Middle East and North African (MENA) nations, including Morocco, are witnessing the largest cohort of young people in their history, which today makes up roughly one-third of their total populations. Influenced by the democracy uprisings in 2011, state, media, and international organization discourses on youth in the Middle East and North Africa have solidified in two directions. One perspective presents the group as a threat to the security and fabric of their nations, potential purveyors of delinquency and extremism, in states of "waithood." The other view, a variant of which is explored here, considers the cohort as a group that constitutes an untapped potential and hope for addressing the ills and flaws of their societies. This accounting depicts Moroccan and MENA youth as passive victims of circumstances while also assuming their abilities to address their life circumstances without considering the complex contexts they confront. While those structural realities are surely real and sometimes paralyzing, youth can and do deploy several tactics, strategies and subversive accommodation to address the conditions they confront. That is, they continuously navigate liminal spaces created as they seek to move from "where they are" to "where they wish to be." This dissertation explores how a sample of young men and women from underprivileged neighborhoods in Morocco exercised their agency in their everyday lives. Addressing their family, education and work, this study draws on the findings from 30 semi- structured interviews focusing on the challenges and agential potentials of young individuals from underprivileged neighborhoods in Casablanca, Morocco, as they described their everyday paths to coming of age in their society. To contextualize their journeys, I present how young people have historically demonstrated individual and collective agency in ways that helped shape Moroccan modern history. I then employ the concepts of bounded agency, liminal space, tactics, strategies and subversive accommodation to demonstrate how young individuals navigated their everyday lives within their families, as well as educational and work trajectories. I argue that young people are not simply passive; they indeed exercise strategies and tactics to navigate and negotiate their daily lives. However, they do so in bounded or limited conditions as they address colonial legacies of social inequality compounded by demographic realities and neoliberal policies that have deepened those conditions. This study challenges mainstream conceptions of youth agency as empowerment, resistance and freedom and instead suggests that the agency of youth as well as their everyday aspirations and struggles need to be contextualized based on the social and material conditions in which they live. Their agency is real, but so too are the structurally difficult and limiting social, political and economic conditions they confront. / Doctor of Philosophy / Middle East and North African (MENA) nations, including Morocco, now have the largest cohort of young people in their histories, approximately one-third of their total populations. State, media, and international organization discourses addressing youth in the Middle East and North Africa have tended to adopt one of two storylines concerning the region's youth; one that views this population as a threat to the security and fabric of the nations, potential delinquents and extremists, and existing in states of "waithood." The other perspective tends to view young people as constituting untapped potential to address long-standing societal challenges. This accounting depicts Moroccan and MENA youth as passive victims of circumstances and assumes their capacity to address their life circumstances without considering the complex situations they confront. While those structural realities surely can act as obstacles or barriers, young people can and do deploy a range of practices to address the conditions they confront. Indeed, they continuously make choices as they seek to move from "where they are" to "where they want to be." This dissertation explores how a sample of 30 young men and women from underprivileged neighborhoods in Casablanca, Morocco exercised their ability to act in their everyday lives. Addressing their family, education, and work spaces, and drawing on the findings of individual semi-structured interviews with those in the sample, it describes their paths to coming of age in their society. To contextualize the life journeys of those interviewed, the analysis also examines how young people have historically demonstrated individual and collective agency in ways that have helped to shape Moroccan modern history. Overall, this study suggests that young Moroccans are not simply passive or in states of waiting; they indeed exercise strategies and tactics to navigate and negotiate the opportunity structures they encounter in their daily lives. However, they do so in limiting conditions that bound the possibilities they may reasonably explore as they address the continuing influence of colonial legacies of social inequality joined by demographic realities and the ongoing, and largely negative, impacts of neoliberal policies.

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Liminal space serves as a metaphor in defining the in-between places I feel as an artist/teacher and the in-between places I live in because of the intermixing of images from memory and daily life. As an artist embarking on a career as an educator, I have difficulty visually portraying my identity in my art and feel my future students will find it difficult to define who they are without proper guidance and knowledge of what could define a person. I will be a teacher who will not propose a concept or lesson to students without undertaking the project myself. Identity evolves and incorporates elements of where we live and what we see every day. The liminal, in-between, blurry, and distorted perceptions that define my identity are expressed through arts-based research, autoethnography, and mapping. In this research I create and connect paths that lead to a further definition of the artist/teacher.

<p>Did the early Pentecostals regard themselves as servants to the wider church, bearers of the gifts of the Spirit, sent to bring a renewed focus on love, unity, holiness, and justice to all parts of the church? Or did they see themselves as the only true believers in the midst of apostates, heretics, and reprobates? What can be found among the early Pentecostals, as a people whose primary self-identity was as a people of the Spirit, that carried the Spirit's mission forward in unique or significant ways? Can the loss of such practices help explain the decline of the Pentecostal movement? Narrating the Pentecostal movement through the lens of the Spirit's mission to the world is an attempt to give a normative account of Pentecostal liminality, to describe certain communitas commitments as ones that gave rise to the movement and propelled it forward. This study describes in detail how this understanding itself came to be something else, something quite damaging. Still, the general principle was that the Holy Spirit comes in power and blesses work that aligns with the Spirit's own mission. That is the primary presupposition at work here as well, that through understanding the mission of the Holy Spirit, we may find ways to align ourselves with that mission, to co-labor with the Spirit by privileging the liminal moment. Implicit in this claim is the denial that such alignment is automatic, guaranteed, or even self-sustaining. The argument here is that the incompatibility of the Pentecostal ethos represented by these communal commitments with the uncritical acceptance of evangelical-fundamentalist theological accounts on the part of the second and third generation Pentecostals resulted in a loss of what constituted the Pentecostal movement as such. This dissertation begins with an exegesis of John 16.8-11 in an effort to articulate Pentecostal ethics in terms of participation in the Spirit's mission of convincing the world with regard to sin, righteousness, and power. The conclusions of this exegesis are that the entire world is in view throughout this passage; that the Spirit convicts all with regard to sin, defined as not believing in Jesus, righteousness, defined as following Jesus' example in a life of holiness, and power, defined as the Spirit's judgment on all forms of power that are self-aggrandizing as opposed to the cruciform mode of authority that must characterize the Christian life; and that the Spirit accomplishes this convincing work primarily through the life of the communitas the Spirit forms, embodies, and empowers. These results are then carried to the Pentecostal movement in its earliest instantiation and as it exists as a Christian subculture today, asking what Pentecostal liminality might look like, if the rubric of the Spirit's mission to the world is applied as a moment we are to participate in enduringly.</p> / Dissertation

This dissertation investigates two areas rarely treated in Early Modern studies. First, it explores the origins, functions and importance of the entremes as a performance genre historically relegated to what Victor Turner has called the "liminal" spaces of social and scholarly discourse. These marginalized places of ambiguity in between one space and another provide the artist with a less restrictive creative setting in which to explore the otherwise difficult and even unmentionable social themes. Literally placed in between acts of the comedia performance experience, as well as chronologically placed in between the medieval pageant theater and the emerging early modern theater houses, the entremes serves as an entertaining breed of performance monster, building upon a thematic foundation "betwixt and between" acceptable and objectionable forms of theater.Second, the dissertation examines in detail the 12 lesser-known entremeses of Francisco de Quevedo as examples of liminality in the development of early modern theater practices. Specifically, the study analyzes these theater pieces as they subscribe to three categories of cardinal sin: desires of the ego (pride, wrath and sloth); desires of ownership (greed and envy); and desires of the body (lust and gluttony).As a result, this work hopes to demonstrate the aesthetic value of the interlude and the ways in which Quevedo's various manifestations of this liminal genre, based heavily on the construct of sin, both complement and contradict the model of the entremes as established by his predecessors.

The fairy figure has had a long association with Ireland in popular cultural discourse. While often the source of children's fairy tales, their history in Ireland is far from kitsch. Their enduring association with the Irish has been one of adaptation in the face of colonialism and is linked to the land itself as well as Irish identity. The Gaelic Revival and emerging field of archaeology in the nineteenth century pulled from a strong tradition of myth and storytelling to craft a narrative of authentic Irishness that could resist the English culturally and spiritually. This paper explores the relationship between nationalism, landscape, and mythology that created a space that the fairy survived in as a product of colonial resistance and identity.

I am interested in the construction and meaning of space in Charlotte Brontë 's novels, and more specifically the idea of enclosure, in abstract and concrete terms. In a concrete sense, I wish to investigate the physical spaces the women in Charlotte Brontë 's novels inhabit: their homes, gardens, workplaces, clothing, and their bodies. In an abstract sense, I wish to investigate the cultural, psychic, gender, and linguistic spaces they inhabit: the cultural images and conventions women are enclosed within, the psychic space of the mind, and the narrative spaces they inhabit (and create). Sandra Gilbert and Susan Gubar, in their seminal text The Madwoman in the Attic, focus on the patriarchal enclosure of female characters in Victorian texts. As many Feminist critics of nineteenth century literature have noted (Vicinus, Agress, Auerbach), these enclosures are largely controlled by the patriarchy. Indeed, the protagonists of Charlotte Brontë's novels reflect the entrapment of the feminine protagonists in a patriarchal world. However, focus on this entrapment obscures the power that characters like Lucy Snowe, Jane Eyre, Shirley Keeldar, and Caroline Helstone generate from their enclosure experience. Each enclosure these three characters experiences fuels their education. Lucy, Jane, Shirley, and Caroline generate power and transformation of self from their time spent in these various enclosures. The education of these characters becomes the education for real women. In order to reclaim and reaffirm the value of enclosure for women, one may trace the positive notions of enclosure through the Jungian model of a three-stage gestation of women's rites of passage: enclosure, transformation, and emergence, as proposed by Bruce Lincoln. This gestational process results in psychological and spiritual transformation. All four protagonists participate in many cycles of the gestational pattern on micro and macro levels. This process results in their eventual transformation and emergence as wise women. It is vital to re-interpret the psychic and physical enclosures within Villette, Shirley and Jane Eyre as spaces that shape the identity of Lucy Snowe, Caroline Helstone, Shirley Keeldar, and Jane Eyre.

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Every day the city plays out its spectacle unnoticed. This quotidian context is one which is full of complexity, spontaneity and possibility. It is here that architecture can engage with both the city and its user, space and experience; challenging conventional architectural typologies. It is within public space, that architecture can both enhance and celebrate the everyday. This project investigates all of these aspects within the city of Pretoria and more specifically along Van der Walt Street, focusing on the urban cavity at Munitoria. Surveillance is conceptually used to experience this spectacle, on multiple levels of enterpretation, where the architecture is reduced to support both the concept of surveillance and its experience. Copyright 2011, University of Pretoria. All rights reserved. The copyright in this work vests in the University of Pretoria. No part of this work may be reproduced or transmitted in any form or by any means, without the prior written permission of the University of Pretoria. Please cite as follows: Alkayyali, A 2011, Liminal public infrastructure : a typology of public space for everyday performances, MArch(Prof) dissertation, University of Pretoria, Pretoria, viewed yymmdd < http://upetd.up.ac.za/thesis/available/etd-11252011-112216 / > C12/4/35/gm / Dissertation (MArch(Prof))--University of Pretoria, 2011. / Architecture / unrestricted