Deconstruction as a problem of aesthetics (on the example of Jacques Derrida's dramatic discourse)

Abstract

In this article the Author shows that J. Derrida's discourse is of a dramatic character. The model which he adopts is the model of a drama. The vision of philosophy, literature and art is connected in Derrida with thinking, which in its basis is of theatrical character. The philosopher often reaches for the concepts connected with dialogue, agon, theatre, stage, drama recalls various theatrical conventions from Rousseau to Artaud. Deconstruction produces concepts which, acting in the text, provoke in it transformations, destructions and dislocations. Deconstruction means activity, is dynamic and dramatic, creates a peculiar scene referring to the metaphor of the theatre and directs the spectator's attention onto the artistic imagination which creates this scene. Questioning of thinking in binary categories, projecting dramatic modality which suspends frameworks, construction of a sphere between fiction and reality produces a specific epistemological matrix, which reduces the figure of an observer for the sake of a performing actor. Deconstruction suspends aesthetics based on the category of a masterpiece, develops a new aesthetics, the subject of reference of which is an event, constructs a performative aesthetics connected with the drama.