Abstract

This article examines Jean-Luc Nancy's thinking of 'evidence' as developed in his short work on the film of Abbas Kiarostami. In particular it examines the way in which Nancy's thinking 'evidence' engages with a phenomenological heritage surrounding the question of 'originary intuition' and through this affirms a specific mode of contact between images of art and worldly existence.

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Additional Information

ISSN
1931-0234
Print ISSN
0014-0767
Pages
pp. 68-79
Launched on MUSE
2007-10-30
Open Access
No
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