Leo Bersani – författare

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.

Two gifted and highly prolific intellectuals, Leo Bersani and Adam Phillips, here engage in 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. Persuasive and provocative, "Intimacies" is a rare opportunity to listen in on two brilliant thinkers as they explore new ways of thinking about the human psyche.

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.

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.

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.

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, 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.

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.

This title delves into the interplay between Charles Baudelaire's poetic vision and Freudian psychoanalytic theory, offering a nuanced exploration of fragmented identity and the dynamic tension between traditional ideals and modern psychological complexity. Baudelaire's work is framed as a pivotal cultural drama, encapsulating the struggle between spiritual aspirations and self-degradation—a dualism rooted in his concept of "two postulations" of human nature, toward God and Satan. This framework aligns with a broader structure of oppositions—high and low, spirit and matter, reality and appearance—that has traditionally defined idealistic visions in literature.However, the book challenges reductive readings of Baudelaire's dualism, arguing instead for a recognition of his deeper engagement with psychic mobility and the destabilization of identity. Baudelaire's poetry, like Freud's theories, emerges at a cultural crossroads where traditional views of the self are simultaneously upheld and dismantled. This study emphasizes Baudelaire's resistance to the indeterminacy of self, contrasting it with more radical contemporary experiments in fragmented subjectivity. Using Freudian theory, particularly the notions of fantasy and psychic deconstruction, the book highlights Baudelaire's complex interplay between rigid dichotomies and the liberating yet disruptive forces of self-scattering desire, offering a profound examination of the tensions that define both his work and the evolution of modern thought.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 delves into the interplay between Charles Baudelaire's poetic vision and Freudian psychoanalytic theory, offering a nuanced exploration of fragmented identity and the dynamic tension between traditional ideals and modern psychological complexity. Baudelaire's work is framed as a pivotal cultural drama, encapsulating the struggle between spiritual aspirations and self-degradation—a dualism rooted in his concept of "two postulations" of human nature, toward God and Satan. This framework aligns with a broader structure of oppositions—high and low, spirit and matter, reality and appearance—that has traditionally defined idealistic visions in literature.However, the book challenges reductive readings of Baudelaire's dualism, arguing instead for a recognition of his deeper engagement with psychic mobility and the destabilization of identity. Baudelaire's poetry, like Freud's theories, emerges at a cultural crossroads where traditional views of the self are simultaneously upheld and dismantled. This study emphasizes Baudelaire's resistance to the indeterminacy of self, contrasting it with more radical contemporary experiments in fragmented subjectivity. Using Freudian theory, particularly the notions of fantasy and psychic deconstruction, the book highlights Baudelaire's complex interplay between rigid dichotomies and the liberating yet disruptive forces of self-scattering desire, offering a profound examination of the tensions that define both his work and the evolution of modern thought.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.

In this highly original and provocative study, Bersani takes us away from the interpretative questions which the competing critics of Mallarmé familiarly raise, and explores a fundamental paradox within his work as a whole. On the one hand Mallarmé 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 Mallarmé's work and suggests a unique way of understanding Mallarmé's place in modern literature.

“How almost true they sometimes almost ring!” Samuel Beckett’s character rues his words. “How wanting in inanity!” A person could almost understand them! 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’s films sometimes will? Why, Leo Bersani and Ulysse Dutoit ask, would three acknowledged masters of their media make work deliberately opaque and inhospitable to an audience? This book shows us 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 Worstward Ho, so insistent on their poverty of meaning; Rothko’s nearly monochromatic paintings in the Houston Chapel; Resnais’s intensely 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.” Bersani 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. In its movement among these three artists, Arts of Impoverishment traces a new form of movement within art.

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.

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 each of the films discussed in this study - 'Le Mepris', 'All About My Mother', 'The Thin Red Line' - something extraordinary is proposed. Or if not proposed, then shown, visually, by stranger and more powerful means than narrative or argument.

In each of the films discussed in this study - 'Le Mepris', 'All About My Mother', 'The Thin Red Line' - something extraordinary is proposed. Or if not proposed, then shown, visually, by stranger and more powerful means than narrative or argument.