Bernard mcginn interview with a vampire

Andrew White, Ph.D. Stratford University, Woodbridge Virginia, USA

I cannot thank my friend and colleague Przemysław Marciniak enough for inviting me to the University of Silesia to talk with his Department about Byzantium - a brilliant idea, but there's one problem: what on earth do we mean by "Byzantium"? The word evokes so many images, none of them very positive-which one do we have in mind?

At the moment I write this, the film industry has given us an especially vivid answer to this question-Neil Jordan's "Byzantium." In Jordan's vision, the word "Byzantium" evokes a sea-side resort packed with vampires, prostitutes, blood, murder, and of course lots of kinky sex. Jordan is already famous for classics like "The Crying Game" and "Interview with a Vampire," and this new movie features actress Gemma Aterton, whom you may remember as the star of "Hansel and Gretel, Witch Hunters" (the Grimm bothers would have loved that one) and the actor Johnny Lee Miller, who has done vampire movies like "Dracula 2000" and "Dark Shadows."

Now, you might ask: what on earth do show business, prostitution, and kinky sex have to do with Byzantium? Quite a lot, actually. On the subject of vampires in Byzantium, I must yield to the expertise of Dr. Marciniak; but as for prostitution and sex, there's plenty. (Why do you think we become Byzantinists in the first place? To look at churches?)

Today I will introduce you to one of the most famous chapters in the early history of Byzantium, the Eastern Roman Empire; I will take you back to the sixth century and the remarkable career of Theodora, a stage performer of many talents who rose to become an Empress. She's a popular subject because she started out in show business, and there are some really filthy stories about her early career in the Byzantine equ

Br u ce M cCle lla n d By W h ose Au t h or it y? Th e M a gica l Tr a dit ion , Viole n ce a n d t h e Le git im a t ion of t h e Va m pir e Sla ye r ( 1) The Am erican superhero of necessit y possesses a dual personalit y: one, like Clark Kent , t hat fit s, or t ries t o fit , invisibly int o t he ordinary fabric of societ y; anot her, like Superm an, whose reserves of power place him far beyond m ort al m en. This dualit y is a response t o an underlying, and unresolved, dualism in t he societ y in which t hese heroes uncom fort ably fit . The workaday ident it y accept s t he abilit y of ordinary aut horit y and enforcem ent st ruct ures t o ident ify and cont ain undesirable elem ent s, such as crim inals. The secret ident it y, however, t acit ly acknowledges t he lim it at ions of t hose st ruct ures when confront ed wit h t he darker m ot ives of hum an beings. ( 2) Buffy, of course, belongs t o t his essent ially Am erican m yt hological m odalit y of superhero, yet she differs from classical superheroes in significant ways. The m ost significant depart ure from t he superhero( ine) form at in Buffy t he Vam pire Slayer ( Bt VS) is t hat t he undesirables whom Buffy is chosen t o dest roy are not m ort al crim inals, and law enforcem ent agencies are not only powerless, t hey are irrelevant . Thus in t he pilot episode for t he TV series, “ Welcom e t o t he Hellm out h,” Willow naively asks Giles, referring t o t he uncovering of a passel of dem ons beneat h t he cit y, “ Shouldn’t we call t he police?” Wit h his j aded Brit ish sigh of acquiescence t o t he way of t hings, Giles candidly replies, “ They wouldn’t believe us, of course.” So here we have a shift from t he usual m yt hological pat t ern in which t he hero’s good deeds generally result in som e punishm ent of t he crim inal at t he hands of t he larger societ y. As a consequence, Buffy, t he ri

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