Document Type : Research Paper
Authors
1 Ph.D. student of Philosophy of Art, Department of Philosophy, Faculty of Law, Theology and Political Sciences, Science and Research Unit, Islamic Azad University, Tehran, Iran.
2 assistant professor, department of philosophy of art, hamedan branch, islamic azad university, hamedan, iran.
3 Assistant Professor, Department of Philosophy, Faculty of Law, Theology and Political Sciences, Science and Research Unit, Islamic Azad University, Tehran, Iran.
Abstract
Derrida finds the foundations of criticism of each work within the same work. He disrupts ideas such as truth or identity and instead emphasizes the absence of meaning. An important issue in the field of Derrida's aesthetics is the issue of paragon, which means around the work, which causes the formation of the work of art, and is located somewhere between the inside and outside of the work, despite its placelessness. At first glance, Paragon is formed from interpretation, frame, signature, etc. In this research, by selecting some of Arabshahi's works, we try to address the question of how Derrida's paragon is analyzed in the field of Arabshahi's paintings. One hypothesis is that within Arabshahi's works are symbols and motifs, and outside his works are sources of inspiration and historical and cultural contexts. The present study describes Derrida's Parargon and randomly selects and analyzes Arabshahi's works using a descriptive and analytical method, and it is written based on the data of library sources. Based on the findings of the research, according to Derrida's theory about the parargon, there are many interpretations, opposite or opposed to the purpose of the artist or the ancient works, as well as the preliminary paintings of the artist himself and some elements in the painting as a parargon and the final works are ergon.
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