Tara Maclay 4 and 5 What is Tara's primary role? Throughout season 4, Tara acts as a partner and guide in Willow's witchcraft, teaching Willow spells and performing magic together. Do they form a relationship? Tara's primary role throughout the series is that of Willow's partner. Does Tara get Willow into magic? When Tara and Willow meet, their proficiency at magic is about the same, but Tara's knowledge of the craft far exceeds Willow's.
What keeps them grounded on use of magic?
What keeps Tara and Willow grounded in the use of magic?
When Tara and Willow meet, their proficiency at magic is about the same, but Tara's knowledge of the craft far exceeds Willow's. Tara reveals that she has been practicing magic for most of her life, as her deceased mother had also been a powerful witch. Throughout season 4, Tara acts as a partner and guide in Willow's witchcraft, teaching Willow spells and performing magic together. Willow, however, is inherently talented, despite being new to the craft, and begins to progress much faster than Tara in the fifth season, including experimentations in dark magic. Tara struggles with understanding her place among the Scoobies with Buffy (Sarah Michelle Gellar), the leader, with which has a very friendly relationship; Xander Harris (Nicholas Brendon), Willow's friend since childhood; and Rupert Giles (Anthony Stewart Head), their mentor. Tara's primary role throughout the series is that of Willow's partner. She feels somewhat useless until the fifth season episode "Family" when the entire Scooby Gang (Spike included) makes it clear that she is unquestionably a part of them. The episode introduces some of Tara's blood family: a cold, authoritarian father who has lied to her all her life (telling her that her magical powers are a result of her being part-demon on her mother's side); an overbearing brother; and a judgmental, repressed and repressive cousin; all of whom Tara dismisses at the end of the episode. Tara later reveals in "The Body" that her mother had died when she was 17. In the following episode, when Dawn is acting out, Tara confides to Buffy that she had to deal with her brother after her mother's death. No more of her backstory is revealed in the series.  As Willow's character grows more self-assured and powerful through the seasons, Tara takes over some of the role of being placed in peril and needing to be rescued. The fifth season's primary villain, or Big Bad, is Glory, a goddess too powerful for Buffy to fight alone. Glory tortures Tara in order to gain information on the Key, but Tara asserts willpower and resists Glory, resulting in Glory stealing her sanity, and prompting Willow to go searching for retribution. Glory states she feels "buzzed" after feeding on Tara's mind, indicating Tara's powerful intellect (and possibly suggesting her power as a witch).  Buffy scholar Ian Shuttleworth writes that Benson was able to "admirably" portray the same range of emotions inherent in Tara although the character loses her identity. Willow's powers are significant enough that she is able to battle Glory more effectively than Buffy, if not completely successfully. In the final episode of season 5, Willow uses her magic to restore Tara's sanity, significantly weakening Glory in the process.  Tara also becomes a guide of sorts, and a maternal figure. She appears to Buffy in a dream in the fourth season finale "Restless" to tell her about the arrival of Buffy's sister Dawn (Michelle Trachtenberg) and act as a translator for the voiceless First Slayer. Following the death of Joyce Summers and Buffy's sacrifice to save the world at the end of the fifth season, Tara and Willow move into the Summers house, taking Joyce's bedroom and becoming Dawn's surrogate parents. CANNOTANSWER
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Tara Maclay is a fictional character created for the action-horror/fantasy television series Buffy the Vampire Slayer (1997–2003). She was developed by Joss Whedon and portrayed by Amber Benson. Tara is a shy young woman with magical talents who falls in love with Willow Rosenberg, one of the core characters. Together, they help Buffy Summers, who has been given superhuman powers to defeat evil forces in the fictional town of Sunnydale.

Willow was a popular character when Tara was introduced, and the onset of their relationship was met with some resistance from fans. Tara grows from a reserved girl who is unsure of herself to being the moral center of Buffy's circle of friends, named the Scooby Gang. Her relationship with Willow is consistently positive, and the first recurring depiction of a lesbian couple on prime time network series television in the United States. Tara is killed by a stray gunshot toward the end of the sixth season, causing Willow to go on a rampage. Series writers and producers received angry protests from some fans when Tara was killed. Whedon upheld that it was the necessary course to take to propel Willow's story arc further; both the show's producers and Amber Benson deny that there was any malicious intent behind the decision. Tara was included in AfterEllen.com's Top 50 Lesbian and Bisexual Characters, ranking at No. 15.

Creation and casting

Tara is introduced in the fourth season episode "Hush" as a college student who attends a Wicca meeting where Willow Rosenberg (Alyson Hannigan) goes to find some like-minded people. Tara is hesitant to speak out during the meeting and has a pronounced stammer that returns throughout the series when she is upset. She reacts positively during the meeting to Willow's suggestion that the Wiccan group discuss spellcasting, but the rest of the group scoff at the suggestion and silence Tara and Willow. Tara was created to appear in only a few episodes as a friend with whom Willow could learn magic and develop her skills. Amber Benson had known Hannigan previously, but did not tell her she was up for the part. Benson almost missed a callback audition because she left town, but the casting department postponed the session so she could return and read. When she did, Hannigan found her on set and upon learning she was up for the role, told Whedon to hire Benson at the same moment Benson got the call from her agent that she had won the part. Benson and Hannigan had such chemistry that the relationship was written to be more intimate. In "Hush", Tara and Willow each individually attempt to use magic to move a heavy object, without success. They then join hands and easily fling the object across the room. Whedon and the producers found the scene to be very sensual. Network executives also noticed the chemistry between the actresses. After some discussion, Whedon informed Benson and Hannigan that the characters would become lovers.

Willow was featured from the beginning of the series and already had a strong fanbase. Earlier in the fourth season, she had a boyfriend named Oz (Seth Green), who abruptly left town. Oz returns in the episode "New Moon Rising", determined to win Willow back. That episode marked the first time Tara is introduced to the Scooby Gang as a whole, and Willow is faced with choosing between Tara and Oz. She favors Tara in the end, causing some of the show's fans to react angrily on the fansite message boards, with some leaving homophobic remarks and characterizing Benson as overweight and unattractive. Benson, who was referred to as "astoundingly non-Hollywood" by a Scottish journalist, frequented the boards and read the comments, finding them hurtful and taking some of them personally. She responded, protesting that she was, at  and , quite slender, although she appears larger than her more petite costars. She went on to write:

Network executives encouraged the lesbian element in the relationship, but put strict guidelines on what could be shown. For several episodes in the fourth season, Tara and Willow's friendship grows as they practice magic. To work within the censorship imposed on their relationship, writers used allusions to spells and witchcraft to symbolize their affection and growing sexuality. Willow does not tell her friends about Tara for several episodes, instead just expressing the wish to spend time with Tara, where she can have something just for herself. Tara is unwaveringly supportive and committed to Willow.

Seasons

4 and 5
When Tara and Willow meet, their proficiency at magic is about the same, but Tara's knowledge of the craft far exceeds Willow's.  Tara reveals that she has been practicing magic for most of her life, as her deceased mother had also been a powerful witch. Throughout season 4, Tara acts as a partner and guide in Willow's witchcraft, teaching Willow spells and performing magic together.  Willow, however, is inherently talented, despite being new to the craft, and begins to progress much faster than Tara in the fifth season, including experimentations in dark magic. Tara struggles with understanding her place among the Scoobies with Buffy (Sarah Michelle Gellar), the leader, with whom she has a very friendly relationship; Xander Harris (Nicholas Brendon), Willow's friend since childhood; and Rupert Giles (Anthony Stewart Head), their mentor. Tara's primary role throughout the series is that of Willow's partner. She feels somewhat useless until the fifth season episode "Family" when the entire Scooby Gang (Spike included) makes it clear that she is unquestionably a part of them. The episode introduces some of Tara's blood family: a cold, authoritarian father who has lied to her all her life (telling her that her magical powers are a result of her being part-demon on her mother's side); an overbearing brother; and a judgmental, repressed and repressive cousin; all of whom Tara dismisses at the end of the episode. Tara later reveals in "The Body" that her mother had died when she was 17. In the following episode, when Dawn is acting out, Tara confides to Buffy that she had to deal with her brother after her mother's death. No more of her backstory is revealed in the series.

As Willow's character grows more self-assured and powerful through the seasons, Tara takes over some of the role of being placed in peril and needing to be rescued. The fifth season's primary villain, or Big Bad, is Glory, a goddess too powerful for Buffy to fight alone. Glory tortures Tara in order to gain information on the Key, but Tara asserts willpower and resists Glory, resulting in Glory stealing her sanity, and prompting Willow to go searching for retribution.  Glory states she feels "buzzed" after feeding on Tara's mind, indicating Tara's powerful intellect (and possibly suggesting her power as a witch).

Buffy scholar Ian Shuttleworth writes that Benson was able to "admirably" portray the same range of emotions inherent in Tara although the character loses her identity. Willow's powers are significant enough that she is able to battle Glory more effectively than Buffy, if not completely successfully. In the final episode of season 5, Willow uses her magic to restore Tara's sanity, significantly weakening Glory in the process.

Tara also becomes a guide of sorts, and a maternal figure. She appears to Buffy in a dream in the fourth season finale "Restless" to tell her about the arrival of Buffy's sister Dawn (Michelle Trachtenberg) and act as a translator for the voiceless First Slayer. Following the death of Joyce Summers and Buffy's sacrifice to save the world at the end of the fifth season, Tara and Willow move into the Summers house, taking Joyce's bedroom and becoming Dawn's surrogate parents.

6 and comics
Tara becomes more outspoken during the sixth season about the ethics of Willow's use of magic, cautioning Willow that she depends too much on it. The dynamics of their relationship suddenly turn during "Once More, with Feeling". Willow had cast a spell on Tara to alter her memory in the preceding episode and Tara finds out about it during "Once More, with Feeling", the musical episode of the series. Tara was given a prominent role in the musical due to the skill of Benson's voice: she sings a love ballad to Willow, a duet with Giles, and backup in two other songs. The musical nature of the episode compelled the characters to express what they had been feeling secretly, or had refused to admit to themselves. Tara's song is a fervent and explicit expression of love for Willow which she had not made clear to the audience until this point. Tara later sings with Giles that she will leave Willow if she does not change. Self-conscious about her singing abilities, Hannigan requested not to be given a song and sings only a few lines in the episode. Critics saw this as Tara's personality becoming more forceful as Willow begins to show signs of weakness as she is overtaken by her addiction. Tara challenges Willow to go for a week without using any magic. Willow almost immediately breaks her promise, however, and Tara leaves her at the end of "Tabula Rasa". Tara remains a part of the group, spending time with Dawn, and non-judgmentally acting as Buffy's confessor when Buffy divulges she has a painful and compulsive sexual relationship with Spike, a vampire whom she loathes.

Despite their separation, Tara remains devoted to Willow's recovery and supports her in her decision to abstain from using magic. She is, according to author Lorna Jowett, one of the few characters who is never seduced by evil. Shuttleworth notes that most Buffy characters go through a rite of transformation except for Tara. Among female characters she is the most virtuous. Like the other Buffy characters in the series whose names have symbolic interpretations, Tara's name resembles the Latin terra, meaning "earth." She is solidly grounded, with Willow attached to her, and Benson's body more naturally representative of women. Tara is wholly feminine both in dress and demeanor, as opposed to Buffy and (less) Willow mostly dressed with trousers and jackets, but never seeks male approval. She is clad in earthy, natural colors, long flowing skirts and clinging blouses, with an intent to comfort instead of arouse as other women on the show are dressed. Her admonishments to other characters are always made with love, with their best interests at heart. Even Tara's last words, commenting that Willow's shirt is stained (with Tara's own blood), indicate her preoccupation with the welfare of others.

Tara has also appeared in The Long Way Home, Always Darkest, Retreat, and the one-off Willow.

Death and response

After tentatively courting each other in "Entropy", Tara returns to Willow, and they reconcile through the next episode, "Seeing Red". Throughout the season, Buffy is dogged by three techno-nerds calling themselves The Trio, who envision themselves to be supervillains, with Buffy their nemesis. She continues to foil their plans, and during "Seeing Red", Warren Mears, one of the Trio, arrives at Buffy's house with a gun. He shoots several rounds, hitting Buffy, and the last stray shot hits Tara through the heart, killing her as Willow looks on. Willow is taken over by a dark alter ego, going on a rampage, torturing Warren and skinning him alive. She then attempts to murder the other two members of the Trio, but is unsuccessful. To end her pain, she attempts to end the world. Xander stops her by forcing her to deal with her grief in a healthy, non-violent way.

During the fifth season, Whedon informed Benson that Tara would be killed off. He saw it as necessary to further Willow's character; she had to deal with her dark powers, but nothing short of Tara's death would allow them to come out so forcefully. Tara had become popular among fans, and Whedon and series writer David Fury decided that her death would elicit a strong response, something that Whedon felt sure was the correct course to take. He was unprepared, however, for how forcefully viewers reacted to Tara's death. Fans were so upset that some stopped watching. Because the death came at the end of an episode where Willow and Tara were portrayed in bed between sexual encounters, critics accused Whedon of implying that lesbian sex should be punishable by death, a familiar trope in film. Producers were inundated with mail from people—women especially—who expressed their anger, sadness, and frustration with the writing team. Series writer and producer Marti Noxon was unable to read some of the mail because it was so distressing, but she counted the response as a natural indication that television simply had few strong female role models, and no lesbian representation.

Benson defended Whedon in 2007, saying he "is 100 percent behind the LGBT community. I know this for a fact." Author Rhonda Wilcox writes that Tara's death is made more poignant by her earthy naturalness representing the "fragility of the physical". Roz Kaveney comments that Tara's murder is "one of the most upsetting moments of the show's seven seasons", and Nikki Stafford states that the episode in which Tara dies is possibly the most controversial of the series, causing divisions about whether it was necessary, or assertions that Tara was created only to be killed. In response to fans and critics who accused the writers of being motivated by homophobia, Stafford comments, "they seem to forget that it was those same writers who created such an amazing, gentle, and realistic portrait in the first place; that Tara is certainly not the first character to be killed off on the show; and Tara was a lot more than just 'the lesbian', and her character deserves better than that." Kaveney concurs with the opinion that the series avoided playing a cliché, "proving that it is possible for a queer character to die in popular culture without that death being the surrogate vengeance of the straight world".

While other deaths of main characters in the Buffy universe have been reversed in some form (as has been the case with Buffy herself, Cordelia, Giles, Angel, Spike, Anya, Connor, Gunn, Fred, Illyria and Wesley), Tara remains dead as of the season 10 comic series. She remains one of only three main characters not to have been resurrected in any way, the others being Doyle and Lorne (whose actors have died).

Cultural impact

Although lesbianism had been addressed on U.S. television before Tara was introduced to Buffy, her relationship with Willow was heralded as a milestone. Previously depicted lesbian relationships had not shown characters as sexual beings, or even touching each other. Despite this, Tara and Willow's relationship was not heralded with any specific fanfare on the show; they are treated as other couples. Their relationship was frequently the subject of storylines, but no specific focus was on their identity as lesbians or the coming out process. Limited to what could be shown by the network, Tara and Willow are shown as consistently affectionate but not overly sexual. Manda Scott in The Herald wrote in 2002 that the lack of realistic displays of touching or kissing between Willow and Tara made their relationship implausible, but because no other portrayals of lesbian relationships were on television, its importance is undeniable. Tara and Willow did not kiss until the fifth season episode "The Body", which focused on the death of Joyce Summers. Not until Buffy moved from the WB to UPN in 2001 were Tara and Willow shown in sexual situations. Benson later recalled the issues of working with censors:

Like Whedon, Benson was surprised at the strength of the reaction to Tara's death. It indicated to her what kind of impact the characters had:

The Big Bad of the seventh season is the First Evil, who taunts Buffy and her friends by appearing as loved ones who previously died. Whedon asked Benson to appear as Tara to Willow in "Conversations with Dead People", but Benson turned down the role, concerned about what fans of the show would think about an evil Tara. Instead, the producers used Cassie, a character who dies early in the seventh season and speaks for Tara, telling Willow to kill herself. Whedon also considered bringing Tara back in a storyline where Buffy would be given one wish to be granted, but the possibility did not come to fruition.

Writer Peg Aloi calls the backlash at Whedon "staggering", and summarizes Tara's effect with Willow, stating that they were a single unit the moment they met: "Willow's need for approval and Tara's need for unconditional love allowed their supernova trajectory its singular, incendiary thrust toward its triumphant but tragic end; like all witches who burn, martyred by flames, they move on to a place where their gods are the right ones."

References

Bibliography

 Holder, Nancy; Mariotte, Jeff; Hart, Maryelizabeth (2000). Buffy the Vampire Slayer: The Watcher's Guide, Volume 2, Pocket Books. 
 Jowett, Lorna (2005). Sex and the Slayer: A Gender Studies Primer for the Buffy Fan, Wesleyan University Press. 
 Kaveney, Roz (ed.) (2004). Reading the Vampire Slayer: The New, Updated, Unofficial Guide to Buffy and Angel, Tauris Parke Paperbacks. 
 Mitchell, Claudia; Reid-Walsh, Jacqueline (2008). Girl Culture: Studying Girl Culture — A Readers' Guide, ABC-CLIO. 
 Ruditis, Paul (2004). Buffy the Vampire Slayer: The Watcher's Guide, Volume 3, Simon & Schuster. 
 Stafford, Nikki (2007). Bite Me! The Unofficial Guide to Buffy the Vampire Slayer, ECW Press. 
 Tropiano, Stephen (2002). Prime Time Closet: A History of Gays and Lesbians on TV, Applause Theater and Cinema Books. 
 Wilcox, Rhonda (2005). Why Buffy Matters: The Art of Buffy the Vampire Slayer, I. B. Tauris. 
 Yeffeth, Glenn (ed.) (2003). Seven Seasons of Buffy: Science Fiction and Fantasy Authors Discuss Their Favorite Television Show, Benbella Books.

External links
http://www.imdb.com/character/ch0004937/

Buffy the Vampire Slayer characters
Buffyverse characters who use magic
Female characters in television
Fictional characters from California
Fictional college students
Fictional LGBT characters in television
Fictional lesbians
Fictional witches
LGBT characters in comics
Television characters introduced in 1999
Fictional characters with precognition
Fictional demon hunters
Fictional vampire hunters
Fictional telekinetics
Fictional stutterers
Fictional murdered people
American female characters in television
Battle Magic, a fantasy novel by young adult author Tamora Pierce, was released by Scholastic on September 24, 2013.

The book follows Pierce's characters Briar Moss, Evumeimei Dingzai (nicknamed Evvy), and Rosethorn after the events of her 2001 novel Street Magic. The action is set in the fictional countries of Gyongxe and Yanjing as they become embroiled in war. All events take place two years before Pierce's previously published Emelan universe novels The Will of the Empress and Melting Stones.

Plot introduction
Mages Briar, Rosethorn, and Evvy are visiting the mystical mountain kingdom of Gyongxe when they are suddenly called away. The emperor of Yanjing has invited them to see his glorious gardens.

During their brief stay, though, the mages see far more than splendid flowers. They see the emperor's massive army, his intense cruelty, and the devastating magic that keeps his power in place.

It's not till they leave that they discover he's about to launch a major invasion of Gyongxe. The mountain land is home to many temples... including the First Temple of the Living Circle, which Rosethorn has vowed to defend.

With time running out, the mages race to warn their Gyongxin friends of the emperor's plans.

Duty, mystery, magic, and terror will drive them apart on the way. And while new friends will do their best to bring the mages together again on the field of battle, deadly enemies hide in every mountain pass, just waiting to destroy them.

References

External links
Tamora Pierce's official website

Emelanese books
2013 American novels
2013 fantasy novels Grounding is a topic in metaphysics. Consider an ordinary physical object, such as a table, and the atoms it is made of. Without the atoms, the table would not exist. The table's existence depends on the existence of the atoms. This kind of dependence is called "grounding" to distinguish it from other kinds of dependence, such as the dependence of an effect on its cause. It is sometimes called metaphysical or ontological dependence.

Grounding can be characterized as a relation between a ground and a grounded entity. The ground exists on a more fundamental level than the grounded entity, in the sense that the grounded entity depends for its existence or its properties on its ground. According to the neo-Aristotelian approach to ontology, the goal of ontology is to determine which entities are fundamental and how the non-fundamental entities depend on them.

Overview
A distinction is typically made between grounding relations and other dependence relations, such as causation or realization. Grounding is often considered to be a form of non-causal determination or priority.

According to some in favor of the idea, things which are less fundamental are grounded in things that are more fundamental. Here's an example. Many people say that physical particles are more fundamental than tables, cats, mountains and other large, composite objects. Some say that, for this reason, physical particles ground large, composite objects. Or, they say that facts about physical particles ground facts about large, composite objects. This is then said to account for the direction of explanation: the reason why a given large, composite object exists is because of facts about the particles.

In chess, for example, if the king is in checkmate, this situation holds because the king is in check and has no legal moves. The fact that the king is in checkmate depends on the fact that the king is in check and has no legal moves. In other words, the first fact is grounded in the second fact.

As another example, consider the property of being either even or prime. The number 4 has this property because it is even. Here "because" does not express a causal relation (where the cause precedes the effect in time). It expresses a grounding relation. The fact that the number 4 is even or prime is grounded in the fact that 4 is even. In other words, the first fact obtains in virtue of the second fact.

Role in neo-Aristotelian ontology
According to the neo-Aristotelian approach to ontology, the goal of ontology is to determine which entities are fundamental and how the non-fundamental entities depend on them. Fundamentality can be expressed in terms of grounding. For example, according to Aristotle, substances have the highest degree of fundamentality because they exist in themselves. Properties, on the other hand, are less fundamental because they depend on substances for their existence. In this example, properties are grounded in substances.

Role in truthmaker theory
The notion of grounding has been used to analyze the relation between truthmakers and truthbearers. The basic idea is that truthbearers (like beliefs, sentences or propositions) are not intrinsically true or false but that their truth depends on something else. For example, the belief that water freezes at 0 °C is true in virtue of the fact that water freezes at 0 °C. In this example, the freezing-fact is the truthmaker of the freezing-belief. Expressed in terms of grounding: the truth of the freezing-belief is grounded in the existence of the freezing-fact.

References

External links 

Schaffer, Jonathan. "On What Grounds What." In David Manley, David J. Chalmers & Ryan Wasserman (eds.), Metametaphysics: New Essays on the Foundations of Ontology. Oxford University Press. pp. 347–383 (2009)
 Grounding. Bibliography edited by Kelly Trogdon at Philpapers

Concepts in metaphysics