A Deconstructive Reading of Yasmina Reza’s Art
Keywords:
Différance, floating signifiers, paradoxes, decentralization, miscommunication
Abstract
This article is an investigation of Derrida‟s deconstructive strategies on Yazmina's Reza's Art in which concepts such as floating signifier, différance, paradoxes, and decentralization have been applied. Here the question of aesthetic values of modern abstract art is raised. Reza confronts us with a miscommunication as a shortcoming of the language and therefore a rift in a longstanding friendship. The play is about a white painting, but each character in the play observes the painting in a different color. It seems that the color acts as a sign which is caught up in a chain of signifiers that never rest on a definite signified. In addition, the painting which is the centre of the play is decentred and replaced by one of the characters of the play. At the end, it is demonstrated that the text of this play is indeterminate without giving us any definite meaning.Downloads
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References
Bishop, T. (2007) "Whatever happened to the avant-garde?†Yale French Studies, 112, 7-13. Retrieved from http://www.jstor.org/stable/2047 9382. Derrida, J. (1978). L'écriture et la différence [Trans. Allan Bass, Writing and difference]. Chicago: The University of Chicago Press.
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Reza, Y. (1994) Art. [Trans. Christopher Hampton]. New York: Faber & Faber.
Ryngaert, J. (2007). Speech in Tatters: The Interplay of Voices in Recent Dramatic Writing. Yale French Studies, 112, The Transparency of the Text: Contemporary Writing for the Stage, pp. 14-28. Yale University Press http://www.jstor. org/stable/20479383.
Ryngaert, J. (2002). Art by Yamina Reza: A Teacher's Guide. Standford: Standford Financial Group.
Fattal, L. F. (2004). The search for narrative. Journal of Aesthetic Education, 38(3), 107-115. Retrieved from http://www.jstor.org/stable/3527446.
Haro-Tecglen, E. (1998, October 2): “La amistad también se paga, review of Art". El PaÃs, Interview with Yasmina Reza, 46.
Hornby, R. (Autumn, 1998). Ireland your Ireland. The Hudson Review, 51 (3), pp. 561-567. The Hudson Review, Inc. http://www.jstor.org/stable/3852729.
Knapp, B. L. (1999). Oklahoma review. World Literature Today, 73(1), 112. Retrieved from http://www.jstor.org/stable/40154498.
Mateo, M. (2006) "Successful strategies in drama translation: Yasmina Reza's Art". Translators' Journal, vol. 51, no. 1, 2006, p. 175-183
Messiha, Inas. (n.d.) Yasmina Reza. Pennsylvania: Pennsylvania State University. 304-309.
Miller, J. H. (1976). Stevens' rock and criticism as cure, II", Georgia Review 30.
Reza, Y. (1994) Art. [Trans. Christopher Hampton]. New York: Faber & Faber.
Ryngaert, J. (2007). Speech in Tatters: The Interplay of Voices in Recent Dramatic Writing. Yale French Studies, 112, The Transparency of the Text: Contemporary Writing for the Stage, pp. 14-28. Yale University Press http://www.jstor. org/stable/20479383.
Ryngaert, J. (2002). Art by Yamina Reza: A Teacher's Guide. Standford: Standford Financial Group.
Published
2014-06-01
How to Cite
Amani, B. (2014). A Deconstructive Reading of Yasmina Reza’s Art. K@ta: A Biannual Publication on the Study of Languange and Literature, 16(1), 1-7. https://doi.org/https://doi.org/10.9744/kata.16.1.1-7
Section
Articles
This work is licensed under a Creative Commons Attribution License
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