كليدواژه :
دريدا , كانت , پارارگون , ديكانستراكشن , نقاشي ايراني , درون و بيرون
چكيده فارسي :
دريدا در خوانشي از«نقد قوه حكم»كانت، مفهوم پارارگون را در ساية قاب مورد بررسي قرار داده است. كانت با طرح پارارگون مرزهاي غيرقابل نفوذي بين درون و بيرونِ اثر هنري ترسيم مي نمايد كه به فرماليسم و يا باور مشهورِ هنر براي هنر منجر شده است. سوال بنيادين اين مقاله نيز دقيقاً براساسِ همين طرحواره صورت گرفته است: با توجه به مفهوم پارارگون، چگونه مي توان چالش درون و بيرون در آثار نقاشي ايراني را تحليل نمود؟ باطرح اين سوال، با هدف مواجهه اي ديگرگونه با متن(اثر هنري) و خوانش ديكانستراكشن، آثار از طريق پارارگون و رابطة بينامتني به ساحت هايي غير از زيبايي شناسي- فلسفه، ادبيات، تاريخ، جامعه شناسي، اخلاق، فرهنگ و... پيوند مي يابند. مقاله ضمن مروري كوتاه بر آراي دريدا و تحليل مفهوم پارارگون و برملا كردن تناقضات پنهان در آراي زيبايي شناسي كانت، به روشي كيفي و با استفاده از منابع كتابخانه اي و اينترنتي به واكاويِ نقاشي ايراني پرداخته، و مهمترين چالش مطرح شده در پارارگون كانت، يعني درون و بيرون را در آثار نقاشي ايراني رديابي مي نمايد. اينگونه خوانش مي تواند به مثابه رهنموني روش شناختي، در حوزه هاي متنوع تجسمي بكار آيد.
چكيده لاتين :
Due to the perception of Kant’s “critique of judgment”,
Derrida examined “Parergon” conception in the
shadow of the concept of framing. Kant draws the secure
and non-penetration borders between inside and
outside of artwork with Parergon’s sugges tion. Formalism
or popular belief “Art for Art” is the result of
transcendental reading and away from any conceptual
- empirical s tain. Kant introduces aes thetic ideas without
any benefit and interes t (quality’s moment), universal
experience (quantity’s moment), with infinite forma
finalis (relation’s moment) and consequently crucial
(modality’s moment) in third judgment using four subsections.
In the following, Kant mentions to parergon’s
example in fourteenth part of the same book: Anything
that is not depended on artwork in terms of intrinsic,
it takes accounts as an attachment in terms of outside
view; for ins tance painting frames or bodies clothing
or jambs around luxurious buildings. With analysing
this word, Derrida claims that it is impossible to separate
parergon from ergon because the parergon lies on
threshold s tatus that it isn’t whether inside or outside of
artwork. Likewise, this means that it is actually inside
and outside of artwork.
Derrida analyses that Kant reject autonomy of his
claim about artwork with applying His analytical
method from the critique of pure reason to the s tudy
of aes thetic judgment. That is, a rational (cognitive)
framework is imposed on an irrational (sensory) s tructure.
In Derrida’s view, the parargon designing and
the separation of firm between the art and Nonart is
watered by an epis temic that captures binary oppositions
and can be traced in various forms from Plato
and Aris totle to Husserl, Hegel and Heidegger. This
paper consis ts of three general sections: The firs t part provides
an overview of the basic concepts of Derrida’s ideas
(metaphysics of presence, decons truction, differance, indeterminacy,
and indecidability). The second part, while
introducing Kant’s parergon, deals with Derrida’s reading
of parergon and its various aspects. Part Three: In Derrida’s
reading of Kant’s paradigm, the challenge inside and
outside is explored in Iranian paintings. The fundamental
ques tion of the paper is based on the same schema: Given
the paradigmatic concept of Derrida, how can one analyse
the inside and outside challenges in Iranian paintings? In
this section, the indeterminacy and indecidability created
by some elements in Iranian painting, such as the frame and
the Passe-Partout, are examined through the interplay of
the visual factors within each other and passing through the
frame. Then the challenges inside and outside these works
are analysed in the following areas: 1-Reflecting the spirit
of time and the influence of theoretical-mys tical views on
the formation of works. 2-The intimate connection of these
works with literary texts. 3- The intertextual relation of the
works with the earlier works and the influence on the later
works. Using Qualitative methods and the use of library
and online resources and with a decons truction approach,
the paper addresses the mos t critical challenge posed by
Kant’s paradigm, inside and outside in Iranian paintings.
Such readings can serve as methodological guidance in a
variety of visual fields
