The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does not consider. Secondly, Nancy understands portraying – and thus images – on the basis of touching. In contrast, Derrida conceives portraying as coming from the invisible and two forms of blindness. In doing so, (...) he remains ex negativo in a tradition which links images to vision, whereas Nancy tries to overcome it. Nancy’s alterations not only lead to a modified theory of the self-portrait but also refine Derrida’s influential concept of différance by highlighting its corporeal and ontological dimension. (shrink)

The paper analyzes Jacques Derrida’s and Jean-Luc Nancy’s concept of the self-portrait. It is argued that Nancy builds on Derrida’s approach but introduces two decisive modifications. Firstly, he develops the emergence of the painter on the canvas as constitution of the self – an aspect Derrida does not consider. Secondly, Nancy understands portraying – and thus images – on the basis of touching. In contrast, Derrida conceives portraying as coming from the invisible and two forms of blindness. In doing so, (...) he remains ex negativo in a tradition which links images to vision, whereas Nancy tries to overcome it. Nancy’s alterations not only lead to a modified theory of the self-portrait but also refine Derrida’s influential concept of différance by highlighting its corporeal and ontological dimension. (shrink)

Ausgehend von Lucian Freuds Bild »Painter Working, Reflection« (1993) entwirft Julia Regina Meer eine korporale Philosophie der Bilder. Das Bild avanciert dabei zum Ausgangspunkt des Denkens, was eine methodische Abgrenzung zu den Bildwissenschaften wie auch zur Bildtheorie ermöglicht. In Anlehnung an die Philosophie von Jean-Luc Nancy schlägt sie ein affirmatives Konzept von Körperlichkeit vor, das auf dem Grenzbegriff der Expeausition - der körperlichen Ausgesetztheit entlang der Haut - beruht. Wie der Selbstakt von Freud zeigt, potenzieren Bilder dieses Ausgesetztsein, da sie (...) nicht nur einen Bildinhalt ausstellen, sondern immer auch den Bildkörper mitaussetzen. (shrink)