Even as a philosophy of literature it fails. Central to Moore's thinking is that the wallpaper pattern connections between different esoteric traditions are significant, that they tell us something fundamental about how the human brain is wired other than that it's wired to see patterns whether they're there or not.
Motive = why he dun it. Motif = trope, repeated element. I'm assuming you've been talking about the latter.
My point largely is that Moore does tantric sex and ending the imperfect old world for the higher plane of storytelling as reality more artistically than Joss because he *wants* it look irresistible where Joss wants quite the opposite. Sure what he does want stands independently from anything Moore has to say. Buffy turning down the paradise where she would be warm and loved and 'knew' her friends were OK? Where she was done? Where she could finally just give in? Where (to quote Spike) the fear and uncertainty stops. It's a temptation that's been there ever since Restless and one she's never been able to face head on, it's always been duty more than desire holding her back, tying her to life. Now she gets to choose. It is nevertheless a choice that if looked at with reference to Sophie's choice completely repudiates it and in that sense subverts it and all the stories from Promethea to The Last Battle where the end of the world is to be celebrated as the dawn of a rapturous (Rapture- ous) new era.
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Date: 2010-07-14 12:40 pm (UTC)Motive = why he dun it. Motif = trope, repeated element. I'm assuming you've been talking about the latter.
My point largely is that Moore does tantric sex and ending the imperfect old world for the higher plane of storytelling as reality more artistically than Joss because he *wants* it look irresistible where Joss wants quite the opposite. Sure what he does want stands independently from anything Moore has to say. Buffy turning down the paradise where she would be warm and loved and 'knew' her friends were OK? Where she was done? Where she could finally just give in? Where (to quote Spike) the fear and uncertainty stops. It's a temptation that's been there ever since Restless and one she's never been able to face head on, it's always been duty more than desire holding her back, tying her to life. Now she gets to choose. It is nevertheless a choice that if looked at with reference to Sophie's choice completely repudiates it and in that sense subverts it and all the stories from Promethea to The Last Battle where the end of the world is to be celebrated as the dawn of a rapturous (Rapture- ous) new era.