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The study and science of systems of graphic script.

[Greek gramma, grammat-, letter; see grammar + -logy.]

gram′ma·to·log′ic (-tə-lŏj′ĭk), gram′ma·to·log′i·cal adj.
gram′ma·tol′o·gist n.
American Heritage® Dictionary of the English Language, Fifth Edition. Copyright © 2016 by Houghton Mifflin Harcourt Publishing Company. Published by Houghton Mifflin Harcourt Publishing Company. All rights reserved.


(Linguistics) the scientific study of writing systems
ˌgrammaˈtologist n
Collins English Dictionary – Complete and Unabridged, 12th Edition 2014 © HarperCollins Publishers 1991, 1994, 1998, 2000, 2003, 2006, 2007, 2009, 2011, 2014
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Lucy Fraser's aptly titled book, The Pleasures of Metamorphosis: Japanese and English Fairy Tales Transformations of "The Little Mermaid," provides an enriching analysis of various versions of tales based on "The Little Mermaid." Fraser's detailed study is not only essential reading for scholars working on fairy tale and folklore studies, but it also provides important theoretical insights in feminist theory, grammatology, and postmodernist theory.
But truthfully, the idea behind post-truth is not new, but is deeply and astutely rooted in the concept of 'deconstruction'-one of the 'basic' postmodern ideas launched in 1967 by Jacques Derrida in Of Grammatology.
In Of Grammatology (1976) Derrida explicates the reason of using 'A' at the place of 'e' to emphasize the graphic understanding of language and its changing status in the text, "....graphic difference (a instead of e), this marked difference between two apparently vocal notations, between two vowels, remains purely graphic: it is read or it is written, but it cannot be heard.." (Derrida, 1967: 4) As Derrida avows that this Differance is a fight against the frozen meaning of the word as it cannot be understood in listening only in writing.
In Of Grammatology (1967), Derrida defends writing against the derogatory hierarchy which privileges speech as a medium of representation over writing.
In semiotic terms, what we have here is the introduction of the "transcendental signified," as Derrida would later call it (Of Grammatology 20-24), the tertium comparationis that permits equivalence between languages and therefore translation.
The exhibition's final three galleries could be seen as an appendix to the artist's grammatology of forms.
In the first of the two parts of the book, entitled First Principles, Attell analyzes the engagement with language in the early works of the two thinkers, starting with their different interpretations of Saussurre's concept of the sign, which Derrida famously reads in Of Grammatology (1967) as the manifestation of western phonologocentrism, while Agamben, in the final essay of Stanzas (1977), considers an emergence of the negativity constituting human language itself, lurking at the core of western metaphysics.
It covers the end of the book and the beginning of writing, linguistics and grammatology, of grammatology as a positive science, the violence of the letter from Levi-Strauss to Rousseau, the dangerous supplement, the genesis and structure of the "Essay on the Origin of Languages," and from/of the supplement to the source: the theory of writing.
Chapter 7 offers 'a grammatology of emerging cinema' through synthesising the book's constituent chapters and discussion of dominant genres, themes, 'narrative devices' and 'participation modalities' which characterise the emerging cinema and the new storytelling experience it has offered through its myriad forms and layers.