In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness--fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. "Memoirs of the Blind" is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts--including Diderot's "Lettres sur les aveugles," the notion of mnemonic art in Baudelaire's "The Painter of Modern Life," and Merleau-Ponty's "The Visible and the Invisible." Along with engaging meditations on the history and philosophy of art, Derrida reveals the waysviewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, "Memoirs of the Blind" extends and deepens the meditation on vision and painting presented in "Truth and Painting." Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.
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有錢有閑再來看德裏達談藝術吧
评分一直都不好意思標理論著作,畢竟覺得自己其實總隻是半懂。但這本,確實是看得非常感動。從目盲到淚水,其實整個是一個自我哀悼,是懺悔的淚水。唯一沒被論及的母親的畫像,摻雜的傢庭迴憶,德裏達說這本書關於繪畫的起源,布塔德斯為什麼畫下戀人的影子,正是因為愛啊。真真是德裏達的淚水之書。
评分We are blind
评分目盲與見證,目盲與記憶,觸摸,可見與不可見。目盲者的自畫像從一開始 便處於廢墟狀態,廢墟是指從第一次凝視的那一刻起就發生在肖像上的東西,這個畫像上的臉被當作是自身的記憶,而從凝視自己的那一刻起,作為一個幽靈,一個形象就黯然失色瞭。
评分有錢有閑再來看德裏達談藝術吧
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