摘要
预设的定理、附属物、题字、画框、成双的逻辑都是位于作品边缘的"框",它们远离中心内容,却保证作品得以成为作品。"框"是人工的,没有天然的,而哲学和艺术对"框"的依赖恰恰证明了其中心内容的缺失。德里达拆除了支撑绘画真理的"框",把"绘画的真理"变成了"打孔的真理"。
This paper analyzes the different forms of frames in Truth in Pictures written by Derrida,as well as the supporting role assumed by frames in truth discussions and paradigm identifications.All the forms of frame such as preparatory theorem,parergon,inscription,painting frame and pair logic are located at the edge of Works.Being far away from the center,frames ensure the works to be works.Frames are artificial,not natural,the fact that philosophy and art rely on frames just proves the absence of their center.Derrida removes the frames supporting the truth in pictures and turns it into the truth in'pointure'.
出处
《艺术探索》
2010年第4期50-53,共4页
Arts Exploration
基金
海南大学科研启动基金资助项目(kyqd1010)
