All that I have given up to this let them serve as examples of the way in which the Connaught peasant puts his love-thoughts into song and verse, whether it be hope or despair, grief or joy, that affect him. (147)

In these final lines of the book, the reader is offered Hyde’s selection of songs as a faithful and complete insight into vernacular Connacht song about the theme of love. Moreover, Hyde suggests that in reading this anthology one achieves a good degree of familiarity with an idealized, essentially native ‘Connaught peasant’.

Although speakers in the songs are variously male and female, and the reasons for separation from absent lovers differ, the experience of love is fairly uniform throughout. It is a sore experience of unrealized desire. That scenario produces a pronouncedly virtuous image of the ‘Connaught peasant’ for a number of reasons.

The reader encounters deep loyalty where admiration is unstinted by forbiddance of love because of emigration, lack of requital, or death. ‘Úna Bhán,’ for example, is preceded by a long passage explaining how deeply a bereaved lover missed the fair Úna after, until he himself passed away. Also, Hyde’s anthology is particularly rich in its examples of similes drawn from the natural world. See ‘my love is of the colour of the blackberries’ (5) in ‘If I Were to Go West’, ‘I would not think the voice of a thrush more sweet’ (27) in ‘Long I Am Going,’ and ‘My love is like the blossom of the sloe on the brown blackthorn’ (31) in ‘An Droighneán Donn’. In the vivid rendering of these images, the beauty of the desired lover is stressed, and the delicate sensibility of the speaker is inherently implied. The Connaught peasant is thoroughly valorized as a result.

Accounting for consistencies among what anthologies include, and among what they exclude, can highlight their organizing agenda. One obvious example in the area of Irish Studies is the Field Day Anthology controversy, detailed in depth by Caitríona Crowe in The Dublin Review: https://thedublinreview.com/article/testimony-to-a-flowering/

In the case of Hyde’s Love Songs, consistencies among excluded material strengthen our perception of how actively he sought to contrive an estimable image of the Connaught peasant. Though Hyde claims his selection is emblematic of the love-thought of that idealized personage, he does not provide any examples of la chanson de la malmariée. This variety of song is so widespread that Seán Ó Tuama, who was the principal authority on the theme of love in Irish folksong, included it as one of five major genres in his article ‘Love in Irish Folksong’ (in the book Repossessions: Selected Essays on the Irish Literary Heritage. Such songs are an expression of grief by a young woman unhappily married to an elderly man.

If we are to view the songs anthologized by Hyde in a broader context of Connacht songs about love, an awareness of the chanson de la malmariéé is required. Faoi Rothaí na Gréine (1999) is a relatively recently published collection of Connacht songs. The collecting work was done in Galway between 1927 and 1932 by Máirtín Ó Cadhain, and latterly edited by Professor Ríonach Uí Ógáin. ‘An Droigheán Donn’, ‘Úna Bhán’, and ‘Mal Dubh an Ghleanna’ are common to Faoi Rothaí na Gréine and Love Songs of Connacht. The inclusion in the former of two famous songs of the malmariée genre, ‘Dar Mo Mhóide Ní Phósfainn Thú’ (I Swear I Wouldn’t Marry You), and ‘Amhrán an Tae’ (The Tea Song) demonstrate the strong presence of that genre in the ‘love-thought’ of vernacular Connacht song.

This way of framing discussion of Love Songs of Connacht invites close interrogation of Hyde’s biases. The choice of material for inclusion and exclusion is ideologically cohesive, to the specific end of creating a valorous image of the idealized native peasant. In my M.A. thesis, I might further refine the line of argument pursued in this annotation, and use it as the basis on which to build a discussion of Hyde’s particular ideological motivations.

"I have, in the following little volume, collected a few of these, the Love-Songs of a single province merely, which I either took down in each county of Connacht from the lips of the Irish-speaking peasantry - a class which is disappearing with most alarming rapidity - or extracted from MSS, in my own possession, or from some lent to me, made by different scribes during this century, or which I came upon while examining the piles of modern manuscript Gaelic literature that have found their last resting-place on the shelves of the Royal Irish Academy." (iv)

The way Hyde makes reference to sources is casual and non-specific. It would be difficult for a reader to access his sources. Because we have such little insight, it is important to be alert to potential biases in the collecting and editing process.

If we can identify consistencies among the anthologized songs in terms of their depiction of love and lovers, and/or among songs which are excluded from the anthology, we will have reason to regard the very partial disclosure of sources with suspicion.

As I have already noted, part of Hyde’s project is to bring the reader into contact with language which has an ‘unbounded’ power to excite the Irish Muse. Perhaps part of the way he contrives this encounter is to control the kind of subject matter that will appear to the reader as that which occurs most naturally in the Irish language.

'I have compiled this selection out of many hundreds of songs of the same kind which I have either heard or read, for, indeed, the productiveness of the Irish Muse, as long as we spoke Irish, was unbounded.' (vi) This point in Hyde’s preface to Love Songs of Connacht is relevant to two questions that my M.A. thesis preparation is concerned with.

● What are the ways that works of the Irish Revival period express the idea that a natural cultural inheritance might be recuperated through art?

● What are the reasons for such works to treat of rural folkways as a repository of essentially native identity?

Hyde illustrates that an awareness of the significance of the Irish language within a revivalist milieu will be required for informed discussion of the questions stated above.

Proper-noun naming of an ‘Irish Muse’ suggest that there is such a thing as some essential indigenous genius, which lies in wait of stimulation. An idea of the Irish language emerges whereby it is connected intimately with a native genius, and holds inherent power to spark creativity.

Of course, this line of argument proffers Hyde’s translations – through their close linkage with the Irish language – as stimuli for new artistic production. It works well as a way of turning Hyde’s skill as a linguist into a selling point for his book.

In so doing, it highlights that a perceived inter-connection between language and an essentially native worldview was a major part of the book’s appeal. The representation of that connection in this and other works becomes important to my first research question as a result. An implication for my second research question is that I should consider the Irish language as a key part of the symbolic importance which attached to rural populations.

This is not really a question that requires analysis, but what is your reaction to the point JAB is making here? Do you agree or disagree?

I find it interesting how in the original document the idea of expressing and preserving one's ideas is mentioned. Not only does this resemble Jefferson's ideals that are expressed in the First Amendment, it is also a topic that is extremely relevant at UVa today. UVa has had to had white supremacists voice their ideas due to this ideal and has received a lot of backlash because of it. UVa's current problems represent the difficult balance between freedom of speech and safety.

What is a functional marketplace? It seems like there is the fantasy of a functional marketplace that is fair to all participants. Do we have an example of such a marketplace? Or are all marketplaces structured by certain frameworks that priviliege some participants over others?

Words having naturally no signification, the idea which each stands for must be learned and retained, by those who would exchange thoughts, and hold intelligible discourse with others, in any language. But this is the hardest to be done where,

First, The ideas they stand for are very complex, and made up of a great number of ideas put together.

Secondly, Where the ideas they stand for have no certain connection in nature; and so no settled standard anywhere in nature existing, to rectify and adjust them by.

Thirdly, When the signification of the word is referred to a standard, which standard is not easy to be know.

Fourthly, Where the signification of the world and the real essence of the thing are not exactly the same.

These are difficulties that attend the signification of several words that are intelligible. Those which are not intelligible at all, such as names standing for any simple ideas which another has not organs of faculties to attain; as the names of colours to a blind man, or sounds to a deaf man, need not here be mentioned.

In all these cases we shall find an imperfection in words; which I shall more at large explain, in their particular application to our several sorts of ideas: for if we examine them, we shall find that the names of mixed modes are most liable to doubtfulness and imperfection, for the two first of these reasons; and the names of substances chiefly for the two latter. (818)

Here, Campbell suggests that a little bit of ornamentation is acceptable, depending on the end for which the orator strives. This contrasts Astell's aversion to ornamentation and seems to be a somewhat forward-thinking idea concerning Enlightenment Rhetoric.

I feel as if all gestures have ideas attached to them, intentional and accidental. Just think about when an awkward kid is giving a speech, he or she delivers different gestures that are not intentional like rubbing his or her leg or stuttering. These actions very much carry ideas such as being uncomfortable or unprepared.

"Mixed modes" comes up quite a few times throughout this excerpt, so I went looking for a definition...

Here's a breakdown of "complex ideas" that might be helpful with some of the terminology used throughout this excerpt (modes, substances, and relations).

Also, when I got to Book III, 18-20, I kind of wished those were earlier. They give a quick (and maybe useful?) explanation of simple ideas, simple modes, mixed modes, and substances.

Technologies & education system changing in recent times tutors should consider educating students with the latest technologies available. In the evolution of technology with apps, projector screens, Digital media, and last but not the least online learning platforms some fundamentals of teaching remains as it is, so if tutors can implement these basic ideas in his/her tutoring style with students can cope up with the evolution of digital education.

Share your favourite icebreakers or starter activities. Have you adapted them to online or do you use different icebreakers online?

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Teaching the creativity out of students.

p. 141

Initially, the digital humanities consisted of the curation and analysis of data that were born digital, and the digitisation and archiving projects that sought to render analogue texts and material objects into digital forms that could be organised and searched and be subjects to basic forms of overarching, automated or guided analysis, such as summary visualisations of content or connections between documents, people or places. Subsequently, its advocates have argued that the field has evolved to provide more sophisticated tools for handling, searching, linking, sharing and analysing data that seek to complement and augment existing humanities methods, and facilitate traditional forms of interpretation and theory building, rather than replacing traditional methods or providing an empiricist or positivistic approach to humanities scholarship.

summary of history of digital humanities

p. 4 makes a distinction between knowledge and information and seems to understand information as being organisation of knowledge (actually is maybe confused a little about the distinction)

Information is not the same thing as knowledge, though the two concepts overlap. Knowledge refers to ideas and facts that a human mind has internalizedand understood: how to fix a flat tire, the names of a really good dentist, speaking French. Acquiring knowledge means absorbing a lot of information--for example, how to use French irregular verbs correctly. Often the mind acquires and organizes such information in a spontaneous and even subconscious fashion, the way a child learns to speak or a taxi driver knows her way around town. At other times, the acquisition of knowledge requires studying, a slow and difficult process. The amount of knowledge that a human mind can possess is truly extraordinary, but it is not infinite, nor is the mind reliable. Hence the need for information. As society becomes more complex and its interactions speed up, access to information becomes increasingly important. Education was once focused on learning, that is, on acquiring knowledge; it now stresses research skills. What matters is not knowing the answer, but knowing where to look it up. And that means the information is (one hopes) out there, readily accessible.

Ideas are cheap.

Las ideas generales, según Berkeley.

Conocimiento de las ideas: inmediato en uno mismo, y mediado por las palabras y las acciones, en la mente de los demás.

DA as noise filter

Innovation: The Basis of Cultural Change

http://books.google.com/books/about/Innovation_the_basis_of_cultural_change.html?id=OxtHAQAAIAAJ

This statement seems to me a stretch-- a very far stretch.

What does it mean to have "infinite ideas"? And how do you arrive at the judgments "enough" and "as good" here?

Ideas don't exist in isolation; they are not individual fruits to be plucked from the world of thought. Ideas are built upon other ideas. They are embedded within each other, juxtaposed one next to the other, stacked, remixed; varied one from the other, sometimes as a derivation, sometimes an inspiration.

And in the face of this, what is the notion of "creation"? Given a certain base of knowledge, there are some natural next steps that can be built from those basic building blocks.

Here we have to disentangle the notion of discovery from creation. I think maybe that, in part, is the notion of patents vs copyright, but in the land of software we seem to have a tangled mess.

Intellectual property cannot be common currency in the intellectual life of the society at the time of propertization.

What constitutes society at this point; do small groups and communities suffice or does it have to be popularly known beyond a small few?

The most fundamental axiom of copyright law is that "no author may copyright his ideas or the facts he narrates." Harper & Row, Publishers, Inc. v. Nation Enterprises, 471U. S.539,556 (1985).

Annotations might be a better way of doing footnotes because you are not taken to a completely different place thus losing your place in the text.

Is Gorgias referring to the notion that there are no more original ideas only old ones recycled to fit in new situations? If he though that then, what would he be saying today?