The article deals with archives of memoryscapes as remembered landscapes of a past society by Hungarian women authors from Yugoslavia. Divided into two separate cycles, it explores how an inhabited geography transgressed from the present into a past, and how it evolved via belletristic practices from the 1990s onward. The archive is therefore assessed as a cumulative development of text-worlds in prose, poetry, and drama by Hungarian women, who either remained in disintegrating Yugoslavia or emigrated to Hungary, both of which led mostly to uprootedness and a misinterpretation of their work. Accordingly, displaced as authors, who remember landscapes that are beyond official memory politics, their archive remained largely unnoticed and marginalised throughout the decades. Emerging in autobiographic writing and literary fiction equally, these memoryscapes are not idiosyncratic but are regulated and systemic representations of a time, a space, and a society. To display such a mnemonic agency, the article integrates the foucauldian notions of the archive with the thirdspace perspective of geocriticism within literary representation, as used in post-colonial thought. Eventually, this enables the exposition of the archive of these female memoryscapes of an ethnic minority not in relation to other “national” archives, or as auxiliary archives of a male perspective, but as a system of thirdspaces and representation in itself.

This article examines the practice of the Danish K-pop (Korean pop) cover dance crew CODE9 as an example of the rapid cultural exchange on the Internet that reshapes the diffusion of dance styles and ideas. CODE9 demonstrates K-pop as a “migratory dance practice,” forming a transnational dancing community with modern technology at its center. By adapting and embodying K-pop, CODE9 creates a “Thirdspace” in between reality and fantasy, between being oneself and being a Korean idol. With CODE9, K-pop moves in and out of Denmark, through the practice of watching, learning, performing, and then circulating dance online.

Based on ethnographic fieldwork in a Georgian village and supplemented by a range of interviews and observations from different parts of Georgia, this paper explores the creative presence of religion in public schools. In 2005 and in line with the strong secularization and modernization discourse, the Georgian parliament passed a new law on education, restricting the teaching of religion in public schools and separating religious organizations and public schools; nevertheless, mainstream Orthodox Christianity is widely practiced in schools. The paper aims to show how Georgians use religious spaces in secular institutions to practice their identity, to perform being “true Georgians.” At the same time, they are adopting a strong secularization and modernization discourse. By doing so they create a new space, a third space, marked by in-betweenness. The study uses the theoretical lens of Thirdspace for analyzing the hybridity, the in-betweenness of practices and attitudes inherent for politics, religion, and everyday life of Georgians.