This essay treats the concept of coercion in Leo Bersani’s writings as a matter connected to questions of aesthetic form, mobility, and immobility. It reads passages from his work on Derek Jarman’s film Caravaggio, among others, to argue for noncoercive modes of attention and relationality.
© 2023 by Brown University and differences: A Journal of Feminist Cultural Studies
2023
Issue Section:
Articles
You do not currently have access to this content.