By Alice Miller
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Nevertheless, I'll take my chances with an answer. ' The play that accompanies this transformation would be of no interest if it were not itself carried along by a necessity which I tried, to a certain degree, to make apparent yesterday. If today I am trying to reformulate it, it is because this necessity requires that we pass by way of the ear—the ear involved in any autobiographical discourse that is still at the stage of hearing oneself speak. "—Tr. —Tr. 50 Roundtable on Autobiography my discourse and my writing.
Whereas in unsuccessful mourning, this, Erinnerung goes only so far and then stops. What Abraham and Torok call introjection (another term for interiorization) reaches its limit: incorporation marks the limit of introjection. I cannot manage to interiorize the dead other so I keep it in me, as a persecutor perhaps, a living dead. My review of this theorization is obviously too succinct. As for the interpretation of Nietzsche that I proposed yesterday, is it in any way foreign to this theorization?
But the necessity of passing onto and by way of the ear is not just this. Nor is it just the necessity of the labyrinth motif which, in Nietzsche, plays an altogether decisive role with the figures of Ariadne and Dionysus. To be more precise, it is, in the context that interested me Yesterday, the difference in the ear. First of all, the difference in the ear is, clearly, the difference in the size of ears. There are smaller or larger ears. The larger the ear. the more it is bent toward the pavilion, if you will, and the more undifferentiated it is, the more finesse it lacks in its attention to difference.
L'enfant sous terreur by Alice Miller