So still on Day 2 but now with extra coffee.
The first two papers of the panel focused on Firefly/Serenity and the 3rd compared Angel to the Southern Vampire (Sookie Stackhouse) Mysteries and all 3 looked at classical influences from slightly different angles.
The first paper, by Janice Siegel, was on the Cyclopean properties of the Reavers in Firefly. Siegel wanted to draw attention to the way that 3 aspects of ancient monsters re-appear in the form of the Reavers- namely rape, cannibalism/anthropophagy & the desecration of corpses. She made it clear that she did not believe that Whedon was directly referencing the monsters of the Odyssey when the Reavers were conceived but instead wanted to draw attention to the fact that the same social anxieties crop up now as then when we attempt to consider what makes Us civilised & Them monstrous. Nonetheless, she notes some important ideas that comparing the approaches brings up – firstly and most obviously Rape is considered much more linked with violence and thus horrific in our culture than in antiquity; secondly cannibalism involves a kind of loss of humanity but often this is represented as a subversion of the dominant culture and finally that this is irreversibly tied to the need for a cultural agreement on the treatment of the dead (eating corpses- emphasises the monstrosity of the lack of respect) which holds as much true for us as it did the ancient Greeks. Siegel used a variety of different examples of parallels between the Odyssey and Serenity which made for compelling listening and was particularly intrigued by the suggestion by a member of the audience that in fact because of their communitarian aspect the Reavers were rather more like Laestrygonians than Cyclopes. A point which didn’t change the key contrast the comparison brought out that what particularly differentiates the Odyssean monsters from the Reavers is in the Odyssey, things which appear cultured or safe are often revealed to be in fact monsters whereas the Reavers which appear so monstrous are in fact “human”.
[One extra thing the Siegel dropped in which is also worth thinking some more on is the similarities in personality between Mal & Odysseus, including the similar types of trickery to escape]
The 2nd paper by Jennifer Ann Rea was entitled “You can’t stop the signal/signum: ‘Utopian’ Living in Whedon’s Serenity and Vergil’s Aeneid“. I must confess that my memories of it are a little hazy which is odd given that I felt fairly confident that I knew both “texts” quite well. After re-reading the storified tweets, I do remember the gist of the argument about how both make their audiences consider when violence is justified, what means can be used to create the desired (utopian) society and when the price for a ‘pax romana’ is too high. The discussion hinged on the ambiguity of the end of the Aeneid in comparison to the somewhat more openly didactic (albeit unresolved) elements of Serentity. I think there are some really interesting ideas about the ‘messages’ in the texts but fear that the breadth of research on the Aeneid makes us more likely to pick our favourite theory and then apply it to Serenity rather than trying to see whether responses from the audiences to Serenity can suggest new approaches to the Aeneid…. That or I wasn’t in the mood for politics.
The final paper of this panel was from Juliette Harrisson and moved away from Firefly/Serenity and onto contrasting oracles in Angel and Sookie Stackhouse. Juliette began by offering a little bit of context on the vampire genre and the way that vampires can be used to create a link between the past and the present. She highlighted the fact that modern vampire mythos tends not to offer classical (esp. not Greek) origins for its vampires (we have some from Confederate USA, a few from WW1 and some Egyptians & Vikings) but in 1819 Polidori’s Vampyre was heavily invested in the Romanticism associated with ancient Greece and contemporary Greek struggles. The key point of the vampire then is the blend of the exotic with familiar enough. Harrisson then mentioned some of the issues surrounding use of magic vs. religion in modern fiction and related that neatly to the (fictional) role of oracles as access to higher power without necessarily invoking any particular religious scheme and their particular use for dramatic foreshadowing. After comparing these uses to the ancient views of oracles, she moved on to her specific examples.
In the Buffyverse, generic old and magical was generally represented by (bad) Latin and the really ancient tended to be Near Eastern/Egyptian which left little space for representations of classical Greece. Nonetheless, the Oracles in Angel look and feel Greek and are consulted in order to answer a question in very classical fashion (interestingly they are also able to turn back time before they are conveniently killed to prevent repeated use of this deus ex machina). In the Southern Vampire Novels there are fewer classical allusions but they are slightly more unusual – the rampant Maenad, Eric’s Roman vampire maker and the ‘Pythoness’ (“the [?] oracle Alexander consulted”). This oracle’s access to higher power is more uncertain but her role as judge of the Vampire Queen (authority over authority) is certainly out of respect for both her extreme age and her reputation as an oracle when she was turned.
Thus Juliette argued that the Oracles offer an interesting and different connection to the ancient world and allow the worlds they inhabit a means to touch some kind of ancient tradition, authority and higher power separate to that of the Vampires themselves. Is the lesson that we don’t yet have any other non-christian models for authority be it in politics or our future?
Overall, the panel reflected a number of ways that modern social and political tastes can be reflected and echoed in well-known classical examples – not a surprise to Reception scholars but nonetheless it was interesting to see new connections.
Next on my list a panel on Myths in Popular literature