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By Eduardo Rapoport

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The other, hinted at in different ways in the Fortune Teller and the Calling of St. Matthew, is spatial though only partly visible within the painting; it is the “concealment” of an unmappable extensibility of being. To speak adequately of the first type of concealment invites a psychoanalytic look, perhaps the most refined interpretive look we have. Merely by positing the notion of an enigmatic subject we have placed ourselves on psychoanalytic ground. 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.

Hibbard recognizes something “unusual” in Lazarus’s pose, especially in the position of his arms. ” 3 But Christ will die and be buried, and will then reappear, resurrected; there is nothing in that resurrection that corresponds to the between-ness Caravaggio emphasizes. This between-ness means that Lazarus is neither dead nor alive, or that he is both. He is, in any case, not readable as either one or the other, and his unreadability is reinforced by the irreducible ambiguity of that highlighted right hand.

In Lazarus, we have a metaphoric rehearsal of Christ’s own destiny. 1 The Resurrection of Lazarus, 1608–09. Messina, Museo Nazionale. ” This suggestion becomes all the more plausible when we note the virtual cross formed by Jesus’ outstretched arm and the head of Lazarus’s sister and, on the vertical axis, the line going from Lazarus’s right hand to the left leg of the man holding him. But to what extent does the representation of Lazarus preempt the events it also presumably encapsulates by reformulating them in strictly human terms?

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Aerografia by Eduardo Rapoport

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