In Derrida’s references, hieroglyphs appear as the prototype of non-logocentric writing because their functioning (defined as a “rébus a transfert”) challenges the linearity of phonetic writing. However, hieroglyphs not only retrieve functions apparently excluded from phonetic writing: their functioning allows us to access another level of meaning that leaves aside the appointed object and turns to the operations that make it possible. This requires a different reading of writing as a whole, of which it is possible to find the guidelines in what Derrida calls “cultural graphology”. In the second part of the text, the issue of the ideographic character of hieroglyphic writing is posed. Two assumptions of ideography (or of a certain concept of ideography) are examined: intuitionism and atomism. Following some insights suggested by psychoanalysis, this paper will try to argue that hieroglyphic writing does not only display contents but it shows relations and tropic movements: it is a “Darstellung”, a “mise-en-scène” – through images and their layout – of pre- or extra-iconic operations. The final part of the paper suggests a reinterpretation of atomism from a grammatical point of view rather than a logic one, according to which atoms are just traits or graphic characters of the world.
Les hiéroglyphes entre idéographie et grammatologie. Sur les fondements atomistiques de l'écriture
CHIURAZZI, Gaetano
2003-01-01
Abstract
In Derrida’s references, hieroglyphs appear as the prototype of non-logocentric writing because their functioning (defined as a “rébus a transfert”) challenges the linearity of phonetic writing. However, hieroglyphs not only retrieve functions apparently excluded from phonetic writing: their functioning allows us to access another level of meaning that leaves aside the appointed object and turns to the operations that make it possible. This requires a different reading of writing as a whole, of which it is possible to find the guidelines in what Derrida calls “cultural graphology”. In the second part of the text, the issue of the ideographic character of hieroglyphic writing is posed. Two assumptions of ideography (or of a certain concept of ideography) are examined: intuitionism and atomism. Following some insights suggested by psychoanalysis, this paper will try to argue that hieroglyphic writing does not only display contents but it shows relations and tropic movements: it is a “Darstellung”, a “mise-en-scène” – through images and their layout – of pre- or extra-iconic operations. The final part of the paper suggests a reinterpretation of atomism from a grammatical point of view rather than a logic one, according to which atoms are just traits or graphic characters of the world.
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