Showing posts with label Whedon. Show all posts
Showing posts with label Whedon. Show all posts

Monday, 23 June 2014

Echo becomes Ajax; Iphigenia fails to become Buffy, poor thing

Dollhouse characters. L to R: Paul Ballard, Vi...
Dollhouse characters. L to R: Paul Ballard, Victor, Echo, Sierra, Topher Brink, Adelle DeWitt, Boyd Langton (Photo credit: Wikipedia)
I know for a certainty that there are many other things I should be doing, but am enjoying writing about Dollhouse and Sophocles way too much to stop. Would Sophocles have survived if he'd had to write serial television? Can character development ever = character stasis? Does an ensemble TV series ever = Oedipus? Just how classical is Whedon?
However, today I will put off these questions because working on Iphigenia and Buffy. So, still having fun.

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Sophocles and Dollhouse

I have been struggling to revise an overlong conference paper I gave, or gave part of, a few years ago in Seattle, trying to see if I can turn it into an article; or, failing an article, a draft I can link on academia.edu in the "conference paper I don't plan to publish" category. So far, I'm failing dismally. The subject is in what ways the character "Echo" in Joss Whedon's series "Dollhouse" is a Sophoclean hero, and how that matters. But this subject leads me apparently unavoidably into philosophical questions that I really don't want to engage, at least not in what was supposed to be a light-hearted pop culture paper (What is reality? Do souls exist? Is chocolate a necessary food group?)
At the very least, I don't think there's any way I can revise the paper, which should probably have been titled in its original form "every single thing I can think of that interests me about Dollhouse, in no particular order", to make it answer the original question. I can start a new paper on that question, but I don't think I can revise this one to fit.
On the other hand, I have always hated revising more than anything. I would far rather write a new thing than revise an old thing so that it actually works. So perhaps I shouldn't throw in the towel yet.
I have, I think, thought of the solution: more research! Or to quote Matt Groening's advice to grad students on how to avoid the agony of writing: when all else fails, "Read another book". I'm sure someone out there has already answered all the interesting philosophical questions in Dollhouse, and I can just cite them, and get back to Sophocles.

Wednesday, 11 July 2012

more sacrificial virgins

A vestal virgin, detail of an engraving by Sir...
A vestal virgin, detail of an engraving by Sir Frederic Leighton, created Lord Leighton, the first British artist to be given a title. (around 1880) The artist died in 1896. (Photo credit: Wikipedia)
We've finished the sacrificial virgins paper, I'm nearly finished the paperwork from a conference I ran 3 months ago, and I'm due at a conference this weekend.  Then away for a month travelling.

We've cut out about 2/3 of the paper; all the most interesting stuff, because we need to establish the ground first, which I am so over by now, and we've only got 20 minutes.  I'm looking forward to writing the article that will be based on the paper. Whedon uses sacrificial virgins over and over and over, in various forms.  By the time he got to "Cabin in the Woods" I would have said he had done everything he could with it.    (Apparently i was wrong.)    We could write a whole article just on Drusilla.

Several problems arose while thinking it through.  Here's one: how do you identify a "sacrificial virgin"?  By comparing a character to a similar character in Greek tragedy?  Well sure, but what made you pick that character in Greek tragedy?  Why didn't you pick some other character, in some other genre?  One tends to assume one's fixed points, as Catherine Brown points out (I've been listening to her podcast on comparative literature), but in fact there are no fixed points; the reason you decided to compare X and Y is because you had already compared X and Y and decided you could talk about it.
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