Those metonymies repeat some disruption of order that incites the narratable.
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Lives are narratable as coherent in terms of the categories language makes available.
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Each page bears a wealth of diverse knowledge-not subordinated but not narratable.
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However, in a gesture that underlines sociality,he prefers instead to argue that the narratable self desires this story from the mouth of another.
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Beyond being sufficiently clear and insufficiently present, the final and unspoken quality of the ideal disaster is that it be narratable as a disaster.
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Cavarero writes generically complex tales of the narratable self, reviving the writerly tradition of Roland Barthes, and echoing his recognition of eros, love, and desire.
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In other words, the meaning of the poem is a reflexive and anguished uncertainty about the nature of poetry itself, a pure lyric refusal of constative or narratable content.
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Cavarero claims that we perceive ourselves as narratable, as protagonists of a story that we long to hear from others. This desire for a story, for our story to be told, becomes the guiding element in the new approach to identity. Our identity is not possessed in advance, as an innate quality or inner self that we are able to master and express. It is rather the outcome of a relational practice, something given to us from another, in the form of a life-story, a biography.
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Henrietta is a work of domestic fiction, providing an outline for what is expected within the social realms of its contemporary society. Despite being a novel, it serves as a practical manual for English middle class readers. For example, Book I of Henrietta, which recounts the protagonist's familial trials and somewhat complicated standing within the class hierarchy, demonstrates the struggle of intermingling between classes. Writer and literary scholar Elizabeth Langland argues that given the historical context of these works, a successful romance between a working class woman and a middle-class man is “un narratable.” Such seemingly unbreachable social boundaries are abundant in Lennox's text.
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Definitively influenced by the work of Hannah Arendt, Cavarero wrote Relating Narratives: Storytelling and Selfhood in which she developed an original theory of selfhood as a "narratable self". Appreciated and discussed by Judith Butler in Giving an Account of Oneself, this book, by contrasting the sovereign subject of the metaphysical tradition, confronts with the urge of rethinking politics and ethics in terms of a relational ontology, characterized by reciprocal exposure, dependence and vulnerability of an incarnated self who postulates the other as necessary. In fact, through readings of such diverse figures as Homer, Sophocles, The Arabian Nights, Isak Dinesen and Gertrude Stein, Relating Narratives presents a singular contribution to the intersection of narrative theory, ethics and political discourse.C.f. Paul A. Kottman, "Introduction" to Relating Narratives: Storytelling and Selfhood (Routledge, 2000).
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