- Valency Maurice The Flower and the Castle: An Introduction to Modern Drama MacMillan New York 1975 p 397. Gilman Richard The Making of Modem Drama Farrar, Straus & Giroux New York 1972 p 104.
- Swerling Anthony Strindberg's Impact in France: 1920–1960 Trinity Lane Press Cambridge 1970 p 11. Karnick Manfred ‘Strindberg and the Tradition of Modernity: Structure of Drama and Experience’ in Stockenström Göran (ed) Strindberg's Dramaturgy University of Minnesota Press Minneapolis 1988 at 59.
- Valency above note 1 at 5.
- Kvam Kela ‘Strindberg and the Roles of the Sexes’ in Donald K Weaver (ed) Strindberg on Stage Svensk Teaterunion Stockholm 1983 at 112.
- Meyer Donald Sex and Power: The Rise of Women in America, Russia, Sweden and Italy Wesleyan University Press Middletown 1987 pp 176–7.
- Kyam above note 4 at 120.
- Valency above note 1 at 258.
- Ward John The Social and Religious Plays of Strindberg Athlone Press; Humanities Press London 1980 p 23.
- Heidensohn Frances Women and Crime Macmillan London 1985 p 102.
- Kyam above n 4 at 113. Blackwell Marilyn Johns ‘Strindberg's Early Dramas and Lacan's “Law of the Father”’ (1999) 71 Scandinavian Studies 311 at 323.
- Ward above note 8 at 22.
- Gilman above note 1 at 86.
- Owen A Susan ‘Vampires, Postmodernity, and Postfeminism: Buffy the Vampire Slayer’ (1999) 27 Journal of Popular Film and Television 24. Owen does not specify exactly what she means by ‘postfeminist’—a term which has a number of meanings ranging from a reaction against second wave feminism to poststructuralist feminism (Murray Georgina ‘Agonize, Don't Organize: A Critique of Postfeminism’ (1997) 45 Cultural Sociology 36 at 37). Although Owen uses it to describe a laudable presentation of a strong heroine, if this praise is based on the fact that Buffy can fight demons in a mini-skirt then this may be part of the contradictions of Buffy's form of feminism, which will be discussed more below.
- Angel and the soon to be released Watcher are Buffy spinoffs, while shows like Charmed and Dark Angel sought to capitalise on its success.
- Buffy the Vampire Slayer ‘Faith, Hope and Trick’ Episode 3.03, original airdate 13 October 1998.
- Buffy the Vampire Slayer ‘This Year's Girl’ Episode 4.15, original airdate 22 February 2000.
- Strindberg August ‘The Virgin Bride’ in Strindberg: The Plays Volume Two (Michael Meyer, trans) Seeker & Warburg London 1975 at 483.
- As above at 531.
- It is, however, always dangerous. When Buffy has sex with Angel it causes him to lose his soul, thus providing another caution for viewers.
- Buffy the Vampire Slayer ‘Revelations’ Episode 3.07, original airdate 17 November 1998.
- Buffy the Vampire Slayer ‘Homecoming’ Episode 3.05, original airdate 3 November 1998.
- Buffy the Vampire Slayer 'Who Are You? 'Episode 4.16, original airdate 29 February 2000.
- Strindberg above note 17 at 514–515.
- As above at 482.
- As above at 531.
- A Watcher is a Slayer s mentor and advisor.
- It's hard to imagine a male superhero making a similar comment.
- ‘Revelations’, above note 20.
- This can be seen as part of a general exploitation or deflection of feminism in contemporary media, whereby feminism is recognised and even overtly avowed while media techniques are used to undermine or ridicule its meaning. Vavrus Mary Douglas ‘Putting Ally on Trial: Contesting Postfeminism in Popular Culture’ (2000) 23 Women's Studies in Communication 413–28. Also Helen A Shugart et al, ‘Mediating Third-Wave Feminism: Appropriation as Postmodern Media Practice’ (2001) 18 Critical Studies in Media Communication 194 at 197.
- Strindberg above note 17 at 485.
- As above at 488.
- As above at 490.
- Buffy the Vampire Slayer ‘Bad Girls’ Episode 3.14, original airdate 9 February 1999.
- Naffine Ngaire Feminism and Criminology Allen & Unwin Sydney 1997 p 79.
- Green Phillip Cracks in the Pedestal: Ideology and Gender in Hollywood University of Massachusetts Press Amherst 1998 p 149.
- Carrington Kerry ‘Feminist Readings of Female Delinquency’ in Ngaire Naffine (ed) Gender, Crime and Feminism Aldershot Dartmouth 1995 p 121 at 123.
- Heidensohn above note 9 at 94.
- Morris Allison and Wilczvnski Ania ‘Rocking the Cradle’ in Helen Birch (ed), Moving Targets: Women Murder and Representation Virago London 1993 at 205. Chesney-Lind Meda ‘Women and Crime: The Female Offender’ in Naffine above note 36 p 3 at 16. Naffine above note 34 at 78.
- Chesney-Lind above note 38 at 4.
- Gewirtz P ‘Narrative and Rhetoric in the Law’ in Brooks and Gewirtz (eds) Laws Stories Yale University Press New Haven 1996 p 2 at 4. Sherwin R ‘Law Frames: Historical Truth and Narrative Necessity in a Criminal Case’ (1994) 47 Stanford Law Review 39 at 50.
- Klinck Dennis R The Word of the Law Carleton University Press Ottawa 1992 p 293.
- Jackson Bernard S Law, Fact and Narrative Coherence Deborah Charles Publications Liverpool 1988 p 76.
- As above at 79.
- Young Alison Imagining Crime: Textual Outlaws and Criminal Conversations Thousand Oaks London 1996 p 16.
- As above at p 11.
- A few of the websites dedicated to Buffy that use the word ‘redemption’: www.sashachase.com/slaverpride/eps/buffyfaith.html, www.bbc.co.uk/cult/buffy/angel/episodes/one/page19.shtml, www.buffvworld.com/angel/seasonl/summaries/19_summ.htm#top.
- Jacobs Barry ‘Strindberg and the Myth of the Androgyne: Christ Figures in Easter and The Bridal Crown’ Kyam Kela (ed) Strindherg's Post-Inferno Plays Munksgaard/Rosinante Copenhagen 1992 p 92 at 104.
- Strindberg above note 17 at 543.
- Donald Meyer above note 5 at xxv, describes him as the ‘modern man par excellence—alienated, fragmented, narcissistic, inexhaustible, free’.
- Ward above note 8 at 108–112.
- Meyer Michael Strindberg: A Biography Seeker & Warburg London 1985 p 205.
- Ward above note 8 at 108.
- As above at 111.
- As above at 125.
- Swerling above note 2 at 8. Göran Stockenström ‘August Strindberg: A Modernist in Spite of Himself’ (1992) 26 Comparative Drama 95 at 97.
- Strindberg August ‘Preface to Miss Julie’ in Sprigge Elizabeth (translator) Six Plays of Strindberg Doubleday Anchor Books New York 1955 p 59 at 65.
- Strindberg ‘Authors Note to A Dream Play’ as above p 185 at 193.
- One example of this is the appropriation of myths and icons, like Hansel and Gretel or Dracula. When Buffy meets a Gary Oldman-like Dracula she treats him like a celebrity.
- Postmodernism is often described by distinguishing it from the modernist search for truth and objectivity. It seems that this type of ‘modernity’ never existed unchallenged. At any rate, it seems unhelpful to draw such distinctions when considering a writer like Strindberg, who was influenced by thinkers like Nietzsche who helped to lay the foundation for postmodernism: McGuigan Jim Modernity and Postmodern Culture Open University Press Buckingham 1999 p 32. Thus, it seems more useful in this context to consider postmodernism as Giddens or Heller suggest, as an extension of modernity, or the self-reflective consciousness of modernity: Heller Agnes A Theory of Modernity Blackwell Publishers Maiden 1999 p 4, McGuigan p 97.
- Owen above note 13.
- Heidensohn above note 9 at 193 talks about how women are over-socialised.
- Durkheim Emile Moral Education The Free Press New York 1961 p 40.
- As above at 40.
- Angel ‘Sanctuary’ Episode 1.19, original airdate 2 May 2000.
- Buffy the Vampire Slayer ‘Who Are You?’ Episode 4.16, original airdate 29 February 2000.
- Strindberg above note 17 at 505.
- Angel ‘Five by Five’ Episode 1.18, original airdate 25 April 2000.
- Strindberg above note 17 at 523.
- Sanctuary, above note 64.
- Strindberg, above note 17 at 528.
- As above at 536.
- It may be that this could even be a way to overcome the marginalisation of feminist criticism.
Australian Feminist Law Journal
Volume 18, 2003 - Issue 1
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