파레르곤의 논리: 데리다와 미술 = The Logic of Parergon: Derrida and Painting

다국어 초록 (Multilingual Abstract)

In Truth in Painting and Memoirs of the Blind, French philosopher Jacques Derrida attempts to elaborate on the role and the significance of painting in his life-long endeavors of deconstructing Western metaphysics. Revisiting time-old philosophical themes of presentation and representation in the arts of the visual and critically reassessing philosophical assumptions of the truth in Kant, Hegel, and Heidegger, Derrida points out that arts in general, and painting in particular, have been paradoxically based on the logic of parergon: what was considered the outside or the frame of the painting proper, namely, cartouche. Parergon in painting, which is itself a kind of fragment, illustrates the lack extant inside the work (ergon) but at the same time makes it possible for the work to be itself. Such an operation of parergon in painting destroys the priority of the letter over the drawing. The truth in paining does no longer depend upon the discursive representation concerning what a painting truly is about. Kant`s Third Critique and the Heidegger-Schapiro debate on Van Gogh`s paintings of boots are critically examined as the example of metaphysical desire to incorporate and restitute the truth of the work within the boundary of human subject. Citing Valerio Adami`s drawings after Glas and Gerard Titus-Carmel`s series of coffin drawings of primitive tribe, Derrida also deconstructs the philosophical logic of dividing what is proper and what is not in any work of art. Derrida`s reconsideration of the philosophical idea of truth and pictorial representation extends to the deconstruction of the priority of the visual to the invisible. As Derrida famously says, eyes are not made to see but to weep. Tears are like the parergon of the eyes. They show that there is the lack in human faculty of seeing. Self-portrait, which originates from the blind spot in the canvas, is the case in point of such a logic of parergon. Blindness caused by tears is constitutional in any process of painting the truth because parergon, as the signifier of the lack, demonstrates the abyss of human faculty of seeing and the origin of painting from such lack.

참고문헌 (Reference)

1 Miller, J. Hillis, "What Do Stories about Pictures Want?" 34 : 559-597, 2008

2 Derrida, Jacques, "The Truth in Painting" U of Chicago P 1987

3 Carroll, David, "Paraesthetics: Foucault" Methuen 1987

4 Derrida, Jacques, "Memoirs of the Blind: The Self-Portrait and Other Ruins" U of Chicago P 1993

5 Zelechow, Bernard, "Memoirs of the Blind: The Self-Portrait and Other Ruins" 21 : 618-620, 1995

6 Derrida, Jacques, "Dissemination" U of Chicago P 1981

7 Hubert, Renee Riese, "Derrida, Dupin, Adami: ‘Il faut etre plusiers pour ecrire.’" 84 : 242-264, 1994

8 Escoubas, Elaine, "Derrida and the Truth of Drawing: Another Copernican Revolution" 3 : 201-214, 2006

9 Fried, Michael, "Between Realism: From Derrida to Manet" 21 : 1-36, 1994