The reception of deconstruction in recent art historiography The aim of the presented master thesis is to outline the reception of deconstruction in the contemporary art historiography and the introduction of its effects on the discipline of art history. The work deals with the term deconstruction in the sense of (1) the original philisophical and critical writing of Jacques Derrida, and (2) the method, which was implemented to literary studies at the end of the 70s and later on to other humanities, including the art history. First, theoretical part of the thesis introduces Derrida's thoughts, epistemology and the strategy of deconstruction. Second part reflects the epistemological changes a implementation of the deconstructive criticism into the art history. After imbedding the "deconstructive" current into the broader development of art history and reading of some methodological handbooks, we turn to concrete works of some art historians and their individual uses of the deconstructive implulses, namely Donald Preziosi, Norman Bryson, Michael Ann Holly, Keith Moxey, and to a lesser extend also W. J. T. Mitchell, Craig Owens, Rosalind Krauss, Stephen Melville, Donald Crimp, David Carrier and Victor Burgin. As opposed to the original derridian deconstruction, in its aplied form (art history,...

Bien qu’elle n’ait jamais été abordée de front par Jacques Derrida, la question du pervertible se conçoit à maintes reprises dans son œuvre sous l’angle de paradoxes et par le biais de questions comme celles de l’hospitalité ou de la promesse. Cette thèse explore ainsi les limites et la portée de la notion protéiforme de pervertibilité, ses enjeux et ses manifestations, de même que son rapport au langage et au sens. Pluridisciplinaire, elle se penche sur les concepts philosophiques et sur les dispositifs textuels et littéraires témoignant de cette pervertibilité en acte dans l’ensemble du corpus derridien. / Although Jacques Derrida never addressed it head-on, the problem of pervertibility is often conceptualized in his work by way of paradoxes and questions, such as those of hospitality and the promise. This doctoral thesis explores the limits and scope of the protean notion of pervertibility, its stakes and its manifestations, as well as its relationship with language and meaning. Multidisciplinary in nature, it simultaneously focuses on philosophical concepts and on the textual and literary devices that bespeak this pervertibility, operative throughout Derrida’s entire body of work.