Day: December 21, 2024

Introduction: “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington

“The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington first appeared in Hypatia in Winter 1998, as part of Volume 13, No. 1. Published by Wiley on behalf of Hypatia, Inc., this essay examines the performative elements of Julia Kristeva’s Powers of Horror, situating them within the broader context of her earlier works. Harrington emphasizes the interplay between abjection and Kristeva’s theoretical practice, arguing that this dynamic is central to Kristeva’s critique of Hegelian and Freudian traditions. The essay delves into the “speaking abject,” exploring the complex ways Kristeva’s text performs the rupture and disintegration central to its critique of identity and subjectivity. This work is significant in literature and literary theory for its innovative articulation of the intersections between ethics, aesthetics, and the performative nature of theoretical discourse, offering profound insights into the limits of language, identity, and cultural practices.

Summary of “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington

Theoretical Terms/Concepts in “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington

Theoretical Term/Concept	Explanation	Context/Significance
Abjection	The state of being cast off, representing what is rejected from the self but remains intimately connected.	Central to Kristeva’s theory; reveals the breakdown of subjectivity and the borders between self and other, highlighting the primal loss of the maternal body (Powers of Horror, p. 5).
Performative Structure	A textual strategy where the text enacts the theory it articulates.	Kristeva’s texts (e.g., Powers of Horror) perform the abject through a blending of voices, disrupting traditional narrative forms and mirroring the fragmented nature of the subject.
Subject-in-Process/On-Trial	A dynamic view of the subject as constantly in flux and negotiation with the symbolic and semiotic.	Challenges static notions of subjectivity; shows the subject’s existence as a process tied to linguistic and social structures (Revolution in Poetic Language, p. 33).
Semiotic and Symbolic	The interplay between primal drives and structured language systems.	The semiotic disrupts the symbolic order, and the abject emerges in the gaps between these systems, exposing the instability of meaning (Revolution in Poetic Language, p. 25).
Manque (Lack)	The foundational loss that structures desire and subjectivity.	Central to the experience of abjection, as the subject encounters the void within itself and misrecognizes its relationship with the maternal (Powers of Horror, p. 12).
Phobia as Metaphor	Phobia represents the subject’s attempt to manage fear tied to the abject.	Phobia manifests as a displacement of fear onto external objects, illustrating the subject’s struggle with primal loss and the unnameable (Powers of Horror, p. 35).
Countertransference	The analyst’s identification with the patient’s unconscious dynamics.	In Kristeva’s writing, this process allows for an empathetic engagement with the abject and the possibility of giving voice to the unspeakable (Stabat Mater, p. 162).
Catharsis	The purgation or release of emotions, traditionally associated with artistic or psychoanalytic processes.	Kristeva critiques traditional catharsis, proposing instead a process of confronting and integrating the abject without resolution (Powers of Horror, p. 27).
Borderline Subjectivity	A fragmented form of subjectivity marked by the collapse of clear distinctions between self and other.	The borderline subject exemplifies the abject’s destabilizing effects on identity, illustrating the tensions between internal drives and external structures (Powers of Horror, p. 8).
Ethical Practice	An engagement with the abject that resists fixed boundaries and embraces heterogeneity.	Kristeva connects ethics and aesthetics through the performative structure of her texts, advocating for openness to ambiguity and contradiction (Revolution in Poetic Language, p. 233).
Sublimation	The process of transforming primal drives into culturally and socially acceptable expressions.	Writing becomes a form of sublimation, where the abject is indirectly confronted and transformed through language (Powers of Horror, p. 18).
Heterogeneity	The coexistence of diverse, often contradictory elements within the subject or text.	Central to Kristeva’s critique of totalizing systems, heterogeneity allows for the articulation of the semiotic within the symbolic (Revolution in Poetic Language, p. 131).
Pas de Deux	A “dance” between dual voices or perspectives within the text.	Reflects Kristeva’s performative blending of the autobiographical (“I”) and theoretical (“one”) to mirror the abject’s disruptive nature (Powers of Horror, p. 139).
Negativity	The precondition for signification, linked to the semiotic disruption of the symbolic.	Negativity precedes negation and is foundational to the Kristevan subject’s engagement with language and desire (Revolution in Poetic Language, p. 119).
Analyst as Writer	The theorist occupies a dual role as both observer and participant in the dynamics of abjection.	Kristeva’s writing enacts the analytic process, where the abject is both studied and experienced through language (Powers of Horror, p. 152).
Impossible Catharsis	The unattainable resolution of the abject’s disruptive effects.	Kristeva argues that the abject cannot be fully purged but must remain a site of ongoing tension and engagement (Powers of Horror, p. 31).

Contribution of “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington to Literary Theory/Theories

1. Psychoanalytic Theory

• Exploration of Abjection: Extends Kristeva’s concept of abjection by showing how it destabilizes subjectivity, particularly through its performative dimensions in language and literature. (Powers of Horror, pp. 5-6)
• Borderline Subjectivity: Discusses how the borderline subject illuminates the psychic mechanisms of abjection, shedding light on the interplay between the semiotic and symbolic in literary texts. (Powers of Horror, pp. 8-9)
• Role of Fear and Phobia: Provides a psychoanalytic reading of fear and its displacement in phobic metaphors, linking it to literary expression. (Powers of Horror, pp. 35-37)

2. Feminist Theory

• Critique of Traditional Psychoanalysis: Harrington highlights how Kristeva’s work disrupts Freud and Lacan’s patriarchal frameworks, particularly by addressing the maternal and its repression. (Stabat Mater, p. 162)
• Ethical Feminism: Proposes a feminist ethics grounded in the engagement with the abject, challenging traditional binary oppositions such as self/other, male/female. (Revolution in Poetic Language, p. 233)
• Performative Writing as Feminist Praxis: The enactment of abjection through performative writing critiques the phallocentric language systems. (Powers of Horror, pp. 140-142)

3. Poststructuralist Theory

• Destabilization of Subjectivity: Builds on Kristeva’s notion of the subject-in-process to question stable, unified notions of identity, aligning with poststructuralist critiques. (Revolution in Poetic Language, p. 119)
• Interplay of Semiotic and Symbolic: Shows how the semiotic disrupts the symbolic, paralleling poststructuralist concerns with the instability of meaning. (Powers of Horror, pp. 18-20)
• Text as Performance: Demonstrates how Kristeva’s work enacts the theories it articulates, aligning with poststructuralist ideas of performativity in writing. (Powers of Horror, pp. 139-140)

4. Literary Aesthetics

• Reimagining Catharsis: Challenges classical notions of catharsis in literature, proposing instead an “impossible catharsis” that retains the tension of the abject. (Powers of Horror, p. 31)
• Heterogeneous Texts: Highlights the blending of voices (autobiographical and theoretical) in Kristeva’s texts as an innovative aesthetic practice. (Stabat Mater, p. 162)
• Abjection in Literature: Positions the abject as a central force in literary production, offering a new lens to analyze texts dealing with horror, loss, and fragmentation. (Powers of Horror, pp. 210-212)

5. Ethical Philosophy and Literature

• Linking Ethics and Aesthetics: Explores how Kristeva’s writing connects ethics with literary aesthetics through the acknowledgment of heterogeneity and abjection. (Revolution in Poetic Language, pp. 233-234)
• Abjection as Ethical Engagement: Proposes that encountering the abject in literature fosters ethical awareness by forcing the subject to confront its boundaries. (Powers of Horror, pp. 18-20)

6. Postmodern Theory

• Subjectivity as Process: Aligns with postmodern concerns about fluid, fragmented identities by emphasizing the subject-in-process/on-trial. (Powers of Horror, pp. 8-9)
• Textual Multiplicity: Highlights the multiplicity and heterogeneity of voices within Kristeva’s texts, resonating with postmodernism’s rejection of metanarratives. (Powers of Horror, pp. 140-142)
• Temporal Disruptions: Reflects on the notion of time as an anterior future, echoing postmodern temporal paradoxes. (Revolution in Poetic Language, p. 232)

7. Rhetoric and Semiotics

• Language as Abjection: Explores how language becomes a site of abjection, where the signifier’s arbitrariness mirrors the subject’s existential fears. (Powers of Horror, pp. 37-38)
• Phobia and Metaphor: Examines the rhetorical strategies of phobia as metaphors for the unnameable, connecting linguistic play with psychic structures. (Powers of Horror, pp. 35-37)

Examples of Critiques Through “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington

Literary Work	Critique Through Harrington’s Lens	Key Concepts Applied	References to Harrington’s Analysis
Mary Shelley’s Frankenstein	The monster as an embodiment of the abject: rejected by society and creator, representing the borderline subject in crisis.	– Abjection – Subject-in-process – Fear and phobia as metaphors	Kristeva’s concept of “manque” and the “speaking abject” illuminate Victor’s fear of the monstrous and his own failure to confront it (Harrington, pp. 35-38).
Toni Morrison’s Beloved	Sethe’s haunting by Beloved illustrates maternal abjection, with the act of infanticide revealing a confrontation with the primal loss.	– Maternal abjection – Fear as unspeakable – Impossible catharsis	Maternal body as the site of trauma and its repression ties into Harrington’s use of Kristeva’s “Stabat Mater” (Harrington, p. 162).
Samuel Beckett’s Endgame	The fragmented narrative and existential dread reflect abjection as a breakdown of meaning and identity in a desolate world.	– Heterogeneity – Subjectivity in flux – Language as fetishized and fragmented	Harrington’s exploration of linguistic abjection reveals the play’s fragmented dialogue as a metaphor for existential lack (Harrington, pp. 140-142).
Sylvia Plath’s The Bell Jar	Esther’s mental breakdown mirrors the abjection of self, with her inability to reconcile societal expectations and personal identity.	– Semiotic vs. symbolic tension – Phobia as a metaphor – Subjectivity on trial	Harrington’s analysis of the semiotic and symbolic interplay aligns with Esther’s disconnection and desire for self-definition (Harrington, pp. 18-20).

Criticism Against “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington

• Complexity and Accessibility
  • Harrington’s analysis is dense and heavily reliant on Kristeva’s philosophical framework, making it challenging for readers unfamiliar with Kristeva’s work or psychoanalytic theory.
  • The performative and layered writing style may obscure the central arguments for readers seeking clarity.
• Overreliance on Kristeva’s Framework
  • The critique leans heavily on Kristeva’s theories without sufficiently interrogating their limitations or offering alternative perspectives.
  • Critics argue that this dependence may stifle broader interpretations and applications of abjection.
• Limited Engagement with Feminist Critiques
  • While addressing feminist ethics, Harrington’s focus on abjection could have engaged more deeply with critiques from contemporary feminist scholars who challenge Kristeva’s ambiguous stance on the maternal and the semiotic.
  • The analysis risks reinforcing gender binaries through its framing of maternal abjection.
• Insufficient Application to Non-Western Literatures
  • The focus on Western philosophical and literary traditions limits the scope of the discussion, leaving out potential cross-cultural or global applications of abjection.
  • Critics point out that the essay does not adequately consider how abjection might function in different cultural or historical contexts.
• Tendency Toward Theoretical Abstraction
  • The essay’s engagement with theoretical abstraction, particularly regarding the subject-in-process and the semiotic/symbolic divide, may alienate readers seeking concrete applications.
  • Some critiques suggest a need for more tangible literary examples to illustrate the theory effectively.
• Ambiguity in Ethical Implications
  • While Harrington emphasizes the ethical dimensions of Kristeva’s abjection, critics argue that the practical implications of these ethics remain unclear.
  • The connection between ethics, aesthetics, and the abject, though innovative, is underdeveloped in terms of real-world applications.

Representative Quotations from “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington with Explanation

Quotation	Explanation
“The abject collapses in a burst of beauty that overwhelms us—and ‘that cancels our existence.'”	Harrington emphasizes the duality of the abject as both horrifying and sublime. This collapse of boundaries forces us to confront our mortality and sense of identity, engaging both aesthetics and ethics to question the foundations of human existence.
“The speaking abject must be approached through these splits.”	The fragmented structure of Kristeva’s theory mirrors the fragmentation of the abject. Harrington highlights the need to address the abject through multiple perspectives—psychological, linguistic, and ethical—capturing its paradoxical nature.
“Language is both a tool and a battleground for negotiating the abject.”	Harrington underscores Kristeva’s view that language is where the abject manifests most intensely, as it constantly negotiates between the expressible and the inexpressible, the symbolic and the semiotic. This makes language a site of both empowerment and vulnerability.
“Kristeva’s work choreographs the paradox of the speaking subject as theorist and patient.”	This statement reflects the performative nature of Kristeva’s analysis, where the subject in process/on trial is not only observed but enacted. The theorist becomes both the analyst and the analyzed, embodying the abject through her own fragmented voice.
“The abject is elaborated through a failure to recognize its kin; nothing is familiar.”	Harrington reiterates Kristeva’s description of the abject as rooted in primal loss, making it alien even to the subject experiencing it. This misrecognition creates a destabilizing force within the subject, shaping their identity and perception of others.
“Writing is the primary analog of a phobia: in the play of the sign, Kristeva sees the heterogeneity that marks phobia and abjection.”	Writing becomes an enactment of the abject, illustrating the oscillation between creation and destruction inherent in abjection. For Kristeva, literature provides a medium to explore and articulate this tension, allowing the unspeakable to be symbolized.
“To create/perform these ruptures is to tell the story of the speaking subject in its perpetual struggle.”	Harrington emphasizes the ethical and aesthetic necessity of rupture in Kristeva’s text. This performance reflects the subject’s ongoing process of self-definition and negation, aligning with Kristeva’s notion of a revolutionary practice in art and theory.
“The abject is ‘not yet a place,’ a no-ground that the speaking subject must articulate backward.”	The abject resides in a liminal space that cannot be directly addressed. Instead, it must be circumscribed through indirect articulation, revealing the inherent instability of identity and language. Harrington interprets this as Kristeva’s method of engaging with the abject as an unresolved and disruptive force.

Suggested Readings: “The Speaking Abject in Kristeva’s “Powers of Horror” by Thea Harrington

1. Harrington, Thea. “The Speaking Abject in Kristeva’s ‘Powers of Horror.’” Hypatia, vol. 13, no. 1, 1998, pp. 138–57. JSTOR, http://www.jstor.org/stable/3810610. Accessed 21 Dec. 2024.
2. STILL, JUDITH. “Horror in Kristeva and Bataille: Sex and Violence.” Paragraph, vol. 20, no. 3, 1997, pp. 221–39. JSTOR, http://www.jstor.org/stable/43263665. Accessed 21 Dec. 2024.
3. POWRIE, PHIL. “The W/Hole and the Abject.” Paragraph, vol. 26, no. 1/2, 2003, pp. 222–31. JSTOR, http://www.jstor.org/stable/43263726. Accessed 21 Dec. 2024.
4. SMITH, ANNE-MARIE. “Transgression, Transubstantiation, Transference.” Paragraph, vol. 20, no. 3, 1997, pp. 270–80. JSTOR, http://www.jstor.org/stable/43263668. Accessed 21 Dec. 2024.

Introduction: “Obscene, Abject, Traumatic” by Hal Foster

“Obscene, Abject, Traumatic” by Hal Foster first appeared in October, Vol. 78 (Autumn, 1996), published by The MIT Press. In this pivotal essay, Foster explores a shift in contemporary art, literature, and critical theory: from understanding “the real” as a product of representation to viewing it as an event of trauma. Drawing on Jacques Lacan’s psychoanalytic theories, particularly the notion of the gaze, Foster interrogates how contemporary culture grapples with the destabilization of the subject and the erosion of traditional representational frameworks. He delves into the abject, as conceptualized by Julia Kristeva, and its implications for identity and boundary formation, while also tracing a broader cultural fascination with trauma and its representation. Foster’s analysis is significant for its articulation of how contemporary art and theory probe the intersections of psychoanalysis, the symbolic order, and the visceral reality of human experience. The essay challenges readers to reconsider how aesthetic practices engage with profound existential and cultural ruptures, influencing ongoing debates in literary theory, art criticism, and cultural studies.

Summary of “Obscene, Abject, Traumatic” by Hal Foster

Theoretical Terms/Concepts in “Obscene, Abject, Traumatic” by Hal Foster

Theoretical Term/Concept	Explanation	Significance
The Gaze (Lacan)	A concept in Lacanian psychoanalysis where the gaze represents an external, pre-subjective force that “looks” at the subject.	Central to Foster’s analysis of contemporary art; disrupts the coherence of the subject and challenges representation (p. 107).
Image-Screen	A mediating framework of representation that protects the subject from the direct impact of the gaze.	Traditional art uses this to tame the gaze, but contemporary art often seeks to tear or bypass it (p. 109).
The Abject (Kristeva)	That which is expelled to define the subject, often associated with the maternal body or bodily fluids.	Explores the fragility of boundaries between subject and object; heavily featured in abject art (pp. 114-115).
Obscene	A representation without a “scene” or frame, which confronts the viewer with raw reality or trauma.	Challenges norms of visual containment; key in contemporary art’s assault on traditional representation (p. 109).
Trauma	An event or state that disrupts temporal and subjective continuity, often leaving a delayed or fragmented impact.	Frames the shift from representational reality to one defined by traumatic rupture (p. 106).
Informe (Bataille)	A state of formlessness where distinctions between figure and ground dissolve, challenging representational norms.	Related to abject art; signals the breakdown of meaning and the symbolic order (p. 114).
Symbolic Order	The Lacanian concept of societal rules and structures mediated through language and culture.	Art and theory probe the disruptions and crises within this order (p. 115).
Desublimation	The breakdown or reversal of sublimation, where elevated cultural forms are degraded or dissolved.	Exemplified in abject art’s attack on the ideals of beauty, form, and propriety (p. 116).
Apotropaic Function	A protective function that seeks to ward off danger, often through artistic representation.	Foster contrasts this with art that confronts the gaze or the real directly (p. 110).
Pere-Version (Bataille)	A perversion that twists societal or paternal laws, challenging symbolic norms.	Represents art’s defiance of cultural authority and its norms of representation (p. 118).
Subject-as-Picture	The idea that the subject is represented and captured as an image within the gaze or symbolic system.	Explored in Cindy Sherman’s work, highlighting self-surveillance and psychological estrangement (pp. 110-111).
Paranoia (Lacan)	A condition of the subject’s hyper-awareness of being watched or dominated by external forces.	Associated with the gaze’s perceived maleficence and its impact on subjectivity (p. 110).
Hyperreal (Baudrillard)	Although not directly named, the essay implicitly engages with ideas of the hyperreal in its critique of postmodern simulacra.	Contrasts earlier postmodernism’s focus on surface with the abject’s pursuit of the “real” (p. 123).
Corporeality	A focus on the material body, especially in its grotesque or abject forms.	Central to abject art’s exploration of the body as a site of trauma and disruption (p. 114).

Contribution of “Obscene, Abject, Traumatic” by Hal Foster to Literary Theory/Theories

Examples of Critiques Through “Obscene, Abject, Traumatic” by Hal Foster

Literary Work	Critique Using Foster’s Concepts	Relevant Theoretical Lens
Mary Shelley’s Frankenstein	The monster embodies the abject, representing what Victor must expel (failed creation, unnatural). This aligns with the maternal and bodily horror Foster discusses (Foster, p. 114).	Abject Theory (Kristeva), psychoanalytic lens on abjection and subject formation.
Charlotte Perkins Gilman’s The Yellow Wallpaper	The narrator’s descent into madness parallels Foster’s notion of the subject being overwhelmed by the gaze. The “yellow wallpaper” functions as an intrusive gaze that traps her (Foster, pp. 108-110).	Psychoanalytic theory (Lacan); the gaze as a force that mortifies and destabilizes the subject.
Toni Morrison’s Beloved	The ghost of Beloved symbolizes trauma and the return of the real, as Sethe confronts her past atrocities. The narrative’s fragmented structure reflects trauma as an event outside representation (Foster, p. 123).	Trauma theory; psychoanalysis (Lacan, Kristeva) on repressed histories and abjection.
Samuel Beckett’s Endgame	Characters inhabit a world of nihility and abjection, where bodily decay and existential despair reflect Foster’s discussion of the corpse as the subject of abjection (Foster, p. 123).	Aesthetic theory of the abject; existential and postmodern critiques of subjectivity and representation.

Criticism Against “Obscene, Abject, Traumatic” by Hal Foster

Representative Quotations from “Obscene, Abject, Traumatic” by Hal Foster with Explanation

Quotation	Explanation
“In contemporary art and theory… there is a general shift in conceptions of the real: from the real understood as an effect of representation to the real understood as an event of trauma.”	Foster argues that contemporary theory moves away from seeing “the real” as mediated by representation (symbolic systems) and toward understanding it as directly linked to trauma—a rupture in symbolic order. This sets the stage for analyzing abjection and the gaze as central themes in art and critical theory.
“The gaze, qua objet a, may come to symbolize this central lack expressed in the phenomenon of castration.”	Borrowing from Lacan, Foster interprets the gaze as a representation of the “lack” that structures subjectivity. This lack is central to psychoanalytic theory, where it is tied to symbolic castration. Foster uses this to critique the positioning of subjects in art and theory, exploring how they confront or evade this lack.
“The screen mediates the object-gaze for the subject. But it also protects the subject from this object-gaze.”	Foster draws on Lacan’s concept of the screen to explain its dual role: it not only facilitates visual representation but also shields the subject from the overwhelming, unmediated real (trauma, abjection). This mediation is necessary for perception, and contemporary art often plays with the tearing or disruption of this protective screen.
“Obscene does not mean ‘against the scene,’ but it suggests an attack on the scene of representation, on the image-screen.”	Foster redefines “obscene” in the context of art as an assault on representation itself. Rather than showing what is traditionally hidden, the obscene disrupts the frameworks (screens) that shape how images are perceived, challenging the viewer’s comfort with mediated reality.
“In a world in which the Other has collapsed, the task of the artist is no longer to sublimate the abject, to elevate it, but to plumb the abject.”	Foster invokes Julia Kristeva’s theory of abjection, suggesting that contemporary art no longer seeks to transform or idealize the abject but instead delves into its raw, unsettling qualities. This marks a shift in artistic priorities, reflecting broader cultural changes in addressing the real and the traumatic.
“Today, thirty years after the death of the author, we are witness to a strange rebirth of the author as zombie.”	Here, Foster critiques the paradoxical revival of the author (or subject) in trauma discourse. While poststructuralism sought to deconstruct subjectivity, trauma theory reintroduces a new kind of subjectivity—a “zombie” figure whose authority is rooted in the personal experience of trauma and the inability to challenge it.
“Why this fascination with trauma, this envy of abjection, today?”	Foster questions the cultural and theoretical preoccupation with trauma and abjection, pointing to social factors (e.g., AIDS crisis, poverty, systemic breakdowns) and dissatisfaction with prior theoretical models that sought to explain or transcend the real. This reflection critiques how trauma has become a dominant mode of engagement in art and theory.
“Some art may attempt a trompe-l’œil, a tricking of the eye, but all art aspires to a dompte-regard, a taming of the gaze.”	Foster suggests that artistic practices are inherently tied to controlling or negotiating the gaze. While certain movements play with deceiving the viewer’s perception, all art is engaged in mediating the gaze, whether through containment, exposure, or disruption.

Suggested Readings: “Obscene, Abject, Traumatic” by Hal Foster

1. Foster, Hal. “Obscene, Abject, Traumatic.” October, vol. 78, 1996, pp. 107–24. JSTOR, https://doi.org/10.2307/778908. Accessed 21 Dec. 2024.
2. Murray, Derek Conrad, and Soraya Murray. “Uneasy Bedfellows: Canonical Art Theory and the Politics of Identity.” Art Journal, vol. 65, no. 1, 2006, pp. 22–39. JSTOR, https://doi.org/10.2307/20068437. Accessed 21 Dec. 2024.
3. Wark, Jayne. “Queering Abjection: A Lesbian, Feminist, and Canadian Perspective.” Desire Change: Contemporary Feminist Art in Canada, edited by Heather Davis, McGill-Queen’s University Press, 2017, pp. 96–117. JSTOR, http://www.jstor.org/stable/j.ctt1q31s5m.9. Accessed 21 Dec. 2024.
4. Kimball, Nicole. “Abjection and Anxiety: The Metamorphosis of the Roman Literary Witch.” Nemo Non Metuit: Magic in the Roman World, edited by Elizabeth Ann Pollard and Fabrizio Conti, Trivent Publishing, 2022, pp. 263–92. JSTOR, https://doi.org/10.2307/jj.18376999.11. Accessed 21 Dec. 2024.

Introduction: “Liminality And The Practices Of Identity Reconstruction” by Nic Beech

“Liminality and the Practices of Identity Reconstruction” by Nic Beech first appeared in Human Relations, Vol. 64, Issue 2, 285–302, in 2011. This seminal article delves into the concept of liminality—a state of being “betwixt and between”—and its application in organizational contexts, particularly in the identity reconstruction process. Beech extends anthropological perspectives on liminality to organizational settings, emphasizing its role in navigating transitions between identity states. By integrating dialogical theory, the work identifies practices such as experimentation, reflection, and recognition as key components of liminal identity work. Through case studies, Beech illustrates how individuals experience identity disruptions and engage in practices to negotiate new meanings. The paper significantly contributes to literature and theory on identity construction by bridging anthropological insights with organizational studies, offering a nuanced understanding of how individuals manage identity transformations in dynamic social and structural contexts.

Summary of “Liminality And The Practices Of Identity Reconstruction” by Nic Beech

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Theoretical Terms/Concepts in “Liminality And The Practices Of Identity Reconstruction” by Nic Beech

Term/Concept	Definition/Description	Reference
Liminality	A state of ambiguity or “in-between-ness” during identity transitions, where an individual is neither in the previous state nor fully in the new state.	Turner (1967); Beech (2011)
Self-Identity	An individual’s internal perception of who they are, influenced by personal values, experiences, and aspirations.	Watson (2009)
Social Identity	The external perception of an individual by others, shaped by cultural, organizational, and societal discourses.	Beech (2008); Watson (2009)
Dialogical Identity Work	The dynamic interplay between self-identity and social identity through internal reflection and external dialogue with others.	Shotter (2008); Beech (2011)
Triggering Events	External changes or disruptions (e.g., organizational restructuring) that initiate the process of identity transition.	Van Gennep (1960); Beech (2011)
Centripetal Orientation	The inward flow of meaning from societal influences to the self, shaping internal identity perceptions.	Bakhtin (1981); Bebbington et al. (2007)
Centrifugal Orientation	The outward projection of identity from the self to others, aimed at influencing external perceptions.	Kornberger et al. (2006); Beech (2011)
Experimentation	The practice of testing and trying out different aspects of a new or modified identity during a liminal phase.	Fiol (2002); Chreim (2002); Beech (2011)
Reflection	Internal self-questioning and consideration of how one’s identity aligns with societal expectations and personal values.	Cunliffe (2002); Turner (1967); Beech (2011)
Recognition	Acknowledgment of identity shifts through epiphanies (sudden realizations) or dawning (gradual understanding).	Strauss (1996); Goffman (1974); Beech (2011)
Re-keying	Changing the meaning of a situation or identity by shifting its significance (e.g., from background to foreground).	Goffman (1974); Beech (2011)
Betwixt and Between	A phrase describing the state of liminality where an individual is caught between two identity states.	Turner (1967); Beech (2011)
Structural Ambiguity	The uncertain and undefined role of a person in a changing organizational or societal context.	Noble & Walker (1997); Beech (2011)
Partial Aggregation	A situation in which the resolution of liminality is incomplete, leaving individuals in prolonged states of ambiguity.	Tempest & Starkey (2004); Beech (2011)
Agency-Structure Dialectic	The interaction between individual agency (self-driven identity construction) and structural forces (organizational or societal influences on identity).	Ybema et al. (2009); Watson (2009)
Epiphany	A sudden realization or transformative moment that reshapes one’s understanding of their identity.	Strauss (1996); Beech (2011)
Dawning Realization	A gradual understanding of identity changes through reflection and contextual experiences.	Strauss (1996); Beech (2011)

Contribution of “Liminality And The Practices Of Identity Reconstruction” by Nic Beech to Literary Theory/Theories

• Expansion of Dialogism in Literary Theory
  • The article extends Bakhtin’s concept of dialogism by applying it to identity reconstruction, showing how internal (self-identity) and external (social identity) dialogues shape liminal identity transitions (Beech, 2011; Bakhtin, 1981).
  • It provides a framework for understanding how narratives of identity emerge from dynamic interactions between the self and societal structures, echoing Bakhtin’s ideas of polyphony and dialogic interplay.
• Application to Post-Structuralist Perspectives
  • Beech’s work aligns with post-structuralist views on identity as fluid and socially constructed, emphasizing the role of discourses in shaping both self-identity and social identity (Beech, 2011; Ybema et al., 2009).
  • The deconstruction of fixed identities through the lens of liminality highlights the instability and multiplicity inherent in identity, resonating with Derrida’s notions of différance and the non-fixed nature of meaning.
• Integration of Anthropological and Organizational Rites with Literary Narratives
  • Drawing from Turner’s concept of liminality and Van Gennep’s rites of passage, the article demonstrates how transitional identities can be analyzed as narrative constructs within broader societal and organizational contexts (Beech, 2011; Turner, 1967).
  • This integration offers a methodological framework for literary theorists to examine identity reconstruction in texts dealing with transitional states and societal change.
• Enhancing Identity Work in Literary Studies
  • By detailing practices like experimentation, reflection, and recognition, Beech introduces mechanisms for analyzing how literary characters engage in identity work during moments of personal or societal transformation (Beech, 2011; Watson, 2009).
  • This contributes to the understanding of character development and narrative arcs in literature, particularly in texts centered on identity crises or transformation.
• Reinforcement of Structuralist and Agency Theories in Literature
  • The concept of the agency-structure dialectic, where identity is co-constructed through individual agency and societal structures, aligns with structuralist approaches to literature, emphasizing the interplay between individual characters and overarching societal systems (Beech, 2011; Watson, 2009).
  • This dual focus enables literary theorists to explore how identity is both constrained and enabled by textual, cultural, and institutional frameworks.
• Contributions to Feminist and Postcolonial Literary Theories
  • The exploration of liminality as a site of resistance, ambiguity, and negotiation resonates with feminist and postcolonial theories, which examine identity as a contested space influenced by power dynamics (Beech, 2011; Garsten, 1999).
  • The article’s insights into social separation and marginalization enrich analyses of marginalized characters and narratives in feminist and postcolonial literature.
• Narrative Theory and the Role of Storytelling in Identity Formation
  • The emphasis on narrative as a means of identity reconstruction aligns with narrative theory, suggesting that stories and their reconfigurations during liminal phases are crucial to understanding identity shifts in literature (Beech, 2011; Brown, 2006).
  • This approach underscores the importance of plot, character, and dialogic interaction in representing identity transitions in literary works.
• Contributions to Psychological and Psychoanalytic Literary Criticism
  • The psychological dimensions of liminality, such as epiphanies and dawning realizations, provide tools for psychoanalytic literary critics to explore character development and transformation (Beech, 2011; Strauss, 1996).
  • The article’s insights into the stresses of liminality complement psychoanalytic readings of texts that focus on identity crises and transitional phases in characters’ lives.

Examples of Critiques Through “Liminality And The Practices Of Identity Reconstruction” by Nic Beech

Literary Work	Liminal Concepts Applied	Critique and Analysis	Reference to Beech’s Concepts
“The Catcher in the Rye” by J.D. Salinger	Experimentation and Reflection	Holden Caulfield’s constant experimentation with identities and reflective self-questioning highlights his struggle with societal expectations and his own liminal identity.	Beech’s emphasis on internal dialogue and experimentation in liminal identity work. (Beech, 2011)
“Beloved” by Toni Morrison	Recognition and Dawning Realization	Sethe’s journey of self-recognition, including her reflections on her past, illustrates the liminal space between her enslaved identity and her freedom as a mother.	Liminal practices of recognition and epiphany to navigate identity transitions. (Beech, 2011)
“Wide Sargasso Sea” by Jean Rhys	Social Separation and Ambiguity	Antoinette’s descent into madness can be seen as her struggle in the liminal space of cultural and social marginalization between Caribbean and European identities.	Beech’s insights into liminality as “betwixt and between” in identity and societal roles. (Beech, 2011)
“The Great Gatsby” by F. Scott Fitzgerald	Reconstruction and the Agency-Structure Dialectic	Gatsby’s attempt to reconstruct his identity to fit into elite society demonstrates the tension between individual agency and the structural forces of class and status.	Beech’s model of dialogic interaction between self-identity and social identity. (Beech, 2011; Watson, 2009)

Criticism Against “Liminality And The Practices Of Identity Reconstruction” by Nic Beech

• Ambiguity in Practical Applications: Critics argue that while the article introduces useful theoretical concepts, it does not offer clear, actionable frameworks for practitioners in organizational or identity work settings, leaving its practical application vague.
• Overemphasis on Anthropological Roots: The reliance on Turner’s anthropological conception of liminality is seen as restrictive by some, as it does not fully account for the complexities of modern organizational dynamics or other contemporary identity theories.
• Neglect of Intersectionality: The article inadequately addresses how intersecting factors like race, gender, and socio-economic status influence liminal identity reconstruction, limiting its inclusivity and applicability across diverse contexts.
• Underexploration of Emotional Dimensions: Although the article touches on emotional impacts, such as stress and ambiguity, critics point out a lack of in-depth analysis of the psychological and emotional consequences of liminal states.
• Limited Empirical Scope: The case studies used (Eric and Julie) are criticized for being narrow in scope and not sufficiently representative of broader organizational or cultural contexts, reducing the generalizability of the findings.
• Lack of Ritualistic Elements in Modern Settings: Critics note that while the study critiques the absence of rituals in organizational contexts, it does not offer alternatives or ways to adapt the anthropological idea of rituals to modern workplace settings.
• Focus on Individual Agency Over Structural Constraints: The article places significant emphasis on individual reflection and experimentation but underplays the systemic and structural constraints that often limit individuals’ capacity to reconstruct their identities.
• Insufficient Engagement with Existing Organizational Literature: While the article references prominent identity theorists, some critics argue that it does not fully integrate its ideas with contemporary discussions on power, resistance, and organizational culture.

Representative Quotations from “Liminality And The Practices Of Identity Reconstruction” by Nic Beech with Explanation

Quotation	Explanation
“Liminality is the realm of primitive hypothesis, where there is a certain freedom to juggle with the factors of existence.” (Turner, cited in Beech, 2011, p. 290)	This emphasizes liminality as a creative space for rethinking identity, where norms are suspended, allowing individuals to explore and hypothesize new self-conceptions.
“The focus here is on the change process, and in particular when a person is in between two identity constructions: when they are neither one thing nor the other.” (Beech, 2011, p. 286)	Beech highlights the transitional state of identity, underscoring the ambiguity and instability inherent in identity reconstruction.
“Liminality significantly disrupt[s] one’s internal sense of self or place within a social system.” (Beech, 2011, p. 287)	This quotation underscores the profound emotional and cognitive upheaval that liminality can cause in individuals undergoing identity transitions.
“Experimentation in which versions of the self are tried out as a new or modified identity is sought.” (Beech, 2011, p. 289)	Beech introduces “experimentation” as a core practice of identity work during liminality, where individuals actively explore potential identities.
“Recognition can be a gradual process of ‘dawning’ or an epiphany that results in the reconstitution of identity.” (Beech, 2011, p. 289)	Recognition is described as a critical moment in liminal identity work where external or internal factors crystallize an individual’s identity transformation.
“Liminality may be partly described as a stage of reflection where there is a certain freedom to juggle with the factors of existence.” (Beech, 2011, p. 290)	Reflection is highlighted as a central component of liminality, allowing individuals to reconsider their roles, values, and relationships within their contexts.
“The lack of overt ritual serves to heighten the stress of liminal experiences in modern organizational settings.” (Beech, 2011, p. 298)	Beech critiques the absence of structured, supportive rituals in contemporary organizations, contrasting them with traditional liminal transitions that offered guidance and closure.
“Betwixt and between is a bit scary in terms of identity. One experiences a form of ‘identity loss.’” (Beech, 2011, p. 295)	This reflects the emotional challenges of liminality, where individuals feel disconnected from their previous identity while being uncertain about their future identity.
“The dialogic construction of identity incorporates moments of two-way interaction; outsider-in and insider-out activities.” (Beech, 2011, p. 299)	Beech emphasizes the interactive nature of identity work, where individuals negotiate identity through both internal reflection and external feedback.
“In modern organizations, ambiguity and multiplicity of meanings can prolong the stress of liminal experiences, as resolutions are not easily achieved.” (Beech, 2011, p. 298)	The quotation addresses the organizational dynamics that exacerbate the difficulties of liminality, highlighting the complexity and prolonged nature of identity reconstruction in such contexts.

Suggested Readings: “Liminality And The Practices Of Identity Reconstruction” by Nic Beech

1. Beech, Nic, et al. “Identity-in-the-Work and Musicians’ Struggles: The Production of Self-Questioning Identity Work.” Work, Employment & Society, vol. 30, no. 3, 2016, pp. 506–22. JSTOR, https://www.jstor.org/stable/26499474. Accessed 20 Dec. 2024.
2. Beech, Nic. “Liminality and the practices of identity reconstruction.” Human relations 64.2 (2011): 285-302.

Introduction: “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

“Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer, and Irit Rogoff first appeared in Art Journal, Vol. 57, No. 4, Winter 1998, published by the College Art Association. This seminal article engages deeply with the evolving dynamics of globalization and cultural identity in the realm of art and theory, reflecting on the twenty years since Edward Said’s Orientalism. The authors critically examine the tensions between global homogenization and local specificity, emphasizing how migration, diaspora, and cultural dislocation shape artistic practices and intellectual discourse. The piece is significant in literary theory and cultural studies for its interrogation of postnational identities, the commodification of diversity, and the power asymmetries embedded within global art systems. It challenges conventional paradigms by calling for nuanced frameworks that recognize hybridities and resist reductive binaries of the global and the local, contributing profoundly to the discourse on postcolonial aesthetics and the politics of representation.

Summary of “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

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Theoretical Terms/Concepts in “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

Term/Concept	Definition/Description	Author(s)	Context/Key Insights
Globalization	The process of interconnectedness across cultural, economic, and political boundaries.	Amor, Enwezor	Globalization influences art production and curatorial practices but often reinforces hegemonic structures.
Postnationalism	A cultural perspective that transcends traditional national boundaries and identities.	Enwezor, Minglu	Examined as both a challenge and an opportunity in the context of diasporic and global art practices.
Cultural Hybridity	The mixing and negotiation of diverse cultural influences to create new identities and expressions.	Enwezor, Mercer	Explored in the context of diasporic art, Hong Kong’s multicultural identity, and African diasporic formations.
Diaspora	The dispersion of people from their original homeland and the resultant cultural and identity dynamics.	Enwezor, Mercer	Highlights the fluidity of identity and the complexity of belonging in the contemporary globalized world.
Unhomeliness	The condition of being displaced, not feeling at home in one’s cultural or geographic context.	Rogoff	Derived from Homi Bhabha, this term explores the psychological and cultural effects of dislocation in a globalized world.
McDonaldization	The spread of homogenized, global cultural symbols that overshadow localized traditions.	Minglu	Used to critique superficial global modernization, particularly in Chinese art and culture.
Multicultural Normalization	The incorporation and depoliticization of cultural diversity within global art markets.	Mercer	Raises concerns about the commodification of cultural difference in international art systems.
Hyperblackness	A representation of Blackness that becomes hyper-visible but stripped of political substance.	Mercer	Discusses the media’s portrayal of African American culture and its detachment from meaningful activism or critique.
Cultural Voyeurism	The consumption of other cultures without fully understanding or engaging with their complexities.	Rogoff	Critiques superficial approaches to curatorial practices and cultural exchange.
Geography of Identity	The spatial and cultural dimensions that shape belonging and identity.	Rogoff	Explores how geographic and cultural dislocations influence identity formation and political alliances.
Cultural Translation	The process of interpreting and negotiating meaning across different cultural contexts.	Rogoff, Mercer	Explored as a means of connecting localized and globalized perspectives in art and cultural discourse.
Ethnocentric Nationalism	The pursuit of a pure, singular cultural identity rooted in national or ethnic exclusivity.	Rogoff, Ho	Critiqued as artificial and reductive in the context of globalized and multicultural societies.
Deterritorialization	The severing of cultural practices and identities from specific geographic locations.	Rogoff	Explored as a consequence of globalization and diaspora in shaping new cultural dynamics.
Representation and Identity	The portrayal of cultural and ethnic identities in art and its impact on understanding and discourse.	Amor, Enwezor, Mercer	Highlights the challenges of representing identity authentically in the global art system.

Contribution of “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  to Literary Theory/Theories

1. Postcolonial Theory
   • Reimagining Postcolonial Identity:
     • The article challenges static notions of identity, emphasizing hybridity and the fluidity of cultural affiliations in postcolonial contexts (Mercer, Enwezor).
     • Kobena Mercer critiques ethnocentric frameworks and highlights diasporic identity as a subversion of national and racial boundaries.
     • “The unhomed subject finds new avenues of expression in the liminal spaces between the global and the local” (Rogoff).
   • Representation and Power:
     • Discusses how cultural representation in art reinforces or subverts postcolonial power dynamics (Amor, Enwezor).
2. Globalization and Cultural Theory
   • Hybridity and Transnationalism:
     • Explores how globalization creates new hybrid identities and artistic practices, offering insights into the transnational reshaping of local cultures (Enwezor, Minglu).
     • Oscar Ho critiques Hong Kong’s cultural identity within the global/local dichotomy: “Hong Kong’s culture thrives on its ability to absorb and adapt without obsession over distinctiveness.”
   • Cultural Translation:
     • Rogoff emphasizes the necessity of cultural translation in navigating and interpreting global cultural flows.
     • Highlights the importance of creating “dialogical models” to bridge local and global cultural expressions (Amor).
3. Critical Race Theory
   • Hyperblackness and Representation:
     • Mercer examines how African American identity is commodified through “hyperblackness,” where visibility is stripped of political context (Mercer).
     • The critique ties into broader discussions of race, visibility, and aesthetics in the global art world.
4. Diaspora Studies
   • Diasporic Identity and Belonging:
     • Enwezor and Mercer explore how diaspora challenges traditional notions of home and belonging, advocating for understanding identity as a fluid, negotiated process.
     • “The diaspora is not a site of loss but a dynamic space of cultural production and reinterpretation” (Enwezor).
   • Deterritorialization:
     • Rogoff discusses the cultural and psychological effects of deterritorialization, advancing diaspora studies by linking geographic displacement with identity formation.
5. Feminist and Intersectional Theories
   • Intersectionality of Art and Identity:
     • The intersection of race, gender, and locality is explored through the lens of marginalized artists, particularly women and diasporic subjects.
     • Rogoff critiques the lack of intersectional approaches in global art practices, arguing for the inclusion of diverse perspectives in curatorial practices.
6. Cultural Materialism
   • Commodification of Diversity:
     • Mercer critiques how multiculturalism has become normalized and depoliticized in the global art market.
     • “Cultural difference has been subsumed into commodifiable identities, serving the interests of neoliberal globalization” (Mercer).
7. Deconstruction
   • Unpacking Binaries:
     • Rogoff and Amor challenge binaries such as global/local, national/international, and traditional/modern, advocating for deconstructive approaches to cultural theory.
     • “The global does not erase the local; rather, it reframes it within broader networks of cultural exchange” (Amor).
8. Spatial and Geographic Theory
   • Geographies of Identity:
     • Rogoff introduces “geography as a critical lens,” focusing on how spatial dislocations shape identity and cultural practices.
     • Her concept of “unhomeliness” expands on Homi Bhabha’s ideas, linking geographic displacement to subjective and collective identity.

References from the Article

• “Globalization is not merely a homogenizing force but a space of cultural resistance and negotiation” (Amor, 1998).
• “Diasporic formations challenge static notions of identity and create dynamic models of cultural production” (Enwezor, 1998).
• “Hyperblackness exemplifies the commodification of racial identity, detaching it from its socio-political roots” (Mercer, 1998).
• “The curatorial process must address the legacies of colonialism and the complexities of transnational cultural exchange” (Rogoff, 1998).

Examples of Critiques Through “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

Literary Work	Key Themes	Critique Through Liminalities Framework	Theorist/Concept Referenced
Chinua Achebe’s Things Fall Apart	Colonialism and Identity	Achebe’s exploration of the Igbo community before and after colonialism reflects the tension between the local and the global. Rogoff’s concept of “unhomeliness” highlights the displacement of indigenous cultural identity caused by colonial forces.	Irit Rogoff: Unhomeliness, hybridity, and the disruption of local geographies.
Salman Rushdie’s Midnight’s Children	Postcolonialism and National Identity	The novel’s focus on India’s partition resonates with discussions of national and postnational identities. Enwezor’s emphasis on “diasporic subjectivity” critiques the fragmented identities of postcolonial subjects.	Okwui Enwezor: Diaspora as a space of dynamic cultural production.
Toni Morrison’s Beloved	Slavery, Memory, and Trauma	Morrison’s examination of African American identity connects to Mercer’s critique of “hyperblackness” and the commodification of black narratives in a global context.	Kobena Mercer: Hyperblackness and its relationship to representation and memory.
Arundhati Roy’s The God of Small Things	Locality and Globalization	The novel’s tension between traditional Kerala culture and modern global influences reflects Minglu’s analysis of “transnational cultural systems” and their impact on local identities.	Gao Minglu: Transnationalism and the negotiation of cultural boundaries.

Criticism Against “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

• Overemphasis on Theory Without Practical Resolution
  • Critics argue that while the discussions present nuanced theoretical frameworks, they lack actionable solutions or practical implications for addressing the challenges posed by globalization in art and culture.
• Eurocentric Lens Despite Postcolonial Focus
  • Despite critiquing Western dominance, some scholars note that the discussions inadvertently perpetuate Eurocentric paradigms by framing local and global tensions predominantly through Western theoretical tools.
• Ambiguity in Defining Key Concepts
  • Terms like “hybridity,” “diaspora,” and “transnationalism” are critiqued for being ambiguously defined, leaving them open to multiple interpretations without concrete application in the arts and literature.
• Neglect of Grassroots Perspectives
  • The dialogue is criticized for prioritizing elite and institutional perspectives (e.g., biennials and curatorial practices) over grassroots cultural expressions and their role in the global-local dynamic.
• Limited Scope on Non-Western Models
  • While the discussion explores globalization’s impact on non-Western art, critics point out a lack of deep engagement with indigenous or alternative non-Western frameworks for understanding global-local relationships.
• Overgeneralization of the Global Art Market
  • The analysis of globalization in art often treats the global art market as homogenous, overlooking significant regional differences and local market dynamics.
• Insufficient Representation of Marginalized Voices
  • The focus on prominent theorists and artists from established institutions overlooks the contributions of lesser-known artists and thinkers from marginalized communities.
• Risk of Overintellectualization
  • Critics argue that the highly theoretical discourse may alienate practitioners and audiences who seek accessible language and direct engagement with global-local issues in art.

Representative Quotations from “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  with Explanation

Quotation	Explanation
“Globalization… can illuminate—or obfuscate—our understanding of contemporary artistic practices.”	Highlights the dual role of globalization: fostering connections yet potentially obscuring local artistic contexts. It critiques the imbalance where global paradigms overshadow local narratives in art.
“The multiculturalism of our global village manifests itself through quotas… intervening little in the dominant discourse.”	Critiques superficial attempts at inclusivity that fail to disrupt entrenched hierarchies in Western art institutions. The quotation underscores the paradox of diversity quotas reinforcing rather than dismantling dominance.
“Migration… does not only mean physical crossing of borders but involves other forms of traveling.”	Addresses the multidimensional nature of migration, encompassing cultural, psychic, and intellectual shifts. This perspective widens the discourse beyond physical movement to include identity transformations and hybrid cultural experiences.
“Cultural identity… undergoes a constant process of negotiation and circulation.”	Emphasizes that cultural identity is not static but dynamic, shaped by interactions and negotiations in global and local contexts. It critiques essentialist views of identity while advocating for fluid and hybrid understandings.
“Hong Kong’s success is built on its ability to accommodate, absorb, adopt, manipulate, and transform.”	Describes Hong Kong’s adaptive culture as a strength rather than a weakness. The quotation underscores the value of cultural diversity and fluidity, challenging nationalist or monolithic identity narratives.
“The unhomely captures something of the estranging sense of the relocation of the home and the world.”	Draws from Homi Bhabha’s concept of the “unhomely” to explore the dislocation experienced in a globalized world. It highlights how cultural identities and senses of belonging are destabilized yet reconfigured through globalization.
“The tendency to contextualize South American art in cultural issues, not in dialogue with formal problems… limits recognition.”	Critiques how South American art is often framed only within cultural or geopolitical lenses, ignoring its contributions to global formal and aesthetic developments, thus marginalizing its significance.
“Diaspora offers a premodern paradigm for postindustrial times.”	Suggests that the concept of diaspora, with its intrinsic hybridity and transnational connections, serves as a model for understanding contemporary globalization and identity formation.
“The integration of global and local contexts… requires more than a hierarchical dichotomy.”	Advocates for moving beyond binary oppositions (global vs. local) to understand their interdependence, critiquing simplistic hierarchical frameworks in cultural analysis.
“Curating… as an intellectual, critical, and pedagogical work… confronts material and psychic problems.”	Redefines curating as a critical practice that engages with broader social, cultural, and epistemological challenges, positioning it as a site of negotiation and knowledge production.

Suggested Readings: “Liminalities: Discussions on the Global and the Local” by Mónica Amor, Okwui Enwezor, Gao Minglu, Oscar Ho, Kobena Mercer and Irit Rogoff  

1. Amor, Monica, et al. “Liminalities: Discussions on the Global and the Local: Whose World? A Note on the Paradoxes of Global Aesthetics.” Art Journal 57.4 (1998): 28-50.
2. Amor, Mónica, et al. “Liminalities: Discussions on the Global and the Local.” Art Journal, vol. 57, no. 4, 1998, pp. 28–49. JSTOR, https://doi.org/10.2307/777926. Accessed 20 Dec. 2024.
3. Anthes, Bill. “Ethics in a World of Strange Strangers: Edgar Heap of Birds at Home and Abroad.” Art Journal, vol. 71, no. 3, 2012, pp. 58–77. JSTOR, http://www.jstor.org/stable/43188555. Accessed 20 Dec. 2024.

Introduction: “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass

“Beyond the Threshold: Explorations of Liminality in Literature” by Minesh Dass first appeared in the English Academy Review: Southern African Journal of English Studies in 2013, published online on May 13. This scholarly work provides an intricate exploration of liminality, drawing on theoretical frameworks by Victor Turner, Homi K. Bhabha, and Arnold van Gennep to investigate the transformative potential of “in-between spaces” within literature. Anchored in the South African literary context but extending its purview to global texts, the article examines how boundaries, hybridity, and liminal processes contribute to identity formation in literature. By incorporating diverse texts and critiques, including those on South African and international authors, the study highlights the intricate interplay between cultural and literary boundaries. While the collection from which it emerges is critiqued for its uneven coherence and focus, Dass’s insights into the liminal as both a theme and literary framework underscore its significance in contemporary literary theory, offering a platform for further exploration of identity, transformation, and the boundaries of human experience.

Summary of “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass

Theoretical Terms/Concepts in “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass

Theoretical Term/Concept	Definition	Application in Literature
Liminality	A state of being “in-between,” often associated with transition, transformation, or boundary-crossing (Turner, 1969).	Explored in South African texts to depict identity formation, cultural hybridity, and spiritual transformation. Authors like Douglas Livingstone and Antjie Krog use liminality to represent physical and psychological transitions (Dass, 2013, p. 126-128).
Hybridity	The blending of different cultural or social elements to create new forms or identities (Bhabha, 1994).	Discussed alongside liminality in the context of South African and global literature to understand cultural intersections and mixed identities, though often not clearly distinguished from liminality in the essays (Dass, 2013, p. 125-126).
Boundaries	Theoretical and literal divisions that define or separate identities, spaces, or narratives.	Focused on in relation to the crossing or dissolution of boundaries in texts, highlighting their transformative potential (e.g., Keri Hulme’s The Bone People and Coetzee’s Disgrace) (Dass, 2013, p. 125-126).
Communitas	A concept by Victor Turner referring to an unstructured community formed during liminal phases.	Examined in the works of South African “coloured” authors like Peter Abrahams and Zoë Wicomb, emphasizing creole identity and collective transformation (Dass, 2013, p. 126).
The Liminoid	Turner’s adaptation of liminality for modern societies, where transitions need not be tied to rites or cosmology.	Used to analyze modernist poetry, such as Douglas Livingstone’s A Littoral Zone, depicting liminality in psychic and physical thresholds (Dass, 2013, p. 127).
Matrixial Theory	Bracha L. Ettinger’s psychoanalytic theory on pre-subjective, maternal-foetal relationships influencing subjective identity.	Explored in a highly technical manner, though its relevance to literature remains ambiguous; focuses on psychoanalysis rather than liminality in South African literature (Dass, 2013, p. 126).
Creolization	The cultural process of blending and adapting elements from diverse traditions into a unified yet plural identity.	Investigated in South African literature through characters and narratives, particularly in relation to postcolonial identity and cultural hybridity (Dass, 2013, p. 126).
Threshold Imagination	The use of imaginative spaces as transitional zones enabling growth and transformation.	Seen in Wenzel’s analysis of Hulme’s The Bone People, where imagination facilitates personal and social healing (Dass, 2013, p. 126).
Reconciliation through Liminality	The process by which individuals or societies address conflict through transitional phases of self and communal disintegration.	Illustrated in Antjie Krog’s poetry collection Kleur kom nooit alleen nie, where the liminal space facilitates dialogue and reconciliation within South Africa’s post-apartheid context (Dass, 2013, p. 127-128).
Alienation, Transition, and Integration	The three phases of liminal rites identified by van Gennep and extended to literature.	Wenzel identifies these phases in The Bone People, where characters’ journeys through alienation and transition lead to societal and personal integration (Dass, 2013, p. 126).

Contribution of “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass to Literary Theory/Theories

Examples of Critiques Through “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass

Author and Work	Key Critique	Theoretical Framework Applied
Ingrid Winterbach – Niggie	Explores themes of physical isolation, language, and the trickster motif, though the analysis attempts to cover too many aspects.	Liminality in character development and spatial transitions (Dass, 2013, p. 125).
Keri Hulme – The Bone People	Identifies the three phases of liminality (alienation, transition, integration) and their role in personal and societal healing.	Victor Turner’s liminal rites and their transformative power (Dass, 2013, p. 126).
Douglas Livingstone – A Littoral Zone	Examines thresholds between the physical and psychic realms, reflecting liminality and reconciliation of opposing forces.	Turner’s concept of the “liminoid” adapted to modernist poetry (Dass, 2013, p. 127).
J.M. Coetzee – Disgrace	Highlights the subversion of pastoral traditions by presenting the farm as a liminal space that foregrounds race, gender, and space.	Liminality in spatial representation and critique of societal norms in post-apartheid South Africa (Dass, 2013, p. 127).

Criticism Against “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass

Representative Quotations from “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass with Explanation

Quotation	Explanation
“The transformative power of in-between spaces represented in literature in light of theoretical work on liminality.”	Highlights the central theme of liminality, where “in-between” spaces serve as zones of transformation, crucial for character and narrative development in literature.
“How are boundary, liminal, and hybrid processes of identity formation represented and configured in selected South African texts?”	Frames the research question of the collection, emphasizing the interplay of boundaries and hybridity in shaping identity, particularly in the South African postcolonial context.
“Certain authors’ handling of the liminal is much elucidated and invigorated by their discussion in this context.”	Acknowledges the success of the collection in deepening understanding of specific authors’ works through the lens of liminality, such as Antjie Krog and Douglas Livingstone.
“The field of enquiry, which should limit and clarify the purpose of the project, namely South African literary studies, is only sometimes clearly the subject of the work.”	Criticizes the collection’s lack of focus, as it includes essays that diverge significantly from the stated aim of exploring South African literature.
“While some contributors write as if there is clearly a border to be established between liminality and hybridity, others seem to use the terms interchangeably.”	Points out a conceptual inconsistency in differentiating liminality and hybridity, reducing the collection’s theoretical clarity.
“If liminality is a thing in literature and also a form of literature, perhaps even literature’s ontological state… then under the banner of liminality one can discuss practically anything.”	Raises a critique that the broad application of liminality risks making it a catch-all term, diluting its analytical precision.
“The quality of translation is therefore uneven and debatable, though in some cases the authors themselves have approved the translations used.”	Highlights a practical issue with translations of Afrikaans texts, which affect the accessibility and accuracy of the analysis in the collection.
“Wenzel’s deployment of liminality as a common thematic and formal concern in both South African and New Zealand literature is interesting and could lead to further scholarship.”	Acknowledges the cross-cultural potential of liminality as a framework, extending its relevance beyond South African literature.
“The inclusion of a chapter by renowned artist and psychoanalytic theorist Bracha L. Ettinger…makes only a small reference to art in general…and never to literature.”	Critiques the inclusion of material irrelevant to the central theme of literature, undermining the coherence of the collection.
“The binding agent which the editors hope liminality will form proves not to be very strong at all and the collection veers in every direction all at once.”	Summarizes the main critique of the book’s fragmented focus, despite the value of individual chapters.

Suggested Readings: “Beyond the threshold: Explorations of liminality in literature” by Minesh Dass

1. Dass, Minesh. “Beyond the threshold: Explorations of liminality in literature.” (2013): 124-128.
2. Joseph, Michael. “Liminality.” Keywords for Childrens Literature, edited by Philip Nel and Lissa Paul, NYU Press, 2011, pp. 138–41. JSTOR, http://www.jstor.org/stable/j.ctt9qg46g.33. Accessed 20 Dec. 2024.
3. GADOIN, ISABELLE, and ANNIE RAMEL. “LIMINALITY – INTRODUCTION.” The Hardy Review, vol. 15, no. 1, 2013, pp. 5–10. JSTOR, http://www.jstor.org/stable/45301764. Accessed 20 Dec. 2024.
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