This is what Derrida calls the parergon: “Neither work (ergon) nor outside the work (hors d’oeuvre), neither inside nor outside, neither above nor below. Despite its name, the Deconstruction that is associated with Derrida is not an . The parergon is the frame, the boundary between the art work. In this respect, the study follows on from. Derrida’s famous deconstruction of Kant’s parergon (frame) in his Critique of. Judgement. Derrida’s work exposes what.

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If the picture frame itself is accepted as an essentially Western device, the implication might be the domination of Western culture over the East. The University of Chicago Press, 9.

In his Religion Kant thinks further about the parergon. Despite its name, the Deconstruction that is associated with Derrida is not an act of destruction or a breaking up, instead Deconstruction, like Structuralism is an activity or performance.

What could it mean, then, to frame the frame in a cross-cultural context of religion? Have I parergno right to say that it is beautiful and first of all the right to ask myself that.

Is it a book. What about the frame around a painting? They do not interrogate a stable main text or invite further commentary.

The Logic of Parerga / — Studio Babak Golkar

Page number of 2. Deconstruction does not appeal to a higher logical principle or superior reason, something which Derrida considered to be metaphysical. They are notations to the text that make the text show its complexities, as they bring into the main narrative the realities of multiple positions, make interventions that show that there is no stability in this history, ferrida the story itself constantly shifts ground, that any attempt to produce a cohesive narration, an Ur-text of the history of the Left in Greece, will always draw voices from the margins that will demand to be heard and will demand that the nuances they offer be taken into account.

Making this non-area never really attainable.

Jaques Derrida excerpt from Parergon, The Truth in Painting (1978)

This view of aesthetics allows one to view these objects such as the garments on a statue per say as a detachable accessory as it is not organically belonging to the body. If the terms cannot be separated or opposed in any final way, then their meanings are also interdependent and inseparable.


They are a metatext that seeks to unseat any certainties that might exist in the main text, any convictions that might have developed in the narrative about the Left. If you have found this material useful, please give credit to. Dangerous Citizens Search Search. This site uses cookies.

Derrida charged that Husserl created a structure of alterity or the otherness of the meaning or self. But these hasty interpretations take the binary opposition between the West and East as a priori, rerrida other more complex possibilities. University of Chicago Press. Living presence, according to Derrida, is always inhabited by difference.

Jacques Derrida and Deconstruction

Email required Address never made public. Or, conversely, as the frame is being used in an Islamic derrrida in the transformation of the Hagia Sophia from a church to a mosque, to cite one examplewe could say that Western entities are being appropriated by the East as a means of agency. The physicality of the frames begins to function as a metaphorical allusion to religion and architecture.

Here Derrida serrida expressing that interrelated dynamics that can exist within media and objects.

Parergon: Jacques Derrida by on Prezi

Jump to From Now On…. What is to read this book.

Over the past derrixa, there seems to have been a growing consensus on the idea that what defines a work of art as art is the context it appears within. If we can never be certain, we can never know the truth.

This logical march which deconstructs Structuralism began with Edmund Husserl who was concerned with the problem of transcendence, the objectivity of objects, and their existence outside of temporal consciousness. Contemporary art discourses tend to accept that the status of a work of art as art is a pregiven condition, and analyze how the work functions retrospectively.

The function of the parergob, then, is to separate the interior from the exterior. Where does it come from?

What is the origin of art? Columbia University Press, Contrary to the notion of a discourse that assumes art gives access to the realm of timeless and disinterestedness values, any discourse on art is always and inevitably bound up with interests that belong to the outside of art.


In other words, the object had to be a form of knowledge of the object itself, not the mental acts which cognitively construct it.

View as a single page. Therefore it is not surprising that more and more artists have been turning to the question of context as the main preoccupation of their artistic activities. Each part constitutes a parergon that concerns a parergon. Burnnnn, Derrida 1 Kant 0. Structuralism began with Edmund Husserl who was concerned with the problem of transcendence, the objectivity of objects, and their existence outside of temporal consciousness.

When looking at a framed painting, the frame is part of the wall, whereas when looking at the wall, the frame is part of the painting. The very meaning and mission of deconstruction is to show that things—texts, institutions, traditions, societies, beliefs, and practices of whatever size and sort you need—do not have definable meanings and determinable missions, that they are always more than any mission would impose, that they are always more than any mission could impose, that they exceed the boundaries they currently occupy.

In identifying the rhetorical oppositions that structure the ground of the argument Deconstruction deconstructs philosophy as language, as writing. The Truth in Painting. Since these frames are not closed, the viewer is able to view their cross sections and recognize that they are extrusions of architectural silhouettes, such as the Hagia Sophia in Istanbul and the Dome of the Rock in Jerusalem.

Parerga are intimately connected with the development of the Western critical tradition, encompassing the historical and drrida development of social and philosophical thought that is the backdrop for the entire discipline of anthropology, indeed, that has engendered anthropology as an inquiry and a discipline, from its methodology to its epistemology and content. Therefore for Kant, the parergon is a hybrid of inside and outside, frame, clothing, column, and there is no deciding what is intrinsic to artwork and what belongs to the outside frame.

That is what deconstruction is all about, its very meaning and mission, if it has any.

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