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1
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.
Повний текст джерелаАнотація:
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.
2
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.
Повний текст джерелаАнотація:
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.
3
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерелаАнотація:
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.
Повний текст джерела
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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.
Повний текст джерела
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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.
Повний текст джерелаАнотація:
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.
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Mazur-Lejman, Katarzyna. "Katabasis as a Category of Maturity Initiation and Nekyia Motifs in Contemporary Drama for Children and Adolescents." Tekstualia 4, no. 71 (December 19, 2022): 53–66. http://dx.doi.org/10.5604/01.3001.0016.1852.
Повний текст джерелаАнотація:
The subject of the article is the use of the katabasis, its transformations and resulting meanings in contemporary drama for children and adolescents. There are depictions of the afterlife in Polish and foreign drama that play with the tradition of such representations. One fi nds unusual, child-like heroes who decide to cross the border between the world of the living and the dead. Their wandering through the afterlife can be associated with initiation, which brings to mind both the antiquity and the Christian tradition. The problem of nekia is also discussed in connection with the liminal character of the play, shedding light on the functions of the characters that appear post-mortem.
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Babcock, Grace. "Dreams, Doors, and Death: Exploring Liminal Space and Mortality in Exit West and The Farming of Bones." Digital Literature Review 9 (April 15, 2022): 72–81. http://dx.doi.org/10.33043/dlr.9.1.72-81.
Повний текст джерелаАнотація:
Oftentimes, the most complicated narratives challenge the permanence of death by emphasizing the impermanence of the human experience. This is frequently accomplished through the creation of liminal spaces in text, which become almost purgatorial in their function. Here, characters choose to confront and embrace the inevitability of death or to reemerge into life. In Edwidge Danticat’s The Farming of Bones, the linear historical narrative her main character Amabelle creates is interspersed with bolded sequences that draw from both her memories and her dreams. In order to come to terms with the trauma of the Haitian Massacre, these chapters communicate Amabelle’s physical and psychological turmoil. Similarly, Moshin Hamid’s Exit West centers on refugees Nadia and Saeed's multiple passages through doors blackened by the sudden, spontaneous creation of international portals. As the couple moves through several doors and across several borders, their relationship to each other and themselves constantly evolves. Amabelle’s dreams are manifestations of her acceptance of death and embrace of her mortality, while the portal-doors function as avenues for rebirth. Thus, Hamid and Danticat explore the complicated relationship human beings have with death and mortality in the wake of trauma through their rich descriptions of liminal space.
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Georgievska-Shine, Aneta. "‘Man carries all animals within himself’." Netherlands Yearbook for History of Art / Nederlands Kunsthistorisch Jaarboek Online 71, no. 1 (November 3, 2022): 216–47. http://dx.doi.org/10.1163/22145966-07101009.
Повний текст джерелаАнотація:
This article addresses Rubens’s perspective on the human-animal by focusing on the satyr as one of his favourite mythological characters. This profoundly liminal being appears in a variety of roles throughout his oeuvre, including several paintings that remained in his private collection. In some of them, the satyr is primarily a figure for unbridled lustfulness and sensuality. In many others, however, this hybrid creature appears to hold the key to some of the mysteries of nature itself. Another facet of this analysis concerns the long-standing connection between this mythological character and literary satire. Rubens’s satyr-themed images bear a number of salient qualities of this literary genre as one that destabilizes boundaries: between the beautiful and the repulsive, the tragic and the comical, the sublime and the grotesque.
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Ahmed, Naveera. "Liminal Phases, Domestic Spaces:." Crossings: A Journal of English Studies 2, no. 1 (September 1, 2009): 101–8. http://dx.doi.org/10.59817/cjes.v2i1.401.
Повний текст джерелаАнотація:
A liminal space / phase is a dimension of in-betweens’ where two identities can co-exist. Objects and traditions brought from home countries into foreign domesticities strengthen cultural identities; however, they are also symptomatic of the mourning process that is a part of the re[1]homing process. In Interpreter of Maladies, Lahiri’s characters grow more accustomed to living in foreign dwellings, and learn to negotiate between the culture, food and traditions of their home and ‘host’ country’ Lahiri also explores the effects that personal conflicts have on hybrid domesticities.
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Holland, L. "“I am something that you’ll never understand”." Journal of Popular Music Studies 36, no. 1 (March 1, 2024): 79–105. http://dx.doi.org/10.1525/jpms.2024.36.1.79.
Повний текст джерелаАнотація:
Prince’s alter-ego Camille is an elusive character, not least because they never officially existed. Camille was an album created and test-pressed by Prince between September and November of 1986, which he planned to release without his name attached; all production, writing, and vocals were to be credited to the mysterious and fictional Camille. Though Prince abandoned the Camille album in November 1986, he continued to engage with the character for years afterward, composing more Camille songs, writing Camille into the original draft of Graffiti Bridge, and including Camille in the Lovesexy Tour booklet (1988-1989). Camille as a character is inherently liminal: they had no assigned gender, being referred to as he or she in different mediums; no corporeal body, as they existed only as a pitch-altered voice; and did not exist as an established character, because the Camille album was never officially released. In this paper, I argue that Prince’s Camille exists as a trans* caricature, meaning the character inhabits multiple stereotypes attributed to trans people, specifically trans women and transfemmes. To do this, I delve into the construction of the character and compare their depiction to an historic trans* caricature, the character Alexina from Oscar Panizza’s short story, “A Scandal at the Convent” (1893), based on real-life White intersex person Herculine Barbin. I compare these characters to show how they were both constructed as trans* caricatures similarly but with crucial differences due to Prince’s and Camille’s Blackness. I argue then that in Camille we can situate an echo of Prince, an unmastered version who is predatory, animalistic, and inhabits transphobic stereotypes, and who, crucially, was then subsumed into Prince’s own canon. By understanding this construction of Camille, we can more fully understand the taboo ways in which Prince queered the boundaries of his performance, and of Black masculinity, throughout his career.
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Widyaevan, Dea Aulia, and Iqbal Prabawa Wiguna. "INTERIOR MISE-EN SCENE IN ASIAN HORROR FILM’S SETTINGS." Capture : Jurnal Seni Media Rekam 13, no. 1 (January 24, 2022): 51–70. http://dx.doi.org/10.33153/capture.v13i1.3971.
Повний текст джерелаАнотація:
Interior design is a process of conditioning a specific atmosphere, which relates to the concept of 'staging space.' As interior design is inherently designed to create an illusory world, the 'illusive, simulative' space can be used interchangeably with the real-imagined space of interior design and cinema. This article will examine three horror films to focus on how interior mise-en-scene is used to create a horror atmosphere. The films A Mother's Love, Tatami, and POB embodied semantic meanings into their spatial settings, serving as a projection of the characters; psyche, and story plots. A rhetorical visual method is used to interpret the relationship between spatial language, camera angle, character, and story plot. The research discovers that spatial language is an instrument of terror, as repeated patterns of liminal space, backlighting lights, and dream scene metaphors enhance the properties and camera angles to elicit an emotion of horror.
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Feng, Yi. "Mimicry and Masquerade in Faulkner’s American Indian Characters." Journal of Foreign Languages and Cultures 4, no. 2 (December 28, 2020): 90–103. http://dx.doi.org/10.53397/hunnu.jflc.202002009.
Повний текст джерелаАнотація:
Faulkner once said that he made up his American native characters out of his imagination. His American Indian characters are hybrid and grotesque, a disturbing and troubling presence in his work. Yet some critics point out that the construction of Faulkner’s American Indians in Yoknapatawpha is not created out of a cultural vacuum and Faulkner assimilated both local and national popular thinking about American Indian people as presented in his stories. Homi K. Bhabha argues that the narration of a nation is a double address, and there is a split between the pedagogical narrative and the performative narrative of a nation. The pedagogical narrative is horizontal and historicist, which intends to indicate the people as one, whereas the performative narrative obscures the nation’s self as one and shows the heterogeneity of the nation. Bhabha argues that there exists a liminal space, a temporality of the “in-between,” in which the nation splits within itself, articulating the heterogeneity of its people rather than the homogeneity. Jacques Lacan’s paradigm of the relationship between the subject and the Other is helpful in the understanding of Bhabha’s national narration as a double address. I argue that Lacan’s paradigm of the intersection of the subject and the Other shows the liminal space of the national narrative by Bhabha. By combining Bhabha’s double narrative of the nation and Lacan’s graph on the subject and the Other, we could have a new understanding of Faulkner’s American Indian characters in his stories. In this essay, I show how some of Faulkner’s American Indian narratives are depicted as the Other, which reflects the characteristics of the pedagogical narrative; and how others can be read as the performative narrative due to the multiple effects of the mimicry of the American Indian characters such as Ikkemotubbe and Sam Fathers. I argue that Faulkner’s American Indian narratives are twisted and obscure which can be read as a double narrative, with both the characteristics of the pedagogical and the performative narrative. The narrative of American Indian characters can be regarded as happening in a liminal space where race is fluid and hybrid.
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Chettle, Christine. "Graphic Haunting: Illustration and Excluded Masculinity in Charles Dickens's Nicholas Nickleby (1838–9) and A Christmas Carol (1843)." Victoriographies 4, no. 1 (May 2014): 24–45. http://dx.doi.org/10.3366/vic.2014.0149.
Повний текст джерелаАнотація:
Illustrations of Dickens's texts have often been seen as offering a moral encoding in which physical symmetry represents moral beauty. However, this reading does not explain the representation of more socially deviant personae, such as Nicholas Nickleby's Smike and A Christmas Carol's Scrooge. A comparison between the ‘ghost’ text and the ‘non-ghost’ text demonstrates the social breadth of the tension between illustration and text (or, as I term it, graphic haunting), due to the ability of this genre-crossing tension to uncover ‘other’ experiences haunting idealised formations of community. Fluctuations of line (Nickleby) and of colour (Carol) encode social liminality: Smike displays elements of both physical and intellectual or cognitive disability; Scrooge has no physical or mental disability but does have emotional scarring). The development of Smike's character through the Nickleby illustrations moves him from an outcast status to a place of pathos in which the audience can sympathise with him; the development of Scrooge's character in the Carol illustrations moves him to a place in which Scrooge empathises with outcast members of his contemporary society. By dramatising the emotional reality of male characters displaced from their communities, Dickens's graphically haunted texts explore the formation and permanency of a liminal masculinity from multiple angles, and consequently, question the social structures which produce exclusion.
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Angeli, Silvia. "From the margins: Alice Rohrwacher’s liminal adolescents." Journal of Italian Cinema & Media Studies 8, no. 3 (June 1, 2020): 339–56. http://dx.doi.org/10.1386/jicms_00026_1.
Повний текст джерелаАнотація:
To date, adolescents have occupied prominent positions in all three of Alice Rohrwacher’s feature films – from her debut Corpo celeste (Heavenly Bodies) (2011a), to the critically acclaimed Le meraviglie (The Wonders) (2014) and, finally, to her latest work Lazzaro felice (Happy as Lazzaro) (2018). Being neither children nor adults, teenagers inhabit a biologically and ideologically ambiguous position within society, a precarious collocation that has often been referred to as ‘liminal’. In her films, Rohrwacher enhances her characters’ inherent liminality by (dis-)placing them, both physically and metaphorically, at the margins of society. However, it is their spatial and social exclusion and their position of subordination to power that allows them to identify alternative behaviours that oppose the dominant ideology within their social environments. Making use of the notions of marginality and liminality, this article explores the implications of the director’s employment of adolescent characters to critique Italian mainstream society.
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SMITH, AYANA. "Blues, criticism, and the signifying trickster." Popular Music 24, no. 2 (May 2005): 179–91. http://dx.doi.org/10.1017/s0261143005000449.
Повний текст джерелаАнотація:
Scholars in the field of literary theory have defined clearly the role of signifying in African-American literature. This article identifies one aspect of the signifying tradition and its influence on the early blues tradition. Since the Signifying Monkey is the ultimate trickster in the African-American narrative tradition, this article presents evidence for considering the blues singer as a trickster figure at several different levels. First, the singer identifies with the trickster's character traits through pseudo-autobiographical content in song narratives, particularly in expressing socially aggressive or unacceptable exploits. Second, the trickster figure can be perceived as the singer's alter ego, as in songs about the boll weevil and similar folk characters. Third, the topics or tropes associated with crossroads and railways, used frequently in blues texts, relate to the liminal nature of Esu-Elegbara (the African ancestor of the Signifying Monkey), who embodies the boundary between the word and its (mis)interpretation.
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MacArtney, John I., Alex Broom, Emma Kirby, Phillip Good, and Julia Wootton. "The Liminal and the Parallax." Qualitative Health Research 27, no. 5 (July 9, 2016): 623–33. http://dx.doi.org/10.1177/1049732315618938.
Повний текст джерелаАнотація:
Transitions to palliative care can involve a shift in philosophy from life-prolonging to life-enhancing care. People living with a life-limiting illness will often receive palliative care through specialist outpatient clinics, while also being cared for by another medical specialty. Experiences of this point of care have been described as being liminal in character, that is, somewhere between living and dying. Drawing on experiences of illness and care taken from semistructured interviews with 30 palliative care outpatients in Australia, we found that this phase was frequently understood as concurrently living and dying. We suggest that this is a “parallax experience” involving narratives of a coherent linear self that is able to understand both realities, in a way that acknowledges the benefits of being multiple. These findings have significant implications for the ways in which palliative care is understood and how the self and subjectivity might be conceptualized at the end of life.
22
Han, Eun-ju. "The Narrative as Performance and Character of Liminal Space in “Journey to Mujin”." Literary Criticism 77 (September 30, 2020): 293–330. http://dx.doi.org/10.31313/lc.2020.09.77.293.
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Van Zyl, D. "'Ek is besig om iemand heeltemal anders te word ...': die ontginning van liminaliteit in Vaselinetjie deur Anoeschka von Meck." Literator 27, no. 1 (July 30, 2006): 39–56. http://dx.doi.org/10.4102/lit.v27i1.178.
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'I am becoming someone completely different …': the utilisation of liminality in Vaselinetjie (Little Vaseline) by Anoeschka von Meck The concepts of liminality, transition and borders are utilised extensively in “Vaselinetjie” by Anoeschka von Meck (2004). This is especially the case regarding her use of characterisation, focalisation, time and space (including place and landscape) in the construction of identity. As a liminal character, Vaseline finds herself in different kinds of liminal spaces on a regular basis, like the children’s home, which is foregrounded in the novel, as well as in consecutive preliminal, liminal and postliminal phases. The children’s home is an essentially liminal space, but from the perspective of Vaseline it is firstly gradually transformed into a place to which meaning is attached, and secondly to a landscape of belonging, as she expresses her solidarity with the scorned group of children in the home. On the one hand the children’s home is characterised by a certain liminal essence, but on the other hand it can be regarded as “a realm of pure possibility” (Turner, 1967:97).
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Peng, Gang, James W. Minett, and William S. Y. Wang. "Cultural background influences the liminal perception of Chinese characters: An ERP study." Journal of Neurolinguistics 23, no. 4 (July 2010): 416–26. http://dx.doi.org/10.1016/j.jneuroling.2010.03.004.
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Du Plooy, H. "Afstand en belewenis: liminale ruimtes en oorlewing in Niggie deur Ingrid Winterbach." Literator 27, no. 1 (July 30, 2006): 1–22. http://dx.doi.org/10.4102/lit.v27i1.176.
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Distance and experience/endurance: liminal spaces and survival in Ingrid Winterbach’s Niggie (Cousin) In this article aspects of Ingrid Winterbach’s novel, “Niggie” (“Cousin”), which is set against the backdrop of the last months of the Anglo-Boer War (1899-1902) are analysed. The geographical (spatial) and psychological isolation of the characters and the influence of the historical situation on the psyche of the characters are discussed. Special attention is paid to the relation of the characters to nature. The main characters seem to find themselves in a series of liminal situations. The war experiences force them to accept the inevitable, but also to find ways and means to transcend personal and collective trauma. Though they do change irrevocably and have to exploit their own creativity and psychological resources to the utmost, they do survive and eventually continue their lives under more normal circumstances. The novel explores the experience of trauma and the possibility and quality of survival, but the sensitive analysis of the human aspects of the specific historical circumstances has a wider resonance – so that the novel can be regarded as a historical novel about the future.
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Jevremović, Ivana. "Hybridity in and beyond architecture: Liminal conditions." SAJ - Serbian Architectural Journal 9, no. 3 (2017): 239–62. http://dx.doi.org/10.5937/saj1703239j.
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The focus of this research is on hybrids and hybridity, with the emphasis on their liminal character - programme and formal non-finiteness. This paper presents a part of an ongoing doctoral research concerning theoretical frame for discussion and defining hybridity in architectural theory and practice. It deliberates hybridity through the social and humanistic discourse as well as theory of architecture in the context of both culture and architecture. The research describes hybrid as a condition, which can be observed through the concept of liminality and constant transformations, as opposed to finiteness of any kind. In this context, the aim of this paper is to locate and discuss hybridity in the contemporary architectural discourse, on the basis of etymological and connotative characteristics established through the architectural theory and other relevant disciplines in the field of social and humanistic sciences.
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Liebenberg, Deon. "The Trickster as Personification of Primordial Chaos." Anthropos 118, no. 1 (2023): 187–96. http://dx.doi.org/10.5771/0257-9774-2023-1-187.
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The very widespread occurrence of the trickster figure in myth and folklore has prompted scholars to explain this fascinating character in terms of universal features of the human mind or the human condition. This, however, has the effect of obscuring the sophistication of the cosmological thought that generally underpins the character and behaviour of this character. This article argues that the trickster’s flagrant disregard for boundaries, categories, and social decorum, as well as his androgyny, his shape-shifting nature, his manifold other manifestations of ambivalence as well as his contradictory role of culture hero are expressions, in narrative form, of a cosmological concept that is also expressed in rites of inversion and in liminal states. [trickster, liminality, symbolic inversion, continuous and discrete, differentiation of primordial wholeness]
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Brown, Katherine A. "Confession and Social Space in the Decameron." Quaderni d'italianistica 38, no. 2 (February 4, 2019): 41–63. http://dx.doi.org/10.33137/q.i..v38i2.32231.
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This essay argues that confession in the Decameron is a liminal activity, which affords characters and readers a milieu removed from the space of society in which transformation and ultimately a temporary moment of transcendence of the secular world (almost a return to paradise) are achieved. In the tales of the Decameron in which confession is central to the narrative (novelle I.1, III.3, and VII.5), the liminal is a locus of trickery. Boccaccio subverts the notion of spiritual transcendence traditionally associated with the sacrament of confession and playfully substitutes the profane and the divine for each other. The parallels these stories establish between confession as a liminal activity and reading the Decameron suggests that Boccaccio’s masterpiece has the potential to transform its public in social but not necessarily metaphysical ways.
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Haaland, Torunn. "The Art of Writing from the Border: Narrative Decentralisation and Pluricultural Identity Construction in Tomizza’s Franziska (1996)." Quaderni d'italianistica 41, no. 1 (December 31, 2020): 95–116. http://dx.doi.org/10.33137/q.i..v41i1.35896.
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This article examines one of Tomizza’s unjustifiably understudied texts within two primary contexts: one formed around the historical, political and social background of early 20th-Century Trieste, the other around the author’s recurrent concern with hybrid characters and geopolitical, cultural and linguistic borderlands. At the surface, these contexts are dramatised to revisit a political and ethnic conflict from the viewpoint of one of its most invisible victims. To uncover the novel’s more deep-running operations, however, this study takes a narratological approach and applies perspectives associated with imagology and linguistic hybridity as well as theories of border writing and border-crossing. Whereas the narrative fusion of historical reconstruction, self-reflexive commentaries, epistolary testimonies and mythical fictionalisations creates a discourse of literary fragmentation and deterritorialisation, the protagonist’s biographical background and socio-culturally embedded experiences are interlaced to represent a liminal character formed by dual perspectives, plurilingual enunciations and incompatible loyalties. Franziska exists between history and myth and as she increasingly acquires different cultural codes, she also comes to linger, irreconcilably, between different and conflicting cultural civilisations. Just as the multidimensional text questions norms of literary unity, so does this fluid character expose stereotypical conceptions of ethnic identities. As an amalgamated device, the self-referential narrator and the border crosser he constructs expose not only ideals of linguistic and cultural purity but also totalitarian conceptions of geographical and cultural borders. Ultimately, this experimental literary operation implicates the reader in a democratic literacy of multiple perspectives that questions normative notions of identities, belonging, culture and nationhood.
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Udumukwu, Onyemaechi, and Onyinyechi Ugwuezumba. "HYBRID IDENTITY IN NIYI OSUNDARE'S VILLAGE VOICES AND SONGS OF THE MARKETPLACE." Ahyu: A Journal of Language and Literature 2 (December 4, 2018): 174–79. http://dx.doi.org/10.56666/ahyu.v2i.91.
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Ethnic and social differences have continued to manifest in postcolonial African countries often leading to great animosity and bloody clashes. This paper has used Homi K. Bhabha's ideologies of difference and hybridity to study selected poems from Niyi Osundare's Village Voices and Songs of the Marketplace. Such a study is important in order to bring to light the underlying political, ethnic, cultural, religious and social differences reflected in contemporary Nigerian literature and the effects of colonialism on individual private and public experiences. Theresearchers have applied deconstruction of discourse to the selected poems in order to cancel the binary opposition created by the apparent reflection of difference and to bring out the liminal situations that lead to what Homi Bhabha has called hybrid identity. The analysis of selected poems has shown that postcolonial Nigeria is suspended in a liminal space where traditional differences have been dissolved giving way to unrecognizable characters whose actions and inactions have helped to create a third class of hybrid characters.
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Wolf, Allison. "The Liminality of Loki." Scandinavian-Canadian Studies 27 (January 1, 2020): 106–13. http://dx.doi.org/10.29173/scancan179.
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ABSTRACT: This article, the 2018 winner of the AASSC Gurli Aagaard Woods Undergraduate Publication Award, compares Victor Turner’s concept of liminality with common characteristics of trickster figures to show how the Norse god Loki is not only a trickster figure, but also a liminal one. As this article demonstrates, both trickster and liminal figures comment on a society’s social norms by challenging those social norms in order to enact change. Therefore, by closely examining the boundary-breaking nature of trickster figures as it relates to liminality, this article provides a fuller understanding of Loki’s character and his motivations. This critical analysis then points to the significance of what the presence of these figures could have meant for Old Norse society, as well as society today.
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Flatt, Michael. "“Too Red a Herring”: The Unattainable Self in." Samuel Beckett Today / Aujourd'hui 23, no. 1 (August 1, 2012): 353–67. http://dx.doi.org/10.1163/18757405-023001023.
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Brian McHale posits that the distinction between the modern and the post-modern lies in their respective emphases upon epistemological and ontological considerations. Samuel Beckett, long considered a liminal author, provides a bridge between the modern and the postmodern in in the shape (or lack thereof) of his unnamed character. Viewed from this light, provides answers for and yet demands further questions regarding both the modern and the post-modern.
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Rojo, Mayra Citlalli Gómez. "Notes for a manifesto: Singular creatures/grafts and soil." Technoetic Arts 18, no. 2-3 (October 1, 2020): 105–12. http://dx.doi.org/10.1386/tear_00030_1.
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This text is an artistic political friction and therefore its intention is to be a manifesto. It follows Donna Haraway’s thought in its character of situated experience and knowledge, the narrative voice is of the singular creatures that question the interactions with the earth as soil and the plants, as well as the hybrids and the grafts in their contradictions and liminal character in the history of agricultural technology and of the domestication of the earth/soil. It is an approach to the notion nosótrica of the earth/soil, coming from the language Tojol’ab’al of the Indigenous people of Mexico and the meaning of knowing how to listen, studied by Carlos Lenkersdorf.
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Handley, Agata G. "On (Not) Being Milton: Tony Harrison’s Liminal Voice." Text Matters, no. 6 (November 23, 2016): 276–90. http://dx.doi.org/10.1515/texmat-2016-0017.
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Tony Harrison’s poetry is rooted in the experience of a man who came out of the working class of Leeds and who, avowedly, became a poet and a stranger to his own community. As Harrison duly noted in one interview, from the moment he began his formal education at Leeds Grammar School, he has never felt fully at home in either the world of literature or the world of his working class background, preferring to continually transgress their boundaries and be subject to perpetual change.
The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain.
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Gil Naveira, Isabel. "The Use of Liminality in the Deconstruction of Women’s Roles: Rudolfo Anaya’s Bless me, Ultima." ODISEA. Revista de estudios ingleses, no. 18 (April 26, 2018): 149. http://dx.doi.org/10.25115/odisea.v0i18.1923.
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ABSTRACT During the 1970s Chicana feminist movement, Chicanas rejected the widely established image of the Virgin of Guadalupe vs. Malinche, which limited the liminal position they were claiming. In this essay I will examine Rudolfo Anaya’s treatment of female characters in his novel Bless Me, Ultima (1972), bringing to light the latent disruption of this duality. It is my contention that Anaya’s aim is establishing a dialogue between the self and the other(s) through liminal practices, spaces and times, which leads to a transformation of liminality into new opportunities for female characters in novels and hence to a deconstruction of Chicanas’ roles in society.KEYWORDS: liminality; deconstruction; Virgin; Malinche; Chicanas; gender rolesRESUMENDurante el movimiento feminista de las chicanas en los años 70, las chicanas rechazaron la ampliamente establecida imagen de la Virgen de Guadalupe frente a Malinche, que limitaba la posición liminal que reclamaban. En este artículo examinaré el tratamiento de los personajes femeninos de Rudolfo Anaya en su novela Bless me, Ultima (1972), sacando a la luz la latente alteración de esta dualidad. En mi opinión el objetivo de Anaya es establecer un diálogo entre el yo y la otra/las otras a través de prácticas, espacios y tiempos liminales, lo que lleva a una trasformación de la liminalidad en nuevas oportunidades para los personajes femeninos de las novelas y por ello a una deconstrucción de los roles de las chicanas en la sociedad.PALABRAS CLAVE: liminalidad; deconstrucción; Virgen; Malinche; Chicanas; roles de género
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Nielsen, Emma, and Sofie Pedersen. "Enabling Spaces; Rethinking Materiality and the Invitational Character of Institutional Environments." International Journal of Environmental Research and Public Health 19, no. 9 (May 4, 2022): 5577. http://dx.doi.org/10.3390/ijerph19095577.
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This article explores how physical surroundings may be integrated as a supportive measure in social work efforts. Drawing on ecological psychology and the concept of liminality, the article presents a case study of Kofoed’s School (KS), a social institution in Copenhagen, Denmark. In recent years, KS has undergone a major renovation, opening up previously sheltered workshops to the public. By creating liminal spaces of possibility, where students can take up “both/and” positions allowing for a multitude of ways to participate, students are experiencing increased support and inclusion, which contributes to a growing feeling of citizenship and well-being. Drawing on participant observations and interviews with students, staff members, as well as customers at the school’s shops, we explore how the architectural layout may facilitate students’ flexible and fluid movements between more or less sheltered positions and further discuss how this flexibility may become supportive for their personal development and well-being. We propose to think of such spaces of possibility as enabling spaces, where inclusive architecture contributes to the creation of new possibilities for participation for people in marginalized life positions. This, we suggest, holds a great potential for social work efforts for people experiencing complex social vulnerability.
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Coriale, Danielle. "Gaskell's Naturalist." Nineteenth-Century Literature 63, no. 3 (December 1, 2008): 346–75. http://dx.doi.org/10.1525/ncl.2008.63.3.346.
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This essay situates Elizabeth Gaskell's industrial novel Mary Barton (1848) within early-Victorian discourses about natural history by studying the figure of the working-class naturalist, Job Legh. Though often regarded as a peripheral character in critical treatments of the novel, Job Legh's presence in Mary Barton suggests the possibilities and limitations that natural history presented for writers struggling to represent the turbulent social and political conditions of England during the 1840s. At times, Job's naturalist activities seem to offer a utopian alternative to the ““dangerous”” Chartist politics practiced by other characters in the novel. At other times, however, Job's knowledge and use of classificatory language alienates him from the working-class community in which he is embedded, a community otherwise excluded from the ““republic of science.”” In the latter part of this essay, I argue that Gaskell, by aligning herself with the conflicted naturalist she imagined, reveals the liminality of her own position as a novelist writing about working-class characters for an audience of middle-class readers. While Gaskell shares this liminal position with her naturalist, however, she does not share his taxonomic vision; rather, she draws on a narrative mode of natural history to develop a sympathetic account of the working classes, a mode that attends to the habits, habitats, and environmental conditions that affect the behaviors and interactions of a living thing. By situating Mary Barton within the naturalist discourses that helped produce it, this essay illustrates the limited political value of Gaskell's working-class naturalist while also suggesting the deep entanglement of novels and natural histories in Victorian Britain.
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Murath, Antonia. "Invisible Kingship." European Journal of Scandinavian Studies 50, no. 2 (October 25, 2020): 257–74. http://dx.doi.org/10.1515/ejss-2020-2002.
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AbstractLike all maiden kings, Nítíða initially rejects her suitors only to accept marriage eventually. Rather than accepting the saga’s ‘happy ending’ as its heroine’s choice, this article argues that her kingship is cast as liminal in Victor Turner’s sense. Her character reflects liminal traits: visual, temporal and sexual ambiguity, mediated through the motif of invisibility, body-thing relations and notions of space. Nítíða’s kingship is structured as a transition to the role of a queen, which she does not take on voluntarily, but because she lacks choice in the face of her increasingly fragile power. Her suitor Livorius ultimately succeeds neither by trickery, military power, nor a courtly approach, but by employing structures Nítíða is excluded from due to her sex. Spared physical violence, she nonetheless suffers structural violence coercing her into a norm-appropriate role and erasing her kingship.
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Navrotskaya, Anna. "La singularité en relation : la performance dans le théâtre et la société contemporains." Symbolon 22, no. 1 (2021): 19–27. http://dx.doi.org/10.46522/s.2021.01.02.
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This article addresses the question of consistent presence of “postdramatic” performative elements in contemporary theater staging. It considers artistic production and everyday behavior as two related processes supported by individual creative capacity inherent to every human being. Both an individual self in its day-to-day exchanges, and a theater character within a play are maintained by this capacity to process the unknown and function in the presence of the unpredictable. In the “postmodern” interrelated and multifaceted world this ability becomes crucial for an individual as well as for the society. It is made possible by a relational network created by continuous performative actions and relies on a cultural space relatively free of codified behavior that can be defined as liminal. Contemporary theater in its staging practices and in its active involvement of the spectator can arguably function as this liminal space indispensable for culture as a whole.
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Dr. Sarah Syed Kazmi and Ms. Esha tir Raaziah. "Liminality and Gender Fluidity in Shakespearian Dramaturgy: A Postmodern Perspective." Journal of European Studies (JES) 38, no. 2 (July 1, 2022): 64–74. http://dx.doi.org/10.56384/jes.v38i2.256.
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The article seeks to compare and contrast the critical canon based on transvestism with deliberations upon androgyny. The postmodern approach explores the liminal spaces in Shakespearian dramaturgy where rigid, hide-bound compartmentalization of dichotomies in gender fuse with a fluid, liminal space of hybrid interface. The earlier readings of misogyny and chauvinism into Shakespearian heroines’ assumption of the male identity open vistas in the liminal space where these characters are conferred a privilege to navigate spaces beyond conventional fixities. By subjecting gender binaries to artistic rendition and critical canon, Shakespearian dramas offer insight into the socio-political debate around gender roles and responsibilities. By breaking free with the status quo, Shakespeare's female protagonists emerge more empowered and emancipated in their deft handling of crisis where cross-dressing only serves as an expedient measure to earn them the requisite mobility to the echelons of power. On the other hand, it is on account of their intellectual acumen that poised on a critical juncture they are able to trigger a denouement of the dramatic complication.
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Sidhiswara, Ida Bagus Putra Ananta. "AMBIVALENCE IN MOHAMMED KAMICI EL-HASSANI’S LE MOUCHOIR." Poetika 10, no. 1 (June 30, 2022): 1. http://dx.doi.org/10.22146/poetika.v10i1.70440.
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The present study discusses the ambivalent behavior found in the character(s) in a francophone novel written by a third world writer. This ambivalence is represented by the attitude of the East that is against the colonialists on the one hand, but admires them and imitates their identities and attitudes on the other. This ambivalent discourse is widely represented in a francophone work entitled Le Mouchoir (1987) by Mohamed Kacimi El-Hassani. This novel satirically tells about Algeria in the post-colonial period and the narrator’s efforts to oppose colonialism. Textual citations and pieces of evidence from the novel that are used to support the analysis are those that are related to postcolonial and ambivalence issues. The analysis is also supported by historical evidence of French colonialists’ behavior towards indigenous Maghreb. The interpretation of the findings is supported by Homi Bhabha's ambivalence theory. Moreover, this study was conducted using Fairclough's critical discourse analysis methodology with which the textual analysis of the novel follows three levels of discourse, namely micro, meso, and macro levels. This study found that the hypocritical nature of the characters such as that demonstrated by the narrator and Mahfoud reflects the postcolonial nature of "ambivalence". This characteristic places Algerians in a "liminal space" of contestation between the narrator and Mahfoud and between Algeria and France.
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Nel, A. "Spore van migrasie en verlies in Krzysztof Kieślowski se Three colours trilogy." Literator 28, no. 2 (July 30, 2007): 1–20. http://dx.doi.org/10.4102/lit.v28i2.157.
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Traces of migration and loss in Krzysztof Kieślowski’s Three colours trilogy This article will focus on Krzysztof Kieślowski’s “Three colours trilogy”, technically a French-Polish-Swiss co-production. Kieślowski lived in the West while filming the trilogy and therefore the theme of migration can be linked to the director as well as to the films. Kieślowski’s condition, however, is not a condition of exile but rather a state of being betwixt-and-between, a hybrid composed of past and present places (Poland and Western Europe). The transition from one space to another can also be identified as a threshold experience: it is an experience of loss of all that has gone before, of absence of both before and after, of anxiety generated by loss and uncertainty, and of desire, which arises from the lack which arose from these experiences. Kieślowski’s personal transition and liminal state bring forth the themes and style of the trilogy. The characters also find themselves in transition between two worlds; they live as émigrés of the imagination, conveying the feeling of being both part and not part of their personal world. Each character, in different ways, tries to cope with the loss: Julie in “Blue”, through a threshold fixation, Karol in “White”, through wrathful revenge, and Kern in “Red”, through the strategy of disavowal.
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안숭범 and johanki. "Study on the Characters of Gumiho and Jiangshi as Marginal Men Wandering the "Liminal Space"." Journal of Popular Narrative 23, no. 3 (August 2017): 315–50. http://dx.doi.org/10.18856/jpn.2017.23.3.009.
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Horstman, Haley Kranstuber, Jenn Anderson, and Rebecca A. Kuehl. "Communicatively Making Sense of Doulas within the U.S. Master Birth Narrative: Doulas as Liminal Characters." Health Communication 32, no. 12 (November 4, 2016): 1510–19. http://dx.doi.org/10.1080/10410236.2016.1234537.
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Mrak, Anja. "Liminal Femininity: Magical Realism and the Abject in Louise Erdrich’s Tracks." ELOPE: English Language Overseas Perspectives and Enquiries 19, no. 2 (December 31, 2022): 211–21. http://dx.doi.org/10.4312/elope.19.2.211-221.
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The article examines the liminal nature of the two central female characters in Louise Erdrich’s novel Tracks. Despite appearing as opposites, Fleur and Pauline, members of the Chippewa tribe, are both portrayed as socially abject and victims of the inexorable social transformation brought about by American imperialism to establish patriarchy and capitalism. Enhanced through magical realism, their animality and monstrosity call attention to a liminal femininity trapped in a social order that seeks to subjugate it. The novel also considers female sexual agency and different modes of exerting and losing control in encounters defined by sexual objectification and the male gaze. Fleur’s and Pauline’s stories demonstrate how the female body becomes a site of colonial enterprise, which devalues, exploits, and nearly eradicates the Native American community, their culture, and philosophies.
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Koroniak, Anna. "Crystal Palace – Liminal ‘Self’ and Its Projection in Anne Rice’s Interview with the Vampire and The Vampire Lestat." Ad Americam 22 (March 28, 2021): 5–14. http://dx.doi.org/10.12797/adamericam.22.2021.22.01.
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Crystal Palace – Liminal ‘Self’ and Its Projectionin Anne Rice’s Interview with the Vampire and The Vampire Lestat
This paper offers an analysis of the liminality of the ‘Self’ and its subsequent projection onto the material world in Anne Rice’s early novels, Interview with The Vampire and The Vampire Lestat. The study is focused on two characters of the said works – Lestat de Lioncourtand his long-time companion Claudia – and aims at examining their respective‘Selves’ as preternatural beings as well as unique individuals. The research draws on Judith Butler’s and Rosi Braidotti’s theories in order to examine the physical, emotional, and mental changes the characters under go. It subsequently shows that the preternatural ‘Self’exists in a constant state of non-telic transformation, as well as that the perennial metamorphosisis continuously reflected in the characters’ material homes.
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Kling, Ádám Márton. "Shakespeare and Witchcraft in Neil Gaiman’s Marvel 1602." Eger Journal of English Studies 20 (2020): 3–18. http://dx.doi.org/10.33035/egerjes.2020.20.3.
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Representing the cultural phenomenon of witchcraft and showcasing liminal existence was of great importance in the literature of 16-17 -century England. From political pamphlets to Shakespearean stage plays, the character of the witch and the marginalized have become a central topic of conversation in early modern texts. The primary goal of this research paper is to examine how Neil Gaiman’s comic book series, Marvel 1602 adapts aspects of certain early modern English works to create a graphic narrative that explains liminality and the modern ‘witchcraze.’
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Palmer, Kelly. "Lost in space: Gold Coast characters wandering home(less)." Queensland Review 27, no. 2 (December 2020): 181–200. http://dx.doi.org/10.1017/qre.2020.15.
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AbstractThe Gold Coast is a multiply liminal space, often represented throughout mainstream media as a holidayworld in which to escape everyday life and structured work routines. Represented as a tourist destination and space for transitions – as a space in which to get lost or lose one’s self – Gold Coast locals are misrepresented as everyday tourists, criminals and dole bludgers, essentially wanderers floating around and through the city limits. Local literary fictions capture this sense of alienation among Gold Coast locals. Georgia Savage’s The House Tibet (1992), in particular, complicates local wandering, with the text representing her runaway protagonists not as living a leisurely existence but rather experiencing the idea of homemaking as a kind of labour necessitated by socioeconomic disadvantage. In this realist narrative, Savage’s depiction of adolescent homelessness advances under-represented views of the multifaceted city while dispelling tourist myths about the Gold Coast as a youthfully unburdened site. Meanwhile, the disenfranchised boys of Amy Barker’s Omega Park (2009) see themselves as aliens in their home city and wander as a means of distancing themselves from a place in which they are trapped. This interdisciplinary investigation of narratives of wandering on the Gold Coast reveals belonging as a dynamic process of placemaking and homemaking, and a privilege of post-colonial habitation and socioeconomic comfort.
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І. А. ГАЛУЦЬКИХ. "SYMBOLISM OF (POST)LIMINAL CORPORALITY IN ENGLISH POSTMODERNIST LITERARY TEXTS (in J. Winterson’s novel “Written on the Body”)." MESSENGER of Kyiv National Linguistic University. Series Philology 22, no. 2 (December 26, 2019): 140–50. http://dx.doi.org/10.32589/2311-0821.2.2019.192456.
Повний текст джерелаАнотація:
Introduction. The article focuses on one of the aspects of corporality interpretation in a literary text – on the specific features of imagery and symbolic representation of (post)liminal corporality in oneiric images of novel’s characters.The purpose. The research aims at specifying the symbolism of liminal and postliminal bodies, which textual representation in its verbal dimension becomes the object of this study.On the material of Janette Winterson’s novel “Written on the Body” by means of a complex of interpretative methods with the application of the method of conceptual tropes (metaphors, metonymies, etc.) reconstruction the analysis demonstrated complicated correlation of symbolic meaning of the imagery with their role in the text plot structure.The results obtained sustained the idea of the predominant destructive nature of the images of human body incorporated into the imagery system of the literary text under analysis and specified the symbols applied for the liminal states literary interpretation. Its results are the fragment of a full-scale cognitive-semiotic analysis of corporality as a linguopoetic category in the literary texts of English postmodernism.Conclusion. Literary corporeal symbols of (post)liminal body are marked by ambivalent nature as while implying positive events they rely on destructed body images. It contributes to generating new meaning of corporeal symbols concerned with the idea of overcoming the limits of the body in its liminal state through destruction and loss that allows renewal and passingto the next stage of life. The conclusions correlate with the tendencies of literary interpretation of traumatic and posttraumatic bodies of up-to-date society, focusing on nuances of psychological and emotional states of characters of the literary text.
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Ritumban, Raymon D. "Transformative Liminality: A Reading of Genevieve L. Asenjo’s “Pangungumusta mula sa Balaan Bukid”." Poetika 11, no. 2 (October 31, 2023): 119. http://dx.doi.org/10.22146/poetika.v11i2.90263.
Повний текст джерелаАнотація:
In 2021, Filipino writer Genevieve L. Asenjo published her short story collection titled Ang Itim na Orkidyas ng Isla Boracay. Hailed as “Best Book of Short Fiction in Filipino” during the 40th National Book Awards, it consists of narratives that delve into the entanglement of the Philippines, the United States of America, and South Korea. Specifically, in the story “Pangungumusta mula sa Balaan Bukid” (“Pangungumusta” from hereon), South Korea is imagined as a liminal space for the “migratory,” namely, the migrant workers and refugees. In postcolonial thought, a liminal space is perceived as a threshold, a doorway, or a portal where waiting happens, interactions are exchanged, and decisions are made; and as such, in The Location of Culture, theorist Homi K. Bhabha describes it as an “in-between” space of ambivalence, a “third space” where there is neither self nor other. While existing discussions on migrant workers and refugees tend to focus on identity and mobility, the novelty of this paper lies in its problematization of the transformative point of their interaction: What happens when an Overseas Filipino Worker (OFW) gets entangled with a Palestinian refugee in Seoul? How does their interaction offer new perspective on what a liminal space is? The primary method is a textual analysis of “Pangungumusta” through a postcolonial lens. The author argues that in such entanglement a liminal space becomes transformative; and so, it is that which “naghatid . . . sa isang uri ng kaluwalhatian” (ushered in a kind of glory; Asenjo, 2021: 69). This paper is composed of three primary sections: an introduction of Asenjo and her works, a presentation of the plot of “Pangungumusta” and commentary on its postmodern form, and a discussion of liminal space as imagined in the narrative, concluding that liminality is indeed transformative, that is, as the liminal space spatially brings the characters together, it at the same time spells out their ideological differences, which makes transformation possible.