty people to express themselves—a place where community could be reimagined in a variety of ways. Chapters examine real and imagined identity and highlight how the area has contributed to popular culture through analysis of the Eureka Springs energy vortex, fictional characters like Li’l Abner, cultic activity, environmentally minded communes, and the development of rockabilly music and near-communal rock bands such as Black Oak Arkansas.
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Tarr, Anita, and Donna R. White, eds. Posthumanism in Young Adult Fiction. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496816696.001.0001.
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Posthumanism in Young Adult Fiction: Finding Humanity in a Posthuman World, edited by Anita Tarr and Donna White, is a collection of twelve essays analyzing young adult science fiction and fantasy in terms of how representative contemporary YA books’ authors describe and their characters portray elements of posthumanist attitudes. The authors give a brief survey of theorists’ discussions of how posthumanism rejects—but does not entirely forsake—liberal humanist tenets. Primarily, posthumanism calls for embracing the Other, eliminating binaries that separate human and nonhuman, human and nature, organic and inorganic, stressing the process of always-becoming. Due to technological enhancements, we should recognize that our species is changing, as it always has, becoming more networked and communal, fluid and changeable. Posthumanism does not mandate cyborgs, cloning, genetic enhancement, animal-human hybrids, mutations, advanced prosthetics, and superhuman strengths—although all of these are discussed in the collected essays. Posthumanism generally upholds liberal humanist values of compassion, fairness, and ethical responsibility, but dismantles the core of anthropocentrism: the notion that humans are superior and dominant over all other species and have the right to control, exploit, destroy, or marginalize those who are not the ideal white, able-bodied male. The more we discover about humans, the more we question our exceptionality; that is, since we co-evolved with many other organisms, especially bacteria, there is no DNA genome that is uniquely human; since we share many traits with animals, there is no single trait that defines us as human or as not human (such as using tools, speaking language, having a soul, expressing emotions, being totally organic, having a sense of wonder). The twelve essayists do not propose that YA fiction should offer guidelines for negotiating posthumanist subjectivity—being fragmented and multiple, networked vulnerable—though many of the novels analyzed actually do this. Other novelists bring their adolescent characters to the brink, but do not allow them to move beyond the familiar structures of society, even if they are rebelling against those very structures. Indeed, adolescence and posthumanism share many elements, especially anxieties about future possibilities, embracing new ideas and new selves, and being in a liminal state of in-between-ness that does not resolve itself. In other words, young adult fiction is the ideal venue to explore how we are now or we might in the future maintain our humanity in a posthuman world.
Book chapters on the topic "Liminary character"
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Kamir, Orit. "Hollywood’s Hero-Lawyer: A Liminal Character and Champion of Equal Liberty." In Law, Culture and Visual Studies, 747–73. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-90-481-9322-6_33.
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Murray, Cailín E. "Don't Say His Name." In Living with Monsters, 31–49. Earth, Milky Way: punctum books, 2023. http://dx.doi.org/10.53288/0361.1.03.
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Wild Man figures are found around the world and seem to always occupy a mythical and liminal space between culture and nature. Among the Native peoples of the Northwest Coast of North America, he is known by different names in various tribal languages. However, terms like Sasquatch or Bigfoot are used locally as a kind of generic reference. Since Indigenous peoples and settler colonial newcomers have reported encounters over the decades since contact, it is important to consider what resources each culture provides to help people make sense of their experiences. I wanted my story to reflect how these meanings shift and how confusing and consequential it can become when non-natives assume they understand tribal/First Nations’ beliefs and experiences based on their own. The character of Sarah illustrates how even well-meaning researchers often approach Indigenous beliefs from what the folklorist David Hufford calls “a tradition of disbelief.” In other words, what they know is truth and what others know is merely “belief.” The story allows readers to ponder the various characters’ actions and what they “know,” and thus, what “really” happened.
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Dessertine, Anna. "Spatializing Social Change: Artisanal and Small-Scale Gold Mining in Upper Guinea." In Methodological Approaches to Societies in Transformation, 213–35. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65067-4_9.
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AbstractThis chapter proposes a spatial perspective on the analysis of social change in the making via a study of artisanal and small-scale gold-mining sites in Guinea based on twenty-two months of fieldwork between 2011 and 2019 in the region of Upper Guinea, where increasing numbers of inhabitants have been circulating between artisanal and small-scale mining sites to search for gold since the price of gold rose between 2008 and 2012. The chapter starts by discussing artisanal and small-scale mining spaces through the notion of hotspots of transition, insisting on their liminal character. This liminality is analyzed as a spatial framework in which new opportunities emerge regarding gender—women’s adoption of what is considered masculine behavior, for instance—and where instantaneity is more privileged than continuity in some actions, such as those associated with consumption. More generally, it shows how the potential for change in artisanal and small-scale mining spaces is closely linked to their ephemeral nature. The relationship between space and temporality is more explicitly discussed in the second part of the chapter, which explores how the ephemerality of artisanal and small-scale mining spaces has recently been challenged by the Guinean government’s move to control mining mobility and fix mining sites spatially by delimiting legal mining territories. Since 2015–2016, multiple military operations have been conducted to expel miners from land for which the Guinean State has given industrial companies legal permits to prospect for and mine gold. This part of the chapter analyzes the socio-spatial consequences of this situation and shows that perceptions of time and of social change are constructed by the forms that space take.
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Shtutin, Leo. "Staging the Liminal." In Spatiality and Subjecthood in Mallarmé, Apollinaire, Maeterlinck, and Jarry, 85–122. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198821854.003.0003.
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Chapter 3 implements the notion of liminality (the experience or condition of the betwixt and between) in an analysis of character and diegetic space in Jarry’s Ubu roi and Maeterlinck’s one-acts. Both playwrights’ characters are uncanny schematizations of the human form that blur the distinctions between subject and object, human and non-human, animate and inanimate. I examine the uncanny as a category of liminality, invoking Victor Turner, Antonin Artaud, the ‘uncanny valley’ theory of Japanese roboticist Masahiro Mori, and the fin-de-siècle cult of the marionette. Both playwrights also refuse to localize dramatic space, to transform it into a specific Somewhere by means of consistent diegetic framing. Deliberately eschewing any geographical or historical consistency in his use of proper names and toponyms, Jarry foregrounds the liminal character of his ‘Poland’ by mixing and matching names, accents, and costumes from various periods and locales. Maeterlinck, meanwhile, underscores the neither-here-nor-there-ness or indeterminacy of the dramatic situations in L’Intruse, Intérieur, and Les Aveugles.
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"Social Dynamics and Liminal Spaces." In STARZ Spartacus, edited by Stacie Raucci. Edinburgh University Press, 2016. http://dx.doi.org/10.3366/edinburgh/9781474407847.003.0007.
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This chapter focuses on those liminal spaces that highlight the power struggles of the series' main characters. Spartacus, the titular character of the series and the face of the struggle to escape Roman servitude, exists in a liminal space for the duration of the series, since he is always shown to be in-between worlds. Hence, this chapter examines the obvious liminality of concrete physical thresholds, such as cliffs and balconies, and then moves on to spaces that function as gateways to change while being physically more self-enclosed. These spaces in-between and at the margins, as this chapter shows, reveal and facilitate acts of transgression, transformation, and resistance. Such liminal spaces ultimately reflect Spartacus' own journey, as he finds himself in spaces of transition and transformation, with each place presenting special challenges.
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"Passion for Transgression: Susanoo’s Liminal Character." In The God Susanoo and Korea in Japan’s Cultural Memory. Bloomsbury Academic, 2022. http://dx.doi.org/10.5040/9781350271173.ch-003.
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Backman Rogers, Anna. "Chapter Three." In American Independent Cinema. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748693603.003.0004.
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Somewhere focuses not only on a life-crisis, but also on an extended liminal moment in a character’s life. Johnny’s life is in suspension; his lack of focus and direction is visualised in the frequent scenes that are set in his car, which often seem to violate continuity of space and direction. In other words, the moments that the main character ‘drives’ forward actually convey circularity and confusion. Indeed, as in Broken Flowers, the notion of ‘making nothing happen’ becomes central to our experience of the film. The film’s presentation of time, space and character is deeply imbricated with Somewhere’s central character as each facet helps to articulate the severity of his apathy and inability to change.
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Lintrop, Aado. "About vozho, the Spirit of Transition Time and Formation of Holiness among Udmurt and Komi." In Sator, 83–106. ELM Scholarly Press, 2021. http://dx.doi.org/10.7592/sator.2021.22.03.
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This article concentrates on one very central character in Udmurt mythology. It is a character typical of the transitional time around the solstices, an ambiguous and liminal time, which requires particular caution from the humans to protect themselves from dangerous interference from the world beyond. This character, whose name, vozho, appears in the Udmurt name of these periods, vozhodyr, the time of vozho for the winter solstice and invozho, heaven-vozho for the summer solstice, is also a water spirit. I reflect also on other water spirits and on their peculiarities. This analysis leads me to reflect on the origin and the ramifications of the concept behind vozho with its linguistic correlations, the way it is articulated and how it sheds light on the concept of holy in the Permic languages and for the Permians, Udmurt and Komi. This leads me to reflect on the correlations between liminality and holiness, the liminal places and spaces and their value, and the particular characters in the mummery festivities that characterise this transitional winter time and which are connected both to the spirits of the other world and to the dead ancestors, who are among the main providers of well-being in the Udmurt world.
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Mark, Rebecca. "For Crying Out Loud, or “The Truth Is Something Worse, I Ain’t Said What Yet”." In New Essays on Eudora Welty, Class, and Race, edited by Harriet Pollack, 117–32. University Press of Mississippi, 2019. http://dx.doi.org/10.14325/mississippi/9781496826145.003.0007.
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We must at least consider the possibility that Eudora Welty’s African American characters are not just secret agents, oblique, liminal, spiritual, ironic, or even mysterious, as we might once have believed. While elements of each of these choices exist in Welty’s textual universe, we also have clear evidence of much less mediated African American rage, power, and artistic dominance. With howls (Exum, Powerhouse), pumped fists and knives (Man Son, Root M’Hook and others), icepicks (Ruby and Dove) piercing screams (Delilah), and banging pots (Luella), African American personae express an unsettling lexicon of narrative punctures that question conventional notions of plot and character development.
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Magrinyà, Carles. "Liminality, Migration and Transgression in El Metro by Donato Ndongo-Bidyogo." In Narratives Crossing Borders: The Dynamics of Cultural Interaction, 339–56. Stockholm University Press, 2021. http://dx.doi.org/10.16993/bbj.o.
Full textAbstract:
My investigation aims to contribute to the understanding of the functionality of the fictitious border zones and how characters relate to spaces that put them in contact with the transitory, that is, liminal characters and spaces. In this sense I will work with the concept of liminality developed by anthropologists Arnold Van Gennep and Victor Turner. The object of study is El metro (2007), by Equatorial Guinean writer Donato Ndongo, and it is an example of the contemporary Equatoguinean novel in Spanish. My contribution focuses on how narrator and characters perceive and relate to liminal spaces (boats, beaches, the subway), and it touches upon the ambivalent relationship between the emigrant from sub-Saharan Africa and Western culture during the years of economic crisis in Spain.
Conference papers on the topic "Liminary character"
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Ings, Welby. "Talking with Two Hearts: Navigating Indigenous Narratives as Research." In LINK 2022. Tuwhera Open Access, 2022. http://dx.doi.org/10.24135/link2022.v3i1.177.
Full textAbstract:
Floyd Rudman (2003) notes that by enlarge, contemporary theory posits biculturalism as a positive and adaptive phenomenon. However, as early as 1936, commentators like Redfield et al. proposed that “psychic conflict” can result from attempts to reconcile different social paradigms inside bicultural adaptation (p. 152). Child (1943/1970) also argued that biculturalism cannot resolve cultural frustrations and accordingly, they can be more distressing than a commitment to one culture or the other. The tensions these early theorists noted I found significant when writing and directing my recent feature film PUNCH (Ings, 2022). When creating this work I drew on both my Māori and Pākehā (European) ancestry, and my experience as a gay man who was raised in a heteronormative world. In creating the film’s characters I navigated tensions, working within and between cultural spaces as I wove experience into a fictional examination of what it is to be an outsider in a world that you call home. In this pursuit, I often found myself transgressing borders in my effort to give voice to an in-betweenness that was impure and at times disruptive. While being appreciative of cultural values and practices, I sought ways of expressing identities that are liminal. However, in designing the in-between, like many bicultural creatives I faced accusations of diminished purity. Significantly, I found myself encountering a form of cultural monitoring and pressure to reshape what I knew to be embodied truth because it failed to sit comfortably with the presuppositions of culturally anxious funding bodies, producers and distributors. Their opinions as to what authentically characterised cultural spaces (to which they did not belong), proved challenging. This was because ultimately I knew that audiences for the film would contain people from the in-between, from the liminal, the underrepresented and the marginalised … who would be seeking an expression of lived experiences that rarely appear in cinema. Using scenes from the film PUNCH, this presentation unpacks ways in which cultural networking, verification and responsibility were navigated to reinforce an attitudinal position of ‘positive cultural dissonance’ (Faumuina, 2015). By adopting this stance, I no longer saw biculturality as a diminishment or watering down of integrity, instead it was appreciated as a space of fertile tension and creative synergy. Using positive cultural dissonance as my turangawaewae (place to stand), I negotiated a research project that pursued the resilient beauty of in-betweenness in a story of bicultural, gender non-binary, small town conflict and resolution.