抄録
Xu Bing's imaginary characters haven't stopped irritating their spectators since the first exhibition of his work "A book from the sky" (1988) in Beijing. For this monumental project, he created around 4000 characters, which, in a certain way, question the status and the tradition of Chinese characters. The characters Xu Bing invented are extraordinary because they don't have any meaning: they are empty and without any reference, only pure aesthetical form. At first sight, they look very similar to genuine Chinese characters, but the fact is that they mislead the reader and drive him into a non-signifying void. With Foucault's ontology of language and Derrida's grammatological critique of Western phonocentrism which implies the idea of an "archi-trace", I will suggest two approaches in order to conceptualize Xu Bing's simulacra of Chinese characters.
| 元の言語 | German |
|---|---|
| ページ（範囲） | 75-86 |
| ページ数 | 12 |
| ジャーナル | Kodikas/ Code |
| 巻 | 35 |
| 発行部数 | 1-2 |
| 出版物ステータス | Published - 2012 |
| 外部発表 | Yes |
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ASJC Scopus subject areas
- Language and Linguistics
- Linguistics and Language
- Communication
これを引用
Schrift als fingierte Signifikation. Xu Bings Buch des Himmels und seine unleserlichen Schriftzeichen. / Klawitter, Arne.
：: Kodikas/ Code, 巻 35, 番号 1-2, 2012, p. 75-86.研究成果: Article
}
TY - JOUR
T1 - Schrift als fingierte Signifikation. Xu Bings Buch des Himmels und seine unleserlichen Schriftzeichen
AU - Klawitter, Arne
PY - 2012
Y1 - 2012
N2 - Xu Bing's imaginary characters haven't stopped irritating their spectators since the first exhibition of his work "A book from the sky" (1988) in Beijing. For this monumental project, he created around 4000 characters, which, in a certain way, question the status and the tradition of Chinese characters. The characters Xu Bing invented are extraordinary because they don't have any meaning: they are empty and without any reference, only pure aesthetical form. At first sight, they look very similar to genuine Chinese characters, but the fact is that they mislead the reader and drive him into a non-signifying void. With Foucault's ontology of language and Derrida's grammatological critique of Western phonocentrism which implies the idea of an "archi-trace", I will suggest two approaches in order to conceptualize Xu Bing's simulacra of Chinese characters.
AB - Xu Bing's imaginary characters haven't stopped irritating their spectators since the first exhibition of his work "A book from the sky" (1988) in Beijing. For this monumental project, he created around 4000 characters, which, in a certain way, question the status and the tradition of Chinese characters. The characters Xu Bing invented are extraordinary because they don't have any meaning: they are empty and without any reference, only pure aesthetical form. At first sight, they look very similar to genuine Chinese characters, but the fact is that they mislead the reader and drive him into a non-signifying void. With Foucault's ontology of language and Derrida's grammatological critique of Western phonocentrism which implies the idea of an "archi-trace", I will suggest two approaches in order to conceptualize Xu Bing's simulacra of Chinese characters.
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UR - http://www.scopus.com/inward/citedby.url?scp=84905032385&partnerID=8YFLogxK
M3 - Article
AN - SCOPUS:84905032385
VL - 35
SP - 75
EP - 86
JO - Kodikas/ Code
JF - Kodikas/ Code
SN - 0171-0834
IS - 1-2
ER -