In Buffy the Vampire Slayer episode 410 “Hush” A group of demon like creatures known as the Gentlemen take over Sunnydale by stealing everyone in the towns voice, and then stealing seven random people’s heart. Leading up to that part Buffy and Willow have started college and Buffy has met a boy name Riley who is a teacher aid in their class. During class Buffy has a dream of a little girl holding a wooden box who is singing a cryptic rhyme about the Gentlemen that says things like “Can’t even shout” and “Can’t say a word.” After class Riley tries to get Buffy to tell him about her dream, but she tells him “I’m not saying a word.” After the episode goes to Xander and his girlfriend Anya who is upset with Xander for never asking about how she feels and tell him “we never talk.” All these scenes are foreshadowing that the group uses their voice for granted and how overwhelming each get when they are misinterpreted. When the Gentlemen steal the their voices it causes them to not be able to talk to each other, and they realize how important communication really is. In chapter nine “Tough Enough”: Female Friendship and Heroism written by Sharon Ross focuses on the importance of a new vision of heroism, by discussing epistemic negotiation. The chapter also discuss how important both a female friendship, and a group friendship can help while fighting crime. The main idea of epistemic negotiation is shown throughout the show of Buffy the Vampire Slayer because Buffy “almost always consults with her friends before taking action.” (240) In the episode “Hush” without the help of her friends, Buffy wouldn’t have been able to figure out who the Gentlemen were, what they came to Sunnydale for, or how to kill them.
Epistemic negotiation is a “...
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...off the Gentlemen after they stabbed her, and Riley didn’t know that the box needed to be smashed.
When the characters have their voice back, everyone sits down and has a serious conversation with the people who mean the most to them. Willow and Tara talk about their similar passion in witch craft; Xander and Anya make up and talk about their relationship and how they both truly feel about each other; Giles and his lover Olivia talk about Giles duties of a watcher and fighting monsters, vampires, and demons. When Riley goes to see Buffy in her dorm room they sit down on the bed and Riley says “I guess we have to talk” Buffy replies “I guess we do” but then neither of them say anything they just stare at each other. Overall, “Hush” shows the importance of communicating with the people you care the most about, and how it is something that is often taken for granted.
Nicole stated that she was trying to eat some food in the kitchen when Brandon entered and started yelling at her. Brandon then grabbed the fork out of Nicole's right hand and proceeded to stab her in the left fore arm. Following Brandon stabbing her and in order for her to get him off of her, Nicole grabbed a kitchen knife and scraped Brandon's head just next to his left temple. Michael Clodfelter, who was asleep in the bedroom, then came out and started pushing Brandon to keep him away from Nicole. Nicole went and sat in the bedroom to wait for my arrival.
Silence is another way of talking for the Saunders'. It's how Reb Saunders taught Danny because it was the only way he knew how to teach his son. Reb said, "My father never talked to me, except when
Speak starts with a young lady, named Melinda, attending her first day of school scoping out the school and staff without any friends. Melinda, being the quiet girl she is in the beginning of the school year, gains new friends, a new girl from out of town, and her art teacher. As the story progress, background on Melinda is revealed. She had lost her friends after calling the cops on the party because she was scared after being raped by a boy named Andy Evans. Melinda’s grades and relationship begins to dwindle down as the year goes on for Melinda forcing her to see the guidance counselor with her parents. She starts to talk a little more to her old friends as her new friend Heather has
Over the course of the novel, there were many instances of the male characters bonding together to accomplish a variety of tasks. In the beginning, Dracula attempts to befriend Jonathan Harker as a way to allay his fears. Further along, we find the relationship between Quincey, Arthur and Jack Seward to be friendly and close. Van Helsing and Jonathan add to that mix to create the ultimate male friendship; the group of men who go out to fight battles together and achieve a victory. Although there are many other themes in the novel, homosociality is the most prominent and well evidenced by the words and actions of the characters.
The silence foreshadows major role reversal as Gail argues for the law and Wes answers that God will punish Frank. Gale is outraged and upset. She argues “sins – crimes – are not supposed to go unpunished” (p 85). Wes argues that Frank will stop and prosecuting Frank will cause more harm. Wesley says after a moment of ‘silence’ that Frank would ‘have to meet his punishment in the hereafter’ and that he ‘won’t do anything to arrange it in this life’ (p 85).
Reuven and Danny are friends when they enter Hirsch College. While they are at college, many of the students and faculty members have different stances on Zionism. During this time, David Malter organizes a pro-Zionist rally at Madison Square Garden that turns out to be very successful and over joys Reuven. However, when Reuven returns to school, he finds out that Danny is not allowed to be friends and talk with him anymore because of the rally. Reuven is extremely upset and furious. He calls Reb Saunders a "fanatic" and cries about Danny. Danny and Reuven do not talk for the whole semester and Reuven feels horrible about the situation. He thinks that silence is "cancerous, [and] was death" (221). By the next semester, Reuven promises to forget Danny and his silence; but he can't, even if he's mad. Later, Reuven and Danny start communicating in silence. David Malter told Reuven in the beginning of the novel that "two people who are true friends are like two bodies with one soul." (74) This shows the reader that Danny and Reuven still had to communicate with each other, even in silence, because they were bonded with a "true" friendship.
Does Kogawa intend these lines to introduce "silence" as a character of sorts? Does the second line clarify the first, or does it instead differentiate one silence from another, an involuntary muteness from a willed refusal to speak?
... her to be the Slayer. Her only chance to find motivation in the world is to find a new desire. Both characters approach the same center, but from different ends of the drive-symbol spectrum. Thus, Whedon not only makes use of the Lacanian "between the two deaths" concept, but he also plays with making it dynamic (Spike) and with inverting it (Buffy). Then, at the very end of the episode, the two experiments are united in an elegant closure.
In Shakespeare's The Tragedy of King Richard the Third, the historical context of the play is dominated by male figures. As a result, women are relegated to an inferior role. However, they achieve verbal power through their own discourse of religion and superstition. In the opening speech of Act 1, Scene 2, Lines 1-30 Lady Anne orients the reader to the crucial political context of the play and the metaphysical issues contained within it (Greenblatt, 509). Lady Anne curses her foes, using strong language to indicate her authority. She speaks in blank verse, by which she utilizes imagery to emphasize her emotions and reinforce her pleas. Her speech clearly illustrates the distinction between the submissive female role within the male sphere of war and the powerful female voice within the realm of superstition.
Octavia Butler is one of the most outstanding African American feminist writers who write science fiction stories toward a utopian society. However, Butler’s short story Speech Sounds can be read as a depiction of an anti-utopian society that represented by misery, chaos, violence, and disorder. It feels as if Butler seems to be criticizing her society through her own depiction of the society in her story that Rye is a woman that has the ability to speak among other people who are not able to communicate with each other because of the illness that Butler describes as pandemonium. In most circumstances a small misunderstanding is how altercations between individuals and other unfortunate situations come about. Communication is the center basis for civilization and without it society would be thrown into a world pool of chaos.
The power of women is different than that of men. Women display a subtle and indirect kind of power, but can be resilient enough to impact the outside world. In Trifles, Susan Glaspell delivers the idea that gender and authority are chauvinistic issues that confirm male characters as the power holders, while the female characters are less significant and often weak. This insignificance and weakness indicated in the play by the fact that the women had the evidence to solve a murder, but the men just ignored the women as if they had no value to the case at all. This weakness and inability of the female to contest the man’s view are apparent. According to Ben-Zvi, “Women who kill evoke fear because they challenge societal constructs of femininity-passivity, restraint, and nurture; thus the rush to isolate and label the female offender, to cauterize the act” (141). This play presents women against men, Ms. Wright against her husband, the two women against their spouses and the other men. The male characters are logical, arrogant, and stupid while the women are sympathetic, loyal, and drawn to empathize with Mrs. Wright and forgive her crime. The play questions the extent to which one should maintain loyalty to others. Mrs. Peters and Mrs. Hale try to withhold incriminating evidence against Mrs. Wright, and by challenging the reader to question whether
The Buffy the Vampire Slayer series is a very popular show that engages well with most youthful audiences, including teenagers and young adults. Teenagers are quickly captivated by the show’s great amount of comedy, adventure, and science fiction. Although it is remarkably entertaining, the show also teaches important life lessons pertaining to love, friendship, and family. In the episode “Hush” from the series Buffy the Vampire Slayer, the theme that through clear acts, one can develop clarity in relationships is presented.
alone and although she acted fine about it most of the time, she was upset about Bingley
that. She suffered 13 stab wounds to the back five of them so violent the knife
Buffy The Vampire Slayer has broken many barriers in its seven-year stint, creating new genres and enabling innovation in a previously barren area of television. The largest leap the show has taken though, has been in the way it has embraced its fandom, creating a symbiotic relationship between Buffy the show and Buffy the fanfiction. Not only does Buffy fanfiction seize upon unexplored areas and inconsistencies inherent in the text, these forays are often paid homage to by the show, and in some cases, even made part of the canon itself. Ideas and fantasies created by the fans can impact upon the show in a way that has never been seen before.