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Urban human-cat relations depend on complex and contingent systems of overlapping policies, ordinances, and laws. Cats defy anthropocentric binaries and boundaries. In response to the problematic use of the term 'feral', a term rife with negative associations, many government agencies, including those in Miami-Dade and Broward Counties in Florida, have rebranded this population as 'community' cats. This investigation explores the transspecies liminality experienced by both free-roaming, or 'community', cats and their urban caretakers. While government-run animal shelters boast the successes of trap-neuter-return (TNR) programs and the concomitant increase in 'live-releases' from the shelters, the experiences of cats who live in perilous urban spaces, facing vehicular injury, animal cruelty, and even death, subverts these politically-driven narratives. The uneven acceptance and treatment of these cats results in the development of informally organized networks of cat caretakers whose experiences share the challenging, contentious, and often dangerous experiences of the cats for whom they care. Sociolegal constructions and rituals produce the experience of liminality for more than just human or animal individuals. The result is a transspecies liminality of shared experiences, struggles, and relations beyond the targeted population or species, which has implications for how researchers approach the implementation of nonhuman governance policies. [ABSTRACT FROM AUTHOR]

Reseña del libro "El fulgor de la presencia. Ritual, experiencia, performance". El libro se compone de siete capítulos en donde se abordan, de manera entrelazada y en espiral, las cuatro categorías indicadas en el título, a las cuales se añaden liminalidad, ontología y, finalmente, conmemoración y juego. El tipo de abordaje en espiral consiste en que luego de examinar el ritual y examinando la experiencia, el ritual resurge bajo otras perspectivas. Lo mismo con las otras categorías. Performance se trata en el quinto capítulo, pero se asoma desde el inicio y hasta llegar al juego, final del libro.

Este artículo indaga en el exilio de Remedios Varo a través de nuevas perspectivas que permiten ahondar en los procesos de disrupción y reconstrucción que atraviesa la identidad del sujeto en el exilio. Para ello, se recurre a la concepción antropológica de liminalidad teorizada por Homi K. Bhabha. Este es un estado de tránsito, un espacio en el que acontecen las crisis identitarias y desde el cual el sujeto reformula sus visiones del mundo. Con la finalidad de indagar en ese proceso de reformulación se acude al utillaje teórico de la historia de las emociones, que permite poner el foco en la navegación del tránsito. El rastro de Remedios Varo se compone no solo de sus cuadros –una de las mejores expresiones de su subjetividad y sistema de pensamiento– sino también de cartas, de juegos surrealistas y notas en los márgenes de sus obras a través de las cuales se relaciona con su comunidad. La relación entre expresión subjetiva y emocional abre la vía para un análisis de mayor profundidad sobre el modo en que la identidad se reformula en el exilio.

Since the enactment of the 1991 Colombian Constitution, a legal and institutional framework has been established to address the political demands of multiculturalism. This article examines the incarceration of indigenous individuals in this multicultural context and highlights the various factors influencing the adoption of penal confinement as a response to indigenous criminal behavior. The article traces the process by which indigenous special jurisdiction has embraced incarceration over the past two decades and examines the potential factors that have led to transcending the multicultural boundary with imprisonment as the dominant punitive form. The emergence of a special legal subject--the incarcerated indigenous individual--indicates the outcome of this collision between legal worlds, placing them in the liminal space of identity uncertainty, reintegration impossibility, and the latent potential for the disappearance of their cultural identity. [ABSTRACT FROM AUTHOR]

This essay contends that emotional oscillations between subordination and emancipation are responsible for the inconclusivity and evasiveness of Le Fanu’s plots, which critics often emphasise but rarely try to explain. The parallels between, on the one hand, the dual structures that pervade Le Fanu’s works and, on the other, the binaries of latent dream thoughts and manifest dream content, the familiar and the uncanny, which Sigmund Freud employs in his explorations of the unconscious, shed significant light on the motivational forces at work in Le Fanu’s oeuvre. Le Fanu uses displacement and condensation, the major operations Freud attributes to dream work, to create an outside world, which reveals itself as an upended world within. This essay tries to demonstrate the psychological significance of central motifs in Le Fanu's works, such as the double and the closed room. In light of later psychoanalytical insights into the influence of childhood traumatisation on the creativity of writers, Le Fanu appears absorbed by the incorporation of his innermost mortifications and yearnings into the defamiliarisations of his fiction. On the basis of Gothic patterns, he produces psychological fiction avant la lettre. He anticipates George Orwell’s dissection of mental processes in terms of manipulative social engineering, H.P. Lovecraft’s fantastic evocations of a Jungian collective unconscious, and literary interiorisation by modernist techniques, developed not long after Le Fanu’s death by the likes of James Joyce and Virginia Woolf. [ABSTRACT FROM AUTHOR]

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Previous survey evidence suggests that situational-enchantment is a mental state conducive for psi-related experiences. In this conceptual replication and exploration, we used a preregistered research design to examine hit rate on a mobile application (‘app’) test of putative psi that was administered after participant exposure to two competing conditions in counterbalanced order: (a) an ‘enchanted’ immersive tour in a ‘haunted’ house museum versus (b) a ‘disenchanted’ outdoor tent session with a video that allegedly debunked the paranormal. A convenience sample of 31 volunteers recruited via social media completed counter-balanced testing in both conditions and measures of transliminality and paranormal belief, which we converted to high and low (median split) measurements as co-variates of the hit rates on the psi test. Findings showed that high levels of both transliminality and paranormal belief, as well as the ‘haunted (enchanted)’ versus ‘skeptical (disenchanted)’ conditions significantly shifted overall hit rates and above-chance performance. In the majority of analyses these effects represented more than a 10% shift in both hit rate and tests against average psi guessing rate. We discuss these results as supporting an interactionist (environment–person) model of certain parapsychological phenomena. [ABSTRACT FROM AUTHOR]

En el presente artículo se analiza de qué manera la narradora mexicana Ana Clavel proyecta una poética de lo liminal en su cuento “Tu bella boca rojo carmesí” (1984). Se identifican dos temáticas clave que sugieren, justamente, el carácter liminal del cuento: la identidad de género, como constructo cultural, y el erotismo, asociado a Eros y Thanatos. Entre lo que se oculta y lo que se muestra, el universo narrativo de Ana Clavel, de factura posmoderna, confronta a sus lectores (as) con respecto al límite, la frontera, entre diversas realidades. Así, desde el plano lingüístico e ideológico, el cuento evidencia que la existencia cotidiana no es transparente y sí, por el contrario, ambigua, paradójica, liminal.

El presente trabajo ofrece una interpretación hermenéutica del espectáculo Limbo, de la artista mexicana Gabriela Muñoz, también conocida como “Chula the clown”, a partir de los conceptos desierto y exilio, presentes en este ejercicio escénico, así como en el pensamiento de María Zambrano, donde se muestran como un problema filosófico, y en la obra del investigador Ignacio Izuzquiza. Exilio y desierto aparecen también en Esperando a Godot de Samuel Beckett, obra que se revela como influencia del trabajo de Muñoz y con la que comparte algunos signos poéticos. El texto, asimismo, retoma los apuntes de la investigadora Melissa Lima Caminha, principalmente la noción de deconstrucción del clown femenino moderno y la categoría de monstruosidad para hablar de quienes han sido expulsados o expulsadas del grupo social por ser considerados diferentes, y con lo cual viven, precisamente, en los linderos del exilio. En Muñoz, como sucede con la tradición clown, esta figura cómica se muestra como símbolo de lo excluido, lo deforme, lo anormal e, incluso, de lo despreciable. A partir de estas claves, la artista muestra el limbo como un estado emocional donde se diluyen las fronteras del tiempo y el espacio, en un ambiente que se mueve entre la desolación y la comicidad. This paper offers a hermeneutical approach to Limbo, a clown spectacle by Mexican artist Gabriela Muñoz, known as “Chula the clown”, from the concepts of desert and exile, both present in this perfor-mance, as in Maria Zambrano’s work, as a philosophical problem, and in researcher Ignacio Izuzquiza’s reflection. Exile and desert are at work also in Samuel Beckett’s play Waiting for Godot, influential on Muñoz per-formance, as it is shown by some poetic signs. From researcher Melissa Lima Caminha, our paper works deconstructivity on the modern feminine clown notion and monstrosity category to talk about people whom have been expelled from their social community as they are considered different, living then in the borders of exile. In Muñoz, as in clown tradition, this comic figure is shown as a symbol of the ones excluded, deformed, abnormal and, even, despicable. From these key issues, the artist presents limbo as an emotional state where frontiers of time and space are diluted, in an environment moving through desolation and comicality

La wifala es un personaje tradicional en los carnavales de la comunidad campesina de Ccoyllorpuquio. Este es un ser ambiguo, ya que es interpretado por un varón vestido con ropas de mujer. El concepto de lo liminal permite definir a priori la ambigüedad de las wifalas, ya que existe una coincidencia de contrarios en la significación del personaje. Así, lo liminal en la cultura es definido por aquello que no se encuentra ni en un sitio ni en otro; en el ámbito ritual, está representado por símbolos que representan transiciones como la muerte, la bisexualidad o los tiempos de orto y ocaso. Sin embargo, el objetivo principal de este artículo es dar a comprender la wifala —y su aparente condición liminal— desde la perspectiva de los propios protagonistas de la costumbre y de la comunidad que los representa. Siguiendo esa pauta, se estableció un corpus a partir de la revisión bibliográfica y etnográfica sobre el significado de la wifala. Desde la perspectiva de los comuneros de Ccoyllorpuquio, wifala es “el costumbre” de sus antepasados; de modo que otros términos y conceptos académicos no son suficientes para explicar el fenómeno, ya que es necesario entenderlo desde “el costumbre”, es decir, como una lógica ontológica que se aprende haciendo. Así, el principal fenómeno en la diferencia de estas perspectivas será la traducción, ya que el problema se presta al régimen del poder de la colonialidad, en cuanto no permite generar un ambiente de pertinencia cultural. De esta forma, esta investigación aporta a la negación de un constructivismo intelectual en un único sentido y permite una apertura a la re-creación intelectual en comunidad.

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This article explores the multilingual creativity of young refugees in the Netherlands and the social contexts and situations in which it develops. Because these young refugees form an under-researched group, the authors build on different discipline-based studies on (young migrants') multilingualism, super-diversity, conviviality, liminality and networks. The authors start with the collection of personal network data including languages used with each network member. These data show that participants use and combine the Dutch language with the majority of non-native people in their networks. To explain this, the network data are connected with participants' 'network stories'. In these stories, participants refer to the asylum seeker centres, where they began their lives in the Netherlands, as the breeding ground for their multilingual creations with the Dutch language. The authors show how, in the liminal and super-diverse context of these centres, young refugees' multilingual practices and innovations enhanced conviviality and connectedness. The authors also delineate how 'oldcomer' and 'newcomer' participants' distinct multilingual innovations relate to their different present networks. In both groups, however, these innovations are a source of belonging among the non-natives in their networks. [ABSTRACT FROM AUTHOR]

This article presents a description and analysis of the practices and representations around the ethno-educational processes of Wayuu students in basic, middle and higher education centres in La Guajira and Santander (Colombia). Based on our ethnographic experience in the field, we reflect on the role that the ethno-educational policies of the Colombian state play in shaping the dispositions toward schooling of young Wayuu students, their job expectations, as well as the ruptures and continuities with the cultural practices within their families and Wayuu communities of origin. In our analysis we explore three different areas of experience (Wayuu culture, education and employment), which we interpret from the perspective of the different agents involved: students, teachers, families and Wayuu communities. Based on our results, we can conclude that, in the context of these ethno-educational policies, continued schooling in these centres decisively transforms students' worldviews, their self-understanding schemes and their relationship with their community. Specifically, we think that profound collective and personal changes are taking place in the young Wayuu generations, mainly in terms of the subjectivation of class, race and gender relations, family structures and the conformation of their academic and work expectations. [ABSTRACT FROM AUTHOR]

The symbolic nature of taboo is examined as a container that differentiates developmental stages between the social values order/disorder through a ritual, liminal process of separating order as clean/blessed/safety and disorder as polluted/disassociated/risky. Unconscious/conscious taboos embody that perilous journey across margins in rites of passage and their emotional value and intensity in the form of symptomology varies cross-culturally. Two clinical cases are presented to illustrate the influence of taboo on obsessive compulsions and anorexia nervosa. Particular attention is given as to whether dirt as disorder/rubbish can be recycled at the margins between safety and risk and value redistributed to the intrapsychic and psychosocial anomalous bits and pieces that are discarded as rubbish., (© 2024 The Society of Analytical Psychology.)

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There are transitory spaces whose unique configuration leaves a lasting impression in the instantaneous perception and memory of the spectator (Barthes, 1990) experiencing emotions and sensations of risk, adrenaline, respect, peace, harmony, serenity, longing, freedom, mystery and perplexity, among other connotations and special definitions that become part of the symbolic representations, cognitive, mental and affective appreciations. From interpretative anthropology, these experiences are linked to subjectivity and specifically to the category "Liminality" (Van Geneep, 2008 and Turner, 1980), appreciable in the geophysical space because they are places that obey allochthonous phenomena or possess unrepeatable morphology, which turn them into thresholds in themselves, borders, limits and referential edges that could be linked to ancient processes of cosmization and sacralization in the tracing of the axis mundi (Eliade, 1958) and therefore respond to ignored "mythical cartographies" linked to processes of birth, transformation, recreation and cultural preservation. [ABSTRACT FROM AUTHOR]

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El 2019, tras dos años de trabajo interdisciplinario, se estrenó Trewa. Estado - Nación o el espectro de la traición, proyecto escénico documental y etnográfico, dirigido por Paula González Seguel y co-producido por el Centro de Estudios Interculturales e Indígenas (CIIR). Fiel a la propuesta artística que la compañía KIMVNTeatro viene desarrollando desde el 2009, Trewa coloca la exhumación del cadáver de la activista medioambiental Macarena Valdés al centro de una trama que aborda la violencia ejercida en Chile por la alianza entre estado y capitalismo neoliberal sobre el pueblo mapuche y su territorio ancestral. Más allá de la situación dramática planteada, propongo que el interés mayor de Trewa se encuentra en el dispositivo escénico donde lo mapuche irrumpe, a través de lo liminal y lo espectral, para desestabilizar las convenciones del canon teatral chileno. Desde una perspectiva que asume el acontecimiento teatral como parte del discurso social que determina los límites de lo imaginable y lo decible en determinado lugar y momento histórico, planteo que Trewa ensaya en escena la expansión de dichos límites en consonancia con la discusión política sobre la plurinacionalidad que enfrenta actualmente la Convención Constituyente en Chile.

Entre las más recientes apropiaciones de Don Quijote de la Mancha cabe destacar el mash-up como un comentario a la inagotable presencia del texto de Cervantes en la cultura contemporánea. Don Quijote Z (2010) proporciona un original acercamiento al texto quijotesco: en vez de reescribir a don Quijote en un contexto nuevo, reformula la obra cervantina con elementos de la literatura zombi. El mash-up quijotesco supone, por su propia naturaleza genérica, un reto a las políticas de exclusión del canon, y se muestra autorreferencial al comentar su propia posición en los márgenes de este. Lo hace al desarrollar una parodia cervantina del género Z, pero también de la escritura académica, al mismo tiempo que mantiene un enfoque satírico sobre los valores sociales y culturales contemporáneos. El presente artículo explora los motivos tras esta resiliencia quijotesca en la literatura y la cultura, que se hace evidente en el mash-up Z del clásico de Cervantes.

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En las excavaciones arqueológicas de 2004 en la necrópolis de Ulaca (Solosancho, Ávila) apareció un askos con forma de toro. Las figuras de bóvidos y otros animales realizadas en arcilla son una manifestación modesta, pero muy significativa, de la importancia de estas especies en el marco de la Segunda Edad del Hierro. Se estudia la pieza, su contexto arqueológico y su funcionalidad. Además, se relacionan estos singulares vasos zoomorfos con el concepto de liminalidad, en sentido amplio, y el valor simbólico del toro en el occidente de la meseta.

Ramiro de Maeztu (1874-1936) fue uno de los periodistas españoles que más escribieron acerca de la Primera Guerra Mundial. Fue enviado al frente como reportero en cinco ocasiones –siempre adscrito al ejército británico–. Las crónicas resultantes son textos complejos, cuya fijación con espacios periféricos al combate (como hospitales, almacenes, campos de entrenamiento) desestabiliza el marco tradicional de qué es el centro y qué son los márgenes de la guerra. Por otro lado, la condición de Maeztu como ciudadano de un país neutral, pero que a la vez sentía una fuerte simpatía por uno de los bandos en lucha provoca importantes tensiones en la voz narrativa. Estos rasgos animan a analizarlos a la luz de los conceptos de escritura marginal y liminal.

Las experiencias liminales tienen lugar durante situaciones significativas de transición, paso o disrupción donde, lo que hasta entonces era dado por sentado, queda en suspensión. En este trabajo, hemos re analizado y re articulado la experiencia de diecinueve varones durante su adolescencia (Uribe, 2018), centrándonos en las expresiones y marcadores socio-psico-orgánico-físicos que hacen referencia a los fenómenos de la adolescencia y la masculinidad como experiencias liminales. Del análisis concluimos que la masculinidad es vivida como una experiencia liminal que se inicia, influye y disemina sus mandatos patriarcales en la etapa adolescente, subvierte el proceso de transición de la niñez a la adultez, y hace emerger un proceso liminal permanente que trasciende el paso no sólo de niño a adulto, sino de niño a hombre, hacia una experiencia eternizada en la cual se es hombre y no hombre al mismo tiempo, debiendo poner a prueba su virilidad de manera constante.

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As people continue to flee repressive regimes, discussions of refugees' state of liminality have intensified. Refugee camps and detention centres tend to force refugees to endure living in liminality for long periods of time. Taking fleeing as a point of departure, this study suggests a change from the notion of fleeing as movement to a search for home and homemaking. This understanding shifts the analysis away from state-controlled spaces to a wider consideration of spaces of importance for homemaking. Widening the discussion on liminality to homemaking indicates that liminality can be experienced in a variety of spaces. Using material from interviews with queer refugees in the Swedish countryside, I discuss their travels, displacements and homemaking. Their stories show that creating a home is a continuous process delimited by norms in families, ethnic networks, host societies and queer networks. Not adhering to these norms renders homemaking difficult and pushes some queer refugees to liminal spaces. Thus, I suggest an understanding of some queer refugees as constantly rejected and pushed into a perpetual state of liminal homemaking. An analysis that illuminates refugees' displacements from belonging moves discussions of liminality away from state-controlled spaces and highlights the norms that govern the homemaking process. [ABSTRACT FROM AUTHOR]

Toda representación cultural del cuerpo conlleva, de un modo más o menos explícito, un entramado de visiones de mundo, valores sociales, concepciones y saberes sobre la corporalidad y sobre la manera en que el arte los produce y los organiza. Nos proponemos indagar en algunos modos posibles en que la memoria se inscribe en el cuerpo, en el seno de prácticas performáticas o escénicas que aparecen como resultado de procesos de investigación e incorporan lenguajes de diversas artes. En ellas se sugiere la concepción de un cuerpo plural (Citro), atravesado por múltiples inscripciones, al tiempo que las escrituras corporales diseñan los territorios sociales y las cartografías políticas. Tanto en lo que se refiere a las prácticas socio- estéticas que irrumpen en el espacio público, como a aquellas experiencias escénicas en que el actor o la actriz deviene el elemento central del trabajo creativo, su cuerpo -en tanto soporte, materia y acción (Barría Jara)- continúa siendo el verdadero núcleo político y estético en el que se inscribe y se reconstruye la memoria individual y colectiva.

Liminal experiences take place during significant transition, passage and disruption situations in which what was previously taken for granted enters into a stage of suspension. In this work, we have reanalysed and rearticulated the experience of nineteen men during their adolescence stage (Uribe, 2018). We focused on socio-psycho-organic-physical expressions and markers that allude to adolescence and masculinity phenomenon as liminal experiences. From the analysis, we concluded that masculinity is developed as a liminal experience, which initiates, influences and disseminates its patriarchal mandates in adolescence stage, and subverts the transition process from childhood to adulthood. Further, masculinity makes possible the emergence of a permanent liminal process, which not only transcends the passage from being a child to be an adult, but also from being a boy to be a man. This opens an eternal experience in which you are simultaneously a man and a no-man, having to constantly test your virility. [ABSTRACT FROM AUTHOR]

Esta serie fotográfica o fotoensayo es resultado del proyecto de investigación La escultura como interfaz histórico de luz sólida del Plan Propio de la Universidad de Málaga, el cual consiste en la investigación experimental artística basada en el lenguaje escultórico y sus hibridaciones con otras disciplinas, como la fotografía. Para ello he usado herramientas metodológicas como la intervención site-specific, la fotoluminocinética y las posibilidades que la escultura de campo expandido ofrece en cuanto a las narrativas que el objeto significante del entorno escogido puede ofrecer a lo que sucede en él. La fotoluminocinética es una hibridación entre el lenguaje escultórico y el fotográfico, es el corpus teórico de mi tesis principal La fotografía como medio de la escultura en movimiento, y una de mis principales líneas de investigación artística. La experimentación plástica se centra en la intervención fotoluminocinética, o fotografía en exposición prolongada mientras se actúa con elementos luminosos en movimiento, en diversas partes del edificio, arcos de sus fachadas y zonas internas. A través de un diálogo con su arquitectura, con el entorno escogido la obra artística le transfiere significado, aumentándole la carga monumental y estatuaria, y éste a su vez, dota al trabajo artístico de narratividad poética.

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Estas notas de investigación sobre la obra de Ricardo Falla surgieron de las ponencias, las discusiones y el intercambio con el autor durante el Foro del Pensamiento Centroamericano realizado en octubre de 2019 en el CIMSUR-UNAM. En estas páginas elaboramos, como primer punto, un bosquejo biográfico de Falla, y después desarrollamos algunas líneas que sintetizan los temas abordados: la pertinencia de su obra para el estudio de la historia, la reflexividad etnográfica de y en torno a Falla y, finalmente, la liminalidad en búsqueda de lo humano.

Entre las deliberaciones del arte contemporáneo hace falta un desentrañamiento no solo de sus resultados, sino de las nociones paradigmáticas que transversalmente han permeado una práctica de notorias exploraciones que se debaten entre lo heteróclito y lo experimental. Con una mirada panorámica de la praxis contemporánea en el arte, y manteniéndola siempre a la mano, propondré a la parergonalidad derridiana como un artilugio idóneo desde donde avizorar obras que han sido tachadas de incompletas, de carentes de seriedad o de meros chascos pero que podrán ser considerados, además, como cavilaciones sobre los espacios de transición y permutación entre el arte y la realidad. Los autores de la práctica contemporánea relucirán como pontífices, a veces imprudentes, a veces asertivos, entre estos dos territorios limítrofes cuya oposición y dependencia ha sido el implícito interés de una expresión artística más interesada en la liminalidad que en la obra de arte como centralidad irrefutable.

Copyright of Miscelánea: A Journal of English & American Studies is the property of Miscelanea: A Journal of English & American Studies and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Ethnologie Française is the property of Presses Universitaires de France and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of ZARCH: Journal of Interdisciplinary Studies in Architecture & Urbanism is the property of Universidad de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Chronic pain raises the question of a diagnosis that is always delayed and uncertain, subject to revision (or controversy) between different doctors; it is not only an organic condition, but, above all, a social one, since it resonates strongly throughout the network of each patient's relationships with others. The individual, prey to chronic pain, suffers, but he/she is also in suffering; as is often said of a letter that has never reached its addressee, it is suspended, waiting, provisionally without destination. Immersed in the said liminal situation, he/she is no longer here or elsewhere, he is neither meat nor fish, he is neither from here nor elsewhere, rather he/she is marked by otherness, divided between references that no longer apply to him/her, in resonance with the patient's sense of identity. [ABSTRACT FROM AUTHOR]

This article describes and analyzes the experience and care trajectory of a patient suffering from chronic pain, diagnosed as trigeminal neuralgia, under the theoretical and methodological premises of medical anthropology and the Turnerian social drama; the patient in question was attended by a public health institution in Mexico City. The experience is recreated herein through the observation of a therapeutic ritual during clinical care, along with the application of interviews, which contributed to provide the context of care and the narrative of the trajectory of the suffering as a life experience, to the perceptions and repercussions of the suffering of chronic pain in the subject, as well as in his family and social environment, thus portraying the complexity of the experience of corporeity in liminal situations. [ABSTRACT FROM AUTHOR]

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

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Copyright of Acotaciones: Investigación y Creación Teatral is the property of Real Escuela Superior de Arte Dramatico and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)