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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Although enclosing borders were used in the art of Ancient Egyptians, it was in Europe that picture frames became a widely accepted norm in painting. Structuralism began with Edmund Husserl who was concerned with the problem of transcendence, the objectivity of objects, and their existence outside of temporal consciousness.
In his Religion Kant thinks further about the parergon. 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. To find out more, including how to control cookies, see here: There is a complexity that arises through linking these architectural structures whose religious contexts have shifted to the picture frame, since the frame is largely a legacy of Western art history and therefore Christianity.
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The term initially prergon in Greek in Philotheou Parergaa text conceived between and by the Voivode parergn Wallachia, Nikolaos Mavrokordatos, as a guide to conduct for his son. It seems more productive to keep the fluid nature of these framing devices in mind, and to realize that the same devices can be used in framing different ideologies.
What could it mean, then, to frame the frame in a cross-cultural context of religion?
Derrida would be compelled to deconstruct such a proposition. The Truth in Painting. Derrida charged that Husserl created a structure of alterity or the otherness of the meaning paregon self. Columbia University Press, This question is employed by Derrida at first in a literal sense and then turns into a metaphorical and epistemological inquiry by extension: This is where it seems to get problematic for Derrida and for myself. Things like titles and wall texts also allow artists to create dialogue via frame, piece and faculties of thought.
Fill in your details below or click an icon to log in: Whenever deconstruction finds a oarergon secure axiom or a pithy maxim—the very idea is to crack it open and disturb this tranquility. Deleuze and the Framing of the Earth New York: The frame must be present in order to structure and the purpose of structurality is to both contain art within and exclude all that is deemed non-art.
Kant finds that it compromises the beauty of a functional frame if it draws attention to a painting not simply by its form, but by, say, its quality of a golden trim making it luxurious object in that way.
He pointed out that the pairs, far from being equal or balanced, were, in fact, hierarchized, with one term being preferred culturally over the other.
Parerga are not commentaries. He questions his notion of the universal value of beauty, he does this by referencing their edges, their ends, essentially their frame. Here Derrida is expressing that interrelated dynamics that can derrida within media and objects.
The Logic of Parerga / — Studio Babak Golkar
How to treat this book. If the picture frame itself is accepted as an essentially Western device, the implication might be the domination of Western culture over the East. In other words, the object had to be a form of knowledge of the object itself, not the mental acts which cognitively construct it. They do not interrogate a stable main text or invite further commentary. 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.
A Note on Parerga Parerga are not simply notes; they should be thought of as the extremities of a body, without which the text is truncated. This logical march which deconstructs. If the terms are interdependent, then they cannot be separated or polarized.
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.
What is the origin of art? His major target was the hierarchy between speech and writing, in which speech was presumed to have preceded writing, this giving to speech a false priority and the false presumption of origin.
Therefore for Kant, the parergon is a hybrid of inside and outside, frame, clothing, column, and there is psrergon deciding what is intrinsic to artwork and what belongs to the outside frame. Deconstruction does not appeal to a higher logical principle or superior reason, something which Derrida considered to be metaphysical.
Jaques Derrida excerpt from Parergon, The Truth in Painting (1978)
Dangerous Citizens Search Search. Jump to From Now On…. It seems to provide a liminal space that cannot be pinned down as of the work or outside of the work, so it must have a logic of its own. Such analyses do not attempt to provide prescriptive frameworks, but rather try parerhon understand the specific ideas and relations represented and produced through the work.
This assumes that we reach agreement about what we understand by the word art. Each part constitutes a parergon that concerns a parergon. 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.