Abstract
This study analyzes the imagistic system of the American TV series “Teen Wolf” (2011–2017 from the perspective of M. K. Mamardashvili’s philosophical concept of transfigured forms (prevrashchennye formy). The relevance of the work is determined by the growing interest within contemporary humanities in popular culture as a field for representing and transforming fundamental philosophical and anthropological issues. The object of inquiry is the processes of internal and external transformation of the series’ key characters, examined as instances of dynamic transfigured forms. The aim is to identify and systematize the types and functions of such forms in the series, demonstrating how the mythological archetype of the werewolf becomes a multidimensional metaphor for sociocultural and existential processes. The methodology is based on comparative analysis, allowing the series to be treated as a coherent text with its own internal philosophical logic. The scholarly novelty lies in the attempt to apply Mamardashvili’s theory to the material of a contemporary television series, opening new prospects for the development of media philosophy. While this concept has been addressed by researchers such as G. T. Garipova and others, it has not previously been examined within the framework of this series. Having studied the specificity of the show’s system of images, the author concludes that the characters’ external supernatural metamorphoses project both the inner processes of personal becoming and the formation of collective memory. The significance of the study consists in deepening our understanding of the mechanisms of remythologization in contemporary popular culture and in demonstrating the heuristic potential of philosophical concepts for analyzing media products.
Keywords
Transfigured forms, M. K. Mamardashvili, Teen Wolf, media philosophy, werewolf, mythology, identity, community, memory.