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The self-portrait and other ruins\u0027, 1990) for the first exhibition of Louvre titled \u0027PARTI PRIS\u0027 (prejudice). In this paper I discussed how Derrida says the relation between drawing and representation in the sense of expression, according to the four key words used in the title and the subtitle of this book, namely \u0027blind\u0027, \u0027memory\u0027, \u0027self-portrait\u0027, and \u0027ruin\u0027. After that I made mention of \u0027the logic of parergon\u0027 in \" The Truth in Painting (1978). 1 Blind means not only a drawn blind man (object) but also a drawing man (subject), and moreover action of drawing it self. 2 Memory means receiving of the absolute invisibility prior to remembering something which was seen. For this reason drawing is a restitution of debts as well as to draw something. The word \u0027expression\u0027 seems to suggest only direction one from the internal side to external, but the French word \u0027rendre\u0027 includes two directions and meanings, that is, expression and restitution. 3 We cannot recognize a picture as a self-portrait by seeing it in itself. For the sake of recognition of a self-portrait we need suppositions through writings like a title or a signature. And as generally known, the network of writings spreads limitlessly into the abyss. 4 The idea that to draw a self-portrait is to disappear into the abyss leads us to the ruin as the origin of drawing. Therefore to sketch doesn\u0027t mean represent something visually, but to ruin representation. 5 Derrida shows in \"The Truth of Painting\" that the relation between parts and the whole by putting parergon, which is subordinate to ergon, into the theme. 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非現前的表現としての自画像 : Blind drawing into the abyss
https://doi.org/10.14945/00000479
https://doi.org/10.14945/00000479bc9b92f5-ccbc-43e1-b788-36580fb490f1
名前 / ファイル | ライセンス | アクション |
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KJ00004293325.pdf (1.9 MB)
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Item type | 紀要論文 / Departmental Bulletin Paper(1) | |||||||
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公開日 | 2008-01-25 | |||||||
タイトル | ||||||||
タイトル | 非現前的表現としての自画像 : Blind drawing into the abyss | |||||||
言語 | ||||||||
言語 | jpn | |||||||
資源タイプ | ||||||||
資源タイプ識別子 | http://purl.org/coar/resource_type/c_6501 | |||||||
資源タイプ | departmental bulletin paper | |||||||
ID登録 | ||||||||
ID登録 | 10.14945/00000479 | |||||||
ID登録タイプ | JaLC | |||||||
タイトル(別言語) | ||||||||
その他のタイトル | Self-portrait as Non-representative Expression : Blind Drawing into the Abyss | |||||||
著者 |
上利, 博規
× 上利, 博規
WEKO
508
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書誌情報 |
人文論集 巻 55, 号 1, p. A13-A28, 発行日 2004-07-30 |
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出版者 | ||||||||
出版者 | 静岡大学人文学部 | |||||||
NDC | ||||||||
主題Scheme | NDC | |||||||
主題 | 701 | |||||||
抄録 | ||||||||
内容記述タイプ | Abstract | |||||||
内容記述 | Derrida, who tries to deconstruct representative thinking, wrote " Me moires d'aveugle.L'autoportrait et autres mines" (Memories of blind. The self-portrait and other ruins', 1990) for the first exhibition of Louvre titled 'PARTI PRIS' (prejudice). In this paper I discussed how Derrida says the relation between drawing and representation in the sense of expression, according to the four key words used in the title and the subtitle of this book, namely 'blind', 'memory', 'self-portrait', and 'ruin'. After that I made mention of 'the logic of parergon' in " The Truth in Painting (1978). 1 Blind means not only a drawn blind man (object) but also a drawing man (subject), and moreover action of drawing it self. 2 Memory means receiving of the absolute invisibility prior to remembering something which was seen. For this reason drawing is a restitution of debts as well as to draw something. The word 'expression' seems to suggest only direction one from the internal side to external, but the French word 'rendre' includes two directions and meanings, that is, expression and restitution. 3 We cannot recognize a picture as a self-portrait by seeing it in itself. For the sake of recognition of a self-portrait we need suppositions through writings like a title or a signature. And as generally known, the network of writings spreads limitlessly into the abyss. 4 The idea that to draw a self-portrait is to disappear into the abyss leads us to the ruin as the origin of drawing. Therefore to sketch doesn't mean represent something visually, but to ruin representation. 5 Derrida shows in "The Truth of Painting" that the relation between parts and the whole by putting parergon, which is subordinate to ergon, into the theme. If we look at eyeglasses in a self-portrait as the parergon of the natural eyes, we will see an abyss and will be blind. | |||||||
ISSN | ||||||||
収録物識別子タイプ | ISSN | |||||||
収録物識別子 | 02872013 | |||||||
NII論文ID | ||||||||
関連タイプ | isIdenticalTo | |||||||
識別子タイプ | NAID | |||||||
関連識別子 | 110004709874 | |||||||
NII書誌ID | ||||||||
収録物識別子タイプ | NCID | |||||||
収録物識別子 | AN00123278 | |||||||
フォーマット | ||||||||
内容記述タイプ | Other | |||||||
内容記述 | application/pdf | |||||||
著者版フラグ | ||||||||
出版タイプ | VoR | |||||||
出版タイプResource | http://purl.org/coar/version/c_970fb48d4fbd8a85 |