A Comparative Study of Derrida's Binary Opposition in Escher's Day and Night
DOI:
https://doi.org/10.5944/rdh.42.2021.28496Palabras clave:
Jacques Derrida, Oposición binaria, Día y noche, Maurits Cornelis Escher, Significado implícito, Artes visuales, Binary oppositions, Day and Night, Implied meaning, Visual artsAgencias Financiadoras:
Facultad de Arte, Universidad de Al Zahra, Tehran, IranResumen
Resumen: Este estudio ha comparado la teoría de la oposición binaria de Derrida en “Dia y Noche” de Maurits Escher. Las oposiciones binarias son los principios dominantes del mundo material. Sin lugar a dudas, las oposiciones no pueden dejar de reflejarse en el arte humano, especialmente en las ilustraciones visuales. Para el estudio comparativo de la teoría de Derrida con las artes visuales, fue necesario elegir un indicador de trabajo artístico. Así, la pintura "Día y noche" fue seleccionada por Escher como la obra artística más opuesta de la época contemporánea, que muestra las funciones artísticas de la teoría en sintonía con las obras artísticas visuales. Esto se debe a que la forma y el contenido de este trabajo tienen abundantes oposiciones. Los resultados de este estudio, que se realiza mediante método comparativo y analítico, muestran que el número de oposiciones binarias en esta Pintura llega a 7 ítems e incluye contenido y oposición binaria narrativa y se puede ajustar con la teoría de Derrida en términos de generalización a funciones artísticas.
Abstract: This article aimed at conducting a comparative study of Derrida’s binary oppositions theory in Maurits Escher’s Day and Night painting, indicating the applicability of the functions of the theory to the visual artistic works. Binary oppositions are among the dominant principles of the material world. Undoubtedly, such oppositions cannot be without their reflections in human art, especially visual illustrations. Sometimes, art reflects these oppositions and contradictions as they are and depicts them in the form of symbols and signs. For the sake of the comparative study of Derrida’s theory with visual arts, it was necessary to choose a seminal artistic work. Hence, the Day and Night painting by Escher was selected as the most opposing artistic work of the contemporary times. This is because the title, form, and content of this work have plenty of oppositions. The results of this study, conducted with the aid of comparative and analytical methods, show that the number of binary oppositions in this Painting reaches to 7 items. In terms of generalization to artistic functions, this includes form and performance (content and validity) binary oppositions, which are applicable to Derrida’s theory.
Descargas
Citas
Ahmadi, Babak, (1992). Structure and Text Rewriting. Tehran: Center, 2 vols.
Asher, R.E; Simpson, J M.Y. (1994). The Encyclopedia of language and linguistics. Oxford; New York: Pergamon Press, vol. 1.
Bradley, A. (2008). Derrida’s of Grammatology. Edinburgh: Edinburgh University Press.
Brannigan, J. (1999). 'We have Nothing to do with Literature': Jacques Derrida and Surrealist Writing. In: Brannigan J.; Robbins, R. and Wolfreys, J. (eds.). The French connections of Jacques Derrida. New York: State University of New York Press, pp. 53-70.
Chandler, Daniel (2008). The Basics of Semiotics. Translation by Mehdi Parsa, Tehran: Sureh Mehr.
Dandis, Donis A. (2016). Foundation of Visual Literacy. 44º ed. Tehran: Soroush.
Daryab, Sahar (2010), One Thousand and One Nights Review by Jacques Derrida. Master's Degree in Literature. Allameh Tabatabai University, Faculty of Literature and Foreign Languages.
Derrida, J. (1982). Margins of Philosophy. Translate by Alan Bass. Brighton, Sussex UK: Harvester Press.
Derrida. J. (2005). Writing and Difference. Translate by Alan Bass. New York: Routledge.
Escher, Maurits Cornelis (2010). Graphic compilation of Escher. Translation of Mohammad Reza Abdolali and Mozhgan Jajz. Tehran: Mirdashti.
Gharib, Rose (1999). A critique of the basis of aesthetics and its impact on literary critique. Translation of Najmeh Rehi. Mashhad: Ferdowsi University of Mashhad Publishing Company.
Habibie Afrarakhti, Masoumeh (2014). Binary opposition in Al-Lail Surah. Master's thesis in Art Research, Al-Zahra University, Faculty of Arts.
Haling Dill, Reginald John (2008). History of Western Philosophy. Translation by Abdolhossein Adazung 7ª ed. Tehran: Ghoghnoos
Houle, Kelly M, (1998). Portrait of Escher: Behind the Mirror. In: Schattschneider, D. and
Emmer, M. (eds.). M.C. Escher’s Legacy: The Centennial & Celebration. 2nd printing. Berlin: Springer.
Lyons, John (1981). Semantics. Cambridge: Cambridge University Press, v.1.
Maghdadi, Bahram (1999). Dictionary of literary criticism (from Plato to the present). 1st print. Tehran: Fekr-e Emruz
Mousavilar, Ashraf-al-sadat; Pour Mahmoud. Sadaf (2019). A Comparative Study of Derrida's Binary Opposition Theory in Visual Arts. Lumen Publishing Jornals, vol.10. No.02.
Noroozi Talab, Hamid Reza, Ensieh Rostami Sani (2012). The deception of visualizes in the works of modernist illustrators. Two quarterly articles of Shoushtar University of Art, Shahid Chamran University of Ahvaz, No. 2, pp. 83-99.
Rahbarnia, Zahra; Motahare, Saraj (2019). Negative space messaging in the poster. Honar – Ha–Ye–Ziba Honar-Ha-Ye-Tajassomi (Journal of Fine Arts - Visual Arts), n. 24, pp. 117-124. DOI: https://dx.doi.org/10.22059/jfava.2019.69820
Scholeszer, Robert (2004). An Introduction to Structuralism in Literature. Translated by Farzaneh Taheri. Second Edition. Tehran: Agah
Shamsia, Siros (2004). Literary criticism. Fourth edition. Tehran: Ferdows.
Sojoudi F. (2012). Articles of the first contemplation of semiotics of art with layered semiotics and its application in the analysis of artistic text. 2nd edition. Tehran: Art Academy
Sojudi, Farzan (2003). Applied Semitics. Tehran: Story.
Teuber. M. (1974). Sources of ambiguity in the prints of M. C. Escher, scientific American.
Zaimran, Mohammad (2000). Jacques Derrida and Metaphysics of Presence. Tehran: Hermes.
Zibakalam, Fatima (1999). The Philosophical Thought of the West. Tehran: Publishing & Printing Institute.