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 to provide a liminal space that cannot be pinned down as of the work or parerogn of the work, so it must have a logic of its own.

If the picture frame itself is accepted as an essentially Western device, the implication might be the domination of Western culture over the East. To me, the parergon acts a sort of deconstruction of the space. 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 trait thus divides in this place where it takes place.

Notify me of new comments via email. Email required Address never made public. They do not interrogate a stable main text or invite further commentary. 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.

Indeed, that is a good rule of thumb in deconstruction. Geoffrey Bennington, and Ian McLeod.

A Note on Parerga

Whenever deconstruction finds a nutshell—a secure axiom or a pithy maxim—the very idea is to crack it open and disturb this tranquility. But these hasty interpretations take the binary opposition between the West and East as a priori, hindering other more complex possibilities.

Each part constitutes a parergon that concerns a parergon. What could dfrrida mean, then, to frame the frame in a cross-cultural context of religion? In his Religion Kant thinks further about the parergon. 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.


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. View as a single page. 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. 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. Where does it come from? Perhaps, then, the function of parerga will be to draw attention to defrida act of framing itself, rather than what is being framed.

Half a century later, inArthur Schopenhauer published his Parerga and Parelipomenaa work that, Schopenhauer explained, was subsidiary to his other, more systematic works, could not find a place in those other works, and dealt primarily with philosophical issues that positioned the subject with regard to the legal system, death, and existence.

This is where it seems to get problematic for Derrida and for myself. If the terms cannot be separated or opposed in any final way, then their meanings are also interdependent and inseparable.

The Truth in Painting. 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.

The University of Chicago Press, 9. Page number of 2. Contrary to the notion of a discourse that assumes art gives access to the realm of timeless and disinterestedness values, any discourse drerida art is always and inevitably bound up with interests that belong to the outside prergon art.


Jacques Derrida and Deconstruction

Burnnnn, Derrida 1 Kant 0. In other words, the object had to be a form of knowledge of the object itself, not the mental acts which cognitively construct it. 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 space it occupies is not supplemental or organic to its nature.

Since these frames are not closed, the viewer pagergon 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. The paregon 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.

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

In identifying the rhetorical oppositions that structure the ground of the argument Deconstruction deconstructs philosophy as language, as writing. 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?

Making this non-area never really attainable.

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. If we can never be certain, we can never know the truth. That is what deconstruction is all about, its very meaning and mission, if it pareryon any.