Classical scholar (G.R. Levy), author of The Gate of Horn, introduced in Dialogue 29 at two points in the reading of McLuhan's Joyce essay. McLuhan cites her book for the claim that the cathartic function of art was "a preparation for the lesser Greek mysteries," and Cameron uses her as a prime example of McLuhan's habit of reading unfashionable thinkers years before the academy caught up — Frye among those who came to Levy only by following McLuhan.
Across the dialogues
Enters as evidence for a recurring pattern — the obscure scholar McLuhan read before anyone else, whose Gate of Horn underwrites the cathartic-school genealogy and whom Frye only reached by following McLuhan
Levy as evidence of a McLuhan trait — he read scholars the University of Toronto dismissed, so what looked like eccentricity in the early 1950s ("this guy's a jerk") became, fifteen years on, the source others mined.
"One of the interesting things about McLuhan is that he read people like Levy when nobody else was."
Her load-bearing role in the essay — The Gate of Horn is McLuhan's authority for tracing the cathartic school back to catharsis as a rite preparatory to the lesser Greek (Eleusinian) mysteries.
"which as G.R. Levy shows in The Gate of Horn, was a preparation for the lesser Greek mysteries."
Connections
McLuhan read Levy "when nobody else was"; Frye came to her fifteen or twenty years later, from reading McLuhan.
Her The Gate of Horn supplies McLuhan's claim that the cathartic function of art was a preparation for the lesser Greek mysteries.