“准-先验性”和“与-在”:德里达与南希论素描  

“Quasi-Transcendental”and“Being-with”:Jacques Derrida and Jean-Luc Nancy on Drawing

作　　者：苏林 Su Lin(the School of Liberal Arts at Guangxi University.)

机构地区：[1]广西大学文学院

出　　处：《文艺理论研究》2024年第1期36-45,57,共11页Theoretical Studies in Literature and Art

摘　　要：素描不但在艺术中占据独特且重要的位置,更因其中蕴含的思之潜能为众多思想家所关注。现代法国哲学常以对于艺术的讨论来承载哲思,素描则因其与书写的联系受到解构主义的关注。德里达与南希都曾写过讨论素描的作品,在他们的思考中,素描皆与他者密切相关。但他们二人对他者的思考却有着不同侧重:德里达肯定他者之为全然他者,赋予其准先验色彩,进而更强调他者在意义建构之中的必须与我们因此而背负的债务,而南希在肯定差异与间隔的基础上更倾向于思考一种“与-在”模式。深入解读德里达与南希关于素描的讨论,将有助于我们理解这两位解构阵营内思想家的承续与差异,同时也能澄清二者解构思想的内在核心。In the camp of deconstruction,drawing is an important device of contemplation thanks to its explicit connection with the trace of writing.Both Jacques Derrida and Jean-Luc Nancy wrote about drawing.In their works,drawing is all about revealing the relation to the Other.However close these thoughts may seem to be,the two philosophers differ in their thinking about the Other.Derrida affirms the Other in a holistic manner and posits it as a quasi-transcendental being.In contrast,Nancy is more inclined to present a form of“being-with”the Other on the basis of affirming heterogeneity and distance.A close analysis of Derrida’s and Nancy’s thought on drawing offers us an approach to the inner core of their deconstructionist ideas as well as clarifying the continuity and difference between the two deconstructionist thinkers.

关 键 词：素描 他者 解构 德里达 南希 与-在 

分 类 号：J214[艺术—美术]