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Relevant bibliographies by topics / Liminality – Fiction

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Academic literature on the topic 'Liminality – Fiction'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Liminality – Fiction"

1

Sacido-Romero, Jorge. "Liminality in Janice Galloway’s Short Fiction." Zeitschrift für Anglistik und Amerikanistik 66, no. 4 (December 19, 2018): 443–59. http://dx.doi.org/10.1515/zaa-2018-0037.

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Abstract One of the most salient developments in recent short story criticism focuses on the genre’s connection with liminality. Both short fiction’s suitability to convey the liminal and liminality as a defining feature of the short story are at stake. The short fiction of contemporary author Janice Galloway is a good example of this. After a brief introduction to the concept of liminality, I discuss one story from each of Galloway’s collections of short fiction: “Frostbite” is the story of how a young music student crosses an existential boundary and leaves behind disabling expectations and fears; “jellyfish” features a divorced woman undergoing a liminal moment in her experience of motherhood, whereas the woman in a homeless couple in “a night in” narrates her experience as a privileged witness to ontological liminality affecting both space and language.

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Madden, David W. "Indoctrination for Pariahdom: Liminality in the Fiction of Paul West." Critique: Studies in Contemporary Fiction 40, no. 1 (January 1998): 49–70. http://dx.doi.org/10.1080/00111619809601564.

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More, Octavian. "Liminal Spaces and the Ecomorphic Self in Alistair MacLeod’s Nova Scotian Narratives." Studia Universitatis Babeș-Bolyai Philologia 66, no. 1 (March 30, 2021): 265–80. http://dx.doi.org/10.24193/subbphilo.2021.1.19.

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"Liminal Spaces and the Ecomorphic Self in Alistair MacLeod’s Short Stories. Starting from the observation that Cape Breton Island, the distinctive setting of Alistair MacLeod’s fiction, is a “borderland” lying at the intersection of complementary elements (past – present, tradition – individuality, humans – environment), this paper proposes a general discussion of liminality in the author’s work as well as a close reading of two of his short stories, “The Road to Rankin’s Point” and “Island”, with the aim of highlighting how a relational, ecomorphic self-arises in the wake of symbolic encounters that lead to a reassessment of the subject’s position within their biological and cultural milieu. Keywords: Alistair MacLeod, Cape Breton, liminality, borderlands, ecomorphism. "

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Hope, William. "The Roma In New Millennium Italian Fiction Films: Dissensus, Liminality, Emancipation." Italianist 36, no. 2 (May 3, 2016): 266–86. http://dx.doi.org/10.1080/02614340.2016.1178889.

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Wallace, Karen L. "Liminality and Myth in Native American Fiction: Ceremony and The Ancient Child." American Indian Culture and Research Journal 20, no. 4 (January 1, 1996): 91–119. http://dx.doi.org/10.17953/aicr.20.4.qrr305874310j27h.

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Cornis-Pope, Marcel. "Rethinking Postmodern Liminality: Marginocentric Characters and Projects in Thomas Pynchon's Polysystemic Fiction." symploke 5, no. 1 (1997): 27–47. http://dx.doi.org/10.1353/sym.2005.0053.

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Pons, Xavier. "“On the Threshold of Change”: Liminality and Marginality in Steven Carroll’s Fiction." Commonwealth Essays and Studies 37, no. 1 (September 1, 2014): 11–23. http://dx.doi.org/10.4000/ces.5108.

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Snyder, Robert L. "Contextualizing Adam Hall’s Fiction: Liminality, Nihilism, and Pathogenic History in The Quiller Memorandum." Études anglaises 70, no. 4 (2017): 494. http://dx.doi.org/10.3917/etan.704.0494.

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Tialiou, Kelley. "Inhabiting Liminality: Cosmopolitan World-Making in Naeem Mohaiemen’s Tripoli Cancelled." Humanities 8, no. 2 (June 24, 2019): 117. http://dx.doi.org/10.3390/h8020117.

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Motivated by “the need to embody … the palpable tension between the North and the South as it is reflected, articulated, and interpreted in contemporary cultural production”, documenta 14’s selection of Athens as a “vantage point … where Europe, Africa, the Middle East, and Asia face each other” is in line with the ancient Greek concept of the ‘cosmopolite’, a term that Diogenes first coined “as a means of overcoming the usual dualism Hellene/Barbarian”. In this article, I suggest that Naeem Mohaiemen’s feature film, Tripoli Cancelled (2017), commissioned by documenta 14 and premiered at the National Contemporary Art Museum in Athens, proposes a rich and compelling model of cosmopolitan world-making. Shot at the abandoned Elliniko Airport, the film is poetically suspended between fact and fiction, past and present, the historical and the incidental, the local and the global. Creatively positioning the concepts of cosmopolitanism, nostalgia, and hospitality in dialogue, I develop a theoretical model through which I seek to explore how the literally and metaphorically liminal space inhabited by the film’s anonymous protagonist resonates with the contemporary conditions of desperate migration.

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Saxena, Vandana. "‘Live. And remember’: History, memory and storytelling in young adult holocaust fiction." Literature & History 28, no. 2 (September 14, 2019): 156–74. http://dx.doi.org/10.1177/0306197319870380.

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Young adult fiction has emerged as a crucial pedagogical tool for Holocaust education. According to scholars and writers, it promotes empathy and also encourages the readers to become a part of the process of remembering. However, this field of storytelling also grapples with the dilemma of traumatic subject matter and its suitability for young readers. The humanist conventions of young adult fiction are often in conflict with the bleak and horrifying core of Holocaust literature. Young adult novelists have tried to deal with these problematic aspects by using multiple narrative strategies to integrate the memories of genocide and human rights abuse with the project of growth and socialisation that lies at the heart of young adult literature. This paper examines the narrative strategies that make young adult fiction an apt bearer and preserver of the traumatic past. Specifically, these strategies involve fantastical modes of storytelling, liminality and witness testimonies told to the second- and third-generation listeners. These strategies modify the humanist resolution of young adult narratives by integrating growth with collective responsibility.

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Dissertations / Theses on the topic "Liminality – Fiction"

1

Crowley, Adam. "Liminality in Popular Fiction." Fogler Library, University of Maine, 2003. http://www.library.umaine.edu/theses/pdf/CrowleyA2003.pdf.

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Hammer, Julia Maria. "Crossing limits : liminality and transgression in contemporary Scottish fiction." Thesis, University of Edinburgh, 2017. http://hdl.handle.net/1842/25923.

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In my thesis, I aim to show that a focus on liminality in contemporary Scottish fictional texts illustrates underlying developments of relevant social phenomena with regard to class issues, gender and sexual identity. The anthropological concept of liminality looks at a situation of “being between”. The liminar faces a situation of having to renegotiate their values and perceptions in order to proceed. Liminality always involves the existence of limits which have to be transgressed and against which the individual negotiates a personal situation. I further hypothesise that the transgression of limits can be seen as an instrument to create order. I take an anthropological approach to my thesis. Arnold van Gennep’s early studies on rites of passage and Victor Turner’s study of liminality originate in the observation of tribe-internal, social structures of personal development. Van Gennep assumes a tripartite structure among which liminality is the middle stage, the phase in which the initiand has to perform tasks to re-enter and become part of the community. Turner isolates the middle stage and transfers this concept to western societies. This theory is taken up and developed further by several literary critics and anthropologists. While the transgression of limits is often regarded as a violation of those norms which regulate societies, the transgression of limits in a rite of passage and connected with liminality is a vital aspect and socially necessary. Several concepts are related to this theory, which will play a major role in my thesis: Turner’s permanent liminality, Mikhail Bakhtin’s carnivalesque as well as Foucault’s transgression. In the first chapter, I contrast two of Alasdair Gray’s novels, stating that the most powerful message of social and capitalist criticism is not just visible on the surface of the hyperbolic texts, but particularly prominent in liminal passages. The theories of Bakhtin and Turner plays the most important role in this chapter. In the second chapter, A. L. Kennedy’s novels are contrasted. In So I am Glad a difficult psycho-social issue is solved by a liminal trigger-figure, Paradise is an example of the destructive and restrictive effects of permanent liminality. In chapter three, I deal with the issue of passing and an individual redefinition of gender identity. The performativity of masculinity reveals ambiguous definitions of gender and morale. The Wasp Factory portrays a form of masculinity which has destructive effects on the individual and its environment. It is the tension in the liminal situation of a gender myth, a brutally performed masculinity and the character’s biological sex which expresses a harsh criticism of society’s definition of masculinity. In Trumpet, the binary model of gender is questioned. The text suggests a different definition of identity as fluid, passing between the two ‘extremes’, formulating the possibility of a state of being ‘something in-between’. It is the confrontation with this ‘otherness’ which provokes a wave of rejection and protest in the environment of the individual passing as a member of the ‘other sex’. In this case, it is not the obvious liminal individual, but his son who undergoes a process of change and thus a process of renegotiating his strict value system. The final chapter deals with liminal spaces and how these reflect and support the internal development which the protagonists undergo. The choice of Orkney as a mystical place and the fictional setting in a war game show that liminal spaces – both real and fictitious – trigger a personal development and reconnect present day life in Scotland with historical events which have had a shaping role for Scottish and European life.

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Kalama-Smith, Lindsay M. "The Islands In-Between." PDXScholar, 2015. http://pdxscholar.library.pdx.edu/open_access_etds/2521.

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A collection of reflective essays on the personal relationship with identity, land and travel. All of the essays are united by common themes of liminality, transformation and neutral space, set against the backdrop of Iceland and Hawaii. Anthropologist Arnold Van Gennep writes how certain geographical "zones," those that are semi-civilized with less precise boundaries are neutral zones. For example, deserts, marshes and virgin forests equally accessible to everyone because they are places in between. Whoever passes through these sacred spaces finds herself physically and magico-religiously in a special situation for a length of time—wavering between two worlds. Travel neutralizes the traveler, forces her into a space of imbalance and liminality (i.e. the threshold), where as an outsider she is as equally weak as she is powerful. I am interested in exploring this liminal space as it relates to my own personal relationship with identity and belonging. Throughout my life the topic of symbolic and spatial liminality appears again and again: through my identity as a "third-culture kid" raised in Saudi Arabia; through my own biraciality; through travel in general or even the physical act of the journey. I imagine this self as part of the Earth (a secular relationship represented by Hawaii) and part of the Sky (a metaphysical relationship represented by Iceland).

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Crowley, Dale Allen. "Eldritch Horrors: The Modernist Liminality of H.P. Lovecraft's Weird Fiction." Cleveland State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=csu1496326220734249.

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Janicker, Rebecca. "Halfway houses : liminality and the haunted house motif in popular American Gothic fiction." Thesis, University of Nottingham, 2014. http://eprints.nottingham.ac.uk/44082/.

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Halfway Houses examines popular American Gothic fiction through a critical focus on what I call the ‘haunted house motif’. This motif, I argue, creates a distinctive narrative space, characterised by the key quality of liminality, in which historical events and processes impact upon the present. Haunted house stories provide imaginative opportunities to keep the past alive while highlighting the complexities of the culture in which they are written. My chosen authors, H. P. Lovecraft, Richard Matheson and Stephen King, use the haunted house motif to engage with political and ideological perspectives important to an understanding of American history and culture. Analysing their fiction, I argue that in “The Dreams in the Witch House” (1933) Lovecraft uses haunting to address concerns about industrialisation, urbanisation and modernisation in the early part of the twentieth century, endorsing both progressive and conservative ideologies. Similarly, Matheson’s haunting highlights issues of 1950s suburbanisation in A Stir of Echoes (1958) and changing social mores about the American family during the 1970s and 1980s in Earthbound (1982; 1989), critiquing conformist culture whilst stopping short of overturning it. Lastly, as a product of the counterculture, King explores new kinds of haunted spaces relevant to the American experience from the 1970s onwards. In The Shining (1977) he draws on haunting to problematise inequalities of masculinity, class and capitalism, and in Christine (1983), at a time of re- emerging conservative politics, he critiques Reaganite nostalgia for the supposed ‘golden age’ of the 1950s. At the close of the twentieth century, haunting in Bag of Bones (1998) reappraises American guilt about race and the legacy of slavery. Overall, my thesis shows that the haunted house motif adapts to the ever-changing conditions of American modernity and that the liminality of haunting addresses the concomitant social unease that such changes bring.

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Lacy, Dianna C. "Expanding the Definition of Liminality: Speculative Fiction as an Exploration of New Boundaries." ScholarWorks@UNO, 2019. https://scholarworks.uno.edu/td/2698.

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Speculative fiction allows an expanded view of literature and so allows scholars to explore new boundaries in the way words and ideas work. In the titular character of The Last Unicorn by Peter S. Beagle, the reader sees an expansion of self through liminality while A Scanner Darkly by Philip K. Dick explores its collapse. In order to portray each of these the character examined must move though one seems to move upward and the other downward. This idea of movement is only part of what expands the idea of liminality past the traditional idea of a doorway to create a hallway that the character might traverse on the way from place to place. This is not a redefinition of the term but a revision, a change in the way that we look at the concept as we accept and explore newer genres.

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7

Belbin, D. "What we don't know : liminality, marginality and narrative mode in David Belbin's fiction." Thesis, Nottingham Trent University, 2016. http://irep.ntu.ac.uk/id/eprint/29006/.

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This thesis consists of a selection of my published work from 1989-2015, accompanied by an essay and a bibliography. The essay looks at the ways in which I am drawn towards marginal and liminal zones within fiction, including the areas between Young Adult (YA) and Adult fiction, crime fiction and literary fiction, and that between depicting reality and fictionalising it. I also consider the use of narrative mode in defining these liminal areas. By 'liminal', I mean occupying a position at, or on both sides of a boundary or threshold, rather than the word's other, looser sense, where it means 'vague'. The examples of fiction selected are intended to display the range of my published work since joining Nottingham Trent University. The order in which the pieces are discussed is broadly chronological. There is an introductory section about and brief examples of my work prior to 2002. While the work selected has been chosen primarily to be representative of my published work, they also illustrate the liminal and marginal zones referred to above. The majority of the extracts and stories that follow are taken from those published during the thirteen years I have worked at Nottingham Trent University. The texts used are taken from the published versions. Consequently the editorial conventions applied to chapter headings, double or single speech marks et al. are not consistent. While I have endeavoured to correct typographical errors that appeared in the original publications, I have not attempted to improve the style.

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Mazur, Christine Teresa. "Gothic fiction, liminality, and popular culture, Stephen King's grotesque social commentary in Salem's lot." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp05/mq23418.pdf.

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9

Ferrell, Erin. "Outer Space as Liminal Space: Folklore and Liminality on Doctor Who and Battlestar Galactica." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17887.

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This thesis explores the intersection of folkloric ritual theory and popular culture, expressed in science fiction television. The three-part rite of passage model established by folklorist Arnold van Gennep and later expounded upon by anthropologist Victor Turner is used as an analytical tool to establish the themes and structures of two popular television programs, Battlestar Galactica and Doctor Who. Both contain structures that resemble a rite of passage and exhibit a particular feature of the liminal stage of a rite of passage: ludic recombination. In the discussion of Battlestar Galactica, the plot arc of the entire series is analyzed as a rite of passage. On Doctor Who, the ritual model is examined as a structural component of the "companion" character. The structure and features of rites of passage allow science fiction narratives to explore sociocultural issues and existential themes in a meaningful way.

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Boge, Chris. "Outlaws, fakes and monsters doubleness, transgression and the limits of liminality in Peter Careyś recent fiction." Heidelberg Winter, 2009. http://d-nb.info/994723989/04.

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Books on the topic "Liminality – Fiction"

1

Liminality in fantastic fiction: A poststructuralist approach. Jefferson, NC: McFarland & Co., 2011.

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Outlaws, fakes and monsters: Doubleness, transgression and the limits of liminality in Peter Carey's recent fiction. Heidelberg: Winter, 2009.

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Liminal. Talybont, Ceredigion: Alcemi, 2007.

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Nyatetũ-Waigwa, Wangari wa. The liminal novel: Studies in the Francophone-African novel as Bildungsroman. New York: Peter Lang, 1996.

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Modernist short fiction by women: The liminal in Katherine Mansfield, Dorothy Richardson, May Sinclair and Virginia Woolf. Burlington, VT: Ashgate, 2011.

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Shanklin, Tip Harrison. Thresholds, boundaries, crossings: Reading liminality in the English novel. 1995.

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Permanent Liminality and Modernity: Analysing the Sacrificial Carnival Through Novels. Taylor & Francis Group, 2016.

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Thresholds of Meaning: Passage, Ritual and Liminality in Contemporary French Narrative. Liverpool University Press, 2011.

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Liminal States A Novel. Citadel Press, 2012.

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Folkart, Jessica A. Liminal Fiction at the Edge of the Millennium: The Ends of Spanish Identity. Bucknell University Press, 2016.

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Book chapters on the topic "Liminality – Fiction"

1

Kwa, Shiamin. "Still Moving: Gabrielle Bell’s Graphic Auto-Fiction." In Liminality, Hybridity, and American Women's Literature, 247–63. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73851-2_16.

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Wood, Michelle Gaffner. "Inhabiting the Liminal: The Architecture of Single Life in Catharine Maria Sedgwick’s Fiction." In Liminality, Hybridity, and American Women's Literature, 125–44. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73851-2_9.

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Lee, Gabriela. "Through Screens and Streams: Digital Liminality and Identities in Philippine Young Adult Speculative Fiction." In Asian Children’s Literature and Film in a Global Age, 311–33. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-2631-2_14.

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O’Neill, Maggie, and Lizzie Seal. "Madness and Liminality: Psychosocial and Fictive Images." In Transgressive Imaginations, 83–99. London: Palgrave Macmillan UK, 2012. http://dx.doi.org/10.1057/9780230369061_5.

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"Adolescence and Liminality in Carson McCullers’ Short Fiction." In Childhood through the Looking Glass, 89–98. BRILL, 2016. http://dx.doi.org/10.1163/9781848885295_009.

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"Multiethnicity, Liminality and Fantasy in Jamila Gavin’s Stories for Young Readers." In Postcolonial Youth in Contemporary British Fiction, 100–123. BRILL, 2021. http://dx.doi.org/10.1163/9789004464261_007.

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Lowe, Gill. "“The Squeak of the Hinge”: Hinging and Swinging in Woolf and Mansfield." In Virginia Woolf and Her Female Contemporaries. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781942954088.003.0021.

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This paper explores the concept of the hinge in Virginia Woolf’s Mrs. Dalloway and Katherine Mansfield short fiction. It analyses instances of instability in these texts: psychological, postural, cultural, meteorological, diurnal, and seasonal. The argument makes use of Barthes to consider structural “nuclei” (hinge-points) in these narratives. Mrs. Dalloway is set in mid-June at the solstice which is a hinge-point of the year. The novel begins with doors being taken off their hinges and this unhinging leads to moments of enlightenment. The hinge is used metaphorically to suggest freedom and movement in time, space, class, and gender. A hinge both connects and separates. Gates and doors are used to show societal divisions and associations in these fictions. The hinge is considered as a paradoxical site of potential; a locus of decision-making or undecidability; of opening and closing; of “swinging both ways”. This trope is rich in significance and the paper considers a variety of related ideas: axels, still points, rotation, oscillation, liminality, translation, transition and trespass.

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Ash, Susan. "The ‘Queen’s Shades’ and a ‘Gothicized’ London." In Funding Philanthropy, 148–74. Liverpool University Press, 2016. http://dx.doi.org/10.5949/liverpool/9781781381397.003.0004.

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This chapter explores how Barnardo uses the Gothic narrative mode as a central mechanism to raise affect and thus engage potential supporters. The discussion draws on Jamieson Ridenhour’s work on the Gothicised cityscape to explore how Barnardo’s London reflects societal anxieties related to the past and the potential degeneration of British citizenry. It focuses on Barnardo’s treatment of one site in London, ‘The Queen’s Shades’ a site formed by mounds of detritus at the old Billingsgate Fish Market, first in a novel Barnardo wrote and serialized in his juvenile periodicals, and secondly in a supposedly non-fictional account for adults which narrativized the beginnings of his work in the 1860s. Both raise crucial questions about thresholds and liminality, about borders between inside/outside, animate and inanimate, indeed, between human and not-human. The chapter argues that Barnardo uses the Gothic in the child’s narrative to excite and engage interest while eliciting fear and shame in the adult version. Ultimately, ‘The Queen’s Shades’ operates as a powerful Gothic trope in which human sensations, corporal bodies and architectural detritus merge to reflect societal fears regarding the stability of the wider English social body.

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