n untested and unfolding social reality in their midst—widespread black freedom—and to guide its trajectory going forwar

fthenarrativeistheslavecharacterSampson,whoseactsofheroismandself-sacrificesignifytheimportanceofblackpeopletothefoundingofthe|Americanrepublicand,somewhatmoreobliquely,suggestthattheirper-petualsubordinationtotheirwhitecounterpartsisnecessaryfortherepub-|ticsongoingwelfare

prospero

Greece”

Posthumus Leonatus

IGONE OF SHAT

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DIRT

u want me to call you Yazen or Alex

arantella

ofNourain2018WorldpremiereproducedbyShakespeareTheatreCompanyArtisticDirector:MichaelKabnExecutiveDirector:ChrisJenningsOriginallyworkshoppedanddevelopedwiththeLaboratoryforGlobalPerformanceandPoliticsatGeorgetownUniversityintheDavisPerformingArtsCenter,directedbyDerekGoldmananddramaturgybyMayaE.Roth.NourawasfurtherdevelopedatMcCarterTheatre CenterwithintheirLABplaydevelopmentpr

understand your need for life. Not outside you like an opportunity—inside you, building lungs, building feet, eyes. You needed to make life, Becauseeverything else inside you is

Alex.

ellFresh Direct you wereaChristian,immigrant from Iraq.

ikesheowes nobody.

ever thoughtIwouldbelonely.It’sthehardest thing about beinghe

lex,

Oh yeah, I don’t know what word is worse, “Aliens” is rough, but “dreamers” is actuallymore brutal, cause the DREAM Act never made it into law, so DREAMers are pretty muchfucked.

, I have a love and hate relationship with this city. Actually, with the entire countr

have to learn to be of this place, Medea. Learn how to be American. All of this Two men, stand and look at us. barrio is going to look very different very soon. So should you. Dress like them. Learn They are like us, but they are also them. Narcos. to talk like them. Be like this place. And you will see, we can be in charge, for onc

astorememberwhoheis.

on’t wantitto feel likeaprison.Iwanttolovein thisyard and makeit aMedea Never. special place for us.

racias?

crifice.

et’s put a curse on her

Oh, by the way, call me by my American name—Josie. I am trying to get Tita No me digas. used to it

re is your Donovan? Hason Callate! Seriously, Medea... Acan Mami said I could

Your bird

alons or wings.

iejita,

ojan Women: A Love Sto

Troy

er her body. Her blood had splashed and made stains on my shirt. And she hadpieces of wood stuck in her.CHORUS MEMBER 3, SEIWhen the blast came, my friend and I were blown into another room. WhenI came to, I found myself in the dark. I was wondering what my family were doing.I found that all the houses around had collapsed for as far as I could see. Then, Ilooked next door and I saw the father of the neighboring family standing almostnaked. His skin was peeling off all over his body and was hanging down from hisfinger tips. I talked to him, but he was too exhausted to give me a reply. He waslooking for his family.HECUBAWhy was this done?[Andromache rushes down front and picks up a microphone, tries to speak. Shecannot. Puts down the microphone and retreats upstage.]EISAWhen I looked down on the town from the top of that hill, I could see that the citywas completely lost. The city turned into yellow sand, the color of the yellow desert.The smoke was so thick that it covered the entire town. Then fire broke out hereand there. And then the rain fell heavy for several hours—black and sticky rain.When it fell on trees and leaves and people's clothes and hands, it stuck and turnedeverything black.VALERIEWe were on the bus. I had been holding my son in my arms, the young woman infront of me said, "I'll be getting off here. Please take this seat." We were justchanging places when there was a strange smell and sound. All of a sudden, it wentdark and before I knew it, I was outside. I was holding my son still, and I lookeddown at him. Fragments of glass had pierced his head. Blood was flowing from hishead over his face. But he looked up at me and smiled. His smile has stayed gluedin my memory. He didn't understand what had happened. And so he looked at meand smiled at my face w

et it goes on without end.Yesterday, between one streetcar stop and the nextsix people were killed, twenty wounded;two mortar shellskilled five children and wounded twenty;these are the reports we hear;we don't know if that is the extent of it;People are shot and killed every

lascivious

No.

MENELAUS

e afraid they'll say something they didn't mean to say,because sometimes they don't think so fast,and they'll get dumped

urse, I have to admitI'd have liked to live a little longerI mean there's a lot I don't know yet.Like: why do guys insist on driving?And how come they call on Friday to ask you outfor Friday night?And why do guys hate to get dressed up?How come they don't like to talk on the phone?Why do guys drink out of the milk carton?And how come they like to play air guitar?Why is a guy who sleeps around a studbut a girl who does is a slut?

don't feel sorry, mother,it's my fate.If you have an eight for a namethen you can have an eight and a fouror an eight and a thirteenyou come to combinations of 21,or threeyou know then that's your fate.I might have had a ninebut if you believe in numerologyyou know you don't choose your numbersthey're given to youand you learn to accept th

blood racingThey'd like to feelthe impact of two or three more

hat when this ship leaves the shoreit carries with itone of the Furie

One day, when I lie dead cold and nakednext to my husband's tombpiled in a ditch for animals to rip and feed onbeaten by the storms of winter,you, too, you will be lying in some mud pitor buriedsomewhere no one will rememberor give a shitwhat you've done long since forgottenunless some bitch strings you upbefore thatwith hoods and gags and blindfolds

When they came the first time,I think I must have beendown alreadycrawling on all foursthinking only of myself agai

This is a doll

I wanted to take him right inside meor suck his cock

dead doll

here are no victors

ecuba.I beg your pardon.My name is Talthybius.I come to youas a liaison from the Greeks.And with my—sympathies—to you and your compatriots.My regrets I must find you in this:condition

Bill and Ray Bob

I was sitting in a box at the opera,dressed in a new gown.

Look what I have lived to see before my death

es Saint Laurent

Berlioz

qieg uefoxz

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s not to say that Orientalism unilaterally determines what can be saidabout the Orient, but that it is the-whole network of interests inevitably brought to bear on (andtherefore always involved) any occasion when that peculiar entity “the Orient” is in question.

Orientalism can be discussed and analyzed as the corporate institution for dealing with the Orient-dealing with it by making statements about it, authorizing views of it, describing it, by teaching itsettling it, ruling over it: in short, Orientalism as a Western style for dominating restructuring, andhaving authority over the Orient.

AN ANIMALISTIC SNARL

A PIERCING SCREAM

SOUTH FLORIDA

That’s what she said.

s Amy struts through them, the bar simmers: boiling energy before a brawl.

Amy has grown into the manic pixie dream girl every Ben Affleck movie wishes it had. If Elizabeth Taylor conceived a love-child with Whitey Bulger on a Southie strip-club floor.

A THUNDER CRACK. It starts to POUR.

Grabs her heel. Peels off. Down a shoe, Patricia hobbles across Park Avenue.

The town-car tears off. Hitting every. Damn. Green. Light

(PRE-LAP)

BONNIE COHEN (45, cracked the human genome, but so squirrely and eager to please you’d never know it). JODY KWON (48, sharp-tongued, jaded, working mom with a good heart and control problems: she’s a film agent). JODY SILVER (48, very pretty, very ditzy, very empathetic Southern Belle), currently HYSTERICALLY crying

was

Venmo the swear jar, Eloise

we jump back in time

Tell your boytoy Cullen

ya wicked pissa

We BLAZE through the foyer, out th

HAMPTONS

Instead of focusing on the complexityof trauma and thinking it as a shared condition within a kinship network, fans andcritics often focused on the humanity of Walt as a timeless case which testified to howtraumatic injury to the white man is paradigmatic to the human condition.

What makes the show work, on these views, is Walt’s lack of “common cable-leading-man ...charisma and impulsiveness. Walt is reserved and uncomfortable ...theordinary guy in the ugly plaid shirt”(Havrilesky, 2009). Critics render these details assigns of Walt’s humanity rather than his toxicity. Can one imagine critics heapingpraise on a black, drug-dealing, wife-raping protagonist? These appraisals treat white mas-culinity as sympathetically contingent rather than strategically abject, while at the sametime suggesting liberals and conservatives share sympathy for Wa

Critics were not only rape apologists, but asserted that Walt’s predicament was quin-tessentially huma

Critics figure Walt’s act of sexual as violence as a natural consequence of ambitionsthwarted. Such a rendering tacitly asserts the authority of white masculinity in thehome while displacing economic and political problems that blur the boundariesbetween the private and the political. The home, like so many other spaces, is no longersafe for white masculinity.

story as deep, and essentially human. An investment in white, wounded masculinity holdstogether this varied audienc

he show does not mandate this reading, of course; depiction is not endorsement.Creator Vince Gilligan figured the driving notion behind the program was to “turn Mr.Chips into Scarface”(Sepinwall, 2008), and textual elements of the show itself invite con-demnation of Walt’s behavior.

Labeling the show “painfully realistic,”Goldberg also says thatchoice is the show’s central theme, and that freedom to choose without consequences isa “freedom devoid of conscience”is a vision of evil.

That allegories maintain but conceal certain shared investments may explain why criti-cal acclaim for the show intensified even as Walt becomes more noxious. The show’scapacity to allegorize various dimensions of the post-2008 crisis as one of white masculi-nity blocked viewers from drawing political connections with the text that might interrupttheir enjoyment of Walt’s highly objectionable character. He is explicitly raced and gen-dered: following cancer treatments he resembles a skinhead. He allies with a white supre-macist biker gang to engineer a series of brutal prison murders, and kills many foreignLatin@ and feminized figures to consolidate power. Walt’s Heisenberg is generatedthrough acts of violence, resembling Slotkin’s ( 1992) “‘man who knows Indians’—agent of ‘White’civilization ...so intimate with the enemy’s way of thinking that he candestroy that enemy with its own weapons”(p. 431

Walt seeks unconditional recognition for his sole chemical genius from both consumersand co-workers, especially under his nom de guerre, “Heisenberg.”Over the course of theshow Walt accrues wealth but rarely spends extravagantly, suggesting money matters tohim only as proof of his genius

The plot of BB centers around Walter White, a high school chemistry teacher, his wifeSkyler, their son Walt Jr., their in-laws Marie and Hank (a Drug Enforcement Agency(D.E.A.) agent), and Walt’s cooking partner, Jesse, a former student. After a cancer diag-nosis, Walt turns to cooking meth to leave a nest egg for his family, but as the show pro-gresses Walt turns down other financial opportunities because he enjoys cooking. Walt isnot only good at it—his “Baby Blue”is the purest on the market—but it fulfills him in away “ordinary”life does not. Indeed, the pilot episode of the show gestures at the gapbetween Walt’s talents and his achievements: viewers catch a glimpse of a Nobel Prizein his office (Gilligan, 2008), suggesting the unrecognized brilliance that motivates himlater.

The rapid emergence of “a strategy of massive resistance”toObama “on the part of his Republican opposition”detailed by Coates (2012) resonatesmore starkly in the context of national worry which could neither deny the role of power-ful white men in the economic collapse nor rely on the presidency as metaphysically“white.”

Evennominal attempts to attack the charismatic, white masculinity of Wall Street stumbleover their own investments: for example, cultural commentary often fondly remembersWall Street’s villainous Gordon Gekko for his charisma, not his corporate raiding

However, itis not enough that stories like 8 Mile resolve with a white, male protagonist on the topof the heap: for whiteness to deliver its promised universality on imaginative terrainsteeped in neoliberal expectations of individual heroism, narratives often representwhite men as uniquely and specially gifted

Political commentary and cultural texts routinely trade in the common sense of whitenesswithout acknowledging the particular positionality of those viewpoints.

context of the Obama-era. Third, I closely read three scenes—two regarding Walt’sdemands for recognition and one his rape of Skyler—to demonstrate a resonancebetween Walt’s investment in his own genius and broader societal discourses of individu-alism. Fourth, I survey the show’s critics to demonstrate the shared liberal and conserva-tive investment in the show.

This essay proceeds in four steps. First, I discuss white, masculine victimage, and thegendered racialism of neoliberalism. Second, I discuss the economic and political

o illuminate the politicalstakes of certain popular texts

Celebrations of white masculinity attempt to compensatefor this dual instability, offering moral alibis for the exceptional violence of America whilesimultaneously figuring white men as marginalized in their own right. Producers, consu-mers, and readers of cultural texts work together to generate narratives about traumatizedmasculinity—narratives that include implicit understandings of American personhood aswhite, male, and economically productive—to avoid confronting awkward truths aboutwhat being “American”really entails.

llegories may offer pathways for viewers and critics to maintain plausibledeniability regarding their own morally suspect ideological investments. Further, the con-temporaneous nature of BB’s plotting and popularity to significant socio-political uphea-val indicates that allegories help render an unstable present—not just the past—safe andnon-threatening.

Reading the show as anallegory, I demonstrate that it offered a pathway for viewers tomaintain investments and commitments to a toxic, whitemasculinity threatened by 2008’s economic and politicaldislocations.

B distinguished itself from its competitors by offering a pathway for the repetitive,allegorical enactment of trauma by metonymizing the financial crisis and the election ofObama as crimes against a white, male American body politic displacing the challengethose events posed for white masculinity.

t Plato's intellectualism is ideal, as he himself stresses. The State and the moral agent he describes are, dogmatically, the ideal; but they are impossible

nd he is committed to traditional morality only so far as traditional morality coheres with individual happiness.

Thus the agent who knows what he or she is doing will act virtuously, knowing that such action will produce happiness. It follows that 'no one does wro

. He who fails to get good results, therefore, is still ignorant, and so acting involuntarily.

lato concludes, therefore, that over and above sensible objects there exist entities that give absolute understanding of values. These are the Forms, cognitively reliable, pure instantiations, or absolutes, of value. Th

hese cues triggermoral disengagement strategies in the viewer, thereby alleviating the need for viewersto morally scrutinize the lead character’s questionable actions. We contend that theStudy 3 findings lend some initial support to this claim. For persons viewing narrativescontaining moral disengagement cues, moral considerations played a relatively minorrole in their enjoyment compared to those who viewed the same narratives withoutcues. Enjoyment between the conditions was statistically equivalent, b

a relaxing of morality for the sake of enjoyment might devalue allnarratives. Or that they may lead viewers to morally disengage more often in reality.Or that they may teach viewers to value a wholesale ‘‘ends justify the means’’ approachto all moral quandaries. S

Dispositions toward antiherocharacters—at least those held by viewers familiar with the ge

The moral expectation that virtuous heroes should be rewarded and immoralvillains punished leads to anticipatory emotions in line with those expectations.Moral evaluation of the outcomes portrayed, especially in terms of expected justicerestoration, governs the enjoyment we experience

are overcome because the fans have come to understand and expect thatthis is the way antihero narratives work

hese findings are in obvious contradiction to the predictions of ADT andtypical hero narratives where enjoyment consistently increases with positive ratingsof attractiveness, morality, and sympathy, which is what Janicke and Raney (2011)reported for nonfans

In a study of the television show 24, they found that fans likedthe antihero protagonist Jack Bauer and enjoyed an episode significantly more thannonfans. They also found that fan enjoyment increased (as expected) in relationto feelings of sympathy toward Bauer. However, they (unexpectedly) found thatenjoyment increased the more unattractive and immoral the fans rated Bauer. Thus,fan enjoyment increased the less attractive, the less moral, but the more sympatheticthey found the protagonis

noted above, some entertainment theorists have attempted to overcome thelimitations of ADT by suggesting that viewers of antihero narratives develop storyschemas over time, thus explaining how character liking and enjoyment can developin spite of the immoral actions of the protagonists.

The primary difference is found in the disposition-formation process.

which we start developing from early childhood

As Mandler(1984) noted, story schema are mental representations containing expectations abouthow a narrative is internally structured and how it will unfold.

Raney (2004)questioned the basic ADT assumption that viewers of drama always form theirdispositions toward characters through moral judgment of motives and conduct.He proposed that viewers can form positive dispositions toward characters wellbefore any moral scrutinizing occurs.

That is,strictly following the ADT formula, it is reasonable to expect that Zillmann’s moral-monitoring viewers would disapprove of an antihero’s actions and motivations,thus hindering liking and ultimately decreasing enjoyment

As protagonists, antiheroes display qualities of both heroes and villains (Lott,1997); acting in morally ambiguous, and at times unjustifiable ways, if even toreach noble goals

Moral justification for our emotional side-taking can be achieved through favoringthe goodness of the protagonist and rejecting the wrongness of the villain

enjoyment is a function of a viewer’s emotional reactions to (a) characters,in the form of liking; (b) the successes and failures the characters encounter as thestory unfolds, in the form of anticipatory hopes and fears; and (c) the ultimateoutcomes experienced by the characters in the narrative resolution, in the form ofpleasure or enjoyment

The purpose of this article is to provide empirical evidencefrom three studies in support of this speculation.

Narratives featuring antiheroes are more abundant than ever on the entertainmentmedia landscape. Some of the most popular television shows and films of recent yearsfeature these morally complex (or ambiguous) protagonists: 24, Dexter, Mad Men,Breaking Bad, V for Vendetta, Kill Bill, Sin City, and Watchmen, to name just a few.

the findingsindicate that moral judgment may be less important to antihero enjoyment than ADTwould predict, that previous exposure to an antihero narrative alters responses to similarnarratives, and that moral disengagement cues impact the enjoyment process. Ultimately,the studies offer empirical evidence of how antihero narratives are enjoyed differently thantheir traditional hero counterparts.

Arguably, this sense of performance is imbricated in Phelan’s phrasing – that performance ‘becomes itself through’ disappearance. This phrasing is arguably different from an ontological claim of being (despite Phelan’s stated drive to ontology), even different from an ontology of being under erasure. This phrasing rather invites us to think of performance as a medium in which disappearance negotiates, perhaps becomes, materiality. That is, disappearance is passed through. As is materialit

ays in which performance, less bound to the ocular, ‘sounds’ (or begins again and again, as Stein would have it), differently, via itself as repetition – like a copy or perhaps more like a ritual – like an echo in the ears of a confi dence keeper, an audience member, a witness

hen we are challenged to think beyond the ways in which performance seems, according to our habituation to the archive, to disappear1

To the degree that it remains, but remains differently or in difference, the past performed and made explicit as (live) performance can function as the kind of bodily transmission conventional archivists dread, a counter-memory – almost in the sense of an echo

omiciliation

when accessed in radically different venues or via disparate media

This is not to say that we have reached the ‘end of history,’ neither is it to say that past events didn’t happen, nor that to access the past is impossible. It is rather to re-situate the site of any knowing of history as body-to-body transmission. Whether that ritual repetition is the attendance to documents in the library (the physical acts of acquisition, the physical acts of reading, writing, educating), or the oral tales of family lineage (think of the African-American descendents of Thomas Jefferson who didn’t need the DNA test to tell them what they remembered through oral transmission), or the myriad traumatic reenactments engaged in both consciously and unconsciously, we refi gure ‘history’ onto bodies, the affective transmissions of showing and telling18.

death of the avant-garde, death of modernism, and even, in Suzan-Lori Parks’s brilliant and ironic rendition, Death of the Last Black Man in the Whole Entire World (1995). Within a culture that privileges object remains as indices of and survivors of death, to produce such a panoply of deaths may be the only way to insure remains in the wake of modernity’s crises of authority, identity, and object. Killing the author, or sacrifi cing his station, may be, ironically, the means of ensuring that he remains

Elsewhere, I have discussed this parricidal impulse as productive of death in order to ensure remains (Schneider 2001). I have suggested that the increasing domain of remains in the West, the increased technologies of archiving, may be why the late twentieth century was both so enamored of performance and so replete with deaths: death of author, death of science, death of history, death of literature, death of character

In the archive, bones are given not only to speak the disappearance of fl esh, but to script that fl esh as disappearing by disavowing recurrence or by marking the body always already ‘scandal’ (Schneider 2006)

This retroaction is nevertheless a valorization of regular, necessary loss on (performative) display – with the document, the object, and the record being situated as survivor of time. Thus we have become increasingly comfortable in saying that the archivable object also becomes itself through disappearance – as it becomes the trace of that which remains when performance (the artist’s action) disappears.

sh, that slippery feminine subcutaneousness, is the tyrannical and oily, invisible-inked signature of the living. Flesh of my fl esh of my fl esh repeats, even as fl esh is that which the archive presumes does not

esh itself, in our ongoing cultural habituation to sight-able remains, supposedly cannot remain to signify ‘once’ (upon a time). Even twice won’t fi t the constancy of cell replacing cell that is our everyday

Disappearance, that citational practice, that after-the-factness, clings to remains – absent fl esh does ghost bones. We have already noted that the habit of the West is to privilege bones as index of a fl esh that was once, being ‘once’ (as in both time and singularity) only after the fact.

And indeed, it is one of the primary insights of poststructuralism that disappearance is that which marks all documents, all records, and all material remains. Indeed, remains become themselves through disappearance as we

mmaterial of live, embodied acts. Rather, performance plays the ‘sedimented acts’ and spectral meanings that haunt material in constant collective interaction, in constellation, in transmutation

When we approach performance not as that which disappears (as the archive expects), but as both the act of remaining and a means of re-appearance and ‘reparticipation’ (though not a metaphysic of presence) we are almost immediately forced to admit that remains do not have to be isolated to the document, to the object, to bone versus fl es

viable mode of historical knowledge, or of remaining?

Do not such practices buttress the phallocentric insistence of the ocularcentric assumption that if it is not visible, or given to documentation or sonic recording, or otherwise ‘houseable’ within an archive, it is lost, disappeared?

buttress

The oral is not here approached as already an archive, a performance-based archive. Rather, oral histories are constituted anew, recorded and ‘saved’ through technology in the name of identicality and materiality. Though this ‘new’ archiving is supposedly against loss, doesn’t it institute more profoundly than anything the loss of a different approach to saving that is not invested in identicality?

enerally falls under the rubric of memory versus history, and as such it is often labeled ‘mythic.’

n the archive, fl esh is given to be that which slips away. According to archive logic, fl esh can house no memory of bone. In the archive, only bone speaks memory of fl esh. Flesh is blind spot11. Dissimulating and disappearing. Of course, this is a cultural equation, arguably foreign to those who claim orature, storytelling, visitation, improvisation, or embodied ritual practice as history. It is arguably foreign to practices in popular culture, such as the practices of US Civil War reenactors who consider performance as precisely a way of keeping memory alive, of making sure it does not disappear. In such practices – coded (like the body) primitive, popular, folk, naïve – performance does remain, does leave ‘residue’12. Indeed the place of residue is arguably fl esh in a network of body-to-body transmission of affect and enactment – evidence, across generations, of impact

archive logic in modernity came to value the document over event. That is, if ancient archives housed back-ups in case of the failure of localized knowledge, colonial archives participated in the failure of localized knowledge – that failure had become a given. The document, as an arm of empire, could arrest and disable local knowledges while simultaneously scripting memory as necessarily failed, as Ann Laura Stoller has amply illustrated. The archive became a mode of governance against memory10. The question becomes: Does the logic of the archive, as that logic came to be central to modernity, in fact demand that performance disappear in favor of discrete

In what way does the housing of memory in strictly material, quantifi able, domicilable remains lead both backward and forward to the principle of the archon, the patriarch? The Greek root of the word archive refers to the archon’s house and, by extension, the architecture of a social memory linked to the law. The demand for a visible remain, at fi rst a mnemonic mode of mapping for monument, would eventually become the architecture of a particular social power over memory9.

hegemony

As the logic goes, performance is so radically ‘in time’ (with time considered linear) that it cannot reside in its material traces and therefore ‘disappears.

chiasmically

imbricated,

the word archive stems from the Greek and is linked at the root to the prerogatives of the archon, the head of state. Tucked inside the word itself is the house of he who was ‘considered to possess the right to make or to represent the law,’ and to uphold, as Michel Foucault has written, the ‘system of its enunciability’

patrilineal,

Lifehistory theory suggests that humans generally have a slower life strategy, althoughsome adopt a faster one

goes beyond the previous research on LHT byexamining the role of priming with an antihero on people’s sensation seeking

Sensation seeking is defined as ‘the seeking of varied, novel,complex, and intense sensations and experiences, and the willingness to take physical,social, legal, and financial risks for the sake of such experience’

they prefer immediate gratification and rewards,discounting the future to focus on the present.

LHT is an evolutionary theory that, based on their allocation ofbioenergetic and material resources for survival, distinguishes organisms into two mainlifehistory strategies: the fast (focused on the present) and slow (focused on the future)lifehistory strategies (Figueredo et al., 2005, 2006)

Carterera oil crisis, people were exposed to the worst in human behaviour. Perhaps theseincidences cast doubt upon the idealistic view that people had of humans (Kuyon, 2016;Michael, 2013 ) and led to greater acceptance of a more nuanced view of influentialpersons comprising both good and bad (Michael, 2013)

he antihero persona – an individual who is flawed, behaves heroically insome but not all situations, and does not consistently demonstrate heroic characteristicsin their interactions with others

In novels, theantihero concept has been used since Jane Austen’s 1814 novel Mansfield Park, with thecharacter of Henry Crawford described as an antihero (Lauber, 1972)

ge.' It is agreed that most of his heroes have fairly stable charac