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  1. A Philosophical Defense of Culture: Perspectives from Confucianism and Cassirer.Shuchen Xiang - 2021 - SUNY Press.
    In A Philosophical Defense of Culture, Shuchen Xiang draws on the Confucian philosophy of "culture" and Ernst Cassirer's philosophy of symbolic forms to argue for the importance of "culture" as a philosophic paradigm. A defining ideal of Confucian-Chinese civilization, culture (wen) spans everything from natural patterns and the individual units that make up Chinese writing to literature and other refining vocations of the human being. Wen is thus the soul of Confucian-Chinese philosophy. Similarly, as a philosopher who bridged the classical (...)
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  • The Difficulty with “The Difficulties of Persuasion”(“Shuinan” 說難).Michael Hunter - 2012 - In Paul Goldin (ed.), Dao Companion to the Philosophy of Han Fei. New York: Springer. pp. 169--195.
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  • Writing, Graphic Codes, and Asynchronous Communication.Olivier Morin, Piers Kelly & James Winters - 2018 - Topics in Cognitive Science 12 (2):727-743.
    We present a theoretical framework bearing on the evolution of written communication. We analyze writing as a special kind of graphic code. Like languages, graphic codes consist of stable, conventional mappings between symbols and meanings, but (unlike spoken or signed languages) their symbols consist of enduring images. This gives them the unique capacity to transmit information in one go across time and space. Yet this capacity usually remains quite unexploited, because most graphic codes are insufficiently informative. They may only be (...)
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  • How Pictorial is Chinese? And Does it Matter?Christian Helmut Wenzel - 2010 - Contributions of the Austrian Ludwig Wittgenstein Society 18:317-319.
    It has often been said that the Chinese script is pictorial or ideographic, and that this is one of the reasons why Chinese tend to think more analogically than logically, and why in the past the natural sciences developed to a lesser degree in China than in the West. These are strong claims. They have often been oversimplified and exaggerated, but I think there is something to be said for them. Here I will focus on the first question. I will (...)
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  • Puzzling out graphic codes.Olivier Morin - 2023 - Behavioral and Brain Sciences 46:e260.
    This response takes advantage of the diverse and wide-ranging series of commentaries to clarify some aspects of the target article, and flesh out other aspects. My central point is a plea to take graphic codes seriously as codes, rather than as a kind of visual art or as a byproduct of spoken language; only in this way can the puzzle of ideography be identified and solved. In this perspective, I argue that graphic codes do not derive their expressive power from (...)
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  • The puzzle of ideography.Olivier Morin - 2023 - Behavioral and Brain Sciences 46:e233.
    An ideography is a general-purpose code made of pictures that do not encode language, which can be used autonomously – not just as a mnemonic prop – to encode information on a broad range of topics. Why are viable ideographies so hard to find? I contend that self-sufficient graphic codes need to be narrowly specialized. Writing systems are only an apparent exception: At their core, they are notations of a spoken language. Even if they also encode nonlinguistic information, they are (...)
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  • Han Feizi and the Old Master: A Comparative Analysis and Translation of Han Feizi Chapter 20,“Jie Lao,” and Chapter 21,“Yu Lao”. [REVIEW]Sarah A. Queen - 2012 - In Paul Goldin (ed.), Dao Companion to the Philosophy of Han Fei. New York: Springer. pp. 197--256.
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