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This research explores the concept of placemaking in the context of sports events tourism, using the case study of the 2019 Rugby World Cup hosted in Japan. The study investigates how host cities used liminoid spaces between transport hubs and stadiums to create a festive atmosphere and articulate the identity of the place itself. Employing a novel ethnographic methodology centred around walking and participatory methods, the researcher occupied a dual tourist-researcher role, immersing himself in the liminoid space. Findings suggest that the use of such spaces was innovative and successful in creating a sense of place and developing a festive atmosphere through which visitors moved. However, the study acknowledges that these strategies may not be applicable to all sports events and that the direct experiences of visitors through ethnographic methods do not allow for empirical claims about the success of strategies or their longitudinal effects. Nevertheless, the study highlights the potential of placemaking in the periphery of sports events to enhance the visitor experience and promote the identity of the host destination.

The article is devoted to the analysis of the cultural and socio-political situation in Ukraine in the 18th century. At that time the administrative and social transformations took place, and the ethos of the old Ukrainian Cossack’s culture was replaced by the imperial order. That cultural borderline allows us to understand the philosophical and life extraordinariness of Hryhorii Skovoroda. Instead of choosing one of these socio-cultural poles, he remained “on the edge,” in a state of transition or liminality, which made his position vulnerable but at the same time free from social stereotypes. In cultural anthropology, the concept of liminality indicates a transitional position of man in the social system. A person could be in a liminal position only for a short period of time. This experience of individualization and being apart from the social system was so rare for the ordinary everyday life of collectivist cultures that made an unforgettable impression on a person. The wandering philosopher Hryhorii Skovoroda completely falls under the characteristics of a liminal hero, but at his own request, he remained in a borderline position refusing to return to an orderly social system. Therefore, considering the features of his vital liminality helps to understand deeper the phenomenon of philosophical Skovorodianism.

Polyamory is an umbrella term denoting the practice of having multiple romantic and intimate relationships with the consent of everyone involved. Within a mononormative culture, becoming polyamorous may be associated with uncertainty and a feeling of being suspended. Moreover, the preferential attitude towards monogamy marginalises polyamory as indecent and corrupt, creating feelings of shame and social isolation. Our research explored the discursive construction of polyamory in Italy by identifying the strategies used to deal with such identity construction and social recognition issues. We conducted 15 semistructured interviews with people who defined themselves as polyamorous. Our discourse analysis identified a narrative that overturns the dominant hegemonic perspective; this narrative presented monogamy as a practice generating difficulties and problems and polyamory as a thoroughly satisfying and adequate relational modality. This narrative was constructed using six discursive strategies, allowing participants to achieve three discursive purposes. By naturalising polyamory and constructing it as a stable trait, participants essentialised polyamory; by providing a normative definition of polyamory and identifying with the polyamorous community, they set up the boundaries of polyamory; finally, by moralising polyamory and attributing transformative power to it, they valorised polyamory. Overall, the definition of a polyamorous order allows for the integration of polyamory into one’s life, even if polyamorists remain a minority group trapped in the public liminality brought about by a mononormative culture.

Unemployment and precarious employment have been treated as liminal states where people’s everyday lives are rendered into an “in-between” position, a place where the uncertainty of meaning and decision-making prevail. Liminality has also been applied as a way of understanding a changing social world, implying a transformation in consciousness emanating from prolonged indeterminism. To develop a clearer understanding of coping with liminal status, we used a narrative futuring approach (i.e., a reflexive practice to elicit narratives from the viewpoint of a desired future). Twenty “letters from the future” were written by unemployed and precariously employed young adults with higher education degrees living in Crete. The letters engaged the participants in the process of critical reflection, where they imagined eutopian lifeworlds by attempting to place the prevalent “crisis story” in the background, embracing or confronting liminal status. Implications focus on how the narrative future-making approach can be applied to disentangle the complexities involved in understanding liminal states and their inherent transformative potential where both personal, interpersonal, and the broader social and societal context come into awareness.

Modern understandings of the poetic corpuses of three late medieval and early modern figures: Lal Ded, Bulleh Shah, and Kabir, have been appropriated and reappropriated to serve a particular Hindu nationalist agenda, moving far from the self-understandings these poets displayed in their work of either religious ambiguity or of transgressing boundaries between categories of religious identity in favor of spiritual discourse and intellectual exchange. These poets, through their ambiguity or active transgression of religious boundaries, display both a seriousness about categories of religious identity and their dedication to a spiritual practice and an understanding that ultimately these categorizations are to be transcended. These poets are not interested in political motivations or community formation around a particular religious identity. This is evidenced in how these three figures themselves identified religiously in their poems, the ways in which they inhabit various identities and senses of self, and in their personal relationships with these religious categories. The lineages that spring from their work share a similar seriousness of spiritual practice but do begin to get caught up in the vicissitudes of forming an identity. This is evidenced in the subsequent premodern development of the reception of these poets and their poetry — how groups that received their poetic corpuses and incorporated them as part of their premodern community formation understood categories of religious identity. The discourse of appropriating these figures in the postcolonial period is about politicizing them, creating a public-facing identity and ideology as a means to a particular Hindu Nationalist end, while making the seriousness with which they consider a practical spiritual life secondary. Thus, the poets whose self-understanding and conceptions of religious identity involved transgressing categorization in favor of spiritual discourse and exchange, who spoke from various senses of self, imbibing and adopting the languages of other identities, are now being categorized as strictly existing within rigid boundaries of identity to serve both Hindu Nationalist framings of South Asian religious identity, as well as minority community responses to these framings.

Vécus comme un rite de passage, la traversée des frontières et le devenir-autre sont au cœur de A Time of Gifts de Patrick Leigh Fermor (1977). Ce récit d’un voyage entrepris à travers l’Europe centrale en 1933-1934 recrée des géographies imaginaires de la proximité et de la distance, de l’identité et de l’altérité. Révélant la pérennité du regard impérial, les territoires étrangers sont initialement appréhendés et décrits au prisme dominant de la langue anglaise. Mais les pratiques réflexives favorisées par le voyage pédestre et l’hospitalité contribuent également à brouiller les frontières entre le chez-soi et l’ailleurs. A Time of Gifts est ainsi rythmé par le franchissement de multiples seuils qui dessinent une poétique de l’espace indissociable des zones frontières, des confins et des marges. Experienced as a rite of passage, the crossing of boundaries and the process of becoming-other are central features in A Time of Gifts by Patrick Leigh Fermor (1977). Depicting a journey undertaken across Central Europe in 1933-34, Leigh Fermor’s travelogue recreates imaginative geographies of proximity and distance, identity and otherness. Foreign territories are initially experienced and narrated through the dominating prism of the English language, revealing an enduring imperial gaze. But the reflective practices entailed by pedestrianism and hospitality also contribute to the blurring of boundaries between home and away. A Time of Gifts is therefore punctuated by the crossing of multiple thresholds that delineate a poetics of space inextricably bound up with borderlands, confines and margins.

The abstract is available here: https://uscholar.univie.ac.at/o:1649469

Playing fields are “spaces where the communitas suspends its everyday life and structures” and “The internal logic of sporting games is connected to values from the social context” (Parlebas, Pierre. 2013. Motor praxeology: A new scientific paradigm. In Mariann Vaczi (ed.), Playing fields: Power, practice, and passion in sport, 127–144. Reno: University of Nevada Press). But what about the space in between? What kind of semiotics organisation can be detected in the membrane between player and liminal space where spectators are not allowed yet specific characters needed to carry out an event? We can therefore identify a liminality that can be connected either to the controlled or the wild playing field and depending on which of the two is the case can be analysed according to the degree of regulated system of signs which they produce. This implies different pathways and rituals: as matches are played, a variety of bodily activities may be taking place concurrently. Furthermore, it is inevitable that these activities attract the attention of the audience or alternately lead a player to interact with a non-player. In this article, I will first try to identify certain semiotics features, especially connected to Eco’s Peircian concept of Encyclopedia, that characterize the status of liminal space around the playing field. Then I will focus on liminality in soccer, investigating what kinds of interaction exist outside the playing area.

This article uses the concept of the ‘infrastructural frontier’ to trace the linkages between externally financed road building projects and the constitution of eastern DR Congo as a liminal political space at the material edge of the state. This frontier space has two core features: first, the patchy quality of its road infrastructure, which is perpetually rebuilt only to disintegrate again. Second, the transient nature of configurations of authority and control, leading to ‘circulation struggles’ along roads that are never fully functional. These features contribute to the collapse of a clear-cut dichotomy between the presence and the absence of transport infrastructure, but also between spaces of control and spaces of resistance. The constitution of eastern Congo as an infrastructural frontier, we argue, is importantly related to its ‘subversive soils’, whose clayish, sticky substance accelerates road degradation and compounds power projection. The resulting patchiness of both durable road infrastructure and central state control generates a ‘frontier effect’: it invites perpetual external donor interventions to build roads, but these projects never fundamentally upend the infrastructural and political state of affairs. In fact, as we demonstrate, these projects have become crucial to its very constitution. These observations point to the dual temporality of eastern Congo’s ‘perpetual’ infrastructural frontier, where the short-term volatility of circulation struggles is both a product of and reproduces its frontier-ness over the longue duree. Our contribution thus demonstrates the intricate relations between the temporal, material and political qualities of frontier spaces.

El siguiente artículo presenta un análisis de « Bajo el agua negra » de Mariana Enríquez, un cuento que expone una visión áspera de la sociedad argentina actual, donde la violencia y la corrupción son temas recurrentes. El siguiente artículo utiliza los conceptos de liminalidad y ritual para mostrar cómo estos temas se relacionan con la construcción de identidades y del mundo, en la narrativa de la autora. Se relaciona, asimismo, con las concepciones de violencia según Johan Galtung (2016) y Jaime Ginzburg (2013), para concluir que el cuento se presenta como una visión cruda y realista de la sociedad argentina actual, que responde al contexto social de violencia, corrupción, marginalidad y miseria extrema que se vive en algunas partes de Buenos Aires. The following article presents an analysis of « Bajo el agua negra » by Mariana Enríquez, a short story that exposes a harsh view of contemporary Argentine society, where violence and corruption are recurrent themes. The article uses the concepts of liminality and ritual to show how these themes relate to the construction of identities and the world in the author's narrative. It also relates to Johan Galtung's (2016) and Jaime Ginzburg's (2013) conceptions of violence to conclude that the story presents a raw and realistic view of contemporary Argentine society, responding to the social context of violence, corruption, marginalization, and extreme poverty that is experienced in some parts of Buenos Aires.

To what extent does the community formed among pilgrims on the Camino de Santiago correspond to Turner’s concept of communitas? How might pilgrimage with significant others differ from individual pilgrimages in the sense of community? This study attempts to answer these questions based on qualitative and quantitative content analysis of 32 travelogues written by pilgrims who completed the pilgrimage alone or with relatives or friends. The findings show that pilgrims develop an egalitarian and creative community that prevails the notion of a generic bond between people, an intense comradeship and generous common friendliness. In such a community, pilgrims’ behaviour is typically passive or humble, and wisdom has ontological value. Pilgrims have similar experiences of communitas regardless of going to Santiago alone or with significant others. However, pilgrims who join organised groups solely for the last 100 kilometres of their journey are not considered part of this community and are classified as pseudo-pilgrims.

This article is about how negative discourses of teacher education position teacher educators and how they might influence or inspire action. We use self-study methods to investigate the political dimension of teacher education in two national contexts: Sweden and the USA. More specifically, we examine the emotions stirred by the positioning related to being a teacher educator and how those emotions can be used to take a line to and resist boundaries that limit us within the profession in the two contexts. We aim to contribute to the self-study field by emphasizing a political dimension, in addition to the personal and professional dimensions of teacher education more often studied by scholars. Using the concepts of positionality, emotions, liminality, and action, we conclude that the liminal spaces offered us time to think about the emotions we have experienced due to the derisive discourses that position us in negative ways as teacher educators, and with that thinking came opportunities to reflect on our identity as teacher educators and what we look to accomplish as teacher educators. A new understanding of liminality as a space of possibility has boosted us to take action. An important conclusion is that emotional labor can be a hindrance in relation to teacher educator action, while emotions can act as clues for opportunities of growth and action. Telling our stories opened space for us to use our emotions to take a line to and resist the derogatory discourse, engage in the political, and move closer to becoming teacher educator activists.

The article conceptualizes the phenomenon of performance in the context of academic and public philosophy as an innovative practice of philosophy teaching and a means to encourage wider communities to participate in the events of philosophical communication. The performative nature of philosophy is traced back to Antiquity when philosophy involved both practice and dramatic action alongside logical theorization. The author argues that the performative turn of the second part of the 20th century provides a theoretical basis for rethinking academic philosophy as performance and for actualizing public philosophy as a means of transferring philosophical inquiry to the public space to address global and local challenges. The author suggests that both modern academic and public branches of philosophy enable actors’ self-presentation and can be analyzed as platforms of performance communication given their open, creative, and reflexive character. This perspective is based on H. U. Gumbrecht’s concept of the production of presence, which explains the performance’s potential for transformation in the public realm. The article demonstrates how performance can challenge the collective representations and norms by suggesting alternative worldviews and defines performance as a collective action and event of communication that can shape a public space. The article argues that performances can be reflexive and creative events that visualize social scripts, making them an effective instrument of public self-reflection and democratic change. Thus, the author analyzes educational performance in the context of modern academic and public philosophy, demonstrating the heuristic role of performance as a cause and platform of public discussion, its transformative role as an event of the common experience of moments of intensity, and its effectiveness as an innovative educational model based on the principles of presentation, self-presentation, interactivity, and co-presence., У статті проаналізовано перформативні виміри академічної і публічної філософії. Обґрунтовано перформативність сучасної філософії, що виявляється у зверненні до перформансу як інноваційної практики академічного викладання філософії та орієнтації публічної філософії на заохочення широкого загалу до участі в подіях філософської комунікації. Явище перформансу в контексті академічної і публічної філософії розглядається як спільна соціальна дія і подія комунікації, що підважує зміст колективних уявлень і норм. Перформанс трактується як спосіб формування та трансформації публічного простору.

Putting to work the dialectical concept of ‘un/mapping’, this paper examines the immateriality of cultural memory as coalescent in and around songlines: spatial stories woven from the autobiogeographical braiding of music and memory. Borrowing from Erll’s concept of ‘travelling memory’ (2011), the idea of songlines provides a performative framework with which to both travel with music memory and to map/unmap the travelling of music memory. The theoretical focus of the work builds on empirical studies into music, place and cultural memory in the form of interviews conducted across the UK in 2010–2013. The interviews were designed to explore the way peoples’ musical pasts—memories of listening to music in the domestic home, for example, or attendance at concerts and festivals, music as soundtracks to journeys, holidays or everyday commutes to work or school, music at key rite of passage moments—have coloured and given shape to the narratives that structure a sense of embodied selfhood and social identity over time. Songlines, it is shown, tether the self to spaces and temporalities that map a tangled meshwork of lives lived spatially, where the ghosts of musical pasts are as vital and alive as the traveller who has invoked them. Analysis and discussion is centred around the following questions: How should the songlines of memory be mapped in ways that remain true and resonant with those whose spatial stories they tell? How, phenomenologically, can memory be rendered as an energy that remains creatively vital without running the risk of dissipating that energy by seeking to fix it in space and time (to memorialise it)? And if, as is advocated in the paper, we should not be in the business of mapping songlines, how do we go about the task of singing them? Pursuing these and other lines of enquiry, this paper explores a spatial anthropology of movement and travel in which the un/mapping of popular music memory mobilises phenomenological understandings of the entanglements of self, culture and embodied memory.

The fiction of Hassan Blasim addresses the horrors of contemporary Iraq and centers on the crisis of identity that is part of the immigrant’s experience. Blasim’s protagonists try to forget past traumas related to their homeland by developing new identities ingrained solely in the present. Yet, the past resurfaces in the form of nightmarish dreams, madness, and fractured narratives where fiction and reality intersect and overlap. Inhabiting a constant state of liminality imprints itself on the body and psyche of the border crossers and leads to their physical or mental demise. Drawing on theories of madness, liminality, and narration advanced by Shoshana Felman and Michel Foucault, I analyze Blasim’s two short stories “The Nightmares of Carlos Fuentes” and “Why Don’t You Write a Novel Instead of Talking About All These Characters?” I argue that the imaginative space of literary narration, an in-between, liminal space between reality and fiction, is the space where ethico-political paradoxes and the absurdity of real-life trauma, death, and chaos are transformed into a meaningful literary dialogue that can expand reality and offer new spheres of understanding of the trauma that shapes the lives of Blasim’s characters.

Stvaralaštvo intermedijalne umjetnice Brede Beban ovim istraživanjem po prvi put je u cijelosti analizirano, klasificirano i pruža uvid u cijelovitost njezina opusa. Glavna tema rada je analiza njezina umjetničkog djela u kontekstu feminističke i postkolonijalne teorije, u okviru kojih se razmatra konstrukcija identiteta koja se zasniva na performativnosti, a promatra se kroz osobno i postkolonijalno tijelo izvedbe u njezinu umjetničkom djelovanju. Glavni cilj ovoga istraživanja je u cijelosti prikazati, analizirati i teorijski interpretirati stvaralački opus umjetnice Brede Beban, obilježen iskustvom emigracije osobe liminalnog identiteta. Breda Beban u svojim radovima iz pozicije žene, umjetnice, migrantice problematizira suvremene teme kroz prizmu autobiografskog pisma i iskustva migracije i nacionalne (ne)pripadnosti, u kojima su naglašena duhovnost, emocije žaljenja i/ili glorificiranja izgubljenog zavičaja, kao i pripadajući osjećaj marginalnosti proizašlog iz osobnog iskustva migracije. Navedeno implicira formiranje osobitog odnosa prema osobnom i kolektivnom identitetu te njegovoj konstrukciji i izvedbi u čemu značajnu ulogu ima pojam drugosti, kao prihvaćanje realnosti drugoga i poimanje značenja drugoga za umjetnicu osobno. Rad istražuje pitanje performativne konstrukcije identiteta unutar feminističkoga umjetničkog diskursa određenoga geopolitičkom pozicijom izvedbi, što Bredu Beban pozicionira kao umjetnicu koja performativnu konstrukciju identiteta oblikuje i određuje kroz autobiografsko u figuri postkolonijalnog tijela. Temeljen na navedenom, rad je sadržajno podijeljen u dvije cjeline. Prvi dio donosi uvid u život i stvaralaštvo umjetnice i analizu umjetničkih radova Brede Beban metodom analize umjetničkog žanra, gdje se cjelokupno stvaralaštvo analizira kroz tri vremenske cjeline (samostalno umjetničko djelovanje, binarnu poziciju s partnerom Hrvojem Horvatićem i samostalno djelovanje nakon smrti partnera). U drugom dijelu istraživačkog rada polazi se od definiranja stvaralaštva Brede Beban kao feminističke umjetnice koja u svojim radovima problematizira konstrukciju identiteta kroz očište postkolonijalne teorije i sukladnih koncepata („prostor između“, „Treći prostor iskazivanja“, liminalnost i dr.). Završni dio rada bavi se daljnjim razmatranjem problematike performativne konstrukcije identiteta i utjecajem stvaralaštva Brede Beban danas u kontekstu geopolitičkih promjena i kako su se one reflektirale na suvremenu umjetničku scenu i poziciju umjetnika. Pri analizi umjetničkih radova koristile su se metode intertekstualnosti i intermedijalnosti, koje su ukazale na prožimanje i spajanje različitih medija u konstruiranju i realizaciji umjetničkog rada. I find the key reason in studying this artistic oeuvre in the fact that Breda Beban’s overall oeuvre is less known to the Croatian expert public, and that she has mostly been viewed fragmentarily and through the prism of her video works produced after 1991, which she actualised in cooperation with her artistic and life partner Hrvoje Horvatić, and by herself following his passing. However, her artistic work had begun much earlier. With her work, the artist marked the 1980s, and heralded with her earlier works the manner of approach to the artform of performance through topics of temporal transience and the power of memory, as well as through studying the spiritual dimensions of the geopolitical landscape as a mirror of psychological states and dispositions. Breda Beban’s artistic legacy has hitherto not been fully processed and analysed. A larger part of the artist’s processed oeuvre is mostly related to her foreign production, while part of the recorded data on Breda Beban’s artistic activity prior to migration comes in fragments, from the circle of her friends and through a small number of published reviews or publications (there are few papers or critical texts published about the artist). It is important to note that Breda Beban’s artistic formation began in Zagreb (where she spent her formative years and most of her life), and that it defined her artistic direction; therefore, it is important to define her position within the review of the Croatian art scene. This artist constitutes an extremely important part of the women’s art scene, and laid the foundations with her initial works for feminist contextualisation of art of the 1980s, which has not yet been executed, which inter alia also refers to the Croatian trans-avantgarde, i.e., the New Painting, which meant a kind of domination of women artists in the medium of painting, dominated by men. Furthermore, the analysis of the artist’s oeuvre will indicate that Breda Beban opened up with her work a discursive space, within which particular oeuvres based on the performative construction of identity can be viewed; therefore, it is of utmost importance to position and comprehensively consider her work. The analysis and evaluation of Breda Beban’s creation in the context of autobiographic and postcolonial body of performance is the main topic of this research; new interpretation and reading of her work through feminist and postcolonial theory has been provided through monographic approach to the available holdings and legacy. The aforementioned serves as proof that Breda Beban’s creation can be defined as feminist work that indicates the problematics of questioning the construction of identity through performance. With this research, Breda Beban’s overall creation has been considered, analysed and classified for the first time, all of which incorporates it into contemporary research approaches to feminist performing arts. When speaking of Breda Beban’s artistic work, it is necessary to take into consideration two important characteristics. On the one hand, we can speak of exceptional diversity of genres, which enables this artist’s oeuvre to be placed into wider artistic context, while on the other hand, it can question the performative constructions of her identity and belonging, resulting from the inseparability between her private life and status of emigrant and her artistic activity. Life events and circumstances which led to certain changes (the loss of her homeland, the emigration and the change in her living and artistic environment, her partner’s passing) were substantially intertwined with her artistic work; therefore, Breda Beban’s creation cannot be considered without an insight into her private life marked by cultural and geographical heritage, a change of residence (from childhood to maturity) with the purpose of finding a new home and that which is represented by home, the position of continuous migration, the collaboration with her life partner, the loss of her partner, etc. We should also consider certain changes on the political and geopolitical plane, which conditioned her personal decision to go into exile. Therefore, the analysis of the aforementioned requires a multidisciplinary, interdisciplinary and transdisciplinary research approach and the application of new methodological and culturological methods which enable these phaenomena to be observed from a higher perspective. The topic was approached dichotomously: her artistic work and production were analysed at the genre, aesthetic and theoretic level based on analytical procedures inherent in the socalled critical theories, French Poststructuralism, feminist critique of representation; the problem of the inseparability of life circumstances and their influence on artistic expression was studied with a multidisciplinary approach dominated by feminist postcolonial theory, related to contemporary research practices of feminist performing arts. The starting point is based on the theory of the performative as a manner of formation of the subject and its identity, postcolonial theory of the notion of otherness as accepting the reality of the other and the concept of meaning of other, and on the theory of liminal identity of performance; the area of this research will also move towards theoretical interest so as to become aware of the difference in conceiving and applying feminist theory when constructing a different kind of subjectivity and identity that is not defined merely by the cultural heritage of the pertinent identity. Based on these postulates, the work is contextually divided into two wholes: The first part provides an overview of the artist’s life and creation, and an analysis of Breda Beban’s artworks with the method of genre analysis, whereby overall creation is analysed through three temporal units (independent artistic activity: painting and performance, photography, activity through binary position with partner Hrvoje Horvatić, and independent activity following her partner’s passing: video performance, video art, film). In the analysis, emphasis is put on the performative component of her creation: the use of the body as the medium, the appropriation of geography of the lost homeland and cultural heritage in the construction of the works’ poetics, the adoption of personal experience of exile and migration, personal experience of physical loss. Particular attention is given to music art, the influence of theology (Pavel A. Florensky: Ikonostasis) and film art (Sergei Parajanov: The Colour of Pomegranates; Carl Theodor Dreyer: Gertrud, etc.), which formed the aesthetics and poetics of the artworks. The placement in the temporal context is engaged in the questions of methods of development of relationship towards the de/construction of identity, through a prism of postcolonial theory that includes an interdisciplinary link with women’s and cultural studies. Particular characteristics in the analysis stand out as artistic performatives and construction, typical for this artist’s performance. The second part of the research work proceeds from defining Breda Beban’s creation as a feminist artist who problematises in her works the construction of identity through postcolonial theory, while placing the artist herself in a position of artist-emigrant without an appropriate homeland, which ceased to exist due to certain geopolitical events. This brings us to the problem of placing the oeuvre in the context of national non/belonging. With the analysis of the process of revision of personal history via critical discourses that do not omit otherness, with the aim of constructing the identity with the process of otherness, which requires that the language itself be deliberated on from a postcolonial perspective, the uniqueness of Breda Beban’s artistic phaenomenon is explained. Characteristics such as liminality, hybridity and Third Space have indicated that Breda Beban’s artistic legacy remained in the space “in-between,” in the space of nonbelonging to one or the other; therefore, it was important to conduct this research so as to indicate oeuvres that are not wrought into national overviews, structures and belonging to particular entities. Rather, their work as artistic legacy belongs to everyone, in the hope that it will be properly interpreted and incorporated into international overviews. The final part of the work is engaged in examining the problematics of the performative construction of identity and today’s influence of Breda Beban’s creation in the context of geopolitical changes and the manner in which they reflected on contemporary art scene and the artist’s position. This work sought to provide a comprehensive analysis and theoretical interpretation of artist Breda Beban’s work, which I believe succeeded at to a large extent, as well as that it also indicated the contribution and artistic legacy of her partner Hrvoje Horvatić. Breda Beban’s artistic legacy opened up numerous questions on belonging and nonbelonging, and on the manner in which society as a whole hears voices positioned in the hybrid Third Space of expression. Unfortunately, the analysis of the artist’s oeuvre and creation has shown that these voices are still not sufficiently heard and that a change in paradigm is necessary in the context of valorisation of individual oeuvres.

Issues related to racism are still pervasive in global society; and Blackness has dominated identity politics in the South African political and public debates since the downfall of apartheid. Recently, there have been questions on whether skin colour can be used as a generalised indication of being previously disadvantaged with some arguing that skin colour cannot be used as a condition for empowerment. They argue that socio-economic conditions must rather be used as the criteria for empowerment. This contribution draws on the notions of Liminality (Turner) and Third Space (Bhabha) to investigate how the lives of three black intellectuals – Steve Biko, Tambudzo Marechera, Vuyani Vellem – resembled the ‘liminal threshold’ as they underwent ‘initiation’ on black identity. The authors conclude that despite the many years of ‘chanting down Babylon’, black people still have to contend with white supremacy in the same way that Tambudzo Marechera, Steve Biko and more recently, Vuyani Vellem, fiercely challenged it. Contribution: This study is a contribution to keeping the legacy of Vuyani Vellem alive by highlighting the notions of Liminality and Third Space to demonstrate how the lives of the three black intellectuals resembled the ‘liminal threshold’ as they all underwent ‘initiation’ on black identity in their respective times and contexts.

This contribution carries out a spatial analysis of the short stories and poems collected in Giovanna Capone’s In My Neighborhood (2014), with a twofold aim: exploring the significance of physical and metaphorical liminalities in the development of Capone’s poetics and, on a more theoretical level, outlining an alternative paradigm, based on the concepts of liminality and communitas, to read Capone’s poetry, as well as other contemporary Italian-American literary texts. I identify four sites of liminality in Capone’s work and delve into their relationship with the narrative voice and the role they play in its evolution. This essay reflects on Giovanna Capone’s Bildung and her identity as a queer Italian-American author by re-reading the four spaces described in In My Neighborhood through the lens of Victor Turner’s theory of liminality and Roberto Esposito’s notion of communitas. Esposito’s development of the concept allows for an alternative interpretation of the community of Italian American queer subjectivities created by Capone in the Southwest. Finally, the connection of such community with Gloria Anzaldúa’s formulation of Borderland and ‘mestiza consciousness’ is highlighted as a theoretical counternarrative to the identification of the ethnic queer self as a member of a community defined by borders.

Educational inclusion for refugees is increasingly being framed through digital technologies. This is problematically characterised at the macro level by global and national narratives that portray the digital as an external and universal force capable of radical transformation and inclusion, and at the micro level with more nuanced accounts that acknowledge an already-present political economy of technology of everyday practices of (non)adoption, and use. Particularly for refugees, inclusion is further characterised by a persistent liminality with its attendant experiences of transition and tentativeness. Digital inclusion becomes an ongoing act of managing these liminal experiences, noting where barriers exist that stall efforts at further assimilation or reinforce the dominant languages or ideologies, and developing practices, or workarounds, that attempt to move refugees away from the margins of social inclusion. Such a management is inherently a precarious state and one made even more precarious in digital spaces, where inclusion is increasingly intertwined with systems of control and marginalisation. To illustrate this, this paper presents findings from a project exploring educational participation by refugee students in Ugandan universities. It notes the subtle tensions that emerge from the expectations of participation in university life, and Ugandan life more broadly, amidst digital structures and narratives that complicate inclusion. In this paper, we argue that more nuanced conceptualisations of digital inclusion, ones rooted in liminal experiences, are needed to anchor digital technologies in refugee communities.

Sidi merupakan sebuah moment dimana seseorang telah memilih untuk hidup menjadi pengikut Kristus yang kemudian ia nyatakan melalui pengakuan iman kepada Yesus Kristus dihadapan seluruh jemaat Allah dalam sebuah persekutuan ibadah. Pengukuhan iman sebagai bentuk pengurapan Allah melalui Roh Kudus kepada orang yang telah di baptis melalui perantara orangtuanya, yang kemudian harus diperbaharui dalam kesadaran dan pengertian diri sendiri sebagai seseorang yang telah memasuki usia kedewasaannya. Bahwa jalan keselamatan ada dalam Yesus Kristus dan Roh Kudus bersama dengan anak-Nya memberi kekuatan untuk hidup di jalan kebenaran Yesus. Namun dewasa saat ini, dikalangan generasi muda Kristen masih ada anggapan bahwa sidi dilakukan semata-mata untuk mengikuti tata peraturan gereja. Sehingga kerap sekali rangkaian tahapannya hanya sekedar diikuti sebagai bentuk formalitas dan pengisian kehadiran saja. Penelitian ini bertujuan untuk mendeskripsikan dan menganalisa pemahaman pemuda terhadap sidi sebagai tahapan peralihan Kekristenan yang ditinjau dari perspektif Liminalitas. Dalam penelitian ini metode yang digunakan ialah kualitatif dengan pendekatan fenomenologi guna memahami persoalan yang terjadi melalui perilaku dan persepsi pemuda. Salah satu teknik pengumpulan data yang digunakan untuk mendapatkan informasi secara langsung dan akurat pada narasumber ialah dengan wawancara. Hasil penelitian ini menemukan bahwa melalui setiap tahapan-tahapan sidi yang diikuti dengan kesungguhan, membawa pemahaman dan kesadaran pada pemuda HKBP Aek Nauli bahwa sidi merupakan tahapan peralihan dalam Kekristenan yang menyatakan terjadinya pertumbuhan dan perkembangan dalam iman Kristiani pemuda. Confirmation of faith is a moment where a person has chosen to live as a follower of Christ which he then declares through a confession of faith in Jesus Christ before the entire congregation of God in a worship fellowship. Confirmation of faith as a form of God's anointing through the Holy Spirit to people who have been baptized through the intermediary of their parents, which must then be renewed in self-awareness and understanding as someone who has entered the age of maturity. That the way of salvation is in Jesus Christ and the Holy Spirit together with His children gives strength to live in the way of Jesus' righteousness. However, nowadays, among the younger generation of Christians there is still the notion that confirmation is carried out solely to comply with church regulations. So that very often the series of stages is just followed as a form of formality and filling in attendance. This study aims to describe and analyze youth's understanding of confirmation as a transitional stage of Christianity from the perspective of Liminality. In this study the method used was qualitative with a phenomenological approach to understand the problems that occur through the behavior and perceptions of youth. One of the data collection techniques used to obtain direct and accurate information from informants is by interviewing. The results of this study found that through each of the stages of confirmation which was followed with sincerity, it brought understanding and awareness to the youth of HKBP Aek Nauli that confirmation was a transitional stage in Christianity which stated the occurrence of growth and development in the youth's Christian faith.

Increasingly complex healthcare systems require nurses to have a greater depth of knowledge and theory application to care for patients safely and competently. To prepare nurses for rapidly changing health care systems, the baccalaureate degree was accepted by the Canadian Nurses Association (CNA) as the standard for entry to Registered Nurse practice across Canada and became the entry-to-practice requirement starting in 2005 (Wood, 2011). In Ontario, this entry-to-practice standard required the development of college and university collaborative partnerships to respond to the resulting implementation and capacity challenges in nursing education (MacMillan & Mallette, 2004). Although these partnerships have been in place for some time, little can be found in the literature regarding issues and challenges of collaboration over time, particularly for nursing students (Cameron, 2003; Cameron, 2005; Landeen et al, 2017, Montague, et al., 2022, Molzahn & Purkis, 2004; Zorzi et al., 2007). The purpose of this study is to add to what is known about transitions in nursing education for students by using case study methodology to explore how students experience the transition from the college to the university in a hybrid collaborative baccalaureate program. Understanding the transfer experience of collaborative program nursing students can enable faculty to develop strategies that ease the transition and facilitate student success in the upper years of the program. By uncovering the experience of students, nursing academicians can deepen their understanding of the complexity of student transition in entry-level collaborative nursing education, enabling student success, program completion, and transition to graduate nurse.

23 p. -- Bibliogr.: p. 22-23 [EN] Vampires have often been used in Gothic fiction as a reflection of diverse concerns regarding sexuality, both in the form of decadence and corruption, and as a celebration of marginal sexual identities. In this essay, I undertake an analysis of the transtextual relationship between Joseph Sheridan Le Fanu’s vampire novella Carmilla and Emily Harris’s 2019 filmic adaptation of the same name. I consider the ways in which the novella and the film portray the construction of the female Other as monstrous, by exploring how the transgressive sexuality of the female protagonists of both texts is expressed. The two texts offer a representation of transgression in the form of violence, curiosity, a disregard for gender roles, and same-gender sexual attraction, which often comes to be expressed through the gaze. Furthermore, I contend that, in the negotiation of their own difference, Carmilla and Laura/Lara acquire an aura of liminality, whose ambiguity and indefinability displace Otherness as a meaningful category inside the patriarchal system. I suggest that Carmilla’s arrival in both stories initiates a transitional process which, consequently, opens up an ambivalent space for the protagonists in which the hierarchical structures and dichotomous categories on which difference is founded are challenged. This space, therefore, creates an opportunity for the characters to redefine themselves away from the restrictive roles that had been assigned to them. In my analysis, I draw on feminist theory, critical conceptualisations of transgression and monstrosity from the perspective of Gothic fiction, and the ideas of liminality and the “Third Space” outlined, respectively, by Victor Tuner and Homi Bhabha. In addition, and given the importance of the act of looking both in the novella and the film, I follow Linda Williams’s theory on the use of the gaze as an expression of desire, and as a tool for identification and definition both of the self and of the o/Other. [ES] Los vampiros han aparecido de manera frecuente en la ficción gótica como reflejo de diversas nociones sobre la sexualidad, tomando tanto la forma de corrupción y decadencia, como la de reivindicación de identidades sexuales marginales. En el presente trabajo, llevo a cabo un análisis de la relación transtextual entre Carmilla, la novela gótica de vampiros de Joseph Sheridan Le Fanu, y la adaptación al cine de esta por parte de Emily Harris en 2019. Examino las maneras en las que la novela y la película representan la construcción de la otredad de la mujer como monstruosidad, mediante el estudio del modo en el que se expresa la sexualidad transgresora de las protagonistas. Ambos textos hacen uso de la transgresión en forma de violencia, curiosidad, indiferencia hacia los roles de género y atracción sexual hacia el mismo género, esta última expresada en múltiples ocasiones mediante la mirada. Asimismo, sostengo que, en la negociación de su propia diferencia, Carmilla y Laura/Lara adquieren un carácter liminal, cuya ambigüedad despoja la categoría de Otro de significado dentro del sistema patriarcal. En este ensayo, sugiero que la llegada de Carmilla en ambas historias da comienzo a un proceso transicional y, por consiguiente, crea un espacio de ambivalencia para las protagonistas en el cual se cuestionan las estructuras jerárquicas y las categorías dicotómicas en las que se fundamenta la diferencia. Este espacio, por tanto, les permite redefinirse a sí mismas más allá de los roles constrictivos que les han sido asignados. En mi análisis, me apoyo en teoría feminista, conceptualizaciones de la trasgresión y la monstruosidad desarrolladas por la crítica gótica, y en las ideas de liminalidad y “Third Space” descritas, respectivamente, por Victor Turner y Homi Bhabha. Además, debido a la importancia del acto de mirar tanto en la novela como en la película, empleo la teoría de Linda Williams sobre el uso de la mirada como expresión del deseo, así como a modo de herramienta de identificación y definición tanto del ‘yo’ subjetivo como del o/Otro.

This article examines the home accommodation of asylum seekers in Finland from the perspective of hosts’ affective experiences of living through the asylum process from proximity. This study contributes to the research on the affective dimension of pro-asylum solidarity beyond the framework of compassion. Instead of being observers of distant suffering, hosts are personally affected by the asylum seekers’ past involving war and conflict and their present struggle for asylum, which are inseparably intertwined. As a result, the hosts’ homes and domestic lives are transformed. The boundaries between home and faraway events blur when daily life includes technology-mediated connections to war. Affective proximity to asylum struggles may cause an emotional burden for hosts, which can also be politicising. Living together often leads to a shared mission of fighting for the right to remain and increased awareness of the political question of asylum.

As editors of this fourth special Essays section of the European Journal of Theatre and Performance, we ask ourselves: what can a theatre and/or performative lens bring to the table to understand contemporary forms of activism? What can we learn from past forms and scholarship? What is the contribution of theatre and performance concepts to critical social and political inquiry, like in current debates of democracy, populism, environmentalism, violence, racism, sexism, social justice, etc.? What does it really mean ‘to act’, ‘to move’, or ‘be moved’? What is theatre’s or performance’s real (bio)power? How does theatre ‘assemble’ people or create spaces to carry on the memory of a movement in times of absence and repression? How do theatre and performance bypass censorship in support of an activism of the stage? Or do they contribute rather to a democracy that looks more like Plato’s vexed ‘theatrocracy’? And how do theatrical modes of spectating, framing, and referencing specific symbiologies come into play to incite citizens to re-act, to take part in solidarity, be it directly in the streets or more distant, in theatres or through our mobile devices?

As editors of this fourth special Essays section of the European Journal of Theatre and Performance, we ask ourselves: what can a theatre and/or performative lens bring to the table to understand contemporary forms of activism? What can we learn from past forms and scholarship? What is the contribution of theatre and performance concepts to critical social and political inquiry, like in current debates of democracy, populism, environmentalism, violence, racism, sexism, social justice, etc.? What does it really mean ‘to act’, ‘to move’, or ‘be moved’? What is theatre’s or performance’s real (bio)power? How does theatre ‘assemble’ people or create spaces to carry on the memory of a movement in times of absence and repression? How do theatre and performance bypass censorship in support of an activism of the stage? Or do they contribute rather to a democracy that looks more like Plato’s vexed ‘theatrocracy’? And how do theatrical modes of spectating, framing, and referencing specific symbiologies come into play to incite citizens to re-act, to take part in solidarity, be it directly in the streets or more distant, in theatres or through our mobile devices?

In this paper, we name and uplift the ways in which Miya community workers are building communities of resistance as ways to address the manifold colonial, structural (including state-sponsored), and epistemic violence in their lives. These active spaces of refusal and resistance constitute the grounds of our theorizing. Centering this theory in the flesh, we offer critical implications for decolonial liberatory praxis, specifically community-engaged praxis in solidarity with people's struggles. In doing so, we speak to questions such as: What are the range of ways in which Global South communities are coming together to tackle various forms of political, social, epistemic, and racial injustice? What are ways of doing, being, and knowing that are produced at the borders and liminal zones? What are the varied ways in which people understand and name solidarities, alliances, and relationalities in pursuit of justice? We engage with these questions from our radically rooted places in Miya people's struggles via storytelling that not only confronts the historical and ongoing oppression, but also upholds desire—Interweaving and honoring rage, grief, pain, creativity, love, and communality.

This research note focuses on two phenomena: the transformations in the landscape in Hungary as an effect of Russia’s invasion in Ukraine and the welcome/help centers that were established to channel mobility and provide a temporary safe space. I suggest that liminality (which serves as a main explanatory category) is characteristic of both. It is stated that in this context that the bodies of refugees are reminders of the existence of the (state) border, which gets reaffirmed by the process of welcoming and hosting and is also reflected in the visual reminders in the landscape. I also divide the management of the refugee crisis into three phases: spontaneous action, institutionalization, and sanitization. With the phase of sanitization (removing the physically existing “indicators” of the war, including refugees, volunteers, signs, and queues) the reality and severity of the war can be concealed, and the “normality” can be reinstated. Research is based on field observations and interviews taken in March 2022 in Budapest, Kisvárda, Vásárosnamény, Barabás, and Beregsurány in Hungary.

Narrative analysis is well established as a means of examining the subjective experience of those who suffer chronic illness and cancer. In a study of perceptions of the outcomes of treatment of cancer of the colon, we have been struck by the consistency with which patients record three particular observations of their subjective experience: (1) the immediate impact of the cancer diagnosis and a persisting identification as a cancer patient, regardless of the time since treatment and of the presence or absence of persistent or recurrent disease; (2) a state of variable alienation from social familiars, expressed as an inability to communicate the nature of the experience of the illness, its diagnosis and treatment; and (3) a persistent sense of boundedness, an awareness of limits to space, empowerment and available time. These subjectivities were experienced in varying degree by all patients in our study. Individual responses to these experiences were complex and variable. The experiences are best understood under the rubric of a category we call "liminality". We believe that all cancer patients enter and experience liminality as a process which begins with the first manifestations of their malignancy. An initial acute phase of liminality is marked by disorientation, a sense of loss and of loss of control, and a sense of uncertainty. An adaptive, enduring phase of suspended liminality supervenes, in which each patient constructs and reconstructs meaning for their experience by means of narrative. This phase persists, probably for the rest of the cancer patient's life. The experience of liminality is firmly grounded in the changing and experiencing body that houses both the disease and the self. Insights into the nature of the experience can be gained from the Existentialist philosophers and from the history of attitudes to death. Understanding liminality helps us to understand what it is that patients with cancer (and other serious illnesses) seek from the system to which they turn for help. Its explication should therefore be important for those who provide health care, those who educate health care workers and those concerned to study and use outcomes as administrative and policy making instruments.

In this conceptual analysis, we theorise breastfeeding as an embodied ‘dirty’ performance of femininity and draw on Hoskin’s (2019a) work on femme theory to propose that women who breastfeed in public, who do so for an ‘extended’ time, and who enjoy it are subject to femmephobic attacks. We integrate three streams of literature to unsettle the ‘taint’ of breastfeeding. We first theorise breastfeeding as an act of femininity where women perform gender trouble in line with Butler's work. We also draw on Douglas’ work on ‘dirt’ and Rivera’s work on emotional ‘dirty’ work to theorise that ‘taint’ is one way in which society stigmatises the phenomenon of breastfeeding. Specifically, we propose that embodied breastfeeding evokes ‘tainted’ emotions. We then draw on Schippers’ work on ‘containing’ pariah forms of femininity (lest they ‘contaminate’ patriarchy) by showing how femmephobic stigmatisation limits breastfeeding women’s corporeality and presence in shared spaces.

The ongoing Covid-19 pandemic at the time of writing this article (November 2020), the 2008 Lehman Shock, and governmental revitalization policies introduced by the Abe government have resulted in a rise in urban lifestyle migrants who relocate to rural areas across Japan for noneconomic reasons. This ethnographic article focuses on individuals in Tokushima and Shimane Prefectures. Critically questioning conventional notions of work and lifestyle, these individuals struggle to implement their ideal lifestyles in their rural environments that are often characterized by deeply ingrained local societal norms and values. Drawing on longitudinal fieldwork since 2016, I will examine three cases of lifestyle migrants who have chosen to pursue radically different careers. While they make great efforts to blend into the community that they have relocated to, they also refer to transnational features in their pursuit of experimental lifestyles. This multi-sited ethnography aims to explore the power of the between by Paul Stoller (2009) and the potential of the liminal coined by Vincent Crapanzano (2004) as my interlocutors courageously carve out original careers that are catered to their own needs, but also engage with the local community.

Background This article explores the experiences of clinical healthcare students on an interprofessional simulation course in Auckland, New Zealand. The four-day course aims to provide a formative learning experience for final year medical, pharmacy, nursing, and paramedicine students. It focuses on building skills in professionalism, communication, leadership and interprofessional safe teamwork through structured learning activities and clinical simulation scenarios. Methods In 2018, we commenced focused ethnographic research involving participant observation, field notes, interviews, photography and ethnographic film. Results A total of 112 students participated in this research from the disciplines of medicine (n = 53), nursing (n = 27), pharmacy (n = 17), and paramedicine (n = 15). In a revisit to Van Gennep’s (1972) seminal work on liminality, we suggest that the course represents a liminal space where students’ ideas about what it means to be a healthcare ‘professional’ are challenged, disrupted and reconstructed. We observed students emerging from the course with transformed professional and interprofessional identities. Conclusions We posit that the ritualised and liminal nature of the course plays a role in the development of interprofessional identities by interrupting the reproduction of siloed biomedical culture. Students are challenged to become effective team members alongside other students and experts from other professions. We discuss these findings as they relate to medical and health sciences education.

The article discusses Anthony Trollope's representation of the city of Prague in his 1867 novel Nina Balatka, which first appeared anonymously in the Blackwood's Magazine. The novel tells the story of the eponymous protagonist, a Christian woman, who falls in love with a Jewish man. Trollope's choice of Prague as the backdrop for the story of two lovers separated by the great gulf between Christians and Jews seems particularly fitting, because the spatial division of the city by the river Moldau which separates the Christian and the Jewish parts of town reinforces the sense that the two protagonists come from different worlds. Trollope's characters exist in the realistically represented city; yet, iconic Prague locations, described in picturesque detail, are imbued with symbolic significance which underscores the liminal position of the protagonist, who is torn between her Christian faith, and her love of a Jewish man.

The main idea for this thesis grew from questions that emerged from my professional experience in dealing with the difficulties experienced by the elderly as they age. The challenge is to address with renewed vigor the question of support in nursing homes (EHPAD).This thesis questions the social and professional attention paid to the hardships the elderly face as the end of life approaches, between chronos and kaïros, as well as the hardships they experience as they become institutionalized, a sociology of situated action. An ethnographic survey was conducted in two medico-social institutions concerning misunderstandings between residents and professionals, misunderstandings grasped as practical and ethical dilemmas.The comprehensive approach to immersion over the long term made it possible to follow professionals and residents on a daily basis through a careful investigation of sensitive situations and troubles in the help and care relationship.This thesis explores the work of institutionalization as death becomes imminent. It is governed by certain norms between the ordinary conditions of life, the practices of nursing homes, and the socially defined status of the deceased. Death, even if it appears as institutionally denied, cannot be concretely denied by the professionals who are confronted with it regularly. Basically, the issue is to hold the residents and the collective together. In this sense, this research is interested in work based on the implicit, which allows an adjustment during the onset of death. It proposes an ethnographic follow-up of the institutional, ethical, and practical dispositions which emerge, particularly around the memory of residents.Institutionalization unfolds as a liminal situation, from which emerges an interdependence between the “experience” and the “act” in a vulnerable context, which characterizes the specificity of the EHPAD experience.; Cette recherche est née d'un questionnement ancré dans mon expérience professionnelle des impasses d’une action publique en direction des personnes de grand âge, désincarnée et décontextualisée. L’enjeu est d’aborder de façon renouvelée la question de l’accompagnement en EHPAD.Ainsi la thèse interroge l’attention socialement et professionnellement accordée aux épreuves de la fin de la vie et de la mort à venir, entre chronos et kaïros, à partir d’une sociologie de l’action située, pour documenter l’expérience de l’institutionnalisation au fil des épreuves traversées. Une enquête ethnographique a été menée dans deux établissements, autour du déploiement des malentendus entre résident.es et professionnel.les, malentendus saisis comme des dilemmes pratiques et éthiques. L’approche compréhensive, dans le temps long de l’immersion, a permis de suivre les professionnel.les et les résident.es au quotidien, par une enquête attentive aux situations sensibles et aux troubles dans la relation d’aide et de soin.Ce faisant, la thèse interroge le travail d’institutionnalisation de la mort à venir, régie par des normes spécifiques, entre des conditions ordinaires d'existence, des pratiques d’accompagnement codifiées et un statut de défunt socialement défini. La mort, même si elle apparaît niée institutionnellement, ne peut pas être niée concrètement par les professionnel.les qui y sont régulièrement confronté.es. L’enjeu consiste en définitive à faire tenir les résidentes, les résidents et le collectif professionnel. En ce sens, la recherche s’intéresse au travail, fondé sur l’implicite, qui permet un ajustement au cours des choses sans que la mort en tant que telle n’apparaisse dans le régime ordinaire de l’action. Elle propose également un suivi ethnographique des dispositions institutionnelles, éthiques, pratiques qui se font jour, notamment autour de la mémoire des résident.es.L'institutionnalisation se déploie, comme une situation liminale, de laquelle émerge une interdépendance entre un « éprouver » et un « agir » en contexte vulnérable, ce qui caractérise la spécificité de l’expérience-EHPAD.

Tomáš Halík (born 1 June 1948) has established himself as one of the most thoughtful commentators on public cultural witness in a time of change and uncertainty, especially in central Europe. As an academic at Charles University (founded 1348) and a Catholic priest in the “Academic Parish of Prague”, Halík played an important role during and following the collapse of Marxism in Czechoslovakia in the “Velvet Revolution” of November—December 1989, even being mentioned as a possible successor to Czech President Václav Havel, while at the same time offering reflections on religious engagement with a complex and changing secular culture. This article engages some leading themes of Halík’s approach to cultural witness, focusing especially on cultural quests for false certainties, the need for churches to create liminal spaces enabling seekers to grasp what lies at the heart of the Christian faith, the dangers of romanticizing a lost past of faith which encourages disengagement with the present, and the need to understand faith in terms of a constant movement of thought rather than a fixed system of ideas. The article considers how these ideas can find wider application in engaging the challenges of cultural witness, particularly in a European context, and what can be learned from them.

Modern pilgrimages are gaining popularity in Western culture despite increased secularization. Historically, pilgrimages were a religious ritual with the goal of personal transformation. This study explores the phenomenology of modern pilgrimage: the motivations to go on a pilgrimage, the experience and the subsequent changes. An explorative study was conducted on 142 pilgrims. The results indicate that 74% of the participants were motivated by psycho-existential motives to go on the Camino to Santiago. In addition, 75% of the participants experienced changes in life after walking the Camino. The findings indicate that modern pilgrimage still has transformative potential. Furthermore, six major themes regarding the phenomenology of the Camino emerge from the data: (1) authentic experience, (2) walking in nature, (3) self-transformation, (4) community, (5) simplicity and (6) spirituality, indicating that modern pilgrimage is a multidimensional psycho-existential phenomenon.

This study explores the concept of liminality, a transitional phase marked by uncertainty and disorientation, within the context of adult education. The research employed the correspondence method, engaging in a three-month exchange with a participant to reflect on the personal experience of the liminal phase. Through sharing stories and examining connections with transformative learning, the research highlights the importance of encounter and dialogue in navigating liminality and fostering the emergence of new perspectives. The results of the study offer insight into the utility of the dialogical approach of Martin Buber in understanding and enduring the liminal phase., Este estudio explora el concepto de liminalidad, una fase de transición marcada por la incertidumbre y la desorientación, en el contexto de la educación de adultos. La investigación empleó el método de correspondencia, a partir de en un intercambio de tres meses con un participante para reflexionar sobre su experiencia personal de la fase liminal. Mediante el intercambio de historias y el examen de las conexiones con el aprendizaje transformador, la investigación destaca la importancia del encuentro y el diálogo para navegar por la liminalidad y fomentar el surgimiento de nuevas perspectivas. Los resultados del estudio ofrecen una idea de la utilidad del enfoque dialógico de Martin Buber para comprender y soportar la fase liminal., Este estudo analisa o conceito de liminaridade, uma fase transicional marcada pela ambiguidade e desorientação, no contexto da educação de adultos. A investigação utilizou o método de correspondência, baseado em trocas que ocorreram durante três meses com um participante que visaram refletir sobre a sua experiência pessoal da fase liminar. Através da partilha de histórias e da análise de ligações com a aprendizagem transformadora, esta investigação realça a importância do encontro e do diálogo na navegação na liminaridade e na emergência de novas perspetivas. Os resultados deste estudo oferecem uma visão aprofundada sobre a utilidade da abordagem dialógica de Martin Buber para compreender e suportar a fase liminar.

The returned soldier has been a central figure in the first wave of Canadian plays to deal with the War in Afghanistan. Returned soldiers emerge as protagonists in Pierre-Michel Tremblay’s Au Champ de Mars, Hannah Moscovitch’s This Is War, and George F. Walker’s Dead Metaphor while Evan Webber and Frank Cox-O’Connell Little Iliad deals with a soldier about to be dispatched to Afghanistan. The returned soldier, a damaged warrior and a witness to acts of unspeakable evil, is a liminal figure, connecting the passive humdrum of Canadian life to the brutality of the war zone far away. This paper looks at how such stories of the trauma of soldiers alternately participate in and critique a view of Canadian foreign policy as a series of innocent interventions in conflicts with violent, irrational enemies.

This study seeks to understand, how interracial couples in China make consumption choices, and how these choices facilitate their ongoing identity projects (Sheriff and Chin, 2020), during the liminal transitional stage of interracial marriage (Van Gennep, 1960; Tonner, 2016; Cody, 2012; Turner, 1969). By recognising that identity is in a constant dynamic negotiation according to the context, our findings show that interracial weddings, abundantly rich with traditional cultural, symbolic, and ritualistic practices, create a liminal environment and period, whereby individuals rethink and reflect on who they are, their ethnic selves and express this through their consumption practices. This process is enriched by the conflicting context that interraciality brings about and the interactions that unfold in the online world.

The broader goal of this research is apply queer theory to the cultural narrative of migration in order to confuse, destabilize and complicate our pre-conceived notions about what it means to “belong” to a given community of society, what it means to cross borders, and what it means to be(come) “Canadian”. Drawing on the notion of “cultural citizenship”, this research will focus on the politics of belonging that are embedded in the spectacle of Toronto Pride Week 2009, as a prominent site of negotiation for queer migrant identities. In order to get at a more nuanced and complicated understanding of integration, this research will also be centered around the subjective life experience of Luka, a queer migrant who is also a performer at Pride Week. Luka’s performance will be discussed as a liminal space, which points to multiple ambivalences, and thus acts to challenge the discourse of identity and belonging. Keywords: queer migrants, performative identity, cultural citizenship, Pride Week, Toronto.

This thesis explores an Arhuaco project named Mamorwa in which indigenous practices and cosmologies can present alternatives to solve the crises of today. The current Eurocentric modernity and capitalist system and its warrants and orderings have resulted in a humanity that has distanced itself from nature. This has presented consequences in the lives and health of humans and ecological collapse. Thus, taking the ontological turn as its field, this thesis utilizes the pluriverse, the Anthropocene and its conceptual critique, and the idea of liminality as critique to explore Mamorwa as a proposed solution to these consequences and crises. Following a qualitative research approach, Mamorwa was taken as an ethnographic case study, where the researcher developed fieldwork including participant observation, fieldnotes, and interviews.The findings of this thesis present the goals of Mamorwa as healing humanity by facing individuals’ problems through spirituality and rituals and healing Mother Earth by the recovery of territory. These two goals are deeply interconnected, they can even be understood as one and the same as for the Arhuacos humans and Mother Earth heal when they reunite. This interconnection challenges dualist notions and assumptions of a deep separation between nature and society, the local and the global, and the mundane and the divine. The Arhuacos have a unique way of understanding these notions not as separated binaries but as interconnected spheres where collaboration is possible. In this way, this thesis presents Mamorwa as a practice that can inspire the understanding of human connections with nature and beyond, all while acknowledging the challenges present to widening its impacts in a global context.

In this article, I propose that the work of middle managers can meaningfully be conceptualized as a form of liminal work herby drawing attention to the interstitial (spatial) and temporary (temporal) elements of organizing and work. Building on a case study of emerging middle management positions within schools in Denmark, I show that working ‘in’ the middle is demarcated by entanglements of spatio-temporalities and other discourse-materialities producing a liminal friction that reconfigures this work as permanently liminal. Inspired by new materialism and the work of Karen Barad, I utilize the concept of spacetimemattering to analytically unpack these work practices that materialize in and through multiple times and spaces and matter and thereby elucidate the constitutive processes and performative effects of the ambiguous work of middle managers. To this end, the article offers an analytical understanding that expands a focus on hierarchical forms of organizing as a core issue of ambiguity.

This paper shows how the human corpse can function as an aes- thetic-therapeutic for the deceased, the bereaved and for death care professionals. It understands the human corpse as a liminal entity that is characterised by a specific materiality, biography and self-referentiality. Because of these attributes the corpse can be employed as an aesthetic-therapeutic by the bereaved and by death care professionals in response to a death. On the basis of participant observation in the death care industry and qualitative interviews with bereaved people and funeral professionals in the Netherlands, the paper discusses four engagements with the dead body in the period prior to the funeral: i) caring, ii) sustaining, iii) restoring, and iv) disregarding the dead body. Crucially, it shows how such engagements can contribute to the well-being of those involved, including the deceased, who is often understood to be sentient. Furthermore, by focusing on cases where the corpse is disregarded, the paper argues that an aesthetic-therapeutic under- standing of the human corpse is hegemonic in the death care industry. The analysis and conclusion offer insights to scholars in the interdisciplinary field of death studies, as well as reflections for practitioners in end-of-life and death care.

Transformative Service Research (TSR) highlights the fundamental importance of resource integration for consumer well-being. However, recent research suggests that resource integration can be problematic and imperfect, particularly for vulnerable consumers with complex and ongoing resource requirements. Such vulnerable consumers may face transition challenges and end up in an uncertain “in-between” experience of liminality, where the linkage to resource integration remains under-researched. In response to recent service prioritization challenges, we explore how vulnerable actors experience liminality and resource integration in service systems. The vulnerable actors highlighted in this study are parents in families of children with life-long conditions (e.g., autism spectrum disorder/ASD and Down syndrome). We reveal a new form of liminality as a persistent, relational phenomenon that interdependent vulnerable actors with ongoing complex resource needs collectively experienced within service systems. Further, we identify the dynamics of persistent liminality as Precipitating, Subsisting, and Resisting. Finally, in line with TSR, we shed light on the resource constraints that decrease the well-being of vulnerable consumers. We also identify implications for theory, practice, and future research.

As ubiquitous technology is increasingly mediating our relationships with the world and others, we argue that the sublime is struggling to find room in product design primarily aimed at commercial and transactional goals such as speed and efficiency. We suggest a new category of products to promote deeper and more meaningful experiences, specifically those offering liminality, transcendence, and personal transformation. This paper introduces a conceptual framework and related three-step design approach that looks at narrative participation in design through abstractions to promote, hold and deepen more complex emotions. We explore implications from a theoretical point of view and suggest some liminal product design ideas as examples of how the model might be applied in practice., 35 pages, 3 figures