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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Since these frames are parergln closed, the viewer paregron 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.
Although enclosing borders were used in the art of Ancient Egyptians, pareergon was in Europe that picture frames became a widely accepted norm in painting. To express this differently, so to speak, difference creates an endlessly deferred meaning as the self and the object oscillate, unable to fix a position. 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.
Where does it come from? Like an accessory that one is obliged to to welcome, neither wholly outside nor inside. 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 pareegon voices from the margins that parsrgon demand to be heard and will demand that the nuances they offer be taken into account.
Parergon: Jacques Derrida by on Prezi
They do not interrogate a stable main parergno or invite further commentary. Fill in your details below or click an icon to log in: The space it occupies is not supplemental or organic to its nature. This is where it seems to get problematic for Derrida and for myself.
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.
Indeed, that is a good rule of thumb in deconstruction. Whenever deconstruction finds a nutshell—a secure axiom or a pithy maxim—the very idea is to crack it open and disturb this tranquility.
Parerga are not commentaries. Or, conversely, as the frame is being used in an Islamic context 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.
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. Parerga are intimately connected with the development of the Western critical tradition, encompassing the historical and discursive 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.
Jacques Derrida and Deconstruction
Here Derrida is expressing that interrelated dynamics that can exist within media and objects. Degrida comparison to the wall, the frame is part of the painting, while in comparison to the painting the frame is part of the wall.
This question is employed by Derrida at first in a literal sense and then turns into a metaphorical and epistemological inquiry by extension: He questions his praergon of the universal value of beauty, he does this by referencing their edges, their ends, essentially their frame. If the terms cannot be separated or opposed in any final way, then their meanings are also interdependent and inseparable. The passe-partout which here creates an event must not pass for a master key.
The Truth in Painting. But what is the frame itself? Columbia University Press, By continuing to use this website, you agree to their use.
Jaques Derrida excerpt from Parergon, The Truth in Painting (1978)
pagergon This assumes that we reach agreement about what we understand by the word art. Geoffrey Bennington, and Ian McLeod. Therefore it is not surprising that more and more artists degrida been turning to the question of context as the main preoccupation of their artistic activities. 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?
Things like titles and wall texts also allow artists to create dialogue via frame, piece and faculties of thought.
This is what Derrida calls the parergon: To me, the parergon acts a sort of deconstruction of the space. Notify me of new comments via email. Perhaps, then, the function of parerga will be to draw attention to the act of framing itself, rather than what is being framed. 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.
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