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Acknowledgments
Introduction: Youth Living in Paranoiac Times
There is a subtle (if perhaps impossible) difference between the psychiatric sensation of schizophase and the revolutionary schizophrenic process. This discussion points to the w(hole) in the symbolic order, which makes Lacan's concept of the Real still as useful as the void of meaninglessness, for (transpositionally) it is the site13 of ecstasy and the Deleuzian "plane of consistency" -.
Theoretical Considerations
Madness and Paranoia
The paranoid structure arises when there is a "lack of belief in the symbolic order and in the Other as guarantor, the place of the Law" (Flieger 2005, 84). By creating the false - as an image or mask - the potential for transformation emerges.
From Self-Reflexion to
Self-RefleXion: Acknowledging the Inhuman
Memory and its vicissitudes are better suited to the self-reflexivity of the unconscious where the signifier fails. In the first play, Freud's nephew chose meaning as part of the frustration of Being.
Self-RefleXive Narcissism and Alienation
Savvy Poststructuralism
It could be argued that this is an example of Nietzschean "forces of the false" in the way these references "counteract" the horror genre as it was previously told. As Jean Baudrillard put it in The Transparency of Evil (1993), “the sexual body has now been given an artificial fate. It stays in reality. But desire, read as "abundance" (productive and positive), somehow escapes such charges, according to Patricia MacCormack, for "the desire of a monster changes both the subject that desires and the monster of desire" (34) .
While Claire Birchall (2004) has termed this nostalgia extending viewing pleasure to the "young adult viewer" and the baby boomer, an alternative reading is that DC emphasizes nostos—as the idea of "return"—rather than algos—pain. or a feeling of regret or longing for the conditions of a bygone age. Coming back brings with it the possibility of being different and reframing and highlighting the flow of the situation (eg The Breakfast Club), given that "forward" and change are very much part of the dialogue in DC. This contradiction is particularly evident in DC. The characters act with a maturity far beyond their "teenage" years.
This trust depends on “opening up the individual to the other because the knowledge that the other is committed and does not harbor basic antagonisms toward oneself is the only framework for trust when external support is largely absent” (Giddens, 96). ).
Reputation” 1
Milner's study is basically the inverse of F&G as he concentrates on the hierarchy of status as power – the cultural capital that structures high school youth. As for Ken, one of the freaks, when his girlfriend Amy tells him about her transsexual surgery as a baby (17, "The Little Things"), he is initially repulsed and wonders if he is queer. In episode 17 ("The Little Things"), he tells Amy, his tuba-playing girlfriend, that he comes from fairly well-to-do parents who had a nanny raise him.
Such a relationship is never “a projection of [only] interiority; rather, it is an exterior interior” (98); the outside is the discursive forces acting on Bill's body; namely the unfair hierarchical practices of high school sports. Within this theme lies the "voice of the object". The question is whether this inhuman theme or X is being theorized only as negation (absence). Lacan 1979 Four Fundamentals 22), which means that at the "collision point in causality" the object a appears - as the object cause.
Nick's constant return to Rush's "The Spirit of the Radio" with headphones in his ears, believing he's like Neil Peart (complete with cowbells so he can follow Peart's electronic bells in the song).
And the Geeks Freaks Will Inherit the Earth
First, the "desire of the Other" is a constant and recurring claim in Lacan, yet the Other here cannot be linked to representation. As he puts it, "the question of the meaning and value of human life becomes a question of what meaning can be made of the fact of finitude. It's her grandmother's haunting look that sets her off in the direction of Freaks, as drawn to Daniel's joy as he is.
Self-reflection is the process of coming to terms with the virtual X of that process, as an ethic of Reality. I would take this as an ethic of the reality of self-reflection within a society as behavior in the midst of relationships. Precisely because Lindsay is 'smart', an ideal student in the eyes of the somewhat stray school administration, such a moment is conceivable.
For a moment there is a "suspension of the Other". The socio-symbolic system which guarantees Lindsay's identity is no longer "covered" by the great Other.
Real Paranoia
The Death Drive’s at Stake
The "cuts" she sustains during the Sunnydale scrap and in the mental hospital cause a rift in her skin ego - the power of the skewer and hypodermic needle. In episode 3007 ("Revelations"), the Council releases Faith's new rogue Watcher, Gwendolyn Post. In the first two seasons it's a romance with Angel - the name seems to say it all, her first "true" love, which is common.
The vampires (Spike vs. Angel) pretty well represent the variety of figures found in the music scene—the Boyz/Bois. Kendra does things "by the book" - that is, she is bound by the letter of the Law as stated in "The Slayer's Handbook". Such rigid training was not good enough for her to survive. In episode 3009 ("The Wish"), as a vampire, Willow performs an act of sadomasochistic sexualized torture on Angel.
She is literally the "Key" in the fight with a fatal demon, Glory, in the fifth season, as if the fate of her soul hangs in the balance, a metaphor for the upcoming Generation Y.
The Buffyverse Soteriology
Youth’s Garden of Earthly Delights
It is "the terrifying insistence of a dead object". Something is "dead" but it still manages to go on. When such an ethics of the Real is brought into play, the idea of Good versus Evil as opposites begins to be deconstructed in order to work out justice, which always lies "outside" the Law - a Derridean position where the face of the Other must disappear now so that a third position (the new law) can mediate the two positions. This is why for Deleuze (1993) Leibnitz's idea of a monad "encloses the whole world in a soul" (24).
The first self-reflective strategy for an ethics of the real emerges in each episode as a character confronts his personal demon—the stranger in us as different and monstrous, an Other-as-Self that exists in the "ex-tuned" space of inner outer or outer inner. It’s Bloody Brilliant!’ The Undermining of Metanarrative Feminism in the Season Seven Arc Narrative of Buffy” (Spicer 2004).10What is going on here. The influence brought about by this "uncertainty" (which is merely anxiety) would shroud or "color" the ethics of the Real that I have been discussing.
For Graham, this "becoming" through struggle—as an effect—covers dialogic uncertainty, particularly "the uncertainty of the morality of Buffy's actions and their effects on Buffy" (8).
Televised Paranoiac Spaces
Aliens “R” Us: Searching for the Posthuman Teenager
As a human-alien hybrid, he is placed at the limit of Lacan's division of the subject. She goes on to kill (her intention is deliberately obscured) Alex Whitman, a member of the alien-human alliance. But this distance is put to the test near the beginning of the second season, when the experience of Nachträglichkeit (subsequentness) is introduced, ending Liz and Max's love relationship (205, "The End of the World").
A soulmate in the truest sense of the word would open up a space "for". This is perhaps the deconstructive space that Dawson's Creekal offers even in its final episode. Are you an angel?" one of the children asks, while heavenly music plays in the background. Topolski as a substitute teacher (101, "The Morning After"), they are introduced at the beginning of the series.
Careful attention to the soundtrack makes it clear how it enhances the atmosphere of the scenes.
Bringing Superman Down to Earth
What must be added to this general account is the role that the "Man of Tomorrow" played in mediating the paranoia that surrounded modernization—the scientific discoveries and technologies that, if blocked, threatened progress. He makes the point that “the only visible form that evil takes [in the 1960s] is an attempt at private property. The turn to body piercing and tattooing was just one way to "ground" the body's history (jagodzinski 2002b).
The paranoia surrounding his possible destiny—to "rule" the earth, as Jor-El says (217, "Rosetta")—and his paranoia about being discovered are worked through in the first four seasons through a series of arcs as an Oedipal conflict between two fathers: these can be taken both transcendentally – Jor-El (God) and Jonathan23 (Joseph) – or materially: Jor-El (biological father) and Jonathan (adopted father). This again "historicizes" the painful body to show that he is capable of becoming mortal. It all ends in the last episode of season three (322, "Covenant") when Jor-El's anger comes through: he will kill Jonathan if Clark disobeys and join him in The Fortress of Solitude to be "reborn" (the three-month break between TV seasons allows time for Kal-El's scolding and/or parenting of Jor-El).
Is that the condition of possibility and impossibility between the two Fathers – the Divine Jor-El (God) and the earthly Jonathan (mankind).
Stamping Out Alien-Human Freaks: Smallville’s Moral Duty
