Writing on Art - The Derridian Performative

Jacques Derrida;performativity;iterability;logic of the supplement;event;art criticism;111.85

인문대학 미학과 ;

University:서울대학교 대학원

关键词: Jacques Derrida;    performativity;    iterability;    logic of the supplement;    event;    art criticism;    111.85;   

Others  :  http://s-space.snu.ac.kr/bitstream/10371/138032/1/000000145654.pdf

美国|英语

来源: Seoul National University Open Repository

【 摘 要 】

instead it is the absolute absence of, or a radical break from, the immediate context that allows a communication to take place. In this regard, iterability, the ability to be repeated in alterity, is the condition of the performative. Based on this observation, I analyze the supplementary structure of the Derridian performative to show how binary hierarchies presupposed in the orthodox speech act theory can no longer be maintained. By inscribing the infinite supplementarity to the performative and displacing the dogmatic distinctions of its original scheme, Derrida proposes an extended understanding of the performative, beyond the strict distinction between the verbal and extraverbal as well as the constative and the performative. Finally, I examine the performative production of the event by elaborating Derrida’s distinct understanding of the event, the inaugural power of the performative, and interpretation. As meaning is understood to be possible within the supplementary chain, production does not indicate a creation ex nihilo but rather something that takes place within an interpretation that explores limitless possibility and transforms what it interprets. Based on this analysis, I examine the performative qualities of ;;+R.” In ;;+R,” the conditions of the performative as examined in previous chapters are carefully considered and performatively demonstrated. Accordingly, it does not abide by the conventions of art criticism with a seeming disregard for dominant elements such as the presence of the artwork, the intention of the artist, and preexisting discourses. Without absolutizing any of these elements deemed essential in art writing, the performance of ;;+R” displaces and resituates the relationship between the physical attributes of the artworks and the descriptions of them, the artist and the writer, and preexisting discourses and art writing. ;;+R” does not provide a methodology or a model of art writing in the conventional sense. But it urges the writer to engage performatively with the artwork in a singular way, without relying on absolutized criteria or discourse equipped in advance to master the work.