Abstract
The last chapter reflects on the possibility—beyond the “case of Caravaggio”—of conceptualizing displacement as a useful critical paradigm for mobilizing and challenging the artistic and historic heritage of the West in response to the urgent demands of our contemporary world.
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- 1.
Hubert Damisch, La ruse du tableau. La peinture ou ce qu’il en reste (Paris: Seuil, 2016), 219.
- 2.
On the relationship between “humanitarianism” and “securitarianism” and on the latter’s rise as the newly established political framework, see Didier Fassin, “Signes des temps,” in La raison humanitaire. Une histoire morale du present (Paris: Seuil 2018), 411–427.
- 3.
See Doris Sommer, The Work of Art in the World: Civic Agency and Public Humanities (Durham and London: Duke University Press, 2014), 3.
- 4.
Although the concept of deterritorialization has been developed in many works by Deleuze and Guattari, for an explicit reference to the idea of “geophilosophy,” see Gilles Deleuze and Félix Guattari, What is Philosophy? (New York: Columbia University Press, 1994), 85–113.
- 5.
For a reintroduction of the concept of “deterritorialization” into cultural and postcolonial studies, in a work that weaves together many of the theoretical issues and topics covered in this book, see Iain Chambers, Mediterranean Crossings: The Politics of an Interrupted Modernity (Durham and London: Duke University Press, 2008), 10–11.
- 6.
On the relationship between montage and syllogism, see Francesco Zucconi, “‘Bring Together Things that Did Not Seem Predisposed To Be So.’ Jean-Luc Godard and the Critical Potentiality of Montage,” in Montages: Assembling as a Form and Symptom in Contemporary Arts, eds. Cristina Baldacci and Marco Bertozzi, with a preface by Angela Vettese (Milan: Mimesis International, 2018), 221–237.
- 7.
Sandro Mezzadra and Brett Neilson, Border as Method, or the Multiplication of Labor (Durham and London: Duke University Press, 2013), 178.
- 8.
Ibid.
- 9.
On the progressive growth of technological devices used for control and governance, but also on the possibility of using such devices to analyze and bear witness to the forms of political violence and violations of the law that take place in war zones and borders, both in the legal sphere and in public discourse, see Eyal Weizman, Forensic Architecture: Violence at the Threshold of Detectability (New York: Zone Books, 2017).
- 10.
Bhabha, The Location of Culture, 7.
- 11.
Ibid.
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Zucconi, F. (2018). On Displacing. In: Displacing Caravaggio. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-319-93378-8_7
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DOI: https://doi.org/10.1007/978-3-319-93378-8_7
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