November 13, 2020

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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It seems appropriate, then, to seek to understand the physical and cultural contexts which allow the work to be perceived as work, instead of looking for artistic qualities that exist within it inherently. What is to read this book. His major target was the hierarchy between speech and writing, in which speech xerrida presumed to have preceded writing, this giving to speech a false priority and the false presumption of origin.

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. If the terms cannot be separated or opposed in any final way, parergkn their meanings are also interdependent and inseparable.

He also suggests books as being this complicated object wheres one cannot depict their ends, their pxrergon. Whenever deconstruction finds a nutshell—a secure axiom or a pithy maxim—the very idea is to crack it open and disturb this tranquility. Kant introduced the metaphor of framing in an attempt to delimit a proper space of aesthetic representation, but in so doing, Kant perceived a problem, an undecidability in some seemingly marginal details that could not be detached without altering or upsetting the composition.

The term initially appeared in Greek in Philotheou Parergaa text conceived between and by the Voivode of Wallachia, Nikolaos Mavrokordatos, as a guide to conduct for his son. Derrida would be compelled to deconstruct such a proposition. Living presence, according to Derrida, is always inhabited by difference. In Kant’s Critique of Practical Reason and later in a very long note in his second edition of Religion Within the Limits of Reason Alonethe parergon is developed as adornment, embellishment, ornamentation Zierathen of the main ergonthe work.

Should the body be considered as autonomous, that is self-sufficient without the drapery, or is the drapery intrinsic to the work of art itself? By continuing to use this website, you agree to their use. Such analyses do not attempt to provide prescriptive frameworks, but rather try to understand the specific ideas and relations represented and produced through the work.

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The space parervon occupies is not supplemental or organic to its nature.

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

How to treat this book. What about the frame around a painting? If you have found this material useful, please give credit to Dr. Making paretgon non-area never really attainable. 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.

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

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

This assumes that we reach agreement about what we understand by the word art. As such, they will necessarily contain a multiplicity of cultural contexts blending into one another, making it impossible to fit them into stereotypical categories.

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

Where does it come from? 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. 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, that 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.

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. Thus, the parergon participates in the act of reflective thought, in the act of reflective faith, through the seemingly endless segmentation of the commentary on religion by Kant. Deconstruction does not appeal to a higher logical principle or superior reason, something which Derrida considered to be metaphysical.

Since these frames are not closed, the viewer derridq 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. If the terms are interdependent, then they cannot be separated or polarized.


Burnnnn, Derrida 1 Kant 0. But what is the frame itself? You are commenting using your Twitter account.

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 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. In comparison to the wall, the frame is part of the painting, while in comparison to the painting the frame is part of the wall. 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.

Perhaps, then, the function of parerga parergonn be to draw attention to the act of framing itself, rather than what is being framed. The frame is another variation of the Structure.

The physicality of the frames begins to function as a metaphorical allusion to religion and architecture. In identifying the rhetorical oppositions that structure the ground paarergon the argument Deconstruction deconstructs philosophy as language, as writing. 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 questions his notion of the universal value of beauty, he does this by referencing their edges, their ends, essentially their frame. Derrida charged that Husserl created a structure of alterity or the otherness of the meaning or self. 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.

Voivode was an Ottoman rank bestowed upon high-ranking individuals in the occupied lands. One might say that cracking nutshells is what decontsructrucion is. In his Religion Kant thinks further about the parergon. dfrrida

University of Chicago Press.