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Sierra, I think you added this to the Zotero - I just gave it a quick skim:

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Uses computer vision to analyze paratexts in ECCO texts, argues for the importance of the printed page and for machine vision work to complement text-based bag of words work. Doesn’t really draw further insights about the 18th c page from their machine vision methods. Includes a bounding box around a fn on a page of Clarissa, and mentions the erasure of footnotes from digital versions of Scott novels, but doesn’t make a specific fn argument.

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Key quotes:

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“Andrew Piper, Chad Wellmon, and Mohamed Cheriet’s reframing of historical print objects in terms of the page image rather than textuality introduces a set of terms and procedures from Document Image Analysis (DIA) that enables us to join in the call to “expand the scale of evidence considered when making inferences about the past” (Piper, Wellmon, Cheriet. 2020, 367).” (Dobson and Sanders, 2022, p. 4)” (Dobson and Sanders, 2022, p. 3)

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“We know that when digital humanists erase the footnotes from Walter Scott’s novels, the marginalia from Bunyan’s Pilgrim’s Progress, and the irreverent experimental pages from Tristram Shandy, they lose the context in which these extracted and segmented words are presented. What else and who else has been erased?” (Dobson and Sanders, 2022, p. 5)

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“By devising a distant approach to analyzing the printed page and by examining the page as a constructed visual object, we propose to resituate literary production within the collaborative literary marketplace.” (Dobson and Sanders, 2022, p. 8)

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“Turning back to the page, linking page-level representation to positions within the bag of words, might be the best way to give greater attention to the embedded objects within literature.” (Dobson and Sanders, 2022, p. 24)

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Basically a restatement in rhetorical terms of Gallagher’s argument about how “what we seek in and through characters, therefore, are not surrogate selves but the contradictory sensations of not being a character.’ Phelan argues that for him the purpose of fiction in novels is basically the same as Gallagher argues its purpose is, but for him fictional characters prompt a “double consciousness” in the reader through a contrast between how readers respond as part of the “narrative audience” and how they respond as part of the “authorial audience” - a difference that doesn’t seem to make much difference to me.

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Phelan basically admit this in  parenthetical that feels to me like it was inserted in response to an external reader’s report that made much the same point that I do:

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“Novel readers simultaneously respond to characters as if they were real even as they tacitly understand that characters are invented. As Peter J. Rabinowitz has argued (1977), to respond to fictional characters as if they were real is to read in the narrative audience, and to retain the knowledge that they are invented is to read in the authorial audience. (As I will discuss below, Gallagher makes a similar point about novel readers, but she stops short of talking about double consciousness — and I find that difference to be very significant.) (3) These first two points support a conception of character as composed of three coexisting components — the mimetic (a fictional character is a possible person), the thematic (a character is a representative type either of a larger class of persons or of an idea or set of ideas), and the synthetic (a character is an artificial construct).” (Phelan, 2018, p. 116)

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Doesn’t seem to have a view on Gallagher’s claim about how what she means by the “rise of fictionality” is a new ability for readers to articulate a conscious version of what fictionality its. Q about whether the idea of readers being able to identify the concept of fictionality = what Paul Dawson and others call “reflexive realism”

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Genette’s concept of the “paratext” and “metalepsis” are important theoretical groundings for studies in in paratextual genres and for the kind of frame-breaking that occurs in footnotes and other paratexts.

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Passages of Note:

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From Chapter 12: Notes

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\"A note is a statement of variable length (one word is enough) connected to a more or less definite segment of text and either placed opposite or keyed to this segment.\" (319)

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\"the always local character of the statement conveyed in a note\" (319)

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\" the use of notes goes back to the Middle Ages, when the text - placed in the middle of the page - was apt to be surrounded, or sometimes larded in various ways, with explanations written in smaller letters; and this layout is still common in the incunabula of the fifteenth century, where the gloss can be distinguished only by its smaller type size. In the sixteenth century \"side notes,\" or marginal notes, appear;\" (320)

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\"In the eighteenth century it became customary to put the notes at
the bottom of the page.\" (320)

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Genette observes that notes can be pegged to a single word, a whole paragraph, or an entire chapter.

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Genette distinguishes between \"original notes, or those in the
first edition\",  \"later notes, or notes for the second edition,\" and \"delayed notes\" (322)

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Within those three categories, there are 9 types of notes:

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\"I have studied this type of note [original notes to a discursive text] over a small, arbitrary corpus, fairly classic and basically French, extending from La Bruyere to Roland Barthes. I believe this corpus to be more or less representative and significant in its consistencies and rare deviations, and I herewith present as synthetic an account of my findings as possible.\" (325)

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Functions of discursive original notes:

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“the eighteenth century tradtion of reserving the most polemical or satirical barbs of the discourse for the notes  (see Bayle, Voltaire, Gibbon” (327)

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\"the basic function of the original authorial note is to serve as a
supplement, sometimes a digression, very rarely a commentary\" (327)

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\"The chief advantage of the note is actually that it brings about local effects of nuance, or sourdine, or as they also say in music, of register, effects that help reduce the famous and sometimes regrettable linearity of discourse.\" (328)

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\"The original note is a local detour or a momentary fork in the text, and as such it belongs to the text almost as much as a simple parenthesis does. With this kind of note we are in a very undefined fringe between text and paratext\" (328)

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\"the notes of the same date extend and explain this preface in detail by commenting on the particulars of the text; and on the strength of this function of commenting, such notes clearly belong to the paratext\" (329)

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\"the later notes and preface perform the function of responding to critics and possibly of making corrections; the delayed notes and
preface, the function of providing long-range autocriticism and
putting the author's own achievement into perspective\" (329)

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Texts of fiction

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“Whether origianl, later, or delayed, the authorial annotation of a text of fiction or poetry, by dint of its discursive nature, unavoidably marks a break in the enunciative regime, a break that justifies our assigning it to the paratext.

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Notes of annotation in works of ficiton are complicated: \"Even so, we must specify that this type of note, quite obviously rarer than the
preceding type, is still used most often with texts whose fictionality
is very \"impure,\" very conspicuous for its historical references
or sometimes for its philosophical reflections: novels or poems whose notes for the most part bear precisely on the nonfictional aspect of the narrative\" (332)

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\"A typical case is the Waverley Novels: here the notes, whether original or added in the Cadell edition, always play a corroborative role, adducing both testimony and supporting documents.\" (332-3)

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“And we find notes playing this role even as far back as the eightenth century with the very numersous and sometimes very copious notes

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\"Authorial notes are harder to find in texts of \"pure\" poetry, poetry without a historical foundation or background.\" (333)

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\"The more a novel gets clear of its historical background, the more the authorial note may seem peculiar or transgressive, a referential
pistol-shot during the fictional concert.\" (335)

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Example: In Fielding we find several kinds of authorial notes: unsurprising “historical or phislophical explanations, references, or tranaslations.” along with  more surprising notes that “introduce an opinion the author has about a particular point of manners,’ and notes that “admnite to some uncertaint about what is in a characters mind … contrary to the commitment to omnicsceinc in the narrative” (335)

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“To sum up: in all of these authorial notes in fiction we find a great many documntary supplements and very few authorial comments.” (335)

\n

\"the editorial note draws us
toward another fringe of the paratext, for it consists of an external
commentary (most often posthumous) that in no way involves
the responsibility of the author.\" (337)

\n

Discussions of allographic and actorial notes focus almost exclusively on works of non-fiction

\n

Fictional notes

\n

\"By fictional, we should remember, I mean not the serious
authentic notes that may accompany a work of fiction but, for a
text that may or may not be fictional, notes whose sender himself
is, on some ground, fictional: disavowing, fictive, or apocryphal.\" (340)

\n

\"The disavowing, or pseudo-editorail, authorial note is a fully classic genre… is particularly well illustrated in epistolary novels or novels in the form of journals. As in fictional prefaces, in fictional
notes the author presents himself as an editor, responsible in
detail for establishing and managing the text he claims to have
taken or been given custody of.\" (340)

\n

pseudo editorial authorial note is “ the place and medium for what elsewhere would b the narratorial-authorial discourse. … It is a Place and a mediium, then, for ‘author’s intrusions.”” (340)

\n

\n

Writers of such notes \"mention supposed gaps in the
text and the deletions or restorations for which they accept
responsibility, explain allusions, supply references for quotations,
and ensure - by the use of recalls and announcements - the
reader's perception of the text's coherence, behaving in a way
that obviously simulates allographic commentary.\" (340)

\n

“The fictive authorial note.. presents no distinctive functional characteristics” (340-341) Ditto “Fictive allographic note”

\n

The fictive allographic note “stag[es] the abusvienss and paranoaia always found in an interpretative commentary (342)

\n

“I have little to say aobut fictive actorian notes.. they simple give the narrator a wholly plasubile authoria function.” (342)

\n

“Here, again, the sembalcne of notes obiously is part of hte fiction––and therfore, indirectly, of the text.” (342)

\n

\"the note is a fairly elusive and receding element of the paratext. Some types, such as later or delayed authorial notes, do indeed fulfill a paratextual function, that of providing defensive commentary or autocriticism. Other types, such as original notes to discursive texts, instead constitute modulations of the text and are scarcely more distinct from it than a phrase within parentheses or between dashes would be.\" (342)

\n
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Argues that “reflexive realist” revisions to Watt’s claim about formal realism on the part of Gallagher, McKeon, et all are prompted by a desire to bring the origins of the novel into line with “the contemporary postmodern novel” and narratives of “the death of the novel” (9) -

\n

\n

for Dawson, in these “reflexive realist” critical narratives, “a sense that the novel was born anticipating its own demise is embedded in histories of the novel’s emergence:” (Dawson, 2023, p. 13)

\n

\n

“According to Gallagher, “what Ian Watt called ‘formal realism’ was not a way of trying to hide or disguise fictionality; realism was, rather, understood to be fiction’s formal sign” (1994, xvii). This claim marks a shift in novel theory from formal realism to what I will dub reflexive realism.” (Dawson, 2023, p. 2)

\n

Also sees McKeon as revision Watt:

\n

“For McKeon (2017), Watt is only half right, for “the practice to which ‘realism’ refers is not simply an illusory imitation of an external reality that conceals its motivating artifice. In Cervantes, and continuously from Fielding onward, what we now call realism is the technique of combining the representation of the real with a more or less explicit reflection on its status as a representation” (53).” (Dawson, 2023, p. 9)

\n

BUT he also misreads Gallagher?

\n

“The larger argument to emerge from tracing shifting historical assumptions about what constitutes verisimilitude is that our current understanding of novelistic fictionality is not the same as that informing the eighteenth century, that the early novel’s “overt” fictionality is a necessary construction of contemporary theory.” (Dawson, 2023, p. 6)

\n

AND

\n

“Contrary to claims by Gallagher in particular that fictionality is an invention of the eighteenth century, I premise my argument on scholarship that links its conceptual emergence to successive periods of literacy since antiquity: theories of probability attached to classical Greek drama, the emergence of a textually bound speaker distinct from its author in the twelfth-century vernacular romance, and the establishment of verisimilitude in the eighteenth-century novel.” (Dawson, 2023, p. 6)

\n

\n

“How did a definition of the novel as the authentic representation of individual experience rendered in referential language become inverted such that the novel is understood as an inherently self-reflexive genre openly trading on the fictive status of its characters—and how do we approach novelistic form as a result?” (Dawson, 2023, p. 2)

\n

\n

“If the formal features of the realist novel overtly signal its fictionality, we need a view of literary history that can account not only for the “rise” of realist fiction in the eighteenth century but for its development in the ensuing centuries in order to explain why, at this juncture, the novel’s self-reflexive origins needed to be revealed.” (Dawson, 2023, p. 2)

\n

\n

“The theory of reflexive realism, as I will call it, takes shape in the 1980s in the work of scholars such as Michael McKeon (1987) and John Bender (1987), framing the novel as a paradoxical reflection on the artifice of its own mimetic enterprise that emerged in the eighteenth century alongside a new conceptual category of fictionality. This approach to the origins of the realist novel, I contend, was anticipated and made possible by the self-reflexive exposure of fictionality that characterizes postmodern metafiction, prompting scholars to assert that reflexivity is a condition of all fiction.” (Dawson, 2023, p. 2)

\n

“McKeon (2017), for example, has come to describe formal features of the novel, such as narratorial intrusions and Free Indirect Discourse (FID), as “expressions of realist reflexivity” (71).” (Dawson, 2023, p. 3)

\n

\n

“In this light, the narrative methods of “formal realism” established in this self-consciously new species of writing can be seen as embedded signposts of fictionality carrying a latent challenge to their own promise of representational correspondence. The historical logic of such a premise is that the novel proleptically establishes the conditions for its own death, the moment at which the paradox of realism can no longer be sustained, and is stripped bare by postmodern artifice. The trope of the death of the novel that shapes metafictional responses to the exhaustion of realism thus provides the impetus not only for reconsidering the origins of the form but for revealing that its origins lie in its own end point.” (Dawson, 2023, p. 3)

\n

\n

“To follow this logic is to tell the story of fictional truth: the historical unraveling of the paradox that sustains readers’ investment in characters they know not to be real, that licenses a search for knowledge in nonreferential narratives.” (Dawson, 2023, p. 3)

\n

Contra Gallagher?

\n

\n

“In the context of the novel, there is a difference between a signpost of fictionality (a convention specific to or typical of fiction) and the signaling of fictionality (deliberate self-reference as an aesthetic strategy).” (Dawson, 2023, p. 7)

\n

\n

compare w footnotes as a te

\n

\n

“Here we can see that McKeon is at pains to characterize not just the novel but specific conventions of realism as fundamentally reflexive and to stress that these conventions make sense only in relation to their historical context and their generic function. The techniques he mentions as “expressions of realist reflexivity”—FID and narratorial intrusions—have typically been defined in narrative theory as signposts of fictionality. However, the narratological scholarship that explores these signposts has been less concerned with the historical development of such techniques than with determining the theoretical basis on which they can be said to be necessary or sufficient indices of the status of fiction, to comprise the differentia specifica of fiction (see Cohn, 1990; Genette, 1990).”

\n

“If we accept McKeon’s claim that realist techniques are accompanied by a “more or less explicit reflection” on the status of realism, the only way to demonstrate the historical specificity of these techniques is to distinguish the nature and purpose of this reflection across time. Doing so highlights the simple observation that while authors such as Henry Fielding, Charlotte Lennox, and Jane Austen wrote novels that drew attention to their own status as fiction, they did so to establish the verisimilar conventions of the novel in opposition to the romance and not, as was the case with twentiethcentury authors such as John Fowles and John Barth, to expose and critique the artifice of realism. In which case while a formal feature of realism may be reflexive in the sense that it refers back to its own function, that does not necessarily mean its various uses express the same understanding of fictionality. A historically sensitive approach to the interaction of formal features of the novel with broader conceptions of fictionality is necessary to track how “overt” fictionality becomes metafictionality, or rather, how metafictionality reframed our historical sense of fictionality.” (Dawson, 2023, p. 17)

\n

Not an accurate description of Gallagher?

\n

\n

“While recognizing the prior existence of fictional works that did not intend to deceive, articulated in Sidney’s “Apology for Poetrie” (1595), she argues that what distinguishes “novelistic fictionality” is its use of plausible rather than incredible stories that also proclaimed their distinction from fact. For Gallagher, this is the product of a conceptual category of fiction that did not exist prior to the eighteenth century and which can only retrospectively be applied to earlier forms. The ingenuity of this inversion is to deny the transhistorical universality of fiction to which the novel adds realism and instead assert that fiction as we know it is synonymous with the realist novel, demanding a sophisticated engagement with nonreferentiality fostered by the modern emergence of a credit economy.” (Dawson, 2023, p. 17)

\n

“While recognizing the prior existence of fictional works that did not intend to deceive, articulated in Sidney’s “Apology for Poetrie” (1595), she argues that what distinguishes “novelistic fictionality” is its use of plausible rather than incredible stories that also proclaimed their distinction from fact. For Gallagher, this is the product of a conceptual category of fiction that did not exist prior to the eighteenth century and which can only retrospectively be applied to earlier forms. The ingenuity of this inversion is to deny the transhistorical universality of fiction to which the novel adds realism and instead assert that fiction as we know it is synonymous with the realist novel, demanding a sophisticated engagement with nonreferentiality fostered by the modern emergence of a credit economy.” (Dawson, 2023, p. 17)

\n

// “Instead my focus will be on the cycle of exchange between the narrative postures of first- and thirdp- erson voice to trace how new concepts of realism are both enacted through historical shifts in the use of conventionally accepted signposts of fictionality and registered in their evolving critical reception.” (Dawson, 2023, p. 4)

\n

\n

\n

\n

\n

\n

\n

\n

\n

\n
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A less scholarly, less thorough version of Grafton’s argument. Not worth reading, but worth knowing exists. Lightly skim the introduction.

\n

\n

Zerby’s only instance of “attempts to make use of the footnote in the novel” are Moby DIck, Jane Porter’s the Scottish Chiefs and Finnegan’s Wake, along with some later 20 c works (105-6)

\n
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Swift’s use of footnotes mentioned the chapter on Joyce:

\n

p 39-40  “Take the footnote, for instance. The footnote’s relationship to the passage from which it depends is established wholly by visual and typographic means, and will typically defeat all efforts of the speaking voice to clarify it without visual aid. Parentheses, like commas, the the voice what to do: an asterisk tells the voice that it can do nothing. You cannot read a passage of prose aloud, interpolating the footnotes, and make the subordination of the footnotes clear, and keep the whole sounding neutral.”

\n

\n

p 40 “The man who writes a marginal comment is conducting a dialogue with the text he is reading; but the man who composes a footnote, and sends it to the printer along with his text, has discovered among the devices of printed language something analogous with counterpoint: a way of speaking in two voices at once, or of ballasting or modifying or even bombarding with exceptions his own direct discourse without interrupting it. It is a step in the direction of discontinuity: of organizing blocks of discourse simultaneously in space rather than consecutively in time.”

\n
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Cite if need be -- not on a c18 text

\n

p. 67 refers to all the texts in this epilogue as “metatexts”

\n
", "tags": [], "relations": {}, "dateAdded": "2025-03-13T17:49:46Z", "dateModified": "2025-03-13T20:39:15Z" } }, { "key": "ILP6YIH3", "version": 1532, "library": { "type": "group", "id": 50466, "name": "END", "links": { "alternate": { "href": "https://www.zotero.org/groups/end", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/50466/items/ILP6YIH3", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/end/items/ILP6YIH3", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1274633, "username": "seckert1", "name": "Sierra Eckert", "links": { "alternate": { "href": "https://www.zotero.org/seckert1", "type": "text/html" } } }, "creatorSummary": "Trumpener", "parsedDate": "1997", "numChildren": 2 }, "data": { "key": "ILP6YIH3", "version": 1532, "itemType": "book", "title": "Bardic nationalism : the romantic novel and the British Empire", "creators": [ { "creatorType": "author", "firstName": "Katie", "lastName": "Trumpener" } ], "abstractNote": "", "series": "", "seriesNumber": "", "volume": "", "numberOfVolumes": "", "edition": "", "date": "1997", "publisher": "Princeton University Press", "place": "Princeton", "originalDate": "", "originalPublisher": "", "originalPlace": "", "format": "", "numPages": "", "ISBN": "978-0-691-04481-1", "DOI": "", "citationKey": "TrumpenerBardicNationalismRomantic1997", "url": "", "accessDate": "", "ISSN": "", "archive": "", "archiveLocation": "", "shortTitle": "Bardic nationalism", "language": "", "libraryCatalog": "COinS", "callNumber": "", "rights": "", "extra": "", "tags": [ { "tag": "Bards and bardism in literature", "type": 1 }, { "tag": "Colonies", "type": 1 }, { "tag": "Colonies in literature", "type": 1 }, { "tag": "English fiction", "type": 1 }, { "tag": "Great Britain", "type": 1 }, { "tag": "History", "type": 1 }, { "tag": "History and criticism", "type": 1 }, { "tag": "Imperialism in literature", "type": 1 }, { "tag": "Nationalism and literature", "type": 1 }, { "tag": "Romanticism", "type": 1 } ], "collections": [ "JJ2WRAJA" ], "relations": {}, "dateAdded": "2025-03-13T19:22:55Z", "dateModified": "2025-03-13T20:38:27Z" } }, { "key": "3MM8WTIU", "version": 1532, "library": { "type": "group", "id": 50466, "name": "END", "links": { "alternate": { "href": "https://www.zotero.org/groups/end", "type": "text/html" } } }, "links": { "self": { "href": "https://api.zotero.org/groups/50466/items/3MM8WTIU", "type": "application/json" }, "alternate": { "href": "https://www.zotero.org/groups/end/items/3MM8WTIU", "type": "text/html" } }, "meta": { "createdByUser": { "id": 1274633, "username": "seckert1", "name": "Sierra Eckert", "links": { "alternate": { "href": "https://www.zotero.org/seckert1", "type": "text/html" } } }, "creatorSummary": "Levine", "parsedDate": "1999", "numChildren": 0 }, "data": { "key": "3MM8WTIU", "version": 1532, "itemType": "book", "title": "Between the ancients and the moderns: Baroque culture in Restoration England", "creators": [ { "creatorType": "author", "firstName": "Joseph M.", "lastName": "Levine" } ], "abstractNote": "\"The quarrel between the ancients and the moderns was an old dispute when it was resumed with special ferocity in the later seventeenth century as writers and artists, their friends and patrons, debated how far to risk the freedom to innovate. In this book Joseph M. Levine argues that it was this tension that gave unity to the cultural life of the period and helped define its baroque character. 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Chapter 5: Footnotes and Catchwords

\n

p. 138 “The mid-eighteenth-century novel had, relatively recently, acquired a certain look. Readers began to expect print technology to provide them with a framework for the narrative. This framework consisted of elements expected in all kinds of printed documents – page numbers and catchwords – as well as features specific to fiction, such as chapters and footnotes (though notes were not standard in fiction, they were not surprising either).”

\n

p. 149 “Sterne’s use of footnotes questions the very existence of the boundaries which authors and printers had created on the printed page. While Pope and Swift (as well as our anonymous poet) had used footnotes to target their enemies in particular and textual editing in general, Sterne seems to take the hint from Swift’s blurring of the boundaries between the authorial and the printed word, using his notes to comically present to the reader the often-invisible design of the novelistic page as being ultimately under the author’s control.”

\n

152 \"His footnotes poke fun at Tristram (and, in volume 4, Slawkenbergius), undermining the authority of his narrators. Their main purpose, however, is to undermine the very function of footnotes themselves and thereby to deconstruct the typographic packaging of the eighteenth-century book.\" (152)

\n

p. 167 \"In Tristram Shandy typography becomes a means of producing meaning on the page, with spatial factors and visual signs contributing to the force of the semantic message. Sterne exploits white space, page breaks, typeface, typesetting, chapter headings, footnotes, catchwords – a whole range of paratextual devices – in order to make meaning and to create a reading process which is both non-linear and conscious of the book as a material form. Traditionally considered the realm of the printer rather than the author, paratexts such as the catchword and the footnote become valid ground for the subversion of narrative and print convention, invisible in all but the early editions of Sterne’s text.\" (167)

\n
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Focuses on the paratexts of the first three novels

\n

\"Extending the work of previous historians of Romantic literature and
rhetoric, I offer a new perspective on the way in which Scott’s historical
novels developed from their original editions to the elaborate Magnum
Opus editions (1829–33). I view these texts in their different editions
as an evolving nexus of experimental projects to rethink persuasion. In
doing so, I build off the work of scholars like Trumpener as well as Ian
Duncan and Yoon Sun Lee, who, among others, have insisted on the
connection between the novels’ form and their political commitments\" (940)

\n

Adams, citing and building on Freedgood, pushes back explicitly in Mayer’s reading of Walter Scott’s  :

\n

p. 956 “ I see this particular form of representation [metalepsis] as crucial also to the historical novel’s conception of narrative force: a force exerted by fiction with consequences in the real world. The narrative does not, therefore, stop at constructing a passageway through which readers might pass back and forth between fiction and reality. The narrative enforces that movement through the earnest, moral suasion that readers ideally experience in navigating its distinctive component parts.

\n

p. 957 “In my reading, however, these notes do more than merely prove the novel’s referential relationship to real Scottish people, customs, language, and places. They also constitute a specialized vehicle for conveying knowledge so that readers become more familiar with Scotland.”

\n

p. 957 “These kinds of notes appear throughout all three novels. in all cases, local descriptions in the novel give rise to general knowledge in the footnotes. The novel’s narrative thus provides the evidentiary basis for general information about Scotland. in other words, the footnotes work in the opposite way from what we might expect. They do not simply and deductively prove the historical veracity of the narrative.

\n

\n

p 957 “The footnotes also present the novel’s larger argument by providing
accounts of “local” things, events, people and customs. In Guy
Mannering, Scott opens his first endnote, which spans over two pages,
about “a little inn, called Mump’s Hall” by saying “it is fitting to explain
to the reader the locality described in this chapter.” Notes like this
one familiarize the reader with a Scottish “locality” that may otherwise
feel foreign to most English readers. Eyewitness testimony from people
who were present at particular events provides and stresses that local
knowledge is now being made available to all British readers however
geographically dispersed.” (957)p

\n

\"In his October 1815 review of Austen’s Emma, for example, Scott repeatedly highlights what he calls the “force of
the narrative.” (945)

\n

 

\n

\"In that so-called paratext, we find not
only “Author[ial]” statements about the force of narrative, we also find
examples of the new persuasive “grammar” that Scott crafts to exert and
disseminate that force—a hybrid form of fictional narrative combined
with nonfictional essays and footnotes.\" (949)

\n

  

\n

In The Antiquary, the frontispiece shows Jonathan Oldbuck, the antiquary,
reaching out to comfort Suanders Mucklebackit, whose hand covers
his face in grief at his child’s death (Figure 3). Oldbuck, according to
the caption, attempts to persuade Saunders to quit his work for the
day and return to his family. (952)

\n

 

\n

\"Notably, however, the 1829 editions appeared new to reviewers not
only on account of the stories they tell or their “historical utility” but
also on account of their innovative formal features—the very ones that
press for the hermeneutic practices I detail above and that Lukács’s
theory of the novel does not and cannot account for in their widest
totality. The London Literary Gazette subtitled their review “our
Notes on Scott’s Notes,” offering a deliberately close reading through
“[o]ur excellent telescope” of 5 individual notes that Scott added to
Waverley. Having devoted the first 5 columns of the magazine’s closely
printed text to this reading, the editor promises that the discussion
will be continued and “concluded in our next text.”53 Retaining its
narrow scope, the next issue’s article on Waverley focuses exclusively
on “The Advertisement and General Preface” which the reviewer calls
“ingenious and interesting documents.”54 Similarly, the June 27, 1829
review in the Albion, A New Journal of News, Politics and Literature
ignores the novel’s plot entirely, devoting its attention to an exclusive
discussion of “The Preface and Introductory Notices to Waverley, as
well as to each of the other separate Tales[,] . . . the various legends,
family traditions, obscure historical facts[,] (960

\n
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635 \"Eighteenth-century paratext frequently expresses a writer's awareness that authorship derives as much from the material processes of print culture as from the individual writer's legal or philosophical self-definition. Paratext is particularly effective as a means of dramatizing the blurred line between an author's writing and textual production in a print culture because of its status as a transitional mode between \"text\" and \"supplement.\"\"\"

\n

“dramatizing the blurred line between an author's writing and textual production in a print culture” (635)

\n

637 \"Like his notorious use of narrative personae, Swift's inventive juxtaposition of printed elements—the body of the text as opposed to its footnotes, for example—tends to multiply points of view rather than resolve them dialectically. That is, print, as a medium, tends to subsume rather than establish authority.\"\"

\n

638 \"A Tale of a Tub bristles with supplementary discourses and typographical effects, from the prefatory material and explanatory footnotes to section breaks and marginal commentary, that repeatedly call into question the power of printed text to provide meaning, even as they compulsively supply meanings.\"

\n

638 \"One of the purposes of these devices in a fictional text is to erode not only the central narrator's discreteness as an authorized voice but also the putative editor's or bookseller's professional status\"

\n

645 \"Even when Wotton 's footnotes correctly gloss Swift's material, they are inevitably stripped of their authority simply by being jumbled with the other signed and unsigned footnotes of the fifth edition. Ironically, the original paratext in the first edition, glossed by another form of paratext, the marginal note, becomes glossed yet further in the fifth edition by an additional and relatively recent type of paratext, the footnote, suggesting a parallel historical corruption in writing, scholarly exegesis, and the art of bookmaking. What is produced is a vacant discourse that can nonetheless be articulated, or at least symbolized.\"

\n

P 645 \"In Swift, then, the major internal breaks in the text, which are almost always accompanied by scholarly annotations that querulously note the obfuscating purpose of the device, stage a confrontation between the author and the conventions of the printed book.\"

\n

P 648 \"Unlike Swift's asterisk, footnote, or section break, Richardson's paratext [typographical symbols] alludes to an implied material and discursive realm beyond that directly described in the narrative. Rather than a mise en abyme, these typographical moments signify the plenitude of the world, its unrepresentable fullness\"

\n

p. 660-1 Indeed, the florets evoke the same interplay of authority that characterizes the \"editor's\" footnotes, which Richardson expanded substantially after the first edition.46 In using the florets, the author-printer is fashioning moments that simultaneously alert readers to their participation in the production of literary meaning and to the editorial constraints that guide (or limit) interpretation.\"\"

\n

\n
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