Narrative desire, according to philosopher Adriana Cavarero, is the desire for one’s own history. What can semiotics of literature say about friendship as a dialogic phenomenon and the narrative desire for personal-historical knowledge in friendship, and how is this kind of knowledge semiotically different from knowledge achieved by science and scholarship?
As an interpersonal relation, friendship is discussed here from the perspective of semiotics and precarious knowledge, i.e., as a historically contingent relation that can be semiotically modelled (represented by mappings that are to some degree cognitively adequate and emotionally convincing) both within fiction literature and academic disciplines such as philosophy, anthropology, sociology, psychology and history. Friendship as a complex phenomenon has recently received increased attention from many distinct theoretical perspectives and disciplines. There are forms of “hidden interdisciplinarity” in friendship studies, as well as mono- and multidisciplinary approaches. A good case in point is recent discussions on how well a novel can model friendship. The opposite claims of philosopher Alexander Nehamas and literary critic Gregory Jusdanis on the adequacy of the novel for describing friendship will be discussed.
By considering ‘The Neapolitan Novels’ by Elena Ferrante, depicting a close, difficult, life-long friendship between two women and its concerns with precarious dialogues and knowledge (like what the two very different persons really know about each other), as well as recent scholarship on Ferrante’s work, I show how her novels are not just inspired by, but also indirectly a critical comment upon the work on narrative friendship by Cavarero. Friends differ, and some of their differences constitute a challenge for universal models of friendship and narrative desire.
Furthermore, Ferrante’s novels add a challenging complexity to a central insight analysed by Santaella as Peirce’s dialogism – that the action of signs are not merely individual but social, and that this applies as well to the person, whose thoughts are what she is “saying to that other self that is just coming into life in the flow of time” (CP 5.421; Santaella 2004: 132). The novels can be seen as modelling the very genesis of that dialogic self in the precarious process of finding a balance between dependency and autonomy between the friends.