Tenta-se aqui elaborar uma fenomenologia do espaço pictural, com base nos textos de Heidegger, Merleau-Ponty e Henry Maldiney. As análises feitas foram confrontadas in fine com as de historiadores de arte, principalmente Wölfflin. This article aims to elaborate a phenomenology of the pictorial space, based on texts by Heidegger, Merleau-Ponty and Henry Maldiney. The analyses made will be compared in fine with the ones art historians produced, in particular Wölfflin's
I begin with the hypothesis that Jacques Derrida's Memoirs of the Blind: The Self-Portrait and Other Ruins is in a way the illustration of Speech and Phenomena and therefore Derrida's critique of phenomenology, intuition, perception, and seeing. I also want to show in this regard parallels with both Husserl and Kant. I emphasize that what is at issue in Memoirs of the Blind is art, visual arts; and in the great thematic richness of this text, I note the high points as well as the low points concerning the arts of the "visible." The fundamental question is: Does Derrida "see" the drawing, the painting, and indeed listen to the music? Derrida's book, Memoirs Of The Blind: The Self-Portrait and Other Ruins, 1 was his response to a request by the Louvre Museum that had inaugurated, under the title of "Parti pris" or "Taking Sides," a series of exhibitions in which well-known authors were invited to organize an exhibition around a theme of their choice composed largely of paintings or drawings drawn from the Louvre's archives. Derrida's choice focused on portraits or drawings representing the blind, and, starting with this "object"-drawings of blind people-moved naturally to the question of knowing whether a blind person could draw and, more precisely, if drawing would be possible only on the very condition of being blind. From this essentially empirical perspective, Derrida turned his approach to the question of the conditions of the possibility for drawing, of which blindness would be one such possibility, or perhaps even its unique condition. From this point, the question became closely related to that of the self-portrait since, obviously, self-portraitists, when drawing themselves do not see themselves. The self-portrait is the very paradigm of this moment at which the artist is blind. And since the blind-being involves the "drawn" (the object of the representation) or the drawer/self-portraitist (the subject representing), there is a loss Research in Phenomenology, 36
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