I take great interest in questions of language and rhetoric, and I think they deserve enormous consideration; but there is a point where the authority of final jurisdiction is neither rhetorical nor linguistic, nor even discursive. The notion of trace or of text is introduced to mark the limits of the linguistic turn. In the first place the mark is not anthropological; it is prelinguistic ; it is the possibility of language, and it is everywhere there is a relation to another thing or relation to an other.
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For such relations, the mark has no need of language. Derrida and Ferraris In the final chapter of Of Grammatology , Derrida is tying up loose ends; enough with complication, now he must imply and explicate. His long repartee with Rousseau leads him to a short parry with Condillac, whose conceptualization of universal grammar and its script assumes an origin:.
Like the first word, the first pictogram is therefore an image, both in the sense of imitative representation and of metaphoric displacement.
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The interval between the thing itself and its reproduction, however faithful, is traversed only by transference. The first sign is determined as an image. The idea has an essential relationship to the sign, the representative substitution of sensation. The original script, pictograms, resembles what it represents. The signifier and signified are divided by an insurmountable gap: But there are examples in which the represented does resemble the representation.
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In written Chinese and the many Asian scripts influenced by Chinese , the character that represents tree looks like a tree: We do not have to look to hieroglyphics, kanji, or cuneiform here; featural alphabets like Hangul crop up within recorded history. Hangul was created in the fifteenth Century by the Korean king Sejong as an alphabet for the people in opposition to the complex Chinese-influenced script of the aristocracy.
Thus the Hangul letter that represents L looks like a tongue being pulled back and up in the mouth: For Derrida, this might be one more attempt to make representation presence, but it too operates through the same play of presence and absence seen in all representation. But the catastrophe that interrupted the state of nature opens the movements of distancing which brings closer; perfect representation should represent perfectly. It restores presence and effaces itself as absolute representation. This movement is necessary. The telos of the image is its own imperceptibility. When the perfect image ceases to be other than the thing, it represents the thing and restores originary presence.
Folded, returning to itself, representing itself, sovereign, presence is then—and barely—only the supplement of a supplement. Thus Derrida presents us with three key ideas: This center cannot be seen directly, but only peripherally. The structure depends upon it.
The sign gives it meaning so long as we forget the play along the chain of signification. Play swirls us back toward this center, at times moving the center itself.
This mode of periphery, of a center that is no center may be seen in the trace, a quasi-transcendental origin that is no origin:. These chains and systems cannot be outlined except in the fabric of this trace or imprint. The trace is in fact the absolute origin of sense in general. Which amounts to saying once again that there is no origin of sense in general.
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Through the trace, writing may be seen as prior to speaking: And with the trace we come to comics. I too am merely a tracer, adding depth to the work of one who has gone before me. I have here traced he who traced the trace. Please enable JavaScript in your browser to use the site fully. Jazz Latin New Age. Sexy Trippy All Moods.
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