From madman in the basement to self-sacrificing champion
The multiple faces of Spike
Bibliographic Data
| ID | 12599860 |
|---|---|
| Authors | Stacey Abbott (0000-0002-7613-1918, University of Roehampton, corresponding author) |
| Year | 2005 |
| Volume | 8 |
| Issue | 3 |
| Pages | 329-344 |
| Publication date | 2005-07-19 |
| Open Access | Yes |
| Type | ARTICLE |
| Venue | European Journal of Cultural Studies (JOURNAL) |
| Journal identifiers | ISSN: 1367-5494 • E-ISSN: 1460-3551 |
| Publisher | SAGE Publishing (PUBLISHER • US) |
| DOI | 10.1177/1367549405054865 |
| OpenAlex | W2048887054 |
| Language | EN |
| Citations received | 1 |
Towards the end of Season 6 of Buffy the Vampire Slayer, Spike undergoes an identity crisis and leaves Sunnydale in search of a solution. ‘Neither a monster nor a man’, Spike yearns for reconciliation of his divided self. The answer comes in the form of the return of his soul. This article explores how the return of Spike’s soul does not deliver a reconciled Spike but rather one which has been exponentially fragmented. In a show that prides itself on complex character development, Spike undergoes the most dramatic character arc of anyone on the series, taking place in one season in an almost schizophrenic fashion. Through close analysis of mise-en-scène and narrative structure this article demonstrates how each of these personas is presented as distinct and explores how identity in this season is not defined by growth and evolution but rather the recognition that we are each made up of a multitude of selves
Aesthetics · Archaeology · Art · Champion · Character (mathematics · Epistemology · Humanities · Identity (music · Literature · Monster · Multitude · Narrative · Persona · Sociology · Soul · Spike (software development · Vampire · Computer Science · Gender, Feminism, and Media · Gothic Literature and Media Analysis · History · Mathematics · Philosophy · Themes in Literature Analysis
| Citations per year | 0.07 |
|---|---|
| Citation span | 2012 - 2012 (1) |
| Highly cited | No |