Hi Steve,
Promise to send to the list details of where and how much etc, tomorrow. I
will need to get the data from my beloved...
Below is another chunk of text, this time from the Encyclopaedia Britannica
(a fiendish great volume with columns, most tricky to OCR) which I took in poor
light, but with the in built lights on mains power. I have to say that when
they are on mains power, they are really bright and efficient. I had thought I
had bought an additional battery holder to allow for greater battery power, but
it seems I didn't. Might see if I can find something online or else go back to
StandScan.
So here is it and its pretty good!
3 7 194 Humorous essays Literature, the Art of
and ungenerous insofar as the writer exempts himself of the foibles he
ridicules in others.
The humOrous article or essay, on the other hand, is a blend of sympathy and
gentle pity with irony, a form of criticism that gently mocks not only others
but the mocker himself. Humour strikes deep roots in the sensibility of a
people, and each nation tends to feel that its own brand of humour is the only
authentic one. Its varieties of humorous writing are endless, and few rules can
ever be formulated rvantes m Spare, of Sterne,'Lamb, and on them. Humorous
hterature on. the highest literary level includes that of Ca ~ _¢ lean aul in
Germany, and of Thackeray in Lngmnu, u~ ..... P
Rabelais, Montaigne, and Voltaire in France. Romantic authors have, as a rule,
been too self-centred and too passionate to acquire the distance from their own
selves that is essential to humour, in the 20th century, some of the most
original examples of what has been called the "innerdirected smile" are in the
works of the Argentine Jorge Luis Borges and by one of the writers he admires
most, the English essayist G.K. Chesterton (1874-1936). In both writers, and in
other virtuosos of the intellectual fantasy, there is a persistent refusal to
regard themselves as being great, though greatness seems to be within their
reach.
The humorist will not take himself seriously. Chesterton hides the depth of his
religious convictions while Borges facetiousl presents his prodigious erudition
and indulges in overel~borate and flowery prose. Borges likes to put on and
take off masks, to play with labyrinths and mirrors, but always with a smile.
By sketching what appear to be fanciful portraits rather than overtly fictional
stories, he creates a half-imaginary character whose presence hauntS us in all
his writings----that of the author himself.
Dialogues. The dialogue form has long been used as a vehicle for the expression
of ideas. It is especially cherished by authors eager to eschew the forbidding
tone of formality that often accompanies the expression of serious thought. The
writer of a dialogue does not directly address his public, but instead revels
in the multiple facets of ideas.
By playing this dialectical game he can appear to present contrary views as
their respective proponents might and then expose the errors of those he
opposes, leading the readers to accept his own conclusions. The advantages of
the dialogue are dear. ideas that might have remained abstruse and abstract
become concrete and alive. They assume dramatic force. A constant element in
the dialogue is irony; etymologically, the term derives from a form of
interrogation in which the answer is known beforehand by the questioner. The
earliest models of the genre, by the ancient Greeks Plato and Lucian, have
never been excelled. Sophistry is another element of the dialogue. In Plato and
in the dialogues of Pascal's Provinciales (1656-57; "Provincial Letters"), the
protagonist plays with the naivet~ of his opponents, who always end by
surrendering.
The writer of a dialogue cannot affect the same casual and self-indulgent
attitude as the author of a personal essay since the characters and their
statements must be plausible. Nor can he pursue an argument consistently, as he
might in a critical, historical, or philosophical essay.
Something must persia in the dialogue of the spontaneity and the versatility of
an actual conversation among witty and thoughtful people.
There was much seriousness and occasionally some pedantry in early dialogues in
several literatures. The dialogues of Bardesanes (154-222) in Syriac, rendered
into English as On Pate, are on the subject of the laws of the country. A
hundred years earlier, Lucian, who was also Syrian, proved himself a master of
flowing and ironical Greek prose in his satirical dialogues. The Italian
Renaismnce writer Pietro Aretino (1492-1556) proved himself the equal of Lucian
in verve in his Dialogues using the same mold and the same title as Lucian,
Others who used the dialogue form included Castiglione and Pietro Bern.
bo (1470-1547) in Italy; and in Spain Juan Luis Vires (1492-1540), Le6n Hebreo
(1460-c~ 1521), and Juan de Vald¢~ (c. 1500-41), who treated questions of faith
and of languages in dialogues. The genre flourished in the 181h century:
Lessing, Diderot, and the Irish philosopher George Berkeley. Diderot's works
largely Consist of ~ari~Jatly. rambling, and provocative discussions between
--" own remarkable mentality. Bold • _ as,~cts ot ms • --~-ts on prejudices,
insights the various ~terrnined onsiaug," --otic fantasies all enter
conjectures, ~-.~nd biologY, ann _~,~, a number of com.
h siology o
e 19th cemo~
into P Y .......
es In th .....
cat3able of accepting into his otalu~,'-~-oqties, wlao ~, ,~ints of view, such
plex titera~ P erSUan'~ even confli~]..~ion-for the dialogue.
the mo~ °~;l~ry, ha: ~ P~tl~'ors of dialogue.--many as l<ena~:he devices used
~.~ inventiveness req..mreo oy Among ". ~-~d the sustalncU. .~-as to the
illustrious f whom lac~
..:.r,,,te theft wt,~o ........
., 0 .-_- was to atu'.~'7 ~'~-~lon, for example, ~otuvu~u ncuun--'-7 ~-~a,~h
prelate rc'TZ. _-z ~,~ did many omers, dead• q tie r~.~--_rts (1700-1~), ~"~'
~"~ that prose form, • o uesaesre"
" ' us master u,
.
.
Dta.l g
ost fehcito
, ~,a,~r in his Irnagnnary includtn.g.the ~ Walter Savage .t~'~'1837) the
l~ngnsl) .v~ 7i 824) and Pentarrw, ....
"
Conversatton~ ~
""
epistolary literature. The literature of travel Travel and
the age when travel has be.
has declined in quality in
come most common--the present. In this nonfictional prose form, the traveller
himself has always counted for more than the places he visited, and in the
past, he tended to be an adventurer or a connoisseur of art, of ally, a writer
o~
•
" t landscapes, or
Greek geographers, such as Strabo and Pausanias of the tst and 2nd centuries
AD, are valuable as a storehouse of remarks on ancient people, places, and
creeds. Travel writing of some literary significance appears in the
late13th-century writings of Marco Polo. Works of a similar vein appeared in
the 17th century in the observations of Persia two French Huguenots,
Jean-Baptiste Tavernier and Jean Chardin, whose writings were lauded by Goethe.
Many books of documentary value were later written by English gentlemen on
their grand tour of the Continent.
The 18th-century Italian egotist Casanova and his more reliable and sharper
compatriot Giuseppe Baretti (171989) also produced significant travel writings.
The form comprises many of the finest writings in prose during the Romantic
age. Not only were the Romantics more alive to picturesqueness and quaintness
but also they were in love with nature. They were eager to study local colours
and climates and to depict them in the settings for their imaginative stories.
Also, travel gave the Romantic writer the illusion of flight from his wearied
self. The leisurely record of Goethe's journey to Italy in 1786-88 counts more
readers than most of his novels.
Pismo russkogu puteshestvennika (1791-92; Eng. trans., Letters of a Russian
Traveler, 1789-1790, 1957) by Nikolay Karamzin is one of the earliest documents
in the development of Russian Romanticism. Ivan Goncharov (1812-91), the
Russian novelist who stubbornly limited his fiction to his own geographical
province, recorded in Frigate Pallas his experience of a tour around the world.
Nowhere else in the whole range of literature is there anything comparable to
Peterburg (1913-14), by a virtuoso of poetic style, Audrey Bely; it is a travel
fantasy within a city that is both real and transfigured into a myth Neither J
,
.
•
..- .
ames Joyce s Dublin nor Balzac's Pans is as vividly recreated as the former
Russian capital in Bely's book. Other travel writers of note include the
multinational Lafcadio H~arn (1850-1904), who interpreted Japan with
sensitivand insight. Earlier, two other Westerners wrote on Asia, the English
historian Alexander W. Kinglake (180991), in Eothen (1844), and, more
incisively, the French diplomat Joseph-Arthur, comte de Gobineau (1816-82);
both blended a sense of the picturesqueness of the East with shrewdness in the
interpretation of the people. One of the most thoughtful and, in spite of the
author's excessive self-assurance, most profound hooks on Asia is Das
Reisetagebuch eines Philosophen ( 1919; Travel Diary of a Philosopher), by the
German thi
(1880-1946. W~,~. _ . . nker Hermann Keyserling ) ,,,, nn insatiable
interest in countries, KeYsetting also interpreted the sou
.Perceptively, ana~,,*~ .~ I of South America and, less ttous. Amon~ t
=:..~,.u me whole spectrum of Euro an nap h~ ~-ousanos of travel books on
I~alP~y, there ~n
e~n~wh?t~te~itc:~°fo:a_pturous or humorous prO,: .~truscan Italy a~.,
D.H. Lawrence on Sardinia, ucm and less ~,]:-'. "'? on the Italian character
are more Venice,-man,~'~ne~ than other of his nrn~e cogitationS.
artifact, as Bernard Beren / / /
Sent from my iPhone
On 15 Feb 2013, at 16:51, Steve Robertson <[email protected]> wrote:
> Where can this product be purchased and how much does it cost?
> On 2/15/2013 7:59 AM, Sandratomkins wrote:
>> Hallo the list,
>>
>> I just received my StandScan, which is a box very similar to the
>> ScanBox, but which vaunts better lighting. Physically, StandScan is just
>> about the same as the ScanBox, but the connection for the battery, plus the
>> presenced of an on/off switch, immediately, gives the feeling of something
>> better thought out. There is also a cable to plug in at the mains, but this
>> being round pinned, i will have to look out an adapter before I can comment
>> on the brightness of the lighting whilst on manins power. The hole for the
>> camera to see through is larger than that of the SB and is, therefore, a
>> little easier to position the phone, even without my handy markers for the
>> phone. It is midday here, though I did use the lights that are built into
>> the StandScan, wantying to ascertain how well, using the lights in all
>> conditions, just how well the things works. So, a little later, I will try
>> it out in twilight and then darkness.
>>
>> For now, I am impressed. Below is half of a page of a newspaper. I just
>> folded the whole newspaper in half and then in half again to make it fit
>> into the box. I sort of flattened it a bit, but not much, and I didn't hold
>> it while the shot was taken, so the section of the page was not entirely
>> flat. I mention this because it, obviously, affects the outcome.
>> Nevertheless, I am delighted with the results. I very rarely get good
>> results when trying to read bits of newspapers and since the appearance of
>> the Newspaper App, I am only doing it to demonstrate the StandScan and
>> Prizmo.
>>
>> If you want to know more about this little toy, please free to ask, on
>> or off list.But, probably, it will be better to wait until i have tried it
>> out in less godd lighting conditions.
>>
>> Happy for now, Sandy.
>>
>> she met Ted Hughes in 1956, the life of the pushy Amez4~ girl btornirlg with
>> poetic ambition but also fixed on marriage and babies was more than two
>> thirds over. Admittedly, the startling incantatory tirades for which she is
>> best known were not written until the last few months of her life, and it
>> seems that the events of those months were somehow necessary to their
>> excavation.
>> But The Bell]ar (1963), the novel that first appeared just before her death,
>> belongs to a younger self: it teUsthe story of Plath's previous breakdown
>> and suicide attempt during her time at Smith College, Massachusetts, two
>> years before she met Hughes. Of course the marriage is fascinating, but that
>> is partly because of who Plath was when it began, a story that too easily
>> disappears in the fascination of who she became when it ended.
>> Andrew Wilson does not disturb more s~/~ and uncect~ i~]f~ttla.
>> Her search for identify becomes ours as we move between the iournals,
>> letters and stories she submitted to magazines during school and college
>> Gears. Trying things out on paper ecame her way of thinking about the world;
>> she made no distinction between her quest for experience and her vocation as
>> a writer. The question of women and wild oats obsessed her. So did Nietzsche
>> and his ideas about "voluntary death" and, later, Dostoevsky and his dochfne
>> of the double.
>> Good grades came easily but Plath was determined to learn from life as well
>> as books. From the age of 14, she was boy-mad yet consistently baffling to
>> them. "I think I made you up inside my head" is the repeated line in the
>> vilianelle from which Wilson takes his title, and it becomes startlingly apt
>> as boyfriend after boyfriend is wheeled on, only to reveal his insufficiency
>> for the role in which Hath has cast him. Men were damned ff they did and
>> damned if they didn't - envied for their sexual nee am, despised for not
>> sharing it.
>> She seems never to have stepped out with one without fixing on another.
>> "Fusion and violation of actual circumstance," scribbled her mother Aurelia
>> Plath on the typescript of "The Disquieting Muses", a poem that portrays a
>> monster mother pushing her daughter into ballet and piano lessons. Wilson
>> defends the "emotional truth" of the poem in that instance, but he goes on
>> to make the same non-point in his discussion of The Bell]ar, which has
>> always been read as closely autobiographical. Wilson nitpieks - this one
>> didn't in fact take her ~
>> rginily, that one didn't kill herself, e good shrink was out of her depth,
>> the bad lover meant well. All of which could be made of consuming interest
>> if fed back into a discussion of the novel but the notion that literary
>> biography might shine a light on the mystery of artistic creation is
>> ovedooked in Wilson's zeal to establish that Plath messed with the facts in
>> her fiction.
>> W iison's coup is to have tracked down Richard Sassoon, the lover who
>> preceded ttughes mid escaped both from Plath and, until now. from her
>> biographers. But Sassoon remains elusive. He refused to be interviewed,
>> Concerts with M( .gele An unflinching memoir by an Auschwitz .survivor
>> captures the terrible absurdity of the death camps, finds Keith Lowe
>> Landscapes of the Metropolis of Death by Otto Dov Kulka l 4,4 PP, ALLEN
>> LANE, ~7 £ 12.99 (PLUS £ 135 P&P) 0a44 87 ( 1515 (RRP £ 14.99, EBOOK £9,99)
>> ~ F or much of the past 70 years, Otto Dov Kulka has been leading something
>> of a double life. As a professor of history in Jerusalem he is known for
>> writing dispassionately about Nazism and the genocide of the Jews. But as a
>> survivor of the concentration camps at Theresienstadt and Auschwitz, he
>> 'also has a deeply personal relationship with the Holocaust.
>> For decades he has kept these two sides of himself scrupulously separate.
>> Now, for the fast time, he has turned his academic eye inward to explore as
>> unflinchingly as possible the ways in which his childhood encounter with
>> Auschwitz has affected him. Lamtscal~es oJ'the Metropolis of Death makes for
>> deeply disturbing but ultimately very rew~ding reading, and is unlike any
>> Holocaust memoir I have ever come across.
>> Kulka's experience of what he has come to call the "Meh'opolis ~ of Death"
>> was not like that of the vast majorib" of Jews who passed thrnugh its ghtes.
>> When he arrived at Auschwitz he did not have to undergo the infmnous
>> "selection" at the station, which separated those who were fit for work from
>> those destined immediately for the gas chambers. He did not have his head
>> shaved, or his clothes and belongings confiscated, and he was not separated
>> from his family.
>> In fact, he ext~;rienced none of the things that seem to make up the
>> "uniform language" of other survivors' memoirs.
>> He and his mother were part of a unique transport of Jews from
>> Tberesienstadt who were housed together, . in, a specially,, desigmated
>> Fmmly Camp , and allowed to continue some semblance of normal life. He
>> attended a makeshift school, where he and his friends put on plays and
>> concerts, some of which were aitended by camp dignitaries like ,losef
>> Mengele. They were all aware that this w-as highly unusual, and could not
>> understand why they should have been singled out'For such special treatment
>> (it turned out that they were being kept as a sho~piece iust in case the Red
>> Cross should visit).
>> Their good Fortune did not last long. In March 1944. exactly six months
>> 'after their arrival, the entire t~eOUp was rounded up and taken to gas
>> chmnbers. There were no selections, and no possibility of e~cape - they were
>> simply disposed o en masse. Their place was then taken by a new group, which
>> was again to be granted the same privileges and the same freedoms but only
>> until their six months had, in turn, come to an end.
>> Kulka and his mother survived the first ctdling by a twist of fate: they
>> both happened to be in the
>>
>> Sent from my iPhone
>
>
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