David Bourget (Western Ontario)
David Chalmers (ANU, NYU)
Rafael De Clercq
Ezio Di Nucci
Jack Alan Reynolds
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Comparative and Continental Philosophy 1 (2):211-221 (2010)
This essay represents a reflection on the nature of shufa, the Chinese “art of writing,” and its ontological grounding as a continuous, “durational transcription,” of an inscriptional event, producing a phenomenology of “viewing.” This distinguishes it from ordinary writing (xiezi) in which attention is focused on the lexical meaning of the written characters (i.e., an experience of “reading”). Viewing a calligraphic inscription actually unfolding in time (i.e., as a dynamical structure or “temporal object event”), however, raises an interesting theoretical question concerning the two complementary aspects of temporal consciousness of calligraphy as both duration and unity. This will be addressed in terms of recent discussions of a dynamical approach to Edmund Husserl’s theory of time consciousness
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References found in this work BETA
Maurice Merleau-Ponty (1968). The Visible and the Invisible. Northwestern University Press.
Jean Petitot, Franscisco J. Varela, Barnard Pacoud & Jean-Michel Roy (eds.) (1999). Naturalizing Phenomenology. Stanford University Press.
Maurice Merleau-Ponty (1964). Signs. Northwestern University Press.
Edmund Husserl & Rudolf Boehm (1966). Zur Phänomenologie des Inneren Zeitbewusstseins. Martinus Nijhoff.
Veronique M. Foti (2003). Vision's Invisibles: Philosophical Explorations. State University of New York Press.
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