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Literature and Film, DispositionedIntramedium

Literature and Film, Dispositioned: Intramedium [‘The modern art of the novel’, writes Adriana Cavarero, ‘loves to look inside, to excavate appearances in order to discover the interiority of the subject’, a love Cavarero also associates with modernity’s ‘loss of the world.’1 Against this interiorized being Cavarero puts forth a ‘narratable’ but not necessarily narrated self, a self she aligns with who as opposed to what we are, with the desire to hear one’s story over and above that story’s contents, and with solicitation over introspection. This ‘self — to the extent to which a who is not reducible to a what — has a totally external and relational reality’, Cavarero writes. ‘Both the exhibitive, active self and the narratable self are utterly given over [consegnati] to others. In this total giving-over, there is therefore no identity that reserves for itself protected spaces or a private room of impenetrable refuge for self-contemplation. There is no interiority that can imagine itself [autoaffabularsi] to be an inexpressible value.’2 The who of which Cavarero speaks need not be located in a particular text. Instead, ‘The strange possibility of leaving the text out of consideration means simply that it is not necessary for us to know the other’s story, in order to know that the other is a unique being whose identity is rooted in this story.’ 3 What Cavarero here moves towards is something not dissimilar to that intensity without attachment to which Henry James describes himself as tending prior to building his house of fiction: a who withdrawn from worldly content, but whose reality, for Cavarero, is wholly ‘external and relational.’] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Literature and Film, DispositionedIntramedium

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Publisher
Palgrave Macmillan UK
Copyright
© Palgrave Macmillan, a division of Macmillan Publishers Limited 2014
ISBN
978-1-349-45185-2
Pages
69 –97
DOI
10.1057/9781137295453_3
Publisher site
See Chapter on Publisher Site

Abstract

[‘The modern art of the novel’, writes Adriana Cavarero, ‘loves to look inside, to excavate appearances in order to discover the interiority of the subject’, a love Cavarero also associates with modernity’s ‘loss of the world.’1 Against this interiorized being Cavarero puts forth a ‘narratable’ but not necessarily narrated self, a self she aligns with who as opposed to what we are, with the desire to hear one’s story over and above that story’s contents, and with solicitation over introspection. This ‘self — to the extent to which a who is not reducible to a what — has a totally external and relational reality’, Cavarero writes. ‘Both the exhibitive, active self and the narratable self are utterly given over [consegnati] to others. In this total giving-over, there is therefore no identity that reserves for itself protected spaces or a private room of impenetrable refuge for self-contemplation. There is no interiority that can imagine itself [autoaffabularsi] to be an inexpressible value.’2 The who of which Cavarero speaks need not be located in a particular text. Instead, ‘The strange possibility of leaving the text out of consideration means simply that it is not necessary for us to know the other’s story, in order to know that the other is a unique being whose identity is rooted in this story.’ 3 What Cavarero here moves towards is something not dissimilar to that intensity without attachment to which Henry James describes himself as tending prior to building his house of fiction: a who withdrawn from worldly content, but whose reality, for Cavarero, is wholly ‘external and relational.’]

Published: Oct 8, 2015

Keywords: Direct Address; Silent Cinema; Oxford Street; Soundproof Room; Urban Experience

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