Parergon
As Parerga (plural of ancient Greek. Πάρεργον parergon "accessory, accessory") appendices, accessories and collections of smaller writings are called. Often these are additions to other works.
The term is more common because some works have it in their title, such as Arthur Schopenhauer's Parerga and Paralipomena or Max Stirner's Parerga, reviews, replicas . Jacques Derrida also uses it , see also Paratext .
Richard Strauss uses it in his Parergon for the Sinfonia Domestica , Op. 73 for piano and orchestra.
In the art-historical context, Parerga is understood to mean the figure and animal staffage in the landscape pictures, mainly in the ideal and prospect landscapes of the 17th – 19th centuries. Century.
Notes and individual references
- ↑ See in particular Henry Keazor : Poussins Parerga. Sources, development and significance of the small compositions in Nicolas Poussin's paintings . Schnell & Steiner, Regensburg 1998, ISBN 3-7954-1146-7
literature
- Jacques Derrida: “The Parergon”, in: ders., The truth in painting . (French original: La vérité en peinture, German translation by M. Wetzel). Vienna: Passagen, 1992. pp. 56-104