Wollstonecraft vs. Buffy

Buffy the Vampire Slayer has had one of the strongest presences in learned writing about TV, or at least, it did until the cable was crested “the best display in TV history,” and it became well liked to fret over urban aggression and the inescapable failures of up to date institutions. Do not mistake me - I am all in favor of jumping on the “best display in television history” bandwagon, because the cable just assaults everything else out of the water. Still, Buffy retains a special place in the development of learned television condemnation, because while The cable was catapulted quite rapidly into canonical status (is now the subject of classes at Ivy association universities, has become a standard against which all other TV is contrasted, is certainly seen in relation to Dickens, Tolstoy, Shakespeare, etc. as way of solidifying its high-culture position), Buffy increased into its position gradually, and the entire process was escorted by continual navel-gazing. There are dozens of publications, but take for example Buffy encounters the Academy, an assemblage of term papers broken into sections: Power and the Buffy Canon, Buffy Meets the Classics, Buffy and the Classroom. My very popular term paper names in the publication encompass “Buffy Never Goes It Alone: The Rhetorical building of Sisterhood in the Final time of the year” and “Buffy's Insight into Wollstonecraft and Mill” - the text is constantly reaching in the direction of the dialect and references of a standard critical discussion, but is ever self-conscious about making a popular network television show with an audience of teenage girls its subject.

Buffy became a learned strike mostly because it turns several very popular gendered tropes on their heads, and dramatizes the reclamation of the Gothic as an empowering feminine genre. Where the vampire article conventionally narrates ...