With Young Virgin Auto-Sodomized by Her Own Chastity, Dalí returned to his paranoiac-critical concerns (i.e., autoeroticism), but now transformed. The paranoiac origin is Dalí’s obsession with Vermeer’s The Lacemaker, which in turn he believed to “consist” in rhinoceroses’ horns. (more…)
This excursus has prematurely broached The Gala Situation, so let’s go back to where we started, with Dalí beginning to apply his method: “For the next few years Dalí’s paranoiac process remained preoccupied with fetishist obsessions, including masturbation and his fear of heterosexual sex.”[1](more…)