War and the Liminal Space: Situating The Lion, the Witch and the Wardrobe in the Twentieth-Century Narrative of Trauma and Survival

C. S. Lewis ◽  
2012 ◽  
pp. 71-89
Author(s):  
Nanette Norris
Keyword(s):  
Twentieth Century ◽  
Liminal Space ◽  
The Witch

Fire, Voices and Torment

M ◽  
2019 ◽  
pp. 7-14
Author(s):  
Samm Deighan
Keyword(s):  
Twentieth Century ◽  
Horror Films ◽  
Horror Film ◽  
Social Drama ◽  
Liminal Space ◽  
Local Police ◽  
Systemic Violence ◽  
Origin Point

This chapter focuses on Fritz Lang's seminal film M in 1931, which exists in a liminal space between social drama, crime thriller, and horror film. It explains that M follows the paedophiliac killer Hans Beckert, who is pursued by local police, distraught parents, and the criminal underworld for his horrifying and compulsive murders of Berlin's children. It also explores M's themes of systemic violence, mob justice, and urban paranoia. The chapter situates M within the developing body of twentieth-century horror films and as a progenitor of genre cinema. It also analyses M as the origin point of a filmic thread that includes Hitchcock's Shadow of a Doubt (1943) and Psycho (1960).

Performing Spaces: Street Music and Public Territory

2007 ◽  
Vol 3 (1) ◽  
pp. 97-120 ◽  
Author(s):  
MICHAEL BYWATER
Keyword(s):  
Twentieth Century ◽  
Public Space ◽  
Music Performance ◽  
Liminal Space ◽  
Performance History ◽  
Historical Scholarship ◽  
Liminal Spaces ◽  
Ambient Music ◽  
Street Performance ◽  
Public Territory

AbstractThe interaction between ‘marginal’ music performance (whether socially or musically marginal, e.g. busking, ambient music, etc.) and ‘liminal’ spaces is at first sight a characteristically twentieth-century phenomenon. However, performance history as revealed not only through historical scholarship but through contemporary anecdotal or fictional writings can contextualize these current uses of music in negotiating public space, while revealing some of our assumptions about performance in general. I argue that much of liminal performance is concerned with the appropriation and retention of spaces in which to perform, and that this is no new thing but was, until relatively recently, the norm. I look at some aspects of performance history in the light of contemporary thinking about liminality, and consider how buskers, particularly in Bath (where I lived for several years) contend for temporary possession of public space as a prerequisite of their performances. I conclude by suggesting that the defining of liminal space might be usefully extended, in thinking about street performance, into the notion of ‘liminal spacetime’.

scholarly journals Nature as Space: Gender Roles and Subversion in Edna O’Brien’s “A Scandalous Woman”

2021 ◽  
Vol 11 (2) ◽  
pp. 71-81
Author(s):  
Christopher Herman George
Keyword(s):  
Twentieth Century ◽  
Gender Roles ◽  
Short Story ◽  
Women's Rights ◽  
Women’S Rights ◽  
Social Conventions ◽  
Psychological Component ◽  
The Witch

The rigid social conventions for women in rural twentieth century Ireland, specifically that of the nun and the mother, are illustrated and subsequently subverted by the figures of the scandalous woman and the witch in Edna O’Brien’s short story, “A Scandalous Woman”. Most of the scholarship on this short story and O’Brien’s work in general has been focused on the gender roles in terms of women’s rights. The purpose of this paper, however, is to explore the interrelationship between both the accepted and subversive roles of women, and at the same time demonstrate how social conventions are made subversive by the natural surroundings, outlining both the conventional and subversive nature symbolism which underpins conventional morality. Nature takes on various guises in the story: it has symbolic importance as spiritual sustenance, it has an underlying psychological component, and finally it is present in both erotic and esoteric situations. Spaces are inexorably intertwined with religion and the role of the women in the story, specifically in the context of Eily, the protagonist, and her progression from an innocent girl to a scandalous woman. These connections also serve to illustrate the main character’s progression from innocent girl to scandalous woman in terms of the interactions of gender, nature, and space.

The Oxford Handbook of Sound Art

2021 ◽  
Keyword(s):  
Twentieth Century ◽  
Visual Arts ◽  
Space Time ◽  
Sound Art ◽  
Unique Contribution ◽  
Liminal Space ◽  
The Past ◽  
The World

The Oxford Handbook of Sound Art is a collection of new essays by artists and thinkers exploring the uses of sound in contemporary arts practice. Between them these chapters bring together a wide variety of perspectives and practices from around the world into the six overarching themes of Space, Time, Things, Fabric, Senses, and Relationality that form the structure of the book. These themes were chosen to represent some of the key areas of debate and development in the visual arts and music during the second half of the twentieth century from which Sound Art emerged. Emerging from a liminal space between multiple movements, Sound Art has been resistant to its own definition. Often discussed in relation to what it is not, Sound Art now occupies a space opened up these earlier debates and with only just enough time to benefit from hindsight, this book charts some of the most exciting ways in which Sound Art’s practitioners, commentators, and audiences are recognizing the unique contribution it can make to our understanding of the world around us. This book is not intended to define sound art and actively resists any attempt to establish a new canon. Rather, it is intended as a set of thematic frames through which to understand some of the recurring themes that have emerged over the past forty years or so, bringing constellations of disparate thought and practice into recognized centers of activity.

The Witch in History: Early Modern and Twentieth-Century Representations.

1997 ◽  
Vol 28 (4) ◽  
pp. 1433
Author(s):  
Kathryn A. Edwards ◽  
Diane Purkiss
Keyword(s):  
Twentieth Century ◽  
Early Modern ◽  
The Witch

scholarly journals FROM THE WITCH TO THE FAIRY: EDNA ST. VINCENT MILLAY’S EXPLORATION OF WOMEN IN POETRY

2020 ◽  
pp. 89
Author(s):  
Ana Abril Hernández
Keyword(s):  
Twentieth Century ◽  
Representation Of Women ◽  
The Witch

The first decades of the twentieth century in America witnessed the emergence of one of the most famous feminist writers of that time and whose fame disappeared as rapidly as it came: Edna St. Vincent Millay (1892-1959). Her light and transgressive verse soon placed her as one of the poets that best represented the Roaring Twenties transgressing sexual and social taboos in an America dominated by the figure of the flapper that this writer perfectly embodied. This study delves into Edna St. Vincent Millay’s poetry and the representation of women in her works. Las primeras décadas del siglo veinte en Estados Unidos fueron testigos del surgimiento de una de las escritoras feministas más célebres de la época y cuya fama desapareció tan abrumadoramente como llegó: Edna St. Vincent Millay (1892-1959). Su verso ligero y transgresor pronto la situó como una de las poetas que mejor representaba los “felices años veinte” transgrediendo tabúes sexuales y sociales de una América dominada por la figura de la flapper que esta escritora encarnaba a la perfección. Este estudio profundiza en la poesía de Edna St. Vincent Millay y la representación de la mujer en sus obras.

scholarly journals Socialism, suffering, and religious mystery: Margaret Harkness and Olive Schreiner

2019 ◽  
pp. 167-181
Author(s):  
Angharad Eyre
Keyword(s):  
Twentieth Century ◽  
Social Work ◽  
Literary Discourse ◽  
Olive Schreiner ◽  
Liminal Space ◽  
Realist Novel ◽  
Early Twentieth Century ◽  
Socialist Movement

In 1880s London, Margaret Harkness and Olive Schreiner were both engaged in the socialist movement. An admirer of Schreiner, Harkness dedicated a socialist allegory to her in the late 1880s. However, in In Darkest London, Harkness uses allegorical forms less as propaganda tools and more, as Schreiner did, to evoke a sense of religious mystery. Mysterious, allegorical elements create a liminal space within Harkness’s otherwise realist novel, in which can exist the hope of a better future. This chapter sheds light on Harkness’s work through tracing her participation in the religious socialist aesthetic developed by Olive Schreiner. In situating Harkness in the context of 1880s and 1890s socialism and theology, the chapter argues that Harkness’s work was part of a literary discourse that contributed to the development of early twentieth- century Christianity and social work.

Virginia Woolf’s Female Heritage: The Legacy of Anny Thackeray Ritchie, Woolf’s “Transparent Medium”

2018 ◽  
Author(s):  
Marion Dell
Keyword(s):  
Nineteenth Century ◽  
Twentieth Century ◽  
Virginia Woolf ◽  
Extended Family ◽  
Transparent Medium ◽  
Literary Modernism ◽  
Liminal Space ◽  
Profound Influence ◽  
Lines Of Descent

Virginia Woolf holds an unassailable place in twentieth-century literary modernism. What has been insufficiently acknowledged, not least by Woolf herself, is the profound influence of legacies from her nineteenth-century extended family which helped to shape her as a writing woman. Highly significant are the lines of descent from Anny Thackeray Ritchie. I consider Woolf’s inheritance from Ritchie in part, given our location, by exploring their shared connections with Yorkshire. I suggest that Woolf’s response to Ritchie, and to her past in general, is characterised by ambivalence and paradox. Woolf resolves her conflicting cycles of affiliation and rejection by figuring Ritchie as a ‘transparent medium’, in liminal space, obscured but always present.

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