Document Type : Research Paper

Authors

• Heidar Zahedi ¹
• Amir Nasri ²

¹ M.A. in Philosophy of Art, Allameh Tabatabaei’ University, Tahran. Iran.

² Associate Professor of philosophy, Allameh Tabatabaei’ University, Tahran. Iran.

Abstract

Some commentators assume the title of the first article of The Truth in Painting, Parergon, as "para-ergon" or "beyond the work". But in Derrida's text, "Parergon" is something more than just empty rhetoric. Assert that the atopics of the Parergon are “neither work, nor outside the work, neither inside, nor outside, neither above nor below”. He has extracted the word Parergon from the Third critic of Kant. The section "Lemmes" is the departure point of Derrida in the book. In this study, we have scrutinised the etymology of the French word "Lemmes" and traced its roots in the Indo-European (Persian branch), Hebrew, and Arabic Languages. We investigate what Derrida calls Lemmata of the work, and in fact, are the methods for philosophizing art. The methods which have been limited art in Metaphysical structure of philosophy and redefine it in an original and authentic frame. These Methods include Satirical Lemma of time, Art training Lemma, The encirclement of the circle Lemma and the Third-party or Middle Lemma. Meanwhile, we will do a survey to the concept "abyss", the concept that shows the colliding of the subject and object as one of determining issues in philosophy and specifically after Kant was a crucial concern for defining the notion of subjectivity. Another citation of the abyss (incision, cleft) in Derrida's text is attending to inoperable space of two critics of Kant and also regarding the relation between Kantian Noumenon and Phenomenon.

Keywords

• Lemmes
• Parergon
• abyss
• Derrida
• The Truth in Painting