Aspects of Liminality in Eilis Ni Dhuibhne's The Dancers Dancing

In this essay I refer Eilis Ni Dhuibhne’s narrative construction of the main characters and the theme of the novel The Dancers Dancing, in the context of the anthropologist Victor Turner’s concept of liminality. Thus the summer in the Gaeltacht that five teenage girls experience, can be understood as a depiction of the liminal phase in a rite of passage. Ni Dhuibhne’s differently constructed characters enlighten different aspects of liminality and through the céilí dance their experiences are exposed. Furthermore this essay suggests that Julia Kristeva’s notion of the chora, which can be associated to dance, is also relevant when describing the unbounded and unlimited process that radically can reform social structures. I conclude that the liminal space offers an area of many possibilities. It functions as a free zone where the main characters can freely explore their personal issues that trouble them, or the difficulties of their own society.

Bland äckliga fittor och kunskapsluckor : En kritisk analys av tonårstjejers sexuella agens och dess frigörande och diciplinerande potential, baserat på berättelser av barnmorskor och kuratorer

Ett använt begrepp när det gäller tonårstjejer och sexualitet är sexuell agens, att handla efter egna beslut. Avsikten med denna studie är att nå en ökad förståelse av vad som påverkar utvecklingen av sexuell agens hos tonårstjejer, utifrån berättelser av två professioner vid ungdomsmottagningar. Syftet är också att göra en kritisk analys och en sociologisk teoretisering av upplevelsen av sexuell agens samt utifrån ett maktperspektiv utreda dess disciplinerande och frigörande potential. Tidigare forskning visar främst att det finns en avsaknad av lust och kunskap hos tonårstjejer samt att deras förmåga att ta självständiga beslut i relation till sexualitet är avhängt deras agens. I denna studie genomfördes kvalitativa intervjuer med barnmorskor och kuratorer vid ungdomsmottagningar. Tematisk analysmetod användes vid tolkningsförfarandet. Det empiriska materialet visade bland annat att tonårstjejers agens är influerat av yttre påverkan, gränssättning, skam, självförtroende och kunskap. För att nå en sociologisk förståelse av det empiriska materialet har sociologiska perspektiv på sexualitet, makt samt Foucaults teori om kroppens disciplinering använts. Baserat på professionerna vid ungdomsmottagningarna visade analysen att utvecklingen av sexuell agens gynnas av kunskap och självförtroende, hämmas av påverkan och skam samt både gynnas och hämmas av gränssättning. Den fördjupade analysen visade att sexuell agens kan skapa autonoma beslut, vilket minskar sårbarheten för maktens disciplin och därmed verkar frigörande inom disciplinens egendefinierade gränser. En avslutande slutsats var att upplevelsen av sexuell agens bör förstås som främst disciplinerande.  

An analysis of Samoan reaction to The Orator (O Le Tulafale)’s Fāgogo defining Samoan identity

The Orator (O Le Tulafale) was promoted as the first Samoan language film shot in Samoa with a Samoan cast and crew. Written and directed by Samoan filmmaker Tusi Tamasese, the film succeeded at several of the movie industry’s prestigious festivals. The Orator (O Le Tulafale) is about an outcast family of a dwarf (Saili), his wife and her teenage daughter. As the main protagonist, Saili battles to overcome his fears to become a chief to save his family and land. The film’s themes are courage, love, honour , as well as hypocrisy, violence, and discrimination. A backlash by Samoans was predicted ; however, the opposite occurred. This raised the following questions: first, what is it about the film causing this reaction? It is a 106 -minute film shot in Samoa about Samoans and the Samoan culture . D espite promotional claims about the film , there have been Samoan -produced films in Samoa . Secondly, to what are Samoans really responding? Is it 1) just to the film because it is about Samoa, or 2) are they responding to themselves , and how they reacted during the act of watching the film? This implies levels of reactions in the act of watching, and examining the dominant level of response is important. To explore this, t he Samoan story telling technique of Fāgogo was used to analyse the film’s narration and narrative techniques. R. Allen’s (1993, 1997) concept of projected illusion was employed to discuss the relationship between Samoans and the film developed during the act of watching. An examination of the term Samoan and a description of the framework of Fa’a Samoa (Samoan culture) were provided. Also included were discussions of memory and its impact on Samoan cultural identity. The analysis indicated that The Orator (O Le Tulafale) acted as a memory prompt through which Samoans recalled memories confirming and defining cultural bonds. These memories constituted the essence of being Samoan. These memories were awakened, and shared as oral histories as fāgogo. The receivers appeared to interpret the shared memories to create their own memories and stories to suit their contexts, according to Facebook postings. An interpretation is that the organic sharing of memories as fā gogo created a global definition of Samoan that Samoans internationally claimed.