Derrida, art and truth

Abstract

This article examines the consequences of Derrida's strategy of deconstruction for the notion of 'truth' in art and aesthetics. Its point of departure is R.D. Cumming's 'comparison' of Heidegger and Derrida which shows the latter dismantling Heidegger's conception of the truth of the artwork. Whereas Heidegger wishes to restore to the artwork its autonomy, in this way hoping to return to an original experience of Being (forgotten since the time of the Greeks), Derrida undermines his attempt by exploiting the conflict between the Heidegge­rian metaphors of 'ground' and 'groundlessness'. In this way Derrida demonstrates that, in view of the metaphorical 'openings' in language, attempts to return to an 'origin' are bound to fail. There are finally only interpretations of interpretations. Derrida's notion of metaphor in philosophical discourse (as well as de Man's related view on the subject) is pursued briefly before concluding with a discussion of his interpretation of van Gogh's peasant shoes painting as an exemplification of the similarities and differences between his own and Heidegger's position regarding language, art and truth.

Opsomming

Hierdie artikel ondersoek die gevolge van Derrida se strategie van dekonstruksie vir die waarheidsbegrip in kuns en estetika. Die uitgangspunt is R.D. Cumming se 'vergelyking' van Heidegger en Derrida, wat demonstreer hoe laasgenoemde Heidegger se opvatting van die waarheid van 'n kunswerk aftakel. Terwyl Heidegger poog om die outonomie van die kunswerk te herstel, en sodoende terug te keer na 'n oorspronklike ervaring van Syn (vergete sedert die tyd van die Grieke), ondermyn Derrida sy poging deur die konflik tussen die Heideggeriaanse metafore, naamlik 'grond' en 'ongegrondheid' uit te buit. Op hierdie wyse demonstreer Derrida dat pogings om na 'n 'oorsprong' terug te keer, vanwee die metaforiese 'openinge' in taal tot mislukking gedoem is. Daar is uiteindelik slegs interpretasies van interpretasies. Daar word kortliks aandag geskenk aan Derrida se opvatting van metafoor in filosofiese tekste (sowel as aan De Man se verwante siening van die saak) voordat afgesluit word met 'n bespreking'van sy interpretasie van Van Gogh se boereskoene-skildery as toonbeeld van die ooreenkomste en verskille tussen sy en Hei­degger se onderskeie posisies ten opsigte van taal, kuns en waarheid.