David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jonathan Jenkins Ichikawa
Jack Alan Reynolds
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Philosophy East and West 61 (3):409-452 (2011)
Starting from the Humboldtian characterization of Chinese writing as a "script of thoughts," this article makes an attempt to show that notwithstanding the important role played by phonetic elements, the Chinese script also relies on visual-graphical means in its constitution of meaning. In point of structure, Chinese characters are made up predominantly of components that are sensible or even tangible in nature. Out of these sensible components, not only physical objects or empirical states of affairs can be expressed, but also the most subtle and abstract concepts, such as 萬, 它, 言, 災, 仁, 義, 思, 念, 法, 律, 善, 考, 莫, 瞏, and 幾, attesting to what Humboldt says about the Chinese script as having "embraced philosophical work within itself." Humboldt's idea of "analogy of script" throws light on the mechanism behind this structure to stimulate new reflections on the traditional theory of the "Six Ways" (六書) of character formation to provide a productive platform for interpretation
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Joris Vlieghe (forthcoming). Education, Digitization and Literacy Training: A Historical and Cross-Cultural Perspective. Educational Philosophy and Theory:1-14.
Mathias Obert (2013). Chinese Ink Brush Writing, Body Mimesis, and Responsiveness. Dao: A Journal of Comparative Philosophy 12 (4):523-543.
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