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:
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:
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:
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 or ideographs are symbols which graphically represent abstract ideas. The image below shows a number of ideographic Chinese 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’.

Sometimes symbols are used for their phonetic value alone, without regard for their meaning, for example when transliterating foreign names and loan words.
Chinese (Zhōngwén) |
Japanese (Nihongo) |
Naxi |
Akkadian (Cuneiform) |
Ancient Egyptian Demotic |
Ancient Egyptian Hieratic |
Ancient Egyptian Hieroglypic |
Vietnamese (Chữ-nôm) |
Jurchen |
Khitan |
Linear B |
![]() Mayan |
Sumerian (Cuneiform) |
Tangut (Xīxìa/Hsi-hsia) |
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)
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
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.