I’m finally wrapping up my data collection for my analysis of Buffy the Vampire Slayer’s dialogue, and I can already see that the scope of this project turned into something far larger than I had anticipated. My binder contains hundreds of entries, each with an invented word or an unconventional turn of phrase. I’ve also given a lot of thought to the impact this dialogue has on the show. Each season, for at least the first five seasons, seems to follow a pattern–the first several episodes are lighter in fluffier in tone, and there are several more noteworthy moments in the dialogue in these episodes. The casual, inventive dialogue used creates a sense of familiarity both among the characters and between the characters and the viewers. It’s a language that is different from the way we generally speak, but similar enough to be easily understood, so it feels like the viewer is a part of this intimate group of friends shown on TV. In the show’s very first episode, when all the main characters are first introduced, I recorded 21 separate entries. Later in each of these seasons, once the characters have been established and the show gets much darker and more dramatic in tone, the entries in my unofficial Buffy dictionary generally decrease. For example, the episode “Becoming, Part 2,” which is season 3’s finale and one of the darkest episodes of the show, has no entries. The fun, inventive quotes like “Pretty juicy piece of clue-age, don’t you think? (season 4, episode 8)” add a lot to the lighthearted tone of goofy monster-of-the-week mysteries, but they would seem inappropriate and out of place in those later, much more serious episodes.
So, after all this time, what really is a young adult?
In my opinion, the ambiguity of the phrase is an important one. And, after some reflection, a personal one. At nineteen, I feel particularly connected not just with the genre itself, but also where it is going.
Well, the summer is over and so is my project. Finally.
In my proposal I set out to compose a piece of choral music two to three minutes in length, using the text of one of the songs that J. R. R. Tolkien wrote into his epic novel The Lord of the Rings. All being said and done, the finished piece is just a hair over three minutes long, and the text I decided to use is known as the Ambar-metta, which translates into English as “world’s-end” or “end of the world.” It was originally quoted by Elendil, an outcast on the isle of Númenor, when he fled the island shortly before it was Sodom-and-Gommorah’d by the Valar (the gods of Middle-earth) for being full of corruption fraught by Sauron. However, Elendil and a small band of his followers were still faithful to the Valar, who took pity on them and deposited them safely on the shores of Middle-earth. The Ambar-metta was recited a second time by Aragorn, descended from Elendil after forty generations and the rightful heir to the throne of Gondor, during his coronation ceremony following the destruction of the One Ring. In both of these instances, the Ambar-metta is sung amidst a context of overwhelming grief and loss of life, and yet the words carry hope for a future brighter than the tragedies that have just occurred. I attempted to bring across this mood in my composition.
I’m nearing the end of my research, and I’ve noticed quite a few trends in Buffy‘s interesting dialogue. I had only planned to focus mainly on the formation of new words through processes like conversion and derivation, and I’ll write about those in my final post, but there are several other interesting aspects that I hadn’t considered. One thing that has really stood out to me is the use of made-up titles and epithets to quickly describe a character or their actions. These titles range from the simple “Mr. Technical” (Season 3, Episode 4) to the sarcastic “Mr. Flawless Plan Guy” (Season 2, Episode 7), to the lengthy “Bad-Magic-Hates-the-World-Ticking-Time-Bomb Guy” (Season 3, Episode 6).”