Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series

Dark is a German TV series that, despite its obsession with time travel and the end of time, portrays melancholy as its predominant emotional experience. To account for this, the article recovers some arguments from Julia Kristeva’s semiology: a theoretical conception that historicizes the meaning o...

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Autor principal: Gómez Ponce, Ariel
Formato: Artículo revista
Lenguaje:Español
Publicado: Facultad de Filosofía y Humanidades. Escuela de Letras 2023
Materias:
melancholy;
TV series;
subjectivity;
affections;
Julia Kristeva.
melancolía;
series televisivas;
subjetividad;
afectos;
Julia Kristeva;
Acceso en línea:https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43630
Aporte de:
Heterotopías de Universidad Nacional de Córdoba
id I10-R333-article-43630
record_format ojs
spelling I10-R333-article-436302023-12-19T19:41:09Z Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series Melancolía y oscuridad. Dilemáticas de la subjetividad en la serie Dark. Gómez Ponce, Ariel melancholy; TV series; subjectivity; affections; Julia Kristeva. melancolía; series televisivas; subjetividad; afectos; Julia Kristeva; Dark is a German TV series that, despite its obsession with time travel and the end of time, portrays melancholy as its predominant emotional experience. To account for this, the article recovers some arguments from Julia Kristeva’s semiology: a theoretical conception that historicizes the meaning of affects as a modality of significance that constitutes subjectivity. In Kristeva’s terms, melancholy deploys an affective semiotics that is linked to fragility of love, finding its resonances in corporality, but also in a decentred temporality that would respond to the depressive economy of postmodern culture. Netflix fiction inventively presents this melancholic pathos, not only capturing epochal breaks related to subjectivity and its way of inhabiting time, but also proposing such affect as an dark tonality that flows throughout its visuality, more specifically through those procedures of representation linked to chromaticism, temperatures and aesthetic composition. From this reading, the article seeks to demonstrate how Dark manages to make melancholy a matter of content, but also of form.   Dark es una serie televisiva alemana que, a pesar de su obsesión por los viajes temporales y el final de los tiempos, acaba retratando la melancolía como su experiencia afectiva predominante. Para dar cuenta de ello, el artículo recupera algunos argumentos de la semiología de Julia Kristeva: concepción teórica que historiza el sentido de los afectos como una modalidad de significancia constituyente de la subjetividad. En los términos de Kristeva, la melancolía despliega una semiótica afectiva que se enlaza con la fragilidad amorosa, encontrando sus resonancias en la corporalidad, pero también en una temporalidad descentrada que habría de responder a la economía depresiva de la cultura posmoderna. La ficción de Netflix presenta con inventiva ese pathos melancólico, no solo capturando quiebres epocales relacionados con la subjetividad y su modo de habitar el tiempo, sino además proponiendo a tal afecto como una tonalidad lúgubre que fluye por toda su visualidad, más concretamente por aquellos procedimientos de representación vinculados a los cromatismos, las temperaturas y la composición estética. Desde esa lectura, el artículo procura demostrar cómo Dark logra hacer de la melancolía una cuestión de contenido, pero también de forma.     Facultad de Filosofía y Humanidades. Escuela de Letras 2023-12-13 info:eu-repo/semantics/article info:eu-repo/semantics/publishedVersion Scientific articles Artículos científicos application/pdf https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43630 Heterotopías; Vol. 6 No. 12 (2023): Discourses, representations, and appropriations of the contemporary city. A look at urban habitation; 1 - 23 Heterotopías; Vol. 6 Núm. 12 (2023): "Discursos, representaciones, y apropiaciones de la ciudad contemporánea. Una mirada al  habitar urbano"; 1 - 23 2618-2726 spa https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43630/43688 Derechos de autor 2023 Heterotopías https://creativecommons.org/licenses/by-nc-sa/4.0
institution Universidad Nacional de Córdoba
institution_str I-10
repository_str R-333
container_title_str Heterotopías
language Español
format Artículo revista
topic melancholy;
TV series;
subjectivity;
affections;
Julia Kristeva.
melancolía;
series televisivas;
subjetividad;
afectos;
Julia Kristeva;
spellingShingle melancholy;
TV series;
subjectivity;
affections;
Julia Kristeva.
melancolía;
series televisivas;
subjetividad;
afectos;
Julia Kristeva;
Gómez Ponce, Ariel
Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
topic_facet melancholy;
TV series;
subjectivity;
affections;
Julia Kristeva.
melancolía;
series televisivas;
subjetividad;
afectos;
Julia Kristeva;
author Gómez Ponce, Ariel
author_facet Gómez Ponce, Ariel
author_sort Gómez Ponce, Ariel
title Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
title_short Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
title_full Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
title_fullStr Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
title_full_unstemmed Melancholy and Darkness. Dilemmas of Subjectivity in the Dark series
title_sort melancholy and darkness. dilemmas of subjectivity in the dark series
description Dark is a German TV series that, despite its obsession with time travel and the end of time, portrays melancholy as its predominant emotional experience. To account for this, the article recovers some arguments from Julia Kristeva’s semiology: a theoretical conception that historicizes the meaning of affects as a modality of significance that constitutes subjectivity. In Kristeva’s terms, melancholy deploys an affective semiotics that is linked to fragility of love, finding its resonances in corporality, but also in a decentred temporality that would respond to the depressive economy of postmodern culture. Netflix fiction inventively presents this melancholic pathos, not only capturing epochal breaks related to subjectivity and its way of inhabiting time, but also proposing such affect as an dark tonality that flows throughout its visuality, more specifically through those procedures of representation linked to chromaticism, temperatures and aesthetic composition. From this reading, the article seeks to demonstrate how Dark manages to make melancholy a matter of content, but also of form.  
publisher Facultad de Filosofía y Humanidades. Escuela de Letras
publishDate 2023
url https://revistas.unc.edu.ar/index.php/heterotopias/article/view/43630
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first_indexed 2024-09-03T21:10:17Z
last_indexed 2024-09-03T21:10:17Z
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