著者

上利 博規

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.54, no.2, pp.A1-A22, 2004-01-31

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J.Derrida says that he wrote four times around 'the Painting1 in La verite en peinture (The Truth in Painting). The titles of the four discourses in this book are TARERGON, '+R (par dessus le marche)', 'CARTOUCHES' (Cartridges), 'RESTITUTIONS -de la verite en pointure' (Restitutions-of the truth in size). The first thesis 'PARERGON' concerns Kant's Critique of the faculty of judgement, the second '+R (par dessus le marche)1 concerns Varerio Adam's exposition titled "Le voyage du dessin" (The voyage of sketch, 1975), the third 'CARTOUCHES'(Cartridges) concerns Gerard Titus-Carmel's exposition titled "The Pocket Size Tlingit Coffin et les 61 premiers dessins qui s"ensuivirent"(The Pocket Size Tlingit Coffin and the succeeded 61 first sketches, 1978), and the fourth 'RESTITUTIONS concerns Heidegger's The Origin of Works of Art. Through them Derrida points out that 'the logic of PARERGON, or 'the logic of frame', is stronger than 'the logic of analysis', and that 'the logic of analysis' is always contaminated by 'the logic of PARERGON'. According 'the logic of PARERGON' a certain part includes the whole. And if aesthetics should not be a part of philosophy and should find not-presentative 'trace1 or 'rest', we must not think art in the traditional philosophical ways, so not in the traditional aesthetics ways, but in another way follwing 'the logic of PARERGON'.