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   continued...It is in the political doiman, and in the grit of everyday life that LOST presents violence as an archetypal action throughout history. It suppresses the canonical enactment of violence in the individual response, a truly Romantic shift worthy of Byron or Shelley. Great armies may recreate the maps of the world, but narrative requires the examplar of the individual. The Belgian Congo was an horrific place, but its impress was vividly addressed in Kurtz and Marlow. Even mother's love is challanged in LOST, and for any viewer of LOST it would pay to read Nancy Scheper-Hughes Death Without Weeping:The Violence of Everyday Life in Brazil (warning, this is a work that will challenge your understanding of motherly love). To understand Ms. Hawking's relationship with Daniel and his later death as only a plot point is to misunderstand the contradictions of everyday life. These contradictions convey to us the ordinariness of our lives, that we are not as we think we are, nor that any quality of specialness resides within us. That rude person who brushes past you in the coffee house is the world's indifference to your existence--we are all just simply objects others see (or conmen use to their own ends). So who really did listen to Abel's cries? How sad viewers felt to see Locke buried, to think it undercut his own beliefs in his specialness. Yet, from the first Season, LOST has suggested we are in an economy, one of exchange between the island and ourselves. At times that relationship is unbearable and the cost is huge. When Desmond tells Charlie that if he dies, Claire and Aaron will leave the island, Charlie accepts the cost as the sacrifice that must be made. Such an exchange occurs at the beginning of the Trojan War, where Agememnon must sacrifice Iphianassa to appease the gods (early traditions held he did so). At the heart of this metaphorical notion of sacrifice is our present day outlook of life as sacrifice. The scales in the oil painting in Widmore's office is just one installment of the metaphor throughout LOST. And in a post 9/11 world, the notion of sacrifice has extended once more to encompass the Greecian notion--the chaotic nature of life can be reset, placed in balance through the act of sacrifice. So it should not surprise us to read Thomas Cousineau write: "Throughout To The Lighthouse, Virginia Woolf reminds us of the extent to which the unity and stability of a human community depend upon the willingness of its members to resort to sacrificial rituals." That book which lent its name to an episode has as its theme the notion of the necessity of sacrificial acts in order to bind society. LOST has reconceptualized television drama by repositioning its very rules within the frame of a nameless island. The rootlessness of the island is reflected in the seeming rootlessness of the narrative. In 9/11 literature a central metaphor is rising, but then so too would falling be one. LOST begins with falling and holds out the promise that all things that rise must converge.

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   Posted by Whana on 7th Dec 2014

   Sounds like a fantastic<a href="http://wvqpwi.com"> eecirexnpe</a>, Nik. Glad you got to return to your alma mater for such a rewarding day! The prof definitely has a handle on the overriding themes of LOST - clearly he was listening carefully to your insight and expertise! One of the issues that we don't often talk about explicitly in our discussions of the show is the very modern notion of alienation. As the show began, I was struck by the degree to which the characters were shown to be alienated from one another by their different backstories and approaches to the situation in which they found themselves.As we learned more about them through their flashbacks, we saw how how truly alienated they were from themselves - again and again, this is what frustrated them as they searched for acceptance and love in their lives. It may sound trite to say that you can't truly love another (or allow yourself to fully loved by someone) unless you first understand and accept yourself, warts and all. Each of our key characters was disconnected from this self-knowledge and self-love - especially those who grew utterly self-absorbed instead of self-aware.Heck, as the flashbacks progressed, WE came to understand their true motivations better than they understood themselves! For me, one of the best journeys in the show has been watching an inscrutable and inaccessible character like Benjamin Linus be revealed over time to be an utterly desperate and, yes LOST man - so much so that, as we saw in his heartrending confession to Ilana, even when he came to realize that he had betrayed the only thing that truly mattered (his one genuine connection to another human being - Alex) he was prepared to cast his lot with Flocke because he believed that he was so alienated from everyone and everything else that this was the only place he 'belonged'. "He's the only one that'll have me"For each of these characters, the realization (where it comes) that connection to others is genuinely possible - and that a true self-awareness unlocks the chains that have bound them to the baggage they had believed was thrust upon them by circumstance, or fate - is a revelation. And, I think, it is this revelation that stands at the center of what is most compelling about LOST. We've been waiting six years to see Jack understand himself and accept who he is and what he has done ... what he is REALLY responsible for - and not the artificial responsibility he constantly serves by trying to "fix" things in others. Those characters who choose their alienation from everyone and everything over the long and difficult road to enlightment are truly "damned". As we approach the end, we want to see the journey that our Lostaways have taken bring them ultimately to understanding, fulfillment of their destiny/potential ... and yes, to love.Not bad for a TV show, eh?

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7. Truly now, in the la

   Posted by Gabriele on 11th Dec 2014

   Truly now, in the last half of the last season of what will aolmst certainly stand as the exemplar of all that television could have been, to be a Lost devotee is a defining experience. We seem to collectively keep vigil over the remaining flock and accommodate the heresies of fellow disciples (shippers, monomythologists, literary snobs, that one guy who likes Arzt, the Benjaminites AND the Widmorians): all have a plate at the table, a chair for the fireside chat, a room in our house. Penny means more to us because of our willingness to share our distributed cognition: one viewer's Homeric spouse is strengthened by another's Joycean Ulysses and yet another's Lady of Carlisle knowledge. We are open to the plasticity of her surname change to Milton, and willing to chase the lead back (again) into the labyrinthine English poetry of Paradise Lost for clues, look elsewhere, or simply to accept it at face value and share our thrill that Desmond may yet have the bliss of her presence in the LAX reality. I believe this envelope defines us as a viewership because the writers' (albeit mischievous) Weltanschauung of humanity's inherent worth and redemptive potential reaches out to us, undiluted and often purified through the crucible of the directing/editing/acting process. The Jacobin Omega Point references and oceanic feeling of the show resonate within us and we surrender to them, where others who have been lost from the viewership were never attuned to the ephemeral and only saw the hat, not the elephant inside the boa, never bothered to tame the fox. As a group, we allow that the MIB may well be Esau, Cain, a vengeful God, the Adversary, trapped electromagnetic nanoparticles, Ekidnu, L'Engle's evil cloud, evil incarnate, or something else--and we do the same for every other character. It makes sense to us collectivley that the character of the character matters more than his/her history and that the character's given name is only useful as a jumping off point since the name may change.Finally, I would offer that those most of us left are also defined by our willingness to submit to the uncertainty of the near future, acceptance of the bittersweet fate of our favorite characters, and meta-trust in the creative team despite near certainty that JJ Abrams black box of mystery will be left sealed. We knew the job was dangerous when we took it.Nikki, I thank you so much for maintaining this forum for fellowship, analysis, and introspection. Your spirit permeates your faithful posters and reaches your lurkers. I HOPE LOST reaches LOVE: Desmond LOST LOVE but found it again. And remember Desmond is HOPE -- Locke told us so... http://gqiiryco.com [url=http://awartvkcb.com]awartvkcb[/url] [link=http://bpknla.com]bpknla[/link]

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