In certain syntheses of theory, the motive of flight has been prevalent in poetic incarnations ranging from the subversive to the epiphanic. This is certain in all theoretical discourse in the semiotic fields of literary and aesthetic theory but also very apparent when attention is directed towards dissecting the poetic image, or what Gilles Deleuze designated as the time image, because when time is presented as the primary mediator of truth, a psychoanalytic component takes center stage vis-à-vis with the unfolding of central narrativity. In a metanarrative sense, what this points toward is the realization that some schools of thought within this spectrum turns to psychological conclusions when met the challenge of temporality.
In the film “Black Swan” directed and written by Darren Aronofsky, the dialectic of flight is exposed in the main character of Nina Sayers. In her we find both a centrality and a transversality of meaning, in the sense that both temporality and the poeticisms of flight are intermingled in such a way that the central idea is inverted; that is, time and space are co-existent with the aforementioned psychologism. Nina’s character as a whole represents a psychological nocturnality, once interdependent and yet unaffected by surrounding paradigms. It is the conceptual structures arising from this nocturnality that is dialectically dependent on outside stimuli: the weaving of the inner world, predicts a destabilization of materiality.
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