Liminal Space

In South Korea, nation-building projects have often entailed media-driven narratives that discipline bodies and desires. Transnational flows, however, are increasingly challenging these narratives as the country intensifies its efforts to market its image abroad. Today, the K-wave no longer flows freely in one direction, even in the imagination it once seemed outwardly to purport. Instead, the commoditization that works calls for a broadening of the national conceptions of “Koreanness” both in conflict with and alongside racial and alternative sexual lines. Popular television shows such as 'Itaewon Class' and 'Squid Game,' for instance, have shed light on this dynamic, where the thirst for global appeal promotes creative reinterpretations of domestic imaginations. However, one effect is that imagined inclusions of racialized others often fail to comport cultural transformations and reproduce stereotypes that negatively impact the practices of everyday life of many non-Korean ethnic groups who have come to reside in the country. This exploratory research draws on spatial theory and cinematic suture theory to expand on interpretations of liminal placemaking as a means of connecting and transgressing imagined boundaries of physical space in real-time. Namely, it investigates how reactions to two COVID-related events produced spatial and agent-based change, converting several non-Korean residents from cultural observers to online activists: the outbreak of COVID-19 at a nightclub in Itaewon (a hub for the celebration of non-Korean ethnicity and a controversial transcultural space) and the government's demand for foreign COVID testing. It argues that short format and digital live-streaming media spaces have not only become new transcultural spaces for 'foreign' protest  but also crucial liminal spaces to reframe and expose society’s distorted views of 'foreigners' in South Korea.

The aim of this research is to explore the space between drama education and dramatherapy as practised in the UK and find a way of describing it. I begin by looking at five areas relevant to both professions: theatre and anthropology, theatre and therapy, the history of dramatherapy, drama education and story followed by an explanation of my methodology.

Through two case studies I use the dramatic art form of drama to explore the spaces between these two professions in order to open up a debate around the shared spaces which exist between them. I use the same dramatic activities, exercises and materials as a starting point in two different school environments. In school ‘A’ I
practised as a drama teacher; in School ‘B’ I practised as a dramatherapist.I then explore the spaces in which drama and dramatherapy exist and consider the space that exists between them through four conceptual lenses: context, discourse, art form and liminal space.

This study shows that the space between the two professions is shifting and nebulous and that it is not an either/or scenario. It will also highlight the historical connections between the two professions and acknowledge that a greater dialogue is required in order for each profession to benefit from the other.

Historically, raves in Britain were understood to be outdoor, electronic dance music gatherings which took place in particular geographical spaces. Their sites were often located just outside of cities, and it was not uncommon for raves to happen in locations accessible only to those who drove or knew someone with access to a motor vehicle. Despite the crucial role that cars, vans, and buses played for visitors to be able to participate, the importance of ravers’ journeys has been largely ignored by music historians. This chapter presents the results of interviews with people who used to go to raves by motor transport. Between December 2017 and January 2018, semi-structured interviews were conducted with eight such participants. All self-identified as having been to raves in Greater Manchester, and beyond, between 1985 and 1995. The respondents were a self- selected sample of committed contributors to the Lapsed Clubber project who had all been involved in research for this project for a couple of years.1 None of them owned a car during their rave-going days, so they all depended on others’ willingness to offer lifts. Interview questions were designed in order to ascertain their motivations for rave journeys, discover the conditions under which people travelled, and understand the social significance of the car as an immediate means of transport.

Our journey to God really is one of being stripped down and approaching in our vulnerability and weakness, in our disgrace (lack of grace). The important thing to understand is that, when we feel “in control” we are inevitably putting up barriers, making it more difficult for us to be aware of graciousness of God. It is when we are conscious of our own shortcomings and fragility, not a morbid self-pitying way but consciously acknowledging the totality of our personality that we tend to be mostly receptive to the promptings and presence of God’s spirit. This is a personal account of one such journey.

Colson Whitehead’s third novel, Apex Hides the Hurt (2006), features an unnamed protagonist who’s particularly prone to toe injuries, but his day-to-day occurrences are only half the story. While the text’s overall plotline is compelling, it almost takes a back seat to the philosophy Whitehead constantly puts forth regarding signification. There are many things to be said about the omnipresent conflict (in life and in the novel) between a thing’s essence and its name or label. Whitehead’s protagonist wavers on this point and often voices differing perspectives based on his company, but his vacillation is the key. He ultimately rejects any essential self/meaning and constructed selfhoods/meanings to embrace humanity’s true multiplicities. Furthermore, he utilizes liminal positioning to validate the dialogic both/and rather than what’s ‘normally’ (n)either/(n)or. In this act of rejecting binaries to focus on expansion, Whitehead proposes a queer ecosemiotics in which the postmodern foci of uncertainty and anti-authoritarianism are re-centered as intrinsic and valid experiences for certain groups in American society.

This paper proposes a framework for understanding what novelist Georges Perec has called “the rest” that we live through, the qualities of experience and meaning-making in everyday, in-between spaces, and the ways in which people make sense of the big world through the small. The work explores how common neighborhood places are essential to people’s lives, and its framework of “layered dynamics” suggests ways of understanding an individual epistemology of everyday place. The paper grapples with what Doreen Massey has called a “global sense of the local” and how the meanings we make in our most common places relate to our understanding of the larger world, as well as the reciprocal process by which place helps shape us. Drawing on environmental psychology and differing theoretical conceptions of the individual, as well as innovative methods involving neighborhood tours and photographs with residents of a small neighborhood in Oakland, California, this work explores how, through emergent and often conflicting experiences, the everyday physical world around us derives a variety of individual significances. This paper suggests that these spaces are crucial for study and concern, not only for environmental psychologists and geographers but also for planners. The framework proposed here is a range of dynamic and emergent layers that let us understand the complexity of what neighborhoods are really for: as the sites where individual and place meanings are made through a reciprocal dynamic process.

This chapter considers sites like Pripyat, in Chernobyl, as zones of alternative practice, especially in terms of urban exploration. At the same time, it offers a critique of such activities as a form of adventure tourism, contrasting the transformative potential of urban ruination against the commodification of the liminal.

In Monster Anthropology: Ethnographic Explorations of Transforming Social Worlds through Monsters, edited by Yasmine Musharbash and Geir Henning Presterudstuen. Forthcoming from Bloomsbury: https://www.bloomsbury.com/us/monster-anthropology-9781350096257/. Discusses the cultural significance of stories about monsters lurking on roadways.

This essay examines the representation of Linosa in Emanuele Crialese's "Terraferma" (2011) as a dialectic site that engages with competing ideas about sovereignty, stability, and mobility. The theoretical framework incorporates studies on tourism, migration, borders, and neocolonial practices of globalization, in order to show that Linosa's configuration as an island creates multiple conditions of liminality for the diverse actors that assemble here. Drawing on multiple conceptions of liminality, including my own analysis of the framing of film protagonists in «spaces on the margins», I assert that "Terraferma" ultimately succeeds in drawing unexpected parallels between the citizens of Linosa and clandestine migrants.

Ritual Dance in England, an anthropological study of the evolution of ritual dance, looks at the evolution of ritual dance from the earliest discernable points of sacred ritual dance, following its journey through English history to the present day. It questions if sacred ritual dance has survived in any way to the post-modern current era. This discourse does this by linking the sacred and secular to the concept of liminality. It also looks at how the liminal and the liminoid are linked to sociological, cultural theory and what impact this might have had on ritual dance in the post-modernist era.

Miriam Adeney (2011, p.7) states that the leaders we need today are liminal, polycentric and hyphenated. This research investigates why such leaders are effective.

We draw on three broad disciplines: the liminality of Bhabha, Gilroy and other postcolonial writers, the missiology of Newbigin, Walls and other theologians, and leadership theory as articulated amongst others by Roxburgh, Ladkin and Wheatley. On the way we examine Castells’ network society, Appadurai’s ethnoscape and Rynkiewich’s globalizing dynamic.

The insights gained from an examination of these writings are examined through semi-formal interviews with 12 liminal missional leaders, where we discover key strengths derived from that identity, including an appreciation of the value of differences and a focus on the person.

We affirm Adeney’s three key terms in the light of insights from postcolonialism, missiology, leadership studies, the 12 interviewees and reflections on my own experience. We see that what the world needs today is leaders who exhibit these characteristics. They are polycentric, that is, truly global, recognising the importance of localisation. They are hyphenated, interconnecting diversity, their very identity making them a bridge. They are liminal, thriving in the in-between space.

Two practical applications given are the need for partnerships, and communities of leaders. At all levels – individuals, organisations and nations – the way forward is found in coming together. The liminal space, characterised by commingling and creativity, is where this happens.

This study addresses a lack of holistic understanding of experiential consumption by developing and empirically testing a conceptual model that investigates the process of experiential consumption – antecedents, the experience itself, and emotional responses. We explore Victor Turner’s anthropological concept of the liminoid to create an Experiential Liminoid Consumption (ELC) model, examining the relationships between experiential marketing and consumption constructs. The study adopted a quantitative methodology using a survey method and a sample of students. The conceptual model was analysed using partial least squares (PLS). Conclusions, implications, future directions, and limitations are suggested.

This article tries to adapt the anthropological concept of 'liminality' to three fields of research: China–Taiwan relations; the ontology of Taiwan Studies; and the conceptual development of geopolitics. Liminality, as translated into these fields, refers here to a spatial/temporal position of 'geopolitical threshold', rather than to an in-between, transitional period of time. The concept is used here as a substitute for, or nuanced alternative to, 'marginality', with reference to the growing debate over the significance of Taiwan as a geopolitical entity in the face of a China experiencing global renaissance. Beyond this, the paper is also an attempt to reflect upon the historical significance of the emergence of Taiwan since the early seventeenth century, first as a geopolitical object of appropriation or control, and later on as a geopolitical subject of its own, to help reassess Taiwan's global significance. Finally, this is a contribution to the better understanding of the geopolitics of asymmetrical interdependence between a major state and a minor, neighbouring one, within the wider frame of a geopolitics of values.

The Indigenous decolonial struggles in North America are manifested, in the absence of recognition at the level of the law and regardless of the myth of the Vanishing Indian, by groups of men, bodies in motion, which will directly claim their rights by their physical presence on the ground, be it Plymouth Rock, Standing Rock, Wounded Knee, or The Trail of Tears, among many examples. How to grasp this distinctive struggle as a vector of decolonization is the question I will attempt to answer in this conference by addressing the issues of liminality and the place of the body in the short story Borders by the Cherokee author Thomas King. By delving into Thomas King’s story, I will illustrate that the place of vulnerable bodies in liminal space - these places between two where a reversal can happen-, and the new power of mediatized images, which have an inherent symbolic significance, can serve to delegitimize colonial notions of power and have considerable subversive potential.

Suicide plays a dynamic role in both the narrative and structure of Dante’s Inferno, and yet, in accordance with there being no term for the act in European languages until the 1600s, the poet mentions it only euphemistically: Dido ‘slew herself for love’ (Inf. 5.61), Pier della Vigna describes suicide as a process in which ‘the ferocious soul deserts the body / after it has wrenched up its own roots’ (Inf. 13.94–95), and the anonymous Florentine suicide simply ‘made [his] house into [his] gallows’ (Inf. 13.151). It is thus unsurprising that the notion of mental health in connection with suicide is equally absent in explicit terms. Reading between the lines of Dante’s poetry, however, it becomes clear that the emotive language and embodied hybridity associated with the suicides within Dante’s oltremondo, and of Dante the pilgrim as he responds to their narratives, highlights a heterogeneous yet shared experience of loss and despair, mirroring contemporary understandings of mental health issues. Through an analysis of the emotive language associated with the narratives of a number of Dante’s suicides, and the hybrid embodiment of numerous suicides inscribed in Dante’s text, this paper hopes to explore the ways in which, even inadvertently, Dante reflects on the distancing of the suicides from the civic bodies of their communities, from their own physical bodies, and from the vital rationality of their human minds, and thus to investigate the ways in which the lack of emotional wellbeing experienced by the suicides forces them to the edges of society’s, and their own, consciousness.

Attraverso un esperimento svolto nel 2011, riprendendo la teoria di Turner sui fenomeni liminoidi in relazione ai drammi sociali, sono andata alla ricerca del dramma sociale rappresentato attraverso le performance di improvvisazione in danza. L’esperimento ha quindi coinvolto 6 performer in un workshop dando vita a un ciclo di 12 performance all’aperto nel centro storico di Firenze, durante le quali è stato intervistato il pubblico di passaggio sulle impressioni e parole chiave che le performance suscitavano in loro. Dalla ricorrenza di alcuni termini è stato evidente il collegamento con il concetto postmoderno di libertà. Secondo Bauman viviamo in una società in cui è stato guadagnato in libertà individuale perdendo però quella sicurezza che teneva insieme la società moderna.
Nel mondo postmoderno vige la frammentazione e la mancanza di un quadro, sembrano mancare gli strumenti concettuali per esaminare la situazione in modo coerente e integrato. La vita individuale è concepita più che altro come un opera o come un’impresa, come qualcosa che va sviluppata, perfezionata e rielaborata fino a raggiungere il massimo potenziale. Al giorno d’oggi sembra che anche semplici scelte, come quale detersivo comprare, ci mettano di fronte a una crescente incapacità di scegliere. Nel gioco di specchi dell’improvvisazione come fenomeno liminoide possiamo quindi vedere chiaramente quali sono i nessi tra questa pratica performativa e la società postmoderna: il performer, improvvisando, si definisce nel presente della performance, compiendo le sue scelte passo dopo passo sulla scena. Si pone in una situazione di “precarietà creativa”, di “crisi volontaria”, come se avesse riprodotto una “scenografia postmoderna”.
Sembra che l’arte abbia proposto uno spazio protetto in cui potersi liberare
dall’ansia della scelta, in cui le parole chiave sono accettazione, ascolto e
mancanza di giudizio. Sembra inoltre aver riportato l’attenzione su un nodo
cruciale: la scelta non è quasi mai razionale, è intuitiva e sociale.

Labyrinths, in their true, non-maze forms, have existed for thousands of years in numerous places around the world and there are similarities in the designs and uses of these figures despite geographic and cultural differences and the passage of time. They have served as spaces and symbols of contemplation, protection, and liminality. Global interest in labyrinths has ebbed and flowed, but there is something about these ancient symbols that keeps revitalizing that interest.

Prehistoric labyrinth markings and constructions were among the models for modern land artists to find inspiration and for some to emulate. Labyrinths have also been exhibited in galleries and created as non-land art, artistic installations. The research outlined in this paper focuses on labyrinth design and facilitation as a creative practice and attention to details that can help to ensure the greatest potential for a beneficial labyrinth experience. Information was gathered through the design and creation of ephemeral, temporary, and permanent labyrinth installations, internet and library research, informal interviews with owners, builders, and fellow labyrinth visitors, and visits to and documentation of over 50 permanent labyrinth sites in New England.

This paper touches on the physiological and psychological effects of meditative walking and provides an overview of both practical and esoteric elements that inform the labyrinth design process. In addition to new installations, some other outcomes that have resulted from this research include an interactive online map of over 200 labyrinths in New England and two simple formulas for accurately calculating the path length of both 3- and 7-circuit Classical labyrinths.

This paper will conduct a reconfiguration of nation as a more inclusive space which includes ambivalent migrants, who are also global citizens. Thus, nation comprises subjects who are more or less than just the ideal national citizens. It will explain the liminal spaces that these migrants occupy in between the nation and the global world. The objective of this study is to define nation beyond the geographical boundaries and in terms of the transnational and diasporic identities. The narration of nation is integrated with the ambivalent modernity, cultural transformation, migration patterns, post-9/11 resurgence of American nationalism and its impact on Pakistani diaspora living in America. In The Reluctant Fundamentalist, Hamid conceives the shift in modern life, but expands his range and focus to the shifting national identities vis-à-vis the global citizenships. When framed through nation, and diaspora, these shifting identities reflect the shifting postcolonial scene.

This thesis is concerned with transitional territory, referred to throughout as
‘Inbetween’, which is a zone wherein symbols and images are created and ideas are
germinated. Van Gennep’s anthropological model is taken as a starting point from
which to extrapolate notions of liminal space. This is followed by mythopoeic
background material (in the form of references to the inbetween zones of the Hebrew
Kabbalah and the Shi’ite Na Koja Abad) that helps to situate this concept within a
historical context. From here I demonstrate, through examples from both arcane and
contemporary literature, the inherently creative aspects of this liminal space, and also
its inverse — as a site of imaginative failure and moral paralysis when its erotic force
is diminished. The writers here discussed in detail are Iris Murdoch, Tony Kushner,
Phillip Pullman and Amos Oz.
While linking mythological antecedents of Inbetween with more recent works
of fiction, Mind the Gap also reflects upon personal endeavours to articulate this
concept through the two stories that accompany this work. I demonstrate the paradox
that it is Inbetween’s ambivalence that makes this imagined space the hub of both
personal and cultural change: between oppositional poles is the ground of creativity,
of individuation, of reconciliation.

Les sandales, ailées ou non, constituent un accessoire attaché à Hermès en tant qu'insigne spécifique, au même titre que son aussi célèbre bâton. En effet, elles accompagnent presque constamment le dieu et paraissent inséparables de sa nature et de ses manières de se déplacer. Au-delà de l’intérêt porté par la pensée grecque archaïque aux objets, particulièrement aux accessoires divins, on se demande comment les sandales ont réussi à faire immanquablement partie de l’équipement d’Hermès ? Nous essayerons de montrer qu’elles sont liées à son statut de dieu passeur par excellence plutôt qu’à sa fonction de messager divin.

Winged or not, sandals constitute an accessory which is associated with Hermes at least as often as his famous staff. In fact, his sandals accompany him almost all the time and they seem in- separable both from his character and his manner of locomotion. Go- ing beyond the archaic Greek interest in objects, especially divine accessories, this article clarifies the way in which sandals came to be an integral part of Hermes’ equipment, showing that they are linked with his unique status as dieu passeur rather than his role as divine messenger.

The 1939 family classic film, The Wizard of Oz, based on the beloved children’s tale by L. Frank Baum, represents a modern example of mythologist Joseph Campbell’s model of the hero quest myth.  This two-part study begins with a theoretical overview contextualizing The Wizard of Oz, as mythopoeic literature, and Campbell’s hero quest paradigm, informed by Carl G. Jung’s theories and methods as well as other key sources.  The second part of the study applies Campbell’s model to the text of Baum’s Oz narrative in both its cinematic and literary forms, examining Baum’s tale for archetypal features described in Campbell’s model of the initial stage of the “leitmotif of the monomyth.”  This comparative analysis emphasizes the myth-motif of the threshold passage accompanied by sequentially interconnected, recurring myth-motifs identified by Campbell and associated with the initial stage of Dorothy Gale’s transformational journey, i.e., separation from ordinary reality.  This narrative interpretation demonstrates key symbolic features of mythico-ritual (initiatory) structure in the initial stage of Baum’s modern fairy tale.  Screenshots from the movie visually illustrate that Dorothy’s journey in the other world of Oz closely follows the archetypal, symbolic structure of Campbell’s classic quest myth of the hero. 

Keywords: archetype, Arnold van Gennep, Carl G. Jung, hero quest, initiation, Jean Houston, Joseph Campbell, J. R. R. Tolkien, L. Frank Baum, Mircea Eliade, monomyth, myth-motif, mythic orphan, mythology, mythopoeic, narrative, night sea journey, primordial image, rites of passage, ritual, shaman, threshold passage, Wizard of Oz

This dissertation explores post-classical sagas’ use of fantastic material. Following the celebrated classical Íslendingasögur are the fourteenth and fifteenth-century post-classical sagas. Historically, scholarship viewed this loosely defined genre negatively, condemning their fantastical episodes. Despite recent positive scholarship towards fantastical fornaldarsögur, the post-classical sagas remain maligned.  By examining their supernatural episodes through Victor Turner and Arnold Van Gennep, this dissertation posits post-classical sagas use initiatory elements and liminal locations to construct meaning. Three locations are considered: doors, caves, and mounds.
The first chapter explores doorways’ narrative purpose through two scenes in Svarfdæla Saga (1350-1400). These pivotal episodes use initiatory patterns, demarcated by doorways and poetry, to facilitate plot and character development. The second chapter examines caves in Bárðar saga Snæfellsáss (1350-1380), Kjalnesinga saga (1310-1320), and Gull-Þóris saga (1300-1350).  While caves may facilitate heroic transitions into adulthood, they also have monstrous narrative consequences. My final chapter posits burial mounds in Grettis Saga Ásmundarson (1310-1320), Bárðar Saga, and Hárðar Saga create liminal experiences leading to the hero’s death. By studying liminality in post-classical sagas, this dissertation argues the post-classical sagas may be a coherent genre, structured through initiatory patterns and portrayals of liminal, fantastic encounters as transformative, corrupting, and deadly.

Donald Winnicott's radical existential psychoanalytic understanding of transitional awareness and transitional relatedness is an amazing and little used doorway for today's psychotherapist and psychoanalyst. In today's cognitive clinical culture we have become cognitions tampering with cognitions. Life as cognition. Existential Ontology Winnicott's creative understanding of our capacity for transitional awareness and transitional relatedness intertwines both our personal psychology and our innermost experience of our own existential ontology. Transitional knowingness intertwines both our mind and our primordial awareness field. Our field of awareness knows the field of Being since awareness is the field of Being. Transitional awareness intertwines both our mind and our psyche. Donald Winnicott's phenomenological understanding of the self radicalizes our sense of self from being a representational picture or cognitive affective schema or synthesis of disparate psychological part's to a fluid sense of self as a direct experiential felt sense of ongoing continuity of Being. Our knowingness though the medium of awareness, opens for us the direct knowing of the experience of Being. The experience of Being is for us our sense of natural spirituality. Our liminal transitional awareness field opens us into the immediate ongoing intimate experience of Being. This experience of Being is of Being within our very own self and of Being within our very own relational life-world. Ordinary Personhood We, as a most ordinary person, can experience the unfolding movement of the experiencing of Being within our own self as our self, and simultaneously, the unfolding experiencing of our own being as the being-ness of Being which is the Being of the world. As we experience the Being .

Beijing’s hutong neighborhoods have undergone drastic urban landscape and demographic changes over the past decade. The processes of commodification and modernization have prompted dramatic dislocations of everyday practice in the public, private and hybrid (interstitial) spaces within these neighborhoods. My research looks at the ways in which socialization and care practices (i.e. child care or elder care) are being squeezed out of these more communal-oriented interstitial spaces during Beijing’s most recent socio-spatial restructuring. As such, the marginalized poor bear a greater burden as they try to adjust to the disappearance of these communal spaces of caring and community.

This case study is based on informal interviews and participant observation to investigate, differentiate, and highlight the implications of everyday practices resulting from the spatial consolidation and dislocation of care networks from the interstitial spaces within Beijing’s hutong neighborhoods.

Note: The list of references at the end of the article is for the entire book - not just Chapter 7 (as a chapter by chapter list of references was not printed/available).

The mīs pî, lit. “washing of the mouth”, was one of the solemn rituals of Ancient Mesopotamia. Its goal was the induction of the cult statue in order to allow its official installation in the temple. For this purpose, a total iden- tity between the statue and its corresponding divinity was strictly required. The ontological union of two natures was obtained through four processions in four different ritual spaces: the workshop, the riverbank, the garden and the temple. This paper investigates the peculiarities of the mīs pî by paying particular attention to the ritual spaces. The aim is to analyze the “washing of the mouth” in terms of rite of passage, underlining the need to rethink van Gennep’s tripartite scheme.

Un examen attentif des diverses versions des récits racontant les exploits de Persée permet de cerner le rôle qu'y jouent ses accessoires, particulièrement les πτερόεντα πέδιλα, les connotations symboliques qu'elles revêtent et les données nouvelles qu'elles apportent par rapport aux πέδιλα/σάνδαλα hermaïques. Cet article se propose de montrer que, malgré la primauté des πτερόεντα πέδιλα de Persée dans la tradition grecque, elles héritent autant des connotations des πέδιλα/σάνδαλα hermaïques que de celles que recèlent les chaussures de tout genre, en dehors de toute référence exclusive à Hermès, telles qu'elles se sont fixées dans la pensée religieuse et dans l'imagerie archaïque : leurs liens avec les lieux d'entre-deux, de passage et de médiation, en particulier avec les entrées dans l'autre-monde/l'au-delà.

A close analysis of the various versions of the tales recounting the exploits of Perseus allows to distinguish the role played by its accessories, especially πτερόεντα πέδιλα, their symbolic connotations and the new light they cast upon Hermes' πέδιλα/σάνδαλα. This paper aims to show that, despite the primacy of Perseus' πτερόεντα πέδιλα in the Greek tradition, they inherit both the connotations of Hermes' πέδιλα/σάνδαλα and those related to footwear of any kind (without any exclusive reference to Hermes), as they are described in the religious thought and archaic imagery: their links with places situated betwixt and between different levels of the world, particularly with the entries in the Otherworld/Underworld.