Week Ten

How does Buffy deconstruct traditional literary notions of good and evil?
  
According to the work of Braum, the characters within Buffy the Vampire Slayer permeate moral ambiguity deconstructing traditional methods of good and evil. Braum (2000) says that 'evil is often less fixed .. with many characters demonstrating both decent and demonic traits and behaviours', '.. good characters may develop in sinister ways' and 'villiainous ones may surprisingly reveal complex and even selfless motivations'. Whats more interesting is how Braum links this moral ambiguity with gender identities and sexuality.

An example of this would be the relationship between Buffy and Angel who was 'initially portrayed as a dark and somewhat morally ambiguous character' Braum (2000) before becoming Buffys love interest. Angels character developed a sense of 'goodness' with viewers as he miraculously appeared as Buffys aid, saving her on mulitple occasions. However this moral ambiguity quickly changed after Buffy and Angel made love for the first time breaking the curse that held Angel with human traits. WIth his vampiric nature fully restored, Angel attacked a woman outside the apartnment signifying his rebirth as the evil and vengeful 'Angelus'. 'Angels shift from good to evil occured because of sex. This emotionally and physically charged event' is what can be explored with psychoanalytic theory says Braum (2000) which is where the desconstruction of traditional good vs evil really takes place.

The drama that Buffy faced can be transferred to viewers as this sort of emotional turmoil happens throughout our lives; allowing us to come to terms with both the good and bad within loved ones and ourselves. Buffy the Vampire slayer promotes the notion that, 'underneath our civilised demeanors we all have the capacity for evil' by exploring themes of good and evil though supernatural narratives. Combining this narrative with morality, sexuality and gender, Buffy the Vampire Slayer offers a vision that resists easy catergorisation and explores the human predicament at depths that elude more realistic representations. Braum (2000)


In what way is Buffy influenced by the romantic gothic tradition? Yet how does Buffy also provide a contemporary critique of this tradition?

Buffy has been linked to Mary Shelley's novel Frankenstein with the understanding that the former adopts and adapts many Romantic Gothic conventions. The convention of Frankenstein as a character is paramount in the depiction of opposing Industrial Revolution (a key theme within traditional romanticism) in both Shelley and Whedon's work, however this explicit parallel is not what ascertains the influence of literary tradition. The influential similarities between the work of Shelley and Whedon's Buffy, lie in the representation of the narrative with Whedon taking a more contemporary stand to Shelley in his 1999-2000 Adam story line.

'Buffy offers an alternative response to the ethical and philosophical questions the modern world presents as we consider the ways that technology ... progress can alter nature' Rose (2002). Traditional romanticisim expresses the admiration for a male romanic hero who struggles with the opposing forces within his psyche, Buffy constitutes a feminine narrative who to an extent can be seen as noble and misunderstood in her traits; similar to that of the male hero. With the narrative of the creature, Shelley invites the reader to understand Frankenstein's tragedy - 'denied love and guidance, the creature beomes malevolent and bitter' inflicting questions that anticipate many modern philosophical and ethical dilemmas says Rose (2000). In Buffy, the arrogance of science is taken for granted inducing a modern fear of the 'military industrial complex'. Adam as a project turns for the worst when he awakens and kills his creator outlining his 'design flaw'. Adam's act of matricide and understanding that his purpose is to eradicate both humans and demons in favour of race of cyber demanoids compensates Frankensteins lack of parental love and guidance once again showing how Buffy blurs the lines in romantic gothic tradition.

Just as gender roles an expectations have been blurred, the relationship between creature and creator in Buffy is more complicated and the boundaries are less clear. Adam becomes an improvement on Shelleys character Frankenstein but takes his departure in a different way. 'Frankenstein ultimately fails and in his failure takes along everyone and everything he loves and values' Rose (2002), Adam's failure results in his vanquishing but the means of his creation still exist along with the fear of tampering with natural order.

References


Braun, B. (2000) The X-Files and Buffy the Vampire Slayer: The ambiguity of evil in supernatural representations. Retrieved 18 October, 2005 from: http://www.findarticles.com/p/articles/mi_m0412/is_2_28/ai_64688900

Rose, A (2002) Of Creatures and creators: Buffy does Frankenstein, in R. Wilcox & D. :Lavery (eds) Fighting the forces: whats at stake in Buffy the Vampire Slayer. Lanham: Rowman and Littlefield.