By Leo Bersani, Ulysse Dutoit
Many critics have explored the homoerotic message within the early photos of the baroque painter Michelangelo Caravaggio (1573-1610). In Caravaggio's secrets and techniques, Leo Bersani and Ulysse Dutoit emphasize in its place the impenetrability of those pics. the stress among erotic invitation and self-concealing retreat leads Bersani and Dutoit to finish that the curiosity of those works is of their illustration of an enigmatic deal with that solicits intimacy to be able to block it with a secret.
Bersani and Dutoit supply a psychoanalytic examining of the enigmatic tackle as starting up relatives grounded in paranoid fascination. They examine Caravaggio's makes an attempt to maneuver past such family, his experiments with an area now not circumscribed by way of the mutual and paranoid, if erotically stimulating, fascination with imaginary secrets and techniques. In his most unusual paintings, Caravaggio proposes a greatly new mode of connectedness, a nonerotic sensuality suitable to the main fascinating makes an attempt in our personal time to reconsider, maybe even to reinvent, community.
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Extra resources for Caravaggio's Secrets
In what may be a commentary on the unseductive nature of that invitation, the young man with his back to us appears to be looking elsewhere, somewhere beyond Peter and Jesus, to another source of light. His turning in that direction could be read as the beginning of a movement responsive to that other call, to a source invisible in this painting but which implicitly criticizes the represented caller as a visible element denying the invisibility, or the latency of the visible, to which he belongs.
Indeed, Jean Laplanche has recently located the category of the enigma at the very point of emergence of what might be called the psychoanalytically constituted subject. He has spoken of an original and unavoidable seduction of the child by the mother, a seduction inherent in the very nurturing of the child. 1 Laplanche speaks of the seductive address mainly as an account of the structural formation of the unconscious: primal repression would be the making unconscious of those elements in the enigmatic signiﬁer which infants can’t T E S “metabolize,” that is, which they are incapable of understanding through some form of symbolization.
Once again, the central sacred ﬁgure is virtually ignored. The only participant in the scene who may be looking directly at Christ is St. John, but his eyes are so veiled in darkness that it’s impossible to say exactly where they are directed. The dispersed glances are not in themselves unusual in Entombment or Pieta` scenes that include several ﬁgures, but the looking away from Christ’s body is dramatically underlined by Nicodemus’s aggressive stare out of the picture frame toward us. )8 And yet it can hardly be said that, as in the Resurrection of Lazarus and the Calling of St.