1 、 From Memory to Written Records

•  書寫文件並非因為書寫而世界由象徵性的物件產生效用

•  Before writing was deeply interiorized by print, people did not feel themselves situated every moment of their lives in abstract computed time of any sort……. The abstract calendar number would relate to nothing in real life.

•  Orally presented sequences are always occurrences in time , impossible to ‘examine ', because they are not presented visually but rather are utterances which are heard.

•  Visual presentation of verbalized material in space has its own particular economy, its own laws of motion and structure.

•  Chart represent a frame of thought even farther removed than lists are from the oral noetic processes which such charts are supposed to represent.

2 、 Some Dynamics of Textuality

•  Spoken words are always modifications of a total situation which is more than verbalThey never occure alone , .…. Spoken utterance comes only from the living. in a context simply of words……. Writing is a solipsistic operation

•  The writer's audience is always a fiction ,……the writer must set up a role in which absent and often unknown readers can cast themselves

1) The diary I demans the maximum fictionalizing of the utterer and the addressee.

2) writing provides the reader with conspicuous help for situating himself imaginatively, for example philosophical material in dialogues,or a ‘frame story 'Boccaccio and Chaucer have provided, or nineteenth-centry novelists self consciously intone

•  What is the reader supposed to make himself out to be in Finnegans Wak e ？ Only a reader.

3 、 Distance, Precision , Grapholects and Magnavocabularies

•  Compared with writing ,orally managed language and thought are not noted for analytic precision.Written words sharpen analysis, for the individual words are called on to do more. And you have to do is try to make you language work so clear that with no existential context , it needs to pick up the language words circumspectly.

•  Corrections in oral performance tend to be counterproductive,……in writing , corrections can be tremendously productive.

•  Writing makes possible the great introspective religious traditions such as Buddhism, Judaism , Christianity , and Islam. All these have sacred texts.

•  Orality relegates meaning largely to context whereas writing concentrates meaning in language itself.

•  Certain languages , or more properly dialects , have invested massively in writing,……their status as chirographically controlled national languages.

•  A national written language has had to be isolated from its original dialect base.

•  The lexical richness of grapholects begins with writing ,but its fullness is due to print.

•  All dialects are equal in the sense that none has a grammar intrinsically more ‘correct' than that of others.

4 、 Interactions : Rhetoric and the Places

•  What is Rhetoric?(107)

•  The art of rhetoric, thought concerned with oral speech, was, like other ‘arts', the product of writing.

•  Rhetoric=What a waste of time !/ what a marvelous thing!

•  Rhetoric retained much of the old oral feeling for thought and expression as basically agonistic （ /antithetical ） heritage and formulaic.

•  West(among the Greeks and their cultural epigoni)/East = maximize oppositions/ minimized them.

•  Academic rhetoric / the literary style of female authors

5 、 Interactions :Learned Languages

•  Their spoken language had moved too far away from its origins .But schooling , and with it most official discourse of church or state, continued in Latin.

•  Learned Latin was sex-linked, a language written and spoken only by males, learned outside the home in a tribal setting.

•  Modern science grew in Latin soil.

•  語言的消失與權力的消長

6 、 Tenaciousness of Orality

•  從記憶到書寫：文字的紀錄是很有趣的。記憶對很多人來說應該是有意義的，對於為什麼人會記得一些事情，為什麼會忘記一些事情，其中的機制是 如何運作呢？當我們失去某一部份的記憶，認為那沒什麼事情，就不會有哪個理由要阻擋它去發生，如同跟災難、戰爭、社會關懷有關的議題，像這樣的記憶很多人已不在有感覺，沒有激情了很自然地就會遺忘，這個遺忘不分階級年齡。

•  記憶與失憶：每個人的記憶都有自己的系統，因此會特別注意到某些特別的地方，而口語和文字到底哪一個對記憶力是比較有幫助的呢？柏拉圖認為文字會影響造成記憶的衰退，然而在生理上隨著年紀變大人的記憶自然會衰退，而在此時不識字的老農似乎比識字的老人更容易得到老年癡呆症。

•  最初的記憶：有一些初始的記憶似乎是存在在基因裡，有一本精神治療的書籍從「前世今生」這個地方切入而受到很多批評，王溢嘉寫了「前世今生的迷惑」來駁斥本書。

•  說故事的人：有些人特別會說故事，在自己的故事裡面有很多可以模糊的空間。有的很會記人名的人，使用一些特別的方式，例如以班上同學座位的關係來建立了班上的脈絡。關於特別容易記得的事情，有時是來自於一種意象性（ intentionality ）特別容易被觸動，倒不是故意的，當時被觸動的原因來自於意識表層的東西被深層的壓制了，等到除魅後才被釋放，很多有文化的原因。

　　說故事的人有兩種類型，一種是四處跑的像船員，一種是紮根的農夫。在那個現場開是說故事的人，是對故事要有所指教的人。指教與其說是對問題的回答，不如說是對剛剛的故事要如演藝地建議。

　　在聽故事的那個當下大家都很投入，離開以後大家都很空虛，但還是會很喜歡這樣的活動。那是一個很真實的經驗，那個情境有種脈絡讓妳感受不是現代人的步驟、系統。有個企劃是要原住民孩子去蒐集部落的故事，每個孩子說的時候都能頭頭是道，但一旦要寫下來，卻都寫得很少。

　　「書寫」，作為孤獨個人寫作的狀態的寫照。

•  日記：日記記的都是個人的事，偉人傳記類似這樣。這是一種自我表述的方式，而我們常聽到「文如其人」，但如果已經知道自己的作品會被出版，則會傾向於表達出希望自己被如何瞭解。而根據安徒生的說法，日記記的都是無關緊要的事情，因為真正重要的日子根本忙得沒時間寫，所以日記裡都充斥著無關緊要、沒意義小事的日子。

•  寫作的陰謀？：凡是書寫都代表作者企圖引導讀者跟隨他的想法，所以沒有人是真正的坦承。在網路時代書寫部落格也會考慮到讀者的問題，因此當不希望被知道時就會用只有自己懂的方式說，讓別人無從回應，而且書寫也未必是要為了給人看，在內心的層面還是有坦承的可能。

　　爾雅書局每年皆會出年度個人日記，在不同作家中每個人都有自己的計畫，但揭露的程度還是隨人不同。

•  記憶與創意：有時候不見得小時候發生過那些事情，但說起來都好像跟真的一樣。

•  網路是一個出口，平常寡言的人在網路上是很多話的，當書寫是她最自然的寫作方式。書寫只是工具，並不完整，越用越發現更多的漏洞。

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