Traumatic Seclusion in M. Night Shyamalan’s Garrison Trilogy: Signs (2002), The Village (2004) and The Lady in the Water (2006)

  • Juan Antonio Prieto Pablos Universidad de Sevilla


Shyamalan’s Signs, The Village and The Lady in the Water turn around the need to find refuge away from violence, in an updated version of Northrop Frye’s garrison motif. Absolute safety is, however, threatened by spectral, even fictitious monstrous creatures that can be defined as projections of specific traumatic situations, provoked partly by the terrorist attacks of September 2001 but mostly by Shyamalan’s own response to social violence.

Author Biography

Juan Antonio Prieto Pablos, Universidad de Sevilla
Professor Juan A. Prieto-Pablos teaches in the Department of English Literature at the University of Seville (Spain). His research interests are early modern literature and contemporary fantasy and science fiction. He is co-editor of several critical editions of Restoration comedies as well as of two volumes of the Restoration Comedy Catalogue (2014; 2019) and author of “The Ambivalent Hero of Contemporary Fantasy and Science Fiction” (1991) and “The Paradox of Suspense” (1998).


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