Der Zettelkasten wird in der Ausstellung „Serendipity – Vom Glück des Findens“ in der Kunsthalle Bielefeld gezeigt, 11. Juli bis 11. Oktober

a permanent note (according to Ahrens) is actually the name for both "zettels" (what Ahrens calls "the main notes in the slip box," or what many are now calling "zettels") and literature notes.

Proust writes, with only the faintest irony, “Real life, life at last laid bare and illuminated—the only life in consequence which can be said to be really lived—is literature.”

Is the ZK method worth it? and how it helped you in your projects? .t3_zwgeas._2FCtq-QzlfuN-SwVMUZMM3 { --postTitle-VisitedLinkColor: #9b9b9b; --postTitleLink-VisitedLinkColor: #9b9b9b; --postBodyLink-VisitedLinkColor: #989898; } questionI am new to ZK method and I'd like to use it for my literature review paper. Altho the method is described as simple, watching all those YT videos about the ZK and softwares make it very complex to me. I want to know how it changed your writing??

Thank you - I'm impressed, once again.I still find it baffling that the evolutionary tree of zettelkasten practices doesn't seem to show some sort of Cambrian explosion starting directly with Luhmann. There are people around him, eyewitnessing a productivity of barbaracartlandian proportions, and no one seems to make relevant attempts at imitating and adapting his specific methods? - I would like to understand the reasons for this.PS: Do you know the interview (five short parts, in German) the Suhrkamp publishing house has conducted with Andre Kieserling, Luhmann's successor at Bielefeld University, and Johannes Schmidt, the zettelkasten curator? https://youtu.be/q0LdmKMbJCw - I haven't found it in your hypothes.is annotations.Btw, I'm living in Stuttgart near Marbach, and after visiting the 2013 exhibition with its perenially inspiring title "Zettelkästen. Maschinen der Phantasie" and reading its catalogue, I've sent my copy to Professor Kuehn. I miss his Taking Note blog.

Snowball lets you quickly find and filter through papers using the snowballing method. Start with a core collection of papers, and find more by going through their citations and references.

There are student editions of the poems of Dafyd ap Gwilym, and of Y Gododdin, the strange, and rather difficult medieval Welsh epic poem about the battle of the men of the north at Catraeth, part of the Welsh contribution to Celtic Arthurian literature.

the Pedeir Keinc y Mabinogi edited by Ifor Williams from the White Book manuscript is still the standard edition of the four branches; it includes lengthy notes as well as the edited text, all in Welsh.

Checklist of Middle Welsh Particles by Professor David Klausner at the University of Toronto.

Mediaeval and Modern Welsh Series

Trade catalogs from Yawman and Erbe Mfg. Co.

One of W.G. Sebald’s masterpieces, The Rings of Saturn, an indescribable blend of fact and fiction, contains a section about one of his academic colleagues whose office was piled high with notes about Gustav Flaubert.

Les murs du cabinet de travail, le plancher, le plafond même portaient des liasses débordantes, des cartons démesurément gonflés, des boîtes où se pressait une multitude innombrable de fiches, et je contemplai avec une admiration mêlée de terreur les cataractes de l'érudition prêtes à se rompre. —Maître, fis-je d'une voix émue, j'ai recours à votre bonté et à votre savoir, tous deux inépuisables. Ne consentiriez-vous pas à me guider dans mes recherches ardues sur les origines de l'art pingouin? —Monsieur, me répondit le maître, je possède tout l'art, vous m'entendez, tout l'art sur fiches classées alphabétiquement et par ordre de matières. Je me fais un devoir de mettre à votre disposition ce qui s'y rapporte aux Pingouins. Montez à cette échelle et tirez cette boîte que vous voyez là-haut. Vous y trouverez tout ce dont vous avez besoin. J'obéis en tremblant. Mais à peine avais-je ouvert la fatale boîte que des fiches bleues s'en échappèrent et, glissant entre mes doigts, commencèrent à pleuvoir. Presque aussitôt, par sympathie, les boîtes voisines s'ouvrirent et il en coula des ruisseaux de fiches roses, vertes et blanches, et de proche en proche, de toutes les boîtes les fiches diversement colorées se répandirent en murmurant comme, en avril, les cascades sur le flanc des montagnes. En une minute elles couvrirent le plancher d'une couche épaisse de papier. Jaillissant de leurs inépuisables réservoirs avec un mugissement sans cesse grossi, elles précipitaient de seconde en seconde leur chute torrentielle. Baigné jusqu'aux genoux, Fulgence Tapir, d'un nez attentif, observait le cataclysme; il en reconnut la cause et pâlit d'épouvante. —Que d'art! s'écria-t-il. Je l'appelai, je me penchai pour l'aider à gravir l'échelle qui pliait sous l'averse. Il était trop tard. Maintenant, accablé, désespéré, lamentable, ayant perdu sa calotte de velours et ses lunettes d'or, il opposait en vain ses bras courts au flot qui lui montait jusqu'aux aisselles. Soudain une trombe effroyable de fiches s'éleva, l'enveloppant d'un tourbillon gigantesque. Je vis durant l'espace d'une seconde dans le gouffre le crâne poli du savant et ses petites mains grasses, puis l'abîme se referma, et le déluge se répandit sur le silence et l'immobilité. Menacé moi-même d'être englouti avec mon échelle, je m'enfuis à travers le plus haut carreau de la croisée.

Blu-menberg’s first collection of note cards dates back to the early 1940s butwas lost during the war; the Marbach collection contains cards from 1947onwards. 18

Nicht wenige Kästen sind nur für ein einziges Buch angelegt worden, Siegfried Kracauers Sammlungen etwa zu seiner Monographie über Jacques Offenbach, das Bildarchiv des Historikers Reinhart Koselleck mit Abteilungen Tausender Fotos von Reiterdenkmälern beispielsweise oder der Kasten des Romanisten Hans Robert Jauß, in dem er für seine Habilitationsschrift mittelalterliche Tiernamen und -eigenschaften verzettelte.

Inreality, many students focus on the publication sections, such asabstract, methods, results, and discussion, instead of evaluating themain argument, which is the root of poorly constructed literaturereviews described by Boote and Beile (2005).

A review of the early scholarship on social annotationconcluded that the benefits to learners are positive overall (Cohn,2018). A more recent comprehensive review of social collaborativeannotation in the published literature included 249 studies, of whichthe authors analyzed 39 studies with empirical designs. Most ofthese studies focused on undergraduate or K-12 classrooms, andonly two studies focused on graduate students (Chen, 2019; Hollett& Kalir, 2017). Interestingly, both studies with graduate studentscompared, in different ways, two social app tools, Slack (SanFrancisco, CA) and Hypothes.is (San Francisco, CA), for annotationgeneration and management. Both studies found increasedengagement with academic texts and high quality discussionsrelated to use of the social app tools.

Update now that I'm three years in to my PhD program and am about to start on my lit reviews and dissertation research... Holy Forking Shirtballs, am I glad I started my ZK back in 2020!!! * I cannot tell you how often I've used it to write my course papers. * I cannot tell you how often I've had it open during class discussions to back up my points. * I cannot tell you how lazy I've gotten with some of my entries (copying and pasting text instead of reworking it into my own words), and how much I wish I had taken the time to translate those entries for myself.

I like to highlight verbatim and add manual notes while I read. Later, when reviewing the literature note to create permanent notes, I rewrite and summarize them in my own words. Ahrens (2017) says to keep literature notes concise by being selective and using your own words while consuming the content.

Even physicists,when they leave equations behind and try to describetheir discoveries to the rest of us in plain English, findthemselves employing analogies, metaphors, and theother language tools we all use

AuthorW.H. Auden demystified both literature and criticismwhen he said, “Here is a verbal contraption. How doesit work?”

Summarize and paraphrase (and only rarelyquote) this information into a Source Note;

Backing out was not too difficult, but did take some work. I encountered the same obstacles as when I went in. After I wiggled my hips out of the hole, which took some time, I had trouble getting my shoulders out. Both arms were overhead at this point. My shirt was getting caught on the rocks and my shoulders were brushing the sharp rocks. After struggling to find a good position I gave up and just pulled my upper body out. SCRAAAAPE! My shirt pulled up over my head, and I had some nice scrapes on my shoulders, but I didn't care. To me this trip was a success. I had pushed myself beyond what I though was possible. I kneeled at the entrance and looked into the narrow passage I had just been in. The rock wall was now at the 11 foot mark (I had pushed it a little with my forward arm). The smallest point was at the 9 foot mark. We were close. Between the work and the excitement I was tired. I just sat on the rope bag, grinning. Whew! What a trip!

The entire time you are lying there you think about how you are going to get back out. And, what if...?

While lying in the darkness, in a passage deep within a cave, one is in a unique position to ponder. A mountain literally resting on top of me, the entire earth lying below. One tiny movement of earth and I would cease to exist. Or worse, to recognize the fear shared by Floyd Collins as he lay there, trapped for days deep within the heart of Mother Earth, incapable of freeing himself from his earthen prison.

My little trip into the passage represented a major milestone in my caving "career". When I began caving I did not feel overly comfortable going through tight spaces. Even the little squeeze at the beginning of this cave was an obstacle to overcome. By pushing myself and forcing myself to try the narrow passages I have become much calmer about tight spaces. Still, this passage represented a new benchmark in small spaces. I had not been faced with anything this small. I don't remember having to take off my helmet before now. With this passage, it is mandatory. As I mentioned before, not only do I have to take off my helmet, but I have to turn my head to the side in order to fit.

I CANNOT believe that we were so willing to get right back into the cave after hearing the scream. Part of the reason I went along with the idea was because B seemed so indifferent to any possible dangers. Even if it were an animal (which I did not believe, but could offer no better explanation), weren't we possibly putting ourselves in harms way? In retrospect I still have difficulty understanding our thought process at that time. We were just too eager to discover virgin cave passages. I now think it can be summed up with one word: testosterone!

I still harbor the fantasy that there is a hidden entrance to the other side of the passage and years ago Spanish explorers hid their treasures in the cave and sealed up the entrance. And it has remained untouched until we find it! B has a more realistic, although more mundane theory. He figures there is more cave on the other side. We'll see who is right.

It is always fun to tell people about the tight squeeze we are going to have to go through to get into the passage. Most people have little desire to voluntarily subject themselves to incredibly tight places. Actually neither do I, but I will do it in order to get to the other side. Good motivation.

In retrospect I can't believe how casual we were about everything that was happening in the cave. At the time the only thing we could think about was getting into the passage. Everything else was just a minor distraction. I do recall thinking that it would be nice to get in and see how the mechanics of the cave worked (where the wind was coming from, what was making the noise, etc.) Now, weeks later, I think of my ignorance and naivete, and shiver.

Then something bizarre happened that I can't quit explain. The dog began exploring as soon as we let her off the rope. She was in hog heaven, sniffing and darting about around our feet. She would run from one person to the other as we made our way back to the work site. At the point the cave splits into four passages the dog seemed to run out of juice. She just stuck right by either B or me. That seemed kind of odd. As we progressed further into the cave she would only stay by B. She seemed edgy. Like she saw something she didn't like. As we approached the short drop-off before the hole, she stopped and would only come further after we coaxed her. The hair on her back stood on end. Finally, as we got to within 20 feet of the hole she began to whimper, and hide behind B. Her tail was between her legs and she was cowering down on the ground. Strange! I have seen her square off with dogs twice her size, but now she acted as if Satan himself was lurking in the darkness. I figured there must have been animals that used the cave as a home, and Whip smelled their scent. Too bad it upset her, because there was no way she was going into the passage. We decided that with this new development (the nervous dog) one of us would work while the other stayed with the dog a few feet away from where we normally rested. We got right back into our routine of drilling, hammering, etc. With our extra supply of batteries we were able to really push hard on the drill and not have to worry about using up the batteries. This did not make our work any easier, but it did speed things up a little bit. Progress was still SLOW. I really didn't mind, though. My journal goes on for a while about the progress we were making. The entire time we worked, Whip did not move. She just laid there on a rope-bag, shivering. She would whimper from time to time. One thing I didn't think about at the time was that she would not take her eyes off the hole. We should have been more observant of this intuitive animal.

I remember that I frequently looked and the hole and thought, "Hey, it's big enough. I think I can squeeze through" only to be disappointed in my attempt. However, even after the first attempt and failure I knew that I would keep working on the hole until I got through. This despite the fact that I knew it would take many more hours of hard work. It actually became an obsession with me. I tried to get out to the cave and work as often as I could. I hoped that the passage led to a larger undiscovered cave that we would be the first ones to enter. I guess the explorer in me wanted to find a new frontier there in the cave. Since B is such an avid caver he was motivated by the same desire to find a new unexplored cave. What we did find was not at all what I expected...

As has been my tradition for all the years I've been caving, the party reaches a point in the cave, usually at the deepest part of the cave, that all lights are extinguished. Complete blackness fills the eyes. For a moment the individual caver strains the eye muscles, focusing in and out with the expectation of catching a crumb of light somewhere in the false night. After several futile moments the caver turns his head at a sound- perhaps another caver- only to have the other senses return, and then heighten. The sounds, smells and feelings that have been overlooked to this point come racing to the caver in perfect detail. The pain of their own behind sitting on the cave floor. The smell of dust, sweat, guano. The sound of modern material shifting on age-old rock as cavers attempt to find comfort on this solid foundation. At the back of every caver's mind at this time is "What if?". What if a person HAD to climb out of the cave with no light. Would he make it? Would he find all of the turns and bends which got him to this place? If not, would a rescue party find him in time? The depth of darkness recognized at this time is something that is rarely experienced outside a cave. Many first time cavers erroneously declare that they have to hold their hand to within 2 or 3 inches of their face before they can see it. The truth is the human eye is incapable of seeing in an absence of light. If they did not hear something coming toward them, they would feel it before they saw it. COMPLETE and TOTAL dark! This exercise is a great way to remind people to take backup lighting.

We even thought about using liquid nitrogen to freeze the rock and make it more brittle!

Ha Ha! In retrospect it is funny how simple I thought it was going to be. I figured a few hours work and we would be in. Had I known how long it was going to take I doubt I would have even begun the project. Had I known what I was going to experience in the cave I never would have returned.

Most of the early books for children were didactic rather than artistic, meant to teach letter sounds and words or to improve the child's moral and spiritual life. In the mid-1700s, however, British publisher John Newbery (1713–1767), influenced by John Locke's ideas that children should enjoy reading, began publishing books for children's amusement. Since that time there has been a gradual transition from the deliberate use of purely didactic literature to inculcate moral, spiritual, and ethical values in children to the provision of literature to entertain and inform. This does not imply that suitable literature for children is either immoral or amoral. On the contrary, suitable literature for today's children is influenced by the cultural and ethical values of its authors. These values are frequently revealed as the literary work unfolds, but they are a means to an end, not an end in themselves. Authors assume a degree of intelligence on the part of their audience that was not assumed in the past. In this respect, children's literature has changed dramatically since its earliest days.

Zettelkasten notes are little atomic Feynman Technique experiences.

ResearchRabbit, which fully launched in August 2021, describes itself as “Spotify for papers”.

Connected Papers uses the publicly available corpus compiled by Semantic Scholar — a tool set up in 2015 by the Allen Institute for Artificial Intelligence in Seattle, Washington — amounting to around 200 million articles, including preprints.

Open Knowledge Maps, meanwhile, is built on top of the open-source Bielefeld Academic Search Engine, which boasts more than 270 million documents, including preprints, and is curated to remove spam.

Google Scholar does not disclose the size of its database, but it is widely acknowledged to be the biggest corpus in existence, with close to 400 million articles by one estimate (M. Gusenbauer Scientometrics 118, 177–214; 2019).

Besides published articles, Google Scholar might also pick up preprints as well as “low-quality theses and dissertations”, Tay says. Even so, “you get some gems you might not have seen”, he says. (Scopus, a competing literature database maintained by the Amsterdam-based publisher Elsevier, began incorporating preprints earlier this year, a spokesperson says. But it does not index theses and dissertations. “There will be titles that do not meet the Scopus standards but are covered by Google Scholar,” he says.)

Aaron Tay, a librarian at Singapore Management University who studies academic search tools, gets literature recommendations from both Twitter and Google Scholar, and finds that the latter often highlights the same articles as his human colleagues, albeit a few days later. Google Scholar “is almost always on target”, he says.

Another visual-mapping tool is Open Knowledge Maps, a service offered by a Vienna-based not-for-profit organization of the same name. It was founded in 2015 by Peter Kraker, a former scholarly-communication researcher at Graz University of Technology in Austria.

In 2019, Smolyansky co-founded Connected Papers, one of a new generation of visual literature-mapping and recommendation tools.

Iliad was typical of early works such as the Epic of Gilgamesh of Mesopotamia or the Mayan Popol Vuh. This epic literature served as common reference points for entire cultures, telling their audiences where they came from and who they were.

There are some additional interesting questions here, like: how do you get to the edge quickly? How do you do that across multiple fields? What do you do if the field seems misdirected, like much of psychology?

நீங்கள் எழுத்தாளர்களிடம் உரையாடுவதென்பது இரண்டு காரணங்களுக்காகவே தேவையானது. ஒன்று, இங்கே ஓர் அறிவியக்கம் நிகழவேண்டும் என்றால் அதற்குரிய பொது உரையாடல் நடந்துகொண்டிருக்கவேண்டும். நீங்கள் அதில் பங்கெடுக்கையில் அது உயிருடன் இருக்க தேவையான ஒன்றைச் செய்கிறீர்கள். இரண்டு, உங்கள் அகவுலகை செம்மை செய்துகொள்ள நீங்கள் வெளிப்பட்டும் ஆகவேண்டும். உள்ளே செல்லும் சொற்கள் திரும்பி வருகையிலேயே அவை நம்முடையவை. இலக்கியம் பற்றிப் பேசுவதும் எழுதுவதும் இலக்கியத்தை ஆழமாக அறியும் வழி. மூன்றாவதுதான் எழுத்தாளர் அடையும் ஊக்கம்.

ஒரு நல்ல படைப்பை அடையாளம் கண்டுகொள்ள சில அவதானிப்புகளைச் சொல்கிறேன். முதலில், எது அதிகம் பேரால் பகிரப்படுகிறதோ அது நல்ல படைப்பாக இருக்க வாய்ப்பே இல்லை. இரண்டாவது, ஒரு நல்ல படைப்பு பெரும்பாலும் நம்மைத் தேடி வராது; அதைத்தான் நாம் தேடிச் செல்ல வேண்டும். வேறுவிதமாகச் சொல்வதானால், வாசிக்கச் சுலபமாய் இருக்கும் ஆக்கங்கள் பெரும்பாலும் குப்பைகளாகவே இருக்கும். வாசிக்கச் சிரமம் தருபவையும், பல்துறை ஞானத்தைக் கோருபவையுமே நல்ல படைப்புகளாக இருக்கும். மூன்றாவது, வாசித்து முடிந்தவுடன் மறந்து போவது நல்ல படைப்பாக இருக்க வாய்ப்பில்லை அல்லது தற்காலிக மகிழ்ச்சியைத் தருவதும் நல்ல படைப்பாக இருக்காது.

கவிதை எனும் இலக்கிய வடிவத்தின் பலம் இரண்டு தளங்களில் இருக்கிறது. ஒன்று கவிதை பிற புனைவு அல்புனைவு வடிவங்களின் அலகுகளில் ஒன்றை போல ‘எடுத்துச் சொல்ல’ வந்தது அல்ல. ‘எப்படிச் சொல்கிறது’ என்பதே அதன் அடிப்படைத் தொழில். இரண்டாவதாக அதன் உடனடித் தன்மை. இந்த உடனடித் தன்மையை காலம் இடத்துக்கு கட்டுப்படாத தனக்கே உரிய பிரத்யேக தனி மொழி கொண்டு வாசகனின் புலன்களை உணர்வை நேரடியாக தீண்டுவதன் வழியே கைக்கொள்ளுகிறது.

The hermeneutic circle (German: hermeneutischer Zirkel) describes the process of understanding a text hermeneutically. It refers to the idea that one's understanding of the text as a whole is established by reference to the individual parts and one's understanding of each individual part by reference to the whole. Neither the whole text nor any individual part can be understood without reference to one another, and hence, it is a circle. However, this circular character of interpretation does not make it impossible to interpret a text; rather, it stresses that the meaning of a text must be found within its cultural, historical, and literary context.

Academic writing in itself is not a complicated process thatrequires a variety of complicated tools, but is in constant danger ofbeing clogged with unnecessary distractions. Unfortunately, moststudents collect and embrace over time a variety of learning andnote-taking techniques, each promising to make something easier,but combined have the opposite effect.

Make literature notes.

Make literature notes. Whenever you read something, make notesabout the content. Write down what you don’t want to forget or thinkyou might use in your own thinking or writing. Keep it very short, beextremely selective, and use your own words.

Like Fate in Greek tragedies, Destiny plays a significant role in Silappadikaram. As Ilango says, it announces itself in the yaazh (harp) that Kovalan plays, leading to his separation from Madhavi the courtesan and his subsequent death in Madurai, the Pandyan capital. Again, it is Destiny that visits the tongue of the Pandya king who, instead of saying ‘Bring the culprit, inquire, and if he is the one who stole the queen’s anklet, then kill him,’ blabbers without thinking, ‘Kill him if he has the anklet and bring it to me’.

Our local personnel are Vesna Wallace and Cathy and myself, while our international partners and consultants include Janet Gyatso, Sarah Jacoby, Matthew Kapstein, Jonathan Silk, Lopon P. Ogyan Tanzin, and Antonio Terrone. Part of the project is simply to minutely track all the processes, over several generations, that gave us some of the terma literature we know so well today, while another part will be to achieve critically-aware knowledge transfers from Hebrew studies and the English medievalists into Tibetology. Through this, we aspire to help catalyse a broader debate on what authorship really means in Tibetan religious writing as a whole, in other genres beyond terma, so that our analysis might contribute to the understanding of Tibetan religious writings as a whole.

Longer passages, such as a paragraph or chapter comprising composites of such lemmata, are also legitimately reproducible either approximately or verbatim, according to Tibetan norms. Some Hebraists would call such reproducible composites that are not yet a complete work ‘microforms’.

Much is also recycled, within a literary culture that normatively envisions contributors as tradents rather than innovators: in other words, the person producing a text sees himself as passing on existing knowledge, rather than creating new knowledge from nothing (I will elaborate further on the term tradent below).

Texts can be substantially modified by other hands in subsequent re-publications, even while still retaining their original authorial (or revelatory) attribution. At other times, modification can be generated silently and less deliberately via the subtly transformative medium of memorisation: we must recall that Tibetan scholars carry huge tracts of literature around in their minds, which they can access instantly without recourse to a written book, but sometimes it comes out in a form ever so slightly different from other or previous iterations. I think one can even say that the Buddhist tradition often understands authorial attributions as a conventional shorthand indicating the accepted presiding spiritual authority in a given literary instance, rather than as the sole or exclusive literary agency that created it.

e spoke, and the river stayed his current, stopped the waves breaking,and made all quiet in front of him and let him get safelyinto the outlet of the river.

spake

I told them it was the Sabbath day, and desired them to let me rest

stoutest men, and sent them back to hold the English army in play whilst the rest escaped.

“Wait on the Lord, Be of good courage, and he shall strengthen thine Heart, wait I say on the Lord.”

chapter of Deuteronomy

One of the Indians that came from Medfield fight, had brought some plunder, came to me, and asked me, if I would have a Bible, he had got one in his basket. I was glad of it, and asked him, whether he thought the Indians would let me read? He answered, yes. So I took the Bible,

Then they went and showed me where it was, where I saw the ground was newly digged, and there they told me they had buried it.

my sweet babe like a lamb departed this life on Feb. 18, 1675. It being about six years, and five months old.

Then I took oaken leaves

and my child’s being so exceeding sick,

One of the Indians got up upon a horse, and they set me up behind him, with my poor sick babe in my lap.

still the Lord upheld me with His gracious and merciful spirit, and we were both alive to see the light of the next morning.

but God was with me in a wonderful manner, carrying me along, and bearing up my spirit, that it did not quite fail.

One of the Indians carried my poor wounded babe upon a horse

All was gone, my husband gone (at least separated from me, he being in the Bay; and to add to my grief, the Indians told me they would kill him as he came homeward), my children gone, my relations and friends gone, our house and home and all our comforts—within door and without—all was gone (except my life), and I knew not but the next moment that might go too.

one-eyed John, and Marlborough’s Praying Indians

Oh the roaring, and singing and dancing, and yelling of those black creatures in the night, which made the place a lively resemblance of hell.

“What, will you love English men still?”

The role of the media in shaping public perceptions and opinions about significant political and social issues has long been the subject of much speculation and debate (Maeroff, 1998; Spitzer, 1993; Wilson & Wilson, 2001; Wimmer and Dominick, 1991). It is widely accepted that what we know about, think about and believe about what happens in the world, outside of personal first-hand experience, is shaped, and some would say orchestrated, by how these events are reported in newspapers and communicated through the medium of radio and television.

How have chance survivals shaped literary and linguistic canons? How might the topography of the field appear differently had certain prized unica not survived? What are the ways in which authors, compilers, scribes, and scholars have dealt with lacunary exemplaria? How do longstanding and emergent methodologies and disciplines—analysis of catalogs of dispersed libraries, reverse engineering of ur-texts and lost prototypes, digital reconstructions of codices dispersi, digital humanities. and cultural heritage preservation, and trauma studies to name a few,—serve to reveal the extent of disappearance? How can ideologically-driven biblioclasm or the destruction wrought by armed conflicts -- sometimes occurring within living memory -- be assessed objectively yet serve as the basis for protection of cultural heritage in the present? In all cases, losses are not solely material: they can be psychological, social, digital, linguistic, spiritual, professional. Is mournful resignation the only response to these gaps, or can such sentiments be harnessed to further knowledge, understanding, and preservation moving forward?

Step 3: Set up reading storage and a reading environment.

I have been thinking about putting this system into place for my own writing. I first came across it whilst reading ‘Lila’ by Robert Pirsig.

Table 1Summary of Literature Search Results Including Journals Specializing in Corporate Social Responsibility and Related Topics, n (%) Journal EmpiricalConceptualTotalAcademy of Management Journal32 (86)5 (14)37 (6)Academy of Management Review2 (4)45 (96)47 (8)Administrative Science Quarterly3 (75)1 (25)4 (1)Business & Society12 (44)15 (56)27 (5)Business Ethics Quarterly11 (100)11 (2)International Journal of Management Reviews9 (100)9 (2)Journal of the Academy of Marketing Science8 (57)6 (43)14 (2)Journal of Applied Psychology0 (0)Journal of Business Ethics154 (45)188 (55)342 (58)Journal of International Business Studies6 (86)1 (14)7 (1)Journal of Management6 (55)5 (45)11 (2)Journal of Management Studies11 (65)6 (35)17 (3)Journal of Marketing5 (100)5 (1)Journal of Occupational and Organizational Psychology2 (100)2 (0)Organizational Behavior and Human Decision Processes0 (0)Journal of Organizational Behavior1 (100)1 (0)Organization Science1 (50)1 (50)2 (0)Organization Studies6 (75)2 (25)8 (1)Personnel Psychology1 (100)1 (0)Strategic Management Journal15 (94)1 (6)16 (3)Other journals7 (47)8 (53)27 (5)Total271 (47)305 (53)58

Milman Parry, hailed as “the Darwin of Homeric scholar ship,” was among the first men to conceive of literature not merely in terms of genre; but of media.

“tired of reading books about race.”

o occult cont

The Garden of Forking Paths

resources written down with the context added of how I found them and why I was interested