Philip, Rey (Editor)1 Description This interdisciplinary essay explores a forgotten hypothesis at the intersection of physics, philosophy, and fiction: that consciousness is not a byproduct of matter, but its ontological foundation. Tracing this idea from Heraclitus and Plato to Schrödinger and Penrose, the article integrates metaphysical traditions with quantum models and critiques of materialist reductionism. It introduces the Theory of Ontological Consciousness (TOC) — a literary-philosophical framework proposing ψ̂–Φ interactions as the generative basis of spacetime and form. The essay also reinterprets empirical anomalies, such as those documented by the Global Consciousness Project, as potential signatures of an underlying field of universal consciousness. For more on the Theory of Ontological Consciousness, visit www.toc-reality.org and follow new updates via Medium - https://medium.com/@philiprey.org

The majority of Scheil's critiques of desired material seems to have been filled in broadly by:

Henley, Georgia, and Joshua Byron Smith, eds. A Companion to Geoffrey of Monmouth. Brill’s Companions to European History 22. Brill, 2020. http://archive.org/details/oapen-20.500.12657-42537.

Obviously this isn't an inconsequential amount of scholarship (575+ pp) to have included in Reeve's volume.

While it's nice to identify what is not in the reviewed volume, it's probably better to frame it that way rather than to seemingly blame the authors/editors for not having included such a massive amount of work. This sort of poor framing is too often seen in the academic literature. Reporting on results and work and putting it out is much more valuable in the short and long term than worrying so much about what is not there. Authors should certainly self-identify open questions for their readers and create avenues to follow them up, but they don't need to be all things to all people.

https://www.youtube.com/watch?v=iEfKPYTOAaY

Discussing and overanalyzing literature can destroy it's beauty and purpose.

Literary fields of study converge on subject study

In every literary theorist structure there is a common conflict in the identification of a subject

"common mechanism"

https://en.wikipedia.org/wiki/Julia_Kristeva

Doto, Bob. “Inspired Destruction: How a Zettelkasten Explodes Thoughts (So You Can Have New Ones).” Personal blog. Writing by Bob Doto (blog), September 13, 2023. https://writing.bobdoto.computer/inspired-destruction-how-a-zettelkasten-explodes-thoughts-so-you-can-have-newish-ones/.

https://deadline.com/2022/11/wme-promotes-eric-reid-to-partner-1235182887/

Marginalia is a form of literary expression.

Wolff, Tobias. “Bullet in the Brain.” The New Yorker, September 17, 1995. https://www.newyorker.com/magazine/1995/09/25/bullet-in-the-brain.

6 Coleridge, S. T. (1819). Character of Sir Thomas Brown as a writer.Blackwood’s Magazine 6(32), 197.

Auden himself kept a commomplace book of his own notes which was published as A Certain World: A Commonplace Book #, so we can read some of his notes! :)

https://en.wikipedia.org/wiki/Gift_book

Found looking for information about the tradition of birthday books.

https://en.wikipedia.org/wiki/Arcades_Project

Umberto Eco indicates that every work of art can be read in one of three ways: - moral, - allegorical - anagogical

Compare this to early Christianities which had various different readings of the scriptures.

Relate this also to the idea of Heraclitus and the not stepping into the same river twice as a viewer can view a work multiple times in different physical and personal contexts which will change their mood and interpretation of the work.

The hermeneutic circle is the idea that understanding a text in whole is underpinned by understanding its constituent parts and understanding the individual parts is underpinned by understanding the whole thereby making a circle of understanding. This understanding of a text is going to be heavily influenced by a text's cultural, historical, literary, and other contexts.

This rides the line between beauty and suffering, combining medical vivisection with spiritual discovery. Love this so much. There's an eerie intimacy to procedures like this.

It's a clever reworking of Plato's cave allegory.

The lover is presented as the Ideal of Beauty, which all earthly beauty is but an imperfect reflection of it. The previous mistresses that the speaker had a relationship with were mere fantasy(dream) of the lady that he is now in love with. It's a quite common conceit in Renaissance lyrics. However, the expression 'desired and got' is an original line of John Donne to refresh this overused cliché.

Source:

1. Nassaar S., Plato in John Donne's 'The Good Morrow' (2003)
2. Book: John Donne, The Complete English Poet (1971)
3. https://faculty.washington.edu/smcohen/320/cave.htm

Donne is envisioning a small area as equivalent to a more enormous space. It's an example of microcosm that views human nature or a well balanced natural phenomena as an perfect example for understanding a bigger world and the order of the universe.

The Good-Morrow is an aubade, a love poem sung at dawn that greets the morning by recalling the pleasant night spent with the lover and the togetherness they shared while also lamenting as they realize that they should soon be parted.

In The Good-Morrow the greeting aspect of aubade is particularly emphasized, celebrating the astonishing power of love that transcended them from individuals who dwelled on the unsophisticated pleasure to wholesome, perfectly balanced souls that are awakened in a new world.

To read other examples of John Donne's aubade, see The Sunrising.

Source: https://poets.org/glossary/aubade

The authors use of rhetorical questioning allows the audience to actively engage in the material presented and dive deeper into further analyzing how this could relate to a personal experience.

Fascinating example of x. Wonder what you mean by y.

The first definition of "chronicle" in the Oxford English Dictionary is "A detailed and continuous register of events in order of time; a historical record, esp. one in which the facts are narrated without philosophic treatment, or any attempt at literary style." Though a chronicle is usually without literary style, the sonnet's chronicle is full of beauty, rhyme, and praise. The OED further notes the figurative use of chronicle, which may apply here, too. Shakespeare's Henry IV describes elders as "time's doting chronicles."

The chapter "Stacking Stones" describes the various techniques and effects that can be created by authors of short story collections. Put simply, Jauss argues that we ought to read story collections as collections, in the order in which they appear. The argument is based on a series of "unifying principles" and "structural techniques" that stitch collections together. The most important two, in my view, are the "liaison" — or, a motif that speaks across stories — and "mimesis" — the interaction in a collection between form and meaning. Jauss holds The Things They Carried as an exemplar of mimesis.

This text is useful in thinking about collections, but it is also useful for teaching new literary readers about how to approach collections. The instinct is to fragment the collection into digestible chunks — i.e. the stories as individual texts — rather than reckon with them en masse.

"This is standard eighteenth- and nineteenth-century practice to create a sense of realism: the author leaves out the name of the country or person, thus pretending it is a real one and that he or she does not wish to intrude upon the privacy of real people" (The Victorian Web).

Book XII: continues Michael's vision. Adam and Eve are comforted by hearing of the future redemption of their race. The poem ends as they wander forth out of Paradise and the door closes behind them.

Precisely allocated alliteration! The rhythm of this sentence is so beautiful! The act of 'driven' by vanity corresponds to 'anguish', and derision by the same thing corresponds accordingly to 'anger'. I wonder if there are more of this kind of usage in Joyce's novels.

May be referring to the novel Pamela by Samuel Richardson, which was popular at the time and featured a woman who refuses her suitor multiple times before realizing she is in love and marrying him.

Sermons to Young Women by James Fordyce. Popular female conduct book published in 1766.

References Roland Barthes, a French literary theorist, philosopher, linguist, critic, and semiotician. He often interrogated the structure of great writers with distinctive style, such as Voltaire.

I believe that DH work could be instrumental in accomplishing this vision. Since the literature of this time is in the public domain, it is indeed possible to run tests of influence and similarity on all existing manuscripts.

After learning about the concept of measuring literary influence with DH tools, it is difficult for me to read any scholarship on influence without automatically thinking what the "data" would say.

Sir Walter Scott [1771-1832], “Scottish novelist, poet, historian, and biographer who is often considered both the inventor and the greatest practitioner of the historical novel.”

https://www.britannica.com/biography/Sir-Walter-Scott-1st-Baronet

William Cowper [1731-1800], “one of the most widely read English poets of his day, whose most characteristic work, as in The Task or the melodious short lyric “The Poplar Trees,” brought a new directness to 18th-century nature poetry.”

https://www.britannica.com/biography/William-Cowper

James Thomson [1700-1748], “Scottish poet whose best verse foreshadowed some of the attitudes of the Romantic movement. His poetry also gave expression to the achievements of Newtonian science and to an England reaching toward great political power based on commercial and maritime expansion”

https://www.britannica.com/biography/James-Thomson-Scottish-poet-1700-1748

"A term expressive of that peculiar kind of beauty, which is agreeable in a picture" (William Gilpin, Essay on Prints, xii). It is a term of the Romantic movement, believed to have been coined by Rev. William Gilpin, which seeks to brings together two paradigms, that of beauty and the sublime, in order to create one aesthetic ideal. The picturesque can be utilized to describe both architecture, such as Sotherton in Mansfield Park, or landscape in the way that Gilpin does in his travel books. (William Gilpin, From Observations Chiefly Made to Picturesque Beauty)

“William Shakespeare (1564-1616) wrote Hamlet c. 1599-1601. In Austen’s time, Hamlet was a well-known play.”

This section of the text has a similarity to Horace Ars Poetica, AP:408- 437, Nature plus training: but see through flattery, Horace says, “Whether a praiseworthy poem is due to nature or art is the question: I’ve never seen the benefit of study lacking a wealth of talent, or of untrained ability: each needs the other’s friendly assistance.” Horace mentions that nature and the hard work of study talent go hand in hand as reflected in his words of “nature,” “study,” “talent” and “untrained.” The same way as Lu chi suggests that inspiration (nature) only comes after the hard work of taming the mind (talent), with his use of words of “celestial” to mean “nature,” “arduously” to mean “study, “anger’s hook” reflects “talent,” and “stray fish” to mean “untrained.” The both realized that you need both nature and talent to be able to release the inner creativity of the writer.

William Cowper, (born November 26, 1731, Great Berkhamstead, Hertfordshire, England—died April 25, 1800, East Dereham, Norfolk), one of the most widely read English poets of his day."(https://www.britannica.com/biography/William-Cowper). "Marianne, in Sense and Sensibility, complains about the way Edward Ferrars reads Cowper aloud...Cowper's mediative poetry celebrated the beauty of nature. He is often considered an early Romantic poet, and as such would particularly appeal to Marianne"(Patrice Hannon, 101 Things You Didn't Know About Jane Austen: The Truth About the World's Most Intriguing Romantic Literary Heroine, p. 96).

A reference to a 1779 novel, Columella, or The Distressed Anchoret, a colloquial tale by Richard Graves. Susan Allen Ford points out how this rather esoteric reference to literature makes Elinor more alike her mother than previously indicated.

Sarah and David Wrobel's project here is so cool: they leveraged the Hypothes.is tag feature to have students explore the "layers" of John Steinbeck's The Grapes of Wrath. While the idea of such layers could perhaps be said about any literary text, for Steinbeck there was something explicit about the layers of that particular novel. As he wrote to his editor at the time:

"The Grapes of Wrath" was published, Steinbeck wrote: "There are five layers in this book, a reader will find as many as he can and he won't find more than he has in himself."

The narrator often switches between the minds of Elinor, and that of Marianne's. The usage of "mama" gives readers a clear knowledge of whose mind we are in - in this case, we are in the younger character (Marianne's) mind. Elinor, the older character, typically refers to her mother as Mrs. Dashwood; much more maturely. This shows the way that ladies carried themselves in this time.

Does this map to literary theory in any way?...

kenning

I understand that literary fiction is more writerly while pulp fiction is more readerly... But is it really that clean cut between the two? Is it possible for a work considered pulp fiction to have at least some qualities of a writerly work, or is the classification of fiction works a binary system?

Kenning for armor

Kenning

assonance

kenning

assonance

Alliteration

Alliteration

Critical theorists may question the "prestige of authorship," but there is little doubt that the material consequences are more far reaching than they were in ancient times.

Actually, this is a misreading of Foucault, who discusses the economic implications of authorship.

Fish, Stanley. 1988. “Guest Column: No Bias, No Merit: The Case against Blind Submission.” PMLA 103 (5): 739–48. http://www.jstor.org/stable/462513.

An interesting essay in the context I'm reading it (alongside Foucault's What is an author in preparation for a discussion of scientific authorship.

Among the interesting things about it are the way it encapsulates a distinction between the humanities and sciences in method (though Fish doesn't see it and it comes back to bite him in the Sokol affair). What Frye thinks is important because he is an author-function in Foucault's terms, I.e. a discourse initiator to whom we return for new insight.

Fish cites Peters and Ceci 1982 on peer review, and sides with those who argue that ethos should count in review of science as well.

Also interesting for an illustration of how much the field changed, from new criticism in the 1970s (when the first draft was written) until "now" i.e. 1989 when political criticism is the norm.

How much literary criticism changed between 1979, 1982, and 1988! From ontological wholes to politicised

on the necessity of discovering virtue in literary work as a professional convention of our discipline.

This is a really interesting and useful passage for my first year lectures

This is not true (in theory) of scientific authorship. We don't judge the coherence of the oeuvre.

Again it conflict with Fish's view of literary criticism

Relationship of literary criticism to exegesis

At the same time scientific authorship was becoming anonymous, literary authorship was no longer accepted as anonymous (this is something Chartier disagrees with emphatically)

Very useful statement of where foucault applies in this case: to literary discussion, not advertising, not letters, and so on.

Science would fall into the "not this" category, I suspect.

Again, an "Implied Author" type idea that is completely not relevant to science--although ironically, the H-index tries to make it relevant. In science, the author name is not the function that defines the text; it is the person to whom the credit it to be given rather than a definition of Oeuvre. This is really useful distinction for discussing what is different between the two discourses.

Why science authorship is not the same as poetic authorship: the lack of identity of the author. cf. Booth 1961, Rhetoric of Fiction

A reference to The Italian, or the Confessional of the Black Penitents, by Anne Radcliffe, published 1797. In particular, this is the title chosen for a popular pirated chapbook version of the novel, popular because of its cheap production and therefore low price (British Library).

Allusion to The Castle of Otranto by Sir Henry Walpole (1764). Complicated by the fact that the "poison" and the sleeping potion were one and the same, and the sleeping potion was only used to give the the appearance of death (Montague Summers, The Gothic Quest- A History of the Gothic Novel).

Here, Catherine brings up Montoni, a character from from Ann Radcliffe's gothic novel, The Mysteries of Udolpho (Rachel Knowles, "The Mysteries of Udolpho" by Ann Radcliffe).

"The Mysteries of Udolpho is a Gothic novel by Ann Radcliffe, published in 1794. It was one of the most popular novels of the late 18th and early 19th centuries... The Mysteries of Udolpho is set in France and Italy in the late 16th century. The main character is Emily St. Aubert, a beautiful and virtuous young woman. When her father dies, the orphaned Emily goes to live with her aunt. Her aunt’s husband, an Italian nobleman called Montoni, tries to force Emily to marry his friend. Montoni is a typical Gothic villain. He is violent and cruel to his wife and Emily, and locks them in his castle. Eventually Emily escapes, and the novel ends happily with Emily’s marriage to the man she loves" (British Library).

Isabella is referencing The Horrid Mysteries, A Story from the German of the Marquis of Grosse, a translation by Peter Will of Der Genius. The original is a German Gothic novel by Carl Grosse published in 1796 by Minerva Press (wiki, Horrid Mysteries).

The story's plot synopsis is as follows: "The hero of the tale, the Marquis of Grosse, finds himself embroiled in a secret revolutionary society which advocates murder and mayhem in pursuit of an early form of communism. He creates a rival society to combat them and finds himself hopelessly trapped between the two antagonistic forces. The book has been both praised and lambasted for its lurid portrayal of sex, violence and barbarism" (wiki, Horrid Mysteries).

“Emily [the main character of Radcliffe’s Udolpho] has heard rumors of ghosts and mysterious tales about the Castle. She goes into a room and finds something hidden beneath a black veil. What she sees is so frightful that she will not go near the room again. There is a rumour that the Count was married to the former owner of the Castle, Signora Laurentini di Udolpho, and Emily believes that he has killed her and it is her body that lies under the black veil… Clearly not the body of Signora Laurentini di Udolpho as Emily thought, as she turned out to be Sister Agnes. What Emily saw behind the veil was a human figure, partly decayed, but the figure was not real but made of wax. It had been made as a rather gruesome penance for the Marquis of Udolpho, that he should look upon it for a certain time each day in order to receive pardon for his sins” (Knowles).

This is the third novel by Frances "Fanny" Burney, originally published in 1796 (LibriVox).

"This is the story of Camilla, her beloved but selfish brother Lionel, her sisters Eugenia and Lavinia, and their extremely beautiful but thoughtless cousin Indiana on the months proceeding their marriages. Camilla is deeply in love with Edgar and he loves her back. However, on the advice of a friend, decides to make sure that she is free of fault. She has the luck to find herself in lot of uncomplimentary and comic situations which doesn't make Edgar's wish easy. Meanwhile, Camilla, on the advice of her father, is trying to make sure that Edgar really loves her before marrying him" (LibriVox).

The Mirror was a periodical started by Scottish novelist Henry Mackenzie’s essay-reading society in Edinburgh, Scotland. Mackenzie, the editor and primary contributor, began publication of The Mirror in January 1779, and continued to edit the paper until May 1780 (Henry Morley, ed., “Editor’s Introduction” in Henry Mackenzie, The Man of Feeling, 1886).

The names Emily and Valancourt are reference to characters from the gothic romance novel Mysteries of Udolpho by Mrs. Ann Radcliffe, which was published in 1794. Emily is the heroine of the novel who goes through misfortunes after the death of her father. Valancourt is a traveller who Emily falls in love with while traveling with her father. After her father's death, Emily is under the guardianship of her aunt Madame Cheron who tries to keep Valancourt and Emily from being together and eventually marrying each other. Madame Cheron goes as far as to take Emily away with her to Italy to be rid of Valancourt. Valancourt asks Emily to marry him in secret, but Emily refuses and leaves him to go with her aunt to Italy. (Regency History)

Here is a novel cover of Anne Radcliffe's Mysteries of Udolpho:

This is an example of a style of writing that Jane Austen was known to perfect through her writing and which she is quite famous for called free indirect discourse. This is when the narrator slips into the mind of the character momentarily and reveals thoughts that a third person narrator would have never been privileged to, but without using third person pronouns like "he" or "she."

Wow. This is the most interesting statement that I've read in a while. Wish I could pin an annotation...

Really helps me justify my career arc, turning from literary criticism as a career to software "development."

This two verse song by Aphra Behn would have been considered a "Scotch Jig". It was set to the tune of "Ah, Jenny Gin" (Ebsworth).

Sheet music published between 1719-20.

(National Library of Scotland)

“Absalom and Achitophel” was a highly anti-Catholic satirical poem written by John Dryder in 1681. The allusion is brought up as Wilding sets to find out what Sir Timothy thinks about him. References this poem, he jabs at Wilding’s character as if he’d have nothing to do with the writing of such a work he’d regard as great.<br> ( Encyclopædia Britannica) http://www.britannica.com/topic/Absalom-and-Achitophel

The slightly misquoted first line of Hamlet's speech at Act 3, scene ii, ll. 256-59:

Why, let the stricken deer go weep, The hart ungallèd play. For some must watch while some must sleep. So runs the world away.

Sounds logical, in the abstract. But the explanation is often known to “kill the joke”, to decrease the humour potential. In some cases, it transforms the explainee into the butt of a new joke. Something similar has been said about hermeneutics and æsthetics. The explanation itself may be a new form of art, but it runs the risk of first destroying the original creation.

Carmen Balcells was at the center of the Latin American literary boom, which popularized the works of Gabriel García Márquez, Carlos Fuentes, Julio Cortázar, and many other writers who had been censored or neglected by publishing houses in their own countries.

alliteration

irony again

The word "heavenly" is ironic, given the origin of Faustus's powers.