Abstract

This article focuses on the genre distinction between artistic and legal photographs of faces: while the artistic portrait tends to express the singular soul of the person pictured, the biometric mugshot aims to scan singular physical traits without any psychological expression. How do these photographic genres allow us to identify the represented person? What do each of them seek to recognize? To grasp our metaphysical expectations of photographic technology, and thus to bridge the gap between discursive styles of these two photographic genres, I revise Derrida’s deconstruction of the law of genre. Further, I argue that Derrida’s and Nancy’s subversive readings of Kant’s concepts of parergon and schema help us to understand the rhetorical setting of the human mind, which organizes the photographic work of framing fragments. Finally, I explain the metaphysical conditions of possibility for both photographic genres by situating their opposite goals in the interval of personal recognition constructed by metonymical schematism.

摘要

本文重点讨论艺术肖像照片和合法脸部照片之间的类型区别：艺术肖像倾向于表达所拍摄人物的独特灵魂，而生物特征照片旨在扫描单一的身体特征，而不带有任何心理表达。这些摄影类型如何让我们识别所代表的人物？他们每个人都想认识什么？为了掌握我们对摄影技术的形而上学期望，从而弥合这两种摄影流派的话语风格之间的差距，我修改了德里达对流派法则的解构。此外，我认为德里达和南希对康德的帕雷贡和图式概念的颠覆性解读有助于我们理解人类思维的修辞背景，它组织了框架碎片的摄影作品。最后，