In For More than One Voice, Adriana Cavarero argues that “voice” has primacy over other concepts characterizing human existence.1 She introduces this claim through an exegesis of Italo Calvino’s text “A King Listens”.2 The fictitious king, paranoid, insomniac, has reduced himself to a “great ear.” He no longer pays attention to the content of what his courtiers say to him. His ear picks up only the “vocal timbre of their voices.” This timbre is “artificial, false, ‘cold,’ like death.” But (...) it is sufficient for the king’s fanatical vigilance to distinguish between fawning fidelity and furtive betrayal. One day, however, the king’s auditory world is disturbed by the singing of a woman whose voice he hears... (shrink)

This article engages with Adriana Cavarero’s analysis of the Muse of Greek oral poetry to rethink the relationship between mimesis and narration, and the shaping power of the act of narration on the subject. I suggest that Cavarero’s reading of the Muse provides an understanding of mimesis that moves beyond representation to a form of contagion between embodied and temporal subjectivities. To clarify this, I show how Cavarero’s Muse anticipates her critique of rectitude in Inclinations and makes (...) it clear that the inclined subject is not only the vulnerable and open subject as opposed to the vertical and autonomous one, but also the subject that has the power to incline the narratives that mimetically straighten it. The aim is to understand mimetic inclinations as destabilising voices of vertical narrations. As a concrete example of the troubling power of mimetic inclinations, I propose a rereading of Cavarero’s technique of theft presented in In Spite of Plato as a strategy of mimetic resistance. (shrink)

This article takes as its point of departure Hannah Arendt’s discussion of public happiness, contextualising it within her thoughts on politics, democracy and revolution. It draws on Arendt’s discussion of how the expression “pursuit of happiness” has historically shifted from a public understanding of happiness into an increasingly privatised one. The article engages with Arendt’s account of public happiness in order to reanimate her radical democratic critique of how representative politics reduces the scope of political action and participation; and how (...) the notion of happiness in a neoliberal era can only be interpreted in economistic and subjectivist terms. Furthermore, the article turns to examine how recent works in contemporary political thought, namely, those by Adriana Cavarero and Judith Butler, extend and transform the stakes of Arendt’s account of public happiness. On one hand, Cavarero’s notion of surging democracy is considered as an account of radical politics that keeps alive the Arendtian concern with public happiness by contextualising it within contemporary political struggles and social movements. On the other hand, Butler problematises Arendt’s discussion of politics for its neglect of precarity; however, this article argues that Butler’s work on assembly extends Arendt’s by highlighting possibilities of resistance, radical democracy and even public happiness amid experiences of loss and grief. Although prima facie it might appear that happiness and precarity are opposed to each other, this article points towards contemporary political practices, such as those of Ni Una Menos, that are critically reanimating public happiness through the intertwining of affective registers that range from joy to grief. (shrink)

This essay engages the work of Italian feminist philosopher Adriana Cavarero and her concept of the narratable self. Her relational humanism, rooted in our exposure to others, offers an ontology of uniqueness whose critique of abstraction, masculinism, and identity politics still resonates today where the meaning of a unique “you” is negotiated in embodied exchanges that may offer care or wounds. Cavarero develops an altruistic ethics that cultivates this humanism. I argue that her work should be extended to (...) better capture the political purchase of the narratable self that interacts dynamically and often ambiguously with the “we” of collective politics. Putting her work into conversation with the nineteenth‐century abolitionist and women's rights advocate Sojourner Truth, I suggest that Cavarero's work illuminates Truth as a philosopher of the narratable self. Moreover, Truth's work extends Cavarero's concerns with exposure that may do violence or offer care by making explicit the challenges of narration in the context of inequality, especially in terms of race and class. Exposure as an ontological and phenomenological condition then needs to take account of a broader publicity of textual, individual, and collective exposure to others to develop the critical, ethical, and political purchase it offers. (shrink)

This article proposes a reading of Sarah Polley’s Stories We Tell (2012) through the work of Hannah Arendt and Adriana Cavarero. Far from being a simple homage to her late mother Diane, Polley’s film is a ‘polyphonic tale’, a complex and multi-layered narrative which allows for an exploration of the many functions of (cinematic) storytelling. Highlighting the close link between relating narratives and personal identity, the film sheds light on both the innate desire for biography that characterizes us as (...) human beings and the complex and dynamic relationship between storytellers and listeners. The way we tell stories affects the narrator(s), their audience and the fabric of the story itself in a process that ensures both continuity and change. Referring to Arendt’s notion of political storytelling, I conclude by suggesting that Stories We Tell, like the Greek polis, functions as an ‘organized remembrance’, a community whose purpose is to preserve fragile human deeds and words from oblivion. (shrink)

An experience of helplessness during the production of a collective autobiographical narrative offers an opportunity to explore points of convergence between Adriana Cavarero's postural philosophy and Bracha Lichtenberg Ettinger's matrixial borderlinking. The narrative is treated as a live scene that enfolds the movement of the drive conceptualized in such a way as to avoid the prioritization of death over life. Five successive moves, inspired by Ettinger's rotation of the phallic prism, illuminate affinities between the two thinkers. The first rotation (...) explores the matrixial and relational qualities that compose the scene. The second rotation approaches death from a notional beginning, prioritizing the presence of the mother and her assymmetrical relationship to the infant. The third rotation emphasizes the transformational character of Ettinger's matrixial movement and border-crossing, especially when examined in conjunction with Cavarero's maternal inclination. In the fourth rotation we show how inclination in Lacanian psychoanalysis is linked to the disappearance of the mother from the scene. The introduction of the mother disrupts the Lacanian logic with the possibility of a beginning just as immanent as desire and lack. Movement, qua embrace and unity-disunity, becomes an indispensable component of feminist ontology that captures the immanence of sharing in the matrixial-maternal plane. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A (...) person’s actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

This paper examines how Adriana Cavarero extends and offers an alternative to Hannah Arendt's understanding of speech and its relationship to politics and violence through a re-reading of Herman Melville’s, Billy Budd, Sailor (1891). The novella was examined by Arendt in On Revolution (1963) where she considers the apolitical character of the French Revolutionary Terror and establishes a link between violence, mimetic contagion, and the failure of articulate speech. I suggest that whereas Arendt’s reading only offers two possible responses (...) to violence—forgiveness or punishment (perpetuating violence)—a reading of the novella inspired by Cavarero’s work shows a third alternative, the prevention of violence, while equally revealing the blind spot of Arendt’s argument. The blind spot is Arendt's privileging of articulate speech and her failure to consider the embodied character of human expression. Cavarero’s ethics of inclination, however, allows for a response to, and responsibility for, the uniqueness of the human voice, and for the intention to convey meaning. To mediate between Arendt and Cavarero, the paper also reconsiders Nidesh Lawtoo’s understanding of mimesis, evokes Eve Sedgwick’s paradigm-setting queer reading of Billy Budd, and engages with Walter Benjamin’s and Giorgio Agamben’s contrary takes on the relationship between violence and language. (shrink)

: Drawing on Adriana Cavarero's account of natality, Guenther argues that Martin Heidegger overlooks the distinct ontological and ethical significance of birth as a limit that orients one toward an other who resists appropriation, even while handing down a heritage of possibilities that one can—and must—make one's own. Guenther calls this structure of natality Being-from-others, modifying Heidegger's language of inheritance to suggest an ethical understanding of existence as the gift of the other.

In this article I rethink death and mortality on the basis of birth and natality, drawing on the work of the Italian feminist philosopher Adriana Cavarero. She understands birth to be the corporeal event whereby a unique person emerges from the mother’s body into the common world. On this basis Cavarero reconceives death as consisting in bodily dissolution and re-integration into cosmic life. This impersonal conception of death coheres badly with her view that birth is never exclusively material (...) but always has ontological significance as the appearance of someone new and singular in the world of relations with others. This view of birth calls for a relational conception of death, which I develop in this article. On this conception, death is always collective, affecting all those with whom the one who dies has maintained relations: As such, our different deaths shade into one another. Moreover, because each person is unique in virtue of consisting of a unique web of relations with others, death always happens to persons as webs of relations. Death is relational in this way as a corporeal, and specifically biological, phenomenon, to which we are subject as bodily beings and as interdependent living organisms. I explore this with reference to Simone de Beauvoir’s memoir of her mother’s death from cancer. Finally I argue that, on this relational conception, death is something to be feared. (shrink)

This essay offers a critical analysis of Hannah Arendt's notion of natality through the lens of Adriana Cavarero's feminist philosophy of birth. First, I argue that the strength of Arendtian natality is its rootedness in an ontology of uniqueness, and a commitment to human plurality and relationality. Next, I trace with Cavarero three critical concerns regarding Arendtian natality, namely that it is curiously abstract; problematically disembodied and sexually neutral; and dependent on a model of vulnerability that assumes equality (...) rather than asymmetry. This last issue is further developed in the final section of the essay, where I examine the idea that birth, for Cavarero, becomes the very concept by which we can distinguish and normatively differentiate acts of care and love from acts of wounding and violence. Upholding the normative distinction here depends on a conceptual distinction between vulnerability and helplessness. To maintain the ethical potential of the scene of birth, I argue that we have to insist on the very characteristics Cavarero attributes to it—ones, as this essay aims to show, that are ultimately missing in the Arendtian account thereof. (shrink)

This article engages with Adriana Cavarero's framing of sexual difference, specifically in terms of how this displaces “bodies that queer”. For Cavarero, the narratable self is inescapably relational and characterized by vulnerability, which is how ethics arises in the form of a decision between caring and wounding. At the same time, Cavarero's deconstructive method of appropriating stereotypes restricts the scope of sexual difference to dimorphism. In examining the implications of this, I build on the work of Michel (...) Foucault and Judith Butler by looking to the intersexed life of Adélaïde Herculine Barbin, whose suicide in 1868 at the age of twenty‐nine was precipitated not through malice or cruelty, but through concerted care. This mode of care is anchored in the apparent self‐evidence of how we see and how we think with and through narratives that sediment in orders of power/knowledge. While agreeing with Cavarero's critique of the autonomous “I,” the article nevertheless argues for authorial audacity—the courage to name oneself—as a way of subverting asymmetrical power relations, including those that make it possible to inadvertently generate suffering through care. (shrink)

El exilio es a la vez una experiencia autobiográfico y tema de reflexión en la obra de María Zambrano. En este artículo propongo una lectura de las figuras del exilio y del exiliado como Gedankenexperiment – un razonar hipotético e imaginario sobre un caso concreto - que permite a la autora desarrollar un argumento filosófico pero dentro del marco del lenguaje figurativo. Esta manera de interpretar las figuras mencionadas me permite trazar la circulación de figuras y la influencia de Zambrano (...) en el desarrollo de la filosofía bio-política italiana, sobre todo en la autora Adriana Cavarero. Al nivel del argumento filosófico la lectura me permite ver como Zambrano y Cavarero entienden al exilio y el exiliado como un límite interior a la patria y las conclusiones éticas a las que llegan a partir de esta idea. Concluyo que la manera de trabajar con figuras literarias es una estrategia de estilo consciente que intenta hacer efectivo la postura ética producida en la elaboración sobre el exilio. (shrink)

Adriana Cavarero has been, and continues to be, one of the most innovative and influential voices in Italian political and feminist thought of the last forty years. Known widely for her challenges to the male-dominated canon of political philosophy (and philosophy more broadly construed), Cavarero has offered provocative accounts of what constitutes the political, with an emphasis on embodiment, singularity, and relationality. Political Bodies gathers some of today’s most prominent and well-established theorists, along with emerging scholars, to contribute (...) their insights, questions, and concerns about Cavarero's political philosophy and to put her work in conversation with other feminist thinkers, political theorists, queer theorists, and thinkers of race and coloniality. A new essay by Adriana Cavarero herself closes out the volume. Political Bodies ventures beyond the familiar boundaries of Cavarero's own writing and is a testament to the generative encounters that her philosophy makes possible. (shrink)

This essay examines Italian philosopher Adriana Cavarero's ontology of uniqueness through a reading of Alex Haley's novel Roots, and the recent television adaptation of that book. If Cavarero has insisted throughout her work that we need to challenge the philosophical privileging of abstract universality and focus instead on the irreducibility of embodied singularity, and if such a move in her work has always relied on a feminist analysis of the role women play in such a drama, I argue (...) that attention to issues of race and the institution of slavery both supports and complicates her analysis in meaningful ways. (shrink)

The Future of the World Is Open examines the work and thought of three prominent Italian feminist philosophers, Lea Melandri, Luisa Muraro, and Adriana Cavarero, as it delves into the significant experiences that shaped them, highlighting their converging and diverging positions. Also appearing here for the first time in English translation are three essays by renowned author, journalist, and political figure Rossana Rossanda. Rossanda's essays offer a critical perspective on some of the contentious theoretical nodes with which Italian feminist (...) thought has wrestled. Written in terse and engaging language, this book explores challenging philosophical and political questions, with themes including masculine domination; the body as the site of sedimented lived experience; sexual difference; the symbolic; the imaginary; feminine political authority; feminine subjectivity; and material humanism. A vivid picture of the socio-political context of Italian feminism emerges—illuminating its strong commitment to practice—and informing and enriching contemporary discussions at the intersection of different disciplinary perspectives. (shrink)

I claim that Adriana Cavarero’s concept of sonorous voice is significant in feminist teaching because, as she argues, dominant concepts of voice refer to voice in semantic terms thereby discounting voice in sonorous terms. This process of ‘devocalization’, spanning the history of Western philosophy, devalues the uniqueness embodied in each sonorous voice effecting a bias against female-sounding voices. In light of women’s history and experience of being silenced, this devaluing of sonorous voice has distinct implications for feminist teaching. A (...) person’s actual sounding voice, which constitutes her or his uniqueness, is missing from prior considerations of ‘voice’ in professional ethics. Because establishing a voice of authority is a central challenge starting off as a teacher, devocalization makes this challenge greater for those with female-sounding voices who take on and try out the dispositions and attitudes of an authoritative professional. Using the example of a voice workshop I designed for pre-service teachers, I re-consider it in light of ‘devocalization’ and the frankness needed to practice feminism, asking if it is possible to be frank and sonorous using irony. I conclude that it is, that Cavarero’s philosophical practice is a model for feminist teaching, and I re-write the workshop with ‘bad intentions’; for and in more than one voice. (shrink)

Feminist philosopher Adriana Cavarero claims in her bookHorrorism: Naming Contemporary Violencethat the core of the horror of Auschwitz is constituted by the figure of theMuselmann. I argue that Cavarero's lack of an accurate historical engagement with this figure in particular and with Auschwitz in general leads her to a speculative turn, thereby universalizing the phenomenon of theMuselmannby making ittheexample of Auschwitz, and moreover, the key factor to explain its singularity. I show that the phenomenon of theMuselmann, although a (...) particular horrible effect of Auschwitz, is not limited to this concentration and extermination camp system. Consequently, the characteristic that makes Auschwitz aunicumcannot be found in theMuselmann. Rather, as I elucidate, the singularity of Auschwitz and the Shoah in general must be understood in relation to the true goal of this camp: the final extermination of European Jewry. (shrink)

The paper examines the relationship between the sexual and linguistic and their mutual influence within the fields of political philosophy, linguistics, and theory of text, in selection from Adriana Cavarero’s work. First, we begin from the knowledge of poststructuralist text theory, psychoanalytic feminism and psycholinguistics, which are later expanded with the results from political philosophy with special emphasis on ancient texts. Cavarero’s texts are being analysed to describe the features through which the relationship between gender, sex and text (...) is established. Through a critical exploration of Cavarero’s texts and previous theoretical discussions and the analysis results, a conclusion about the influence of the sexual on language and culture and the influence of language and cultural symbols on social and gender roles is reached. (shrink)

Abstract:In this article I stage an encounter between Adriana Cavarero's account of uniqueness and Hortense Spillers's account of the flesh. Doing so is valuable for two reasons: First, it forces Cavarero's thought to consider not only the exclusion of women from the Western tradition, but also the anti-Blackness foundational to this tradition. This both expands and contorts Cavarero's thought, affirming her key claims while also altering them in the process. Second, reading Cavarero and Spillers together allows (...) me to explore the way forms of life that evade representation can be known. Both uniqueness and the flesh are evasive of representation; by reading them together—supplementing Cavarero's consideration of the embodied character of uniqueness with Spillers's distinction between body and flesh—I develop an account of apprehension that emphasizes touch as a way of knowing apart from representation. Apprehension takes seriously the ambivalence in Spillers's account of the flesh, whereby it is both revealed through violence as well as through practices of care, which, as Saidiya Hartman has made clear, are often in a proximate relation in the ongoing legacies of transatlantic slavery. (shrink)

In this paper, I juxtapose the work of two contemporary feminist philosophers: Christine Battersby and Adriana Cavarero – both working within the Continental tradition – to show how they go well beyond feminist critique to produce different images of self-identity and conceptions of the political. Both reject traditional positions on selfhood but also stress the materiality of bodies and provide alternatives to the work of post-structuralists, such as Judith Butler. My aim is to draw out some of the politico-legal (...) implications of their differing images of selfhood. In the final section I then apply both their approaches to the concept of self to ask how their respective arguments can inform contemporary political questions regarding privacy and dissensus. (shrink)

In this article, I critically engage Adriana Cavarero’s account of uniqueness via an analysis of her work on narrativity and violence. I suggest there is an ambivalence in Cavarero’s account of uniqueness: Cavarero argues both that uniqueness is susceptible to destruction, and that it cannot finally be annihilated. To make this clear I use Cavarero’s account to read a narrative offered by Miklós Nyiszli, of a woman who survived an Auschwitz gas chamber. I contrast this to (...) Cavarero’s reading of Eurydice and Orpheus, arguing that the ambivalence in Cavarero’s account can be resolved by thinking an excess proper to uniqueness. (shrink)

This article compares the accounts of politics found in the work of Adriana Cavarero and Jacques Rancière. It argues that when Cavarero offers a formal account of politics she thinks politics with...

This paper argues that the metaphors of breath and voice as employed in the recent works of Luce Irigaray and Adriana Cavarero yield a reconceptualization of subjectivity as unique, embodied and relational. When interpreted in light of Cavarero's reorientation of the question of subjectivity from a what to a who, this newly configured notion of subjectivity can serve as the basis for a non-essentialist politics of sexual difference.