By Jacques Derrida
"The 4 essays during this quantity represent Derrida's such a lot particular and sustained mirrored image at the paintings as pictorial artifact, a mirrored image in part when it comes to philosophical aesthetics (Kant, Heidegger), in part when it comes to a statement on paintings works and artwork scholarship (Van Gogh, Adami, Titus-Carmel). The illustrations are very good, and the translators, who truly see their paintings as either a rendering and a change, upload another measurement to this richly layered composition. crucial to collections emphasizing artwork feedback and aesthetics."—Alexander Gelley, Library Journal
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Example text
The end of art, and its truth, is religion, that other circle of which the end, the truth, will have been philosophy, and so on. And you know-we shall have to get the most out of this later on-the function of the ternary rhythm in this circulation. The fact remains that here art is studied from the point of view of its end. Its pastness is its truth. The philosophy of art is thus a circle in a circle of circles : a "ring" says Hegel, in the totality of philosophy. It turns upon itself and in annulling itself it links onto other rings.
We are, right from the introduction, encircled. Na doubt art figures one of those productions of mind thanks to which the latter returns to itself, comes back to consciousness and cognizance and comes to its proper place by returning to it, in a circle. What is called [s 'appelle: lit. " The mind is what it is, says what it means, only by returning. Retracing its steps, in a circle. But art forms only one of the circles in the great circle of the Geist or the revenant ( this visitor can be called Gast, or ghost, guest or GespenstJ.
The very thing that makes-the believers-believe in its mediacy can also give up to neither of the two terms, nor even to the structure of opposition, nor perhaps to dialectic insofar as it needs a mediation. Index of a discrepancy: in relation to all the machinery of the pose (position/opposition, SetzungIEntgegensetzung). By giving it the philosophical name art, one has, it would seem, domesticated it in onto-encyclopedic economy and the history of truth and the place which The Origin of the Work of Art accords to the Lectures on Aesthetics ( lithe PARERGON 35 West's most comprehensive meditation on the essence of art") can only be determined, in a certain historical topography, on the basis of the Critique of the Faculty of Judgment.