L. J. Smith - Vampire Diaries 01 - The Awakening. Home · L. J. Smith Author: Smith Lisa J L. J. Smith - Vampire Diaries 02 - The Struggle. Read more. THE VAMPIRE DIARIES. The Struggle. Volume II. L. J. Smith. HarperTorch. An Imprint ofHarperCollinsPublishers. Books by L. J. SMITH. Generated by ABC. The Vampire Diaries: The Hunters: Phantom Read Download PDF/. Popular Vampires Books: new releases and popular books about.
|Language:||English, Spanish, Portuguese|
|Genre:||Fiction & Literature|
|Distribution:||Free* [*Register to download]|
The Vampire Diaries has 10 entries in the series. The Vampire Diaries (Series). L. J. Smith Author (). cover image of The Return & The Hunters Collection. Vampire Diaries Books 1 to 6 Books) Set Pack (The Awakening + The Struggle, The Fury + The Reunion, Nightfall, Shadow Souls) (The Vampire Diaries. The Vampire Diaries Series 13 PDF Books Free Download. Download Dork Diaries Series Books free in PDF. Download Free Complete Series.
Thus the vampire has come to be read as a reflection of ourselves and as such may tell us 14 Mary Bridgeman something about the particular fears and anxieties of a society at a particular cultural moment.
In keeping with the current vampire vogue he is in fact a most desir- able romantic hero. This throws into confusion the older demarca- tions of the human and the monstrous. The traditional division of good human versus bad vampire used by the parents and ancestors in Mystic Falls, is shown to be insufficient and unjust.
However the complexities the younger characters and reformed adults are left with are attended by their own strains too. Change is shown to be fraught with difficulty, false starts, and setbacks. It is likened to the addiction experience of Stefan, sometimes functioning well but always vulnerable, always about to become unstuck.
Since becoming a vampire Stefan has struggled to control his addiction to human blood by feeding off animals: Damon : Stefan has built himself a delusional wagon which he has repeatedly fallen off of.
What he needs to learn is control. We need human blood to survive. In time, the thought of human blood will make you repress your vampire instincts completely.
Hypotyposis and specularity. They fell in love with the same girl. This shows how a copy is never exactly the same as its original, even simply in its status as copy. In contrast to typical cultural valuing of originals over copies, in The Vampire Diaries, the copy is typically chosen as the love object over the original. The issue becomes one of the difference of the dou- 16 Mary Bridgeman ble. The double can never be exactly the same, as a copy can never be the original.
Katherine is closer to the original than Elena, yet Elena is the one who is loved by Stefan and Damon, and required by Klaus for his megalomaniac plans. Elena is the latest copy and because of this she is the most important one. This is where The Vampire Diaries turns on its head popular notions of originality and value. Postmodern subjectivity is characterised by fragmentation, by on- going processes of subject making, and by a sense of being in-flux rather than static or stable in terms of identity.
This subject overflows the bounds of reason, progress, and the universalist politics of Enlightenment ideas of the rational subject. The postmodern subject is called upon as part of the commercial strategies of the CW net- work, but this subject is also problematized at the level of the text when issues surrounding the idea of selfhood and control are explored.
The discourse at work at the level of the network interest does not align perfectly with those at work in the text, though they certainly overlap. A depthlessness of signs informs this cultural logic. Yet the program The Vampire Diaries simultaneously reflects anxieties about that very hollowing out. In this way The Vampire Diaries addresses issues of subjectivity, particularly subjectivity in relation to categories of difference.
The key issue here is the way in which category breakdown in the post- modern context, rather than engendering acceptance, may in fact bring about increasingly violent means of organization and control. Power structures are based on a family model of dysfunction in which violence, pain, and sacrifice are presented as the most effective tools for action in the face of complexity.
The present however is in no way Forged in Love and Death 17 less violent, indeed it may even be more violent despite the greater understanding of difference and the reluctance to judge based on these identity markers. The subject in The Vampire Diaries is in-flux, may change at any time, and is impossible to fix in one subject posi- tion.
This subject is violent and endures violence. Action other than violence is very difficult and usually ineffective in this world. In this way The Vampire Diaries forms a fascinating portrayal of the violence of 21st century culture and the violent expectations brought to bear on the subject.
That these expectations are gendered, raced, and classed is certain, though, as The Vampire Diaries suggests, categories of difference in the postmodern context prove elusive and difficult to approach in terms of reform. This is relevant far beyond the confines of teen drama or vampire romance. This is relevant in terms of Amer- ican culture at the current social-cultural-historical moment.
The Vampire Diaries manifests an anxiety about the propensity towards violence in an increasingly complex world of untenable yet indestruc- tible categories of difference.
As such it demands a critical response that contends with the inadequacies of popular postmodernism and a way of accepting difference, contradiction, and complexity that short- circuits the easy route to violence both symbolic and material.
Notes 1. Stephenie Meyer describes the dream that inspired her to write Twilight on her Web site - www. Works Cited Baudrillard, Jean.
Sheila Faria Glaser.
Simulacra and Simulation. Ann Arbor: U of Michigan P, New Approaches to Popular Romance Fiction. Frye, Northrop. Hurley, Kelly.
Cambridge: Cambridge UP, Jameson, Fredric. Postmodernism, or, the Cultural Logic of Late Capital- ism. London: Verso, Jenkins, Henry. Leavenworth, Maria Lindgren. Textual Echoes 8, Lyotard, Jean-Franc! The Postmodern Condition. Manchester: Man- chester UP, Meyer, Stephenie. New York: Little, Brown and Co.
New Moon. London: Atom, a. London: Atom, b. Breaking Dawn.
London: Atom, Parody, Clare. Regis, Pamela. It is a consumable object in a consumer-capitalist economy and func- tions successfully as such. It is also a vehicle for further consumable items both directly related to the franchise and in a wider sense. It regularly features high-tech phones, gadgets, cars and so forth that, though not directly related to the show, are nonetheless showcased within it. It also has its own array of purchasable products directly connected to the series such as calendars, spin-off books, and posters.
In short then, the text operates within a web of complex consumer-driven relations. This context however does not preclude discussion of those very relations in the text, or in the case of The Vampire Diaries, discus- sion of some of the implications of those relations for the subject and the idea of subjectivity in the context of 21st century consumer capi- talism.
Though The Vampire Diaries has an explicit function as a piece of consumer culture and carries the limitations and expectations that go along with this function, it may be read as simultaneously mani- festing a reflection of contemporary cultural anxieties.
Beginning as an architectural movement reacting against modernist brutalism, postmodernism is partly an aesthetic characterised by an invocation of older forms using pastiche and irony. Damon : Uh, I miss Anne Rice, she was so on it.
Damon : Because I live in the real world where vampires burn in the sun. TVD S1E4 There is also a self-consciousness of the conventions of genre in the text typical of a postmodern style.
Here Katherine flags the expecta- tion of romance conventions when she says to Stefan: You hate me huh? That sounds like the beginning of a love story Stefan, not the end of one. What are you up to? This breakdown marks the end of the Enlightenment universalist project. Connected to this breakdown is the breakdown of hierarchies of culture making the aca- demic study of popular culture itself possible.
This collapse of divi- sions between high and low culture is informed by a questioning of the foundations upon which hierarchies of taste are formed and the particular gender, class, and racial interests that are served by such hierarchies. Issues relating to subjectivity are taken up in the television series explored here in particular through conventions associated with the romance genre incorporating the figure of the vampire.
In this article the term romance is used to refer to a large and diverse body of works including the tragic love story and popular romance fiction. Romance in this sense indicates a text that has a primary focus on courtship, relationships, and love, and that typically borrows tropes from fairy-tale and archetypal love story narratives. It is not as strictly defined by a happy ending as popular romance genre fiction is, though it exists in a relationship to the happy ending convention.
Romance scholarship has, until recently, been broadly polarized into two camps, one that condemns romance fiction as a tool of patriarchy and another that celebrates the subversive poten- tial of women-centered cultural space. Most of these studies share an approach to romance that flattens out the diversity of romance texts. This situation is in the process of being remedied by a movement in romance studies that advances beyond ill-founded generalizations of a genre that includes such a wide variety and volume of texts, towards more text-specific studies that cumulatively add to knowledge of the romance genre in all its particularities.
For the purposes of this analysis it is fruitful to consider some common focus points of romance stories that are drawn on in The Vampire Diaries. In this text the romance genre convention of a central heroine involved in romantic adventures with hero es is fulfilled and used as the ideal narrative ground in which to explore boundaries of self. The heroine, Elena Gilbert, is seventeen years old at the beginning of the series. Her well-appointed home and comfortable lifestyle no mention is ever made about money worries or problems marks her as relatively wealthy.
Her everyday style is laid-back.
In this way Elena occupies a position both ordinary and extraordinary. Fulfilling one of the classic tropes of coming-of-age stories including romance, the heroine is an orphan. The activities she once found pleasure in, like cheerleading and socialising, no longer hold the same appeal.
Her former boyfriend is no longer of any interest to her, other than as a friend. She cannot seem to fit back into the life she had before experiencing loss. Each of its fast-paced storylines revolves around conflicts beginning and ending in the con- fines of these social structures. The heterosexual couple is ubiquitous. Every major character is part of at least one romance. In this way it is the couple that is central rather than an individual couple.
The heroine with the attention of two love inter- ests is a feature of much romance, and a particularly central feature of the currently popular vampire romance stories.
Both Stefan and Damon love Elena. Elena is in love with Stefan and is confused about her feelings for Damon. This dynamic provides the central love story of the series and the central themes explored of intimate partner dynamics, family bonds, and the place of the subject in a commu- nity both present and historic.
I did. Layering of images that contaminate each other is an ongoing feature of the series. Stories of all kinds, historical, mythic, local, and per- sonal, are frequently discovered as falsified or cover-ups.
In this way the viewer is taught to question the validity of any story and the sta- bility of every character. The family in The Vampire Diaries is both nuclear and ancestral. It is populated with dysfunctional parents. The inadequacy of the older generation is highlighted in their approach to the monstrous.
The only hope for them is in the learning experience they may be afforded through their children or the sacrifices they may be allowed to make for them. I failed in that task. And because of my prejudices, I failed you. Family ties are represented as powerful and far- reaching through time.
Rebekah describes the uniting force amongst her siblings of the shared fear of their father: He frightens us all. That is why we stick together as one, always and forever. TVD S3E8 This family is often dysfunctional and a place of resentments, jealou- sies, and pain but it is also entirely unavoidable and inescapable.
It is something that must be contended with and whatever pieces of love in it must be salvaged and made the best of: Rebekah : The Salvatores may fight like dogs, but in the end they would die for each other. At least they know what family means. The Original Family forms the basis of the vampire community, while the founding families of Mystic Falls still maintain the local human community in the 21st century.
Power here is local and famil- ial. Though it may travel around the world and through many guises it is ultimately the family unit that controls power and the family dynamic that determines it.
In fact family bonds and connections are central to every storyline of the series. TVD S3E8 Given the level of dysfunction and difficulty associated with the family in The Vampire Diaries, it follows that the operation of power in the community is equally incendiary.
In the seminal work Our Vampires, Ourselves , Nina Auer- bach wrote that we create the vampires we need at any particular time in history, and as our society changes so do our incarnations of the vampire Thus the vampire has come to be read as a reflection of ourselves and as such may tell us 14 Mary Bridgeman something about the particular fears and anxieties of a society at a particular cultural moment. In keeping with the current vampire vogue he is in fact a most desir- able romantic hero.
This throws into confusion the older demarca- tions of the human and the monstrous.
In a completely new story written specifically fo… More. Want to Read. Shelving menu. Shelve Matt and Elena: First Date.
Want to Read Currently Reading Read. Rate it:.
Here's another peek into Elena's past with Matt,… More. Tenth Date On Wickery Pond. Book 1. The Awakening by L. A Love Triangle of Unspeakable Horror Elena Sear… More. Shelve The Awakening. After Hours by L. This is a story about the first time that Bonnie… More.