Caravaggio (1986), Derek Jarman's portrait of the Italian Baroque artist, shows the painter at work with models drawn from Rome's homeless and prostitutes, and his relationship with two very different lovers: Ranuccio, played by Sean Bean, and Lena, played by Tilda Swinton. It is probably the closest Derek Jarman came to a mainstream film. And yet the film is a uniquely complex and lucid treatment of Jarman's major concerns: violence, history, homosexuality, and the relation between film and painting. In particular, according to Leo Bersani and Ulysse Dutoit, Caravaggio is unlike Jarman's other work in avoiding a sentimentalising of gay relationships and in making no neat distinction between the exercise and the suffering of violence. Film-making involves a coercive power which, for Bersani and Dutoit, Jarman may, without admitting it to himself, have found deeply seductive. But in Caravaggio this power is renounced, and the result is Jarman's most profound, unsettling and astonishing reflection on sexuality and identity.

In this highly original and provocative study, Bersani takes us away from the interpretative questions which the competing critics of Mallarme familiarly raise, and explores a fundamental paradox within his work as a whole. On the one hand Mallarme can be taken as a prime example of textual imperialism in modern literature: his hermetic poems seem to demand ever more interpretative ingenuity from his readers and to provide a foretaste of the supreme Book which he dreamed of - 'the Orphic explanation of the Earth'. On the other hand he mounted an extraordinary assault on literature's claims to importance. He went so far as to propose a view of literature as an essentially wordless fiction incapable both of communicating the nature of reality and of producing knowledge of reality. He comes to be engaged in the somewhat eerie strategy of celebrating literature as a way of burying it. He does not, however, give up writing; in fact, he begins what Leo Bersani considers to be his revolutionary subversion of literature at the very moment when he becomes a man of letters. In tracing this paradox, Bersani brings fresh insights to much of Mallarme's work and suggests a unique way of understanding Mallarme's place in modern literature.

Leo Bersani's career spans more than fifty years and extends across a wide spectrum of fields--including French studies, modernism, realist fiction, psychoanalytic criticism, film studies, and queer theory. Throughout this new collection of essays that ranges, interestingly and brilliantly, from movies by Claire Denis and Jean-Luc Godard to fiction by Proust and Pierre Bergounioux, Bersani considers various kinds of connectedness.
"Thoughts and Things" posits what would appear to be an irreducible gap between our thoughts (the human subject) and things (the world). Bersani departs from his psychoanalytic convictions to speculate on the oneness of being--of our intrinsic connectedness to the other that is at once external and internal to us. He addresses the problem of formulating ways to consider the undivided mind, drawing on various sources, from Descartes to cosmology, Freud, and Genet and succeeds brilliantly in diagramming new forms as well as radical failures of connectedness. Ambitious, original, and eloquent, "Thoughts and Things" will be of interest to scholars in philosophy, film, literature, and beyond.

Acclaimed for his intricate, incisive, and often controversial explorations of art, literature, and society, Leo Bersani now addresses homosexuality in America. Hardly a day goes by without the media focusing an often sympathetic beam on gay life--and, with AIDS, on gay death. Gay plays on Broadway, big book awards to authors writing on gay subjects, Hollywood movies with gay themes, gay and lesbian studies at dozens of universities, openly gay columnists and even editors at national mainstream publications, political leaders speaking in favor of gay rights: it seems that straight America has finally begun to listen to homosexual America. Still, Bersani notes, not only has homophobia grown more virulent, but many gay men and lesbians themselves are reluctant to be identified as homosexuals. In Homos, he studies the historical, political, and philosophical grounds for the current distrust, within the gay community, of self-identifying moves, for the paradoxical desire to be invisibly visible. While acknowledging the dangers of any kind of group identification (if you can be singled out, you can be disciplined), Bersani argues for a bolder presentation of what it means to be gay. In their justifiable suspicion of labels, gay men and lesbians have nearly disappeared into their own sophisticated awareness of how they have been socially constructed. By downplaying their sexuality, gays risk self-immolation--they will melt into the stifling culture they had wanted to contest. In his chapters on contemporary queer theory, on Foucault and psychoanalysis, on the politics of sadomasochism, and on the image of "the gay outlaw" in works by Gide, Proust, and Genet, Bersani raises the exciting possibility that same-sex desire by its very nature can disrupt oppressive social orders. His spectacular theory of "homo-ness" will be of interest to straights as well as gays, for it designates a mode of connecting to the world embodied in, but not reducible to, a sexual preference. The gay identity Bersani advocates is more of a force--as such, rather cool to the modest goal of social tolerance for diverse lifestyles--which can lead to a massive redefining of sociality itself, and of what we might expect from human communities.

Over the course of a distinguished career, critic Leo Bersani has tackled a range of issues in his writing, and this collection gathers together some of his finest work. Beginning with one of the foundations of queer theory - his famous meditation on how sex leads to a shattering of the self, "Is the Rectum a Grave?" - this volume charts the inspired connections Bersani has made between sexuality, psychoanalysis, and aesthetics. Over the course of these essays, Bersani grapples with thinkers ranging from Plato to Descartes to Georg Simmel. Foucault and Freud recur as key figures, and although Foucault rejected psychoanalysis, Bersani contends that by considering his ideas alongside Freud's, one gains a clearer understanding of human identity and how we relate to one another. For Bersani, art represents a crucial guide for conceiving new ways of connecting to the world, and so, in many of these essays, he stresses the importance of aesthetics, analyzing works by Jean Genet, Caravaggio, Proust, Pedro Almodovar, and Jean-Luc Godard. Documenting over two decades in the life of one of the best minds working in the humanities today, "Is the Rectum a Grave? and Other Essays" is a unique opportunity to explore the fruitful career of a formidable intellect.

Analyzes Samuel Beckett's novels, Mallarme's poetry, Pier Paolo Pasolini's film Salo, Assyrian palace reliefs, and writings by Henry James in terms of Freudian theories.

Leo Bersani, known for his provocative interrogations of psychoanalysis, sexuality, and the human body, centers his latest book on a surprisingly simple image: a newborn baby simultaneously crying out and drawing its first breath. These twin ideas--absorption and expulsion, the intake of physical and emotional nourishment and the exhalation of breath--form the backbone of Receptive Bodies, a thoughtful new essay collection. These titular bodies range from fetuses in utero to fully eroticized adults, all the way to celestial giants floating in space. Bersani illustrates his exploration of the body's capacities to receive and resist what is ostensibly alien using a typically eclectic set of sources, from literary icons like Marquis de Sade to cinematic provocateurs such as Bruno Dumont and Lars von Trier. This sharp and wide-ranging book will excite scholars of Freud, Foucault, and film studies, or anyone who has ever stopped to ponder the give and take of human corporeality.

Leo Bersani's career spans more than fifty years and extends across a wide spectrum of fields-including French studies, modernism, realist fiction, psychoanalytic criticism, film studies, and queer theory. Throughout this new collection of essays that ranges, interestingly and brilliantly, from movies by Claire Denis and Jean-Luc Godard to fiction by Proust and Pierre Bergounioux, Bersani considers various kinds of connectedness. Thoughts and Things posits what would appear to be an irreducible gap between our thoughts (the human subject) and things (the world). Bersani departs from his psychoanalytic convictions to speculate on the oneness of being-of our intrinsic connectedness to the other that is at once external and internal to us. He addresses the problem of formulating ways to consider the undivided mind, drawing on various sources, from Descartes to cosmology, Freud, and Genet and succeeds brilliantly in diagramming new forms as well as radical failures of connectedness. Ambitious, original, and eloquent, Thoughts and Things will be of interest to scholars in philosophy, film, literature, and beyond.

In each of the films discussed in this book--"Le Mepris" (Jean-Luc Godard, 1963), "All About My Mother" (Pedro Almodovar, 1999), "The Thin Red Line" (Terrence Malick, 1998) --something extraordinary is proposed. Or if not proposed, then shown, visually, by stranger and more powerful means than narrative or argument.
It is a matter in every case of re-imagining the relationship between subjectivity and the world.
At the end of "Le Mepris" a conventional account of doomed and tragic love is displaced by images of nature as just a space of almost blank appearances, which are beyond all human desire and psychological entanglements.
"All About My Mother "veers away from imprisoning forms of identity, family and gender. It begins, hesitantly, to depict other kinds of sociability--more fluid ones that do not rely on coercion or obligation.
Most remarkably, "The Thin Red Line" moves to eradicate discourse itself--to approach the world and the beings in it with a neutral gaze, without presupposing a hierarchy of relationships. In its use of close-ups and in its patterns of visual correspondence between human and non-human life, The "Thin Red Line" becomes abstract and startlingly indifferent to its violent subject-matter--as if, according to Leo Bersani and Ulysse Dutoit, an impassive, wholly receptive looking were the most appropriate, the most ethically justifiable, the least enraged and possessive way to appreciate the possibilities of existing in a world which is, beyond the conflict that is brought into it, not at war with its inhabitants.
The close analyses (supported by numerous illustrations) in "Forms of Being" are groundbreakingly original and compelling, suggesting newways of approaching cinema as visual art. Together they further develop the authors' longstanding project to redefine the ways in which subjectivity, sexuality, relationality and aesthetics can be understood and transformed.

Two gifted and highly prolific intellectuals, Leo Bersani and Adam Phillips, here present a fascinating dialogue about the problems and possibilities of human intimacy. Their conversation takes as its point of departure psychoanalysis and its central importance to the modern imagination--though equally important is their shared sense that by misleading us about the importance of self-knowledge and the danger of narcissism, psychoanalysis has failed to realize its most exciting and innovative relational potential.
In pursuit of new forms of intimacy they take up a range of concerns across a variety of contexts. To test the hypothesis that the essence of the analytic exchange is intimate talk without sex, they compare Patrice Leconte's film about an accountant mistaken for a psychoanalyst, "Intimate Strangers," with Henry James's classic novella "The Beast in the Jungle." A discussion of the radical practice of barebacking--unprotected anal sex between gay men--delineates an intimacy that rejects the personal. Even serial killer Jeffrey Dahmer and the Bush administration's war on terror enter the scene as the conversation turns to the way aggression thrills and gratifies the ego. Finally, in a reading of Socrates' theory of love from Plato's "Phaedrus," Bersani and Phillips call for a new form of intimacy which they term "impersonal narcissism": a divestiture of the ego and a recognition of one's non-psychological potential self in others. This revolutionary way of relating to the world, they contend, could lead to a new human freedom by mitigating the horrifying violence we blithely accept as part of human nature.
Charmingly persuasive and daringly provocative, "Intimacies" is a rare opportunity to listen in on two brilliant thinkers as they explore new ways of thinking about the human psyche.

In each of the films discussed in this book--"Le Mepris" (Jean-Luc Godard, 1963), "All About My Mother" (Pedro Almodovar, 1999), "The Thin Red Line" (Terrence Malick, 1998) --something extraordinary is proposed. Or if not proposed, then shown, visually, by stranger and more powerful means than narrative or argument.
It is a matter in every case of re-imagining the relationship between subjectivity and the world.
At the end of "Le Mepris" a conventional account of doomed and tragic love is displaced by images of nature as just a space of almost blank appearances, which are beyond all human desire and psychological entanglements.
"All About My Mother "veers away from imprisoning forms of identity, family and gender. It begins, hesitantly, to depict other kinds of sociability--more fluid ones that do not rely on coercion or obligation.
Most remarkably, "The Thin Red Line" moves to eradicate discourse itself--to approach the world and the beings in it with a neutral gaze, without presupposing a hierarchy of relationships. In its use of close-ups and in its patterns of visual correspondence between human and non-human life, The "Thin Red Line" becomes abstract and startlingly indifferent to its violent subject-matter--as if, according to Leo Bersani and Ulysse Dutoit, an impassive, wholly receptive looking were the most appropriate, the most ethically justifiable, the least enraged and possessive way to appreciate the possibilities of existing in a world which is, beyond the conflict that is brought into it, not at war with its inhabitants.
The close analyses (supported by numerous illustrations) in "Forms of Being" are groundbreakingly original and compelling, suggesting newways of approaching cinema as visual art. Together they further develop the authors' longstanding project to redefine the ways in which subjectivity, sexuality, relationality and aesthetics can be understood and transformed.

Leo Bersani, known for his provocative interrogations of psychoanalysis, sexuality, and the human body, centers his latest book on a surprisingly simple image: a newborn baby simultaneously crying out and drawing its first breath. These twin ideas--absorption and expulsion, the intake of physical and emotional nourishment and the exhalation of breath--form the backbone of Receptive Bodies, a thoughtful new essay collection. These titular bodies range from fetuses in utero to fully eroticized adults, all the way to celestial giants floating in space. Bersani illustrates his exploration of the body's capacities to receive and resist what is ostensibly alien using a typically eclectic set of sources, from literary icons like Marquis de Sade to cinematic provocateurs such as Bruno Dumont and Lars von Trier. This sharp and wide-ranging book will excite scholars of Freud, Foucault, and film studies, or anyone who has ever stopped to ponder the give and take of human corporeality.

Why taunt and flout us, as Beckett's writing does? Why discourage us from seeing, as Mark Rothko's paintings often can? Why immobilize and daze us, as Alain Resnais' films sometimes will? Why, Leo Bersnai and Ulysse Dutoit ask, would three acknowledged masters of their media make work deliberately opaque and inhospitable to an audience? This book shows how such crippling moves may signal a profoundly original - and profoundly anti-modernist - renunciation of art's authority. Our culture, while paying little attention to art, puts great faith in its edifying and enlightening value. Yet Beckett's threadbare plays "Company" and "Worstword Ho", so insistent on their poverty of meaning; Rothko's nearly monochromatic paintings in the Houston Chapel; Resnais' intensly self-contained, self-referential films "Night and Fog" and "Muriel" all seem to say "I have little to show you, little to tell you, nothing to teach you." Bersnai and Dutoit consider these works as acts of resistance; by inhibiting our movement toward them, they purposely frustrate our faith in art as a way of appropriating and ultimately mastering reality. As this book demonstrates, these artists train us in new modes of mobility, which differ from the moves of an appropriating consciousness. As a form of cultural resistance, a rejection of a view of reality - both objects and human subjects - as simply there for the taking, this training may even give birth to a new kind of political power, one paradoxically consistent with the renunciation of authority.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press's mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977.

This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1977.

Leo Bersani is an eminent literary critic whose influential work spans half a century. His vast, in many ways unclassifiable, oeuvre has traversed and blurred the boundaries of the disciplines of modern French literature, literary criticism, psychoanalysis, art history, film theory, philosophical aesthetics, and masculinity studies and sexuality studies. Oxford University Press published Bersani's first book, on Proust, in 1965, but the work has long been out of print. This new edition comes in response to a recent renewal of interest among philosophers of literature, among others, and features a new preface from the author.

Over the course of a distinguished career, critic Leo Bersani has tackled a range of issues in his writing, and this collection gathers together some of his finest work. Beginning with one of the foundations of queer theory - his famous meditation on how sex leads to a shattering of the self, "Is the Rectum a Grave?" - this volume charts the inspired connections Bersani has made between sexuality, psychoanalysis, and aesthetics. Over the course of these essays, Bersani grapples with thinkers ranging from Plato to Descartes to Georg Simmel. Foucault and Freud recur as key figures, and although Foucault rejected psychoanalysis, Bersani contends that by considering his ideas alongside Freud's, one gains a clearer understanding of human identity and how we relate to one another. For Bersani, art represents a crucial guide for conceiving new ways of connecting to the world, and so, in many of these essays, he stresses the importance of aesthetics, analyzing works by Jean Genet, Caravaggio, Proust, Pedro Almodovar, and Jean-Luc Godard. Documenting over two decades in the life of one of the best minds working in the humanities today, "Is the Rectum a Grave? and Other Essays" is a unique opportunity to explore the fruitful career of a formidable intellect.