Moving between references to appearance, co-appearance and exposure in the writings of Jean-Luc Nancy, this article turns on the ways in which Nancy rethinks a number of key phenomenological concepts and so touches on the limits of the phenomenological tradition. Foregrounding Nancy’s frequent appeal to questions of evidence, and situating the term in light of Husserl’s writings as well as those writing in his wake, the article offers a reading of Nancy’s photo-essay ‘Georges’ and of his book on Abbas Kiarostami, The Evidence of Film.
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