Age of Innocence / innocence as knowing pretense not to know

As told 3

“She knew it all the time, she just pretended not to know. This is the innocence.”
1:46:12 Slavoj Zizek - Talk At Princeton With Cornel West2024-03-21 · 2:18:10

“When he learns it, everything is ruined. That's I think our much more fundamental need than directly to believe. To have another one as protected innocence.”
20:01 On Violence2008-09-12 · 1:17:11

“As we learn at the end, she knew it all the time. Before they were less naive.”
23:17 Love Without Mercy2003-03-10 · 41:22

What it carries

one story, many jobs: the ideas this anecdote is deployed to argue, one tally mark per use (an idea page shows the same relation from the other end, as its shelf of stories)

contents · one story, 3 jobsuses

the big Other ×2 interpassivity ×2 symbolic ×1

Its cast and sources

populated by

Stephen Heath1 Erica Jong1 Albert Camus1 Montesquieu1 Karl Rove1 Edith Wharton1 Raymond Durgnat1 Laura Mulvey1

alongside works

The Age of Innocence3 Suspicion1 Shadow of a Doubt1 Me, Myself and Irene1 Laura1 Das Ding (Heidegger's Greek vase example)1 Persian Letters1 Fear of Flying1

Told together with

4% Niels Bohr's horseshoe 2 shared talks

Every retelling 3

1:46:12 Slavoj Zizek - Talk At Princeton With Cornel West2024-03-21 · 2:18:10

In Wharton's story (and Scorsese's film) the wife (Winona Ryder) is perceived as naive about her husband's affair with Countess Olenska (Michelle Pfeiffer), but we learn she knew all along and pretended not to, Žižek calls this 'the innocence' and says this mode is disappearing today., illustrating the symbolic function,objectified belief,decline of the symbolic function

20:01 On Violence2008-09-12 · 1:17:11

In Edith Wharton's novel (rendered through the film cast: Daniel Day-Lewis, Winona Ryder, Michelle Pfeiffer), the most devastating revelation is not the affair itself but that the wife always knew and pretended not to, the destruction of the innocent Big Other proxy., illustrating belief without believing,the Big Other,inter-passivity

23:17 Love Without Mercy2003-03-10 · 41:22

In Wharton's novel, the figure of innocence (Winona Ryder's character in Scorsese's film) turns out to have known everything all along; pre-modern society combined sincere belief with radical knowledge, while modernity separates them into naive credulity., illustrating belief and knowledge,pre-modern vs. modern subjectivity