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.55, no.1, pp.A13-A28, 2004-07-31

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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.