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1

APORIE PODPISU: OPAKOVÁNÍ NEOPAKOVATELNÉHO U DERRIDY A DELEUZE

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Fišerová M.
Filozofia (Philosophy)
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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.
2

PÍSEMNÍ AKT. DERRIDA A SEARLE O PARAZITICKÉ PERFORMATIVITĚ

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Fišerová M.
Filozofia (Philosophy)
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2018
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vol. 73
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issue 1
63 – 74
EN
The article introduces handwritten signature as a sort of performative. Contrary to the theory of speech acts, the author proposes to grasp it not as a speech act, but as a writing act inspired by Derrida’s deconstructive conception of parasitical iterability of the writing. In this perspective, the writing act is habited by an aporetical double bind, where ontologically “similar” and logically “identical” are pervading. The unsatisfiable metaphysical obligation of the civil identification via signature can be understood only thanks to the aporia of deferred meaning, where the only original is actually the deferral. As the analysis of the well-known polemics between Derrida and Searle shows, the deconstructed writing produces writing acts as parasitical performatives, which are far from communicational, citation and identification claim of Searle’s conception of speech acts. Finally, the article proposes a new revision of the differences in performative conception of sign in Austin, Searle, Derrida and Ronell.
3
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NIETZSCHES SIGNATUREN: ZUR GRENZE DES SUBJEKTS

100%
Burkhart M.
World Literature Studies
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2015
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vol. 7 (24)
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issue 4
78 – 98
EN
In an ideal case a signature is completely invariant – it remains the same. It is based on the idealist concept of identity replication and in this function is the discovery of modernism. Nietzsche signs his “insane” letters as Ceasar, Dionysos or The Crucified. His signatures seem to be the last expression of a psychological break-down. The medical diagnosis of his illness was brain softening due to syphilis. However, as an explanation for the phenomenon of Nietzsche’s signatures purely medically based interpretations are insufficient. His entire work can be read as an attempt to overcome limits. The reasons for a dissociated subject manifested in his signatures can be found across his entire philosophical work. Nietzsche is positioned at the end of a development that begins somewhere with Descartes and that experiences its heyday in Kant’s Enlightenment, Fichte’s radical subjectivism and its prolongation in the early Romantics, especially Novalis. Medical interpretations at the same time ignore the fact that Nietzsche in his later “insane” letters in his own consistent way completed a complex philosophical project. Nietzsche’s project of the “Übermensch” essentially means a look into the fragile aesthetic construction of the modern subject. The genesis of the artistic subject completely moved into the area of madness and fiction. The subject, madness and aesthetics cannot be separated. In this same exact constellation it can be found his aesthetics and philosophy. The theory of the subject runs like a red thread through his entire oeuvre. Nietzsche’s destruction of the logical and ethical basis of the Enlightenment criticism of rationality is a necessary stop on the way to the “Übermensch”. It is at the same time a consistent continuation of the Enlightenment and Romanticism, one consequence of which is also the indistinguishability of rationality and madness. In the destruction of the subject he penetrates into the depth of corporeality and the mind. Nietzsche probably knew this before his collapse and was aware of the significance of his awareness.
4
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AUTHOR KNOWN: ON SIGNED RUNIC INSCRIPTIONS (Tworca nazwany: o sygnowanych inskrypcjach runicznych)

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Skrzypek D.
Studia Humanistyczne AGH
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2011
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vol. 10
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issue 1
43-52
EN
Among the medieval, mostly anonymous, works, the runic inscriptions from the Swedish province Uppland are surprisingly frequently signed with the author's name. The runic masters (Swedish runristare), the first Scandinavian authors known by name, have been the focus of academic interest since Otto von Friesen's (1913, 1933) and Erik Brate's (1925) publications, with new fi ndings published more recently (Thompson 1975, Philippa 1977, Quak 1978, Crocker 1982, Ahlen 1997, Kallstrom 1999 i 2007). The present article is a short presentation of the signature types used by the runic masters from Uppland in the 11th and 12th century and of the most important members of the possible runic guild of that time. A typology of signatures concerning the type of work done on the inscriptions is given (different ctivities conducted by different people suggest that the preparation of an inscription was a collective rather than individual work). At the same, the comparison between the older and the more recent signed inscriptions suggests that the runic alphabet has evolved from a magical to a common tool. Also, three most eminent runic masters, Ulf of Borresta, Opir and Asmund Karesson, and their inscriptions are presented in the text.
5

ON WRITING AND HANDWRITING

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Kučera M.
Pedagogický časopis (Journal of Pedagogy)
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2010
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vol. 1
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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.
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