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1
Crowley, Adam. "Liminality in Popular Fiction". Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/CrowleyA2003.pdf.
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2
Palaska, Maria. "Female liminality in twentieth-century Mediterranean literature". Thesis, University of Essex, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.577559.
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3
Beckham, Rosemary Elizabeth. "War of words : liminality, revelation and representation in apocalyptic literature". Thesis, University of Exeter, 2008. http://hdl.handle.net/10036/73693.
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The focus of this study is revelation at the limits of communication. It considers the way in which (biblical) apocalyptic literature prominently figures the interconnection between liminality, revelation, and representation. The methodology asserts an indissoluble association between theology, philosophy and literature. As such it is interdisciplinary. A preliminary theory (and theology) of liminality interweaves the theological and philosophical contributions of, amongst others, Karl Barth, Graham Ward, Jürgen Moltmann and Jacques Derrida, thereby initiating a revised perspective on the constitution of literary apocalyptic text production and interpretation. Theorising the limen begins to describe the Trinitarian economy at work in Christian apocalyptic processing of scripture. I begin with the idea that revelation (apokalypsis) is the experience of the limen itself (in a coincidence of opposites). Thus the limen (as an actively divine space) incorporates that which stands on both sides, in vertical and horizontal, linear and cyclical, spatial and temporal movements. I then propose that apocalyptic literature re-presents this complex economy in which the end is rehearsed simultaneously as limit, threshold, and rupture. Theologically, this complicates inter-relational notions of ‘apocalyptic’ and eschatology, and stimulates a debate on a metaphysics of violence in communication (between God, man and Creation). I conclude that, at the extreme limit of human understanding (where words fail), those with faith in God’s love are opened out to revelation in the apocalyptic textual performance of the liminal economy, and thus to hope and forgiveness. Stressing the importance of reading apocalyptically, I begin to demonstrate the relationship between Christian-canonical narratives and the broader western literary canon, the critical process having invited an exploration of those literary characteristics (of tone, mode and genre) shared by (biblical, modern and postmodern) texts. An important principle in the literary analyses is the association between apocalyptic text production and hermeneutics. Christopher Rowland’s description of a ‘visionary mode’ explains how this process works. Thus the preliminary theory leads into a close reading of recent Russian and American works by Mikhail Bulgakov and Thomas Pynchon. These are compared to, and worked through, Mark’s and John’s gospels and the Book of Revelation. The interpretative approach widens the often self-limiting study of apocalyptic literature, and broadens theological debate on revelation. Thus it begins to show how the rhetoric of apocalyptic makes belief compelling.
4
Ellasante, Ian y Ian Ellasante. "Bridges Between Me: Liminality, Authenticity, and Re/integration in American Indian Literature". Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/293493.
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With both its inherent alienation and freedom, the experience of liminality, or the occupation of transitional spaces, is in many ways universally human. However, by nature of their bicultural liminality and the oppressive and pervasive demand for what Paula Gunn Allen terms "Indianness" American Indian authors must also confront and negotiate questions of authenticity. In so doing, many have taken the opportunity to subvert those demands, to juxtapose their actual multifaceted identities against them, to make meaning from the contrast, and to create from that re/integrated space. This thesis elucidates these points as an introduction to the body of poems that follow. The poems, often instruments of my own liminality, explore the broad themes of place, family, and identity.
5
Meagher, Stephen. "Subjects, Inscriptions, Histories: Sites of Liminality in Three Canadian Autobiographical Fictions". Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=92142.
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This thesis explores how Beatrice Culleton's In Search of April Raintree, JoyKogawa's Obasan, and Michael Ondaatje's Running in the Family trouble, by emulating and transgressing the protocols of the literary autobiography, formulations of the historical "subject" aligned to those conventions. Consequently, the primary site of interpretation of this thesis is the delineation of the se texts' narrators as "subjects" who both write and are written by history. This thesis will demonstrate how these "autobiographical fictions" in scribe histories which question "official" accounts and probe gender and race articulations both within those official inscriptions as weIl as in their own historically constructed communities. These textual (dis )placements are interpreted in the context of the critical discourses of postmodernism and post-colonialism.Cette thèse examine comment les ouvrages In Search of April Raintree, de Beatrice Culleton, Obasan, de Joy Kogawa, et Running in the Family, de Michael Ondaatje, perturbent, par leur respect et leur transgression des règles de l'autobiographie littéraire, les formulations du "sujet" historique liées aux conventions propres à ce genre. Le site principal d'interprétation réside donc dans la délimitation des contours des narrateurs de ces textes en tant que "sujets" qui, tout à fois, écrivent l'histoire et sont écrits par elle. Cette thèse démontre que ces "fictions autobiographiques" inscrivent des récits qui remettent en question les comptes rendus "officiels" et examinent les articulations au sexe et à la "race", tant à l'intérieur de ces inscriptions officielles que dans leurs propres collectivités historiquement constituées. Ces dé(placements) textuels sont interprétés à la lumière des discours critiques du post-modernisme et du post-colonialisme. fr
6
Quarterman, Kayleigh. "W. H. Auden's liminality among antithesis during an age of anxiety". Thesis, California State University, Long Beach, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10111183.
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This thesis focuses primarily on W. H. Auden’s last book-length poem, The Age of Anxiety, as well as several of Auden’s shorter poems extending throughout the modern, anxiety-ridden age. My second chapter argues that Auden blurs the distinctions between mythology and history and asserts that history is truly more subjective than seemingly objective, while my third chapter discusses Auden’s liminality between psychoanalysis and theology. After Auden’s conversion to the Anglican faith in 1939, Auden transitions from a Freudian to a more Jungian discourse, since Jung’s psychoanalyses incorporate theology, while Freud’s theories use psychoanalysis to determine religion’s implausibility. This thesis maintains that Auden presents readers with various antitheses throughout his canon as a way to challenge us to decipher beyond a binate understanding of larger, existential ideas and suggest, instead, that these ideas’ significance reside in liminality rather than in opposition.
7
Parson, Kathryn Taylor. ""Across the threshold" queer performativity and liminality in Edith Wharton's Summer /". View electronic thesis (PDF), 2009. http://dl.uncw.edu/etd/2009-1/parsonk/kathrynparson.pdf.
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8
Crowley, Dale Allen. "Eldritch Horrors: The Modernist Liminality of H.P. Lovecraft's Weird Fiction". Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1496326220734249.
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Murray, Joshua M. "No Definite Destination: Transnational Liminality in Harlem Renaissance Lives and Writings". Kent State University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=kent1461257721.
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10
Adams, Jennifer Persinger. "Christina Rossetti, Sarah Grand, and the expression of sexual liminality in Nineteenth Century literature". Huntington, WV : [Marshall University Libraries], 2006. http://www.marshall.edu/etd/descript.asp?ref=650.
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11
Wry, Joan. "The art of the threshold: a poetics of liminality in Emerson, Thoreau, and Whitman". Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=97124.
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Emerson, Thoreau, and Whitman were all drawn to visions of transition in the natural world as a way to define the passage between world and self, but their focus on the endlessly unfolding potential of the aesthetic ideal in the "space between" gave rise to a poetics of liminality that makes them distinct. Emerson's foundational conceptions of passage and transition emerge most fully in the writings of Thoreau and Whitman in three interrelated contexts or modes of liminality which parallel—in ascending stages—Arnold van Gennep's rites de passage, the tripartite process of initiation, transformation, and reintegration so important in Victor Turner's later theory of liminality. For these three American Romantic authors, liminality can operate in moments of clear vision that stress marked outlines of boundaries or horizons; in transformative moments of interpenetrative exchange that fuse or confuse opposites across the threshold; or in transfiguring moments of sublimity. Here liminality involves a stress both on the physical place that serves as a borderline or threshold and on the process of passage across that threshold—the "limen" in which transformations are seen to be generated. The thesis first addresses the ways in which Emerson's key concepts and understandings of spiritual and aesthetic process initiated a widely influential vision of nineteenth-century liminal poetics. Thoreau's very different responses to the Emersonian model of transformation, as it unfolds within the definitive topos of the natural landscape, are then considered—first in the liminal spaces of A Week on the Concord and Merrimack Rivers and Walden, and then in the darker allegorical contexts of The Maine Woods and Cape Cod. The final full chapter examines Whitman's later response to Emerson's liminal poetics, especially in the way that the persona of Leaves of Grass becomes a transitioning hero of consciousness and mediating interpreter of human experience—leading a community of readers out of stasis and through threshold moments of conversion. The study concludes with a brief epilogue outlining a subsequent trajectory for writing that emerges from Emerson's liminal poetics—an aesthetic perspective generated by the power (but also the indeterminacy) of continual regeneration and renewal.Emerson, Thoreau, et Whitman ont tous été attirés par des évocations de transition de la nature comme un moyen de définir le passage entre le monde et le moi, mais l'intérêt qu'ils ont porté au potentiel sans limites de l'esthétique idéale derrière le concept de « l'espace entre » a donné naissance à une poétique de liminalité qui les distinguent. Les conceptions fondatrices des notions de passage et de transition chez Emerson émergent en force dans les écrits de Thoreau et Whitman dans trois contextes ou modes inter reliés de liminalité, qui coïncident – en étapes ascendantes- aux Rites de passage d'Arnold van Gennep, processus triparti de l'initiation, de la transformation et de la réintégration, si importante à la théorie ultérieure de liminalité de Victor Turner. Pour ces trois auteurs américains romantiques, la liminalité agit dans des moments de clairvoyance qui soulignent les limites définies de frontières ou d'horizon ; dans des instants de transformation dus à des échanges inter pénétrants qui fusionnent ou confondent les opposés de chaque coté du seuil; ou en transfigurant des moments sublimes. Ici, la liminalité met l'accent sur le lieu physique qui sert comme ligne de démarcation ou seuil et sur le processus de passage de ce même seuil – le « limen » qui donne naissance aux transformations. La thèse s'intéresse d'abord aux façons dont les concepts phares d'Emerson et sa compréhension des processus spirituels et esthétiques ont amorcé une vision influente des poétiques de liminalité du dix-neuvième siècle. Les réponses très différentes de Thoreau au modèle émersonien de transformation, tel qu'il se dévoile dans les topos définitifs du paysage naturel, sont ensuite étudiés – d'abord dans les espaces liminaux de A Week on the Concord and Merrimack Rivers et Walden, puis dans les contextes allégoriques plus sombres de The Maine Woods et Cape Cod. Le chapitre final examine la réponse ultérieure de Whitman aux poétiques liminales d'Emerson, notamment avec le personnage de Leaves of Grass, qui devient un héro transitoire de la conscience et un interprète médiateur de l'expérience humaine – guidant une communauté de lecteurs hors de l'immobilisme, à travers des moments critiques de transformation. L'étude se conclut avec un bref épilogue décrivant une trajectoire subséquente d'écriture qui émerge des poétiques liminales d'Emerson — une perspective esthétique générée par le pouvoir (mais aussi par l'indétermination) de la régénération continuelle et d'un renouveau.
12
Janicker, Rebecca. "Halfway houses : liminality and the haunted house motif in popular American Gothic fiction". Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/44082/.
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Halfway Houses examines popular American Gothic fiction through a critical focus on what I call the ‘haunted house motif’. This motif, I argue, creates a distinctive narrative space, characterised by the key quality of liminality, in which historical events and processes impact upon the present. Haunted house stories provide imaginative opportunities to keep the past alive while highlighting the complexities of the culture in which they are written. My chosen authors, H. P. Lovecraft, Richard Matheson and Stephen King, use the haunted house motif to engage with political and ideological perspectives important to an understanding of American history and culture. Analysing their fiction, I argue that in “The Dreams in the Witch House” (1933) Lovecraft uses haunting to address concerns about industrialisation, urbanisation and modernisation in the early part of the twentieth century, endorsing both progressive and conservative ideologies. Similarly, Matheson’s haunting highlights issues of 1950s suburbanisation in A Stir of Echoes (1958) and changing social mores about the American family during the 1970s and 1980s in Earthbound (1982; 1989), critiquing conformist culture whilst stopping short of overturning it. Lastly, as a product of the counterculture, King explores new kinds of haunted spaces relevant to the American experience from the 1970s onwards. In The Shining (1977) he draws on haunting to problematise inequalities of masculinity, class and capitalism, and in Christine (1983), at a time of re- emerging conservative politics, he critiques Reaganite nostalgia for the supposed ‘golden age’ of the 1950s. At the close of the twentieth century, haunting in Bag of Bones (1998) reappraises American guilt about race and the legacy of slavery. Overall, my thesis shows that the haunted house motif adapts to the ever-changing conditions of American modernity and that the liminality of haunting addresses the concomitant social unease that such changes bring.
13
Taylor, Laurel. "Liminality as identity in four novels by Ben Okri and Tahar ben Jelloun". Thesis, University of St Andrews, 2001. http://hdl.handle.net/10023/9825.
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This thesis compares two novels each by Nigerian writer Ben Okri and Moroccan writer Tahar Ben Jelloun. By examining apparently transformative moments in the lives of each protagonist, Azaro and Zahra, its principal aim is to show how liminality characterises their identities, and is a source of personal and potentially political liberation, mirrored in the narrative techniques. The Introduction demonstrates the centrality of identity to these novels and the domain of postcolonial studies and defines the key concepts in relevant literary, theoretical and political contexts: identity, hybridity, liminality, magical realism and the postcolonial/postmodern debate. Chapter I establishes Azaro and Zahra as liminal beings from birth, whose childhood rituals are incomplete and who continually subvert parental and social expectation. This examination of liminality may be extended by reading the characters as emblems of their respective nations-in-waiting. Chapter II focuses on the tension between biology and culture within Zahra's gendered identity and demonstrates empowerment in her choice to remain liminal in a 'potential space'. Azaro's shifting sexual awareness is examined as a manifestation of his liminality. The allegorical reading of Zahra's life is continued, and a connection made between sexual and political corruption in the English texts. Chapter III centres on the fluidity of Azaro's boundaries and perception. Like Zahra's, his liminality is chosen, as he decides to live in a potential space between human and spirit. Zahra, too, has a special relationship with the spirit world; she and Azaro are shown to have revelatory visions of political significance. The Conclusion brings together the analysis of Azaro's and Zahra's identities before extending the liminal states of the protagonists to those of reader and artist. It concludes that these texts offer new opportunities for the understanding of postcolonial texts and moving beyond the duality of the postcolonial/postmodern debate.
14
O'Rourke, Teresa. "The poetics and politics of liminality : new transcendentalism in contemporary American women's writing". Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/33558.
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By setting the writings of Etel Adnan, Annie Dillard, Marilynne Robinson and Rebecca Solnit into dialogue with those of the New England Transcendentalists, this thesis proposes a New Transcendentalism that both reinvigorates and reimagines Transcendentalist thought for our increasingly intersectional and deterritorialized contemporary context. Drawing on key re-readings by Stanley Cavell, George Kateb and Branka Arsić, the project contributes towards the twenty-first-century shift in Transcendentalist scholarship which seeks to challenge the popular image of New England Transcendentalism as uncompromisingly individualist, abstract and ultimately the preserve of white male privilege. Moreover, in its identification and examination of an interrelated poetics and politics of liminality across these old and new Transcendentalist writings, the project also extends the scope of a more recent strain of Transcendentalist scholarship which emphasises the dialogical underpinnings of the nineteenth-century movement. The project comprises three central chapters, each of which situates New Transcendentalism within a series of vertical and lateral dialogues. The trajectory of my chapters follows the logic of Emerson s ever-widening circles , in that each takes a wider critical lens through which to explore the dialogical relationship between my four writers and the New England Transcendentalists. In Chapter 1 the focus is upon anthropological theories of liminality; in Chapter 2 upon feminist interventions within psychoanalysis; and in Chapter 3 upon the revisionary work of Post-West criticism. In keeping with the dialogical analogies that inform this project throughout, the relationship examined within this thesis between Adnan, Dillard, Robinson and Solnit and the nineteenth-century Transcendentalists is understood as itself reciprocal, in that it not only demonstrates how my four contemporary writers may be read productively in the light of their New England forebears, but also how those readings in turn invite us to reconsider our understanding of those earlier thinkers.
15
Zamboni, Camilla. "LIMINAL FIGURES, LIMINAL PLACES: VISUALIZING TRAUMA IN ITALIAN HOLOCAUST CINEMA". Columbus, Ohio : Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1244042142.
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16
Wasserman, Minke. "'Becoming animal': motifs of hybridity and liminality in fairy tales and selected contemporary artworks". Thesis, Rhodes University, 2015. http://hdl.handle.net/10962/d1019759.
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‘Becoming Animal’: Motifs of Hybridity and Liminality in Fairy Tales and Selected Contemporary Artworks serves as a theoretical examination of the concept of the hybrid. My research unpacks the liminal aspect of hybridity, locating the hybrid in the imaginative world of popular fairy tales, folk lore and mythology. In my accompanying MFA exhibition, Becoming(s), I explore these motifs through an installation of mixed-media sculptures which are based on the hybrid creatures that populated the fantasy world of my childhood. The written component of my MFA submission will relate directly to my professional art practise, developing it further and situating it within a relevant context. In my mini-thesis I will consider the liminal in relation to the ‘animal turn’ in contemporary art, with a particular focus on relevant artists working with the motifs of hybridity, such as Nandipha Mntambo, Jane Alexander and Kiki Smith. The ‘animal turn’ is a term used by Kari Weil (2010: 3) to describe a contemporary interest in issues of the nonhuman, and in the ways that the relationship between humans and nonhumans is marked by “difference, otherness and power”. Of key concern to my research will be Giles Deleuze and Felix Guattari’s concept of ‘becoming animal’. Rather than describing a transition from one stable state to another, ‘becoming animal’ suggests a radical dissolution of boundaries – not just between species (such as ‘human’ and ‘animal’) but between any essentialising binaries. As such, ‘becoming animal’ suggests a conception of identity as being fluid and mutable, rather than stable and fixed.
17
Lacy, Dianna C. "Expanding the Definition of Liminality: Speculative Fiction as an Exploration of New Boundaries". ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2698.
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Speculative fiction allows an expanded view of literature and so allows scholars to explore new boundaries in the way words and ideas work. In the titular character of The Last Unicorn by Peter S. Beagle, the reader sees an expansion of self through liminality while A Scanner Darkly by Philip K. Dick explores its collapse. In order to portray each of these the character examined must move though one seems to move upward and the other downward. This idea of movement is only part of what expands the idea of liminality past the traditional idea of a doorway to create a hallway that the character might traverse on the way from place to place. This is not a redefinition of the term but a revision, a change in the way that we look at the concept as we accept and explore newer genres.
18
Campos, Hillary Jarvis. "Marina Carr's Hauntings: Liminality and the Addictive Society On and Off the Stage". Diss., CLICK HERE for online access, 2008. http://contentdm.lib.byu.edu/ETD/image/etd2418.pdf.
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Spellman, Jennifer Lee. "Can the Subaltern Sing?" Ohio University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1556281880685869.
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20
Barlow, Emma Louise. "Liminal Geographies of Suicide in Dante’s Commedia". Thesis, The University of Sydney, 2019. https://hdl.handle.net/2123/21588.
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This thesis examines the modes of representation of Dante’s conception of suicide in the Commedia, and the ways in which these conceptions shaped and were shaped by Dante’s contemporaneous intellectual and literary landscape. There is a longstanding tendency to examine Dante’s conception of suicide in a selective manner wherein Pier della Vigna and the anonymous Florentine suicide evoke the medieval Christian condemnation of suicide and Cato stands alone as the ‘exception to the rule’. For this reason, no true attempt has been made to gain a comprehensive understanding of Dante’s conception of suicide. The introduction discusses the theoretical and critical grounding of the research, gives context regarding previous studies of suicide in the Commedia, and defines the methodology and criteria for analysis. Chapter 1 assesses the intellectual history of suicide upon which Dante was likely drawing in devising his literary conception of suicide. Chapter 2 explores Dante’s depiction of the figures of Pier della Vigna, the anonymous Florentine suicide, and other suicides who are described in terms of their bestial characteristics, and situated in impassable liminal spaces that reflect the base motivations behind their suicides. Chapter 3 examines the figure of Cato, who is portrayed as embodying aspects of the divine, and whose littoral environs speak to his suicide as an act of resurrection. These two chapters envisage Dante’s suicides as existing on a ‘spectrum’ based on their hybrid embodiments and their liminal geographical positioning within Dante’s otherworld. Chapter 4 surveys the reception of Dantean conceptions of suicide in the post-Dante Italian literary tradition. The conclusion traces a preliminary phenomenology of suicide as a literary theme that replicates Dante’s experience of exile, identifying and interpreting the liminal geographies of suicide designed by Dante to enable a nuanced spectrum of exilic experience to emerge on the page. Thus I intend to rethink Dante’s text as the immediate predecessor to the more varied depictions of suicide as an ‘othering’ act that appear in Renaissance Italian literature, and therefore as playing a far more significant role in the Western intellectual history of suicide than had previously been considered.
21
Hill, Jonathan. "Composing the Postmodern Self in Three Works of 1980s British Literature". Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etd/3247.
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This thesis utilizes Foucault’s concept of “technologies of the self” to examine three texts from 1980s British literature for the ways that postmodern writers compose the self. The first chapter “Liminality and the Art of Self-Composition” explores the ways in which liminal space and time contributes to the self-composition in J.L. Carr’s hybrid Victorian/postmodern novel A Month in the Country (1980). The chapter on Jeanette Winterson’s novel Oranges Are Not the Only Fruit (1985) titled “Intertextuality and the Art of Self-Composition” argues that Winterson’s intertextual play enables her protagonist Jeanette to resist the dominance of religious discipline and discourse and compose a more autonomous, artistically oriented self. The third chapter, titled “Spatial Experimentation and the Art of Self-Composition,” examines R.S. Thomas’s collection The Echoes Return Slow (1988), a hybrid text of prose and poetry, arguing that Thomas explores spatial gaps in the text as generative spaces for self-composition.
22
Sezer, Sermin. "The Question Of Identity In Hanif Kureishi". Master's thesis, METU, 2010. http://etd.lib.metu.edu.tr/upload/3/12611886/index.pdf.
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Against the background of The Buddha of Suburbia and The Black Album, this study explores the ways Hanif Kureishi problematizes the notion of identity. The present study aims to lay bare how Kureishi moves the previously fixed categories into a slippery ground in his fiction and, in the process, how he challenges the fundamental givens of identity politics against the background of Homi Bhabha&rsquos key concepts: hybridity, mimicry, ambivalence, agency, liminality and the third space. It will also make references to the category of nation as narration in relation to Thatcherite politics and identity as a performative act/process. Bhabha&rsquo
s theories will also help highlight how Kureishi&rsquo
s characters create their liminal spaces and how they perform their identity within these spaces. Looking at both novels, it is concluded that the nature of identity is fluid since it is configured according to many variables such as religious practice, political activism, arts and sexual discourse which are not stable, either. Kureishi&rsquo
s novels fictionalize that identity can never be reified by the essentialist pre-givens of the traditional ideologies. In a multicultural world, rather than assimilation, it is important to grasp the unstable nature of identity in order to respect cultural differences. Thus, in a world where the dominant voices do not/cannot suppress the marginal ones, identity, national or individual, will keep on transforming itself.
23
Svensson, Anette. "A translation of worlds : Aspects of cultural translation and Australian migration literature". Doctoral thesis, Umeå universitet, Institutionen för språkstudier, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-32103.
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This study explores the exchange of cultural information that takes place in the meeting between immigrant and non-immigrant characters in a selection of Australian novels focusing on the theme of migration: Heartland (1989) by Angelika Fremd, A Change of Skies (1991) by Yasmine Gooneratne, Stella’s Place (1998) by Jim Sakkas, Hiam (1998) by Eva Sallis and Love and Vertigo (2000) by Hsu-Ming Teo. The concept cultural translation functions as a theoretical tool in the analyses. The translation model is particularly useful for this purpose since it parallels the migration process and emphasises the power relations involved in cultural encounters. Within the framework of the study, cultural translation is defined as making an unfamiliar cultural phenomenon familiar to someone. On the intratextual level of the text, the characters take on roles as translators and interpreters and make use of certain tools such as storytelling and food to effect translation. On the extratextual level, Fremd, Gooneratne, Sakkas, Sallis and Teo represent cultural translation in the four thematic areas the immigrant child, storytelling, food and life crisis. The first theme, the immigrant child, examined in chapter one, explores the effects of using the immigrant child as translator in communication situations between immigrants and representatives of Australian public institutions. In these situations, the child becomes the adult’s interpreter of the Australian target culture. The role as translator entails other roles such as a link to and a shield against the Australian society and, as a result, traditional power relations are reversed. Chapter two analyses how the second theme, storytelling, is presented as an instrument for cultural education and cultural translation in the texts. Storytelling functions to transfer power relations and resistance from one generation to the next. Through storytelling, the immigrant’s hybrid identity is maintained because the connection to the source culture is strengthened, both for the storyteller and the listener. The third theme, food as a symbol of cultural identity and as representation of the source and target cultures, is explored in chapter three. Source and target food cultures are polarised in the novels, and through an acceptance or a rejection of food from the source or target cultures, the characters symbolically accept or reject a belonging to that particular cultural environment. A fusion between the source and target food cultures emphasises the immigrant characters’ cultural hybridity and functions as a strategic marketing of culturally specific elements during which a specific source culture is translated to a target consumer. Finally, the fourth theme, life crisis, is analysed in chapter four where it is a necessary means through which the characters experience a second encounter with Australia and Australians. While their first encounter with Australia traps the characters in a liminal space/phase that is signified by cultural distancing, the second encounter offers a desire and ability for cultural translation, an acceptance of cultural hybridity and the possibility to become translated beings – a state where the characters are able to translate back and forth between the source and target cultures.
24
Roets, Kristèl. "'n Vergelykende studie van twee jeugromans : Winterijs (2001) deur Peter van Gestel en Roepman (2004) deur Jan van Tonder /". Link to the online version, 2008. http://hdl.handle.net/10019/786.
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Compton, Marissa Deane. "The Living River: Ritual and Reconciliation in The Famished Road". BYU ScholarsArchive, 2017. https://scholarsarchive.byu.edu/etd/6816.
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In Ben Okri's The Famished Road, rituals such as baptism are easily lost in the dense symbolism. The novel is, in the words of Douglas McCabe, a "ramshackle and untidy affair, a hodge-podge of social ideologies, narrative forms, effusive enthusiasms, and precision-jeweled prose poems" (McCabe 17). This complex untidiness can be discouraging for readers and critics alike, and yet "there is something contagious about the digressive, meandering aesthetic of The Famished Road" that makes the novel difficult to consign to confusion (Omhovere 59). Commonly considered post-colonial, post-modern, and magical-realist, The Famished Road deals with, among other things, spiritualism, family relations, and political and sociological tensions in Nigeria in the decades before its publication in 1991. These themes are depicted with a rush of symbols, and in such a clamor, baptism and other rituals may have trouble making themselves heard. And yet, paying attention to the repeated performance of baptism transforms this audacious, ramshackle novel into a story of liminality, alienation, and reconciliation, a story which celebrates these things as inevitable and necessary parts of life. As readers, we can use baptism to decode The Famished Road. In doing so, the novel develops a cyclical, ongoing narrative focused on the difficulties of and increased agency in liminality and the necessity of ritual, on an individual, familial, and socio-cultural level, in navigating that in-betweeness. I will begin by exploring baptism in The Famished Road in order to understand the performance and power of ritual. Here, ritual acts as a doorway, giving characters a chance to navigate liminality without removing themselves from it. This navigation gives them an increased understanding of how the world works and how they may operate in it. After exploring baptism as a ritual, I will examine Okri's "universal abikuism" and its connection to the flexibility of liminality.
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Krilles, Peter. "Esthétique des limites. Espaces du savoir chez Novalis et Mallarmé". Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030161.
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La proximité entre les écrits de Novalis et de Mallarmé est aujourd’hui un lieu commun de la recherche sans pour autant avoir fait l’objet d’une étude approfondie. Si une influence directe ne saurait être affirmée avec certitude, le simple constat d’une modernité commune est également insuffisant. La parenté entre les deux projets esthétiques se situe à un autre niveau. Dans les contextes de crise des années autour de 1800 et de la seconde moitié du XIXe siècle, les deux auteurs esquissent une conception de l’art qui vise une réorganisation des espaces du savoir de l’âge moderne. Le dispositif central de cette ‘troisième voie’ est celui de la limite qui permet de rompre avec la vanité d’une approche représentative de l’expérience esthétique. L’esthétique des limites de Novalis et de Mallarmé ne se restreint pas au simple constat de la négativité qui résulte des nombreuses limites fondamentales auxquelles l’être humain moderne se trouve confronté. Les deux auteurs ne considèrent pas en premier lieu la limite dans sa fonction de délimitation, mais comme un espace propre qui revêt une productivité et une fonctionnalité épistémologiques considérables. Selon eux, la limite est une configuration essentielle de l’expérience esthétique parce qu’elle confère à celle-ci une médialité et une performativité spécifiques qui permettent de dépasser la relation binaire entre la discursivité du savoir positif et l’inaccessibilité d’un savoir absolu. Ainsi, l’esthétique des limites est une conception particulièrement pertinente à l’époque actuelle où le débat sur la valeur épistémologique de l’art et de la littérature est loin d’être terminéThe similarity between the writings of Novalis and Mallarmé has become a topos in research, however, it has never been the object of a detailed study. On the one hand, we cannot say that Mallarmé was directly influenced by Novalis, on the other, the declaration that they share a modern vision is just as insufficient. The connection between the two aesthetic projects has to be found on another level. In their respective contexts of crisis, that characterise the periods around 1800 and the second half of the 19th century, both poets outline a conception of art with the objective of a new organisation of modern spaces of knowledge. Boundaries are a central dispositive of this ‘third way’ because they make it possible to overcome the vanity of a representative conception of aesthetic experience. Novalis’ and Mallarmé’s aesthetics of boundaries do not confine themselves to simply assessing the negativity that results from the numerous fundamental limitations of modern human condition. Both of them do not primarily consider the phenomenon of boundary to be a mere function of delimitation. For Novalis and Mallarmé, a boundary is an autonomous space that possesses a high epistemological productivity and functionality. Boundaries are central configurations of aesthetic experience because they endow this experience with a specific mediality and performativity that allow to overcome the binary relationship between positive discursive knowledge and the unattainability of absolute knowledge. The aesthetics of boundaries are an important concept nowadays as the debate surrounding the epistemological relevance of art and literature is far from being finished
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Morse, Daniel Lee. "Not quite white : Jewish literary identity, new immigration and otherness in America, 1890-1930". Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/9564.
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America’s ‘long early twentieth century’ (1890-1945) was a period of intense industrialization, urbanization, and immigration which fundamentally altered the character of the nation. Between 1900 and 1924, which saw the curtailing of immigration from southern and eastern Europe via the passage of the Johnson-Reed Immigration Act (successor to 1921’s stop-gap Emergency Quota Act), more than 14 million people flocked to the U.S. in search of economic opportunity, social equality, and freedom from religious and political oppression. Descendants of these ‘new immigrants,’ as they were called, were by the late twentieth century a staple of white American suburbia, but their progenitors were variously considered ‘off-white,’ ‘dark-white,’ or non-white, with attendant connotations of mental, physical, and moral inferiority. This research examines texts, authored by Jewish immigrants such as Abraham Cahan, Anzia Yezierska, Rose Cohen, and Mary Antin, which were published between 1890 and 1930, when the onset of the Great Depression saw a rise in anti-Semitism that contributed to the decline in popularity of ‘up by the bootstraps’ Americana whose narratives chronicled, ostensibly, social assimilation and cultural integration; it considers the ramifications of writing in English for a native audience, which frequently alienated Jewish immigrants from their peers, and analyzes the manner in which the United States’ shifting social mores coincided with—and facilitated—new immigrants’ reappraisal of religion, education, commerce, and family life in the ‘new world’ of the west. It argues that the ambivalence contained within many of these texts was both a reaction to nativist prejudices and an effort to expose misconceptions present on both sides of the wildly popular Americanization movement, as well as exploring the way that such narratives attempted the redefinition of American philanthropic, educational and civic paradigms—the preponderance of which passionately espoused rhetoric of equality while reinforcing the stratification of the United States’ class system—into modes of interaction that accommodated difference while seeking to establish common ground upon which could be built a more inclusive, multiethnic future. Finally, it addresses the continuing relevance of these works as texts which both predict and presage modern modes of social interaction and discusses their future in an evolving literary canon that has, historically speaking, been an agent of western patriarchal hegemony.
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Pickell, Isaac. "It's not over once you figure it out". Miami University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=miami1532596375557052.
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DeBiase, Alexandra D. "Liminal Identity in Willa Cather's The Professor's House". Cleveland State University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=csu1377115948.
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Aldrich, Catrina. "Ruimte, identiteit en beweging in Tommy Wieringa se Joe Speedboot (2005)". Thesis, Stellenbosch : University of Stellenbosch, 2010. http://hdl.handle.net/10019.1/5308.
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Thesis (MA (Afrikaans and Dutch))--University of Stellenbosch, 2010.AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die wyse waarop die ruimtebeelding in Joe Speedboot deur Tommy Wieringa in wisselwerking tree met die identiteitsontwikkeling in die roman. Aan die hand van teoretisering deur onder andere Henri Lefebvre word die uitbeelding van die sosiale ruimte in die roman aan die orde gestel. Die klassifikasie van Joe Speedboot as ‟n ontwikkelingsroman is hierby ‟n noemenswaardige uitgangspunt, omdat Wieringa die sentrale karakters se adolessensie, oftewel vormingsjare, in die roman uitbeeld. Die identiteitskonstruksie wat in die roman voorgestel word, strook met teoretiese beskouings van identiteit as ‟n dinamiese en gekonstrueerde konsep wat deur sosiale en kulturele oorwegings beïnvloed word. ‟n Ondersoek na die gesimuleerde werklikheid waarin Wieringa sy hooffigure situeer, dui aan dat die parogiale ruimte in die roman as stagnerend en voorspelbaar uitgebeeld word. In teenstelling tot die stilstand wat die ruimte kenmerk, word ‟n preokkupasie met beweging en vooruitgang aan die sentrale karakters toegeskryf. Beide die fisiese én eksistensïele dimensies van beweging en beweeglikheid figureer prominent in die roman. Dit word nóú verweef met die liminale posisie wat die karakters as adolessente in die gemeenskap beklee. Daar word geponeer dat die opposisie tussen stilstand en beweging nie net ingespan word by die ruimtebeelding en strukturele samestelling van die roman nie, maar ook ten grondslag lê aan die uitbeelding van die hoofkarakters se ontwikkelende identiteite. Die outeur kies in Joe Speedboot ‟n hoofkarakter met beperkte opsies en demonstreer hoe sy fisieke belemmeringe onafwendbaar op ‟n slot afstuur wat negatief óf positief geïnterpreteer kan word. In die lig van die hoë lof wat hierdie roman toegeswaai is, val dit vreemd op dat so min navorsing tot dusver oor Joe Speedboot onderneem is.
ENGLISH ABSTRACT: This study explores the way in which the construction of space interacts with the development of identity in Joe Speedboot by Tommy Wieringa. On the basis of theoretical perspectives of, inter alia, Henri Lefebvre attention is given to the construction of the social space in the novel. The classification of Joe Speedboot as a Bildungsroman is an important point of departure in this regard, due to the fact that Wieringa depicts the central characters‟ adolescence in the novel. The portrayal of the construction of identity in the text corresponds with theoretical thoughts on identity as a dynamic and constructed concept that is affected by social and cultural considerations. An exploration of the simulated reality in which Wieringa situates his characters, indicates that the parochial space in Joe Speedboot is sketched as being stagnant and predictable. In contrast to the standstill which characterizes the social space, a preoccupation with movement and progress is ascribed to the central characters. Both the physical and existential dimensions of movement and mobility figure prominently in the novel. It is also interwoven with the liminal position the characters occupy in the community due to their adolescence. It is postulated that the opposition between stagnation and movement is not only exerted in the construction of space and the structural composition of the text, but is also presented as playing a determinative role in the development of the characters‟ identities. The author chooses for a main character with limited prospects and demonstrates how his physical handicap necessarily leads to a conclusion that allows for both positive and negative interpretations. Given the critical acclaim that the novel has received, it seems strange indeed that Joe Speedboot has thusfar not been the subject of analytical research.
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Basinger, James David. "Weaving Accessibility and Art in Marilou Awiakta's Selu: Seeking the Corn-Mother's Wisdom". [Johnson City, Tenn. : East Tennessee State University], 2001. http://etd-submit.etsu.edu/etd/theses/available/etd-1207101-130521/unrestricted/basingerj121201.pdf.
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Morton, Sheila Ann. "Satire's Liminal Space: The Conservative Function of Eighteenth-Century Satiric Drama". BYU ScholarsArchive, 2004. https://scholarsarchive.byu.edu/etd/122.
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The eighteenth century is famous for producing literary satire, primarily in verse (and later prose) form. However, during this period, a new dramatic form also arose of which satire was the controlling element. And like the writers of prose and verse satires, playwrights of dramatic satire claimed that their primary aim was the correction of moral faults and failings. Of course, they did not always succeed in this aim. History has shown a few, however, to have had a significant impact on the ideas and lives of their audiences. This thesis is an attempt to demonstrate how these satiric dramas achieved their reformative aims by tracing the theatrical experience of an eighteenth-century audience through Victor Turner's stages of liminality. Turner explains the different ways in which specific genres of theatre (1) create a performance space that is apart from, but still draws symbolically on, the outside world, (2) invite the participation of their audiences in that space, and (3) urge audiences to act in different ways as they leave the theatre space. By examining plays in these ways, we can see how the plays affected the ideas and outlooks of audience members. Because satiric drama invited a high level of participation from audience members, because it invited them into a very "liminal" space, it frequently served to sway audience members' tastes, and in some cases even helped to revolutionize social and literary institutions.
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Roets, Kristel. "'n Vergelykende studie van twee jeugromans : Winterijs (2001) deur Peter van Gestel en Roepman (2004) deur Jan van Tonder". Thesis, Stellenbosch : Stellenbosch University, 2008. http://hdl.handle.net/10019.1/2528.
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Thesis (MA (Afrikaans and Dutch))--Stellenbosch University, 2008.This thesis is a comparative literature study of a Dutch and an Afrikaans novel that can be read by the youth and adults alike and display similarities with regard to genre, content, structure and theme. The novels are Winterijs (2001) by Peter van Gestel and Roepman (2004) by Jan van Tonder. Chapter 1 serves as an introduction. In chapter 2 concepts such as “crossover literature”, “cross publication”, “dual audience authors” and “dual audience literature” are discussed. Chapter 3 presents an overview of the theory that provides a conceptual framework for this study. The method of investigation that is followed by Helma Van Lierop-Debrauwer and Neel Bastiaansen-Harks (2005) in their study of the similarities and differences between an adolescent novel for the youth and an adolescent novel for adults is used, as well as the theory of Victor Turner (1969) on the concept of liminality. As it provides a useful method for approaching and analyzing the two texts, the above mentioned theories are applied to Winterijs and Roepman in Chapters 4 and 5, with specific reference to the representation of a male child narrator with liminal characteristics. In chapter 6 the similarities and differences between the two novels are pointed out and summarized. Conclusions are drawn and possibilities for further research are presented in chapter 7.
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Conradie, Renee Elsie. "’n Ontleding van die die konsep ‘liminaliteit’ soos dit vergestalt word met betrekking tot hoofkarakters in: ’n Ander land deur Karel Schoeman ; Die son kom aan die seekant op deur Jeanette Ferreira ; Lang skaduwees in Afrika deur Connie Luyt en Paul Roux (ongepubliseerd) deur Renée Rautenbach (Afrikaans)". Diss., University of Pretoria, 2010. http://hdl.handle.net/2263/26265.
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Die doel van die navorsing is om vas te stel of liminale prosesse, drumpeloorgange en transformasie deur die verskuiwing van sosiogeografiese omgewing teweeggebring word. Vir die terreinverkenning van die term liminaliteit word gebruik gemaak van die teorië van antropoloë Arnold van Gennep en Victor Turner en word getoon dat die term liminaliteit al hoe meer vryelik in velde buite die antropologie gebruik word. Die toepasbaarheid van die drie fases (pre-liminaire, liminaire en post-liminaire) van die rites de passage en die heropname in die communitas word met betrekking tot die letterkunde toegelig. Die ondersoek van die konsep liminaliteit word ten opsigte van literêre karakters gedoen aan die hand van die oorsake en dryfvere wat tot liminale prosesse lei, asook die uitwerking van daardie prosesse op die geestelike instelling van die verskillende hoofkarakters in die romans ’n Ander land van Karel Schoeman, Die son kom aan die seekant op van Jeanette Ferreira, Lang skaduwees in Afrika van Connie Luyt en die ongepubliseerde roman Paul Roux van die kandidaat self. Die verskillende elemente (dryfvere, karakterisering, milieus, drumpeloorgange en transformasies) wat tot liminale situasies bydra, word behandel. Daar word tot die gevolgtrekking gekom dat die verskillende elemente dui op die roete wat na die rites de passage toe kan lei. Navorsingsartikels en essays wat die tussenruimtes en oorskryding van grense in verskillende publikasies bespreek, word gebruik om die ondersoek toe te lig. Besprekings van Louise Viljoen (Woordwerk van Breyten Breytenbach), Adéle Nel (Lykdigte en Ruggespraak van Joan Hambidge), Heilna du Plooy (Niggie van Ingrid Winterbach), Dorothea van Zyl (Vaselinetjie van Anoeschka von Meck), Marlies Taljaard (Kleur kom nooit alleen nie van Antjie Krog) is hiervoor aangewend. Daar word ook na ekspat-literatuur soos dié van Laurens van der Post, Breyten Breytenbach en Gérard Rudolf verwys. Dit is ’n vrugbare tegniek om literêre karakters vanuit Van Gennep en Turner se teorieë te ontleed. Soos wat die konsep liminaliteit toenemend gebruik en toegepas word, sal dit ook meer in die literatuur aangewend word, veral in die werk van ekspatskrywers. Wat hierdie bevindings betref, kan ’n mens begin gis oor die Afrikaanse diaspora-letterkunde wat ’n nuwe communitas vir drumpelfigure geskep het. Die gemeenskaplike kreatiewe energie in hierdie liminale sone kan as bewusmaking dien en sodoende verandering teweegbring. ENGLISH : The purpose of the research is to determine whether liminal processes, threshold crossings or transformation can be brought about by the changing of socio-geographical environment. For the exploration of the term liminality the theories of anthropologists Arnold Van Gennep en Victor Turner are used and it is shown that the term is increasingly used in other fields. The applicability of the three phases (preliminaire, liminaire and post-liminaire) of the rites de passage and the reentering of the structural realm, the communitas, is enlightened with the help of literature. The analysis of the concept liminality regarding these literary characters is done by causes and motivations that lead to liminal processes, as well as the effect of those processes on the spiritual/mental inclination of the characters in the novels ’n Ander land by Karel Schoeman, Die son kom aan die seekant op by Jeanette Ferreira, Lang skaduwees in Afrika by Connie Luyt and the candidate’s unpublished novel Paul Roux. Different elements (motivation, characteristics, milieu, thresholds and transformation) that lead to liminal phases, are discussed. It was found that the different elements indicate the route leading to the rites de passage. Applicable essays and articles regarding the liminal phases and transgression of borders in different publications are explored to explain the analysis. Research articles and essays focusing on the phases leading to the rites de passage used for this analysis are those by Louise Viljoen (Woordwerk of Breyten Breytenbach), Adéle Nel (Lykdigte en Ruggespraak of Joan Hambidge), Heilna du Plooy (Niggie by Ingrid Winterbach), Dorothea van Zyl (Vaselinetjie by Anoeschka von Meck) and Marlies Taljaard (Kleur kom nooit alleen nie by Antjie Krog). Reference is also made to the ex-pat literature of Laurens van der Post, Breyten Breytenbach and Gérard Rudolf. Applying Van Gennep and Turner’s theories for the analysis of literary characters is fruitful. As the concept liminality is used and applied increasingly, it will become more relevant in literature, especially in the work of expat writers. Regarding the findings, one can speculate about the ‘diaspora’ literature in Afrikaans that created a new communitas for threshold figures. The communal creative energy in this liminal zone can be effective as to an awakening that can bring about change.Dissertation (MA)--University of Pretoria, 2011.
Afrikaans
unrestricted
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Roccella, Paola. "Humanity, hybridism and liminality in Tommaso Landolfi (1939-1950)". Thesis, University of Warwick, 2017. http://wrap.warwick.ac.uk/104806/.
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This thesis analyzes the three texts forming the so-called „Fantastic trilogy‟ by Tommaso Landolfi: La pietra lunare (1939), Racconto d’autunno (1947) and Cancroregina (1950), in the light of the cultural and historical environment in which they were produced. I argue that these novellas incorporate and obliquely problematize specific tensions of the period running from Racial Laws (1938) and the Pact of Steel (1939) to post-war reconstruction. Building on recent scholarship on the subversive role of the Fantastic, the study provides a more comprehensive view of Landolfi‟s early production and challenges accepted views on his Fantastic as exclusively ironical, intellectual and free-play. This thesis also investigates the sources through which Landolfi delineates this oblique form of socio-political critique. Whereas scholarship in the past has widely recognized that Landolfi draws inspiration from nineteenth-century French, Russian and German classics in the genre of Gothic and Fantastic fiction, this contribution draws attention to the way Landolfi negotiates this traditional repertoire through input from both Italy‟s „high‟ literary tradition (Dante, Leopardi, Manzoni, D‟Annunzio), Italian folklore and other non-literary sources (i.e. occultism and psychiatry). This thesis considers Landolfi‟s work from fresh angles, applying recent Anglophone theoretical frameworks (including theories on post-humanism, on the subversive role of the Fantastic and political readings of Gothic fiction) to his writing and probing his portrayals of dynamics and tensions that continue to challenge us today. Additionally, it makes use of the anthropological notion of „liminality‟ to underline the intrinsic thematic, textual and narrative ambiguity of the three novellas. I claim that the texts‟ liminality – involving slippery entities, settings, situations and narrative modalities that do not fit any precise category – voices the cultural and political instability of the decade under analysis. The study makes a deeper, and more nuanced, contribution to the literature on Landolfi, reflecting upon the author‟s strategies for problematizing contemporary historical and cultural issues by means of a fiction only apparently detached from reality.
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Mitchell, Aaron Christopher [Verfasser]. "Liminality and «Communitas» in the Beat Generation / Aaron Christopher Mitchell". Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 2017. http://d-nb.info/1142096947/34.
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Swann, Devon Nicole. "Betwixt and Between: Liminal Spaces and the Disabled Body in Burke’s Sublime and Beautiful, Burney’s Camilla, and Dacre’s Zofloya". VCU Scholars Compass, 2013. http://scholarscompass.vcu.edu/etd/468.
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“Liminal Spaces and The Disabled Body” explores Edmund Burke’s aesthetic paradigms as established in his An Enquiry into the Origin of Our Notions of the Sublime and the Beautiful to recover what disability meant for an eighteenth-century audience. I examine Burney’s Camilla and Eugenia’s disability as well as Dacre’s Zofloya and Victoria’s figurative hermaphroditism in terms of eighteenth-century views of deformity and physiognomy to argue that both Eugenia’s and Victoria’s deformities—Eugenia’s smallpox scars and injured leg and Victoria’s beautiful but too boldly delineated features—challenge the prevailing structures of aesthetics and expectations of feminine beauty. My thesis questions how eighteenth-century aesthetic theory constructs the modern concept of the “disabled” individual to argue that the female body with a disability or deformity surpasses the terms of submission and diminution instated by Burkean aesthetics. In turn, the disabled female gains purchase in literature due to her “liminal, between-categories status” as it strains masculine power structures and aesthetic and gender classification systems.
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Reed, Marthe. "The poem as liminal place-moment : John Kinsella, Mei-mei Berssenbrugge, Christopher Dewdney and Eavan Boland". University of Western Australia. School of Social and Cultural Studies, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0136.
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Places are deeply specific, and often richly resonant for us in terms of memory, emotion, and association, yet we nevertheless frequently move through them insensible of their constitution and diversity, or the shaping influences they have upon our lives. As such, place affords a vital window into the creation and experience of poetry where the poet is herself attuned to the presence and effect of places; the challenge for the scholar is to articulate place's nature and role with respect that poetry. In
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Boge, Chris. "Outlaws, fakes and monsters doubleness, transgression and the limits of liminality in Peter Careyś recent fiction". Heidelberg Winter, 2009. http://d-nb.info/994723989/04.
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Ibanez, Léticia. "L'habitant des seuils : Mauṉi (1907-1985) et son œuvre dans la construction de la modernité littéraire tamoule". Thesis, Paris, INALCO, 2020. http://www.theses.fr/2020INAL0026.
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Pionnier du récit introspectif en tamoul, Cupramaṇya Maṇi Aiyar dit Mauṉi (1907-1985) laisse une œuvre aussi dense que rare : 27 nouvelles publiées de 1936 à 1971 dont 21 retracent, dans un style élégiaque, les états d'âme de personnages en quête de sens. Ces récits, étroitement associés au milieu des « petits magazines » qui les ont promus, suscitent depuis les années 1930 une importante production de textes critiques dépeignant l'auteur tour à tour sous les traits d'un saint de l'écriture, d'un dilettante et d'un brahmane réactionnaire. L'objectif de cette monographie est double : expliquer ces discours et dégager leurs enjeux dans la construction de la modernité littéraire tamoule ; présenter à partir de nombreuses explications d'extraits une analyse des motifs et stylèmes propres à définir l'originalité de l'auteur. Cette dernière consiste pour nous en une poétique de l'entre-deux, dont chaque partie du développement étudie un aspect. La première mesure l'apport de Mauṉi sous l'angle de son hybridité culturelle. Elle décrit le contexte littéraire des années 1930, fournit une présentation d’ensemble des nouvelles et retrace leur réception critique. La seconde se concentre sur le travail du style pour montrer comment l'auteur, usant d'un lexique restreint, élabore une prose poétique reposant sur l'usage de modalisateurs, de paysages-états d'âme et de descriptions symboliques. La troisième étudie les principaux aspects de son mysticisme de la liminarité : intérêt pour les états modifiés de conscience, création de personnages oscillant entre le moi psychologique et le Soi impersonnel, descriptions d’extases esthétiques conçues comme des aperçus de l’infini. Enfin, la quatrième partie décrit les paradoxes qui constituent le sujet mauṉien dans son être-au-monde, sa conception de l’amour et son rapport à l’HistoireA pioneer in the lyrical story in Tamil, Mauṉi (1907-1985) published 27 short stories, 21 of them exploring, in an elegiac tone, the characters moods as they search for ultimate meaning. These writings, closely associated with the little magazines that promoted them, generated an important production of critical texts alternately depicting the author as an ascetic of serious writing, a dilettante and a reactionary Brahmin.This monography aims both at explaining these discourses' implications in the construction of Tamil literary modernity and presenting an in-depth study of Mauṉi's writings. We argue that Mauṉi's originality lies in a poetics of the in-between, and each part of the thesis analyses a facet of his craft. The first one, which highlights Mauṉi's cultural hybridity, tries to assess his contribution to Tamil literature. It introduces the writer's cultural milieu, gives an overview of his writings and delineates their critical reception. The second part focusses on stylistics to show how Mauṉi develops a poetic prose based on the use of blurring effects, spirituality-oriented metaphors and symbolic landscapes. The third part describes the main aspects of his mysticism as an experience of liminarity : the depiction of altered states of consciousness, the creation of a character oscillating between the psychological I and the universal Self, the sacralization of the aesthetic experience as a glimpse of the Absolute. The fourth part describes the paradoxes constituting the mauṉian subject with reference to his way of being in the world, his conception of love, his viewpoint on culture and History
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Escriche, Riera Pilar. "New Ways of Seeing and Storytelling: Narration and Visualisation in the Work of Bruce Chatwin". Doctoral thesis, Universitat Autònoma de Barcelona, 2010. http://hdl.handle.net/10803/4921.
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En aquest estudi examino dos elements innovadors en l'estil narratiu de Bruce Chatwin. El primer correspon a la seva aproximació antropològica a la literatura, el segon correspon a la seva nova manera d'abordar la percepció visual. Pel que fa al primer element, el meu argument és que els conceptes de liminalitat i communitas són els eixos centrals de la seva poètica, fet que atorga a la seva obra unitat ideològica i coherència temàtica. La meva premissa fonamental és que a través dels seus cronotops i personatges liminals confereix tota una nova dimensió de veritat a la narració. A més, la liminalitat el permet construir una nova representació de subjectivitat basada en la naturalesa metamòrfica de l'home per una banda i en la inclusió i ficcionalització de les obsessions personals en el procés de creació literària per l'altra. Finalment, la liminalitat el permet reconèixer la dualitat humana -amb tot el dolor que aquest reconeixement implica-i que ell transmet amb un to compassiu i alhora irònic. Mitjançant el concepte de communitas Chatwin legitima en part la seva manca de compromís polític i justifica la seva actitud envers Englishness, nacionalitat i universalisme. Communitas també dóna sentit a la seva creença en la fusió de forma i contingut en narrativa. Pel que fa al segon element, Chatwin mostra una manera peculiar de veure el món basada en una cerca de tot allò que és estrany, misteriós i extraordinari. També vol captar la subjectivitat sense intervenir: l'autor és un testimoni més que un intrús. La visualització de Chatwin genera un estil del "no passa res" per una banda, i defuig la posa, els simulacres i les vistes panoràmiques per l'altra. A més l'autor dóna prioritat a l'asimetria a fi d'eludir coartacions en la forma i refermar la seva idea que la realitat/l'home s'està fent constantment. La seva visió és democràtica, fruit d'una percepció policèntrica de la realitat i del respecte per les múltiples identitats dins l'individu: Chatwin insta a "veure-les" i a reconèixer-les totes. El meu estudi també analitza el paper pioner de Chatwin en la literatura de viatges moderna. L'autor qüestiona i subverteix la forma i el contingut del gènere i forneix els relats de viatges amb una nova taxonomia. El viatger es veu immers en una nova geografia de l'aventura en la qual la cerca ja no és de reportatge, triomf o autodescobriment sinó que és una recerca estètica.
La meva tesi també conclou que la seva manera tan personal de percebre la realitat a casa i a fora de casa va fer que Chatwin percebés la seva pròpia realitat d'una manera diferent: es va definir a sí mateix mitjançant una forma de subjectivitat no-convencional i així va crear una representació d'identitat i veritat diferent de la que s'espera trobar en relats autobiogràfics.
This study examines two innovative elements of Bruce Chatwin's narrative style. The first corresponds to his anthropological approach to writing, the second is his new mode of visual perception. As to the first, I argue that the concepts of liminality and communitas are the central axes of his poetics, thus conferring ideological wholeness and thematic coherence on his work. My underlying premise is that through his liminal chronotopes and personae he adds a whole new dimension of truth to storytelling. Besides liminality enables him to construct a new representation of subjectivity based on the metamorphosing nature of man on the one hand and on the inclusion and fictionalisation of personal obsessions in the process of literary creation on the other. Finally, liminality enables him to acknowledge human duality (with the pain that such recognition means) and in turn transfer this recognition in a both humorous and compassionate mood. Through the concept of communitas Chatwin partly faces his non¬committal political agenda while finding an identifiable way to justify his stance towards Englishness, nationality and universalism. Communitas also gives meaning to his belief in the fusion of form and content within storytelling. As to the second, Chatwin's way of seeing based on a search for both the uncanny and the miraculous determines his style of the uneventfulness on the one hand, and leads him to avoid simulacra, pose and panoramic visions on the other. My findings reveal that he foregrounds asymmetry in order to replace constraint in form and justify his belief in reality/man being constantly in the making. His is a democratic visualisation, born out of both a polycentric perception of reality and the respect for the multiple identities within the individual: Chatwin urges the need to "see" and acknowledge them all.
This study also assesses Chatwin's pioneering role in modern travel literature. The writer questions and subverts the form and the content of the genre and provides travel writing with a new taxonomy. The figure of the traveller becomes involved in a new geography of adventure in which the quest is no longer a search of reportage, victory or self-discovery but an aesthetic search in which the landscapes are created first in the imagination.
Finally, my study also concludes that Chatwin's particular way of perceiving reality both abroad and at home made him perceive his own reality in a different way: he defined himself through an unconventional kind of subjectivity, thus creating a representation of identity and truth other than the one expected in autobiographical accounts.
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Schumacher, Katrin [Verfasser], Elisabeth [Akademischer Betreuer] Lienert y Thomas [Akademischer Betreuer] Althaus. "Von lebenden Toten und anderen Grenzgängern. Ordnungsdiskurs und Liminalität in höfischen, exemplarischen, schwankhaften und grotesken Mären, in der Binnenerzählung III,8 des 'Decameron' und im Fastnachtspiel 'Der Bauer im Fegefeuer' / Katrin Schumacher. Gutachter: Elisabeth Lienert ; Thomas Althaus. Betreuer: Elisabeth Lienert". Bremen : Staats- und Universitätsbibliothek Bremen, 2014. http://d-nb.info/1072157802/34.
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Saldías, Mónica. "Anamorfosis y violencia narrativa : Un estudio hermenéutico analógico de 2666 de Bolaño". Thesis, Uppsala universitet, Institutionen för moderna språk, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-247634.
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En 2666, novela póstuma del escritor chileno Roberto Bolaño, asistimos a la representación del mal y la violencia a través de un discurso narrativo que se caracteriza por la fragmentación, la liminariedad y la hipertextualidad. El objetivo de nuestro trabajo es estudiar el uso de la anamorfosis como procedimiento deformatorio que oculta claves de la novela, y el carácter oblicuo de la violencia narrativa. Para ello adoptamos como metodología de análisis la hermenéutica analógica del filósofo mexicano Mauricio Beuchot, ya que nos brinda un modelo que nos permite estudiar cómo opera el procedimiento de la anamorfosis en la representación de la violencia narrativa, develando las relaciones analógica intratextuales e hipertextuales, y así la dimensión simbólico-icónica de la novela. También nos hacemos cargo de los conceptos de liminariedad del antropólogo británico Victor Turner y de ritos de paso del etnólogo y antropólogo francés Arnold van Gennep, y del concepto de hipertextualidad del narratólogo francés Gérard Genette.
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Doyle, Susan Jane. "Liminality in the works: The novels of Charles Chesnutt". 1996. https://scholarworks.umass.edu/dissertations/AAI9709591.
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Charles Chesnutt is perhaps best known for his short stories; he also, over the course of his relatively short publishing career, produced three novels, which have been less well represented in the critical community. This neglect is due to some oversimplified readings in the past. My readings offer a revised view of Chesnutt's work, which I have opened up by using the critical lens of liminality, and by drawing on Chesnutt's own natural deconstructionist tendencies to do deconstructive readings of the novels. I draw on Victor Turner's definition of liminality, which comes from Turner's rites of passage studies. I show that Chesnutt's characters frequently attain liminal status in his work--they take on the "betwixt and between" characteristics that Turner defines as essential to the liminal state. But far from attaining the final assimilation that comes at the end of liminality, Chesnutt's characters end up as marginals--Turner's term for permanent outcasts. Thus, Chesnutt, in his typically ironic way, has described the status of black Americans at the turn of the 19$\sp{\rm th}$ century in America. Chesnutt's novels are, when looked at as a continuum, a brooding meditation on the despair of black existence following Reconstruction. In the first novel, The House Behind the Cedars, Chesnutt shows the liminal quality of passing, an option which he chose not to exercise. In the second (and most successful) book, The Marrow of Tradition, he shows the liminal nature of the racial space occupied by a professional black man, who tries to be all things to all people, and who ends up utterly unable to express himself. And in the third, and final, novel, The Colonel's Dream, Chesnutt shows the failure of a white man who tried to go back to his hometown in the South and change the course of its future by combining what he perceives to be the best of the past with the best of the present. But in the frozen landscape of the post-Reconstructionist South, all dreams have become nightmares. Thus, because of his prophetic voice, Chesnutt deserves more appreciative readings in the present.
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Roscoe, Brett. "Sagacious Liminality: The Boundaries of Wisdom in Old English and Old Norse-Icelandic Literature". Thesis, 2014. http://hdl.handle.net/1974/12183.
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This dissertation examines the relationship between wisdom and identity in Old English and Old Norse-Icelandic literature. At present, the study of medieval wisdom is largely tangential to the study of proverbs and maxims. This dissertation makes wisdom its primary object of study; it sees wisdom not just as a literary category, but also as a cultural discourse found in texts not usually included in the wisdom canon. I therefore examine both wisdom literature and wisdom in literature. The central characteristic of wisdom, I argue, is its liminality. The biblical question “Where is wisdom to be found?” is difficult to answer because of wisdom’s in-between-ness: it is ever between individuals, communities, and times (Job 28:12 Douay-Rheims). As a liminal discourse, wisdom both grounds and problematizes identity in Old English and Old Norse-Icelandic literature. After a preliminary chapter that defines key terms such as “wisdom” and “wisdom literature,” I examine heroic wisdom in three characters who are defined by their wise traits and skills and yet who are ultimately betrayed by wisdom to death or exile. The implications of this problematic relation to wisdom are then examined in the next chapter, which analyzes the composition of wisdom in proverb poems. Like the wise hero, the poets represented in these poems blend their own voices with the voice of community, demonstrating that identity is open and therefore in need of constant revision. Next I examine how the liminality of wisdom is embodied in the figure of the wise monster, who negatively marks the boundaries of society and its desires. This then leads to a study of the reception of wisdom in chapter six, which focuses on instruction poems. Like narratives of wise monsters, these texts present lore as the nostalgic remnant of a tradition that defines identity, in this case the identity of a community. However, nostalgia assumes loss, and these texts also reveal an underlying fear that wisdom, the basis of the community’s identity, will be forgotten. Whether communal or individual, identity in this literature is both formed and threatened by liminal wisdom.Thesis (Ph.D, English) -- Queen's University, 2014-05-08 15:35:46.885
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Kalua, Fetson Anderson. "The collapse of certainty: contextualizing liminality in Botswana fiction and reportage". Thesis, 2007. http://hdl.handle.net/10500/1886.
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This thesis deploys Homi Bhabha's perspective of postcolonial literary theory as a critical procedure to examine particular instances of fiction, as well as reportage on Botswana. Its unifying interest is to pinpoint the shifting nature or reality of Botswana and, by extension, of African identities. To that end, I use Bhabha's concept of liminality to inform the work of writers such as Unity Dow, Alexander McCall Smith, and instances of reportage (by Rupert Isaacson and Caitlin Davies), from the 1990s to date. The aims of the thesis are, among other things, to establish the extent to which Homi Bhabha's appropriation of the term liminality (which derives from Victor Turner's notion of limen for inbetweenness), and its application in the postcolonial context inflects the reading of the above works whose main motifs include the following: a contestation of any views which privilege one culture above another, challenging a jingoistic rootedness in one culture, and promoting an awareness of the existence of several, interlocking or even clashing realities which finally produce multiple meanings, values and identities. In short, it is proposed that identity is not a given but rather a product of a lived reality and therefore a social construct, something always in process.
The thesis begins by theorizing liminality in Chapter 1 within the context of Homi Bhabha's understanding and interrogation of the colonial discourse. This is followed by the contextualization of liminality through the reading of, firstly, the fiction of Unity Dow in Chapters 2 and 3, and then the "detective" fiction of Alexander McCall Smith in Chapters 4 and 5. In the discussion of these works, I also touch on instances of reportage which relate to the lives of the authors. In the case of Smith's "detective" fiction, for example, reportage refers to his incorporation of actual historical events and personages whose impact, I argue, suggests the liminality of culture. In Chapter 6, the idea of reportage varies slightly to denote works of fiction in which there is a great deal of historical fact. Thus Rupert Isaacson's The Healing Land: A Kalahari Journey and Caitlin Davies' Place of Reeds are treated as works of reportage in line with Truman Capote's application of that term. What comes out most evidently in this study is the shifting idea of (Botswana/African) identity. It should be noted that rather than present an all-embracing account of the fiction on Botswana, the study only looks at the selected examples of writing and reportage.University of South Africa National Research Foundation
English Studies
D. Litt. et Phil. (English)
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Scott, JM. "Liminality in the late twentieth century : Furui Yoshikichi on physical and mental illness, death, social ostracism, and workplace and ageing stress". Thesis, 2002. https://eprints.utas.edu.au/21522/7/whole_ScottJenniferMary2002_thesis.pdf.
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The liminal is a condition of human existence which has been the concern of
Japanese literature throughout its history, since it is an essential ingredient in the
experience of crisis. This thesis examines Furui's contribution to this literature of
the liminal (my term) - his careful and detailed psycho-socio-analytical studies of
the late twentieth century mind in the liminal state.
The introductory chapter begins with a brief overview of Furui 's writing and its
place in contemporary Japanese literature, especially the literature of the liminal. I
go on to outline the general theoretical approaches of the thesis. I base my
argument on Turner's socio-anthropological interpretation of the tripartite
structure of rites of passage, and focus on his view of the liminal as a threshold
period or state in which normal social structures and hierarchies are replaced by
the relatively unstructured egalitarianism of community (communitas).
Extrapolating the link Turner makes with the philosopher Martin Buber' s view of
community in relation to the duality I/thou, I suggest that liminality is common to
and representative of the experience ofFurui's characters, and is an extremely
effective concept for the analysis of the ambiguities and continually shifting
perspectives of his characters' condition.
In chapters two to five I look closely at examples of Furui's writing and
investigate his exploration of the liminal states which surround social ostracism,
illness and mental disturbance, death, and stress in the workplace and as a result
of ageing. The intellectual rigour and detail with which he deals with these issues
is evidence of his debt to German and Austrian writers of the mid-twentieth
century, his field of specialization as a professor of German literature. I also
develop the concept of spatial and temporal liminality as important interpretative
tools. I explore Furui's style and his debt to the traditional literature of the liminal
in Japan, particularly the Noh drama. I account for Furui's portrayal of the
mystery and poetry of the liminal condition, which distinguishes his work from
medical or sociological treatises.
I conclude that Furui' s rigorous and detailed psycho-socio-analytical approach to
the critical states of his protagonists, enhanced by his imaginative sensitivity to
language and to the philosophical issues involved, serves to distill his characters'
predicaments to their essence, allowing the reader a better understanding of their
experience ofliving in the late twentieth century.
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Samal, Laura Patton. "Rights of Passage: Immigrant Fiction, Religious Ritual, and the Politics of Liminality, 1899-1939". 2008. http://etd.utk.edu/2008/SamalLaura.pdf.
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Reeve, Teresa Leann. "Luke 3:1-4:15 and the rite of passage in ancient literature liminality and transformation /". 2007. http://etd.nd.edu/ETD-db/theses/available/etd-12052007-095427/.
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Zamanpour, Ali. "Deterritorialized male subjectivity : liminality, in-betweenness, and becoming in migrant literary and cultural contexts". Thèse, 2019. http://hdl.handle.net/1866/23416.
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Cette thèse résulte de la recherche d’un sujet dépourvu de tout repère à ses liens relationnels. Elle rompt les territorialités de la narration et va au-delà des seuils du sujet, à travers des mouvements rhizomiques et en suivant les lignes littéraires et culturelles qui permettent d’échapper aux forces emprisonnantes d’assujettissement. Cette étude trait des sites marginalisés de la transformation et de la dislocation, en passant par les sites de la résistance et de la décolonisation. Ma lecture de la littérature migrante et, des littératures indigènes, la déterritorialisation et la décolonisation s’entrelacent en trois sites majeurs au sein: la liminalité, l’intermédiaritéé et le devenir. Ces sites ne représentent pas seulement les formes esthétiques innovantes qui traversent les seuils de l’identité dans notre culture contemporaine, mais ils assistent aussi ce projet à son but ultime de réinventer et de réarranger la relation entre le soi et l’autre vers de nouveaux débuts. Cette nouvelle perspective munie de l’éthique de s’engager dans la situation, s’abstient d’émettre un jugement et entend prévoir des possibilités d’une transformation révolutionnaire aux niveaux politique, social et économique.
Dans ce projet, les mouvements de déterritorialisation émergent dans les écrits et les productions artistiques de Richard Mosse, Chris Abani, Rawi Hage, Leslie Marmon Silko et Thomas King et fournissent les possibilités d’une certaine réflexion sur les seuils de différents sujets masculins en crise. Ce projet s’adresse, en premier lieu, à la Chose sous-jacente qui se déplace entre-deux territoires et perturbe le désire de capturer son essence; en revanche, suivant Deleuze et Guattari, elle se déplace avec les mouvements nomadiques des sujets masculins qui deviennent des simulacres assujettis dans divers sites de désapprentissage. À titre d’exemple, ces sites de désapprentissages illustrés dans Incoming et The Castle de Richard Mosse dissocient la matérialité du déplacé de son image et informe le discours sur les façons à travers lesquelles l’existence est mise en danger, limitée et violée par la représentation.
À travers GraceLand d’Abani, ce projet examine des modes de liminalité et des cérémonies d’initiation et reconnaît les expériences vécues des sujets masculins dans des structures culturelles différentes. Dans les romans de Rawi Hage, j’explore les façons à travers lesquelles la masculinité s’arrange ou se réarrange, de façon créative, dans des actes de performance. Cette thèse revient sur le sujet de la liminalité par le biais de Ceremony de Silko et de la narration post-apocalyptique de l’identité de Thomas King. L’analyse aborde certain des enjeux que les hommes indigènes et ceux qui affirment les identités masculines doivent affronter. Ainsi, dans le dernier chapitre, la convergence harmonieuse des voix indigènes et des littératures indigènes et migrantes situe ces lignes de fuite qui pourraient se rejoindre ou refuser de se croiser, ou se désintégrer dans le flot de la violence.This dissertation stems from the search for a subject without reference to the webs of relations that hold it. Through rhizomatic movements, it breaks territorialities of narrative and moves beyond the subject’s thresholds by following literary and cultural lines of escape away from imprisoning forces of subjugation. The investigation flows along marginalized sites of transformation and displacement and through sites of resistance and decolonization. In my readings of migrant and Indigenous literatures, deterritorialization and decolonization intertwine at three major sites: liminality, in-betweenness, and becoming. These sites are not only innovative aesthetic forms that cross the threshold of identity in our contemporary culture; they also participate in the project of reinventing and rearranging the relation of self and other toward new beginnings. The new perspectives that are offered engage ethically, avoid judgment, and foresee the possibilities for revolutionary political, social, and economic transformation. The movements of deterritorialization that emerge within the writings and artistic production of Richard Mosse, Chris Abani, Leslie Marmon Silko, Thomas King and Rawi Hage provide possibilities for reflection at the thresholds of different male subjects in crisis. This project first addresses the underlying Thing that moves in between territories and confounds the desire to capture its essence; instead, following Deleuze and Guattari, it moves along with the male subjects’ nomadic movements as they become desubjectified simulacra in various sites of unlearning. In Richard Mosse’s Incoming and The Castle, for example, such a site of unlearning separates the materiality of the displaced from its image and informs discourse about the ways in which representation endangers, limits and violates existence. Through Abani’s GraceLand, this project further investigates modes of liminality and initiation ceremonies and acknowledges the lived experiences of male subjects in different cultural structures. In Rawi Hage’s novels, I explore the ways masculinity arranges or rearranges itself creatively in acts of performance. The dissertation also again turns to liminality by way of Leslie Marmon Silko’s Ceremony, and Thomas King’s post-apocalyptic narrative of identity. In this way, the harmonious conjunction of Indigenous voices and Indigenous and migrant literatures attempts to locate where these lines of escape might come together, refuse to cross, or crumble back upon themselves in flows of violence.