Between Blindness and Touching. Jacques Derrida and Jean-Luc Nancy on the Self-Portrait
The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does...
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| Published in: | Labyrinth: An International Journal for Philosophy, Value Theory and Sociocultural Hermeneutics Vol. 22; no. 2; pp. 60 - 73 |
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| Main Author: | |
| Format: | Journal Article |
| Language: | English German |
| Published: |
Axia Academic Publishers
17.02.2021
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| Subjects: | |
| ISSN: | 2410-4817, 1561-8927 |
| Online Access: | Get full text |
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| Summary: | The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does not consider. Secondly, Nancy understands portraying – and thus images – on the basis of touching. In contrast, Derrida conceives portraying as coming from the invisible and two forms of blindness. In doing so, he remains ex negativo in a tradition which links images to vision, whereas Nancy tries to overcome it. Nancy’s alterations not only lead to a modified theory of the self-portrait but also refine Derrida’s influential concept of différance by highlighting its corporeal and ontological dimension. |
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| ISSN: | 2410-4817 1561-8927 |
| DOI: | 10.25180/lj.v22i2.237 |