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The Dissociation of Personality

Space and the Impersonal Ideal

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Modernist Impersonalities
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Abstract

As early as 1908, Georg Simmel articulated the potential value of impersonal spatial relations. The particular sociological impersonality of Simmel’s stranger is not unlike the specific literary articulations of impersonality that arose just a few years later. Though he does not mention the term explicitly in this passage, Simmel theorizes something akin to what modernists would call “personality” as it develops from spatial and social interaction. As I will argue here, the aesthetic impersonality modernists would employ later was a response to this idea of personality as a socio-spatial concept. According to this logic, having or possessing a personality entails the ability to socially demarcate oneself, to occupy a distinct unit of social space. For a sociologist such as Simmel, “personality” is linked to singularity and individuation. Furthermore, social space is not meaningful outside of the value it acquires from this sort of human organization. Within this spatial organization, the stranger inhabits the best of both worlds; his “personality” is made possible through a condition of spatial fixity that offers freedom of interaction without complete “liberation from every given point in space” (Sociology 402). That is, his fixed position within social space grants him a personality, but his “distance” ensures that that space is dynamic, neither overly static nor completely in flux. Like “the really new” Eliot praises in “Tradition and the Individual Talent,” which “modifie[s]” and “alters” the “existing monuments” of tradition into a new order, Simmel’s stranger also “imports qualities” into the existing social group, “which do not and cannot stem from the group itself” (Sociology 402).2

If wandering is the liberation from every given point in space, and thus the conceptional opposition to fixation at such a point, the sociological form of the “stranger” presents the unity, as it were, of these two characteristics. This phenomenon too, however, reveals that spatial relations are only the condition, on the one hand, and the symbol, on the other, of human relations. The stranger is … the person who comes today and stays tomorrow. He is, so to speak, the potential wanderer: although he has not moved on, he has not quite overcome the freedom of coming and going. He is fixed within a particular spatial group, or within a group whose boundaries are similar to spatial boundaries. But his position in this group is determined, essentially, by the fact that he has not belonged to it from the beginning, that he imports qualities into it, which do not and cannot stem from the group itself.

The unity of nearness and remoteness involved in every human relation is organized, in the phenomenon of the stranger, in a way which must be briefly formulated by saying that in the relationship to him, distance means that he, who is close by, is far, and strangeness means that he, who also is far, is actually near. For, to be a stranger is naturally a very positive relation; it is a specific form of interaction.

—Georg Simmel1

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Notes

  1. See Simmel’s essay “The Stranger” in The Sociology of Georg Simmel, trans. and ed. Kurt H. Woolf (New York: Free Press, 1950), 402, hereafter referred to as Sociology.

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  2. See Wyndham Lewis, The Art of Being Ruled (Santa Rosa, CA: Black Sparrow Press, 1989), 148, hereafter referred to as Art.

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  3. See T. E. Hulme, Speculations: Essays on Humanism and the Philosophy of Art, ed. Herbert Read (London: Routledge, 1965), 33, hereafter referred to as Speculations.

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  4. See Warren Susman, “‘Personality’ and the Making of Twentieth-Century Culture,” in New Directions in American Intellectual History, ed. John Higham and Paul K Conkin (London: Johns Hopkins UP, 1979), 218. The piece originally appeared in

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  5. Susman’s Culture as History: The Transformation of American Society in the Twentieth-Century (New York: Pantheon, 1984).

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  6. See Samuel Smiles, Self-Help (London: IEA Health and Welfare Unit, 1996). The precursor to the contemporary self-help genre, Self-Help advocated thrift and hard work in the self-realization of Britain’s working and lowermiddle class.

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  7. See Sharon Cameron, Impersonality: Seven Essays (Chicago: U of Chicago P, 2007), viii, hereafter referred to as Impersonality.

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  8. For more about Miss Beauchamp, see Morton Prince, The Dissociation of Personality (New York: Longmans, Green, 1910), hereafter referred to as Dissociation. Interestingly, Prince relates the peculiarities of Miss Beauchamp’s fragile personality to her “delicacy of sentiment,” an index of how impersonality might inscribe the sentimental.

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  9. See also Prince’s Clinical and Experimental Studies in Personality (Boston: Independent Press, 1929).

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  10. See F. W. H. Myers, Human Personality and Its Survival of Bodily Death (Charlottesville, VA: Hampton Roads, 2001), 47, italics in original, hereafter abbreviated as HP.

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  11. Richard Noakes explains how “psychical research” came to be distinguished from other scientific practices as a pseudoscience, specifically because of its interest in the paranormal, mesmerism, and spiritualism, in “The Historiography of Psychical Research,” in Journal of the Society for Psychical Research 72.89 (April 2008): 65–85. Regarding Myers’s influence on modernists, Carolyn Burke has noted Mina Loy’s preoccupation with the researcher’s work in Becoming Modern: The Life of Mina Loy (Berkeley: U of California P, 1996). As Burke suggests, Myers’s interest in clairvoyance, the subliminal self, and its “consolation on spiritual matters” spoke to many modernists, even more so than Freud. Yeats also had been influenced by the Society of Psychical Research, of which Myers was an official.

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  12. Tim Armstrong, in Modernism, Technology and the Body (Cambridge: Cambridge UP, 1998), credits Myers with originating the automatic writing that would later become fashionable among modernist sets, both in Human Personality and in his earlier articles from 1885, “Automatic Writing” and “Multiple Personality.” As Armstrong observes, automism for Myers is the writing of a subliminal self that is “potentially separable from the body,” in other words, prosthetic (188). Modernism, Technology and the Body will be hereafter abbreviated MTB.

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  13. See Ian Hacking, Rewriting the Soul: Multiple Personality and the Sciences of Memory (Princeton: Princeton UP, 1995), hereafter referred to as Rewriting.

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  14. See Wyndham Lewis, Blast (Santa Rosa: Black Sparrow Press, 1997), 141, hereafter referred to as Blast.

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  15. One important text, Louis Berman, The Glands Regulating Personality: A Study of the Glands of Internal Secretion in Relation to the Types of Human Nature (New York: Macmillan, 1922), links human personality to the functions of the internal organs. In the text, Berman identifies certain complexes of communications between glands and internal secretions as responsible for specific personality types. Dr. Berman even goes so far as to interpret obesity as a manifestation of personality, along with rigorous definitions of femininity, masculinity, and sexuality. He further links types of personality to the prominence of various internal secretions that give rise to certain physiological features. Humorously enough, Oscar Wilde plays a prominent role in Berman’s catalogue of facial types and as an example of genius. His “thymocentric” personality and face coincide with his considerable stature, his “great corpulence,” his “high complexion,” and “flesh and plump hands.” Also remarked upon are his “large breasts” and the “exceptional size of his head” (251).

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  16. Ed Cohen, Talk on the Wilde Side (New York: Routledge, 1993) also suggests that the meaning of “personality” in Britain developed in direct relation to Wilde’s notoriety. Speaking of the libel proceedings in Wilde v. Queensberry, he argues that “the newspapers effectively reproduced the possibility for designating Wilde a kind of sexual actor without referring to the specificity of his sexual acts, and thereby crystallized a new constellation of sexual meanings predicated upon ‘personality’ and not practices” (131).

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  18. See Oscar Wilde, “The Soul of Man Under Socialism” in Plays, Prose Writings and Poems (London: Everyman, 1996) 18, hereafter abbreviated as Plays.

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  20. See Le Corbusier, The Decorative Art of Today, trans. James I. Dunnett (Cambridge: MIT Press, 1987), xxii, italics in original, hereafter abbreviated as DAT.

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  21. See also Le Corbusier’s two volumes Le Modulor I and II (Basel, Switzerland: Birkhauser Architecture, 2004), published first in 1950 and 1955. Using various illustrations, the books present the system of proportion Le Corbusier devised from 1942–1948, designed both to bridge the metric system and the Anglo-Saxon foot-inch system and to develop a scale of proportion between the ideal man and his architectural environment. Le Corbusier’s famous illustration Modular Man, following Vitruvius and Leonardo, locates the six-foot tall man as the source of this scale.

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  22. See Paul Peppis, “‘Surrounded by a Multitude of Other Blasts:’ Vorticism and the Great War,” Modernism/Modernity 4.2 (April 1997): 62.

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  23. See Ezra Pound, A Memoir of Gaudier-Brzeska (New York: New Directions, 1970), 29, hereafter referred to as Memoir.

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  24. See Hugh Kenner, The Pound Era (Berkeley: U of California P, 1971).

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  25. See Virginia Woolf, “Street Haunting: A London Adventure,” in Collected Essays: Volume IV (London: Chatto and Windus, 1967), 155, hereafter referred to as Collected IV.

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  26. It can also be said that as the stranger, Woolf ’s narrative voice conforms to the conventions of slumming literature Scott Herring identifies in his important study of queer modernist urbanism, Queering the Underworld: Slumming, Literature, and the Undoing of Lesbian and Gay History (Chicago: U of Chicago P, 2007). “Street Haunting” questions forms of social and spatial intelligibility; the eye must leave its comfort zone to embrace the “[u]nderworld unknowing” that occurs when spatial codes are reoriented, making “rotten a will-to-knowledge” (Queering 23).

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  27. See M. Merleau-Ponty, The Phenomenology of Perception, trans. Colin Smith (London: Routledge, 1962), 198, hereafter referred to as Phenomenology.

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© 2012 Rochelle Rives

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Rives, R. (2012). The Dissociation of Personality. In: Modernist Impersonalities. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137021885_2

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