I guess I should have just posted my proposal! But don’t ask me for more (that is, until the proposal gets accepted and I actually have to write the paper)
Considering the importance of the Imaginary register in children’s literature, it is no surprise that the Harry Potter series by J.K. Rowling, the best selling children’s books ever, has some fairly typical imaginary/fantasy elements, such as wizards and witches with improbable powers. Rowling, though, has stated that her books are simply “about death”—the one element which fantasies seem to always miraculously avoid. While the genre of fantasy in its purest sense obviates death, and thus the dimension of theReal, Rowling’s book are structured such that the Imaginary realm is always running into its own limit, the paths of fantasy always being surprised by the stroke of death.
The structure of Harry’s fantasy world, and consequently the structure of the books themselves, is centered on the loss of his parents, but especially that of his father, whose specter makes an appearance in book three, Harry Potter and the Prisoner of Azkaban, as part of a unique time travel sequence. Unlike most time travel sequences which are structured such that an alternative time thread must be created which runs parallel to the “real” time, and which functions as a powerful fantasy of how life could be “if only. . .” the sequence in this book maintains only one history—but with a twist. When Harry and his friends go back in time to ensure that Harry’s godfather, Sirius Black, is able to elude capture, we realize that everything they go back in time to do had already been accomplished by their time traveling selves. This would merely be a typical time-traveling conundrum were it not for the intrusion of the Real in the form of an impasse within the Imaginary. At the end of the initial narration Harry is saved from a gruesome death by the apparition of a stag controlled by what he takes to be the ghost of his deceased father. In the second narration the time traveling Harry, in a moment of shock, realizes that it was not his father who had conjured up the saving image but that it is his present, time-traveling self that must take the responsibility to perform the difficult charm.
The time travel sequence reiterates a theme that is present throughout the whole series, namely, that Harry must come to terms with his desire that his father could save him, or the fantasy that he might never have lost him. When Harry steps into the place that he had reserved for his father by performing the conjuration himself, we have a moment analogous to what Lacan referred to as the “traversing of the fantasy.” At this moment the fantasy dies, yet inasmuch as Harry is able to act from the place at which his fantasies had controlled him, we witness a sublimation in the Lacanian sense, that is, a re-structuring of the relationship of the Imaginary order to that of the Real, such that the Imaginary does not function to block the Real, but to maintain it, as well as the subject’s minimal distance from it.
Victor Vazquez portrays Carribean culture through a dusty sepia lense. His images are riddled with shadows and dark recesses hiding the ghosts of Puerto Rican and island culture. These images, although employing local symbols, embody the universal problems of life and death, sex and birth, acculturation and isolation. His subjects are nearly always nude, and mainly women. They appear to be asleep or dead. Their passivity is the background to their persecution. Vazquez’s Liquids and Signs depicts living organisms oppressed by artificial sexual objects, genitalia, blades, and swimming sperm drawn large on their bodies. Sex, in these images, is not a life-producing event, but rather ravages its subjects. Sex brings death and affliction.
Latest Comments
RSS