hahahha. queer old fellow he was.
I like the rendition of his persona in Black Adder the Third, where he's
trying to get the prince regent to patronise his dictionary. cavorting with
drug-addled poets & being royally joshed by Edmund ("going already? not
staying for your pendigestatory interluditude?"). classic.
KS
2010/1/17 Max Richards <[log in to unmask]>
> http://www.fineartprintsondemand.com/artists/reynolds/dr_samuel_johnson.htm
>
> If the book is heavy, or spready like a newspaper, a lap ain't enough.
>
> See Reynolds's portrait of Johnson squinting as he reads to show how
> concentrated reading should be...
>
> http://www.fineartprintsondemand.com/artists/reynolds/dr_samuel_johnson.htm
>
> Max (recently squinting at it or its likeness in the Huntington,
> Pasadena...)
>
> Quoting Chris Jones <[log in to unmask]>:
>
> > Liz Grosz's book on architecture seems to also address this doubling
> > question, from a quick look through.
> >
> > I was taught to read sitting at a desk, back straight, knees together
> > and do not slouch. This way you give maximum attention to the text. But
> > I am going to sit in a lounge chair, with the TV on and read...
> >
> > I am the only one who reads at desk, still? Somehow, I doubt it, but was
> > curious.
> >
> >
> > On Sun, 2010-01-17 at 19:19 +1100, Chris Jones wrote:
> > > innate multiple redundancies which close
> > > down the freedom of the imaginative text and imaginative image and
> limit
> > > the double only to a foreclosed already stated future which governs
> also
> > > the image as a narrative of fore-shadowing and back-shadowing, which is
> > > also Gary Saul Morson's side shadowing argument against, in his reading
> > > of Bakhtin.
> >
>
>
>
>
>
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