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• W207913127 abstract "This essay examines relationship between gift-giving and in texts about Oedipus complex. It argues in Henry James's novel What Maisie Knew and Wes Anderson's film Rushmore, a secondary repression is enabled by narrative techniques mobilize a collective act of forgetting through enjoyment of plot. ********** The small expanding consciousness would have to be saved, have to become presentable as a register of impressions; and saved by of certain advantages, by some enjoyed profit and some achieved confidence, rather than blurred, sterilized, by ignorance and pain. --Henry James, Preface to What Maisie Knew Max Fischer to Miss Cross: At least no one got hurt. Except you, she replies. Nah. I didn't get hurt bad.--Wes Anderson, Rushmore In a recent paper and deconstruction, Elizabeth Grosz suggests is the unspoken condition of a certain fantasy of sustainability of its various others or opposites, peace, love and so on (8). What Grosz is discussing here is relationship between deconstruction's interest in a certain foundational violence, arche-writing inscribes thing-in-itself into a system of representation, and a second, 'reparatory' or compensatory violence, whose function is to erase traces of this primordial violence (10)--the of law or of reason. The legitimating structures of law function in this paradigm as site of fantasy--that which enables us to engage in a collective act of forgetting about originary of representation itself. Narrative, especially a particular kind of narrative, functions as another such site of utopianist forgetting: story of end of childhood, and its denial of of Oedipus complex. In epigraphs above, two texts which take as their subject and theme loss of childhood innocence in resolution of Oedipus complex both deny pain of resolution for children involved. Not completely deny, of course: James leaves open possibility Maisie will perhaps be slightly coarsened, blurred, sterilized by pain of her ordeal, and Max admits to his adult love object only he was not hurt that bad. Nevertheless, denial remains--even as it is, necessarily, refracted, expressed, and resolved differently for boy and girl. Both authors implicitly argue regardless of a few bumps and bruises along way, everything turns out all right in end; as readers and viewers we are invited to these endings as restorative, even though both narratives have insisted quite strenuously pain and suffering--even to point of physical violence--endured by their main characters. Aside from their similar histories of violent repression, these central characters could not be more different. Where Maisie is (at least initially) befuddled and trusting, Max is shrewd and circumspect. Where Maisie enacts her creator's desire to explore a character who resist[s] [...] strain of observation and of experience (Maisie xi), Max is characterized early in film as someone who seem[s] to have it pretty figured out. Even more importantly, trajectory of each character's Oedipal drama is quite different, as Freud's discussion of gender difference in childhood psychosexual development would insist: this sexual difference, in fact, suggests an explanation for why Maisie resists assault of experience while Max embraces it. Yet two narratives also share a deeper affinity than a characterological sketch of their protagonists would allow. Both are concerned with power and powerlessness of children, and ways in which children negotiate and participate in adult violence. Both texts are utopianist wish-fulfilments enact certain fantasies of and about childhood. The first-order fantasy is wish of infantile/pubescent sexuality, child will somehow end up with his or her final (heterosexual) Oedipal object: Maisie will live happily ever after with Claude, and Max will . …" @default.
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• W207913127 date "2005-06-01" @default.
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• W207913127 title "What Maxie Knew: The Gift and Oedipus in What Maisie Knew and Rushmore" @default.
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