[Andrzej_Wiercinski_(ed ... - WordPress.com

Le cadre de cette analytique du beau, avec ses quatre moments, est donc fourni parl’analytique transcendantale pour la seule et mauvaise raison que l’imagination,ressource essentielle du rapport à la beauté, se lie peut-être à l’entendement. 15A hypothetical link, therefore uncertain, confused:le rapport à l’entendement, qui n’est ni sûr, ni essentiel, fournit donc le cadre à toutce discours; et en lui le discours sur le cadre ... tout le cadre de l’analytique du beaufonctionne, par rapport à ce dont il s’agit de déterminer le contenu ou la structureinterne, comme un parergon. 16The frame becomes in its turn an example of that which permits its consideration as anexample, a parerga of that which permits its consideration as a parerga. It is toward thisbizarre composition of settings in the depths that Derrida is heading. For him, if Kantdismisses a supplementary frame based on another supplementary frame, it is because thejudgment of beauty remains spellbound by the model of pure presence, released from allsupplement, and that this presence gives way -- from whence the mourning, that meansdisinterestedness (the possible).Derrida speaks of a kind of grief-stricken connection to beauty -- a theme extensivelydeveloped on pages 92-94, where aesthetic experience, “a tulip without color and withoutperfume,” is already itself a work of the mourning. A little later, Derrida, observing thatthe beautiful no longer depends on empirical existence (neither that of the object, nor thesubject), writes:le plaisir suppose non pas la disparition pure et simple, mais la neutralisation, non passimplement la mise à mort mais la mise en crypte de tout ce qui existe en tant qu’ilexiste. 17We know, we have just recounted, that Ricoeur considers the notion of a “work ofmemory” as more sufficient than one of a “duty of memory.” He relates it to the work ofmourning, and we have seen how pervasive the notions of mourning and burial were inMemory, History, Forgetting. There would be thus, as in La Recherche du temps perdu,a kind of memory that comes back from mourning, an orphism of memory. We recoverin memory only that which was truly lost. There is however another side of the work ofmemory, more lively, inchoate, a side of memory somehow newborn. And it is there thatRicoeur parts ways with Derrida: one could bring the work of memory, of that which heesteems in La Métaphore vive as the work of resemblance -- which in turn does not seemto be very far from what he calls “the small miracle of recognition,” closer to thisfundamental notion that recognition almost no longer works. We will come back to this.What is this sought after resemblance? In a superb text “Sur un autoportrait deRembrand,” 18 Ricoeur suddenly asks what allows thought that the represented face is thatof the painter himself. Because the date and the signature of the picture say the painter’sname, but it is an external legend that indicates that it is regarding a self-portrait. Thecanvas represents one who is absent, the author of the canvas died, and we are told thatthey are identical. What is this identity? Faithful to his hermeneutics, Ricoeur insists onthe fact that while doing this “painting examination” (in 1660, a difficult moment in his15161718Ibid., 83.Ibid.Ibid., 54.Paul Ricoeur, Lectures III (Paris: Seuil, 1994), 13f.105