Volume 14, Issue 27 (4-2024)
SciJPH 2024, 14(27): 73-82 |
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sheibani rezvani F. Derrida’s Encounter with Husserl’s Phenomenological Program in the Analysis of Visual Arts. SciJPH 2024; 14 (27) :73-82
URL: http://ph.aui.ac.ir/article-1-1307-en.html
URL: http://ph.aui.ac.ir/article-1-1307-en.html
Islamic Azad University
Abstract: (124 Views)
Derrida’s main strategy is the fundamental analysis of the discourse of thinkers like Plato, whose metaphysics of presence was the main foundation of their theories, or thinkers like Husserl, who tried to go beyond the metaphysics of presence. In this research, a part of Husserl’s advanced phenomenology, which was the focus of Derrida’s deconstruction program, is presented. First, Derrida’s critical viewpoints of the concepts of consciousness and meaning in Husserl’s thought is evaluated, and then, in the second part, based on Derrida’s deconstruction of the concepts of consciousness and meaning in phenomenology and the application of concepts like the trace and postponement of two selected works of painting from the works of Alireza Espahbod and Nikzad Nodjoomi are analyzed. The aim of this research is to evaluate the distinction between the two approaches of phenomenology and deconstruction in order to achieve new meanings and in general a new critical method for analyzing text/visual arts. The method of collecting information is derived from library research and internet data, and the writing method is qualitative and descriptive-analytical based on the use of deconstruction strategy. Here, the connection of philosophical theories with the analysis of visual works brings up a new encounter. By deconstructing the two concepts of consciousness and meaning in the phenomenological approach and analyzing two selected works of contemporary Iranian painters, we find out that the meaning of the elements in the work of art is not based on the general and inclusive awareness and definite implications that reach the essences and essences in the phenomena, but based on new meanings that are obtained from the transformation of certain hierarchies into indeterminate meanings in the form of chain traces in the repeated reading of a visual work with postponement, and through this passage a new window becomes available for the review of visual arts. .
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