시선의 권리와 지각적 사유와 체험
The Right of Inspection and Perceptional Speculation and Experience
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This essay aims to discuss how Derrida examine in his book <Droit de Regards> ‘Photo- Romans’ photos of Marie Françoise Plissart through the deconstructive speculation. Images in Plissart’s photos don’t have narrative structure which comply with current of linear time. The story producted in her photos never closed. Derrida consider her images as a aesthetic event which is different to writing practice. ‘See’ as a sensible experience is appeared wholly in ‘droit de regards (right of inspection)’. Visual sens must be comprehended as a practice of right of inspection activated in the different dimension from the langage standard. Derrida’s texts trace photos of Plissart, with his concept ‘differance’ including the philosophical and aesthetical notions. In this way, we meet the concept ‘Punctum’ that Barthes used for analyse nature of photo. It contain a thinking of image demanding another intellectual approach for obtain intrinsic sens. It is important to arouse that nature of image is not the inferior element compare with langage. And also, in the concept ‘chiasme’ of Merleau Ponty, dichotomy dividing subject and object disappear and their position become ambiguous. The position of subject and object is possible to change each other. There are only the thing and the subject which consolidate as one experience in the series of image. Through right of inspection being and things become finally ‘body’ united in the ultimate silence. Power of silence could show the mystery of being in perceptional speculation of the visible things including invisible things.
Abstract
This essay aims to discuss how Derrida examine in his book <Droit de Regards> ‘Photo- Romans’ photos of Marie Françoise Plissart through the deconstructive speculation. Images in Plissart’s photos don’t have narrative structure which comply with current of linear time. The story producted in her photos never closed. Derrida consider her images as a aesthetic event which is different to writing practice. ‘See’ as a sensible experience is appeared wholly in ‘droit de regards (right of inspection)’. Visual sens must be comprehended as a practice of right of inspection activated in the different dimension from the langage standard. Derrida’s texts trace photos of Plissart, with his concept ‘differance’ including the philosophical and aesthetical notions. In this way, we meet the concept ‘Punctum’ that Barthes used for analyse nature of photo. It contain a thinking of image demanding another intellectual approach for obtain intrinsic sens. It is important to arouse that nature of image is not the inferior element compare with langage. And also, in the concept ‘chiasme’ of Merleau Ponty, dichotomy dividing subject and object disappear and their position become ambiguous. The position of subject and object is possible to change each other. There are only the thing and the subject which consolidate as one experience in the series of image. Through right of inspection being and things become finally ‘body’ united in the ultimate silence. Power of silence could show the mystery of being in perceptional speculation of the visible things including invisible things.
참고문헌 (13)
- Barthes, R., "La chambre Claire", pp.Seuil, Cahiers du cinéma
- Derrida, J., "De la grammatologie" (1967), Editiond de Minuit
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- Derrida, J., "Position" (1995), Les Editions de Minuit
- Derrida, J., "시선의 권리" (2004), 아트북스
- Merleau-Ponty, M., "Phénoménologie de la perception" (1976), Gallimard
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- 조광제, "주름진 작은 몸들로 된 몸" (2003), 철학과 현실사
- Barthes, R., "Rhétorique de l’image N°4" (1964), Communication