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1

READING, SEEING, CONCEIVING IN THE BALTIC, OR DON’T JUDGE A MODERNIST BOOK BY ITS COVER

100%
Kreslins J.
ARS
|
2012
|
vol. 45
|
issue 1
26 – 36
EN
In the Baltic, the beginning of the 20th century ushered in a dramatic increase in book production, as decade-old restraints on freedom of artistic creation lost much of their efficacy. Much more than text was transformed. Artists contributed to transforming book covers and setting them aside as an open space for experimentation and inquiry. They explored how handwriting could encapsulate the various moods of the era and its moments of upheaval, experimented with notions of ephemerality and, subsequently, with the encounter with the beholder.
2

APORIE PODPISU: OPAKOVÁNÍ NEOPAKOVATELNÉHO U DERRIDY A DELEUZE

100%
Fišerová M.
Filozofia (Philosophy)
|
2016
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vol. 71
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issue 6
450 – 461
EN
The paper questions the possibility of keeping the legal conception of signature as a constant and repeatable style of handwriting. By comparing double Derrida’s and Deleuze’s ontological semiotics, the author observes that while both thinkers agree that no writer is able to reach identity by repeating his/her traces, they disagree on the reason of this claim. In Derrida, signature is just an aporetical request of the law: in order to confirm our civil identity, we are obliged to repeat manually a trace that can’t be repeated manually. In Deleuze, repetition doesn’t produce identity, but difference: in every signing, the writer is becoming a signature. His/her handwriting is every time shaped by a singular affect, which alternates his/her previous traces. Contrary to Derrida, Deleuze admits a consistence of the author’s style, which is a sign of his continuous affective becoming, becoming-a-name, becoming-a-line.
3

ON WRITING AND HANDWRITING

84%
Kučera M.
Pedagogický časopis (Journal of Pedagogy)
|
2010
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vol. 1
|
issue 2
11 – 28
EN
Writing is often considered secondary to the spoken language, as it is only coded sound-by-sound. But other scholars have demonstrated that writing is similar to ‘arithmetic’: a cognitive structuring, a shift to the meta-level (‘for the eye’). Handwriting (referred to here as the cursive writing in the sense of joined up handwriting, of ‘écriture liée’) differs from writing (in the first analysis): it has its own grammar composed of paradigmatic gestemes and tracemes and its own syntagmatic rules that connect them. In emotional terms, handwriting is designed to provide a special pleasure by its own drive (instinct, ‘Trieb’). But there is also cognitive aspect to it: the rapidity and fluidity of a cursive writing could be (in professional writing, for instance) more important (at the climax of the creative process) than it being legible for all eternity. The project of the new handwriting reform for Czech schools, abolishing the liaison between letters, is shown to be a modern and technically simplified form of calligraphy.
4
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WRITING MACHINES (Pisuce stroje)

84%
Kulcsar-Szabo Z.
World Literature Studies
|
2010
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vol. 2 (19)
|
issue 2
42-55
EN
The author of the study pursues the phenomenon of writing machines and the impact of these on writing, or on literature. He writes about the research and conceptions connected with this phenomena (Nietzsche, Kittler, Mallarme and his project “Le Livre”, Heidegger), which led to the opinion that machine writing suppresses the individual handwriting and the sensual experience, the mediator of which used to be literature, or, that it is an obstruction in the effort to reach the truth. The question of writing machine and a quantum of typescript mistakes repeating with a never-ending and unnerving concentration became, in a paradigmatic way, the elements of Tandori's poetry in the 1980s. In the main part of the text, the author studies his 'poetics of machine mistake', which is obviously based on the preconception, or intention, to write the writing as an action into the real time. In comparison he deals with similar phenomena in the poetry of E. Kukorelly, Sz. Borbely, and he also mentions the provoking concept of computer poetry of T. Papp, which can be understood as an answer to the literary experiments of R. Queneau and S. Mallarme.
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