{"id":7862,"date":"2020-02-17T12:41:42","date_gmt":"2020-02-17T11:41:42","guid":{"rendered":"https:\/\/www.imex-revista.com\/xvii-poetry-space-inbetween\/"},"modified":"2021-06-01T12:06:04","modified_gmt":"2021-06-01T11:06:04","slug":"xvii-poetry-space-inbetween","status":"publish","type":"post","link":"https:\/\/www.imex-revista.com\/en\/xvii-poetry-space-inbetween\/","title":{"rendered":"Wolfgang M\u00fcller-Funk \u2013 Poetry of the Space In Between"},"content":{"rendered":"[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; 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text_align=&#8221;left&#8221;][vc_column_inner column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;30&#8243;][vc_column_text]\n<h3 style=\"text-align: center;\"><strong><span style=\"color: #b0b0b0;\">Poetry of the Space In Between (pp. 68-83; DOI: 10.23692\/iMex.17.5)<\/span><\/strong><\/h3>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<p style=\"text-align: center;\"><div class=\"ead-preview\"><div class=\"ead-document\" style=\"position: relative;\"><div class=\"ead-iframe-wrapper\"><iframe src=\"\/\/docs.google.com\/viewer?url=https%3A%2F%2Fwww.imex-revista.com%2Fwp-content%2Fuploads%2F4_WMF_Poetry-space-inbetween_iMex17.pdf&amp;embedded=true&amp;hl=en\" title=\"Embedded Document\" class=\"ead-iframe\" style=\"width: 80%;height: 80%;border: none;min-height: 500px;visibility: hidden;\"><\/iframe><\/div>\t\t\t<div class=\"ead-document-loading\" style=\"width:100%;height:100%;position:absolute;left:0;top:0;z-index:10;\">\n\t\t\t\t<div class=\"ead-loading-wrap\">\n\t\t\t\t\t<div class=\"ead-loading-main\">\n\t\t\t\t\t\t<div class=\"ead-loading\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/loading.svg\" width=\"55\" height=\"55\" alt=\"Loader\">\n\t\t\t\t\t\t\t<span>Loading...<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t<div class=\"ead-loading-foot\">\n\t\t\t\t\t\t<div class=\"ead-loading-foot-title\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/EAD-logo.svg\" alt=\"EAD Logo\" width=\"36\" height=\"23\"\/>\n\t\t\t\t\t\t\t<span>Taking too long?<\/span>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<div class=\"ead-document-btn ead-reload-btn\" role=\"button\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/reload.svg\" alt=\"Reload\" width=\"12\" height=\"12\"\/> Reload document\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t<span>|<\/span>\n\t\t\t\t\t\t\t<a href=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/4_WMF_Poetry-space-inbetween_iMex17.pdf\" class=\"ead-document-btn\" target=\"_blank\">\n\t\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/www.imex-revista.com\/wp-content\/plugins\/embed-any-document\/images\/open.svg\" alt=\"Open\" width=\"12\" height=\"12\"\/> Open in new tab\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t<\/div>\n\t\t<\/div><\/div>\n[\/vc_column_text][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;80&#8243;][vc_column_text]\n<h3><span style=\"color: #ffffff;\"><strong><span style=\"color: #b0b0b0;\">Prof. Dr. Wolfgang M\u00fcller-Funk<br \/>\n<\/span><\/strong><\/span><\/h3>\n<p style=\"text-align: justify;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft wp-image-7150 size-full\" src=\"https:\/\/www.imex-revista.com\/wp-content\/uploads\/M\u00fcller-Funk_iMex17.jpg\" alt=\"\" width=\"150\" height=\"220\" \/><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">Wolfgang M\u00fcller-Funk is a literary scholar, cultural philosopher, essayist, and lyricist. He studied German language and literature, history, philosophy and Spanish in Munich. He was a Professor of Cultural Studies at the Universities of Birmingham (UK) and Vienna, since 2004 numerous visiting professorships and research stays. in India, Ireland, Croatia, the USA, Germany and Italy. International teaching and research in 2019 in Oslo, Zagreb, Brno, Roma Sapienza, Thessaloniki and Vienna. Research interests: Cultural Theory, Narratology, Central European Studies and Austrian Literature, Romanticism and Avant-Garde, Essay Studies. 2013 <em>Ehrenkreuz<\/em> of the Republic of Austria for Science and Art. He lives in Drosendorf \/ Lower Austria, Vienna and Cerovica \/ Istria. Head of numerous research projects (since 1998) and (co-)publisher of international anthologies. Monographs: <em>Theorien des Fremden<\/em> (2016), <em>Das Unbehagen in der Kultur <\/em>(2016), <em>Die Dichter der Philosophen<\/em> (2013), <em>The Architecture of Modern Culture<\/em> (2012), <em>Joseph Roth<\/em> (2012), <em>Kulturtheorie<\/em> (2006\/2010), <em>Komplex \u00d6sterreich<\/em> (2009).<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">https.\/\/wolfgangmuellerfunk.wordpress.com\/<\/span><\/p>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][divider line_type=&#8221;No Line&#8221; custom_height=&#8221;50&#8243;][tabbed_section style=&#8221;default&#8221; alignment=&#8221;left&#8221; spacing=&#8221;default&#8221; tab_color=&#8221;Accent-Color&#8221;][tab icon_family=&#8221;none&#8221; title=&#8221;Abstract&#8221; id=&#8221;1532705295616-53d7d-8e03&#8243; tab_id=&#8221;1580125134478-0&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">The discourse about borders, frontiers and all sorts of liminal phenomena, including transbordering or border-crossing, seems to be older than the current one on globalization and post-colonialism. The idea that globalization will wipe out all borders and limitations is problematic, and the strange, a result of cultural construction, will not disappear. Borders are never only <em>limes<\/em>, borders, fences, or walls, but at the same time they are also spaces between contact zones. Human space is always constructed by limitation; it means separation and connection at once. Drawing on Bachelard&#8217;s <em>Poetics of Space<\/em>, I will outline a poetry of a space in between, of different modes of limitations, such as the threshold, the bridge, the door, the wall, the fence, and the barrier. Starting from the &#8220;real&#8221; spatial aspect, I will differentiate between three different kinds of in-between situations that are related to practices of crossing over: phenomena of entering and initiation; transgression; and the idea of overcoming on the vertical plane. I will conclude the article with an analysis of a film about various liminal dimensions, I\u00f1\u00e1rritu&#8217;s film <em>Babel<\/em>, which does not expose a great narrative of globalization, but it introduces the global world as an obscurely intertwined network of small narratives.<\/span><\/p>\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">\u00a0<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;Resumen&#8221; id=&#8221;1532705295639-33d7d-8e03&#8243; tab_id=&#8221;1580125134518-1&#8243;][vc_column_text]\n<p style=\"text-align: justify;\"><span style=\"color: #b0b0b0;\">El discurso sobre fronteras y todo tipo de fen\u00f3menos liminales, incluyendo el cruzar fronteras y transfronterismos, parece m\u00e1s antiguo que el discurso actual sobre la globalizaci\u00f3n y el poscolonialismo. La idea que la globalizaci\u00f3n eliminar\u00e1 todas las fronteras y limitaciones es problem\u00e1tica, ya que lo extra\u00f1o, resultado de construcciones culturales, no desaparecer\u00e1. Las fronteras no son nunca solamente <em>limes<\/em>, fronteras, vallas, o murallas, sino son, al mismo tiempo, espacios entre zonas de contacto. El espacio humano es siempre construido a trav\u00e9s de la limitaci\u00f3n y significa separaci\u00f3n y conexi\u00f3n a la vez. Bas\u00e1ndome en<em> La po\u00e9tica del espacio <\/em>de Bachelard, esbozar\u00e9 una po\u00e9tica del espacio en medio, de diferentes modos de limitaci\u00f3n, como lo son el umbral, el puente, la puerta, el muro, la cerca, y la barrera. Empezando por el aspecto espacial &#8220;real&#8221;, destinguir\u00e9 entre tres diferentes situaciones entremedias que son relacionadas a las pr\u00e1cticas de cruzar: los fen\u00f3menos de entrar e iniciar; la transgresi\u00f3n; y la idea de superar en el nivel vertical. Vincular\u00e9 estas consideraciones centralmente con el an\u00e1lisis f\u00edlmico de <em>Babel<\/em>, de I\u00f1\u00e1rritu, y con sus varias dimensiones liminales. <em>Babel<\/em> no expone una gran narraci\u00f3n de la globalizaci\u00f3n, pero introduce el mundo global como una red de narraciones peque\u00f1as que est\u00e1n entrelazadas de manera confusa.<\/span><\/p>\n[\/vc_column_text][\/tab][tab icon_family=&#8221;none&#8221; title=&#8221;iMex N\u00b017 | Transborder Matters&#8221; id=&#8221;1532705295697-43d7d-8e03&#8243; tab_id=&#8221;1580125134563-4&#8243;][vc_column_text]<a class=\"nectar-button n-sc-button large see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-editorial\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Romana Radlwimmer \u2013 Editorial<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #ffffff;\"><strong>Articles<\/strong><\/span><\/p>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-borderlands-revisited\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span> Anja Bandau \u2013 Borderlands revisited <\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-action-as-deferment\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Marisa Belausteguigoitia \u2013 Action as deferment<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-pantelions-transborderscapes\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Heidi Denzel de Tirado \u2013 Pantelion\u2019s Transborderscapes<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-poetry-space-inbetween\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Wolfgang M\u00fcller-Funk \u2013 Poetry of the Space in Between<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-fenomenologia-cruce\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Romana Radlwimmer \u2013 Fenomenolog\u00eda del cruce<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-chicano-marxist-catholic\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Daniel Schreiner\u2013 Chicano Marxist and Catholic Thought<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-wet-minds\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Mar\u00eda Socorro Tabuenca C\u00f3rdoba \u2013 Wet Minds<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-transborder-narrating-identity\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Maria Wiehe \u2013 Transborder Way of Narrating Identity<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<p><span style=\"color: #ffffff;\"><strong>Impressions<\/strong><\/span><\/p>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-invasorix-guerx\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>INVASORIX \u2013 Me duele la cara por ser tan g\u00fcerx<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-nepantleras-fotografiando\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Verena Melgarejo Weinandt \u2013 Nepantleras fotografiando<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-segundo-febrero\/\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Laura Varela \u2013 Segundo de Febrero<\/span><i class=\"icon-button-arrow\"><\/i><\/a>\n<a class=\"nectar-button n-sc-button small see-through-2 has-icon\" target=\"_blank\" href=\"https:\/\/www.imex-revista.com\/en\/xvii-resenas\" data-color-override=\"#ffffff\" data-hover-color-override=\"false\" data-hover-text-color-override=\"#fff\"><span>Reviews<\/span><i class=\"icon-button-arrow\"><\/i><\/a>[\/vc_column_text][\/tab][\/tabbed_section][\/vc_column][\/vc_row]\n","protected":false},"excerpt":{"rendered":"<p>[vc_row type=&#8221;full_width_background&#8221; full_screen_row_position=&#8221;middle&#8221; bg_image=&#8221;31&#8243; bg_position=&#8221;left top&#8221; bg_repeat=&#8221;repeat&#8221; parallax_bg=&#8221;true&#8221; parallax_bg_speed=&#8221;slow&#8221; scene_position=&#8221;center&#8221; text_color=&#8221;dark&#8221; text_align=&#8221;left&#8221; top_padding=&#8221;0&#8243; bottom_padding=&#8221;30&#8243; overlay_strength=&#8221;1&#8243; shape_divider_position=&#8221;bottom&#8221; shape_type=&#8221;&#8221;][vc_column column_padding=&#8221;no-extra-padding&#8221; column_padding_position=&#8221;all&#8221; background_color_opacity=&#8221;1&#8243; background_hover_color_opacity=&#8221;1&#8243; column_shadow=&#8221;none&#8221; column_border_radius=&#8221;none&#8221; width=&#8221;1\/1&#8243; tablet_text_alignment=&#8221;default&#8221; phone_text_alignment=&#8221;default&#8221; column_border_width=&#8221;none&#8221; column_border_style=&#8221;solid&#8221;][vc_column_text] [\/vc_column_text][vc_row_inner 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