their hieroglyphic writ-ing is suited. This type of writing is, besides, the part reserved for a
very small section of a people, the section that possesses the exclusive domain
((26))
of spiritual culture. . . . A hieroglyphic script would require a philosophy as exegetical as
Chinese culture generally is” (ibid.) .
If the nonphonetic moment menaces the history and the life of the spirit as self-presence in the
breath, it is because it menaces substantiality, that other metaphysical name of presence and of
ousia. First in the form of the substantive. Nonphonetic writing breaks the noun apart. It
describes relations and not appellations. The noun and the word, those unities of breath and
concept, are effaced within pure writing. In that regard, Leibniz is as disturbing as the Chinese
in Europe: “This situation, the analytic notation of representations in hieroglyphic script,
which seduced Leibniz to the point of wrongly preferring this script to the alphabetic, rather
contradicts the fundamental exigency of language in general, namely the noun. . . . All
difference [Abweichung] in analysis would produce another formation of the written
substantive.”
The horizon of absolute knowledge is the effacement of writing in the logos, the retrieval of
the trace in parousia, the reappropriation of difference, the accomplishment of what I have
elsewhere called 15 the metaphysics of the proper [le propre—self-possession, propriety,
property, cleanliness].
Yet, all that Hegel thought within this horizon, all, that is, except eschatology, may be reread
as a meditation on writing. Hegel is also the thinker of irreducible difference. He rehabilitated
thought as the memory productive of signs. And he reintroduced, as I shall try to show
elsewhere, the essential necessity of the written trace in a philosophical—that is to say
Socratic—discourse that had always believed it possible to do without it; the last philosopher
of the book and the first thinker of writing.
((27))
2. Linguistics and Grammatology
Writing is nothing but the representation of speech; it is bizarre that one gives more care to
the determining of the image than to the object.—J.-J. Rousseau, Fragment inédit d’un essai
sur les langues
The concept of writing should define the field of a science. But can it be determined by
scholars outside of all the historico-metaphysical predeterminations that we have just situated
so clinically? What can a science of writing begin to signify, if it is granted:
1) that the very idea of science was bom in a certain epoch of writing;
2)that it was thought and formulated, as task, idea, project, in a language implying a certain
kind of structurally and axiologically determined relationship between speech and writing;
3)that, to that extent, it was first related to the concept and the ad-venture of phonetic writing,
valorized as the telos of all writing, even though what was always the exemplary model of
scientificity—mathematics —constantly moved away from that goal;
4)that the strictest notion of a general science of writing was born, for nonfortuitous reasons,
during a certain period of the world’s history (be-ginning around the eighteenth century) and
within a certain determined system of relationships between “living” speech and inscription;
5)that writing is not only an auxiliary means in the service of science—and possibly its object
—but first, as Husserl in particular pointed out in The Origin of Geometry, the condition of
the possibility of ideal objects and therefore of scientific objectivity. Before being its object,
writing is the condition of the epistémè.
6)that historicity itself is tied to the possibility of writing; to the possibility of writing in
general, beyond those particular forms of writing in the name of which we have long spoken
of peoples without writing and with-out history. Before being the object of a history—of an
historical science—writing opens the field of history—of historical becoming. And the former
(Historie in German) presupposes the latter
(Geschichte).
The science of writing should therefore look for its object at the roots of scientificity. The
history of writing should turn back toward the origin of historicity. A science of the possibility
of science? A science of science
((28))
which would no longer have the form of logic but that of grammatics? A history of the
possibility of history which would no longer be an archaeology, a philosophy of history or a
history of philosophy?
The positive and the classical sciences of writing are obliged to repress this sort of question.
Up to a certain point, such repression is even necessary to the progress of positive
investigation. Beside the fact that it would still be held within a philosophizing logic, the
ontophenomenological question of essence, that is to say of the origin of writing, could, by
itself, only paralyze or sterilize the typological or historical research of facts.
My intention, therefore, is not to weigh that prejudicial question, that dry, necessary, and
somewhat facile question of right, against the power and efficacy of the positive researches
which we may witness today. The genesis and system of scripts had never led to such
profound, extended, and assured explorations. It is not really a matter of weighing the
question against the importance of the discovery; since the questions are imponderable, they
cannot be weighed. If the issue is not quite that, it is perhaps because its repression has real
consequences in the very content of the researches that, in the present case and in a privileged
way, are always arranged around problems of definition and beginning.
The grammatologist least of all can avoid questioning himself about the essence of his object
in the form of a question of origin: “What is writing?” means “where and when does writing
begin?” The responses generally come very quickly. They circulate within concepts that are
seldom criticized and move within evidence which always seems self-evident. It is around
these responses that a typology of and a perspective on the growth of writing are always
organized. All works dealing with the history of writing are composed along the same lines: a