Third space (Humanities)

This article focuses on a rare leitmotif in literary productions by Palestinians. Both Susan Abulhawa’s Mornings in Jenin and Sayed Kashua’s Second Person Singular present Arab characters who, under unusual circumstances, impersonate or literally acquire the identity of the Israeli-Jewish other. In the respective fictional creations of Ismael/David and Amir/Yonatan, both Abulhawa and Kashua construe characters whose existence blur the borderlines between various versions of today’s Palestinian Arab and mainstream projections of its Israeli-Jewish counterpart. These characters represent, as the article demonstrates, the authors’ attempts at working out the implications of the idea that, as a result of the historical events of the Israeli Independence and the consequent Palestinian Nakba, the collision of two national yearnings has created a liminal space in which both the Israeli and the Palestinian narratives gradually infiltrate one another, developing an inextricable and dynamic bond between the Palestinian identity and its adversarial counterpart.

The appearance on Sardinia during the first half of the fourth
millennium of an unprecedented and extraordinary cult edifice in the form of a
monumental temple mound – the Red Temple at Monte d’Accoddi – was
paralleled across the island by an outpouring of anthropomorphic cult imagery
expressed in sculpture, inscription, and reliefs – equally unprecedented and
unmatched locally. Based on a deeper reading of Bhabha’s notion of
‘inbetweenness’ it is argued that the contemporary dispersion of diverse
anthropomorphic cult gestures coalesced through varied media in what is
suggestive of a state of iconographic – and by implication ideological/spiritual
– uncertainty, contestation, and ambivalence consistent with a state of
inbetweenness – as understood here in Bhabha’s sense of a third-space of
relations.

As a Partition narrative, the movie Garam Hawa deals with spatial displacement, dislocation and loss of identity for a family, which is depicted as representative of those Muslims who chose to stay back in India during the partitioning of the subcontinent and division of a people on religious lines. Such an interstitial location of existence sees them belonging to a third space, outside established binaries. This paper explores the movie through the application of the concept of 'third space' as postmodern critics Homi Bhabha and Edward Soja conceptualize, and examines the trauma of displacement as an-Other kind of trauma, which remains unarticulated and silent and thus is sought to be problematized.

This study explores the elements of Orientalism in German-Turkish director Fatih Akin's films Head-On (2004) and The Edge of Heaven (2007). Utilizing Homi Bhabha's theory of "third spaces," which immigrants often inhabit, and Edward Said's lens of the postcolonial gaze, I analyze the degree to which the bodies of immigrants willingly embody the mysterious "oriental," and how and when it is projected upon male and female characters in these two films. Akin's characters dwell between a perceived and imaginary Occident and Orient, while living and traveling in the soil of both Germany and Turkey.

Book about Hilde Domin's theory and poetry. Hilde Domin's works explored through Anthropology of critique, Third Spaces Theories, Liminal Studies, Theories of reading, Matrixial theory, Poetry and Cultural Memory, Transcultural literature, Canon formation.

This paper deals with the three most important concepts of post-colonial theory (third space, hybridity and mimicry) and their epistemological potential for Egyptology. Firstly, the colonial genealogy of the culturo-historical paradigm (in Egyptology) is outlined, and is then followed by a post-colonial criticism. The three most important concepts of post-colonial theory will then be presented and discussed with examples from the fields of archaeology and Egyptology.

Reception Aesthetics of the Psalms A Third Space for Intercultural and Interreligious Dialogue, in: Christian Frevel (Hrsg.), Mit meinem Gott überspringe ich Mauern/By my God I leap over a wall. Interreligiöse Horizonte in den Psalmen und Psalmenstudien (Herders Biblische Studien 96) Freiburg i. Br. 2020, 415‒432.

Continuing and refining ideas first proposed in my undergraduate work, this dissertation aims to redefine the approach to syncretism in Egyptology. By developing a new methodology, based partly on the writings of Homi K. Bhabha, Jacques Derrida, and Michael Shanks and Christopher Tilley, this dissertation works to reconstruct the cultural identity and context of hybrid material. As Egyptologists, we naturally deconstruct the evidence, and miss out on how the original intended audience of such material may have received and perceived it. By applying Reconstruction to the cases of two Graeco-Roman Period tombs, both by the name of Petosiris, the socio-political context of hybridity can be observed. If deconstruction is our traditional approach to this material, what would happen if we took the cultural component parts identified (i.e. Greek, Roman and Egyptian iconography) and reconstructed them, to form a more accurate profile of the evidence? This dissertation aims to explore this.

Abstract
Public realm, one of the concepts propounded by Jürgen Habermas and Hannah Arendt can be regarded as decentralized and anonymous communication networks on common interests which combine various disciplines of communication. This realm and its function in various fields, despite the different interpretations offered by scholars, is one of the concerns of contemporary thinkers. On the other hand, more recent concept of third space have been mentioned by contemporary thinkers such as Edward Soja and Homi Bhabha. By utilizing this subject, this research attempts to answer this question “By using the concept of the third space, how can the public realm be revived for the target group of women in the study?” Spaces such as cafes, as observed in this study, have been able to attract more women as the main audience; therefore, the reason behind this and the function of these spaces are the focus of this research. The current study has been carried out by the ‘Qualitative research’ approach along with interpretive paradigm in terms of methodology. The ethnographic method was employed for the application of the results of the literature review and observations in the central district of Tehran (Enghelab Street) with respect to the target group of women.

This book emerged from a multiple-year collaboration between historians of art, architecture, textiles and theatre studying shifts in perception and interpretation of interior spaces in exemplary areas of research. Topics addressed in the book include: the configuration and construction of spaces that mobilise narratives of other places, times and sites; the role of objects, artefacts, and visual images in changing environments; and the emergence of new spaces of exhibition, performance and display at specific moments in history. While the individual essays spotlight various aspects related to the making and interpreting of interior spaces, they all share an understanding of interior spaces as dynamic and alterable configurations created by human and material agency. In our approach, interior spaces are characterised by the permeability of both their boundaries and functions. To study the ‘interior’ necessarily means to think about the ‘exterior’, the intersecting boundaries and thresholds as well as the transitional zones between interior and exterior spaces. Individual chapters investigate conceived, constructed, represented and staged interiors; they take into account a broad range of visual media and artefacts, from more traditional artistic media to objects and materials that have received little attention or have not been explored within their spatial contexts.

Films with stories focusing on migrant and diasporic characters are important within the national cinema corpus to provide a realistic perspective on the migrant experience. These films are often united by their characters’ exile and displacement process and can be understood through the application of the Open, Closed, or Thirdspace chronotope, the last being a combination of the former two. In Lilting (2014), the director-writer Hong Khaou expresses his view on the topic through a story between a Chinese-Cambodian woman who is forced to live in a retirement home after her son’s death, and a British-born gay man in a relationship with the son who tries to establish communication with her despite them not sharing a common language. The filmmaker explores how these characters navigate through their new realities after the death of a shared loved one by using the concept of Thirdspace – particularly, in the depiction of physical spaces, language, and memory to express the characters’ displacement and struggle to negotiate their hybrid identities. Although the filmmaker follows typically found tropes of family conflict and sexual identity, his decision to give a resolution to both migrant and non-migrant characters by having them find acceptance in each other is a refreshing take on the topic and contributes an alternative to the establishment of a framework for a transcultural society.

https://feralfeminisms.com/issue1/issue-9-state-killing-queer-and-women-of-color-manifestas-against-u-s-violence-and-oppression/

This special issue releases an orchestra of furies that go by the name of "manifesta." The shapeshifting genre of the manifesta develops from a symphony of anguish into an articulated anger “focused with precision” on what threatens, diminishes, derails, and ends our lives (Lorde 280).

Spatial Criticism is a critical study of Place and Space. According to Preucel and Meskell, Space is the “physical setting in which everything occurs”. They claim that place is the “outcome” of the “valuing space”; It is a “product of the imaginary, of desire, and the primary means by which we use or articulate with space and transform it into a humanized landscape” (Preucel and Meskell). Spatial Criticism’s five premises are -

• Premise 1:
1.1.  Place is not a static container waiting to be filled in by contents.
1.2.  Place, like time, is a process, always in the making.
• Premise 2:
2.1. Place/Space can be material or realized materially.
2.2. Place/Space can be non-material.
• Premise 3:
3.1.  Place is a production.
3.2.  Place is a force.
• Premise 4:
Place is a “dialectically interwoven matrix” of-
4.1. Spatial practices / the domains of “Perceived”.
4.2. Representations of Space / the domains of “Conceived”.
4.3. Spaces of Representation / the domains of “lived”.
• Premise 5:
5.1. Place is a site of domination, of control.
5.2. Place is a site of resistance, of transgression, of denigration.

The article analyses the role of third places in the works of I. Bashevis Singer. His bilingual literary corpus, which includes Yiddish and English works, is treated from the perspective of cultural hybridity. An image of a real third place is missing from Singer's works, and its absence is compensated by the construction of an imaginary third space that reveals the relation of a writer, immigrated to the United States, to the country of his origin. While the description of the European life before the Second World war is deprived of real hybridity, the author proposes to his readership a construction of a fictional third space (according to the terminology of Homi K. Bhabha), and his works generate an alternative cultural space located between the Yiddish (European) and American literary traditions and allowing a third layer of interpretation. Warsaw is transformed into a utopian place. Such a model only exists in the European context, because it is intimately linked to the Jewish traditional world and is only relevant for the first emancipated generations, those who keep in memory the traditions from their first place of residence. As soon as Singer transfers the action of his short stories to the United States, the idea of a third space disappears. Such a construction is absent from the English translations of Singer’s works because this idea is based on cultural and linguistic details of the Yiddish world which makes difficult their transmission to a non-Jewish readership.

This research will explore the result of studying different aspects of identity seeking and establishing it as a liminal-prone one in a hybridized atmosphere among the colonized in terms of post-colonial discourse, based on Bhabha's theories in his book, The Location of Culture, and on Isabel Allende's novel, The Japanese Lover (2015). This study strives to expose the way through which the colonized characters' identities in the novel undergo radical transformation through the third space which is heavily laced with qualities like ambivalence, stereotype, mimicry, and unhomeliness. Isabel Allende is an author whose novels mostly are an attempt to delineate the process of identity shaping particularly in the USA, since identity has always been an obsession for human which is defined based on different properties, one of which refers to the nation, culture and the territories based on Bhabha's notion of hybridity which stems from confrontation of the cultures of the oppressor and the oppressed in the process of colonization. Generally, subject of identity in post-colonialism discourse is one in which people especially the colonized seeks for attachment. It will be divulged through this analysis that how liminal quality which is created as the consequence of colonial discourses will result in creating a space in which the oppressed one undergo radical changes in forming identity and how their identities are susceptible to alteration and likely to be unstable and fugitive.

ABSTRACT The anthropological notion of Culture is founded on the presupposition of a radical difference between self and other, here and there, Eurocenter and Third World. This conceptual foundation has increasingly been under chal-lenge, as the Eurocenter is being forcibly ...

The term “diptych” designates visual artworks in two halves that are simultaneously united and separated by a hinging mechanism. This article explores the form’s adoption by narrative film through the double case study of Grindhouse (Quentin Tarantino and Robert Rodríguez, 2007) and Tarantino’s Death Proof, one of Grindhouse’s constituent halves. Considering the diptych’s relevance both to the history of film exhibition and to the logics of revenge and masochism, I argue, first, that the diptych stages especially fruitful encounters between material and narrative concerns and, second, that as a narrative form, the diptych is particularly apt at making ethical paradox accessible.

In keeping with the 2015 CCCC’s theme of innovation, I propose to present, in both visual and narrative form, my research in poster format. I am excited about engaging colleagues in this interactive forum, and plan to create a visual display that allows viewers to be active participants as I explicate my research.

Healing in the mental health system of the 21st century can be difficult when the credibility of mental health users is called into question, their experiences and perceptions of their “illness” undervalued or even completely ignored. Challenging this attitude towards mental users contributes to treatment that effectively alleviates mental illness and suffering.

Careful analysis of the rhetoric of published personal narratives written by women describing their experiences with mental healthcare reveals the ways in which medical knowledge is often created, owned, and disseminated by the “authoritative expert,” defined as healthcare professionals who categorize, taxonomize, and pathologize in order to treat both physical and mental illness. I argue the authoritative expert marginalizes the “everyday expert,” exemplified through the perceptions of women who, in their narratives, record realities that do not always match the diagnoses and prognoses assigned to them by their healthcare providers. My project’s central question asks: In what ways do personal narratives of mental illness and suffering illuminate the ways in which language constructs reality?

My presentation will speak to my specific interpretations of select mental health narratives. I contribute to theories of writing in society by elucidating the ways in which narratives of mental illness and suffering serve as a site for the expression of “everyday knowledge” to take place, thus facilitating agency and third-space. My exploration of the agency located in and practiced through third-space begins with a review of theoretical discussions of space that consider how story, narrative, and the composing process disrupt systems that create normative and oppressive structures. Furthermore, comprehending third-space through an examination of language’s role in sociological understandings and the practices of individuals in communication further defines third-space as moving beyond knowledge produced by either the authoritative or the everyday expert. Instead, the agency of third-space exists through the recognition of dichotomous structures. Thus, somewhat paradoxically, the agency of third-space is, in some instances, dependent on the very binary it disrupts.

My poster will, in part, illustrate the dichotomies decomposed by third-space. In particular, I have assembled various designs which include representations of the ways in which (1) emotion is often separated from the intellect, (2) a person is conceived as either being healthy or sick, and (3) authenticity is believed to exist separately from fabrication. Complementing these depictions will be compositions that use language to depict reality and depict the nature of narrative representation. Together, my presentation and poster theorize personal narratives of mental illness and suffering as creating a third-space that challenges naturalized binaries.

Roberto Bolaño's novel "2666", Alberto Fuguet's short story "La verdad o las consecuencias", the movie "Babel" directed by Alejandro González Iñárritu and written by Guillermo Arriaga, and Guillermo Gómez Peñas' performance "Border Brujo" are all partially situated in the border zone between the United States of America and the United Mexican States. The paper tries to analyze the ambigue forces of translation of that third space of negotiation exposed in the named works of art.

[The article is in German and has a Spanish abstract]

Cultural anthropologists and historians have successfully adopted a borderlands perspective to investigate interaction, power, and identity between emerging or expanding state societies. This article develops an archaeological approach to such interstitial landscapes. It conceptualizes borderlands as spaces where people engage the material world under very specific geopolitical circumstances and create very specific materialities and subjectivities in the process. Political, social, and ideological dynamics between state societies produce two kinds of cultural spaces: hybrid ‘third spaces’ and ‘fractured landscapes.’ Although seemingly contradictory, these often emerge side by side in the same physical space. We illustrate this process by exploring the expansion of the Catholic Church and the Swedish kingdom to the Northern Ostrobothnian coast in northern Finland during the Middle Ages (ca. 1300–1600). During this era, church buildings and cemeteries became sites where locals, ecclesial officials, and state agents negotiated their relations through complex material and spatial practices.

En el presente trabajo se analizan los poemas de Melissa Lozada-Oliva publicados en su reciente libro Peluda (2017) con el propósito de estudiar el modo en el cual aparece representada la problemática de la conformación de una identidad individual o social al estar inscripto en una o múltiples minorías y a su vez no lograr conformarlas por completo. Se eligió una autora del género slam ya que tal como expone Anu Elizabeth Roche (2017) el género permite al autor romper el silencio de temas tabú y a su vez, al ser un género que se construye para ser leído frente a un público, le permite aportar su intención a sus propios poemas, de modo tal que la performatividad de los mismos se vuelve inherente a su lectura. Dicho análisis será dividido en tres apartados: En el primero se discutirá el modo en el cual la cultura latina conflictúa a la autora por partida doble: por un lado al caer en los márgenes sociales y por el otro, por no ajustarse al estereotipo. En segundo lugar, se tratarán cuestiones en torno a la concepción de feminidad, y cómo Lozada-Oliva denuncia la posición marginada y oprimida del género. Por último, se analizará el modo en el cual la autora plantea el rechazo a toda identidad que le es impuesta.