Breaking Down and Breaking Out: Beckett’s ‘Absolute Liminality’ in the Third Age of Capitalist Traumas

Fundação para a Ciência e a Tecnologia (FCT), Fundação Millennium bcp

Liminality informatics : an information perspective on ritual activity

Abstrakti

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.

Nature, Poetry, and Liminality in the Poetry of Robert Frost

Explores how Frost examines and configures the divide between life’s imperfections and its rewards. I am particularly interested in how Frost positions both the non-human natural world and poetry itself as intermediary (or liminal) realms that might help us live simultaneously in the worlds of reality and the imagination, or truth and beauty, or heaven and earth.

Fantasy Making the Invisible Visible: Liminality in Neil Gaiman's Neverwhere and American Gods

The purpose of this thesis was to examine the ways in which the fantasy genre is ideally positioned for discussing social issues, such as invisibility and liminality. Elements associated with invisibility, such as poverty, homelessness, and alienation, were explored within two novels by Neil Gaiman: Neverwhere and American Gods. Gaiman's application of these elements within the fantasy genre were juxtaposed with samples from other genres, including Plato's 'Parable of the Cave' and Jennifer Toth's The Mole People. Another aim was to contrast Gaiman's use of the 'beast in the sewer' metaphor with previous renditions of the myth, demonstrating how fantasy, paradoxically, offers a unique and privileged view of reality.

Enjoying the third age! Discourse, identity and liminality in extra-care communities

Extra-care housing has been an important and growing element of housing and care for older people in the United Kingdom since the 1990s. Previous studies have examined specific features and programmes within extra-care locations, but few have studied how residents negotiate social life and identity. Those that have, have noted that while extra care brings many health-related and social benefits, extra-care communities can also be difficult affective terrain. Given that many residents are now ‘ageing in place’ in extra care, it is timely to revisit these questions of identity and affect. Here we draw on the qualitative element of a three-year, mixed-method study of 14 extra-care villages and schemes run by the ExtraCare Charitable Trust. We follow Alemàn in regarding residents' ambivalent accounts of life in ExtraCare as important windows on the way in which liminal residents negotiate the dialectics of dependence and independence. However, we suggest that the dialectic of interest here is that of the third and fourth age, as described by Gilleard and Higgs. We set that dialectic within a post-structuralist/Lacanian framework in order to examine the different modes of enjoyment that liminal residents procure in ExtraCare's third age public spaces and ideals, and suggest that their complaints can be read in three ways: as statements about altered material conditions; as inter-subjective bolstering of group identity; and as fantasmatic support for liminal identities. Finally, we examine the implications that this latter psycho-social reading of residents' complaints has for enhancing and supporting residents' wellbeing.

Disorder and disconnection: parent experiences of liminality when caring for a dying child

Parents caring for a child with a life threatening or life limiting illness experience a protracted and largely unknown journey, as they and their child oscillate somewhere between life and death. Using an interpretive qualitative approach, interviews were conducted with parents (n = 25) of children who had died. Findings reveal parents’ experiences to be characterised by personal disorder and transformation as well as social marginalisation and disconnection. As such they confirm the validity of understanding these experiences as, fundamentally, one of liminality, in terms of both individual and collective response. In dissecting two inter-related dimensions of liminality, an underlying tension between how transition is subjectively experienced and how it is socially regulated is exposed. In particular, a structural failure to recognise the chronic nature of felt liminality can impede parents’ effective transition.

Crossing the Threshold: Mysticism, Liminality, and Remedios Varo’s Bordando el manto terrestre (1961–2)

In this article we propose to take up the question of the painter’s work in connection with liminality more explicitly. We will argue that the limen Varo’s heroines cross is a psychological one that takes them through a process culminating in a rebirth of the self, and that to the extent they are in-between identities and involved in a process of initiation, they can be considered liminars (Turner). We will also argue that in order to develop this theme, which culminates in her most autobiographical work, the triptych Bordando el manto terrestre (1961–2), the artist needed to find a way conceptually to bridge surrealism and her interest in mysticism. She would have found a sympathetic approach in Jung, one of the founders of psychoanalysis, who turned explicitly to the question of religion in the troubled thirties, though, as we shall see, she revised his androcentric approach. We will suggest that Jung’s writing helped the artist make a transition from surrealism to esoteric spirituality.

The ethical dilemma of expatriates in emerging economies: A liminal perspective

Adjustment to emerging economies is benefited if Western expatriates recognise they are experiencing a liminal situation, which can lead to the instrumental utilisation of coping strategies as equivalent to rites of passage between distinct ethical frameworks. Given the characteristics ascribed to rites, the ethical dilemma resulting from the simultaneous demand to abide by local rules and to respect Western ethical principles is more easily solved. Consequently, effective and sustainable adjustment is favoured. Implications for organisations and individuals are discussed.

Contemporary engagements within corridors of the past: temporal elasticity, graffiti, and the materiality of St. Rock Street, Barcelona

In a medieval Barcelonan side-street, urine, rubbish, and a bewildering array of graphic imagery splatters the narrowing walls between two major thoroughfares. A contemporary conflict between residents, unknown artists and others is played out using banners, bottles, stickers, posters, stencils, spray paint, and bodily substances. In this shadowed liminality, local and global debates are superimposed upon substructures constructed from disease, prostitution, and the Saint of the Plague. The continuing urban struggle constitutes temporal statements of dirt and purity, violence and humour, dominance and resistance, death and salvation. Like the renovated facades masking the crumbling remains of structures long neglected, the government’s literal whitewashing of the art is a temporal cover-up of a discursive symptom stretching from deeply embedded preconditions. However, from his niche in the angular bend of the alley bearing his name, the statue of St. Rock remains unblinkingly staring, raised above the contestations expressed below.

Auto-reflexividad, erografía y leitmotivs liminales en la producción narrativa de Mayra Santos-Febres (1995-2009)

La recherche, construction et révision de l’identité nationale ont très longtemps constitué les éléments propulseurs de la production littéraire et intellectuelle de Porto Rico. Pourtant vers le milieu des années 90, un nouveau consensus émerge entre les écrivains qui revendiquent massivement la fin de la littérature en tant que lieu d’où forger la conscience nationale et refuse le leadership intellectuel qui avait jusqu’alors définit le travail littéraire. Les auteurs qui commencent à se manifester à ce moment se désintéressent du nationalisme comme thème littéraire. Le militantisme politique et la volonté de confrontation, modes représentationnels caractéristiques de la génération antérieure, disparaissent pour laisser place à une écriture exploratoire, centrée sur ses propres procédés, et apparemment apolitique. Une telle perte d’ancrages nationaux et territoriaux est significative de la conscience exacerbée que possèdent ces écrivains de la complexité des dynamiques culturelles qui régissent le monde postmoderne et globalisé, ainsi que de la « valeur » et de la position « marginale » qu’on leur attribue dans l’écologie mass-médiatique culturelle actuelle. La production narrative de Mayra Santos-Febres est paradigmatique de ces changements. J’aborde dans son écriture une série de dispositifs métalittéraires, autoréflexifs, « érographiques », et historiographiques qui, bien qu’ils résistent à une catégorisation homogène, démontrent un même intérêt pour des phénomènes interstitiels. En me basant sur les concepts de liminalité, principalement depuis la perspective de Victor Turner et d’écriture auto-réflexive (Patricia Waugh, Linda Hutcheon), j’analyse le positionnement liminal qu’assume Santos-Febres dans la structure culturelle globalisée actuelle, et la façon dont sa prise de position, également liminale, c’est-à-dire, sa prise de parole et son engagement se traduisent par un rapprochement narcissique à l’exercice littéraire autant dans les formes qu’elle crée qu’au niveau sémantique, narratif et discursif. Le premier chapitre analyse les contes « Dilcia M. » et « Acto de Fe » (Pez de vidrio) comme témoignages de l’érosion du patriotisme et militantisme antérieur; « La escritora» (Pez de vidrio) qui marque pour l’auteure un passage vers une esthétique centrée sus ses propres procédés créatifs; et le roman Cualquier miércoles soy tuya qui dramatise le positionnement assumé par les écrivains dans la chaine culturelle globalisée actuelle. Le second chapitre aborde la configuration des corps, espaces urbains et de l’écriture dans El cuerpo correcto qui, à travers une exubérance sexuelle/textuelle, projette des variantes réactualisées de la traditionnelle dichotomie corps/écriture. Le troisième chapitre se penche sur la configuration du travesti dans Sirena Selena vestida de pena. J’y propose de voir le travestisme, le boléro et l’écriture comme un triple exercice métalittéraire. Le dernier chapitre aborde le procédé de re-signification littéraire des images sédimentées de subordination et d’infériorité de sujet « noir ». Nuestra Señora de la Noche se penche sur la re-signification de l’hyper-sexualisation et « exotisation » qui a cimenté la construction de « l’immoralité » de la femme noire. Fe en disfraz aborde le sadomasochisme comme espace de re-signification des schèmes de domination et soumission inscrits dans l’histoire esclavagiste de Porto Rico et du trauma qui origine, et subsiste, d’une telle hiérarchie.

Spectacle and the one-man band : technology, performing bodies, and imaginary spaces

L’étiquette « homme-orchestre » est apposée à une grande variété de musiciens qui se distinguent en jouant seuls une performance qui est normalement interprétée par plusieurs personnes. La diversité qu’a pu prendre au cours du temps cette forme n’est pas prise en compte par la culture populaire qui propose une image relativement constante de cette figure tel que vue dans les films Mary Poppins (1964) de Walt Disney et One-man Band (2005) de Pixar. Il s’agit d’un seul performeur vêtu d’un costume coloré avec une grosse caisse sur le dos, des cymbales entre les jambes, une guitare ou un autre instrument à cordes dans les mains et un petit instrument à vent fixé assez près de sa bouche pour lui permettre d’alterner le chant et le jeu instrumental. Cette thèse propose une analyse de l’homme-orchestre qui va au-delà de sa simple production musicale en situant le phénomène comme un genre spectaculaire qui transmet un contenu symbolique à travers une relation tripartite entre performance divertissante, spectateur et image. Le contenu symbolique est lié aux idées caractéristiques du Siècle des lumières tels que la liberté, l’individu et une relation avec la technologie. Il est aussi incarné simultanément par les performeurs et par la représentation de l’homme-orchestre dans l’imaginaire collectif. En même temps, chaque performance sert à réaffirmer l’image de l’homme-orchestre, une image qui par répétitions est devenue un lieu commun de la culture, existant au-delà d’un seul performeur ou d’une seule performance. L’aspect visuel de l’homme-orchestre joue un rôle important dans ce processus par une utilisation inattendue du corps, une relation causale entre corps, technologie et production musicale ainsi que par l’utilisation de vêtements colorés et d’accessoires non musicaux tels des marionnettes, des feux d’artifice ou des animaux vivants. Ces éléments spectaculaires divertissent les spectateurs, ce qui se traduit, entre autres, par un gain financier pour le performeur. Le divertissement a une fonction phatique qui facilite la communication du contenu symbolique.

'Mental mobility’ in the digital age: entrepreneurs and the online home-based business

Home-based online business ventures are an increasingly pervasive yet under-researched phenomenon. The experiences and mindset of entrepreneurs setting up and running such enterprises require better understanding. Using data from a qualitative study of 23 online home-based business entrepreneurs, we propose the augmented concept of ‘mental mobility’ to encapsulate how they approach their business activities. Drawing on Howard P. Becker's early theorising of mobility, together with Victor Turner's later notion of liminality, we conceptualise mental mobility as the process through which individuals navigate the liminal spaces between the physical and digital spheres of work and the overlapping home/workplace, enabling them to manipulate and partially reconcile the spatial, temporal and emotional tensions that are present in such work environments. Our research also holds important applications for alternative employment contexts and broader social orderings because of the increasingly pervasive and disruptive influence of technology on experiences of remunerated work.

Doing educational development ambivalently: Applying post-colonial metaphors to educational development?

Post‐colonial theories about liminality, hybridity, unhomeliness, and identity form a novel lens through which to re‐theorise educational development work. Applying these conceptual frameworks allows practitioners and the academics they work with the opportunity to problematise some of educational development’s colonial underpinnings and assumptions. They also enable an exploration of the states of betweenness that form educational developers’ identities and impact implicitly and explicitly upon the nature of their changing practices. This paper seeks to read educational development and research supervisor development in particular “against the grain”. It also seeks to illustrate these concepts through some vignettes of my academic development practice.

The risky business of doctoral management

Universities are under no less pressure to adopt risk management strategies than other public and private organisations. The risk management of doctoral education is a particularly important issue given that a doctorate is the highest academic qualification a university offers and stakes are high in terms of assuring its quality. However, intense risk management can interfere with the intellectual and pedagogical work which are essentially part of doctoral education. This paper seeks to understand how the culture of risk meets the culture of doctoral education and with what effect. The authors draw on sociological understandings of risk in the work of Anthony Giddens (2002) and Ulrich Beck (1992), the anthropological focus on liminality in the work of Mary Douglas (1990), and the psychological theorising of human error in the work of James Reason (1990). The paper concludes that risk consciousness brings its own risks—in particular, the potential transformation of a culture based on intellect into a culture based on compliance.