In the philosophy of mind, the essential qualities of self and selfhood have been discussed widely. According to Zahavi （2015, 149）, ＂the notion of an experiential self is the precondition of any plausible account ...In the philosophy of mind, the essential qualities of self and selfhood have been discussed widely. According to Zahavi （2015, 149）, ＂the notion of an experiential self is the precondition of any plausible account of intersubjectivity.＂ In Zahavi （2015）, he elaborates two influential views on selfhood and offers a phenomenological perspective from which he argues that selfhood is both a built-in feature of experience and socially constructed. In the following paper, we would further investigate the essential qualities of self in the line with Zahavi （2015） and provide a complementary quality of self from a phenomenological view, namely, the predictability of the expressive phenomena of subjects. We would also explore the intersubjective relationship between others and self and discuss the sharing phenomenon of empathy.展开更多
Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving a...Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.展开更多
文摘In the philosophy of mind, the essential qualities of self and selfhood have been discussed widely. According to Zahavi （2015, 149）, ＂the notion of an experiential self is the precondition of any plausible account of intersubjectivity.＂ In Zahavi （2015）, he elaborates two influential views on selfhood and offers a phenomenological perspective from which he argues that selfhood is both a built-in feature of experience and socially constructed. In the following paper, we would further investigate the essential qualities of self in the line with Zahavi （2015） and provide a complementary quality of self from a phenomenological view, namely, the predictability of the expressive phenomena of subjects. We would also explore the intersubjective relationship between others and self and discuss the sharing phenomenon of empathy.
文摘Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.
