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Nathan Young

Nome attore: Robert Sheehan
Data di nascita: 07/01/1988
Nome personaggio: Nathan Young
Protagonista: si
Doppiato da: Gabriele Patriarca
Video su DimensioneTV: No
Frasi celebri:-

Alisha Bailey
assistente Sally
assistente Tony
Curtis Donovan
Kelly Bailey
Nathan Young
Simon Bellamy


• American Horror Story
• CSI: Las Vegas
• Dexter
• Dr. House M.D.
• Eli Stone
• Fringe
• Heroes
• I Griffin
• I Simpson
• Lost
• Mental
• Misfits
• My Name is Earl
• Nip/Tuck
• Person of Interest
• Prison Break
• Scrubs - Medici ai Primi Ferri
• Supernatural
• Terminator: The Sarah Connor Chronicles
• The Big Bang Theory
• The Mentalist
• The OC
• The Walking Dead
• Unforgettable


INTERPRETATO DA: Robert Sheehan (07/01/1988)
DOPPIATO DA: Gabriele Patriarca

Nathan Young è un agglomerato di gioventù caotica, buoni e cattivi sentimenti, di contraddizioni, di simpatia e di goffaggine.

Il ragazzo nei primissimi episodi della serie viene sbattuto fuori di casa dalla madre, poichè quest'ultima non sopporta che continui a criticare qualsiasi cosa faccia e perchè vuol cominciare ad avere una relazione con il suo nuovo compagno (che Nathan non approva assolutamente). Così lui si trasferisce a vivere al centro sociale.

Ha un pessimo rapporto con il padre, poichè lo accusa sempre di essersene andato e di non aver mai fatto nulla per lui. E' proprio la mancanza di una figura paterna stabile ad averlo fatto diventare così impulsivo e allergico a quasi tutte le persone (si noti infatti che mentre vive al centro sociale da solo, si trova benissimo). Comunque nonostante la scorza dura è un ragazzo di buona natura, che riuscirà a far pace con la madre (accettando il suo nuovo partner) e con il padre.

Con i suoi amici del centro sociale si comporta in modo caotico: Nathan infatti preferisce sempre prendere le situazioni di petto ed essere sempre al centro dell'attenzione, sia per divertimento che per autodifesa. Infatti ci sarebbe poco da stare allegri, sapendo di essere un ragazzo disadattato, senza istruzione e senza un futuro davanti a se.

Simon Bellamy è uno dei suoi bersagli preferiti per le prese in giro; tuttavia anche con lui finirà, in certi momenti, per essere tenero e rassicurante. Ha un'attrazione nei confronti di Kelly Bailey, che quest'ultima però non contraccambia (lo ritiene solamente un amico).

Per tutto l'arco della prima stagione cercherà di capire quale sia il suo super potere. Lo scoprirà proprio al termine del sesto episodio: l'immortalità. Nella seconda stagione si scopre inoltre che ha la capacità di vedere i morti; probabilmente questa sua dote è una conseguenza della sua condizione di immortale.


EMAIL: (opzionale)

24/02/2015 - 03:15 - FEBRUARY 29, 2008 - 12:03 PM SCRIVE:
february 29, 2008 - 12:03 pm as an avid yelper, this feature would alaltucy get me to use yahoo! more frequently. it's going to be very interesting to see what other plug-ins are developed once yahoo! officially opens it up. this has the potential to make the search page much more informative, while keeping the look and feel of the page in the control of the user (opt in plug-ins). good move by yahoo!. http://ptowilb.com [url=http://jjdhtcs.com]jjdhtcs[/url] [link=http://iunixmur.com]iunixmur[/link]
cont ...pearson's observation is a litlte troubling regarding just how post-modernist lost really is. pearson is arguing, programmes like lost or sopranos pursue particular narrative strategies which impose frames of psychological portrayal on their characters. the motivation for the fragmentary and fluid representation of characters' pyschological traits in lostmay have less to do with an adherence to post-modernist ideas, than with narrative premise. the focus on character development found in lost may have more to do with the writers' control of the show, and their desire to remian true to the narrative demands. compare lost's characters with the depthlessness of tim burton's willy wonka, whose portrayal by depp is described as a perfect postmodernist character, all surface and no depth, his entire life consisting of his economic function as a designer and producer of sweets (see keith booker, postmodern hollywood). to be precise, post-modernists embrace the notion of the fragmented subject, essentially the creation of the subject through intersubjectivites. the self is as depthless, jameson writes, as an andy warhol painting; it is a mask which is replaced with another mask and so on. narratives of the past become mere representations without depth. as a consequence who the subject is becomes decentered. is that the case with lost. consider how lost uses flashbacks as a means of generating character background.lost, with its almost obsessional psychotherapeutic (is the island a location on which to work out daddy issues ) representation of individual flashbacks pursues a more traditional idea of subjectivity. intersubjectivity is there in the form of family dynamics, but whether the writers of the show have presented these flashbacks as an argument for understanding the characters depends on how we as viewers interpret those flashbacks. for instance, flashbacks are intrusive in the narrative flow (post-modernist), they convey an intention of advancing the story on the part of the writers placing them where they do (conventional), they are cumulative in conveying explanations (conventional), they may be inaccurate being based on the subject's point-of-view (post-modern). is lost's use of flashbacks any different than that in casablanca? aside from the woosh sound indicating a flashback (and isn't that woosh just an alternate for the dissolve of the traditional flashback), it seems lost uses the flashback for much the same reasons we see in casablanca, to resolve a narrative enigma (for casablanca see james morrison, passport to hollywood).if lost is not postmodernist at its heart in its handling of characters, it truly is so in its representation of them. just as in the matrix, main characters are shown on-screen as images, revealing the illusion that is the matrix or max headroom, so, too, we see many of the losties on screens being observed. these moments raise the question of the projection of an illusion of reality and reality, itself. the most well-known of these plato's cave being the pearl. as opposed to the various csi programmes, which adhere to the belief the world can be objectively known through reason and science, lost distorts this assumption by positing a dickian world akin to total recall in which subjectivity is integral in interpeting reality. to put it in darko suvin's words, lost is successful at creating cognitive estrangement in its audience.
cont ... tony magistrale writing on stephen king's the shining (my rreceenefs are to kubrick's film), likens many features of king's novel with total recall, finding in king's work a post-modernist impluse. the schizoid qualities of quaid's mind reach into jack's mind, and the labyrinthine world of total recall parallels the labyrinthine corridors and gardens of the overlook hotel. the claustrophibic atmosphere in the film is accentuated by mirroring of images, and characters, even reversals, such as redrum. what is of interest for lost, is the association of mirrors being present in a scene whenever jack (nicholson) talks with a ghost. the alternate reality of mirrors, is emphasised when danny tells jack he saw tony way down in the mirror, and then he went through, a reference to alice in wonderland. in both total recall and the shining, protagonists fall through the mirror surface of reality into worlds that operate by seemingly nonsense rules. those rules, like the metaphor of the labyrinth in the shining, emplots the narrative towards some ending, some hoped for meaning. it is significant that total recall ends with the glass barrier of the station shattering, and our world (symbolized by air) rushing into the martian environment (mars no longer becomes an other world, but is completely colonized by the production of air via an alien technology). in the shining, jack's frozen face expresses the kurbrick stare, a modern representation of kurtz's last words, the horror! the horror! either option is open to the ending of lost. yet, let's linger again on the question of the mirror, since that is significant in lost.here we come to a central premise of post-modernism, the saussurean distinction in language between the signifier (sound-image) and the signified (concept), what andrew goodwin calls sliding signifiers. with the mirror, our ability to distinguish between the real and representation dissolves, just as alice cannot distinguish between the wonderland world and her own world. in making her way through wonderland, alice has no real understanding of the rules governing this world, and indeed there do not seem to be any sensible rules. but the world of wonderland does have rules of cause-and-effect which can be understood. rules direct players, such as alice, towards the meaning of things. but what if there are only rules, without guidance towards meaning? in post-modern language, the world becomes a simulacrum, a surface of images represented in a fragmented scheme. if lost truly is post-modern at this point, then examination of surfaces are one of the best entries into lost post-modern identity. a good example of the simulacrum (the representation of reality) in lost is the book. we all know the rules of books books contain meanings that are relatable as facts to the world (they make the world meaningful). but what if this code of books is unsettled or disturbed? what if books are only reflections of the world, in the sense of being fragmented doubles of things in the world? the we might be in a play of surfaces, where the meaning in one book refers to another, and yet still to another without end. borges describes in a short story an infinte library of books, that include all books and even those where one letter is changed. lost's library of books echoes borge's library of babel by not only acknowledging a host of books, but also implying a host of unseen books. bioy casare's the invention of morel serves as a intertextual reference to borges himself, to h. g. wells' the island of dr. moreau, to kafka, all relevant to understanindg lost.
cont ... the problem i have with books aipearpng on lost is that despite their implicit service to audience's understanding plot points, in fact many of these books have confounded resolving the storyline. tracing out the various novels' plots, deciphering the importance of themes, and recognizing character parallels, has only led to an endless maze without an exit (if sartre's notion of hell is other people, lost's notion of hell is other books). in the post-modern age of smart phones etc., basically of electronic surfaces, lost construsts its background world retrogressively. and the show does this self-consciously in its presenting books as doors to understanding.' the visual rhetoric of lost challenges post-modernist claims; however, the world outside the show's frame is post-modern (args, blogs, alternate videos). there is a reliance on those technologies most associated with the post-modern world by the showrunners at comic con and online. even before seaosn 6, mirrors framed images of characters. mirrors allow characters to confront themselves as other, as object seen by other people. the mirror questions the reality of the world, while at the same time recreating an image of the world. stephen king's dolores clairborne (film) uses mirror imagery, especially when dolores smashes a window which holds her reflection as it breaks (interestingly, dolores' daughter, selena shows a neck scar, a sign of the inescapability of the past, see mark browning, stephen king on the big screen). carrie also shatters her bedroom mirror, an action of empowerment. lost also uses mirror images as moments of stasis. juliet tries to collect herself before the mirror, to repose her appearance in order to achieve a more bouyant mood. while the mirro may allow for internal reflection, mirrors also create copies, images that are recognizably like us. blade runner plays on this concept using replicants who are mirror images of other replicants, without a seeming original. extending this to the reality of the world, we begin to see how viewers of lost might see the show as only a representation of reality.some early theories of lost were that it was a computer-generated reality. but if that were the case, there would still be an outside' still awaiting the losties, a territory (reality) in contrast to the simulated reality (map). in braudillard's version of post-modernism, the real has been replaced by electronic versions that they are no longer models of the real, but have replaced reality (a post-modernity in which maps only refer to other maps). lost is however, more than just a confusion over appearance and reality, as the theory of a computer-generated reality suggests. unlike the matrix, which despite its pretensions to post-modernism, is closer to a traditional movie with a quasi-religious messiah and romantic undertones, lost undermines any possibility of understanding reality. but in what way?let's consider those flashbacks, once more. in season 5, we finally got to see jack's flashback of the famous monologue of 5 seconds and fear. in this flashback we see that what we had assumed to be true was a mere illusion, a rewriting on the part of jack. but the question arises, from whose point of view was that flashback? initially we thought it was jack, as previous flashbacks had focused the camera on the character whose flashback was being presented. but suddenly, christian comes into the frame, and we acknowledge his role, which had been ommitted in the monologue. it is at this point the pov changes to christian. similarly, outside the operating room, the pov shifts once more to jacob. each of these shifts reposition our beliefs, and we conclude our understanding of jack depends on other subjectivities interpreting him. with this revelation in hand, viewers have to go back to reexamine earlier scenes in the light of alternate points of view conveying meaning.
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