This paper offers an overview of a "specifically American genre" – the American jeremiad, whose origins lie in the Puritan political sermon and which, with certain historical and cultural modifications, exists to this day. This overview, like most studies of this rhetorical form, is based on the work of Sacvan Bercovitch, who established it as a genre and offered the most exhaustive interpretation of its structure and meaning to date. The American jeremiad aims to homogenize the American community, and to steer it towards a common national goal, as reflected in its three-part structure: an evocation of the ideal/the ideal state of the community, a denunciation of its current state, and an affirmation of the goal and a vision of progress. As, according to Bercovitch, the American jeremiad despite historical and social changes retains the cultural hegemony of the symbol of America, later studies have tested this thesis by looking at political speeches, public addresses, American films, etc., through the concepts of the contemporary secular jeremiad, historical, Afro-American, film jeremiads, etc., and almost without exception conclude that this symbol, in one form or another, is alive and well.

The paper analyzes the dystopian narrative of the film The Lobster (2015, dir. Y. Lanthimos) as a political act. Rather than strictly focusing on what the film exposes as problematic (romantic and sexual relationships, emotional intelligence, and love in general), the analysis examines how this problem is presented through its dystopian vision, its narrative’s trajectory and characters’ actions, with what kind of critical potential these are endowed and consequently, what kind of political message the film communicates. It does so by looking more closely at three important narrative elements of the textual dystopia: the space of the film, the protagonists, and the language. Lastly, it examines the interpretative possibilities of its open-ended structure. The analysis aims to show that the film resembles abysmally looping narrative structures through which it acquires an enclosed mythological quality that debilitates any agential potentials of the narrative, fails to provide a utopian impulse, and consequently ends up supporting status quo.

Cultural and political polarization in The United States has been a prominent topic both in social sciences and the media since the beginning of the 1990s. Whether the polarization is understood as a deep moral divide among Americans, i.e., as the culture war between liberals and conservatives, or as a superficially maintained political hostility, i.e., as party sorting between Democrats and Republicans, most scholars agree that the media sphere is deeply polarized, especially since 2016 when Donald Trump emerged as a political figure and then the U.S. president. HBO, known for its progressive cultural capital and liberal ethos, distinguishes itself in the daring narrative productions which often tackle polarizing themes of race, gender, sexuality, etc. Gothic mode or genre is among the often-employed narrative styles of its productions. American gothic, also the subject of increasing academic interest in recent decades, has been largely considered within its cultural and historical context and interpreted as a site where the nation’s historical benighted ghosts disrupt and challenge official enlightened national narratives. As HBO’s original production told in a gothic mode, Sharp Objects (2018) will be contextualized within the U.S. culture wars and analyzed as a Southern Gothic tale told from the liberal progressive perspective. The show’s narrative will be seen as a gothic journey deep into the South by a liberal heroine haunted by her conservative ghosts, who attempts to face and settle them. The paper explores the thesis that the gothic disruptive potential is of a conditional and limited impact on liberal America’s Enlightenment narrative.