Category: Ideogram

  • Preface to ‘The Mayan Letters by CHarles Olson.

    For me, and my world right now (9th December 2012) Charles Olson and his book ‘The Mayan Letters’ makes perfect sense.

    Here’s the preface:

    Preface to Mayan Letters

    by Charles Olson

    Sometime toward the end of 1950, it was in December I think, but the letter isn’t dated, I heard that Charles Olson was off to Yucatan. A sudden “fluke”—the availability of some retirement money owed him from past work as a mail carrier—gave him enough for the trip, “not much but a couple of hundred, sufficient, to GO, be, THERE. . . .” By February I had got another letter, “have just this minute opened this machine in this house lerma. . . .” From that time on I heard from him regularly, and so was witness to one of the most incisive experiences ever recorded. Obviously it is very simple to call it that, that is, what then happened, and what Olson made of his surroundings and himself. Otherwise, it is necessary to remember that Olson had already been moving in this direction, back to a point of origin which would be capable of extending “history” in a new and more usable sense. In his book on Melville, Call Me Ishmael , he had made the statement, “we are the last first people . . .”; and in his poetry, most clearly in “The Kingfishers,” there was constant emphasis on the need to break with the too simple westernisms of a ‘greek culture.’
    Yucatan made the occasion present in a way that it had not been before. The alternative to a generalizing humanism was locked, quite literally, in the people immediately around him, and the conception, that there had been and could be a civilization anterior to that which he had come from, was no longer conjecture, it was fact. He wrote me, then, “I have no doubt, say, that the American will
    Charles Olson, Mayan Letters (Bañalbufar, Mallorca: Divers Press, 1953).

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    more and more repossess himself of the Indian past. . . . If you and I see the old deal as dead (including Confucius, say), at the same time that we admit the new is of the making of our own lives & references, yet, there is bound to be a tremendous pick-up from history other than that which has been usable as reference, the moment either that history is restored (Sumer, or, more done, Chichen or Uaxactun) or rising people (these Indians, as camposinos ripe for Communist play—as ripe as were the Chinese, date 1921, June 30). . . .” The problem was, to give form, again, to what the Maya had been—to restore the “history” which they were. For in the Maya was the looked-for content: a reality which is “wholly formal without loss of intimate spaces, with the ball still snarled, yet, with a light (and not stars) and a heat (not androgyne) which declares, the persistence of both organism and will (human). . . .”
    In editing the present selection, I have tried to maintain a continuity in spite of the limits of space and the loss of some letters which it has meant. I have indicated excisions with dots ( . . .), whenever such were necessary.

  • Semanto-phonetic writing systems

    Semanto-phonetic writing systems
    http://www.omniglot.com/writing/semanto-phonetic.php

    The symbols used in these semanto-phonetic writing systems often represent both sound and meaning. As a result, these scripts generally include a large number of symbols: anything from several hundred to tens of thousands. In fact there is no theoretical upper limit to the number of symbols in some scripts, such as Chinese. These scripts could also be called logophonetic, morphophonemic, logographic or logosyllabic.
    Semanto-phonetic writing systems may include the following types of symbol:
    Examples of pictographic glyphs from the Ancient Egyptian Hieroglyphic and Chinese scripts

    Pictograms and logograms

    Pictograms or pictographs resemble the things they represent. Logograms are symbols that represent parts of words or whole words. The image on the right shows some examples of pictograms from the Ancient Egyptian Hieroglyphic and Chinese scripts. The Chinese characters used to look like the things they stand for, but have become increasingly stylized over the years.

    Ideograms

    Ideograms or ideographs are symbols which graphically represent abstract ideas. The image below shows a number of ideographic Chinese characters.
    Some ideographic Chinese characters

    Compound characters

    The majority of characters in the Chinese script are semanto-phonetic compounds: they include a semantic element, which represents or hints at their meaning, and a phonetic element, which shows or hints at their pronunciation. Below are a few such compound characters which all share a semantic element meaning ‘horse’.
    Some examples of Chinese semanto-phonetic compound characters
    Sometimes symbols are used for their phonetic value alone, without regard for their meaning, for example when transliterating foreign names and loan words.

    Semanto-phonetic writing systems currently in use

    Zhōngwén
    Chinese (Zhōngwén)
    Japanese
    Japanese (Nihongo)

    Semanto-phonetic writing systems used mainly for decorative, ceremonial or religious purposes

    Naxi script (sər33 tɕə21 lʏ33 tɕə21)
    Naxi

    Semanto-phonetic writing systems that are no longer used

    Akkadian
    Akkadian (Cuneiform)
    Ancient Egyptian Demotic script
    Ancient Egyptian Demotic
    Ancient Egyptian Hieratic script
    Ancient Egyptian Hieratic
    Ancient Egyptian Hieroglypic script
    Ancient Egyptian Hieroglypic
    Chu nom
    Vietnamese
    (Chữ-nôm)
    Jurchen
    Jurchen
    Khitan
    Khitan
    Linear B
    Linear B
    Mayan
    Mayan
    Sumerian
    Sumerian (Cuneiform)
    Tangut (Xīxìa/Hsihsia)
    Tangut (Xīxìa/Hsi-hsia)
     

    Please note

    transcriptions in the International Phonetic Alphabet (IPA) are used extensively throughout this website. The IPA transcriptions are the letters and other symbols which appear in square bracketts, like this [b], [p]. etc.
    You can learn which sounds are represented by these letters and symbols at:
    http://www.unil.ch/ling/page30184.html
    http://www.unil.ch/ling/page12580.html (en français)

    Other types of script

    Abjads, Alphabets, Syllabic alphabets, Syllabaries, Semanto-phonetic writing systems, Undeciphered scripts, Alternative writing systems, Your con-scripts, A-Z index, Direction index, Languages by writing system, Language index

  • McLuhan letter to Ezra Pound Dec.21st 1948

    ON THE EZRA POUND/ MARSHALL MCLUHAN CORRESPONDENCEby EDWIN J. BARTON

    http://projects.chass.utoronto.ca/mcluhan-studies/v1_iss1/1_1art11.htm

    “The only problem with this mode of thinking and presentation, as McLuhan was to discover, lay in the resistance with which it was met, and continues to be met, by Western intellectuals. For, as McLuhan put it in a letter written in 1948, this way of writing and thinking is inaccessible to those whose mentality is “incorruptibly dialectical.”

    The American mind is not even close to being amenable to the ideogram principle as yet. The reason is simply this. America is 100% 18th century. The 18th century chucked out the principle of metaphor and analogy-the basic fact that as A is to B so C is to D. AB : CD. It can see AB relations. But all relations in four terms are still verboten. This amounts to a deep occultation of all human thought for the U.S.A. (21 December 1948)

    It was precisely this structure and action of the metaphorical analogy, of course, that enabled McLuhan and his son Eric, many years later, to arrive at tetradic model of laws with which to study media “scientifically.”–EDWIN J. BARTON.