The focus of this thesis is on the liminal space, limen being Latin for threshold. The liminal space is used as a means of figuring and reading artworks that appear to be in a process of becoming and disappearing. A dialectical and reciprocal reading is made of Bourgeois’ “neo-Baroque” artwork Spider (1997) and Michelle Key’s Betwixt-in-Between (2004). Liminality here is discussed within the theoretical framework of several key conceptual concerns, including abjection (as examined principally by Julia Kristeva), Baroque thought (as discussed by Mieke Bal, Gilles Deleuze, Jacques Lacan and Slavoj Žižek) and allegory (as figured primarily by Walter Benjamin and commentators on Benjamin’s writings). What links these concerns are their focus on indeterminacy, instability, and process as opposed to certitude and finitude. The exploration of the inscription of time in space; that is the temporal process, which gives rise to, which produces, the spatial dimension, is attempted in order to make meaning, however provisionally, of what may be argued to destabilise meaning and to consider possibilities for both art-making and interpretation that would engage critically with this instability.

With both its inherent alienation and freedom, the experience of liminality, or the occupation of transitional spaces, is in many ways universally human. However, by nature of their bicultural liminality and the oppressive and pervasive demand for what Paula Gunn Allen terms "Indianness" American Indian authors must also confront and negotiate questions of authenticity. In so doing, many have taken the opportunity to subvert those demands, to juxtapose their actual multifaceted identities against them, to make meaning from the contrast, and to create from that re/integrated space. This thesis elucidates these points as an introduction to the body of poems that follow. The poems, often instruments of my own liminality, explore the broad themes of place, family, and identity.

As a hauntological artist, I deconstruct my silenced First Nation Wolastoqiyik (Maliseet) ancestry as I look towards the intergenerational narratives of my grandmother, mother, and I. As I employ the methodology of a/r/tography, the intersection of autobiography and art-making, I utilize diverse art forms to find that g(hosts) reside amongst spaces of liminality. Supported by the methodology of a/r/tography, as I draw on works which blur the boundary between past and present, self and other, I deconstruct the silencing of my First Nation lineage by creating three art(works). These art(works) are placed within an exhibition catalogue and inquire into 1) the specters that loom between the evocative objects of our narratives, 2) how script-writing and the script’s performance can reveal g(hosts) in spaces of liminality, and 3) how sculptures facilitate spectral movement. Each individual art(work) plays a role in breaking the silence. A(wake), specters arise.

Au sein de l'école élémentaire, les CLIS 1 sont des classes spécialisées qui accueillent des élèves porteurs de troubles des fonctions cognitives. Ces élèves doivent connaître des temps d'inclusion en classe ordinaire, alors nommée « classe d'inclusion ». Ma thèse s'intéresse à ce que disent les élèves de CLIS 1 de leur(s) place(s) dans l'école, à partir du concept de liminalité, tel qu'il a été défini par Murphy. Il Je postule que la CLIS est un lieu de la liminalité, permettant aux élèves de rester dans l'école sans les y inclure totalement.Je questionne la situation liminale des élèves de CLIS 1 par la dialectisation du statut, de la situation et de la place de la personne handicapée, dans une double perspective socio-historique et socio-clinique. La CLIS 1 peut être pensée comme un espace liminal, au regard de la définition du handicap mental et de ses différentes dénominations, de la perspective historique de la scolarisation des enfants en situation de handicap et de la politique actuelle qui revendique une volonté inclusive. A l'appui des cadres méthodologiques de l'analyse institutionnelle et de la sociologie de l'enfance, j'ai élaboré un dispositif de socio-clinique institutionnelle pour mener une réflexion collective avec les élèves de trois CLIS 1. Il ne s'agissait pas rechercher une adéquation des discours des élèves à la réalité observable, mais de confronter leurs représentations aux observations faites, de façon à analyser leur(s) place(s) au sein de l'institution scolaire.Mes données me conduisent à enrichir le cadre théorique initial. La liminalité des élèves de CLIS1 est une liminalité plurielle, qui dépend de facteurs sociaux, culturels, environnementaux, institutionnels, mais aussi individuels. La recherche a mis à jour le concept d'empan liminal, à savoir un processus dynamique qui se décline différentes situations liminales selon les temps d'inclusion en classe ordinaire de chaque élève. Mon travail empirique d'une part et théorique d'autre part me conduit à interroger les modalités de la mise en œuvre de la politique d'inclusion au sein de l'école élémentaire. / Within the French primary school, CLIS 1 are specialised classes which accept children with cognitive disabilities. These children should partake in inclusion times in regular classes, called "inclusion classes". My thesis focuses on what CLIS 1 students say about their place(s) in the school, from the perspective of liminality, as defined by Murphy. I suggest that the CLIS is a place of liminality, allowing children to stay at school without their total inclusion.I question the liminal status of students in CLIS 1, by discussing the situation and place of disabled children, from both socio-historical and socio-clinical perspectives. The CLIS 1 can be thought of as a liminal space, regarding the definition of mental disability and its various denominations, from the historical perspective of the education of disabled children and from the current policy which claims inclusive desire. In support of the methodological frameworks of institutional analysis and the sociology of childhood, I developed a socio-clinical institutional device to guide a collective reflection with the children of three CLIS 1. It did not seek to match children's reflections to observable reality, The aim was not to compare exactly what the children said to observable reality, but to express to the children the contradictions between what they say and my observations, to analyse their place in the school.My data lead me to enrich the initial theoretical framework. The liminality of the children in CLIS 1 is a plural liminality, which depends on social, cultural, environmental, institutional, as well as individual factors. The research has updated the concept of liminal span, which is a dynamic process that weakens different liminal situations according to the inclusion time in regular classes of each child. My empirical work as well as my theoretical work, has led me to question the methods of the implementation of the inclusion policy in primary school.

The current qualitative research was aimed at exploring and describing symbolic consumption and extension of self through possessions during liminality of full-time MBA students, moderated by financial constraint. The main purpose of the study was to gain deeper understanding of the liminal stage of full-time MBA students as consumers, and its effect on the symbolic consumption in the context of restricted financial resources. The main purpose of the research determined its exploratory and inductive nature within the interpretivist philosophy to qualitative inquiry. Twelve semi-structured interviews were conducted with participants chosen according to the pre-set criteria. Raw data was analysed using constant comparative and content analyses. The main findings of the research showed that during MBA studies as a period of liminality, participants faced the necessity to re-adjust their consumption behaviour in order to fulfil the shifts to new social roles and therefore construct new identities. Being financially constrained, they had to make trade-offs defined by main priorities of this stage in life. As a result, participants re-evaluated their previous consumption behaviour, and adopted a new one appropriate for their new social roles and gained new decisionmaking skills. Through financial constraint as an important moderating variable of the experience, participants gained new understanding of power and value of money which formed their consumption going forward. The outcome of the research contributed to the existing body of knowledge on changes in consumption behaviour of individuals in life transitions, including symbolic consumption and self-extension through possessions. In addition to that, insights gained during research contributed to the understanding of the role financial constraint plays as a moderating variable for consumption in transition. Therefore, the results of the research are of practical value for marketers as they provide valuable insights that can be used for more efficient targeting of appropriate buyer groups. / Mini Dissertation (MBA)--University of Pretoria, 2018. / Gordon Institute of Business Science (GIBS) / MBA / Unrestricted

Despite the frequency of use amongst scholars of IR, myth remains largely a term of colloquiality. However, this paper aims to argue that as a distinct temporal and normative structure within discourse, it is a powerful tool for understanding the ways in which narratives give meaning to political phenomena, not just by describing how they are, but how they ought to be. To explain the function of myth, a case study of Kosovo has been conducted. Much scholarly debate on the nature of internationally contested states exists, but we will make the argument that Kosovo is best understood as a being in a state of liminality, due to the conflicting nature of its political structures and foreign intervention. By joining the theory discourse of Laclau and Mouffe, with insights from psychoanalysis we suggest a framework for analysing the distinct nature of political myths. The utopian horizons of myth spell out two antagonistic narratives of sovereignty in Kosovo: one of European integration and market liberalisation, and one of unification with Albania.

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This thesis is an examination of the trapped lives of Marina Carr's female protagonists and their relevance to contemporary Irish women. In her six plays from The Mai to Woman and Scarecrow, each of Carr's female protagonists is trapped either in a liminal state, defined by Victor Turner as a phase in a rites of passage process, or in a patriarchal addictive society, defined by Anne Wilson Schaef as a society in which the power is maintained and perpetuated by white males with the help of all members of society including women. Portia (Portia Coughlan), Hester (By the Bog of Cats), and Sorrel (On Raftery's Hill) are trapped in a liminal state. As liminal characters, each of these women has the ability to discern the destructive nature of the addictive society around them and must therefore decide either to integrate into that society or remain in a liminal state. Since neither option is appealing, Portia and Hester choose to commit suicide rather than to submit themselves either to continual liminality or to the addictive society. Sorrel, however, chooses liminality, and her life attests to the stagnation accompanying such a choice. The Mai (The Mai¬), Elaine (Ariel), Frances (Ariel), and Woman (Woman and Scarecrow) choose to integrate into the addictive society. In so doing, they surrender their personal power and submit to the typical feminine roles and addictions of their society. Ultimately their submission to the addictive society leads each of these characters to a destructive end: The Mai commits suicide, Frances dies by Elaine's hand, and Woman lives a stagnant life and dies unfulfilled. Although Carr's protagonists are fictional, the liminal and addictive states that Carr's women experience mirror the situations that Irish women have encountered and continue to encounter today. Like their fictional counterparts, Irish women are frequently faced with either a liminal position outside of society or traditional women's roles within an addictive society"”both of which are destructive options as Carr's protagonists demonstrate through their own lives and deaths. Although Carr's protagonists do not appear to offer any solutions to these problems, her plays do meaningfully illuminate and name these problems that Irish women face.

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