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CFP: Buffy Hereafter (Turkey) (6/15/07; 10/17/07)
full name / name of organization:
BUFFY HEREAFTER: From the Whedonverse to the Whedonesque:
An Interdisciplinary Conference on the Work of Joss Whedon and its Aftereffects.
17-19 October 2007
Keynote: David Lavery, (Brunel University) Keeping the Faith: Joss
XANDER: Whoa, Giles has a TV. Everybody, Giles has a TV. He's shallow like us.
OZ: I got to admit, I am a little disappointed.
WILLOW: Well maybe it doesn't work. Like a piece of art.
Xander turns the TV on. Willow is open mouthed with shock.
GILES: Public television. Come on everyone we have vital work to do.
TV: - near the UC Sunnydale campus. Officials attribute the unusual
GILES: Tunneling. Spike. Xander, find Buffy and meet us there.
The Harsh Light of Day (4003)
When all potential slayers became actual slayers, Buffy the Vampire
In hope of finding possible answers to such questions, papers are
Proposals are invited for 20-minute presentations. Panel proposals for
Tuna Erdem, tunaerdem_at_independentscholars.org
Deadline for abstracts: 15th of June
For further details the conference web site is at:
Possible Streams or Food For Thought:
A) Defining the Whedonesque: "Is that why time went David Lynch on me"
What are the characteristics that define the style of Whedon? What are
Is Whedon an author? Is he the type of postmodern author called
Comparisons between Whedon series and its contemporaries in 'quality
Twin Peaks as the predecessor of the Whedonverse.
Whedonesque construction of time: Whedon's use of flashbacks and flashforwards.
Character arcs with sharp intertextual twists: Cordelia as popular
Stock actors and crossovers: Jasmine/ Zoe, Caleb/ Malcolm etc.
B) Psychoanalytic Reading: "Freud would've said the exact same thing.
Is it possible to read Whedon's texts from Freudian, Lacanian, Jungian
Metaphors: Demons as the metaphors for the unconscious, possession as
Split characters and their relation to the splitting of the ego:
Bad object choice: demon lovers and doomed relationships
The mother and son Oedipal dynamic: Spike and his mother, Principal
The death drive and death as the slayers gift.
Depression, melancholia and Angel
Giles as the Name of the Father
Lacan's Imaginary: dream sequences, prophetic dreams, Cordelia's visions.
Le Real: The Hellmouth, Apocalypse, Reavers
Jungian archetypes in the Whedonverse.
C) Perverse Sexuality: "He is evil but you should see him naked"
If quality television can be defined by its adult content, and if
Textual lesbians: Willow, Tara, Kennedy
Subtextual gay couples: Angel and Wesley, Angel and Xander, Spike and
Sexual fantasies: "Mind screens" of fantasizing characters.
Textual sadomasochist couples: Spike and Buffy, Spike and Drusilla,
Subtextual Sadomasochism: Bondage, fetish costumes, spanking references.
Demon loving as a form of bestiality and vampire loving as a form of
D) Satellite worlds: "Action figures, fully deployed"
If Whedon is an "author as fan" has his fans also become authors? How
Buffy Graphic novels and the Eighth season of BtVS
Buffy Computer Games and characters as avatars of fans
Fan Fiction and subtexts that rapidly become texts
Serenity and the last episode as a film
Whedonesque and Buffy studies
OZ: It was stupid to think that you'd just be... waiting.
WILLOW: I was waiting. I feel like some part of me will always be
OZ: I know. (Pause) But now is not that time, I guess.
New Moon Rising (BtVS, Season 4, Episode 19)
Now it is that time. Don't wait any longer, turn a corner in Istanbul