The Politics and Poetics of Space in Les Passagers du Roissy-Express

Les Passagers du Roissy-Express is habitually situated in relation to writing on the city and/or postcolonial writing. The aim of this article is twofold: first, to explore the extent to which, in its rewriting of the spaces of the banlieue as historical and contemporary authentic spaces of the French nation, it can be aligned to some post-war sociological writing on rural France. Second, through a close reading of the language of the text, to show the landscape of the banlieue is also an emotional landscape, a landscape of filth and of freshness, of departure and disappearance. The public discourse of rediscovery and difference is inflected by a much more private one rooted in the oppression and suffering of the Occupation, and the text problematises the notions of otherness and elsewhere at both levels.     

The Dialogical Tradition of Iranian Modernity: Monazereh,Simultaneity, and the Making of Modern Iran

Iranian modernity has chiefly been examined in the context of a dialectical antagonism between “traditionalists” and “modernists”—main categories comprised of related sub-headings such as “Islamist” versus “secular,” “reactionary” versus “revolutionary,” and “regressive” versus “progressive.” Following this approach, Iranian adaptations of modernity have often been (de)historicized as a theater of national “awakening” resulting from the toils of secular intellectuals in overcoming the obstinate resistance of traditional reactionaries, a confrontation between two purportedly well-defined and mutually exclusive camps. Such reductionist dialectics has generally overwritten the dialogic narrative of Iranian modernity, a conflicted dialogue misrepresented as a conflicting dialectic. It has also silenced an important feature of Iranian modernity: the universally acknowledged premise of the simultaneity and commensurability of tradition with modernity. The monazereh (disputation or debate) is the account of the interaction between rival discourses that engaged in opposing, informing, and appropriating each other in the process of adapting modernity. Narrativizing the history of Iranian modernity as the conflict between mutually exclusive binaries overlooks its hyphenated, liminal¹1 The notion of liminality has been theorized in different capacities. The anthropologist Victor Turner first used the idea of liminality in his study of tribal and religious rituals during which an initiate experiences a liminal stage when he belongs neither to the old order nor yet accepted into his new designation. Victor Turner, The Ritual Process: Structure and Anti-structure (Chicago, IL: Aldine, 1969). Turner’s insight has been expanded to investigate the general question of status in society. See, for example, Caroline Walker Bynam, Fragmentation and Redemption (New York: Zone Books, 1992), 27–51. Bynam applies Turner’s notion of liminality to the lives of Medieval female saints, arguing that Turner’s liminal passage applies more readily to the male initiate but does not in most cases reflect the experience of female initiates in Medieval times. Jungian psychology has shifted the focus from liminality as a stage in social movement to a step in an individual’s progress in the process of individuation. Jeffrey Miller, The Transcendent Function (New York: State University of New York Press, 2004), 104. See also: Peter Homans, Jung in Context: Modernity and the Making of a Psychology (Chicago, IL: University of Chicago Press, 1979). Others have used liminality to describe cultural and political change, have prescribed its application to historical analysis, or have made reference to “permanent liminality” to describe the condition in which a society is frozen in the final stage of a ritual passage. Respectively, Agnes Horvath, Bjorn Thomassen, and Harald Wydra, “Introduction: Liminality and Cultures of Change.” International Political Anthropology (2009); Agnes Horvath, Modernism and Charisma (Basingstoke: Palgrave, Macmillan, 2013); and Szakolczai, Reflexive Historical Sociology (New York: Routledge, 2000), 23. Finally, the notion of liminality has been applied to the analysis of mimetic behaviour and to the emergence of tricksters as charismatic leaders, given the association of the figure of the trickster with imitation. Respectively, Agnes Horvarth, Modernism and Charisma (Basingstoke: Palgrave, Macmillan, 2013), 55; and Arpad Szakolczai, Reflexive Historical Sociology (New York: Routledge, 2000), 155. This latter sense seems to apply to the history of Iranian modernity, for the anxiety of imitation was indeed one of its central concerns, and influential figures such as Mirza Malkum Khan (1833–1908) were sometimes perceived (though this was not universally the case) as saviours or tricksters alternatively by different people. On this issue, Fereydun Adamiyat notes how different people had different views of Malkum. The “despotic prince Zill al-Sultan” considered him to be of equal status to Plato and Aristotle. Aqa Ibrahim Badayi’ Nigar thought he was devoid of “the fineries of knowledge and literature (latīfah-i dānish va adab). Minister of Sciences and chief minister Mukhbirul Saltanah Hidayat thought “whatever Malkum wrote has been said in other ways in [Sa’di’s] Gulistan and Bustan.” Fekr-e Azadi (Tehran: Sukhan, 1340/1961), 99. Mehdi Quli Khan Hedayat’s view of Malkum Khan was summed up in these words: “This Malkum knew some things in magic and trickstery and finally did some dishonorable things and gave the dar al-fonun a bad reputation,” Khaterat va Khatarat (Tehran: Zavvar, 1389/2010), 58. Having said that, my use of the notion of liminality, though informed by the theoretical perspectives cited above, diverges from them in one important aspect: liminality as perceived by contemporary theory seems to be based on a pre-/post- understanding of non-liminal statuses accompanied by a desire on the part of the subject to emerge from the liminal state. This approach does not explain liminality as a site for the synthesis of coexisting identities. The munāzirah is precisely the account of such a process. In the context of Iranian modernity, the discourse of tradition was not perceived as prior to the discourse of modernity, as we shall amply see. In fact, European civilizational progress was deemed to have resulted from the successful implementation of Islamic principles. Therefore, while the history of Iranian modernity can still be analyzed as a liminal stage where a weakened old order meets the promise of a new order, it must be understood in terms of the encounter of simultaneous and parallel discourses. It is in this sense that liminality is employed in this study.View all notes identity—a narrative of adaptation rather than wholesale adoption, of heterogeneity rather than homogeneity, of dialogues rather than dialectics. The monazereh is the account of modern Iranian histories.     

Rehabilitating the Réfractaires

Senneville, G. de, La Défense, le pouvoir et l'argent (Albin Michel, 1992), 299pp., 110F., ISBN 2 226 05672 6

Jazouli, A., Les Années banlieue (Seuil, 1992), 220pp., 89F., ISBN 2 02 013185 4     

Liminality Wanted. Liminal landscapes and literary spaces: The Way of St. James

Abstract

The term limen was introduced to anthropological studies following Van Gennep’s theories (1960) about liminality. Among them, Victor and Edith Turner (1978) defined pilgrimage as a liminal experience, as it implies being between two existential levels that, through rituality, favours reflection. In this sense, the case of The Way of St. James (Spain) is an interesting field or research as it is loaded with contemporary meanings. Its landscapes assume the nature of spiritual and therapeutic ones; here, the physical and built environment, social conditions and human perceptions produce an atmosphere favourable to spiritual healing. On the basis of these emotions, liminality is the essence of this pilgrimage experience, not only during the same, but especially afterwards. As a matter of fact, this spiritual journey involves the search for one’s self once back home, thus acting in the process of formation of the individual. Drawing on the need for improving researches on landscape perception approach in tourism studies, we pretend to singularise the pilgrimage landscape from a liminal perspective in order to point out the need for liminality before, during and after the pilgrimage. This is achieved by exploring perceptions and emotions expressed in a corpus of travel literary production. These narrative works are not limited to describe the pilgrimage experiences; rather they make liminality a literary theme to magnify their experiences. As a result, the concept of liminal literary landscape is used to refer to pilgrims’ desire to revive liminality through the pages of travel narratives, in order to continue enjoying these emotions and feelings. These travel narratives are producing new literary modes based on the geographical exploration of the landscapes of The Way in relation to human feelings.     

Virtual Poaching and Altered Space: Reading Parkour in French Visual Culture

Parkour has emerged in the last decade as a significant cultural practice, both in France, where it originated, and internationally. The cultural resonance of parkour—a form of street gymnastics combining acrobatic agility with a creative approach to urban space—is emphasised through its presence on numerous internet sites, as well as representations in advertising media, the bande dessinée, and films. While the prevalence of parkour as a practice is widely known, these numerous manifestations within culture have not been widely theorised. This article focuses primarily on parkour's representations in visual culture, especially in cinema, and considers the associations made in two films between parkour and the banlieue. Analysing both the legitimacy and potential problems in making the banlieue a stage for parkour performance and big-screen entertainment enables us to reconsider the notion of the film banlieue, as well as the political possibilities of a ‘parkour film’. Lastly, reflecting on the circumstances of contemporary cinema and the role of the internet, the article considers philosophical aspects of the ‘parkour film’, as well as seeking parallels between parkour's spatial practices and the practices of cinematic and online production and distribution.

La dernière décennie a vu apparaître le parkour en tant que pratique culturelle significative, en France, où il a son origine, mais aussi au niveau international. L'impact culturel du parkour – une gymnastique de rue qui unit l'agilité acrobatique à une attitude créative envers l'espace urbain – est souligné par sa présence sur nombre de sites Web, dans la publicité, la bande dessinée, et dans certains films. Alors que la popularité du parkour comme pratique est reconnue, ces représentations culturelles ont suscité moins d'intérêt théorique. Cet article porte sur les représentations du parkour dans la culture visuelle – principalement dans le cinéma – et examine les rapports établis dans deux films entre le parkour et la banlieue. En se demandant s'il est ou légitime ou problématique de se servir de la banlieue comme scène pour la célébration du parkour ou pour les super-productions cinématiques, on peut réexaminer le concept du ‘film banlieue’, et considérer les possibilités politiques d'un ‘film parkour’. Finalement, en réfléchissant sur la situation contemporaine du cinéma et le rôle de l'Internet, l'article considère les aspects philosophiques du film parkour; en même temps, il cherche à établir des correspondances entre les pratiques spatiales du parkour et les pratiques de production et dissémination cinématiques et numériques.     

Transformative landscapes: liminality and visitors’ emotional experiences at German memorial sites

Abstract

The atrocities of Nazi Germany included the radical transformation of natural landscapes. At Ravensbrück (Brandenburg), a lakeside setting became the site of the largest women’s concentration camp in Germany, processing approximately 159,000 inmates until 1945. Similarly, at Flossenbürg (Bavaria), a picturesque valley in the Oberpfälzer Wald housed a large concentration camp with approximately 100,000 inmates over seven years and a granite quarry to support Hitler’s extensive construction programme. After the war, part of Ravensbrück became a Soviet Army base, while large sections of Flossenbürg were removed to make way for a new housing and industrial development. Along with other former camps (particularly Auschwitz-Birkenau), parts of these landscapes were developed into memorial sites that aim to provide a liminal experience for visitors – a ‘rite of passage’. In attempting to regain a sense of place that evokes the trauma of the past, the landscapes of the memorial sites of Ravensbrück and Flossenbürg were recently altered to resemble their appearance in 1945. For visitors, however, the aesthetic experience of these landscapes lies in stark contrast to the narrative they encounter at both sites; they are surprised to see signs of life, objecting to modernisation at Ravensbrück or the existence of a supermarket next to the memorial site in Flossenbürg. This paper examines the transformative processes of these landscapes and explores how their liminality is constructed, experienced and challenged. Through empirical visitor research conducted at both sites, it provides a critical evaluation of the narrative given to visitors and suggests how these important sites can offer a more engaging ‘rite of passage’.     

Rites of passage: migrancy and liminality in Colum McCann's Songdogs and This Side of Brightness

This article deals with two novels by the Irish writer Colum McCann: Songdogs and This Side of Brightness. Reading the narratives of both texts through the work of anthropologist Victor Turner, the essay reveals how McCann's characters undergo processes of liminal experience, which occasion structural changes in their familial relationships and in their individual identity. Turner's work primarily focused on the ritual behaviours of tribal groups and how liminality was used as a physical means toward spiritual ends; I diagnose similar dynamics in McCann's two literary fictions.     

Liminality and the asylum process in Switzerland

The process of turning asylum seekers into refugees involves a complex management and bureaucratic machinery that often creates prolonged periods of uncertainty (social, legal and economic) as people are reclassified and reconfigured. Turner’s category of liminality helps to explore the process of determining economic migrants from refugees as a rite of passage in which people are indefinitely trapped ‘betwixt and between’. In the current reaction against immigration, the liminal period indefinitely inhabited by asylum seekers no longer serves the purpose of passage from one status to another and ultimately, incorporation into the social structure. Instead, it acts as a barrier or filter which insulates the social body at a time of intense movement and mobility. Therefore, the liminal period is no longer a formative one with the potential for the reproduction of social structures, but rather a space/time of annihilation and negation of sociality. This article examines the multiple forms of liminality that asylum seekers in Switzerland experience during the process of asylum request.     

Memoir as Iranian exile cultural production: A case study of Marjane Satrapi's Persepolis series

In this essay, Iranian exile cultural production is examined via a cultural studies approach, applying Hamid Naficy's work on the concept of liminality and its productive potential to analyze the Iranian women's memoir phenomenon of the past eleven years. Focus is placed primarily upon Marjane Satrapi's graphic novel Persepolis, which is analyzed as part of this larger memoir phenomenon. I will argue that Persepolis is a prime example of exile cultural production—as a site for experimentation within various genres (here, that of the memoir and graphic novel), and also for identity negotiation, self-reflection, and cultural translation—thanks to the liminality and hybridity of an artist and author who feels she is “in-between.”     

Ben Jonson’s The Alchemist: The Essential Guide to Early Modern Fairy Belief

Ben Jonson’s 1610 city comedy The Alchemist uses the motif of fairy patronage in one of its subplots, effectively ridiculing fairy belief alongside religious factionalism, greed, wrathfulness, and various other vices. Jonson’s use of the changeling or fairy midwife motif and his awareness of the early modern demonization of fairies have already been noted in criticism, as has his indebtedness to fairy cozenage pamphlets circulating in the period. This article investigates the extent of Jonson’s direct inspiration from fairy lore, pointing to an aesthetics of liminality at work throughout the play. The argument outlines Jonson’s creative and informed use of folkloric motifs commonly associated with fairies such as time-warp, fairy taboo, and the Wild Hunt.     

Children’s Burial Grounds in Ireland (<Emphasis Type="Italic">Cilliní</Emphasis>) and Parental Emotions Toward Infant Death

Cilliní—or children’s burial grounds—were the designated resting places for unbaptized infants and other members of Irish society who were considered unsuitable by the Roman Catholic Church for burial in consecrated ground. The sites appear to have proliferated from the seventeenth century onwards in the wake of the Counter-Reformation. While a number of previous studies have attempted to relate their apparently marginal characteristics to the liminality of Limbo, evidence drawn from the archaeological record and oral history accounts suggests that it was only the Roman Catholic Church that considered cilliní, and those interred within, to be marginal. In contrast, the evidence suggests that the families of the dead regarded the cemeteries as important places of burial and treated them in a similar manner to consecrated burial grounds.     

Liminality at-sea: cruises to nowhere and their metaworlds

Abstract

The concept of liminality informs the experience of tourism, yet little is known about how liminality is performed in the context of ‘cruises to nowhere’ that sacrifice terrestrial destinations for endless ‘seascapes’ of liminality. Fuelled by alcohol, round-the-clock parties and endless buffets, cruises to nowhere are an increasingly popular addition to the Southern African cruising season. Understood through a sample of South African based multi-day ocean-going cruises without a destination, results take literally the notion that tourist liminality involves boundary crossing into the unknown on the limitless horizon of the high seas. Using netnographic methods, boundary crossings are traced through the intended and practiced activities on-board cruise-to-nowhere experiences. Involving a mix of sun, sea, sex and especially alcohol, cruises to nowhere engineer the destination-free seascape as a liminoid playground. Reflecting on South African-based cruises to nowhere offered during the southern hemisphere summer cruising season, the findings of this research call for a more deliberate focus on the liminal aspects of ship-based tourism. At the same time, conclusions chart a course for what may be termed debauchery tourism. Building from work in cruise tourism geographies, alcotourism and party tourism, findings do not intend to moralise debaucherous shipboard tourism, but rather to explore the liminal setting of the cruise ship and the sea where cruises to nowhere offer round-the-clock drinking and partying as a liminal destination in and of itself.     

Women's rituals and women's prototypes review article *

In this short passage of the Libellus de virginitate servanda (epist. 22) Jerome incorporates a number of striking formulations from Tertullian's De oratione and De corona. The influence of Ambrose's De virginibus would also seem to be discernible. Jerome systematically enhances the stylistic finesse of the material he borrows. At the same time its inclusion also entails inconcinnities.     

The Problems of Horace Ars Poetica 119–120

A famous passage in the 1st-century Greek merchant's handbook, Periplus Maris Erythraei, reports a Roman attack on the city of Eudaimôn Arabia – Aden in present-day Yemen. No such campaign is known from other sources, and the passage has been ascribed to a scribal error, to an otherwise unknown Roman campaign and to a mix-up with the well-known Arabian campaign of Aelius Gallus. The author argues that none of the above is correct, and that the report of the Periplus is in fact the result of a misinterpreted passage in Augustus’ political will – the Res Gestae.     

“Remember me”: Hamlet,memory and Bloom’s poiesis

Although memory is not explicitly named in “Hades”, it nonetheless features centrally. Intertextuality is an example of memory, and in “Hades” Shakespeare’s Hamlet is remembered – specifically the Ghost’s relation to Hamlet, whom he bids to “Remember” and “revenge”. Derrida calls this relation “hauntological”: it is characterised by an uncertain gaze, the father telling his son what to do, and the son mourning for his father. In Bloom’s mourning for his father, Virag, hauntology might be expected. However, it is Bloom’s late son, Rudy, who hauntologises Bloom, thereby revitalising the latter; this adjusts Shakespeare’s original hauntology. While considering repeatable ways of maintaining this hauntology, Bloom jocularly reverts to new technology: the phonograph and photograph. His plan reveals his relish for liminality and poiesis: being and non-being at the same time. Bloom is thus remembered into the future, all the while Ulysses is haunted by Hamlet.     

From aisling to chora: female allegories of the nation in contemporary Irish women's poetry

Contemporary Irish women poets use female tropes of Irish nationalism as a potent site for revising traditional conceptions of femininity, maternity, and cultural identity. Arguably, female tropes of aisling poetry inhabit the same cultural location that anchors the societal role of motherhood as theorised by Julia Kristeva. Kristeva's work highlights mothers' important function in regulating the drives and preparing children for entrance into the symbolic order of society, in relation to which mothers remain structurally liminal. The Platonic chora, an amorphous receptacle from which forms emerge, symbolises this position at the threshold. This essay shows that Irish women poets revise female allegories of the nation either by aligning them with women's lived experience, as Eavan Boland has done, or by re-evaluating them from within their liminality, through stylistic experimentation or irony, which the analysis of poems by Eiléan Ní Chuilleanáin, Medbh McGuckian, Nuala Ní Dhomhnaill and Rita Ann Higgins demonstrates.     

Liminality in nature-based tourism experiences as mediated through social media

Abstract

The intersection between social media, liminality and nature-based tourism experiences hasn’t been the focus of previous tourism research. Such intersection, on the other hand, is illustrative of how social media relate to the constitution and performance of tourism spatialities, tourist identities, storytelling and place-making, and can lead to relevant theoretical contributes. We aim to investigate how liminality is expressed in relation to nature-based experiences by tourists on social media, and what role social media plays in mediating liminality during nature-based tourism experiences. The analysis is based on a participatory netnography of images and text posts, as well as online interviews with users of the popular social media Instagram. Findings show that the expression of tourism experiences in nature is closely related to specific notions of liminal otherness as opposed to the urban life and the everyday, where nature and wilderness are expressed as related to the genuine, the authentic and a true inner self. Creative combinations of pictures, captions and hashtags make it easier for tourists to express the contrast between the natural landscape and the everyday landscape once they returned home. These combinations also relate closely to performances of resistant and alternative selves and communities. At the same time, such performances are mediated and contested between freedom of self-expression, surveillance and social norms, an aspect that makes their liminal nature ambiguous.     

Spatial and temporal tourism considerations in liminal landscapes

Abstract

Anthropogenic geographic studies in tourism should consider the liminality of the experience. Tourism by definition means a temporal and/or spatial movement takes place. How the tourist interacts and behaves during this transitory experience is a logical progression into human leisure behaviour. Several recent international gatherings of geographers provide the foundation to explore liminality in tourism and we build on those papers in this special issue. The papers are varied in geographies, yet have a central theoretical basis in all things liminal. Invited papers in this special issue are founded on the research presented at two international geography conferences in sessions devoted to tourism. The American Association of Geographers meeting in Boston, Massachusetts in 2017 and the Royal Geographic Society with the Institute of British Geographers in Cardiff, Wales in 2018 gathered geographers from around the world to study this theme. The following papers give the most comprehensive geographic review in tourism to date and we encourage additional dialogue.     

The safe spaces ‘in-between’ – plays,performance and identity among young ‘second generation’ Somalis in London

ABSTRACT

The article elaborates on how young UK-born self-identifying Somalis use performance to create ‘liminal’ spaces that allow them to explore and express the often contradictory registers of self and belonging through play and the carnivalesque. The plays they write, practise and perform transform community places into ‘safe spaces’ that open and invite dialogue on the intergenerational conflicts they experience around identity and expected behaviour. Far from being fictions, in making visible the liminality in the daily lives, these young people communicate ‘the reality behind the role playing mask’ [Turner, Victor. 1982. From Ritual to Theatre – The Human Seriousness of Play. New York: PAJ, 155]. This research is based on 6 months ethnographic research with the Mustaqbal youth group based in London. It contributes to rethinking ‘safe space’ by illuminating how young people use the ‘stage’ to express elements of their lives they are otherwise unable to voice.     

Mahishi's rage: Communitas and protest at Sabarimala,Kerala

In September 2018, the Supreme Court of India lifted the ban on females of menstrual age entering the sacred site to Lord Ayyappan at Sabarimala in the Indian state of Kerala. Violent protests, for and against, engulfed Kerala throughout the main festival and pilgrimage season of 2018–19. This article explores the major sociopolitical and cultural forces that underpinned the violent protests at one of India’s (and also the world’s) major centres of religious pilgrimage. The central argument extends Victor Turner’s thesis in The ritual process to show how the dynamics of liminality and communitas created an intense vortex of crisis of potentially sociocultural transformational effect.