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Memoirs of the Blind: The Self-Portrait and…
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Memoirs of the Blind: The Self-Portrait and Other Ruins (edición 1993)

por Jacques Derrida, Pascale-Anne Brault (Traductor), Michael Naas (Traductor)

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In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.… (más)
Miembro:sallypursell
Título:Memoirs of the Blind: The Self-Portrait and Other Ruins
Autores:Jacques Derrida
Otros autores:Pascale-Anne Brault (Traductor), Michael Naas (Traductor)
Información:University Of Chicago Press (1993), Edition: 1, Paperback, 152 pages
Colecciones:Tu biblioteca
Valoración:
Etiquetas:Derrida Jacques, Deconstruction, Art--Philosophy, Art Theory and Criticism, Criticism of Art, Drawing, Exhibitions--The Louvre, Parti-pris Series, Louvre, Self-Portraiture, Blindness in Art, Visual Perception, Aesthetics

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Memoirs of the Blind: The Self-Portrait and Other Ruins por Jacques Derrida

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Absolutely riveting. Who knew I would like Derrida? :) #unconventionalfriends ( )
  OutOfTheBestBooks | Sep 24, 2021 |
Never does the eye of the Other recall this desire more sovereignly to the outside and to difference, to the law of disproportion, dissymetry and expropriation.

Dazzling and disorienting, Derrida provides a strange program, one where the artist is/remains blind between his subject and object, unable to draw while gazing and vice versa. All drawing is then the ruins of a self-portrait. This thesis is extended alongside truly gorgeous images from the Louvre catalogue. This leads to a poly-myopia where the reader/viewer is gazing back and forth while consulting footnotes and editor's notes about Derrida's wordplay. There are sidelong digressions upon blind authors: Homer, Milton, Joyce and Borges. Flipping back to the illustrations, we "see" images of the blind, the blindfolded and the being blinded: Samson, the Cyclops and the Gorgons are addressed here. Perseus and Odysseus are approached at length and then finally Nietzsche and Augustine fashion a dialogue. The concluding poem by Andrew Marvell is simply wrenching. ( )
  jonfaith | Feb 22, 2019 |
Derrida's so poetic, I often completely forget the ideas or arguments that make up the content of his writing, while isolated phrases remain standing on their own beauty. ( )
  KatrinkaV | Oct 7, 2015 |
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In this brilliant essay, Jacques Derrida explores issues of vision, blindness, self-representation, and their relation to drawing, while offering detailed readings of an extraordinary collection of images. Selected by Derrida from the prints and drawings department of the Louvre, the works depict blindness—fictional, historical, and biblical. From Old and New Testament scenes to the myth of Perseus and the Gorgon and the blinding of Polyphemus, Derrida uncovers in these images rich, provocative layers of interpretation. For Derrida drawing is itself blind; as an act rooted in memory and anticipation, drawing necessarily replaces one kind of seeing (direct) with another (mediated). Ultimately, he explains, the very lines which compose any drawing are themselves never fully visible to the viewer since they exist only in a tenuous state of multiple identities: as marks on a page, as indicators of a contour. Lacking a "pure" identity, the lines of a drawing summon the supplement of the word, of verbal discourse, and, in doing so, obscure the visual experience. Consequently, Derrida demonstrates, the very act of depicting a blind person undertakes multiple enactments and statements of blindness and sight. Memoirs of the Blind is both a sophisticated philosophical argument and a series of detailed readings. Derrida provides compelling insights into famous and lesser known works, interweaving analyses of texts—including Diderot's Lettres sur les aveugles, the notion of mnemonic art in Baudelaire's The Painter of Modern Life, and Merleau-Ponty's The Visible and the Invisible. Along with engaging meditations on the history and philosophy of art, Derrida reveals the ways viewers approach philosophical ideas through art, and the ways art enriches philosophical reflection. An exploration of sight, representation, and art, Memoirs of the Blind extends and deepens the meditation on vision and painting presented in Truth and Painting. Readers of Derrida, both new and familiar, will profit from this powerful contribution to the study of the visual arts.

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