What is Third Space?
PhD, English Literature (Lancaster University)
Date Published: 05.08.2024,
Last Updated: 05.08.2024
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The concept of third space is attributed to postcolonial scholar Homi K. Bhabha and refers to a site of cultural hybridity, where multiple cultures intersect and thus new cultural identities begin to form.
The interstitial spaces of interest to Bhabha were those created as a result of the colonizer/colonized dynamic. It is here where
the overlap and displacement of domains of difference—that the intersubjective and collective experiences of nationness, community interest, or cultural values are negotiated. (The Location of Culture, 1994, [2012]).
Homi K. Bhabha
the overlap and displacement of domains of difference—that the intersubjective and collective experiences of nationness, community interest, or cultural values are negotiated. (The Location of Culture, 1994, [2012]).
Third spaces, as a result of these dynamics of displacement and oppression,
rise to something different, something new and unrecognizable, a new area of negotiation of meaning and representation. (Bhabha, 1994, [2012])
Such spaces are seen as sites of resistance where marginalized individuals (such as colonial subjects) can negotiate, transform, and redefine the identities ascribed to them through dominant cultural discourses.
A key example of the formation of a third space is provided by Bhabha in The Location of Culture. Here, Bhabha explains how the dissemination of the English Bible in India, intended to spread Eurocentric values and ultimately “civilize” the natives, resulted in a reinterpretation of the Bible. The natives interpreted the Bible according to their own culture and understanding, creating a new space that was neither entirely the culture of the colonizing English nor the culture of the colonized Indians. Third spaces can also be physical spaces, such as gatherings at festivals where different communities merge, migrant-run restaurants in cities, or at the “borderlands” between the US and Mexico.
In “Third and Hybrid Spaces in Literacy Scholarship and Practice” Peter Smagorinsky explains,
In third spaces, participants question authority, seek to reposition people in new power relationships, work against hegemonic structures, and produce new forms of social organization that enable broader, more agentive participation in the construction of norms and practices. (Whitewashed Critical Perspectives, 2021)
Edited by Catherine Compton-Lilly, Tisha Lewis Ellison, Kristen Perry, and Peter Smagorinsky
In third spaces, participants question authority, seek to reposition people in new power relationships, work against hegemonic structures, and produce new forms of social organization that enable broader, more agentive participation in the construction of norms and practices. (Whitewashed Critical Perspectives, 2021)
While Homi K. Bhabha uses the term to refer to the in-between spaces formed at the contact zone of colonization, the definition of third space has, owing to its elasticity, developed across multiple disciplines such as urban geography. Edward Soja, for example, was inspired by Bhabha, as well as other postcolonial critics and urban philosophers, to explore the development of third spaces in the city.
Andrew Teverson and Sara Upstone delineate the differences between Bhabha’s and Soja’s use of the term “third space”:
While Soja’s thirdspace is primarily real – located in Los Angeles – and secondarily is imagined through its inhabitants, Bhabha’s third space, in contrast, is primarily imagined – a metaphor for the hybrid postcolonial encounter – and only secondarily rooted in a material geography. That the two fields are so similar and yet coterminously so different in their approach speaks to how each enriches the other: pointing geography towards its textuality, and literary studies towards the importance of the material (“Introduction,” Postcolonial Spaces, 2011)
Edited by Andrew Teverson and Sara Upstone
While Soja’s thirdspace is primarily real – located in Los Angeles – and secondarily is imagined through its inhabitants, Bhabha’s third space, in contrast, is primarily imagined – a metaphor for the hybrid postcolonial encounter – and only secondarily rooted in a material geography. That the two fields are so similar and yet coterminously so different in their approach speaks to how each enriches the other: pointing geography towards its textuality, and literary studies towards the importance of the material (“Introduction,” Postcolonial Spaces, 2011)
This guide will explore third spaces in Bhabha and Soja’s work, revealing how third spaces are produced and perceived at both conceptual and material levels. After discussing how the notion of third space has migrated from its postcolonial roots to urban geography, we will cover how this concept has influenced feminist scholars and artists.
Third space in postcolonial studies
Bhabha first discussed the concept of third space in his work The Location of Culture (1994) where he describes third space as a site whereby cultures collide and form new cultural identities:
It is that Third Space, though unrepresentable in itself, which constitutes the discursive conditions of enunciation that ensure that the meaning and symbols of culture have no primordial unity or fixity; that even the same signs can be appropriated, translated, rehistoricized and read anew. (Bhabha, 1994, [2012])
The third space is linked to the notion of hybridity, which describes how new cultures are formed as a result of colonial relations. As Amar Acheraïou explains,
the third space is interchangeable with hybridity, or more precisely, hybridity is the third space: All forms of culture are continually in a process of hybridity. (Questioning Hybridity, Postcolonialism and Globalization, 2011)
Amar Acheraïou
the third space is interchangeable with hybridity, or more precisely, hybridity is the third space: All forms of culture are continually in a process of hybridity. (Questioning Hybridity, Postcolonialism and Globalization, 2011)
The notion of any “pure” culture is disrupted as, for Bhabha, culture is shaped within this hybridic third space. As Acheraïou writes,
In its actual formulation, the third space, like hybridity, is posited as a site of subversion, displacement, newness, renegotiation of cultures and identities, and multiple positionality. (2011)
Importantly, pre-conceived meanings about the identity of the colonizer and colonized subject are dismantled in this space and new cultural meanings are produced:
Bhabha’s third spaces are liminal and interstitial sites where cultural meaning is not simply reflected but actively produced by subjects who are constantly interpellated to resist the monolithic dominance of hegemonic power. (Nabil Echchaibi and Stewart M. Hoover, "Introduction," The Third Spaces of Digital Religion, 2023)
Edited by Nabil Echchaibi and Stewart M. Hoover
Bhabha’s third spaces are liminal and interstitial sites where cultural meaning is not simply reflected but actively produced by subjects who are constantly interpellated to resist the monolithic dominance of hegemonic power. (Nabil Echchaibi and Stewart M. Hoover, "Introduction," The Third Spaces of Digital Religion, 2023)
As such, these sites are powerful spaces of resistance.
For Bhabha, the third space is both physical and metaphorical. Truth commissions, such as the Gacaca, for Bhabha, provide examples of the physical third space. The Gacaca, a traditional meeting space in Rwanda, “has provided a name and a place for local practices of post-genocide adjudication in Rwanda”:
The Gacaca is not simply a neutral area of confusion, nor is it principally a space of confrontation and guilt. It is a place and a time that exists in between the violent and the violated, the accused and the accuser, allegation and admission. I describe it as a site of in-betweenness that becomes the ground of discussion, dispute, confession, apology and negotiation through which Tutsis and Hutus together confront the inequalities and asymmetries of societal trauma, not as ‘common people’ but as a people with a common cause. (“Interview between Eleanor Byrne and Homi K. Bhabha,” Homi. K. Bhabha, 2009)
Eleanor Byrne
The Gacaca is not simply a neutral area of confusion, nor is it principally a space of confrontation and guilt. It is a place and a time that exists in between the violent and the violated, the accused and the accuser, allegation and admission. I describe it as a site of in-betweenness that becomes the ground of discussion, dispute, confession, apology and negotiation through which Tutsis and Hutus together confront the inequalities and asymmetries of societal trauma, not as ‘common people’ but as a people with a common cause. (“Interview between Eleanor Byrne and Homi K. Bhabha,” Homi. K. Bhabha, 2009)
Felipe Hernandez explains,
Quite clearly, Bhabha gives physicality to the notion of the Third Space by comparing it with a courtroom, although it is a particular kind of courtroom with geographical, historical and political specificity. However, he seems reluctant to limit the theoretical possibilities of the Third Space to the confines of a physical enclosure. (Bhabha for Architects, 2010)
Felipe Hernandez
Quite clearly, Bhabha gives physicality to the notion of the Third Space by comparing it with a courtroom, although it is a particular kind of courtroom with geographical, historical and political specificity. However, he seems reluctant to limit the theoretical possibilities of the Third Space to the confines of a physical enclosure. (Bhabha for Architects, 2010)
Bhabha re-emphasizes the conceptual third space in his afterword to Communicating in the Third Space (2009). To do this, he examines an excerpt from Joseph Conrad’s Heart of Darkness (1899) where the English protagonist, Marlow, approaches a dying native in the Congo and notices a “white worsted tied about his neck,” indicative of the colonizer’s collaring of the Indigenous people:
Why? Where did he get it? Was it a badge--an ornament--a charm--a propitiatory act? Was there any idea at all connected with it? It looked startling round his black neck, this bit of white thread from beyond the seas. (Conrad, 1899, [2018])
Joseph Conrad
Why? Where did he get it? Was it a badge--an ornament--a charm--a propitiatory act? Was there any idea at all connected with it? It looked startling round his black neck, this bit of white thread from beyond the seas. (Conrad, 1899, [2018])
The third space is given materiality through the object of the piece of thread tied around the man’s neck. Bhabha writes,
Marlow enters a third space. He is now engaged in a translational temporality in which the ‘sign’ of the white worsted from beyond the seas, is an object of intention that has lost its mode of intention in the colonial space and vice versa. The familiar origin of the worsted as a commodity of colonial trade passes through an estranging realm of untranslatability in the heart of darkness, and emerges ready to be ‘...raised anew and at other points in time’ (Communicating in the Third Space, 2009)
In other words, the worsted takes on multiple different connotations in the current context i.e., in the colonized Congo around the neck of a dying native. Marlow’s inability to comprehend what the thread is - he even thinks that the native has adorned himself with this - transforms what has been typically rendered a colonial space into a third space. Bhabha explains,
The third space is a challenge to the limits of the self in the act of reaching out to what is liminal in the historic experience, and the cultural representation, of other peoples, times, languages, texts. And it is quite fitting that we should end with a series of questions and interpretations that attempt to decipher the acts of agency. If the white worsted tells a political story of unfair trade and slavery, it is also a figural narrative suggestive of ornamentation, charms and cultural magic. As a shibboleth of the third space, this little piece of thread raises profound questions and awakens important voices. (Homi K. Bhabha, 2009)
The third space, in both its physical and abstract manifestations, provides the opportunity for marginalized individuals to explore and negotiate their identities.
Other postcolonial theorists have explored these in-between cultural sites. Prior to Bhabha’s conceptualization of third space, Edward Said examined Western representations of the Middle East to show how the colonial Other was subject to political and cultural domination. The “Orient,” rather than being a tangible space, was a place created in the Western imagination as a form of cultural hegemony. As Said writes in his famous work Orientalism (1978),
Therefore as much as the West itself, the Orient is an idea that has a history and a tradition of thought, imagery and vocabulary that have given it reality and presence in and for the West. (“From Orientalism, excerpted in Colonial Discourse and Post-Colonial Theory, 2015)
Edited by Patrick Williams and Laura Chrisman
Therefore as much as the West itself, the Orient is an idea that has a history and a tradition of thought, imagery and vocabulary that have given it reality and presence in and for the West. (“From Orientalism, excerpted in Colonial Discourse and Post-Colonial Theory, 2015)
(For more on Said’s work, see our study guide “What is Orientalism?”)
Discussions of liminal spaces and intersecting cultures are also central to Gloria Anzaldúa’s work on the “borderlands.” Anzaldúa uses the term “borderlands” to refer to the border between the US and Mexico where new hybrid identities and cultures are formed as a result of living within this liminal space. In Borderlands/ La Frontera (1987), Anzaldúa writes,
[...] the Borderlands are physically present wherever two or more cultures edge each other, where people of different races occupy the same territory, where under, lower, middle and upper classes touch, where the space between two individuals shrinks with intimacy. (Quoted in Grażyna Zygadło, Gloria E. Anzaldúa, 2023)
Grażyna Zygadło
[...] the Borderlands are physically present wherever two or more cultures edge each other, where people of different races occupy the same territory, where under, lower, middle and upper classes touch, where the space between two individuals shrinks with intimacy. (Quoted in Grażyna Zygadło, Gloria E. Anzaldúa, 2023)
You can read more about Anzaldúa and Chicano literature, see our study guide “What is Chicano Literature?”
Edward Soja’s thirdspace
Edward Soja applies Bhabha’s notion of third space to political geography and urban planning in his work Thirdspace (1996). In addition to Bhabha, Soja also draws upon other critics throughout his work, such as historian and philosopher Michel Foucault and postcolonial and feminist writers such as bell hooks, Edward Said, Gayatri Spivak, Gloria Anzaldúa, and Gillian Rose. Though all of these writers are discussed in Soja’s work, it is French philosopher and sociologist, Henri Lefebvre, who appears to have been the greatest influence on Soja in laying the foundations for his work into thirdspace.
Lefebvre’s The Production of Space (1974) discusses space in relation to what he calls the “spatial triad,” consisting of the following:
- Spatial practice: This refers to the physical space of the city
- Representations of space: These are official conceptions of urban areas used for practical administrative purposes, such as planning, as well as for analytical purposes, to identify who uses the space and how.
- Spaces of representation: This part of the triad refers to how urban space is understood and engaged with by the inhabitants “in ways informed not so much by representations of space as by associated cultural memories, images and symbols imbued with cultural meaning” (Michael E. Leary-Owhin and John P. McCarthy, “Introduction,” The Routledge Handbook of Henri Lefebvre, The City and Urban Society, 2019).
Edited by Michael E. Leary-Owhin and John P. McCarthy
- Spatial practice: This refers to the physical space of the city
- Representations of space: These are official conceptions of urban areas used for practical administrative purposes, such as planning, as well as for analytical purposes, to identify who uses the space and how.
- Spaces of representation: This part of the triad refers to how urban space is understood and engaged with by the inhabitants “in ways informed not so much by representations of space as by associated cultural memories, images and symbols imbued with cultural meaning” (Michael E. Leary-Owhin and John P. McCarthy, “Introduction,” The Routledge Handbook of Henri Lefebvre, The City and Urban Society, 2019).
For more on how citizens shape the city they inhabit through personal experiences, see our guide “What is Psychogeography?”
Taking inspiration from Lefebvre’s spatial triad, Soja delineates three types of space:
- Firstspace: The real, physical environment or space
- Secondspace: Imagined or conceived space
- Thirdspace: A hybrid space made up of both real and imagined space
Let’s take a market as an example of thirdspace. The firstspace would be the geographic location of the market. The secondspace would refer to how urban planners, artists, or philosophical geographers, for example, would conceive of the space being used. In the example of the market, the market may be envisioned by these groups as being a space of commerce where goods are bought and sold. The thirdspace is lived space, where the physical and the conceptual merge. For the market, this describes how the market is a space where communities come together to socialize, as well as shop, eat, and relax. The thirdspace of the market is in flux, constantly being reorganized and reimagined depending on social, cultural, and political factors.
Soja, like Bhabha, viewed these in-between spaces as places where new identities and communities could be forged. In Soja’s words,
I saw this thirdspace perspective as the product of what I called a “critical thirding as othering,” which is a rejection of the either/or logic of binary thinking, wherein one is forced to choose between two opposing alternatives as if they were the only possible choices. These binaries flooded the modernist literature: subject-object, body-mind, male-female, black-white, core-periphery, socialism-capitalism, city-countryside, perceived and conceived space. A critical thirding was aimed at breaking down and opening up these “big dichotomies” to different alternatives, starting with a third possibility, an “other” rather than simply another. (My Los Angeles, 2014)
Edward W. Soja
I saw this thirdspace perspective as the product of what I called a “critical thirding as othering,” which is a rejection of the either/or logic of binary thinking, wherein one is forced to choose between two opposing alternatives as if they were the only possible choices. These binaries flooded the modernist literature: subject-object, body-mind, male-female, black-white, core-periphery, socialism-capitalism, city-countryside, perceived and conceived space. A critical thirding was aimed at breaking down and opening up these “big dichotomies” to different alternatives, starting with a third possibility, an “other” rather than simply another. (My Los Angeles, 2014)
By challenging these dichotomies, often used as a tool of oppression, Soja makes space for more nuanced and diverse perspectives, substituting oversimplification in favor of acknowledging the complexity of the human experience.
As Smagorinsky explains in relation to Soja's work,
Third space is oriented to how people inhabit a place and subjectively ascribe meaning to it, with particular interest directed toward the least affluent, privileged, and advantaged people in the setting and how their prospects for being agents of their own social futures are constrained by social hierarchies and the structures that support them. Third space is emotional, ideological, cultural, and concerned with the experiential dimension of human life and the limitations and possibilities it provides for different inhabitants. (2021)
In other words, thirdspaces provide a space where marginalized individuals can negotiate their own identities and understand themselves, their culture, and their community in a way that is not limited by societal norms and expectations.
Alan Latham highlights the significance of Soja’s thirdspace,
Soja’s work has not only made a compelling case for the profound importance of spatiality, it has helped generate an enormously fecund dialogue between human geography and critical social theory, whilst at the same time demonstrating the productiveness of experimenting with innovative forms and styles of presentation and argumentation. (“Edward W. Soja,” Key Thinkers on Space and Place, 2010)
Edited by Phil Hubbard and Rob Kitchin
Soja’s work has not only made a compelling case for the profound importance of spatiality, it has helped generate an enormously fecund dialogue between human geography and critical social theory, whilst at the same time demonstrating the productiveness of experimenting with innovative forms and styles of presentation and argumentation. (“Edward W. Soja,” Key Thinkers on Space and Place, 2010)
Third space feminism
The concept of third spaces has been of particular interest to numerous feminist scholars who have explored how such hybrid sites offer the opportunity for women to resist traditional roles and redefine themselves.
In “Feminism in the Third Space,” Golnaz Golnaraghi and Sumayya Daghar look at how third spaces online have enabled Muslim women to renegotiate their identities. They argue that Muslim women are typically
essentialized into binaries of what [they are] and what [they] ought to be [...] [a]s such, Muslim women activists must engage and negotiate within the dual and narrow oppressions of Orientalist and traditionalist Islamic representations of her (Golnaraghi and Daghar, Feminists and Queer Theorists Debate the Future of Critical Management Studies, 2017)
Edited by Alison Pullen, Nancy Harding, and Mary Phillips
essentialized into binaries of what [they are] and what [they] ought to be [...] [a]s such, Muslim women activists must engage and negotiate within the dual and narrow oppressions of Orientalist and traditionalist Islamic representations of her (Golnaraghi and Daghar, Feminists and Queer Theorists Debate the Future of Critical Management Studies, 2017)
Third spaces online have allowed Muslim women to “construct, appropriate, and remake their own identities” as a form of resistance (Golnaraghi and Daghar, 2017). These spaces, Golnaraghi and Dagnar suggest, are needed to bring the voices of Muslim women into the discussion and challenge normative ideology. They explain that,
Highlighting the nuances of feminist activism, particularly that of Muslim postcolonial feminists that can make a difference to Critical Management Studies (CMS) as a community concerned with social justice and challenging marginalization and oppression. The “Somewhere in America #Mipsterz” (Muslim hipsters) video launched in 2013, the site for our critical discourse analysis, is one case where this resistance can be seen, showcasing fashionable veiled Muslim women artistically expressing themselves to the beats of Jay Z. (Golnaraghi and Daghar, 2017)
Mipsterz women, the authors argue, exist in the third space, moving beyond the spaces of Islamic traditional discourse and Orientalist and Western representations of Muslim women, as shown in the diagram below (see Figure 1).
Fig 1. “Orientalist and Traditionalist Binary Discourses” in Feminists and Queer Theorists Debate the Future of Critical Management Studies, 2017.
A further example of how third spaces offer a space to resist patriarchal values can be seen in the artwork of Hannah Wilke. In “Reading Hannah Wilke’s S.O.S. Starification Object Series (1974–1982) in the Era of #MeToo” Marissa Vigneault explores how the Me Too movement takes place in the third space:
It is, above all else, an act of resistance in the face of forceful assertions of power, a cry against the neutrality of space, both real and virtual. It is through such resistance that generative community building takes place, and telling stories is one such way to catalyse “a new area of negotiation of meaning and representation”. (Iconic Works of Art by Feminists and Gender Activists, 2021)
Edited by Brenda Schmahmann
It is, above all else, an act of resistance in the face of forceful assertions of power, a cry against the neutrality of space, both real and virtual. It is through such resistance that generative community building takes place, and telling stories is one such way to catalyse “a new area of negotiation of meaning and representation”. (Iconic Works of Art by Feminists and Gender Activists, 2021)
To illustrate this, Vigneault discusses Hannah Wilke’s artwork S.O.S. Starification Object Series. Wilke’s work exists in the form of multimedia artworks where the artist took nude self-portraits covered in chewing gum. Vigneault explains that these self-portraits act as a “threat to patriarchal/consumer culture” (as women are typically the object of the male gaze) and become a space of resistance (2021).
Female artists have continued to create their own spaces and communities through zines. In Zines in Third Space, Adela C. Licona discusses zines co-authored and co-produced by feminists of color:
By challenging, reimagining, and replacing exclusionary and oppressive discursive practices, zines perform new expressions of subjectivity. Such radical rhetorical performances constitute a third space that offers insight into the multiply voiced discourses or borderlands rhetorics that characterize third-space subjectivities, sites, and practices. The zines and zinesters I consider here participate, as Gloria Anzaldúa imagined, in the practice and production of a value system that focuses on egalitarian social relationships, equity, and social justice. (2012)
Adela C. Licona
By challenging, reimagining, and replacing exclusionary and oppressive discursive practices, zines perform new expressions of subjectivity. Such radical rhetorical performances constitute a third space that offers insight into the multiply voiced discourses or borderlands rhetorics that characterize third-space subjectivities, sites, and practices. The zines and zinesters I consider here participate, as Gloria Anzaldúa imagined, in the practice and production of a value system that focuses on egalitarian social relationships, equity, and social justice. (2012)
The zines discussed by Licona include (among many others) Mimi Nguyen’s Evolution of a Race Riot (1997), and Jackie Wang’s Memoirs of a Queer Hapa (2007), the latter of which
invites readers to copy and distribute her zine freely: “Copy-Left! Reproduce and distribute freely!” (n.p.). Such an invitation holds the potential to promote grassroots literacies and community education, and also exemplifies how third-space lived practice can subvert normalized and dominant capitalist imperatives. (2012)
To read more about zines and feminism, see our guide “Waves of Feminism - First to Fourth Wave Timeline.”
Concluding thoughts
Bhaba’s concept of third space continues to influence various academic disciplines and has resulted in the creation of new models through which to understand identity, marginality, and space, illustrating its versatility. We can see this in the development of Soja’s work and the continued evolution of the term. For example, Shehrazade Emmambokus borrows from Bhaba, as well as other theorists such as Avtar Brah and Stuart Hall, to develop the concept of “Overlapping Space” which
fuses ideas of Third Space, diaspora space and translation. It differs, however, from earlier models of diasporic identities as it takes account of the influences that enculturation has on individuals and, in turn, on the ways in which individuals negotiate their cultural identity as they navigate between cultures. As such, although elements of the Overlapping Space model can be applied to the experiences of the migrant generation, because of enculturation, its main focus is the second generation. (“Overlapping space and the negotiation of cultural identity,” Postcolonial Spaces, 2011)
Third space theory has also practical implications, allowing for the creation of new communities and identities among marginalized groups, such as the movement towards LGBTQ+ inclusive curriculums as advocated for in Steven P. Camicia’s Critical Democratic Education and LGBTQ-Inclusive Curriculum (2016).
Moving beyond its initial focus on colonizer/colonized relations, third space theory is used today as a framework for scholars in postcolonial studies, queer theory, subaltern studies, and diaspora theory, helping to shape the way we understand identity, power, and resistance to dominant ideology in an increasingly globalized world.
Further reading on Perlego
Creating Third Spaces of Learning for Post-Capitalism: Lessons from Educators, Artists, and Activists (2023) by Gary L. Anderson et al.
The Space In-Between: Essays on Latin American Culture (2002) by Silviano Santiago
Spatial Politics in the Postcolonial Novel (2016) by Sara Upstone
Third Space, Information Sharing, and Participatory Design (2022) by Preben Hansen, Ina Fourie, and Anika Meyer
What is third space in simple terms?
Which scholars are associated with third spaces?
What are some examples of third spaces?
Bibliography
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https://www.perlego.com/book/3501306/questioning-hybridity-postcolonialism-and-globalization
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https://www.perlego.com/book/1609977/the-location-of-culture
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https://www.perlego.com/book/1640012/critical-democratic-education-and-lgbtqinclusive-curriculum-opportunities-and-constraints
Echchaibi, N. and Hoover, S. M. (2023) The Third Spaces of Digital Religion. Routledge. Available at:
https://www.perlego.com/book/3832808/the-third-spaces-of-digital-religion
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https://www.perlego.com/book/3505226/postcolonial-spaces-the-politics-of-place-in-contemporary-culture
Golnaraghi, G. and Daghar, S. (2017) “Feminism in the Third Space: Critical Discourse Analysis of Mipsterz Women and Grassroots Activism,” in Pullen, A., Harding, N., and Phillips, M. (eds.) Feminists and Queer Theorists Debate the Future of Critical Management Studies. Volume 3. Emerald Publishing Ltd. Available at:
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https://www.perlego.com/book/1617783/homi-k-bhabha
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https://www.perlego.com/book/1431576/key-thinkers-on-space-and-place
Licona, A. C. (2013) Zines in Third Space: Radical Cooperation and Borderlands Rhetoric. SUNY Press. Available at: https://www.perlego.com/book/2673285/zines-in-third-space-radical-cooperation-and-borderlands-rhetoric
Nguyen, M. (1997) Evolution of a Race Riot. POC Zine Project.
Sbardelotto, M. (2023) “Facebook as a Third Space of Digital Catholicism,” in Echchaibi, N. and Hoover, S. M. (eds.) The Third Spaces of Digital Religion. Routledge. Available at: https://www.perlego.com/book/3832808/the-third-spaces-of-digital-religion
Smagorinsky, P. (2021) “Third and Hybrid Spaces in Literacy Scholarship and Practice: They are Different and Their Differences Matter” in Compton-Lilly, C., Ellison, T. L., Perry, K., and Smagorinsky, P. (eds.) Whitewashed Critical Perspectives: Restoring the Edge to Edgy Ideas. Routledge. Available at:
Soja, E. W. (1996) Thirdspace: Journeys to Los Angeles and Other Real-and-Imagined Places. Wiley-Blackwell.
Soja, E. W. (2014) My Los Angeles: From Urban Restructuring to Regional Urbanization. The University of California Press. Available at: https://www.perlego.com/book/550589/my-los-angeles
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Vigneault, M. (2021) “Reading Hannah Wilke’s S.O.S. Starification Object Series (1974–1982) in the Era of #MeToo” in Schmahmann, B. (ed.) Iconic Works of Art by Feminists and Gender Activists: Mistress-Pieces. Routledge. Available at: https://www.perlego.com/book/2567059/iconic-works-of-art-by-feminists-and-gender-activists-mistresspieces
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Artwork
Wilke, H. S.O.S. Starification Object Series (1974-82)The Museum of Modern Art.
PhD, English Literature (Lancaster University)
Sophie Raine has a PhD from Lancaster University. Her work focuses on penny dreadfuls and urban spaces. Her previous publications have been featured in VPFA (2019; 2022) and the Palgrave Handbook for Steam Age Gothic (2021) and her co-edited collection Penny Dreadfuls and the Gothic was released in 2023 with University of Wales Press.