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.

著者

城岡 啓二

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.48, no.2, pp.A169-A195, 1997

被引用文献数

1

著者

諸井 克英 平井 加苗

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.50, no.2, pp.A35-A62, 1999

著者

楊 海英 児玉 香菜子

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.54, no.1, pp.A59-A184, 2003-07-31

被引用文献数

1

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衆所周知,研究中国的学子経常嘆訴説没有高精度的資料可用.究其細情不外有二.其一是説,中国是個非常保密的国家,不願意其文献資料外流.此種現象主要与中国長期淪為殖民地半殖民地従而遭受外人略奪其文化財産的歴史有関.還有一種説法話為,中国的資料尤其是宮方発表的各種資料,経過了某種帯有特定意図的操作.亦即是説,資料与現実之間有着相当大的出人和距離.本文以公布各種統計資料為目的.此類統計資料均由執筆者収集於内蒙古自治区伊克昭盟即今之鄂爾多斯市地区民間.資料全部為当地宮方所発表的有関畜牧業,農業和工業方面的基本情況.在文中,執筆者対資料的真偽不進行評論,亦不対具体数字的性質進行弁別工作.本文作者認為,統計工作的出寵過程和統計行為同様重要.統計工作的形成過程是一種「文化現象」,和数字同様反映了該社会的不同側面.也就是説,本文所提示的資料,在「数字」和「本質」両方面,都具有同様重要的文化意義.

著者

酒井 英行

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.53, no.2, pp.29-44, 2003-01-31

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1. Trying to escape from emptiness of being a housewife, 'she' exchanges letters. But on the contrary, by doing so, 'she' restrains herself more strongly. 2. T project my self weakness on the green beast and treat cruelly. It is caused by the weakness of being unable to face up to alienation herself.

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.53, no.2, pp.A13-A27, 2003-01-31

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It is said that Hippocrates, the ancient Greek doctor, used the word Semeiotike (=the doctrine of signs) as the diagnostics. The Ancients grasped the word sign as the symptom of a disease. But we can find the new modernized usage of this word in An Essay concerning Human Understanding. John Locke said in it, "it(=semeiotike) is aptly enough termed also logike, logic". And this idea had the influence on the semiotic(s) of the Charles Sanders Peirce. But the meaning of this word in Gilles Deleuze was entirely different. He thought in the 1960's that people begin to think by sudden encounter with signs. So signs are the key of the beginning of thinking. This includes the criticism of the traditional philosophies based on logos, because they thought that people begin to think of their free will. In Difference et Repetition (Difference and Repeat, 1968) Deleuze stated eight images of thinking which obstruct the beginning of thinking by signs. One of them is to treat propositions only in the dimension of the designation and to disregard the dimension of the expression. So in Logique du sens (Logic of sense, 1969) he tried to point out the expression-dimension specifically with the non-sense of Lewis Carroll and the logic based on events of Stoicism. There aren't many adventures of Alice, but the only one adventure to come to the surface from the depth, that is the adventure to get the incorporeal splendor of language and thinking.

著者

浜渦 辰二

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.52, no.1, pp.A1-A15, 2001-07-31

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1927年の『存在と時間』の刊行以来、ますます「現象学」という語を使わなくなっていったハイデガーは、1963年の回想「現象学へ入って行った私の道」のなかで、現象学という表題が消え去ったとしても「思索の可能性」としての現象学は保持されると述べていた。それから10年後、1973年の「ツェーリンゲン・ゼミナール」でのハイデガーは、この「可能性としての現象学」を「顕現せざるものの現象学(Phanomenologie des Unscheinbaren)」と呼んだ。もちろん、それはあくまでも後期ハイデガー流に解された限りでの現象学であり、「現象するものに現象することを可能にしながら、自らは現象しないもの」つまり「存在」の思索のことにほかならなかっただろう。いまここでは、ハイデガーの「顕現せざるものの現象学」というアイデアを汲みつつも、それを彼にしたがうのではなく、むしろメルロ=ポンティ晩年の遺稿『見えるものと見えないもの』における「見えないもの(l'invisible)」に結び付け、そしてそのアイデアをフッサール現象学からの離反ではなく、むしろ正統な継承として、それゆえ、フッサールを改めてこの「見えないものの現象学」の創始者として位置づけなおすことを試みたいと思う。現象学とは、現象についての学だから、現象しないもの・見えないものの現象学など形容矛盾と思われるかも知れないが、実はそうではなく、そこにこそ、現象学の新しい可能性があることを示すことができれば、と思うのである。

著者

上田 肇

出版者

静岡大学

雑誌

人文論集 (ISSN:02872013)

巻号頁・発行日

vol.53, no.2, pp.A117-A132, 2003-01-31

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Paul Auster's The Music of Chance is a very smart and stylish novel. Jim Nashe was a fireman in Boston, but after his wife left him, he asked his sister to take care of his daughter. And he began traveling around America. As long as he was driving, he carried no burdens. "Perhaps the music had something to do with that, the endless tapes of Bach and Mozart and Verdi that he listened to while sitting behind the wheel, as if the sounds were somehow emanating from him and drenching the landscape, turning the visible world into a reflection of his own thoughts." I would like to examine the story paying attention to the effects of music. I will put emphasis on the meaning of the anonymity of music. This may be closely related to the function of the simple language Paul Auster used in the novel. As Frederick R. Karl describes, Auster's deliberately flattened out American English conveys neutrality and withdrawal in the present age. His simple and easy language does not necessarily mean the story can be easily understood. On the contrary, it is a really difficult work. Auster's effort to quest for the function of language is apparent in the novel. He seems to emancipate language from the old barriers.