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|Named Person:||Joss Whedon; Joss Whedon|
|Material Type:||Thesis/dissertation, Government publication, State or province government publication, Internet resource|
|Document Type:||Internet Resource|
|All Authors / Contributors:||
Brita Marie Graham
Chairperson, Graduate Committee: Linda Karell.
|Description:||vii, 94 leaves.|
|Details:||System requirements: Adobe Acrobat Reader.|
|Responsibility:||by Brita Marie Graham.|
Buffy has the potential not only to play a mediating role between scientific and humanistic theoretical practices, as well as between older and more contemporary varieties of literary criticism, but it demands a confrontation with elitism. Contemporary examination of the modes of traditional scholarship, for some time now, has been proposing the breakdown of hierarchies between the humanities and science, between so-called "high" and "low" culture. This is work for a trickster, the work of the rebel, and Buffy rises to the challenge. Because Buffy does not try to encompass all meaning, but rather to question it and its attendant authority, it becomes that much more meaningful still, and moments of meaning coalesce within it. Any text that has the scope and capacity to incorporate such diverse elements should garner respect and praise, and yet - for all its potential pomp and genuinely thoughtful commentaries - Buffy never aspires to be truly serious. Through humor and bricolage, it becomes a meta-vampire/trickster text.