Arashi (arashi_opera) wrote,
Arashi
arashi_opera

«Последний джедай» и архетипы Узурпатора и Мадонны (Святой Матери)

Ахуительное эссе про символический пласт в «Последнем джедае», с картинками, разбором архетипов and shit:

https://ohtze.tumblr.com/post/169094630983/kill-the-king-and-take-the-crown

Кто хотел про фрейдизм — там отлично разобрано. Этот юзер вообще славится своими работами, у неё ещё после TFA были очень интересные статьи. Рекомендую зело.

The good Queen, blessed with childlike optimism (because family is her forte), takes it upon herself to provide the Usurper with the love that he’s been missing. She often misjudges the exact nature of his commitment, however, and is unprepared for the consequences that follow. The Usurper proposes to the Queen—not as a child searching for a mother’s love, but as a man seeking to steal his “father’s place” for sexual communion. He admits it in the open, at long last.

His proposal is always rejected. The Queen has lots of love to give, but she is committed to creation/life. In order for her to accept his advances she must assist him in the destruction of the other male figures in her life, often violently. She won’t go there.

Unable to deal with this rejection—and realizing that other men still compete for her attention—the Usurper seizes power in an effort to keep her by his side. He kills her father figures—either those that translate to her literal father, or her husband(s)/master(s)—because he thinks this lack of competition will make him her King. Unfortunately once he seizes power the Usurper is rejected again. He has misunderstood the reason why the Queen loves him and what drives her—mainly, that she loves his internal creative aspects, not his external destructive ones.

The Queen leaves the Usurper. She doesn’t want to, but because they are ideologically opposed and he is a threat to her “children” (i.e. the higher cause/those she protects) she has no other choice. It’s a form of dramatic/tragic romance.


It’s also really important to point out that there was a metric ton of womb symbolism in The Last Jedi, and it all ties into Kylo’s latent, subconscious desire to procreate with Rey. The entire fight on Crait, for example, is one giant metaphor for him:

* Flipping the fuck out and trying to shoot down the symbol of his father’s virility (The Millennium Falcon).
* Attempting to impregnate the Holy Mother’s womb (AKA the Rebel Base, where his real mother waits) with a giant phallic object (the battering ram).
* Inseminating the womb via that giant phallic object with a golden “holy light.”
* Luke Skywalker—the prodigal son—is then birthed through a flaming, vaginal-shaped opening that comes straight out of a Freudian wet dream.
* When Kylo enters the womb of the Holy Mother—because lbr that’s where he wants to live—he doesn’t see his mother, but Rey, his intended Queen. She’s standing on this icon of his father’s virility and rescuing “children” that are not his.

I cannot make this s**t up. I literally cannot make this shit up this is why I said it was so bold—
Tags: star wars, познавательное
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